![]() “All I know, there was this white guy who came here he tried to get information on what life was like in the orchestras of the old days. They pointed out that when they met him, he talked only about a book project. “People recorded with what they could get and yet they managed to create one of the most fascinating modern music of the continent,” Mazzoleni said.īut the artists themselves are not happy, saying he has been unfair to them. Mazzoleni said he wanted “to pay tribute to all those people in the shadows, who made the culture of Bobo-Dioulasso.”Īt the time, he said, Upper Volta was a poor country with limited ability for people to communicate with the outside world or record music. “These are artists that I have always admired and I wrote about 20 books on African music, including a book in 2015 called ‘Burkina Faso Modern Music Voltaic,’” Mazzoleni said in a phone interview. It turns out French music producer Florent Mazzoleni made the compilation produced by The Numero Group, a Chicago-based production company. The news of the Grammy nomination surprised the musicians, who wondered how their music was put on CDs and distributed worldwide without their knowledge or consent. It is a compilation of recordings in the 1970s in Bobo, second-largest city of Burkina Faso, then known as Upper Volta. ![]() Soré is a member of the Volta Jazz group, whose songs are part of the album titled “Bobo Yeye, Belle époque in Upper Volta,” which is nominated for two Grammy Awards. “As a musician, I am totally disappointed to learn that we have spent time moaning, suffering and that someone else can just make a compilation of our music and that it is going for an award,” musician Stanislas Soré told VOA French to Africa Service on Friday. ![]() ![]() Instead, musicians based in Bobo-Dioulasso, whose work is featured on the three-disk compilation “Bobo Yeye,” didn’t even know they had been nominated or that the album even existed. The groups songs are part of "Bobo Yeye" a compilation.įor musicians from the West African nation of Burkina Faso, a nomination for a Grammy Award should have been the crowning achievement of a musical career. Check out: "Were Were Magne," De Nwolo," "Dounya Te Soye," "Fintalabo," "Djougou Toro," "Air Volta," "Sie Koumgolo," "Bombossi," "Dja Tigui Kie" and "Boudou Nyida" to get a good sense of what the excellent compilation is about.Musicians of the Orchestra "Echo-Del-Africa" back in the days. In addition to the sounds, the records are accompanied by archival photos of Sory Sanle, the photographer who experienced and was able to capture the cultural shifts that took place in Bobo-Dioulasso. Musically, the evocative tracks tap into a truly international sonic palette, as salsa, jazz, rock & roll, Cuban, Malian, and of course, African influences delightfully mingle. Most of the musical output was concentrated in the country's cultural capital, Bobo-Dioulasso, and key artists of the city like Volta Jazz, Dafra Star, Echo Del Africa, and Les Imbattables Leopards left behind gems compiled on this 3LP boxset. This time, the Chicago label unearths music recorded and released during the cultural revolution of Burkina Faso from 1970-1979, a landlocked country in West Africa then known as the Republic of Upper Volta. First of all, props to Numero Group for its dedication to putting out QUALITY compilations.
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