Saiks 

The track Change the System Now was sang by Abdul Corr in Sweden 

--- On Wed, 20/1/10, samateh saikou <[log in to unmask]> wrote:

> From: samateh saikou <[log in to unmask]>
> Subject: Re: A look into Jaliba Kuyateh's musical career
> To: [log in to unmask]
> Date: Wednesday, 20 January, 2010, 9:56
> 
> 
> 
> 
>  
> Ron,
> 
>  
> 
> Thanks and great observations,but excuse me,who is
> this Demba ?
> 
> On the issue of trabalism,I think we should take it
> seriously,it  is a sign of backwardness and mental
> problem that is why I dont joke with it.
> 
> Jaliba is a master and I wish he was  on  the
> side of the people,he alone,would have been total
> mobilisation and we will not have been here talking of 
> only the Manding speaking people listen to Jaliba.
> 
> I  remember when I was still in School,there was a
> Gambian Musician living somewhere in Europe,just dont
> remeber the country and his name,he had this song
>  " Change the system now" (some thing like
> that)it was  great to listen to for some of us at that
> time ,even though  it was in English it was never
> difficult for  us to associate our selves with the
> music.At this time of our struggle,we need social critics
> who can put into songs our longings and agonies,speaking
> onbehalf of our sufferings in silence. Do you play the Kora
> ?
> 
>  
> 
> For Freedom
> 
> Saiks
>  
> 
> 
> Date: Tue, 19 Jan 2010 11:54:17 -0500
> From: [log in to unmask]
> Subject: Re: A look into Jaliba Kuyateh's musical
> career
> To: [log in to unmask]
> 
> 
> Saiks,
> I think you make some valid points. And I agree with
> how you valuate music. Perhaps brother Oko is
> compartmentalising culture and traditions to be conveyed in
> mere sound quality. Culture and tradition is dynamic for a
> people and consists of experiences of their forebears and
> the hopes of their progeny. Perhaps brother Oko can
> recalibrate his understanding of culture and
> traditions. I do agree with him to the extent that when a
> craft is not appreciated and celebrated, its potence as
> conveyor and patron of any culture and or tradition will be
> lacklustre. Prehaps this is what brother Oko speaks
> to. That if we give our local musicians and griots more
> of an ear and grace, and because they are better suited to
> convey our cultures and traditions, that they will do a
> better job of it than one who is farther removed from
> that culture and tradition. I agree with you Saiks
> that Advocacy is a form of cultural communication and
> instead of using the stage to advocate, the likes of Jaliba
> are contented to sing praises, even if the one praised is
> the criminal in our midst, thereby working counter to
> advocates.
>  
> So, like you, I encourage brother Oko to counsel
> Jaliba Kuyateh in worths and values and that culture and
> traditions does not equal clueless gallantry. So I will
> continue to celebrate Jaliba like any other musician and I
> will adopt him when he yields his stature and
> craft more value. Baab Maal is a social musician. So
> was the late John Denver and Paul Simon. From time to time
> Youssou Ndure lends his voice to advocacy and I love him for
> that. When Jaliba does that, I will gravitate more to
> his music. So we want more substance in our culture and
> traditions.
> Haruna. Forget tribalism. That will be with us for
> some time to come. But we can beat it. Tribalism seems to me
> to be the industry of the lazy and clueless. I don't
> even think its worth wasting our breath on. We should work
> toward neutralizing it and identifying its contours.
>  
> Good to hear you again Saiks. Do you know Demba is
> incarcerated and can be bonded out Saiks??? That will depend
> on whether or not he is a pain in your neck. He gets on my
> nerves sometimes with his simultaneous bias and neutral. Why
> can't he choose either at a time?? He gives new meaning
> to ambidexterity. That man. So if he gets on your nerves
> like he does on mine sometimes, you know you can keep him
> locked up while we continue to enjoy each others'
> companies. Ehh, Demba. You're not free yet to speak
> here. I don't know why I have to always keep reminding
> you of that.
> 
> In a message dated 1/19/2010 8:40:38 A.M. Eastern
> Standard Time, [log in to unmask] writes:
> Whiles I agree with much of what Oko
> is saying,he knows better, I want to believe that the tribal
> thing is some how true but not the absolute truth. I know
> that Lalo Kebbah was listened to by all, regardless of tribe
> and TK (Touray Kunda)was very popular among many,infact the
> later,not much among the Mandingas but the Urban youths
> of Banjul and Serre Kunda.
> There must be other reasons why Gambian musiocians are not
> that much popular among Gambians, I dont know why. For me,I
> would rather listen to Omar Penn or Ousa than Musa Ngom or
> Jaliba Kujateh.This has to do with my social engagement. I
> konw the last thing that Jaliba or Musa Ngom will do is
> to lament the plight of ordinary Gambians,Ousa will have no
> problem with that,he has been detained for many times and
> lost out of favour for his believes.Their musical tunes are
> fantastic,especially Jaliba,but the substance,zero !!!!!
> for Freedom
> Saiks
>  
> 
> 
> Date: Tue, 19 Jan 2010 09:51:45 +0000
> From: [log in to unmask]
> Subject: Re: A look into Jaliba Kuyateh's musical
> career
> To: [log in to unmask]
> 
> 
> It is also important for Oko's view to be read by
> the L guys. I found them strong with the love of inclusive
> Gambian cultures, we all need to open up and embrace.
>  
> Thanks Sountou & thanks Cherno Jallow
> By Oko Drammeh of
> Sotokoto online network
>  
> A NOTE FROM OKO
> The Gambia is a very tribalist country. 
> The reason being is that we still practice tribal culture
> and tribal unity of purpose. We live in small interest
> groups and our tribal beliefs and values are not compromised
> for modernisation.
>  
>  Jaliba Kuyateh will be a celebration artists for a
> while to come because the Wollof community will not accept
> him and will not invite him to their major functions. The
> Gambian- Banjulians take pride in Senegalese cultural values
> than Gambian Mandinka or Fula, or jola values. This was the
> disrespect they had for Ifangbondi. The wollof community
> seem to be the trendsetters of Senegalese culture in Gambian
> communities. Every Senegalese is a Senegalese BUT every
> Gambia is a Jola, Mandinka, Fula or Wollof. WHY?
>  
> It was all fine when Ifangbondi played Saraba or Xalel Daii
> maga but as soon as the Jola rhythms and songs, Fula and
> Mandingo beats start pouring, the elite: ladies and
> gentlemen of that time (even if they are Jolas, Fula &
> Mandinkas ) they will start to leave for home. 
>  
> Gambians are still not culturaly awake. 
> They want to share the Euro- Urban life style of little
> Dakar or Europe and not the original-folk music of the
> country. Gambians are still not liberrated culturally. This
> is why our youth copy foreign clothes, foreign music,
> foreign insults like (Bang-Bang your Mama), the sound of the
> gun.and applly these messages in the Gambian composition
> music, also with mixed up Jamaican Jah Rastafarian Reggae
> lyrics which did not make it big breakthrough since Bob
> Marley, except on third world radio station and news media
> programs which is not in the accountable mainstream
> industry.We are far from understanding how the industry
> works.
>  
> Ndagga did not come from Gambian- But It is wollof.
> We can say Laba Sosseh Tussed it and Ifangbondi
> conceptionalized it. Laba Sosseh  had all the guts to
> sing in Wollof while all the band members of the Foyer Band
> were semi portugese in Banjul and sang in Spanisn &
> Potugese, although Cha Cha Cha Salsa/ Pachanga tunes but
> that brought about the dearing "Bi-Tanka du Lal
> Be" by the Super Eagles by dearing to fused-in Wollof
> in their Salsa music.
>  
>  The latin tunes 
> were more acceptable to colonisers and that's how the
> wollof, the Groumets (Grumets/ Catholics). The wollof-party
> people who drink wine & eat pork were the Grumets.The
> wollof ladies were the party goers and had many mulato kids
> with slave masters and love slave masters music. This is why
> Dakar love pachanga/ Africando/ Tasu- Mbalax/ Salas Mbalax
> no one Plays Ndanga- Njie Pop.
> All Ndaga is Salsa
>  
> Senegal had a Poet President who had partners in countries
> all over the world. They staged shows, festivals, opened
> royality offices, concerts halls and music administration
> set ups. This is running till today in Dakar including the
> school of Arts. 
>  
> Gambians do not know this. The British needed our manpower
> in Europe, to abandon our country and give our human
> resources to England.
> When Europe need your country, they would want to you to
> stay and build railways but if they don't need you, like
> The Gambia you can start imitating them and pledge your
> future to the Union Jack.
>  
> Senegal have artists and musicians runnunig the business
> since day one. Right now it is musicians who control the
> budget, the programs and are responsible for international
> tour and building of auditariums. Also in sports, theater
> etc,
>  
> THEY GIVE IT TO THOES WHO HAVE DONE IT BEFORE AND ARE
> RECOGINSED BY THE INDUSTRY TO DO IT. THEY ARE RECOGNIZED BY
> THE WORLD NEWS MEDIA.
>  
> I see too often how Gambians pick up small pop infants band
> from Senegal for their occation in France, England, USA
> & Scandanvia while they ignore Jaliba Kuyateh and his
> Mandingo music. The acceptance they would give to an Unkown
> Djibi or Djimay drammeh or a Pape Diouf etc, or Kumba Ting
> Ting, Falia Baldeh, etc, etc is more than the acceptance
> they give to Jaliba. If you go to Dakar some artists (mostly
> Malians & Guineans, some Senegalese)  will tell you
> that they want to be like Jaliba, they like his songs, his
> music and his strenght to hang on for so long. But when you
> come with Jaliba to gambians, he is a tribal artists.
>  
> I know thoes who hire Jaliba. He is only fit for
> ceremonies, homely weddings and Multicultural African
> Somalian Youth Center concerts hall shows. These are Patrons
> of Jaliba Kuyateh and they pay his bills and keep him to
> maintain for the past 25 years.They are not industry people,
> the promoters of Jaliba are not known to the business of
> music, the press do not run down Pre-views and musical
> reviews on Jaliba when invited by his loyal patrons.
>  
> There is no collective effort to promote him. If we loose
> Jaliba now, he will be worthless in our history books like
> Pa Touray, Laba Sosseh & the rest. Gambians do not
> document their artists. Jaliba is not represented by any
> major label and distributed by a major label. He still need
> to be introduced. If he has well produced shows he will be
> recognized.This can happen only if we all believe in him
> like we believe in what we choose. believe is a choice. His
> biggest honoiur is UNICEF amdassador. What $$$$ signs are no
> it, none !
>  
>  I decided to record the Kora Dance album by Jaliba
> for a major label and for documentation and a tour was
> planned to promote him worldwide.I took many Jazz artists
> and soul & blues artists of American name brands like,
> Don Grusin, Larry Williams/ Seawind, Leon Ware, Bill Summers
> from Quincy Jones band and we did the album with Jaliba. We
> pitched the tour to promote his new industry sound to many
> Gambian music promoters round the world, not one replied in
> the positive. So I decided to call it a day. But I am always
> ready to do it all over again
>  
> It is sometimes dissapointing how Gambians respond to
> mandingo music. But they like Salif Keita, Mory Kanta &
> Sekou Bambino and Baba Maal but not from Gambia. The Boys
> can play back home very well and up to standard., they do
> not record in good studios but they are better than 70% of
> what I hear from Radio. The New Nigerian sound, the New
> Pussy cat mew-mew sound effect that is in all new music is
> mostly because of lack of funding and guidance in
> production. They are not coached. This was it with our
> football , they were not coached but if they are funded
> guided and coached the musicians will deliever..
>  
> Music is understandable by every person that can hear. Even
> children of 3 years have their favorite songs from their
> Moms at an early age. The human brain can identify with
> anything it recognise and familiar with. If Gambians create
> a make-belief pull and propaganda that Gambian music is
> best, they will be the first to embrace it. Gambian music is
> far better than music from many parts of the world. We are
> civilized, have a history and sensible.
>  
> If gambia musicians do not record in sessions, much more
> music and perform much more in international festivals, TV
> shows and making acting-movie cilps, they will not have the
> suitable experience required to make a proper music record
> career.
>  
>  Gambians cannot produce a record of hig magnitude
> caliba, well formed, well shaped and containing hook lines,
> transposing, effects,etc. they did not evolve with
> technolog. A good record is 90% the Art of scientific
> application. It is not what you do on stage that goes on
> record. a record is produced in parts and in pieces before
> applying intensity and sound petals for wider and more
> sophisticated ultra sound range. This is how to make a hit
> and the hit will make the star.
>  
> The New Gambia music has no name,
> it is being form and being shaped. I know guys who are
> doing very well but they cannot maintain it. Somethings you
> have to learn, The Gambian music is not yet ripe or fit to
> be brought to the front. Some Gambia artists should be
> financed to make good recording production in proper
> studios. The home recordings are not durable and have no
> dept and width for manupuilation.
>  
> What makes Youssou Ndour is the recordings not the praises
> he get.
>  
> Music do not prosper under governments. Governments do not
> study music as an ecomonic priority. Now tourism folding, it
> is time to hire experts and use the musicians and festivals
> to create a new tourism site in Gambia and get the world
> there. Gambia needs an event, a seminar, music, conventions,
> music education, scholarships, and an international
> travelling GAMBIAN All Star cast to tour the world. 
>  
> In today's Gambia there are no shows, no concert halls,
> no recording studio, no music newspaper, no star, no charts,
> no charge tax for visiting foreign artists, 70 % music on
> Gambia airwaves is non-Gambian.. No money is coming to
> Gambian artists. they have families and they want to send
> their kids to school and to the Doctor but the are no job,
> no initiative and no future.
>  
> Jaliba is a miracle man to stay that long entertaining us
> and upholding our pride. He sacrificed a lot.
> Oko Drammeh
> www.Soto Koto.tv
> http//twitter.com/sotokotoband
> www.facebook.com/OkoDrammeh
> 
> 
> On Sun, Jan 10, 2010 at
> 10:42 AM, suntou touray <[log in to unmask]>
> wrote:
> 
> 
> http://www.allgambian.net/NewsDetails.aspx?id=1398 Part
> one 
>  
>  
> http://www.thegambiajournal.com/Top-News-and-Analyses/710.html part
> two and the interview.
>  
>  
>  
>  
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