SUPER MAMA DJOMBO ...HEAVENLY MUSIC...DIVINE FEELING...

$

106

Here are some new african pearls that I'm very happy to share with you (to be sure to find all the records that I have listed, check on ebay.com). Enjoy this wonderful music ! / Voici quelques nouvelles perles africaines que je suis très heureux de partager avec vous (pour être sûr de voir tous les disques que j'ai listé, regardez sur ebay.com). Profitez de cette merveilleuse musique !

Once again, I am sorry for the high postal fees. We have the world's most expensive postal service in the world ! / Encore une fois, je suis désolé pour les frais d'envoi excessifs, mais nous avons le service postal le plus cher du monde !

WARNING FOR US BUYERS : I'm in Belgium...You will find the shipping cost below (22 US $ for 1 to 3 lp's / 9 US $ for 1 to 3 singles). Due to problems with "Turbo Lister", I was forced to indicated 4 US$ for the shipping cost...I'm sorry for that. No way to list the records with the real shipping cost...Thanks for your understanding.

SHIPPING EUROPE + USA + WORLDWIDE Special post service Taxipost for 5 kg (+ or - 15 records) = 35 US$ (with tracking number)

FOR EVERY BUYER / POUR TOUS LES ACHETEURS : Once the sales is completed, please be kind enough to wait for the invoice that I will send with the total amount for each transaction. Do not pay before. Thanks in advance. / Ne payez pas avant de recevoir le montant total pour chaque transaction, que j'envoie après la fin des ventes. Merci d'avance.

SUPER MAMA DJOMBO Na cambança (Guinea Bissau)

Cobiana Vol 1 - SMD 001 (Portugal)

A : Cambança djombo / N'simba / Seiango / ramedi cu kata cura

B : Pamparira 79 / Luta kana maina N°1 / Sur di no pubis / Amelia mané

!!! Very famous band from Guinea Bissau (read the commentary below, oh yes, please, read it !!!). Particular style, many influences, fantastic feeling...Amazing soukouss (A1), blues (A2), psyche afro-beat (A3 : Absolutely fantastic ! Incredible hypnotic speed rythm, between mandingo jazz and funky soukouss, crazy and cosmic guitars/vocals...I'm mad about this unbelievable tune ! ) cosmic coladeira (A4 : another fantastic track with unbelievable guitars, deep vocals, mid-tempo... it takes you to heaven for the rest of the year!)

Are you still there ? Let's play the second side : great funky soukouss (B1), beautiful sad latin-blues (B2), sublime coladeira/afro-soul (B3 : latin rythm, crazy drums, a long instrumental part, female chorus..well, I don't know exactly what it is !) afro-folk-groove (incredible festive traditional rythm with claps, deep feeling, joyful singers, wonderful floating-spacey guitars...I'm quite tired...or just sliding away from...our world...I'm sorry, I'm not there anymore...If you want more informations, please, call  an angel...

Record = Side A : VG (looks VG-/VG with lots of surface scuffs, marks and traces, plays VG to VG+ with constant light to very light crackles, few clicks on A1/A2, hand writing on label) Side B : VG (looks VG-/VG with lots of surface scuffs, marks and traces, plays VG to VG+ with constant light to very light crackles, more listenable on B1 with few clicks, hand writing on label)

Cover = G (seriousely dog eared, awful black sticky paper on slices, ripped at the right slice, ring wear, dirty traces + big hand wrting at the back)

Weight = 250 grs

VISIT SUPER MAMA DJOMBO WEB SITE:

http://www.muzikifan.com/supermama.html

Often what drives us is the idea of something, say African Music. Once you heard a particularly magic song and searched and searched until you found the album and, if you were lucky, the album was bliss. Sometimes an artist or band will tug at your heartstrings in inexplicable ways and you'll find yourself blindly pursuing their music at all costs. Certain notes or sounds become like a Holy Grail as you try to find them.

Guinea-Bisseau is a Portuguese-speaking country lodged between Guinea and Senegal but closer musically to Mali than to its immediate neighbour or even the Cape Verde islands which are culturally connected to it. Super Mama Djombo was formed at a Boy Scout camp in the mid-sixties and continued to evolve as the lads grew. Members were voted in and out, or left as they gained musical skill. After Guinea-Bissau's unilateral declaration of independence in 1973, the group became national favorites (many people prayed to the spirit of Mama Djombo for protection -- half the populace is Muslim, the other half animist) and had a string of hits. Their music, like many emergent sounds of that time in West Africa, was electrified folk music. They regularly toured to open for President Luis Cabral's speaking engagements and their concerts were broadcast live on the national radio. They took Cuba by storm at the 11th annual Youth Music Festival in Havana, 1978. In early 1980 the group traveled to Lisbon for its only recording session and filled 6 hours of tape, not even covering their whole repertoire. Their first album, NA CAMBANÇA, contained songs that were already well-known at home, but its release extended the fame of the band and the song "Pamparida" became a huge hit. When Super Mama Djombo played in Senegal (and a young unknown Youssou Ndour opened for them) a throng turned out to hear "Pamparida," and broke down the gates to get in. Their second album, FESTIVAL, showed them on their triumphant Cuban tour and presented six more songs including the dreamy "Júlia." This music is one of those African music Holy Grails. Even if the lyrics are sometimes just lists of the names of revolutionary heroes, there is a dreamy guitar floating across the stratosphere, played by Tundu, who carved out his own niche alongside "Diamond Fingers" from Guinea (which also has Manding culture). The lyrics are in Crioulo, which mixes African languages with Portuguese, sung by a young Dulce Neves. A touch of Echoplex gives a big room sound to the vocals and sax of Miguelinho. The songs are speedy and memorable or laid-back and dreamy. The band broke up in the mid-80s but the achingly beautiful quality of the ballads endured, and worked well on the soundtrack to the film, THE BLUE EYES OF YONTA (released in 1996 on the Cobalt label), set in Bissau and directed by Flora Gomes. (That session had mostly new members but they were playing old material.)

Adriano Atchutchi: Composer, chefe da orquestra
Cesário "Miguelinho" Hoffer: Viola ritmo
Adriano "Tundu" Fonseca: Viola solo
Serifo Dju: Viola contracanto
Francisco Martens a.k.a. "Chico Karuka": Viola baixo
João Mota: Viola solo
Zé Manel: Bateria
Armando Vaz Pereira: Tumbista
Joãozinho Correia: Bongois
António Malam Mané, Lamine Baldé, Cesário "Ntchoba" Morgado, Carlos Baba Kanoute, Herculano Pina Araujo, Dulce Neves: Cantores

Before a nation can become real, it must first be imagined. It seems appropriate that Super Mama Djombo, the band that became a primary expression of Guinea-Bissau's identity after independence, was born in the fertile imagination of children.  Four young friends (the youngest was only six) came together to play at boy scout camp, and got their first taste of success. Soon they were playing weddings and parties around Bissau. This young band was serious, and voted out any members who they thought weren't keeping pace with the group as they became more skilled. Ever improving their act, the boys decided that they needed a new name.  Their original name was long and in Portuguese; they wanted something more beautiful, powerful, and home-grown.  The lead singer suggested Mama Djombo, the name of a sovereign and deeply respected female spirit. The group liked it, and from then on they were known as Super Mama Djombo.

It was the perfect choice.  Though the group was too young and politically unaware to know it at the time, they were growing up amidst revolution.  The revolutionary Party for the Independence of Guinea-Bissau and Cape Verde (P.A.I.G.C.) had been engaged in rural mobilization and clandestine urban agitation since 1959.  Hidden under the dense forest canopy in the south of the country, guerillas and villagers struggled to set up a revolutionary society. Mama Djombo was the spirit most appealed to for the protection of these independence fighters.

Independence was won in 1974, and that year brought the final formative elements to the band: freedom, euphoria, and bandleader Atchutchi.  Atchutchi had been mobilized and politically aware for longer than the other members, and his contribution completed the project.  The band would become politically charged.   It would imagine a new, unified national identity that was neither Portuguese nor divided by indigenous ethnicity.  It would help re-invent Kriol, the synthesis of Portuguese and African languages spoken in the cities, that the revolution had transformed into a common language of national unity. 

The success of the new orchestra was almost immediate.  They toured Guinea-Bissau and Cape Verde playing to ecstatic crowds.  Their live concerts were broadcast religiously on the national radio.  The band traveled regularly with first president Luís Cabral, representing the new national identity in Angola, Mozambique, Cape Verde, and Portugal. The orchestra traveled to Cuba, to mark Guinea-Bissau identity "present" at the 11th Youth Music Festival in Havana.  They outshined the other groups from Africa, and appeared on Cuban national television. At home, the band continued to reflect the people back to themselves.

 In early 1980, the group went for its only recording sessions in Lisbon.  People at home in Guinea-Bissau already knew the songs by heart, but their release on LP extended the reach of the band and opened new opportunities-particularly the track "Pamparida."  Adapted from a children's play song, this infectious track made the band a West African sensation. DJs would often make sure they had two copies of the album, so they could play the song over and over without stopping.  It is said that when "Pamparida" came on the radio during lunch, people would get up and dance the song, then return to their meal.  It was "Pamparida" that filled a stadium in Senegal to capacity, where a then-unknown Youssou N'Dour opened for the Orchestra. When the music started, the crowds outside literally broke down the doors to hear them play.     

It seemed like an ascendancy that would never end-and it certainly could have continued.  The offers poured in: an African tour, more European tours, album deals.  But these offers brought new pressures.  This was a revolutionary band committed to imagining and building the nation through song.  Atchutchi was opposed to the deals, and at the time most of the band agreed with him.  Who was going to tell President Cabral that the national, revolutionary band was now run by capitalists from the Gambia, Senegal, France, or (of all places) Portugal? Nobody had the heart.

In November 1980 Luís Cabral was deposed, and political repression intensified.  Even before the coup, the band's music had begun to point out corruption and power struggles emerging in the government. Significant tracks in that vein on this collection include "Ordem do dia" and "Suur di no pubis." The new regime wasn't interested in supporting art-particularly art that was critical of the state-like the Cabral government had, and opportunities at home began to dry up.  That was the beginning of the end.  By 1986 the band was done.

Communication: ok in English (but I am not fluent !), de préférence en Français, mogelijk in Neederlands (maar ik heb hulp nodig !).

Payement/Paiement/Betaling : Paypal (prefer), Bank transfer/Virement bancaire. No check.

Postage/Frais d'envoi/Verzendkosten : Priority/Prioritaire (The Belgian Post does not offer economy service !!! /    La Poste Belge n'offre pas de service économique !!!)

You may think these prices are too high, but they are exactly what the Belgian post offers (the most expensive in Europe !!!) / Vous allez penser que les frais d'envoi sont excessifs, mais nous avons le service postal le plus cher d'Europe !!!.

Check each items' weigh, indicated in ads, to estimate the shipping cost. Don't forget the package's weight (Record's box = 200/300grs) / Vérifiez dans chaque annonce le poids des objets pour évaluer les frais de port, sans oublier le poid de l'emballage (Boite pour disques = 200/300grs)

Belgium/Belgique/Belgïe :

1/6 LP (2kg)  = 5 euros          7/15 LP (5kg) = 9,00 euros

1/3 singles (350 grs) = 2 euros      4/30 singles (2kg) = 5 euros

Nederlands + Luxembourg : 15/30 lp (5/10kg) = 13 euros

Europe :

1 to 3 LP (1kg) = 9,60 euros (13 US$)   3 to 6 LP (2kg) = 19,20 euros (26 US$)  

Kilopost = 15 LP (5kg) = 26 euros (35 US$)

1 to 3 singles (350 grs) = 5,60 euros (7,5 US$)   4 to 15 singles (1kg) = 9,60 euros (13 US $)

World + USA + Canada :

1 to 3 LP (1kg) = 16,00 euros (22 US$)     3 to 6 LP (2kg) = 32,00 euros (44 US$) 

Kilopost = 15 LP (5kg) = 26 euros (35 US$)

1 to 3 singles (350 grs) = 6,40 euros (9 US $)    4 to 15 singles (1kg) = 16 euros (22 US $)

REGISTERED SHIPPING / ENVOI RECOMMANDE = + 4,50 euros (7 us$)

Items will be sent as soon as payment is confirmed (24 h after max.) / Les colis seront postés dès la confirmation du paiement (endéans les 24h).

GRADING For LP / NOTATION pour les disques :

NM (NEAR MINT) : Near perfect copy, played only a few times.At worst it may have one or two insignificant flaws.The highest grade I give for a non-seled record .../ Disque et pochette impéccables, joué seulement quelques fois.Au pire, une ou deux traces insignifiantes.C'est le grade le plus haut que je donne pour un disque non scellé...

EX (EXCELLENT) : Clean copy, there may be few very light light surface traces/hairlines, and few very light insignificant crackles, cover has minor defaults. / Disque en excellent état, possibilité de très lègères traces en surface et de quelques grésillement insignifiants, pochette avec défauts mineurs....

VG++ (VERY GOOD++) : Few light surface traces/scuffs, few very light crackles. There may be few traces on the cover, corners or slices slightly worn...Nothing serious but is not graded EX because of few minor defaults / Très bon état dans l'ensemble, avec de légères traces ou marques en surface. Quelques traces possibles sur la a pochette, coins ou tranches légèrement usées. Rien de sérieux mais assez de petits défauts pour ne pas être classé EX.

VG+ (VERY GOOD +) : Played a lot, will show signs of handling, has surface marks or scuffs, plays with light crackles or light surface noise background, no serious scuffs (no jumps). Cover slighty worn (traces, light ring wear, dog eraed, corner ans slices slightly worn...) / Disque qui a tourné, visiblement utilisé, avec des marques ou rayures en surface, des craquements légers ou un bruit de surface en fond, mais pas de griffes sérieuse (ne saute pas). Pochette un peu uséee avec quelques traces, cornée, coins et tranches légèrement abimée, saleté).

VG (VERY GOOD) : Used record, played a lot, has marks and scuffs, crackles and few clicks while playing, sometimes constants but not too sérious,  no jumps. Still quite listenable. Cover worn, may have corner and slices worn or damaged, ring wear, serious traces or little splits, slightly ripped / Disque qui a été souvent joué avec traces et rayures diverses, quelques griffes et des craquements audibles, parfois constants mais pas trop sérieux. Ne saute pas.Globalement écoutable... Pochette usée et défraichie, un peu déchirée, coins et tranches cornés ou abimés, traces sérieuses ou petits coups...

VG- (VERY GOOD MINUS) : Played a lot and more (but still playable), lot of scruffs and marks, lots of crackles while playing, sometimes serious, may have serious clicks (or few little jumps). The cover is damaged.../ Disque très utilisé (et peut l'être encore), beaucoup de griffes et de marques, craquements sérieux, rayé (avec la possibilité de sauter légèrement). La pochette est endommagée...

G (GOOD) : Indeed, not so good...but still alive ! Played while his entire life (and once again today !), or really ill-traited...Lots of traces, marks and scuffs, serious crackles and surface noises while playing, serious clicks, may have jumps...And the cover is really in a bad state too...Must be very rare to be proposed in this state.../ En effet, pas si bon...mais encore vivant ! Utilisé durant sa vie entière (et aujourd'hui encore !), ou vraiment maltraité...Beaucoup de traces, marques, rayures, sérieux craquements et bruits de surface, rayé et peut même sauté quelques fois...Et la pochette est aussi en très mauvais état...Vraiment une rareté pour être présenté dans cet état...

Each record and cover will be described in more detail if necessary .

Chaque disque et pochette seront plus détaillés si nécessaire.

If you want more pictures or more informations, don't hesitate to ask.Thanks

Si vous voulez d'autres photos ou de plus amples informations, n'hésitez pas. Merci