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Extrait de TERRA
SAABI (2000), avec: Ismaila Toure
& Sixu Tidiane Toure (voc); Sixu Daby Toure (chorus);
Moussa Diouf (bass, drums, piano,
programs); Sega Seck (drums, percu); Thierry
Mvie (keyb); C. Djanono Dabo (percu); Claude
Chamboissier (keyb sur "Cindy").
Biographie:
" A 10-piece Senegalese band, Touré
Kunda were formed in Paris in 1979 by the four Touré brothers
Amadou, Sixu, Ousmane and Ismaila; in the Senegalese Soninke
language, kunda means family. From the start, Touré Kunda's
fusion of traditional Senegalese music and sophisticated
western instrumentation found a massive audience amongst
both expatriate Africans and native French music fans. The
group's debut, Touré Kunda, established them as major figures
on the French pop scene. By the time of Turu, they were
able to fill stadiums in most French cities. At the heart
of Touré Kunda's music are rhythms and melodies from a Senegalese
coming-of-age ceremony called Djamba Dong, which features
traditional drums and percussion and the West African harp
known as the kora. Combined with electric guitars, horns
and synthesizer the music has aspects of reggae, calypso,
salsa, highlife and afrobeat, which explains its appeal
across the spectrum of expatriate Africans and West Indians
in France. The fusion came to full maturity on the 1983
collection, Amadou Tilo, a tribute to Amadou Touré, who
died early that year. In 1984, the group set off on a hugely
successful West African tour, which lasted four months and
took them to Senegal, Mali, The Gambia, Ivory Coast, Morocco,
Mauritania and Guinea. A double album, Live, was recorded
during the tour and released later in the year, alongside
a new studio set, Casamance Au Clair De Lune. By this time,
the group was consistently selling in excess of 100,000
copies for each album release and felt confident enough
of their appeal to experiment with their style. Drafting
in New York avant-funk producer Bill Laswell, they recorded
Natalia, a fusion of their established style with electro-funk
drum and percussion tracks. A bold experiment, the set was
savaged by the French critics, who accused Laswell of cultural
imperialism and the group of misjudgement - it sold a relatively
modest 50,000 copies. For the rest of the 80s, Touré Kunda
reverted to their pre- Natalia style, and in 1990 released
the superb Salam. "
(source http://music.yahoo.com/)
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