? SUPER MAMA DJOMBO OOOH ? SHIVERING CELESTIAL AFRO PSYCH SOUKOUSS Guinea Bissau

$

46

Best musical wishes for the year to come. I wish you a warmy winter...or a cool summer for thoses who are upside down ! Ready ? Let's have a new great trip together around the African continent. So gald to share all these tasty and spicy sounds. Enjoy !   Mes meilleurs voeux musicaux pour l'année à venir. Je vous souhaite un hiver chaleureux...ou un été langoureux pour ceux qui ont la tête en bas ! Prêt ? En route pour un nouveau fantastique voyage à travers le continent Africain. Ravi de vous retrouver et de partager tous ces sons merveilleux et savoureux. Profitez-en bien !   +++++++++++++++++++++++++++++++++++++++++++++   SHIPPING COST :   Please, read this before bidding, it's really important !   I'm (unfortunately) based in Belgium. The belgian postal service is  probably the most expensive in the world (especially to send outside Europe : 1 to 3 LP's (no tracking number) = 28$ !!!) and does not offer economy service. Every year, prices are raised, rules change. So, from now on, I propose to ship packages from France also. It will take a few days more but it will be cheaper. Please, report to the rates below and mention if you prefer this option. Thanks a lot for your understanding.   FRAIS DE PORT :   SVP, lisez attentivement avant d'enchérir, c'est important !   Je suis (malheureusement) basé en Belgique. Le service postal belge est probablement le plus cher du monde (surtout pour les envois hors Europe : 28$ pour 1 à 3 disques, sans numéro de suivi !) et ne propose pas de service économique. Chaque année, les prix augmentent, les règles changent. C'est pourquoi je propose, à partir de maintenant, la possibilité d'envoyer les paquets de France. Cela prendra plus de temps, mais cela sera moins cher. Vous trouverez les tarifs ci-dessous. Dites-moi d'avance si vous préferez cette option. Merci d'avance pour votre compréhension.     Priority Airl Mail (sending from Belgium - 1 or 2 business days after payment) :   EUROPE* + USA : 1-3 LP's = 17$ (no tracking number !Registered shipping = + 7$ !) / 4-18 LP's = 42$ (with tracking number)   *Except to ENGLAND / FRANCE / GERMANY / NETHERLAND :  4-30 LP's = 21$ (with tracking number)   WORLDWIDE (Africa, Asia, Australia, Canada, Central and South America, Oceania) : 1-3 LP's = 28$ / 4-7 LP's = 52$ (no tracking number ! Registered shipping = + 7$ !)   Priority Airl Mail (sending from France with tracking number - 3 to 10 days after payment) :   FRANCE : 1 LP = 9$ / 2-3 LP's = 11$ / 4-5 LP's = 12$   EUROPE : 1 LP = 14 $ / 2-3 LP's = 18$ / 4-7 LP's = 22$   WORLDWIDE : 1 LP = 17$ / 2-3 LP's = 21$ / 4-7 LP's = 28$   ++++++++++++++++++++++++++++++++++++++++++++++

ARTIST =  SUPER MAMA DJOMBO 

Title = Festival

Country = Guinea - Bissau

Year = early 80's

Label / Ref / Pressing = Cobiana Vol 2 / SMD 002 / Original from Portugal

Tracks = Side A : Festival / Alma beafada / taman   Side B : Mortos negra / Julia / Sociedade de Malandros

Famous band from Guinea Bissau. Particular style, psyche and soukouss influences, fantastic feeling...

This is crazy . Each time I redescover this Super Mama Djombo’s second volume, I get creasier about it. I was so overwhelmed by the first volume that the second one was left unnoticed. But now, I have to admit the truth. Although it is not as fabulous as the previous one, this record is wonderfull. So now I need to convince you without using angels ! Most incredible are the devine voices and astral guitars. Both sides are built up the same way. The first track is out of time, the second one is sad, slow nostalgy tainted with blues. The third one gets carried away with vocal flights and the rythm of frenzy guitars under soukouss influence. A1 is divied up in 3 parts. A first marvelous slow part, a fabulous break with hand claps and accapela voices, and a third one with crazy rhythms… A quiet track follows, the rhythm comes back to soukouss on the third track. B1 is in one part, and the music in itself an ode to life, to joy, to love, to death…

C'est dingue. Chaque fois que je redécouvre ce 2ème volume de Super Mama Djombo, je craque d'avantage. J'ai été tellement subjugé par le 1er volume, que celui ci était resté dans l'ombre. Mais voilà. Je dois me rendre à l'évidence. S'il n'est pas aussi fabuleux que le précédent, ce disque est merveilleux. Alors maintenant, je dois vous convaincre sans devoir passer par les anges ! Ce qui est avant tout incroyable, se sont les voix céleste et les guitares astrales. Les 2 faces sont conçues de façon identique. Un 1er morceau hors du temps, un second triste et grave, lente nostalgie teintée de blues, un troisième emballé aux envollées vocales et au rythme des guitares endiablées, aux influences soukouss. A1 est en 3 partie. Une première merveilleuse partie lente, un break fabuleux avec clap de mains et voix accapela, une troisième avec un rythme fou...un morceau calme suit, le rythme redevient soukouss sur le 3ème. B1 en une partie, la musique à elle seule est un hymne à la vie, à la joie, à l'amour, à la mort...

SOUNDFILES ARE RECORDED FROM THE VINYL AUCTIONED

B1+B2+B3 : http://www.divshare.com/download/22777073-9e9

Record = Side A : G to VG- (a lot of scuffs, marks and traces, a few serious, plays with constant crackles, not heavy on A1 (a few light clicks at the end), quite serious with some clicks on A2/A3 (a small jump noticed at the beginning of A3), still quite enjoyable) Side B : VG- (a lot of surface scuffs, marks and traces, plays with consant crackles never heavy, more listenable during the first seconds of B1, on B2, light on B3, a few light clicks, still really enjoyable)

Cover = VG- (dog eared, ring wear, turned yellow, corners and right edge worn (brown sticky paper on top, traces, small hand writing)

Label = clean

Often what drives us is the idea of something, say African Music. Once you heard a particularly magic song and searched and searched until you found the album and, if you were lucky, the album was bliss. Sometimes an artist or band will tug at your heartstrings in inexplicable ways and you'll find yourself blindly pursuing their music at all costs. Certain notes or sounds become like a Holy Grail as you try to find them.

Guinea-Bisseau is a Portuguese-speaking country lodged between Guinea and Senegal but closer musically to Mali than to its immediate neighbour or even the Cape Verde islands which are culturally connected to it. Super Mama Djombo was formed at a Boy Scout camp in the mid-sixties and continued to evolve as the lads grew. Members were voted in and out, or left as they gained musical skill. After Guinea-Bissau's unilateral declaration of independence in 1973, the group became national favorites (many people prayed to the spirit of Mama Djombo for protection -- half the populace is Muslim, the other half animist) and had a string of hits. Their music, like many emergent sounds of that time in West Africa, was electrified folk music. They regularly toured to open for President Luis Cabral's speaking engagements and their concerts were broadcast live on the national radio. They took Cuba by storm at the 11th annual Youth Music Festival in Havana, 1978. In early 1980 the group traveled to Lisbon for its only recording session and filled 6 hours of tape, not even covering their whole repertoire. Their first album, NA CAMBANÇA, contained songs that were already well-known at home, but its release extended the fame of the band and the song "Pamparida" became a huge hit. When Super Mama Djombo played in Senegal (and a young unknown Youssou Ndour opened for them) a throng turned out to hear "Pamparida," and broke down the gates to get in. Their second album, FESTIVAL, showed them on their triumphant Cuban tour and presented six more songs including the dreamy "Júlia." This music is one of those African music Holy Grails. Even if the lyrics are sometimes just lists of the names of revolutionary heroes, there is a dreamy guitar floating across the stratosphere, played by Tundu, who carved out his own niche alongside "Diamond Fingers" from Guinea (which also has Manding culture). The lyrics are in Crioulo, which mixes African languages with Portuguese, sung by a young Dulce Neves. A touch of Echoplex gives a big room sound to the vocals and sax of Miguelinho. The songs are speedy and memorable or laid-back and dreamy. The band broke up in the mid-80s but the achingly beautiful quality of the ballads endured, and worked well on the soundtrack to the film, THE BLUE EYES OF YONTA (released in 1996 on the Cobalt label), set in Bissau and directed by Flora Gomes. (That session had mostly new members but they were playing old material.)

Personnel:

Adriano Atchutchi: Composer, chefe da orquestra
Cesário "Miguelinho" Hoffer: Viola ritmo
Adriano "Tundu" Fonseca: Viola solo
Serifo Dju: Viola contracanto
Francisco Martens a.k.a. "Chico Karuka": Viola baixo
João Mota: Viola solo
Zé Manel: Bateria
Armando Vaz Pereira: Tumbista
Joãozinho Correia: Bongois
António Malam Mané, Lamine Baldé, Cesário "Ntchoba" Morgado, Carlos Baba Kanoute, Herculano Pina Araujo, Dulce Neves: Cantores

Before a nation can become real, it must first be imagined. It seems appropriate that Super Mama Djombo, the band that became a primary expression of Guinea-Bissau's identity after independence, was born in the fertile imagination of children.  Four young friends (the youngest was only six) came together to play at boy scout camp, and got their first taste of success. Soon they were playing weddings and parties around Bissau. This young band was serious, and voted out any members who they thought weren't keeping pace with the group as they became more skilled. Ever improving their act, the boys decided that they needed a new name.  Their original name was long and in Portuguese; they wanted something more beautiful, powerful, and home-grown.  The lead singer suggested Mama Djombo, the name of a sovereign and deeply respected female spirit. The group liked it, and from then on they were known as Super Mama Djombo.

It was the perfect choice.  Though the group was too young and politically unaware to know it at the time, they were growing up amidst revolution.  The revolutionary Party for the Independence of Guinea-Bissau and Cape Verde (P.A.I.G.C.) had been engaged in rural mobilization and clandestine urban agitation since 1959.  Hidden under the dense forest canopy in the south of the country, guerillas and villagers struggled to set up a revolutionary society. Mama Djombo was the spirit most appealed to for the protection of these independence fighters.

Independence was won in 1974, and that year brought the final formative elements to the band: freedom, euphoria, and bandleader Atchutchi.  Atchutchi had been mobilized and politically aware for longer than the other members, and his contribution completed the project.  The band would become politically charged.   It would imagine a new, unified national identity that was neither Portuguese nor divided by indigenous ethnicity.  It would help re-invent Kriol, the synthesis of Portuguese and African languages spoken in the cities, that the revolution had transformed into a common language of national unity. 

The success of the new orchestra was almost immediate.  They toured Guinea-Bissau and Cape Verde playing to ecstatic crowds.  Their live concerts were broadcast religiously on the national radio.  The band traveled regularly with first president Luís Cabral, representing the new national identity in Angola, Mozambique, Cape Verde, and Portugal. The orchestra traveled to Cuba, to mark Guinea-Bissau identity "present" at the 11th Youth Music Festival in Havana.  They outshined the other groups from Africa, and appeared on Cuban national television. At home, the band continued to reflect the people back to themselves.

 In early 1980, the group went for its only recording sessions in Lisbon.  People at home in Guinea-Bissau already knew the songs by heart, but their release on LP extended the reach of the band and opened new opportunities-particularly the track "Pamparida."  Adapted from a children's play song, this infectious track made the band a West African sensation. DJs would often make sure they had two copies of the album, so they could play the song over and over without stopping.  It is said that when "Pamparida" came on the radio during lunch, people would get up and dance the song, then return to their meal.  It was "Pamparida" that filled a stadium in Senegal to capacity, where a then-unknown Youssou N'Dour opened for the Orchestra. When the music started, the crowds outside literally broke down the doors to hear them play.     

It seemed like an ascendancy that would never end-and it certainly could have continued.  The offers poured in: an African tour, more European tours, album deals.  But these offers brought new pressures.  This was a revolutionary band committed to imagining and building the nation through song.  Atchutchi was opposed to the deals, and at the time most of the band agreed with him.  Who was going to tell President Cabral that the national, revolutionary band was now run by capitalists from the Gambia, Senegal, France, or (of all places) Portugal? Nobody had the heart.

In November 1980 Luís Cabral was deposed, and political repression intensified.  Even before the coup, the band's music had begun to point out corruption and power struggles emerging in the government. Significant tracks in that vein on this collection include "Ordem do dia" and "Suur di no pubis." The new regime wasn't interested in supporting art-particularly art that was critical of the state-like the Cabral government had, and opportunities at home began to dry up.  That was the beginning of the end.  By 1986 the band was done.

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Communication : ok in English (but I am not fluent !), de préférence en Français, mogelijk in Neederlands (maar ik heb hulp nodig !).

Payement/Paiement/Betaling : Paypal (prefer), Bank transfer/Virement bancaire. No check.

FOR EVERY BUYER : Once the sale is completed, please be kind enough to wait for the invoice that I will send with the total amount for each transaction. Do not pay before. Thanks in advance. / POUR TOUS LES ACHETEURS : Ne payez pas avant de recevoir le montant total pour chaque transaction, que j'envoie après la fin des ventes. Merci d'avance.

Postage/Frais d'envoi/Verzendkosten :

Priority / Prioritaire (The Belgian Post does not offer economy service !!! / La Poste Belge n'offre pas de service économique !!! )

BELGIUM  : BPACK 24h = 1-8 LP's = 6,20 euros

ENGLAND, FRANCE , GERMANY, NETHERLAND : 1-3 LP's = 17 US$ (12,90 e) / 4-30 LP's (1kg to 10 kg) = 21 US$ (16,20 e)

REST OF EUROPE + USA : 1-3 LP's = 17 US$ (12,90 e) / 4-7 LP's = 34 US$ (25,80 e) / 8-18 LP's = 42 US$ (32,40 e)

WORLD : 1-3 LP's = 28 US$ / 4-7 LP's = 56 US$ / 8-18 LP's = 84 US$

TRACKING NUMBER ONLY AVAILABLE WITH REGISTERED SHIPPING (+ 5 euros = 7 US$)

You may think these prices are too high, but they are exactly what the Belgian post offers (the most expensive in Europe !!!) / Vous allez penser que les frais d'envoi sont excessifs, mais nous avons le service postal le plus cher d'Europe !!!

Items will be sent as soon as payment is confirmed (48 h after max.) / Les colis seront postés dès la confirmation du paiement (endéans les 48h).

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GRADING For LP / NOTATION pour les disques :

NM (NEAR MINT) : Near perfect copy, played only a few times. At worst it may have one or two insignificant flaws.The highest grade I give for a non-sealed record / Disque et pochette impéccables, a joué seulement quelques fos. Au pire, une ou deux traces insignifiantes. C'est le grade le plus haut que je donne pour un disque non scellé.

EX (EXCELLENT) : Clean copy, there may be a few very light  surface traces/hairlines, it may plays with a few tiny crackles, cover has minor defaults. / Disque en excellent état, possibilité de très lègères traces ou lignes en surface, événtuellement quelques grésillement/craquements insignifiants, pochette avec défauts mineurs....

VG++ (VERY GOOD++) : A few light surface traces/scuffs, plays with very light crackles. There may be a few traces or marks on the cover, corners or slices slightly worn...Nothing serious but is not graded EX because of few minor defaults / Très bon état dans l'ensemble, avec de légères traces et rayures en surface, très légers craquements audibles. Quelques traces ou marques possibles sur la pochette, coins ou tranches légèrement usées. Rien de sérieux mais assez de petits défauts pour ne pas être classé EX.

VG+ (VERY GOOD +) : Played a lot, will show signs of handling, has surface marks and scuffs, plays with light crackles or light surface noise background, no serious scuffs, no serious crackles. Cover slighty worn (traces, light ring wear, dog eared, corner and slices slightly worn...) / Disque qui a tourné, visiblement utilisé, avec des marques et rayures en surface, des craquements légers ou un bruit de surface en fond, mais pas de griffes sérieuses, ni de craquements sérieux. Pochette un peu usée (avec quelques traces, cornée, coins et tranches légèrement abimés, saleté, ect...)

VG (VERY GOOD) : Used record, played a lot, has a lot of surface traces, marks and scuffs, crackles and a few clicks while playing, sometimes constants but not too serious,  no serious clicks, no jumps. Still enjoyable. Cover worn, may have corner and slices worn or damaged, ring wear, serious traces or little splits, slightly ripped / Disque qui a été souvent joué avec beaucoup de traces, marques et rayures diverses, quelques griffes et des craquements audibles, parfois constants mais pas trop sérieux. Ne saute pas. Toujours agréable à écouter... Pochette usée et défraichie, un peu déchirée, coins et tranches cornés ou abimés, traces sérieuses ou petits coups...

VG- (VERY GOOD MINUS) : Played a lot and more (but still playable), a lot of scuffs, marks, and traces, a lot of crackles while playing, sometimes serious, may have a few serious scuffs with serious clicks (no jumps). The cover is in a bad state, damaged... / Disque très utilisé (mais peut l'être encore...), beaucoup de griffes, de traces et de marques, peut avoir de sérieuses rayures , avec de sérieux craquements, ne saute pas. La pochette est en mauvais état, endommagée...

G (GOOD) : Indeed, not so good...but still alive ! Played while his entire life (and once again today !), or really ill-traited...A lot of serious traces, marks and scuffs, serious crackles and surface noise, serious clicks, may have jumps...The cover is really in a very bad state too, even no entire...Must be very rare to be proposed in this state... / En effet, pas si bon...mais encore vivant ! Utilisé durant sa vie entière (et aujourd'hui encore !), ou vraiment maltraité...Beaucoup de sérieuses traces, marques et rayures, sérieux craquements et bruits de surface, rayé et peut même sauter quelques fois...La pochette est aussi en très mauvais état, peut même ne pas être entière...Vraiment une rareté pour être présenté dans cet état...

POOR : ? = dead ? hard or impossible to listen to it...should be listed only in a batch. Cover ? better to say no more cover ! / ? mort ? difficile ou impossible à écouter...devrait être listé uniquement en lot. Pochette ? autant dire qu'il n'y en a plus !

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NOTE : Each record and cover will be described in more detail if necessary / Chaque disque et pochette seront plus détaillés si nécessaire.

If you want more pictures or more informations, don't hesitate to ask.Thanks /Si vous voulez d'autres photos ou de plus amples informations, n'hésitez pas. Merci