Full Video at http://www.youtube.com/watc...
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Salif Keita - Moussolou
from the 2002 release "Moffou"
is the copyrighted property of its owner(s).
ALL COPYRIGHTED MATERIAL IS USED UNDER THE GUIDELINES OF "FAIR USE" IN TITLE 17 & 107 OF THE UNITED STATES CODE, AND UNDER ARTICLES 29 & 29.1 OF THE CANADIAN COPYRIGHT ACT. SUCH MATERIAL REMAINS THE PROPERTY OF THE ORIGINAL OWNER OF THE COPYRIGHT, AND IS SOLELY INTENDED FOR EDUCATIONAL PURPOSES.
You can download the original version of this song here: http://itunes.apple.com/us/...
Many thanks to Brendon Paredes of Studio 101 (www.studio101.cc) for the audio recording, mixing, mastering and moral support.
All videography and editing by GlobalRapture Productions (www.globalrapture.com). Noel was certainly expert, patient and supportive as well.
Produced at Studio 101 (www.studio101.cc), Melbourne, FL.
Anyone know how I can reach Mr. Keita? I'm serious...
Anyway, the sort of musicality and soul called forth by this song is what I live for! But what else could I expect from the "Golden Voice of Africa"? I don't speak French, nor Bambara, nor the other 12 indigenous languages of Mali, but I am moved by this song nonetheless. I think "moussolou" translates to "women" and a song of the same title (though I'm not sure with the same lyrics) was very successfully released in the late 80s by Malian feminist musician, Oumou Sangare. If anyone has any more info or a lyrical translation, leave it in the comments...and check out Salif Keita's bio...fascinating stuff.
So I didn't want to do a drum cover full of overplaying (though what drummer doesn't like bombast?...ha!), but rather something full of dynamic expression, syncopation and tonal/melodic nuance. The original track has minimal percussion. Feel free to listen to it to see what rhythmic and melodic elements I chose to voice and support. Not easy stuff; gotta have a certain swing and pocket. I composed and played the part as if I were actually playing with Salif Keita and his ensemble. Fact is, if I actually were playing this song/arrangement with him, I'd very possibly have to strip it down even more. Regardless, tonal contrast and lots of call-and-response figures (typical of music of the West African diaspora) seemed to be what was called for, as well as playing between straight and swung rhythms here and there. Maybe my experience accompanying West African dance classes on the djun-djuns helped inform the composition, playing and production of this piece. I could only hope so.
Thanks to all of you for your time & feedback. Please share/re-post at will. Happy drumming!