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Orchestra Baobab

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Orchestra Baobab

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World music group

One of the most popular African bands in the late 1970s and early 1980s, Orchestra Baobab fell out of favor in mid-1980s and disbanded by the end of that decade. However, the close of the twentieth century saw a resurgence in the band’s popularity. The group re-formed for a world tour and released a new album in 2002.

Orchestra Baobab started as a house band in 1970, playing on weekends at a nightclub that opened that year in Dakar, the capital of Senegal. Called the Baobab Club, after a tree common to Senegal, its owner was a relative of the country’s president. It quickly became the hottest nightclub in Dakar, catering to government officials and other dignitaries. Orchèstre Baobab, as it was then known, played a wide variety of styles ranging from R&B, rock, tango, and paso doble to Afro-Cuban, Wolof griot (Senegalese storytelling), Congolese, and Ghanaian music.

Originally a seven-piece band, Orchestra Baobab was founded by Baro N’Diaye, a saxophone player. Three of the band’s original members were formerly part of the Star Band, a well known Senegalese group. Orchestra Baobab’s sound was influenced by Cuban music, which became popular in West Africa after sailors

brought it to the area in the 1940s. In a process musicologists call "reverse diffusion," the music that would influence Orchestra Baobab had traveled from Senegal to Cuba on slave ships, and then returned to Senegal with Cuban accents. The band also had an African flavor imparted by lead singer Laye Mboup, who sang in the griot (Senegalese storytelling) style. The rest of the band’s lineup, which fluctuated over the years, hailed from all over Africa, including southern Senegal, Togo, Morocco, and Mali.

The band’s weekend gigs proved so popular that they were soon booked to play the Baobab Club every night of the week. Their fusion of styles invited comparison to the music of the then-popular Guinea band Bembeya Jazz. In 1974, Mboup died in an automobile accident, and Thione Seck took over his spot in the band.

The band’s popularity continued to grow, still playing at the Baobab Club, but also entertaining regularly at high profile events, such as the Parisian wedding of fashion designer Pierre Cardin’s daughter, the Miss Senegal pageant, and the inauguration of the Senegalese president Abdou Diaf. The band’s popularity quickly spread from its native Senegal throughout West Africa, and crossed over to European audiences.

When the Baobab Club shut its doors in 1979, the band was forced to seek a new home. Around this time the band also sought to expand its opportunities abroad. In 1978 the group went to Paris to record an album, On Vera Ça: The 1978 Paris Sessions, which many considered to be among the group’s best work, for both performance and production values.

The band’s success continued to grow at home, and by the early 1980s, it had become the most popular and successful band in Senegal, often drawing fees in excess of $4,500 for a live performance. The group also continued to record albums, including Mouhamadou Bamba and Sibou Odia, which were combined into a single 1983 in entitled simply Bamba. Traditional African music remained the band’s greatest influence, although the 1982 album Pirate’s Choice featured many songs in Spanish. Considered by many to be a showcase of the group’s broad musical range, the album was also an acknowledgment of their popularity among fans who liked to trade illegal recordings of the group’s concerts.

Changing musical tastes, however, began to take their toll. At about this time, a new amplified musical form known as mbalax became popular in Dakar. Pioneered by another former Star Band member Youssou N’Dour, the faster and more percussive mbalax pushed Orchestra Baobab’s cool, laid-back sound aside. Orchestra Baobab tried to change in response, but their signature style proved incompatible. As lead singer Barthélémy Attisso later explained to Nigel Williamson in the London Times, "We were very popular and everybody loved us. Then musical fashions changed. Suddenly all anybody wanted to listen to was Youssou."

In 1985 the group brought two female vocalists on board and added synthesizers to their mix, but their popularity continued to wane; by 1987 the group disbanded. The end of the twentieth century, however, saw a resurgence in the group’s popularity. An expanded version of their 1982 album Pirate’s Choice was reissued in Europe, and released in the United States the following year, bringing the group truly global success for the first time.

The band regrouped, but by this time lead guitarist Barthelemy Attisso had found work as a lawyer and hadn’t performed in ten years. When he got the call asking if he would like to resume his musical career, he later told the Independent, "I put down the phone and ran to my guitar, to see what it felt like. And I found I was completely lost." He spent the next month practicing far into the night after working at his law office during the day, and, "my fingers began working, and my technique came back. Rejoining the band was an unforgettable moment."

The band launched a world tour and headed for the studio to cut a new album for the first time in 20 years. Called Specialist in All Styles, the 2002 released was named for a barbershop sign in Senegal. Featuring both previous hits and a number of new tunes, the album received critical acclaim. Ben Ratliff of the New York Times called it a "rare delicacy," and the Guardian’s Robin Denselow hailed it as "one of the great comeback albums, a gloriously enthusiastic and classy set." Chris Nickson of All Music Guide called the album "every bit the equal" of Pirate’s Choice. In a twist of fate, the new album was produced by, and features the voice of, none other than Youssou N’Dour, the musician at least partly responsible for Orchestra Baobab’s initial fall from grace.

Selected discography
N’Wolof, Dakar Sound, 1970.
Mouhamadou Bamba, Productions Jambaar, 1981.
Sibou Odia, Productions Jambaar, 1981.
Pirate’s Choice, World Circuit, 1982.
On Vera Ça, World Circuit, 1992.
Bamba, Stern’s, 1994.
Specialist in All Styles, World Circuit, 2002.

Sources
Periodicals
Business Day (South Africa), December 3, 2002.
Daily Telegraph (London, England), October 27, 2001.
Guardian (London, England), May 2, 2001; September 6, 2002.
Independent (London, England), September 6, 2002.
New York Times, November 3, 2002.
Times (London, England), July 12, 2002.

Online
Orchestra Baobab," All Music Guide, http://www.allmusic.com (February 4, 2003).
Orchestra Baobab Official Website, http://www.orchestrabaobab.com (March 3, 2003).
AMG AllMusic Guide: Pop Artists:

Orchestra Baobab

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  • Genres: World

Biography

From inauspicious beginnings as the weekend house band at a Dakar club for government officials, Senegal's Orchestra Baobob, named for the club (which in turn took its name from the native baobob tree), went on to become one of the seminal bands of world music, with an influence that extended far beyond their national boundaries, throughout West Africa and into Europe. Put together by original leader and saxophonist Baro N'Diaye, the first version was a seven-piece group, three of them enticed away from Dakar's biggest band, the Star Band, who had a regular gig at Ibra Kasse's club. While they had a strong Cuban influence -- Cuban music had been a prevalent sound throughout West Africa since the '40s, imported by sailors and played on the radio -- Orchestra Baobob added African music, in large part from griot singer Laye M'Boup, who had a vast repertoire of Wolof material. It wasn't long before the new sound proved so popular that the group wasn't just entertaining on weekends, but every night of the week, being hailed on par with Guinea's legendary Bembeya Jazz for their fusion of sounds. Inevitably, personnel fluctuated and the new musicians brought their own influences, expanding the feel and range of the band with Maninke and Malinke songs, which became integrated into the whole. Perhaps the most important addition was singer Thione Seck, who took over the lead vocalist spot after the death of M'Boup in a 1974 car wreck (although several rumors concerning a jealous husband surrounded his death). They continued to play the Baobob Club regularly, but also entertained at state occasions, such as official New Year's Eve dances and even at the wedding of designer Pierre Cardin's daughter in Paris. Finally, the Baobob Club closed in 1979 (some histories say 1977) and the band went on to make their home at the Ngalam nightclub (or the Djandeer Club, according to some historians). Also during this time, they tried to make their mark in Europe by traveling to Paris in 1978. They recorded On Vera Ca: The 1978 Paris Sessions, one of their best discs and certainly the best-produced, although it leaned too heavily on their Spanish-language material. Other than that, the trip proved to be a disaster, losing money, and they returned home. At the beginning of the '80s, they were indisputably Senegal's biggest band, commanding fees of about $4,500 for a single show. They recorded regularly (two albums, Mouhamadou Bamba and Sibou Odia were edited into Bamba, a 1983 U.S. release), and continued to stretch their limits by bringing in more African influence, which reached its height with the classic Pirates Choice of 1982. But change was on the horizon; their time was beginning to fade as another alumnus of the Star Band, young Youssou N'Dour, was bringing out a new, energetic sound called mbalax, which quickly electrified Dakar and made the more languid Orchestra Baobob seem old and dated. They tried to compete by updating their sound, but it didn't work. Even the 1985 introduction of two female singers didn't change the situation and by 1987, Orchestra Baobob had disbanded. However, everything comes full circle and in 2001, with the European reissue of an expanded Pirates Choice (2002 U.S.), Orchestra Baobob, older and wiser, re-formed and played dates around the globe, going into the studio to make a new album -- produced by the man responsible for their fall from grace, Youssou N'Dour. ~ Chris Nickson, Rovi
Wikipedia on Answers.com:

Orchestra Baobab

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This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. (December 2010)
Orchestra Baobab

Performing in Brooklyn, New York, June 2008.
Background information
Origin Dakar, Senegal
Genres Afro-Cuban-Caribbean fusion.
Years active 1970–1987
2001–present
Website orchestrabaobab.com

Orchestra Baobab is a Senegalese Afro-Cuban, Son, Wolof and Pachanga band. Organized in 1970, as a multi-ethnic, multi-national club band, Orchestre Baobab adapted the then current craze for Cuban Music (growing out of the Congolese Soukous style) in West Africa to Wolof Griot culture and the Mandinga musical traditions of the Casamance. One of the dominant African bands of the 1970s, they were overshadowed in the 1980s and broke up, only to reform in 2001 after interest in their recordings grew in Europe.

Contents

Formation: 1970

Many of the original members were veterans of the famous Star Band, whose alumni later included the Étoile de Dakar, El Hadji Faye and Youssou N’Dour. Star Band were the resident band of the upscale Dakar Miami Club. So when the Baobab Club opened in Dakar in 1970, six players, led by saxophonist Baro N'Diaye, were lured from Star Band and the Orchestra Baobab were born. The club in turn is named for the baobab (Adansonia) tree.

The original frontmen of the band were the Casamance singers Balla Sidibe and Rudy Gomis who came from the melting pot of Casamance musical styles, and most famously Laye Mboup (killed in a 1974 car accident) who provided vocals in the Wolof griot style. His Wolof language lyrics and his soaring, nasal voice defined the sound of Baobab's early hits.

Barthelemy Attisso from Togo was a law student in Dakar, and a self taught musician, whose arpeggiated runs became instantly recognizable. With the saxophone of N'Diaye, this was the first core of the band. Issa Cissoko (Saxophone) and Mountage Koite (drums) were both from Maninka griot families, from Mali and eastern Senegal respectively. The original group was rounded out by the slow groove Latin styles of Latfi Benjeloum (rhythm guitar), who came from a Moroccan family exiled to Saint-Louis, Senegal, and Charlie N'Diaye (bass) from Casamance.

1970s and 1980s

The group played an Afro-Cuban music fused with distinctly West African traditions. Unlike other Senegalese bands, they combined the Casamance harmonies and drumming from southern Senegal with melodies from Togo and Morocco to the Wolof tradition from northern Senegal.

Ndiouga Dieng took up the Wolof griot vocals after the death of Mboup, but many famous singers sat in. Thione Seck (who left the band for good in 1979 and is today a superstar solo artist), his younger brother Mapenda Seck and Medoune Diallo provided vocals off and on after the death of Mboup. Medoune Diallo is especially known for his Spanish vocals on hits like El son te llama, as a more Latin feel permeated the band's sound in the late 70s. In 1979 the Club Baobab closed its doors, and the band sought new venues.

Orchestra Baobab recorded 20 vinyl albums (mostly released as cassette tapes) between 1970 and 1985. But competition from Mbalax, a new funk inspired sound in the mid 1980s, overwhelmed Orchestra Baobab. By 1987, the band had broken up. Many of the members formed or joined other groups, but Barthelemy Attisso returned to Togo to practice law. In 2001 he hadn't played a guitar in thirteen years.[1]

In 1982, they had recorded what was later to become their most famous album: Pirates Choice. The record was only released in 1989, but garnered much critical acclaim outside Senegal, thanks to its release in Europe by World Circuit records.

Reunion: 2000s

After disbanding in 1987 the group came back together in 2001 with persuasion from Youssou N'Dour and their record label, World Circuit. The popularity of Orchestra Baobab began to decrease during the late 1980s due to the popularization of mbalax, the percussive street style popularised by Youssou N'Dour. During that same year Orchestra Baobab re-release their 1989 album Pirates Choice as a double CD with 6 extra rare tracks and completed a world tour including Europe and America. Most of the original line up reunited to play London’s Barbican Centre in May 2001. Since then Orchestra Baobab has released two records.

In 2002 Orchestra Baobab released Specialist in All Styles which was produced by Senegalese superstar Youssou N'dour with guest appearances by Cuban singer Ibrahim Ferrer and N'dour himself. Ibrahim Ferrer was not an accidental choice: not only had Orchestra Baobab written a song lauding this grand figure of Cuban music (Hommage a Tonton Ferrer), but Ferrer's huge burst of international fame with the Buena Vista Social Club in the 1990s mirrors the resurrection of Baobab. In fact, the original plan for what became the Buena Vista Social Club was organized by British world music producer Nick Gold of World Circuit Records, the same man who re-released Pirates Choice.

Orchestra Baobab gained attention from American media in 2003 when musicians Trey Anastasio and Dave Matthews filmed a documentary named Trey and Dave go to Africa which aired on VH1.[2] The two visited Senegal and performed with Orchestra Baobab during the program.

Orchestra Baobab performed at Live 8 in Johannesburg, a series of concerts to end poverty.

In October 2007 Orchestra Baobab released the album Made in Dakar on World Circuit Records, leading commentators to claim that Baobab had reclaimed their place as pioneers of African Pop.[3]

In May 2009 the band released "La Belle Epoque", a double-album of unearthed recordings dating from the 1970s. The package included a biography by Radio France Internationale journalist Pierre René-Worms, focusing on the early years before the group split. Volume 1 comprises recordings made at Club Baobab, Dakar, in 1971, 1973 and 1976; volume 2 includes original recordings made in 1978 for the album Baobab à Paris, their first European recordings. There are also original versions of Sibam and El Son te llama, written by Medoune Diallo, On verra ça by Balla Sidibé.[4]

Discography

[5][6]

  • Saf Mounadem (1972) JK 3026 As "Star Band de Dakar"
  • M'Beugene (1972) Music Afrique / Baobab BAO 1
  • Hommage a Lay M'Boop (1974-75?)
  • Orchestre Baobab '75' (1975) Disques Buur BRLPO001
  • Guy Gu Rey Gi (1975) Disques Buur BRLPO002
  • Senegaal Sunugaal (1975) Disques Buur BRLPO003
  • Visage Du Senegal (1975) Disques Buur BRLPO004
  • Aduna Jarul Naawoo (1975) Disques Buur BRLPO005
  • N'Deleng N'Deleng (1977) Music Afrique MSCLP 001
  • Une Nuit Aun Jandeer (1978) Musicafrique MSCLP 002
  • Baobab à Paris Vol. 1 & Vol. 2 (1978) Abou Ledoux ASL7001/Abou Ledoux ASL7002
  • Gouygui Dou Daanou (1979) Disc Afrique/Salsa Musique DARL001
  • Mohamadou Bamba (1980) Jambaar JM5000
  • Sibou Odia (1980) Jambaar JM5004
  • Ken Dou Werente (1982) MCA 307
  • On verra Ça: The 1978 Paris Sessions (1992) World Circuit WCD027
  • Bamba (1993) Stern's Africa STCD3003
  • Pirates Choice (1989 & 2001) World Circuit WCB014 and World Circuit WCDO63
  • Specialist in all styles (2002) World Circuit WCDO64
  • A night at Club Baobab (2006)
  • Made in Dakar (2007) World Circuit WCD078
  • La Belle Epoque 1971 - 1977 (2009) Stern's Music #000361

Compilations

  • N'Wolof (1998, recorded in 1970-71) Dakar Sound DKS 014
  • Roots and Fruit - African Dancefloor Classics (1999) Popular African Music PAM ADC 304
  • Africa 100 (2005) Pitchfork Media
  • World Circuit Presents... (2005) World Circuit
  • Classics Titles (2006) Cantos Records

Awards

After being separated for 15 years Orchestra Baobab reunited in 2001. The reunited group went on to win the award for best African artists and the critics' choice award at the 2003 BBC Radio 3 World Music Awards.[7] The group won both awards for Specialist in All Styles, their first album since their split in 1987. In winning the Best African Artists award Orchestra Baobab beat the African musicians Kasse Mady Diabate and Tony Allen.

References

  1. ^ Lucy Duran, “Orchestra Baobab,” World Music Central
  2. ^ News Article on joint concert in Vermont.[dead link]
  3. ^ Denselow, Robin (28 September 2007). "Made In Dakar". The Guardian. http://music.guardian.co.uk/world/story/0,,2178441,00.html. Retrieved 22 February 2011. 
  4. ^ "Senegal - Orchestra Baobab". RFI Musique. 2009-05-15. http://www.rfimusique.com/musiqueen/articles/113/article_8211.asp. Retrieved 2012-04-05. 
  5. ^ Toshiya Endo (18 May 2010). "Discography of Orchestre Baobab". http://biochem.chem.nagoya-u.ac.jp/~endo/EABaobab.html. Retrieved 22 February 2011. 
  6. ^ "Discography of Orchestre Baobab". http://www.asahi-net.or.jp/~xx3n-di/07-disco/07052.html. Retrieved 22 February 2011. 
  7. ^ "Senegal's stars scoop music awards". BBC News. 12 February 2003. http://news.bbc.co.uk/1/hi/entertainment/music/2740023.stm. Retrieved 22 February 2011. 

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Mentioned in

Thione Seck (World Artist, '80s-2000s)
On Verra Ça (1992 Album by Orchestre Baobab)
N'Wolof (1998 Album by Orchestre Baobab)
Bamba (1994 Album by Orchestra Baobab)
Great Moments in Vinyl History (1997 Album by Various Artists)
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