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Alias:

Tom Diakite Djanuno Dabo Sam Mills Mamani Keita

Language:

Bambara Mandinka

Genre:

Modern manding Jazz

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Music samples

Biography

This extraordinary band consists of Tom Diakite, ngoni, Sam Mills, guitar and Djanuno Dabo, percussion, and the original trio has later been joined by Malian vocal diva Mamani Keita. The group's concept is to modernise accoustic West African music and mix it with several other elements, among them jazz. The group is put together of four individuals, none of them has really the function of a leader or leading composer of their music.
"As a group it's totally democratic and open," explains guitarist Sam Mills. "Tama is a kind of space where the four of us can come together from different cultures and traditions and express ourselves. It's a band of distinctive individual personalities but everybody contributes to the realisation of each other's songs." It's an unusual and refreshing approach that made Tama's debut album "Nostalgie " a delight. Their second album "Espace" develops the pluralistic principle further.
Tama - the name comes from a Bambara word meaning 'to walk' - came together when the three original members met while playing with Bengali maestro Paban Das Baul. Prominent on the first album were the songs of Tom Diakite. After living in Cote D'Ivoire he arrived in Paris, where he has since played with a wide range of people from Salif Keita to The Gypsy Kings.
The percussive drive comes from Djanuno Dabo, who has played with countless African artists including Angelique Kidjo, Cesaria Evora and Toure Kunda. After living in Lisbon and Madrid he, too, was lured to Paris by the explosion of interest in African music in the French capital in the 1980s. Coming from the Lusaphone country of Guinea Bissau, he has brought with him a different African heritage and tradition.
Another range of influences comes from guitarist Sam Mills, former member of '80s indie-pop band 23 Skidoo, who were post-punk pioneers of the use of ethnic rhythms and sounds in rock music. After studying anthropology and living in Japan and Bangladesh, he then completed a PhD in Sufi Mysticism in Bengal before making the album "Real Sugar" with Paban Das Baul, prior to forming Tama. The group began as a studio project, but since the release of "Nostalgie" Tama has also grown as a live band, playing in territories as far apart as Japan, South Africa, Russia and WOMAD in Seattle. Often Mamani Keita would appear with them and she made her first full appearance as a member on the track "Sima", recorded for last year's "Spirit of Africa", an AIDS-awareness album on Real World. Mamani was present as a backing singer at the recording of Tama's first demos. "I was learning about West African music and I probably didn't realise then just how extraordinary she was," recalls Sam Mills. "The concept of Tama was to have a core of three people but that we'd use other musicians to supplement the sound. When Mamani sang, her voice and character would cut through everything. Then when Tama started playing live it became even more obvious how fantastic she was. She'd come centre stage for five minutes and take over." She has also developed a highly successful solo career away from Tama and last year she released the acclaimed Electro Bamako album with French electronic-jazz pioneer Marc Minelli. Like both Tom and Djanuno, she also migrated from Africa to France.

Relevant artists:
Habib Koité
Rokia Traoré
Ramata Diakité
Cheikh Lo
Kandia Kouyate

NOSTALGIE
Real World Records/1999

ESPACE  
Real World Records/2002

Basically, Regisse Gizao's Madagascar accordion has little to do with West African music. But, when it swings like this...!? The opening track, "Oka", on Tama's new album "Espace" is a real mover. If I didn't already know, I would have guessed it originated from the Caribbean. The record really rolls on with strutting acoustic rhythms. There is not only the West African Mande tradition beneath its textures but also an element of surprise on almost every track. "Yalala", for example, has a cello accompaniment which is not exactly traditional, but works just as well as Gizao's accordion. There is an impressive confidence in what Tama does. Because the group members know precisely what they are doing, they allow themselves some small non-traditional excursions without losing the track or sounding artificial. "Espace" is simply a great record, full of feeling, atmosphere, tasty arrangements and good compositions delivered by
all members of the group. If I had to compare this with anything, Salif Keita's "Moffou" would maybe be my choice - or perhaps Habib Koités "Ma Ya". I can't find much to criticize here - well, possibly the cover, because I don't see a connection between the band and a swimming pool. Otherwise it's very, very good!

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Swahili: Francis Chagula (francis.chagula@malvik.kommune.no)
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