(I. Toure, S.T. Toure)
( 4'22, 2.00Mo)

(I. Toure, S.T. Toure)
( 1'47, 838 ko)


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").


" 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. "



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