{"id":60475,"date":"2020-09-29T10:00:00","date_gmt":"2020-09-29T08:00:00","guid":{"rendered":"https:\/\/pan-african-music.com\/flutes-souffle-de-vie-des-afriques\/"},"modified":"2022-08-02T17:34:02","modified_gmt":"2022-08-02T15:34:02","slug":"flutes-african-breath-of-life","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/flutes-african-breath-of-life\/","title":{"rendered":"The flute, Africa&#8217;s breath of life"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><strong>Whatever its shape, the flute stands firmly rooted in most African music. This is an insight into the role of the instrument, with a focus on the musicians who made it famous and those who place it in the spotlight today.<\/strong><\/h4>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\">The n\u2019dehou<\/h5>\n\n\n\n<p>Cameroonian citizen <a href=\"https:\/\/pan-african-music.com\/en\/tag\/francis-bebey\/\">Francis Bebey<\/a> who passed away in 2001, began his professional career as a radio journalist and diplomat before dedicating the rest of his life to music \u2013&nbsp;he even went on to receive a resounding popularity in the 1970s with humorous songs such as &#8220;La Condition Masculine&#8221; [a French expression for &#8220;the male condition&#8221;, ironically mirroring contemporary concerns of &#8220;the female condition&#8221;; translator&#8217;s note]. The son of a pastor based in Douala, Bebey grew up listening to Bach and Beethoven, classical guitar, jazz music which he introduced to <a href=\"https:\/\/pan-african-music.com\/en\/tag\/manu-dibango\/\">Manu Dibango<\/a>, as well as the natural rhythms of the rain, the <em>sanza<\/em> \u2013&nbsp;his favoured instrument&nbsp;\u2013 and Pygmy music which his father had forbid him from listening to. It was however from the Pygmies that Francis learned how to play the <em>n\u2019dehou<\/em>, a bamboo pocket flute that created bird-like sounds, which the musician performs with in a call-and-response improvisation accompanied by the unique highly-pitched vocals of the Pygmies. <em>&#8220;Just because they live in the forest does not mean they are uncivilized people,&#8221;<\/em> he said. <em>&#8220;On the contrary, they are highly intelligent people. They invented this amazing musical technique where they can hold conversations with their own instrument.&#8221;<\/em><\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed alignwide is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Francis Bebey at Real World Studios\" width=\"500\" height=\"281\" data-src=\"https:\/\/www.youtube.com\/embed\/c6T6suvnhco?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption> Francis Bebey shows how to play the <em>n&#8217;dehou<\/em> \u2013&nbsp;Real World label documentary (1995) <\/figcaption><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Driven by a strong appetite for experimentation, Francis Bebey explored the vast potential of synthesized sounds, in producing a never-before-heard fusion of traditional and electronic music, compiled posthumously by <a href=\"https:\/\/pan-african-music.com\/en\/tag\/born-bad-records\/\">Born Bad Records<\/a> in the two excellent albums <em>African Electronic Music 1975-1982<\/em> and <em>Psychedelic Sanza 1982-1984<\/em>. In the songs <a href=\"https:\/\/youtu.be\/p9NBE2IuUo8\">&#8220;Bissau&#8221;<\/a> and <a href=\"https:\/\/youtu.be\/0ooXBNMTfmg\">&#8220;Sunny Crypt&#8221;<\/a>, it is evident that Francis Bebey has always cherished the <em>n&#8217;dehou<\/em>. In 1982, he placed the pygmy heritage into the spotlight even further, with <a href=\"https:\/\/youtu.be\/IjXGSONhIvk\">the record <em>Pygmy Love Song<\/em><\/a>. Following in the footsteps of his father, Patrick Bebey now carries the torch of the sound smuggler, which led him to playing the pygmy flute on <a href=\"https:\/\/youtu.be\/zC30BYR3CUk\">&#8220;Everything Now&#8221;<\/a>, Arcade Fire&#8217;s worldwide hit in 2017. <\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" width=\"1010\" height=\"500\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/98fc4fd9-sodina-1010x500.jpg\" alt=\"\" class=\"wp-image-51786\" srcset=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/98fc4fd9-sodina-1010x500.jpg 1010w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/98fc4fd9-sodina-759x376.jpg 759w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/98fc4fd9-sodina-661x327.jpg 661w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/98fc4fd9-sodina-465x230.jpg 465w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/98fc4fd9-sodina-375x186.jpg 375w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/98fc4fd9-sodina.jpg 1088w\" sizes=\"(min-width:1010px) 759px,100vw\" loading=\"lazy\" \/><figcaption> Rakoto Frah and his sodina flute on the 1,000 Malagasy franc banknote <\/figcaption><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\">The sodina<\/h5>\n\n\n\n<p> In Madagascar, the great master of the <em>sodina<\/em> is Philibert Rabezaoza aka Rakoto Frah. At a young age he was introduced to the flute of Malagasy \u2013&nbsp;the <em>sodina<\/em>&nbsp;\u2013, which is traditionally accompanied by the <em>vahila<\/em> zither, the <em>amponga<\/em> drum and the <em>kab\u00f4sy<\/em> lute to perform <em>hiragasy<\/em> music. The luthier-musician hosted festivals and rituals of the Merina ethnic group, before founding the band Feo-Gasy with Erick Manana and recording several albums, including <em>Flute Master of Madagascar<\/em> in 1988 and <em>Souffles de Vie<\/em> in 1998. Ornette Coleman spoke of the Malagasy master as having some of the most beautiful musical phrasing in the world. His elegant technique was likewise admired by Paul Simon, Manu Dibango and Ladysmith Black Mambazo, with whom he toured alongside for a long period of time, presenting new horizons and prestige to this noble instrument from the highlands. <\/p>\n\n\n\n<p>Despite his popularity \u2013&nbsp;which included being immortalised onto the face of the 1000&nbsp;Malagasy franc banknote; as well as being selected to be the official ambassador to welcome French president General Charles de Gaulle to the island in 1958 \u2013 Rakoto Frah made sure to pass his artform down to the youth according to Camille Marchand, who directed a beautiful <a href=\"https:\/\/www.tenk.fr\/musique\/la-sodina.html\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">documentary<\/a> on this legacy. He teaches them how <em>&#8220;the ear and the breath awake the sodina, a tiny piece of bamboo, metal or PVC, with six holes in it and no mouthpiece\u201d<\/em>. Saxophonist and teacher Nicolas Vatomanga, who was well-trained at Tony Rabeson&#8217;s school, infuses his sodina with explosions of free jazz and oriental inflections, whilst preserving <em>&#8220;the great warmth and deep wisdom led by the masters of this tradition&#8221;<\/em>. <\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Tounia Kanibala\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/H27wAXDRj2g?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption> Tambin: &#8220;Tounia Kanibala&#8221; by Hank Jones and Cheick Tidiane Seck &amp; The Mandinkas <br><\/figcaption><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\">The tambin<\/h5>\n\n\n\n<p><em>&#8220;The sound of the Peul flute is just so captivating&#8230; Like the water that quenches your thirst, it is also a proclamation that soothes and awakens: it is a kind soul. Between the flute and me, there&#8217;s a loving relationship,&#8221; <\/em>says the Paris-based <a href=\"https:\/\/youtu.be\/Mv2HH3O-mIo\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Dramane Demb\u00e9l\u00e9<\/a> who, much like his fellow Burkinab\u00e9 musician <a href=\"https:\/\/youtu.be\/BbR3nZmQo9E\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Simon Wins\u00e9<\/a>, feeds from the heritage of great masters of the tambin, from the French capital. Originally from Fouta-Djalon \u2013&nbsp;Northern Guinea&#8217;s highlands&nbsp;\u2013, <a href=\"https:\/\/youtu.be\/vFkKdS0IHBU\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Mohamed Sa\u00efdou Sow<\/a> is one of these aforementioned masters and although he may not be a typical shepherd \u2013&nbsp;in contrast to the regular tambin players&nbsp;\u2013 he is well and truly Peul and a luthier-musician who possesses the well-kept and fabled secrets of the master flutists.<\/p>\n\n\n\n<p>Rather than being tied to this deep-rooted ancestral tradition, other virtuosos such as Aly Wagu\u00e9 preferred to fluctuate back and forth inside the Mandingo world, offering his breath to an assortment of musical legends, including Mory Kant\u00e9, Baaba Maal, Dee Dee Bridgewater, Sixun and Malian keyboardist <a rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\" href=\"https:\/\/pan-african-music.com\/en\/tag\/cheick-tidiane-seck\/\" target=\"_blank\">Cheick Tidiane Seck<\/a> \u2013&nbsp;with whom he recorded the opening track for<a rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\" href=\"https:\/\/pan-african-music.com\/en\/crazy-african-jazzmen-hank-jones-meets-cheick-tidiane-seck\/\" target=\"_blank\"> <em>Sarala<\/em><\/a>, produced alongside North American jazzman Hank Jones in 1995. The Peul flute unveils its charm on &#8220;Tounia Kanibala&#8221; in particular: Aly Wagu\u00e9 merges his voice with the breath of the instrument for an incredibly frenetic improvisation. Amongst the &#8220;crazy African jazzmen&#8221; (<a rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\" href=\"https:\/\/pan-african-music.com\/en\/tag\/crazy-african-jazzmen\/\" target=\"_blank\">read the series PAM dedicated to them<\/a> here), many adopted the tambin into their music, such as Eric Dolphy, Don Cherry and flutists Buddy Collette and James Newton, opening up new frontiers for North American jazz music and its future. <\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Bargou 08 - Mamchout\" width=\"500\" height=\"281\" data-src=\"https:\/\/www.youtube.com\/embed\/o9zCVX8A0Bc?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption> Gasba: &#8220;Mamchout&#8221; by Bargou 08<\/figcaption><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\">The gasba<\/h5>\n\n\n\n<p>Before becoming the undisputed queen mother of ra\u00ef music, Cheikha Rimitti performed in the cafes and cabarets of the Algerian underground in the 1940s, using her hoarse vocals to sing unashamedly of love, pleasure, social misery and drinking habits. Brought up with the tradition of rural chants, Cheikha has always been accompanied by the ancestral <em>guellal<\/em> drum, as well as Cheikh Ould Ennems on the <em>gasba<\/em> \u2013&nbsp;the long reed flute of the Berber people, whose precise tonality she was accustomed with since childhood, having been brought up closely alongside <a href=\"https:\/\/youtu.be\/XN2Mf2CILqg\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Bedouin traditions<\/a>. <\/p>\n\n\n\n<p>An essential accompaniment to the popular songs of the <em>m\u00ealhun<\/em>, the <em>gasba<\/em> flute can induce trance through a circular breathing technique used during religious ceremonies. This technique paved the way for &#8220;electronic trance&#8221; music, as heard in the works of Moroccan producer \u06ad\u0644\u064a\u062b\u0631 Glitter\u0665\u0665, <a href=\"https:\/\/youtu.be\/SuadZ80h4hI\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Sofiane Sa\u00efdi &amp; Mazalda<\/a>, <a href=\"https:\/\/youtu.be\/M0t-iJKH6ks\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Acid Arab<\/a>, as well as in Brian Eno&#8217;s excellent <a href=\"https:\/\/youtu.be\/E9Pm2F9d2vA\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">&#8220;New Feet&#8221;<\/a> and, more surprisingly, in the compositions of Hungarian pioneer of ethnomusicology B\u00e9la Bart\u00f3k. Alongside the many that like to sample, perform on stage or study the gasba&#8217;s expandable and mysterious timbre, others have tried to reproduce it: such as Tunisian musician Nidhal Yahyaoui who, in 2007, he undertook research in situ of a vast collection of tradition songs and music from the mountainous region of Bargou, <em>&#8220;the region of the outcasts and the poor,&#8221;<\/em> he likes to specify. Teaming up with <a href=\"https:\/\/pan-african-music.com\/en\/tag\/ammar-808\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Ammar 808<\/a> and the band <a href=\"https:\/\/pan-african-music.com\/en\/tag\/bargou08\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Bargou08<\/a>, this self-proclaimed \u201cpop music front\u201d went on to release <a href=\"https:\/\/bargou08.bandcamp.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\"><em>Targ<\/em><\/a> (Glitterbeat) ten years later: Moog keyboards, bass and drums share the beat with the <em>loutar<\/em> lute, the <em>bendir<\/em>, the <em>zokra<\/em> oboe and the <em>gasba<\/em> flute. Their mission? <em>&#8220;To make people proud of their region again,&#8221;<\/em> tells Sofyann Ben Youssef. <\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/790b5e36-nai%CC%88ssam-jalal-e1590675349200-1010x553.jpg\" alt=\"\" class=\"wp-image-51797\" loading=\"lazy\" \/><figcaption>Na\u00efssam Jalal <\/figcaption><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\">The ney<\/h5>\n\n\n\n<p> Although the <em>ney<\/em> appears in Ancient Egyptian funeral art, the Persian-born mystical poet Djal\u00e2l ad-D\u00een R\u00fbm\u00ee is a key figure for this oblique flute, of which he praised the transcendental nature and infinite nostalgia of in many of his poems, from as early as the 13th century. Following his lead, the Sufi Mevlevi order would practice the <em>sam\u0101<\/em>, a spiritual concert where whirling dervishes perform mystical dances to the sound of the <em>ney<\/em>, the <em>daf<\/em> tambourine and the <em>tanbur<\/em> lute, in search of divine union. <em>&#8220;R\u00fbm\u00ee is at the center of the sacred mythology of the <\/em>ney<em>. To his ears, the instrument is the sound of the soul \u2013&nbsp;there is nothing closer to the voice of God. The sound of the ney is more wild, primitive and natural than that of the flute. When you play it, you are the wind inside the reed. It is truly wonderful,&#8221;<\/em> confesses musician Na\u00efssam Jalal. <\/p>\n\n\n\n<p>Born in Paris to Syrian parents, Na\u00efssam grew up in a diverse cultural breeding ground, where she fell in love with the time-honored role and breath of the flute \u2013&nbsp;<em>&#8220;Look at Krishna, it&#8217;s not the drums he&#8217;s playing&#8221;<\/em>&nbsp;\u2013, persuading her to follow in the path laid before her. <em>&#8220;My relationship with the <\/em>ney<em> is that of a migrant child led by their roots: it&#8217;s the instrument of my ancestors,&#8221;<\/em> \u2013&nbsp;an instrument she then decided to study at Damascus&#8217; Arab Institute of Music at the age of 19, and which she upholds today in some of her compositions, which are fused with spiritual jazz and indignation. Frequently guesting in traditional music as well as instrumental &#8220;art music&#8221;, often in the shadow of the oud and the violin, the <em>ney<\/em> has also appeared as part of orchestras, notably alongside the great Oum Kalthoum. <em>&#8220;Unlike the Egyptian <\/em>kawala<em>, whose roots are rather rural, the <\/em>ney<em> conveys a certain nobility, as it is regarded as an instrument of the elite,&#8221;<\/em> explains Na\u00efssam Jalal. <em>\u201cHowever, in Syria and Palestine for example, before keyboards replaced the real <\/em>neyetis<em> [ney players; author&#8217;s note], the <\/em>nay<em> was also played in highly festive contexts, such as weddings. The <\/em>ney<em> is the true unifier [between the various parts] of the Arab world.&#8221;<\/em><\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/f212c2c6-capture-d%E2%80%99e%CC%81cran-2020-05-28-a%CC%80-16.20.28.png\" alt=\"\" class=\"wp-image-51805\" loading=\"lazy\" \/><figcaption> Yohannes Afework playing the <em>washint<\/em> \u2013&nbsp;All Rights Reserved <\/figcaption><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\">The washint<\/h5>\n\n\n\n<p>In 2018, Ethiopia lost one of the world&#8217;s most distinguished <em>washint<\/em> players, Melaku Gelaw, followed closely by Yohannes Afework who passed away the following year. These two masters of the Ethiopian flute, traditionally played solo by shepherds of the Abyssinian highlands, forged the golden age of the genre&#8217;s pentatonic melismata within the Orchestra Ethiopia in the \u201960s \u2013&nbsp;to which Francis Falceto&#8217;s <em>\u00c9thiopiques<\/em> compilation series dedicated <a rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\" href=\"https:\/\/www.discogs.com\/Orchestra-Ethiopia-%C3%89thiopiques-23\/release\/4279111\" target=\"_blank\">its 23rd volume<\/a>. They were men of their time who were not afraid to lose themselves to Swinging Addis&#8217; funk, rock and soul-infused fever, by lending their breath to Al\u00e8may\u00e8hu Esh\u00e8t\u00e9, Tlahoun G\u00e8ss\u00e8ss\u00e8 and Mulatu Astatke who, much later on, would lead Yohannes Afework&#8217;s <em>washint<\/em> towards a more bop, Latin and Coltranian jazz sound with <a rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\" href=\"https:\/\/youtu.be\/NzUWDhNu7kA\" target=\"_blank\"><em>Sketches Of Ethiopia<\/em><\/a> released in 2013. <\/p>\n\n\n\n<p>Following Derg&#8217;s dictatorship, its fall, and from the late \u201990s the consequent rediscovery of the bottomless pit of grooves created in the \u201960s, musicians from all walks of life today have breathed new life into these traditional hypnotic rhythms, and sometimes unto their own creators. Such is the case with France-based <a href=\"https:\/\/youtu.be\/rqOAfh-MJLg\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Arat Kilo<\/a> and <a href=\"https:\/\/akalewube.bandcamp.com\/album\/sost\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Akal\u00e9 Wub\u00e9<\/a>, the latter giving prominence to traditional instruments, including the <em>washint<\/em> in <a href=\"https:\/\/akalewube.bandcamp.com\/album\/sost\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">&#8220;Addis Ababa Bete&#8221;<\/a>, while in Ethiopia however, things have taken a more electronic-oriented turn. Producers and pioneers of &#8220;Ethiopiyawi Electronic&#8221;, <a href=\"https:\/\/mikaelseifu.bandcamp.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Mikael Seifu<\/a> and <a href=\"https:\/\/ethiopianrecords.bandcamp.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Endeguena Mulu<\/a> (aka Ethiopian Records) combine traditional folk sounds with the rhythms of UK garage, house and post-dubstep, sampling the instruments of the <em>azmaris<\/em> (traditional bards that still continue to perform in the cities&#8217; cabarets) to turn them into pounding-beats for the dancefloors of Addis Ababa&#8217;s underground clubs \u2013&nbsp;performed live, as seen at the Festival Banlieues Bleues with Ermias Nadew at the <em>washint<\/em>, is also most definitely worth checking out. <\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Chassol - Mario, Pt. II\" width=\"500\" height=\"281\" data-src=\"https:\/\/www.youtube.com\/embed\/4GJkXNVX0Po?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption> The <em>toutoun\u2019bambou<\/em>: &#8220;Mario, Pt. II&#8221; by Chassol <\/figcaption><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\">The toutoun\u2019bambou<\/h5>\n\n\n\n<p> Politically focussed, resistant, identity-affirming and most definitely Creole, the <em>gwo ka<\/em> is to Guadeloupe what the <em>maloya<\/em> is to R\u00e9union. In both cases, it is their profoundly African roots and their links with slavery that have often been criticized by the assimilated polite society. The <em>gwo ka<\/em> is named after the drum that marks the seven rhythms of its pulse, and the bamboo flute that accompanies it \u2013&nbsp;which some say was inherited from the Peul flute&nbsp;\u2013 makes it one of the key ingredients to the recipe. It\u2019s the reason why you hear it today in its various formats \u2013&nbsp;wooden or transverse&nbsp;\u2013 in the modern mutations of <em>gwo ka<\/em>: revolutionary for <a href=\"https:\/\/youtu.be\/Xip6Wdza_q0\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Gwakasonn\u00e9<\/a>, fusion-styled for Olivier Vamur with the band <a href=\"https:\/\/www.youtube.com\/watch?v=RfoA2lKSJQc\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Horizon<\/a>, augmented for Magic Malik, or even serving as a cultural link for <a href=\"https:\/\/youtu.be\/4dk2wSkU0eE\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Kimbol<\/a>, where flutist C\u00e9lia Wa (listen to her superb solo in <a href=\"https:\/\/youtu.be\/7pwUHi15cPw\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">&#8220;Adan On Dot Soley&#8221;<\/a>) made her debut under the direction of tambouy\u00e9-drummer Sonny Troup\u00e9. Both artists would meet again later in <a href=\"https:\/\/www.dailymotion.com\/video\/x6blbos\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">Exp\u00e9ka Trio<\/a> with female rapper Casey \u2013&nbsp;of Martinique descent&nbsp;\u2013 with the aim of giving a voice to the suffering Antilles society, through a unique fusion of rap, soul and <em>gwo ka<\/em>. &nbsp;<\/p>\n\n\n\n<p>An ardent defender of Martinique&#8217;s musical heritage, and of the <em>chouval bwa<\/em> in particular (the music that traditionally accompanies hand-operated carousel horse rides), D\u00e9d\u00e9 Saint-Prix likewise does not refrain from concealing his love for the bamboo flute that he\u2019s played since the 1960s as a way of softening his activist outrage. From one island to another, this bamboo flute has indeed passed around the \u201cbreath of life\u201d, an expression invented by Max Cilla, father of the flute from the Mornes region \u2013 steep mountains where the French Antilles&#8217; Black Maroons called <em>Neg&#8217;Marrons<\/em> found refuge in after fleeing the plantations. After a few years living in Paris, Max Cilla chose to return to his native country to craft his <em>toutoun\u2019bambous<\/em>, then played only by elders in the countryside, and almost forgotten about at the time. On the impetus of Aim\u00e9 C\u00e9saire, he instilled the heritage \u2013&nbsp;in particular to Eug\u00e8ne Mona, another Mornes-born Creole poet and flutist&nbsp;\u2013, however Max Cilla also performed a <em>\u201ccontemporary traditional music\u201d<\/em> as recorded on <em>La Fl\u00fbte des Mornes<\/em>. Released in two volumes that carry both the soul and the memory of his island, the album has been a cardinal landmark for West Indians in search of their own identity. Born to Martinican parents, Christophe Chassol too would come to revisit his ancestors&#8217; journey by&nbsp; creating <em>Big Sun<\/em> (2015, Tricatel), an <em>\u201cAntilles Space Odyssey\u201d<\/em> where you can hear, amongst the sounds of birds and seashells he collected on a road trip, <a href=\"https:\/\/youtu.be\/4GJkXNVX0Po\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (s\u2019ouvre dans un nouvel onglet)\">the flute of Mario Masse<\/a> played on two of the most stunning tracks of the record. <\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" width=\"819\" height=\"750\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/32265863-max-cilla-la-flute-des-mornes.jpg\" alt=\"\" class=\"wp-image-51823\" srcset=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/32265863-max-cilla-la-flute-des-mornes.jpg 819w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/32265863-max-cilla-la-flute-des-mornes-759x695.jpg 759w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/32265863-max-cilla-la-flute-des-mornes-661x605.jpg 661w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/32265863-max-cilla-la-flute-des-mornes-465x426.jpg 465w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2020\/05\/32265863-max-cilla-la-flute-des-mornes-375x343.jpg 375w\" sizes=\"(min-width:1010px) 759px,100vw\" loading=\"lazy\" \/><figcaption> Max Cilla \u2013&nbsp;artwork for the album <em>La Fl\u00fbte des Mornes<\/em> <\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Whatever its shape, the flute stands firmly rooted in most African music. This is an insight into the role of the instrument, with a focus on the musicians who made it famous and those who place it in the spotlight today.<\/p>\n","protected":false},"author":42,"featured_media":51830,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[10913],"tags":[3130,2507,702,3927,314,2704,1675,1980],"location":[],"yst_prominent_words":[8403,8539,9178,23199,23198,8414,8447,8435,23212,23213,23218,23217,23215,14744,23210,23211,8543,23200,8438,8848],"acf":[],"_links":{"self":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/60475"}],"collection":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/comments?post=60475"}],"version-history":[{"count":0,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/60475\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media\/51830"}],"wp:attachment":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media?parent=60475"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/categories?post=60475"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/tags?post=60475"},{"taxonomy":"location","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/location?post=60475"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/yst_prominent_words?post=60475"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}