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Language:

Bambara

Genre:

Modern mande

Instrument:

Kamele n'ngoni Male vocals

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Biography

Issa Bagayogo originates from the Wassoulou region in southern Mali - the same region from where Oumou Sangare hails. Issa Bagayogo is a rising star in Mali, and his popularity is gradually growing in Europe and USA, too. In 1999 he was named "Malian Song's Most Promising Artist". In his homeland he is known by the nickname "Techno-Issa" because of his experiments with electronics and traditional music.
Issa Bagayogo had a traditional African upbringing in the Malian countryside and has worked hard to get where he is today in his musical career. As one of the oldest children in a huge flock - his father had four wives - young Issa had to take his turn at working to feed the family. But he was not happy simply cultivating the soil. He learned to play traditional instruments like daro (metal bell) and kamele n’goni, the six stringed harp which is a common instrument for young people in the Wassoulou tradition. Early on he headed to Bamako to try his luck as a musician and that is where, in 1991, he recorded his first cassette in cooperation with Frenchman Philippe Berthier. That cassette didn't exactly make him a star, but the great feeling of returning to his home village with his picture on a music cassette wasn't easily forgotten. In 1993 he returned to Bamako and made another recording. The result was the same, however, and it caused problems for Issa. He was about to leave his work as a farmer, but what had he achieved as a musician?
In 1998 things finally began to happen; Issa Bagayogo got in touch with French producer Yves Wernert. Advised by Ali Farka Touré's guitarist Moussa Koné, he began experimenting - uniting traditional Wassoulou rhythms with modern electronics. In the beginning Issa Bagayogo was afraid of this fusion, but after a while managed to integrate tradition and technology. Not long after his debut with “Sya” in 1999 he made his first international appearances in festivals in Europe and USA.

Relevant artists:
Rokia Traoré
Ramata Diakité
Oumou Sangare
Ali Farka Touré

SYA  
Six Degrees Records/1999(2002)

I was a bit skeptical when first I heard about Issa Bagayogo's fusion project: There have been quite a few such efforts over the years; not all were successful. Youssou N'Dour's flirt with high tech on "The Lion" still stands as one of the most negative examples of what can be wrought in the name of musical progress. As does Mory Kante's "Tatebola". But then there was Issa Bagayogo; I was impressed by him and his band at WOMAD, Reading in 2002. His work didn't sound very synth-based at all, in fact. Having said that, I think "Sya" doesn't have a very promising opening, with its sampled river sounds and birds' humming right before the title track hits the beat. However, the record is well produced, by Yves Wernert who also has worked with Ramata Diakité, in that the synthetic rhythms don't overwhelm the traditional instruments: n'goni, acoustic guitar, percussion and drums (djembe). The well-known West African backing choir is also there as is, of course, Issa Bagayogo's own bluesy vocals and rippling kamele n'goni. The whole thing is rather funky, and it's almost impossible not to be caught up in it. It is also danceable. My only criticism is that Sya's arrangements are 'much of a muchness'. The five first tracks of the total eight feature the same monotonous synth-beat underneath everything. Not until "Koulon" does the crew begin to loosen their ties, let go and relax into in the original funky rhythm always present in the Wassoulou music. On "Kouloun" the background synthesizer sounds balanced and in an incredible groove; it's cool as an oasis in the desert. Also, on "Djinew Nakan" and "Madomba", the band takes a chance on a more laid-back attitude, thus these three tracks are definitely the album's best songs.
In general, this is a very fine debut by Issa Bagayogo, who will undoubtedly climb the mountain of fame and status as long as he continues to develop his music with the same level of respect as shown here.

TIMBUKTU  
Six Degrees Records/2002

In which direction would Issa Bagayogo go after the promising debut in 1999? Would he present more superficial techno or go deeper into his own rich traditon? The album "Timbuktu" gives the answer: Yes please, both! Except for the fact that the playful use of high tech doesn't give a superficial expression at all. On the contrary. For the strange thing is that "Timbuktu" is a record with extensive use of synthesiser and electronic effects, but it is so well done that the album actually stands out as more tradition oriented than "Sya". Purists will possibly wrinkle their noses, but to me "Timbuktu" stands as an ecclatant proof of the fact that the eternal discussion about the use of new technologyi in traditional music is not a question of IF, but of HOW. On "Timbuktu" the balance is close to perfect. Issa Bagayogo has created a new, timeless expression that makes the Wassoulou rhythms really stand out. It makes my heart warm. From the first track, "Sisi", it also makes my feet move, and from there and onwards the man and his band pull out of their bags riffs that strikes my nerve system all over. Rhytms as well as arrangements are more varied than before, one lets more loose. It is surely danceable, but is is also laidback and bluesy, like on the title track, where Ali Farka Touré is lurching in the background. Issa Bagayogo's kamele n'goni is of course in the forefront in the arrangements, but as important on this recording are the sparkling and utterly efficient guitar riffs of Moussa Koné. With "Timbuktu" Issa Bagayogo steps up on the level of the big guys, like Ali Farka Touré, or Habib Koité. Issa Bagayogo has simply found the recipy.

TASSOUMAKAN  
Six Degrees Records/2004

Issa Bagayogo continues his fusion experiments in cooperation with with Frenchman Yves Wernert. "Tassoumakan" is their most ambitious project so far, which means that the high tech musical solutions are braver and more distinct than ever. One should think that they through this are approaching a more Western mainstream funk, or what you would call such a musical expression, but it is a pleasure to note that what they are doing is pretty much the opposite: They develop the West African music, in their own way. I put "they", cause on this album Yves Wernert is more present than before, as arranger as well as instrumentalist, on keyboard. From being a man in the background, on "Tassoumakan" he steps out in the limelight. The album is an excellent production, high tech electronics almost sound accoustic and melt perfectly together with Issa's rough, but laidback vocals, on many tracks sounding like talking blues.Yves Wernert has, in an impressive way, made his advanced production sound almost accoustic, achieving a rootsy expression. Issa is there with his kamele n'goni, Mama Sissoko and Karamokou Diabate contribute with delicous guitar work, supported by Olivier Kaba on flute on several tracks. The backing choir is also in place. It's all high quality, from A to Z.
"Tassoumakan" starts rather fresh with "Ciew Mawele", followed by the funky "Diama don". It is not, however, until the the 5th track "Kanou", that this CD really grabs you. But then Issa Bagayogo and Yves Wernert fully trust their musical expression in a slow, blueslike song, with guitar and synt piano up front. Lovely! It becomes more and more laidback as the record rolls on and the last 7, out of the 14 songs are sober; cool as a nightly breeze.
Alltogether I'm impressed of what Issa Bagayogo and Yves Wernert has developed during the making of just 3 records: Issa Bagayogo has become an established artist with his own distinct sound, definitely among the artists in the upper level of African music.

MALI KOURA  
Six Degrees Records/2008

"Mali Koura" is Issa Bagayogo's fourth album and it is definitely his best so far. It is not easy to explain why; the consept is basically the same as on his previous attemps: his deep voice, backed by his own kamele n'goni and producer Yves Wernert's and Phippe Berthier's electronica plus varying instruments like Mama Sissokho's electric guitar. So why is "Mali Koura" such a great record?
I think the answer is that the sound this time is so organic. Electronica often sounds distant, hi-tech, almost anti human. Not so on this album. Issa Bagayogo has recorded the basic music back home in Bamako, and in addition to song and kamele n'goni collected other Malian instruments like flute, njarka (violin), balafon, djembe and not to forget his female backing singers. On top of this Wernert and Berthier very carefully have put on their electronic sounds, and this time even a brass section and piano.( by Gael Le Billan). And it's superb!
I'm really hooked on track four, "Tcheni Tchemakon", sounding like cool, urban jazz; impressive. The jazzy feeling continues on "Demu Kan" where Issa's song is almost Wolof scatting! The arrangements on this track is close to perfect: Voice, piano, kamele n'goni and electric guitar and brass meet in a higher unity. You are totally captivated. Simply great! The track is the album's longest, more than six minutes, I wouldn't mind if the length was multiplied. I was listening to this record driving through the huge forests between Trondheim and Oslo, Norway, a five hours drive, hardly seing anything else but forest. Issa's music was the perfect companion, it could have lasted all the way.

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