BALLA ET SES BALLADINS — "Objectif Perfection" (aka Reminiscin' In Tempo With Balla Et Ses Balladins) (review)

Album · 1980 · African Fusion

5/5 · 2014-12-02
Matt

Politics, Colonialism, Dictatorship, Marxism and Independence are all interlinked with the music that was coming out of Guinea from 1959 till 1984 due to the rule of Sekou Toure who rejected France’s offer concerning the new Constitution and became the countries first independent President. Authenticite’ is the term that was used for Guinean music during this period of Sekou Toure’s rule as the government being Marxist paid and supplied the band’s salary and equipment to play authentic West African music and not Colonial influenced. The Government under Toure’s direction also established in the mid sixties one of Africa’s most famous record labels Sylipohone ( 75 albums were released). Bembeya Jazz became the most famous of the bands to record for Syliphone in Guinea but there were numerous others with many interlinking artists at times due to band restructures and Government direction. Balla et Ses Balladins sprang out of a twenty five piece band that was cut up into their two regions in 1964 with Balla et Ses Balladins being based in Jardin de Guinea and the other band Keletigui and his Tambourinis over in La Pailotte.

This compilation is derived from 5 albums which the band released with “Objectif Perfection” being in its entirety (stereo) and one song each from four other releases ( mono ) with track ten comprising the sound of the record finishing as the needle hits the end with the addition of an interview with Balla and Pivi in French for track 11 “reminiscin’ with balla and pivi”. The band itself usually comprised 10 to 11 members with a good bit of brass included, trumpet, trombone, tenor alto, soprano saxes with bass ( electric), electric guitar, congas and drums. Balla played trumpet, Kante Manfila vocals ( not to be confused with two other musicians under the same name with the most famous Manfila coming from Ambassadeurs and the other Orchestre Keletigui ) , Pivi Moriba played trombone and alto sax, all permanent members over the bands life with two others included but the rest of the line up is changed from “Objectif Perfection” and the other four tracks within this compilation.

‘Bambo” is first with just vocals and percussion opening for a short period and then the orchestra kicks in with a beautiful rhythm and theme comprising a quick trombone, alto sax, guitar solo between chorus with that beautiful choral vocals that is a trademark of Guinean music. Benny Soumah is singing lead for “Soufougne” over the beat with an African style skip guitar accompanying him over one monstrous bass grumble that pervades the whole album just adding to the mix and bringing a stunning base for this Orchestra to work around.The albums highlight is the following “Paulette” with that bass riding and grumbling right behind the Orchestra’s horns and vocalists as there are two present being Kante Manfila and Emile Benny. More of that glorious skip guitar is featured with a great tenor sax and guitar solo included. The percussion section (drum kit and congas) keep providing one constant African rhythm right behind every track contained within the album. ‘ Assa” is a love song with more great input from the Orchestra followed by “Keme Bourema” with its low key guitar opening and that grumbling bass and percussion right behind. This is an historical song concerning the fearless Keme Bourema and this really is were griots come to the fore with their vocal African formality providing a distinct stamp to this beautiful number which just picks up throughout and lands back beautifully each time with the song’s structure. There are two versions of “Sara” which follow with two other tracks that follow from the other albums within this compilation with all comprising that beautiful trademark Guinean music.

Highly recommended for people who want to hear real West African music. Another point that needs to be mentioned is the album has a slight low fi sound but that was due more to a lack of money and not studio or artistic fault as they had what they had and anyway to be honest this fault actually adds even more to the appeal of the music giving it actual Authenticity from this fabulous period in Guinea, “for music that is”