Melstar reports back from Manchester's Royal College of MusicMesmerising from start to finish. The ambience, the atmosphere was amazing. Bassekou Koutyate appeared in a long bright yellow robe, especially embroidered and made for him by his brother. The words Ngoni Master emblazoned on the front, with good reason, as we were to find out during the evening. Accompanying him on stage was his wife Amy Sacko, two percussionists playing clabash and talking drum and his ensemble of n'goni players in matching shimmering golden brown gowns that caught the lights and their electric movements.
From the beginning, Bassekou was so relaxed and comfortable with us, there were wide smiles from the group and audience alike.
Just form the opening number you could appreciate just how well team Ngoni Ba work, enjoying every aspect of their intruments and dialogue with each other. You get a real sense of camaraderie. So many elements to this performance are tight, so well rehearsed and practised and yet released with ease. Onto the second number and a relaxed Bassekou stood with one foot on the monitor and introduced the ngoni, "Good instrument for music yes." He apologised for his English and proceeded to chat to us in French. It mattered not, his main method of communication is his music and we were here to witness his extraordinary playing.
The n'goni is perhaps the oldest instument in West Africa, its roots can be traced back to the 13th century to the time of Soundiata Keita. They say that the modern day banjo is the offspring of the ngonis that were smuggled on board the slave ships bound for the Americas.
On stage tonight were three other ngoni players, one of whom was a beneficiary of Bassekou's music school. The ngoni's were all on wireless pickups and once in full flow, it became difficult to determine who is playing the lead at some points as the sounds intermingled and the musicians walked and danced their way around the stage. The thump of the bass ngoni,played by Moussa Bah is so thick, deep, and full that the unknowing ear could mistake it for a range of drums. And when Bassekou takes to the front of stage to perform a solo ngoni piece, you may be forgiven for thinking you’re witnessing a lead guitar instrumental.
I could construct a whole article on the solo performances alone. The concentration and focus on Bassekou’s face, and yet an easy smile, his fingers make quick melody and arresting soul that open your eyes wide. The speed, agility, and talent with these instruments are overwhelming. In the spirit of the music, Bassekou, along with Fousseyni Kouyate, Oumar Barou Kouyate and Moussa Bah all call and respond by solo performances in the language of the ngoni. And it is just that, you really feel that the ngoni is speaking to you. And how does such a big sound come from such a small instrument? His fingers ran up and down the ngoni strings, bending them and producing an extraordinary range of sounds, every now and again he would nod his head and let a satisfying mmmm float into the auditorium. Stood there, he was every inch the bluesman leading his band, indeed the master ngoni player.
In this set impeccable timing is instinctive in the collaboration. The energy is infectious, every beat, every note is harmoniously spot on. The percussion solos by Moussa Sissoko brought rapturous applause as he made the talking sdrum live up to its name. The solos just as they started are woven intimately back into the group dynamic in through continuous melody and beat. The artists all read each other so well. I can't even begin to write about the heat that was whipped up on stage at the end of the first half, a votex of sound that had you sucked in and spinning....whooaaaa, how do they do it ?
Aesthetically, Bassekou Kouyates performance is just as wonderful, with beautiful rhythmic dance steps. It was great to see the three ngoni player’s rock across the stage together, then loop and intertwine. Just as in the language of the ngoni, the players call and answer each other through music and with their bodies, and their use of the stage. They encompass the stage, each artist’s role is key to the performance. It’s a feast for the eyes.
I felt a tightness in my chest and when she hit those round top notes, I stopped breathing for a few seconds. I kept thinking lion, the power of a lion.
Of course, how could I write about Bassekou Kouyates performance and not mention the beautiful Amy Sacko? Amy, lead chanteuse, and world music star in her own right. Amy’s voice is so powerful: so, so powerful. Her range is such that you are truly arrested. I felt a tightness in my chest and when she hit those round top notes, I stopped breathing for a few seconds. I kept thinking lion, the power of a lion. She is so graceful and beautiful. Her grand, rich voice permeates your body and very being.
I can see why Bassekou and Amy Sacko are in such high demand in their country, Mali, to perform for wedding ceremonies. I can think of no greater celebration of joy and love than to have Bassekou and Amy reflecting the joy and passion in life through their music.
Add this to your list of things to do before you die – see Bassekou Koyate & Ngoni Ba perform live on stage. You really must!
Bassekou, the man himself is humble, modest, down to earth, and bright and engaging. He has an illuminating smile! It is through Bassekou’s dedication to his instrument, the ngoni, dedication to his ngoni family, and his sheer talent that he has come to be a world music legend. He gave such a polished, professional, and enjoyable performance. That night, the audience were thrilled and he received a standing ovation, no other words could do better to describe the performance.
Add this to your list of things to do before you die – see Bassekou Kouyate & Ngoni Ba perform live on stage. You really must!
