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Momodou
Denmark
11840 Posts |
 Posted - 13 Feb 2007 : 13:30:21
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WHO WE ARE
OKO EXPLAINS
We have now come to the final party of the exclusive interview that Oko Drammeh granted to Ousman Sillah which touched on a lot of issues regarding music in The Gambia. It began with the genesis of organised band music spanning for more than four decades now. In the last issue, Oko expounded on the statement. 'Home Is Where The Music Is', as he, himself, puts it. Now he will be dwelling on the issue 'Who We Are' and why and how we should celebrate and revitalize our music.
Foroyaa: How do you intend to support the artists?
Oko Drammeh: I can be present in The Gambia and will be willing to repeat the formula of success that we have in place. That is the quality of performance must improve. There are many Gambian musicians who know too many musical instruments and have experience. But, they only know it halfway. With other art works also, like carving and painting, they know how to do it but they cannot make the definitive use of the upper level of the Art. Here you need professional training and education and The Gambians can supply that. Like in England, USA and Senegal, they make use of the elderly professionals and the experienced traditional and cultural individuals by integrating them in the Radio, Television and the ministry and state agencies of culture, the media and all the way to the international level.
To engage and to make good use of these talents help the country to generate resources that can be utilised to build the right institutions.
It is very speculative to talk about a music school with fanciful buildings, air conditioned rooms just for the music.
There should be no reservation for culture. The lives of the people who live in this country and toil and make it what it is, are yearning for a total make-over of the present Gambian scene and policy in a new approach called the Renaissance.
God has given us a history in music and arts. It is in the books. We have living legends like Bai Ebrahima Janha who is admired by many American guitar players including the number one Jazz guitarist Eric Gale. Bai Janha was the spark of the fusion of Gambian music that created the sound of Guelewarr.
There was fierce competition between Guelewarr and Ifang Bondi. This competition involved every aspect of our society and even the government of the day was involved in taking sides.
The greatest music compositions, arrangements, vocal purity and big band formation with backing vocals and singing groups in two, threes and fours were produced by the Super Eagles with Ousu Njie Senor, Pa Touray and Edu Hafner. These were one of the greatest trio singers on the African continent. Whilst people were making noise in Ghana and other places, the world was singing about the 'Golden Trio', Bai Janha was perfecting the sound that produced Musa Ngum, Abdel Kabir alias Lie Ngum, Mboge and Alas Sissoho. During this period many Gambian youths were musically talented because it was a time when one can buy a box guitar in the shops or to even build one for yourself. The guy who successfully build his own guitar and perfected it to professional standard and later joined the Super Eagles was Francis Taylor, otherwise Seneme Taylor, better still, his Ifang Bondi name, Kunon Jarjutay. Seneme is the genius in The Gambia, the jewel in the crown. He is our Wolfgang Amadeus Mozart or our Ludwig Von Beethoven.
Foroyaa: What can the country do with these great musician?
Oko Drammeh: The Gambia is obliged to treasure and honour Seneme, Bai Janha, Badou Jobe, Ousu Njie Senor, whilst they are alive. These musicians are Teachers, Masters and Scholars.
I can testify to my professional experience and knowledge that these people are at the level of great composers like Quincy Jones, Stevie Wonder Elton John, etc. Out of these musicians came many Gambians bands, like the Maga Dan Band, the 'Kanku Jerri Band', the Wild Cats, the Lover's Band, Oliver and the Chuckets and the 'Bag of Fames Band'.
Whenever I walk around in Senegal, I am always asked and encouraged by many musicians, like Youssou Ndour, Sheikh Tijan Taal, a great composer of the great 'Xalam' band de Dakar, and other music veterans to work for the revival of the music scene and the trendy styles and mode of fashion that used to fill the air of The Gambia. Many musicians who visited The Gambia at that time would always talk about that period as the 'Golden Days'.
I would therefore encourage anybody who is playing any kind of music or instrument to continue with it. I myself do like and appreciate every type of music. The Gambia needs a 'Cultural Revolution' that will put music in the forefront as a marketing tool for this country that will bring about festivals.
Foroyaa: Can you give us the names of these musicians who rendered cultural service to this country?
Oko Drammeh: The Gambia had produced a long list of musical legends, some of whom have left us whilst others are still around. All these musical artists need to be remembered and honoured as true cultural servants. They have rendered adequate cultural service to The Gambia. These legends include those who have already passed away in the likes of" Paps Touray 'Abess', Malang Gassama 'Malando', Ali Harb 'Alberr', Pa Musa Njie 'Pa Njie Base', Modou Cham, Ebrima Jallow 'Cock', Oussu Lion Njie, Adama Sallah, Abdoulie Sallah, Njok Malick Njie (bass guitarist), Ousman Kumba Sosseh 'Cheks', Adama Nying 'Gra Leese,' Jimmy Coron, James Eagleton. Baboucarr Fofana 'Enterr', and many others. May their souls rest in perfect peace.
In the same breath, God has gifted us with these living legends in the persons of the genius, Seneme Taylor, Ousu Njie Senor, the master guitarist; Bai Janha, Abdul Kabir 'Lie Ngum', Musa Ngum, Karamoko Sabally, Samson Gassama, Pa Alieu Njie (Drums), Musa Njie (guitarist), Ousman Beyai, Sankung Jobarteh, Sogi Sock, John Campbell, Ebou Touray, Edu Hafner, Boy Njie, Ba Jow Ngum, Cha Boy Campbell, Pa Boy Cole, Blell, etc. it would be fitting to celebrate these artists and The Gambia in festivals to commemorate our national independence days and involving our musicians. This will help in putting Gambian musicians on the world map.
Foroyaa: What are your plans?
Oko Drammeh: I intend to organise an International Arts Festival Week involving all works of Arts, historic, modern or contemporary and with the objective of putting Gambian music on the world map. Every Gambian musician will be given the chance to show yourself and your talents. Seminars and conferences will also be organised in due course to enable artists to interact and elaborate on issues surrounding the Art and how to strengthen it. Later, classes will also be convened to engage the veterans to teach the young musicians about the technical details of music, such as, instruments, language chords, notes, etc.These initiatives for education and training need the involvement of the state.
I will also be encouraging the production of Arts and musical recordings as well as Television exposure for each and every Gambian artist and gathering. Artists will follow the products and news items made on their behalf.
A catalogue of musicians and their productions will be established. This catalogue is the passport and with it Gambian artists will be covered by the copyright laws which will be able to generate funds for individual artists to support their livelihoods.
Another important thing is that Radio Gambia is a 'Treasure Trove' of Gambian music. Radio Gambia has all the recordings of every song and musical beat produced in this country. Unfortunately this treasure is in tapes that cannot be perpetually preserved. The national Radio's archive is the cradle and embodiment of the rich history and rhythm of the nation. The works of Lalo Kebba Drammeh, Sunjulu Sissoho, Abdoulie Samba, Jabel Samba, Marie Samyol Njie, Yamundow Jobe, Fatou Joof, Buteh Boy, Boy Touray (Riti player) Fabala and Banna Kanuteh, Sana Beyai and Abibou Manneh are all in tapes. The list of talented artists is in exhaustive.
However, if I am given the chance, I can help in preserving and making good use of them for the benefit of the nation and artists.
Foroyaa: Finally, Oko, can you tell our readers about Sotokoto?
Oko Drammeh: Sotokoto Music Company was founded in Amsterdam and later moved to America in California in 1990. Up to today, Sotokoto is a recording company but also very active in other areas of arts as well. The Sotokoto band is a session band of African Americans, Africans and other blacks in the diaspora who joined hands with the American musicians to make a new sound. This was my idea and the company is mine. It is with the same company that I recorded the late legendary Paps Touray, the great Abdel Kabir, and the maestro Jaliba Kuyateh. I am planning a tour to the US with a cast of Gambian musical Superstars, which will include, if God wills, Bai Janha, Ousman Beyai, Sankung Jobarteh, Kebba Taylor, Nyaw Nying 'Drums', Karamo Sabally and other European and American Artists featuring the top Gambian singing stars like Musa Ngum, Jaliba Kuyateh and Mawdo Sey. This is a selection I have in mind to coach and to present in my next Sotokoto production to represent The Gambia. Gambians abroad are going to have the opportunity to see musical theatrical performances in cities across Europe and America. The objective is to engage Gambian communities around the world to set the stage for a 'Cultural Night of Gambian Pride' showcasing to the world our history, our folklore, our ethnical values, as well as songs and dances of our lives as Gambians. Something we cherished so holy and my mother and my father cherished so holy, as well as every grain of sand that we walk on which is nothing more than the bones and blood of our ancestors. The Gambians in the diaspora have to take pride and ownership of these events.
The performance of a Gambian cast at a cultural event depicting Gambian history that include Kunta Kinteh and Gambia's role in African history is a living historical moment to be performed by our artists as a gift to the world. We will visit every community and try to arrange a performance that will be remarkable and truly Gambian. It is our desire and we expect every Gambian to take ownership of these cultural presentations.
Foroyaa: Mr. Oko Drammeh thank you very much for granting us this exclusive and quite interesting interview.
Oko Drammeh: It's a real pleasure to share my thoughts with Foroyaa for the benefit of my compatriot Gambians.
NB: Ousman Sillah hopes that this interview will generate the positive effect that we intend the discourse to have by helping us to re-focus and muster the necessary efforts for the 'Cultural Rebirth'. The Foroyaa will continue to talk to those who may have something relevant to say or do in the pursuit of building a robust cultural identity for Gambian music and that will make it earn dividend for Gambian Musicians.
Source: Foroyaa Newspaper Burning Issue
Issue No. 017/2007, 12-13 February, 2007
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