Music of Mali: Didadee
Featuring Sumba Togola and Friends
The music for this CD was played and recorded at Centre Togola, the local community center outside Sabalibougou, a city district and bustling marketplace on the outskirts of Bamako, Mali. The center is run by Director Kareem Togola. ‘Bougou’ means ‘village’ in the Bambara language.
The community center houses local dancers, drummers, and musicians, most of whom play in the center’s award-winning group. Many famous district groups from outside the city – and deep in the countryside – also pass through the center. This is how we were able to find some of the other groups and music we recorded.
- Sababu-Korole-Laban-Kele Mayne/Jaamana Fula 0:44
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The music for this album is traditional “Didadi” music.
The Didadi is from Bougouni in Mali’s Sikasso region. It is played for year’s end celebrations and at the many festivals in the region.
There are several different interpretations of the rhythm and dance. As far as instrumentation, the largest and lowest pitched double-headed drum is called “didadidundun”. One side is played with a stick, the other side with a hand. It is worn on the body with a strap so the player can dance and move around. Djembes are played as accompaniment as well as solo instruments. The hauntingly beautiful vocals are often praise music.
I heard this group on my first trip to Mali with my friend and executive producer, Paul Chandler. On my return trip to Mali, I was determined to find and record them. Through the help of Paul, Kareem, and Siaka Doumbia, we were able to do so on one of their visits to town from the countryside.
The CD was made using a high-quality flash recorder and some excellent microphones. The sound is surprisingly clear and concise, as are the arrangements, playing styles and techniques.
It is my goal, in a small way, to help preserve the culture and heritage through the music that my teachers, my friends and I are presenting. As this is a labor of love, any profits made from these recordings go directly to the musicians.
—Michael Pluznick