Considered as one of the greatest percussionist in Senegal, Mbaye Dieye Faye has made, last Saturday, a memorable comeback to Super Etoile, during a live performance at Thiossane Night Club in Dakar.  The event was portrayed in Senegalese media as a positive move between the two Mbalax icons. In fact, following a blazing row, Youssou N’Dour and Mbaye Dieye Faye finally decided to part company three months back. But the question after questions is to know what the row was really about.

Born in a modest family of “Griot” griots, Mbaye Dieye Faye was inexorably predestinated to a musical career. He had a difficult life before he became a celebrity. He sings because he’s a griot, but it’s a passion for him to sing. He dreamt of being one of the famous singers in his country.

He grew in a family of griots, but he had problems when he wanted to be a singer. Formerly, people used to say that when you sing, you are going to ‘‘take a bad way”. For instance, you can use drugs or alcohol because of the environment, bars, hotels, dancing so, that was the reason his father defended him to become a drummer.

When he was child, his father sent him to koranic school before he entered French school. But at a young age, he deserted school and became a carpenter of metals after he began to tap the drums. When he first informed his father about his affection for music, his father started to beat him. It was after becoming conscious of the his son’s devotion, that his father consented. But like many children, Mbaye Dieye Faye was very stubborn, so he continued to decide to be a singer before his father decided to give him his agreement. After all, it was normal for the young son of Sing Sing to tap the drums. Like it is said in a  “Wolof language” Wolof proverb, “Donou sa baaye ayoul”, meaning that it’s not a shame to follow the same job as your father. So Mbaye Dieye Faye begun to tap the drums with his companion  “Youssou N’Dour” Youssou N’Dour well known as the “King of  “Mbalax” Mbalax” in Senegal. Mbaye Dieye Faye had begun singing when he gave up his work as a metal carpenter. Too young, Mbaye Dieye Faye left this school.

His first concert with Youssou N’Dour was very wonderful for them even if they got only one thousand Cfa each. Youssou N’Dour is an old best friend and a colleague of Mbaye Dieye Faye. According to Mbaye Dieye Faye, Youssou Nour is a best among the best people. They share many things and together they will realize their dream, success.

In his adulthood, he married his beloved Mame Ndiaye and has his kids with her. According to Mbaye Dieye Faye, it is not easy to become famous but also it’s not easy being famous. Indeed, famous people are not free; they can’t do whatever they want. To gain his life, Mbaye Dieye Faye has his music, the praise he made during ceremonies, concerts, and advertisements such as ‘ halib’ a milk product, ‘the la force’ a tea product…

He makes rhythm in his music, the Mbalax. What makes Mbaye Faye famous is not only his ability to beat the drum but his way of dancing and giving life in his concerts. Since he is always a “griot”, he knows how to make himself listened to. He is a court musician; he sang praise and told the history of people or the region which interest people. The advertisements also make him popular.

Formally, the Senegalese Mbalax was not very rhythmic because they used only drums and some traditional instruments. However, it changed completely with the modern musicians particularly Mbaye Dieye Faye. In fact, this latter with the new instruments such as the piano, the guitar, the saxophone plays a mixed music meaning the traditional music and the modern one—for instance, the beat of drums and the blare of trumpets.\l “note-Oumy1”

Mbaye Dieye Faye has composed some albums, such as “Songama” Songama, “Live biir Thiossane” Live biir Thiossane, “Oupoukay” Oupoukay, and others. Songoma is the most famous, and the one most appreciated by the audience. This music had caused many problems because of religious principles. Indeed, it is a dance which required a certain way of dressing. It is called “Joubax out”, missing Wolof and English which means literally “navel out”. To attract more attention, girls wore indecent, tied, and transparent clothes. They must look like prostitutes to be exciting. However, others think that “songoma” is only a dance like all dances. It brings people to be more friends, to enjoy oneself. So, even in families, people can dance it just for pleasure.

Live in Thiossane, is also a very famous album. The wolof word “Thiossane” is a dancing night club owned by Youssou Ndour.Oupoukay brought much pleasure to people. The rhythm and the sound were wonderful.

Mbaye Dieye Faye is the percussionist of ”Super Etoile” band. But he has a tendency to sing at the same time with Youssou Ndour. He plays an important role in the band. Mbaye Dieye Faye has his own style in music, very much appreciated by Senegalese people, particularly women. In “Mbalax” rhythm, he introduced as he calls it “Khorom” (Salt ). Nobody can dance to his music without getting tired. Indeed, it is very hard to follow his drums. And it’s like making sport, because dancing his music means jumping, moving one’s body, and all members. So, nothing must be calm.

The role of Mbaye Dieye Faye in the band is also to make entertainment adequately. He is a griot, a repository of oral tradition, a praise singer, but he is more interested in singing love and romance. Most of the time he uses “Tassou”, a kind of speech with some rhythms, reminding one of rap music. That is mainly for amusing people, but often, speeches contain vulgar expressions. And for him, it is for exciting dancers, and having them moving more. Certainly, with his comeback, Bercy 2008, the annual musical event engineered by Youssou N’Dour, will live up to expectations.

African singers are becoming more popular in the West and certain African artists such as Salif Keita and Sade are already out in front.

Twenty years ago you would have been hard-pressed to find a wide variety of world music in the aisles of the biggest record stores. Music from outside the American or European mainstream was usually relegated to a small corner of the store. Even then most ethnic artists were best found at small, specialized stores. But a variety of factors from globalization to a modernization of traditional non-Western music have increased the popularity of world music today. The most dramatic change is seen in the rising dominance of Latino music, but it isn't the only type of music taking up more room in the music store aisles. African music is becoming a trend as well, and certain African artists such as Salif Keita, Sade, and Papa Wembe are already out in front.

Born an albino in Mali, West Africa, Salif Keita had intentions of becoming a teacher. But unemployment was high in Mali during the 1970s, and Salif made his living playing in local bands. His big break in Africa came when he joined the government sponsored Rail Band. By 1973 he was working with a group called Les Ambassadeurs and was awarded the National Order of Guinea by President Ahmed Sekou Traore.

Africanmusic.org, an African music information repository, describes Salif’s music as a blend of griot and West African influences with Islamic overtones. Griots are traditional Malian singers who tell the history of their patrons through song. Griots usually sing at family celebrations such as weddings. For a culture without a strong written tradition, their songs serve as a verbal history of the family lineage.

But the flavor of Salif’s music has been influenced by other cultures as well. Salif switched to Les Ambassadeurs because they were playing a wider range of music. Malian political unrest in the 1980s forced Les Ambassadeurs to Abidjan in the Ivory Coast. Salif eventually settled in Paris and launched a solo career. The blend of hi-tech Euro pop with his more traditional Africa lyrics made his music an instant hit across Europe. He recently composed a song on the soundtrack to Patricia Rozema’s film adaptation of Jane Austen’s Mansfield Park. His album “Papa” was also nominated for Best World Music Album at the 42nd annual Grammy awards.

Although Salif is based in Paris, his music has not abandoned its traditional African roots. Salif’s band continues to play with traditional Malian instruments such as the balafone and the kora. While living in France, Salif has had the opportunity to mix with other notable African musicians like Tabu Ley Rochereau and Mana Dibango. And the Montreiul quartier where he lives, is home to 15,000 Malians to remind him of home.
Another African artist whose popularity has transcended borders is Sade. Sade was originally born Helen Folsade Adu in Nigeria, West Africa to a Nigerian father and an English mother. When she was still young, Sade returned to live with her mother in London. Although she grew up in London, African rhythms still influenced her. These influences, though, came from America in the form of Ray Charles, Al Green, and Aretha Franklin. Sade’s direct connection to Africa may not be as strong as other African artists, but the influence still comes through in her highly lyrical style. Much like Malian griot singers, Sade’s music always tells a story.
In the early 1980s, Sade retreated to Madrid to escape the pressures of fame but has recently returned to the music scene. As testimony to her worldwide popularity, Sade’s concerts are always sold out in places as diverse as Australia, Japan and the United States.

For Africans, some of the best music the continent has to offer comes from its heart – the Democratic Republic of Congo (formerly known as Zaire). The flavor of central, tropical Africa is captured in the music of Papa Wembe. Papa mixes the Congolese African folklore, known as soukous, with a bit of Cuban rhumba to create a unique style known as “Rhumba Rock”. Papa’s music was first noticed in Kinshasa in the 1970s. With his band, Zaiko Langa Langa, Papa was instrumental in introducing western drums and vocal styles to Congolese music.

Papa’s influences come from his Congolese roots, but also from the African Diaspora such as North American funk and R&B. His unique style has influenced western artists, as well. In order to reach wider audiences, Papa relocated to Paris. His music attracted the attention of Peter Gabriel who invited Papa to join him on his Secret World Tour. Annie Steinhardt, the bass and fiddle player for Pele Julu, cites Papa as one of her top music choices. And Papa was selected to compose the music for Jose Laplaine’s 1996 film Macadam Tribu.
The rise in African music, and ethnic music in general, has much to do with globalization. Satellites might beam MTV into households around the world, but ethnic communities living abroad still cling to their roots.

Successful African artists like Salif Keita, Sade and Papa Wembe have found the right blend of traditional and modern influences. In essence, their music has become a true world language.
Sources: www.africanmusic.org , www.putamayo.com

The Gambia is a West African country closely linked musically with its neighbor, Senegal.
Griots, (also known as Jelis), a kind of hereditary praise-singer, are common throughout the region, a legacy of the ancient Mande Empire. Gambian Griots often play the kora, a 21 string harp.

Modern ethnic Mande in The Gambia are called the Mandinka, and they make up around 40 per cent of the country's population. The region of Brikama has produced some very famous musicians, including Amadou Bansang Jobarteh and Foday Musa Suso. The latter founded the Mandingo Griot Society in New York City in the 1970s, bringing Mande music to the New York avant-garde scene and collaborating with Bill Laswell, Philip Glass and the Kronos Quartet.

Gambian popular music began in the 1960s, when The Super Eagles and Guelewar formed while hip bands were playing American, British and Cuban music. The Super Eagles went to London in 1977, appearing on Mike Raven's Band Call. They played merengue and other pop genres with an African flourish, including Wolof lyrics and minor stylistic elements. After the performance, the band began jamming out some traditional tunes and an unknown man heard, told the group that that was the style they should be playing. This inspired the group to return to their country's musical roots, and they spent two years travelling around The Gambia and studying traditional music. The reformed band was called Ifang Bondi, and their style was Afro-Manding blues.

Civil unrest caused Ifang Bondi and most Gambian musicians to emigrate to countries like the Netherlands, decimating the nascent music industry.

There is also a thriving Gambian hip hop scene.