Another piece of Gambian Music History in the form of a concise
biography of the Super Eagles, culled from the liner notes of the
re-release of original Super Eagles music (info & online sale at
www.retroafric.com / US distribution through Stern's
www.sternsmusic.com)
Available in The Gambia through Timbuktu Bookshop / Kairaba Avenue
Badou Jobe / Ifang Bondi
BIOGRAPHY
The Super Eagles were pioneers of popular music in the Senegambian
region at the end of the 1960s/start of the 70s, delivering a
progressive blend of afrocuban, pop, soul, Jamaican bluebeat, Congolese
rumba, highlife and ndagga music.
Ndagga music, using Wolof lyrics & rhythms, is at the basis of what was
to become 'mbalax'
They were voted best band in Senegal, even though they were from the
much smaller country of The Gambia.
During their five years existence, the Super Eagles became one of the
best travelled bands in West Africa.
In Bathurst (now Banjul), the capital of this ex-British colony, the
first modern dance band, going under the name of African Jazz, was a
loose collection of musicians who played for a local business man,
Chamsu Coker, a dedicated music lover who provided the band with quality
instruments and equipment.
African Jazz included the likes of Badou Jobe, Paps Touray, Laba Sosseh
(later to join Afrocuban outfits such as Africando), Modou Cham ,
Congolese musicians Marcellin Kua and Sammy Ndami, Oussou Njie.
Of these musicians Badou Jobe, Modou Cham and Oussou Njie, still a
teenager, had started their careers with the renowned Foyer Jazz Band.
The Foyer Jazz band was formed by veteran, partly classically trained
musicians, thriving on a rich coctail of European & Latin ballroom
music, light classical, old jazz and the hugely popular morna.
Almost all of Bathurst's top talent hailed from a neighbourhood
called "Half Die".
Despite its ominous name, dating from the19th century when half of the
population died in a cholera outbreak, Half Die was, and to an extend
still is, the undisputed hothouse of Gambia's intellectual and creative
elite.
The popular music scene, catered for by modern dance bands, had no
connection with traditional music, which remained the exclusive domain
of the hereditary musicians' caste known as griots.
In 1965 seven of the African Jazz musicians turned full -time
professionals as The Eagles of Banjul.
They played regularly in Banjul's dance halls and throughout the
country. Before long their patron Malick Seck took them on
international tours to Senegal and Sierra Leone.
After Sammy Ndami left Badou Jobe took over as bandleader, and
increasingly started to define the band's repertoire by composing
original music.
Eventually the band's core members took an independent course, and they
regrouped in 1967 with a new formation known as the Super Eagles.
Taking their own money and helped with a generous gift from diamond
dealer Solo Darboe, the group ordered instruments from England.
This made the Super Eagles the only Westafrican band to own their own
sound equipment, including state-of the- art PA system. This unique
independence from state or private proprietors enabled the band to
travel and play what they liked and for whom they liked.
The front men of the new Super Eagles group were solo
guitarist/bandleader Badou Jobe, lead vocalists Paps Touray and Dauda
Njie (aka Edu Haffner) and guitar/keyboard wizard Francis 'Senemi'
Taylor, recruited and trained by Badou Jobe.
Other members were Modou Cham (tenor sax and congas) and Oussou Njie
(singer and lyricist) , both originals from the African Jazz era,
Charles Valentine (bass) and Malan 'Malando' Gassama (drums,
percussion), who was one of The Gambia's finest drummers.
Jobe assisted by Taylor formed the creative team behind most of the
Super Eagles compositions and arrangements.
The songs were mostly in Wolof or (broken) English with Touray providing
some belting vocals in the style of Otis Redding - he was voted best
soul singer of Africa - but the band's compositions melded elements from
the indigenous music of The Gambia, specifically Wolof and Mandinka.
The Super Eagles' use of technology -- in terms of amplifiers, effects,
electric pianos -- to interpret African music laid the foundation for
mbalax, which was popularised a decade later by Youssou NDour from
Senegal.
In 1968, while touring all over the larger neighbouring country, The
Super Eagles earned acclaim as the top group in Senegal. The same year
they spread their pan-African influence even wider when they toured and
recorded in Ghana, and even got invited to the Ashanti king's palace.
An eyewitness [Papa J Mensah], recalls the impression they made in
Accra: "The Tip-Toe Gardens, the venue for the group's appearance was
fully packed for a special big, live music performance with seven of the
best big bands in the country, including the African Brothers and Uhuru
Jazz Band. I had only read of Super Eagles in the newspapers and wanted
to see and hear them perform. It was the equivalent of America's Night
at the Apollo, with the Gambian band's performance being the finale of
the whole show. And when they finally stepped up to hit a note, their
presentation of their latest, brand-new, all red Marshall amplifiers and
other top range equipment, together with their stage costumes, one
could sense the band meant real business.
Such glittering spectacle of stage presentation had already drawn a
whole wave of aspiring Ghanaian musicians on the night. By the end of
the second song, the fully packed dance floor was at a standstill. Awe
struck audience, dancers and groovers had all without question been
captivated by this band. Super Eagles were truly super. A bunch of
highly talented Gambian musicians tight as a live unit that played a
repertoire of all styles with unquestionable precision.
I count myself one of the lucky ones at the time to have encountered the
Super Eagles band from Gambia; a great African band that made a huge
impact on countless swinging Ghanaian ravers and musicians alike."
In Ghana they recorded several 45rpms [tracks 1,2 and 15,16] including
the megahit MandalLy which became a hit again in the 21st century when
it was covered by Africando.
In 1969 they visited Europe and toured England - the first Senegambian
band to do so - where they recorded their album Viva Super Eagles, the
title track of which (track 3) called on Gambians to unite in support of
the group. At a memorable concert at the Commonwealth Institute in
London the band was joined by Teddy Osei and Mark Tonto who later were
to form Osibisa.
The album became an instant hit throughout West Africa, but typically
the musicians never saw a penny of the royalties.
By 1972 Badou Jobe & Paps Touray dealt a massive blow to the popular
music scene by deliberately ending the Super Eagles at the height of
their popularity. Being true pan-Africanists and music pioneers they
felt the urgent need for an authentic African identity which led to
the creation of the seminal roots band Ifang Bondi (Be Yourself), now
grown into one of West Africa's leading bands.
In 1999 Badou Jobe won the prestigious Kora All Africa Music Award - the
African equivalent of the Grammy - for Best Arranger of Africa.
DEDICATION
This album is dedicated to the memory of Malan "Malando" Gassama. Malan
was the most wonderful drummer I ever had. After the Super Eagles
Malando went to play in the USA with Al Jarreau and later he carved out
a successful career in Sweden which included sessions with Abba.
Early 99 we had just decided to team up again, recording and touring.
Only a few days later, during a radio show we did together at Gambia's
FM1, Malan tragically collapsed in the studio and died.
Malan, you'll be forever on my dream team!
This album is also dedicated to the memory of Alieu Ka (Aliou
Gori-Mami), our former manager, who tragically got killed in the the
coup of 1981.
May their souls rest in perfect peace.
Badou Jobe
TRACKS
1. Mandal Ly (B. Jobe/ F.Taylor/ O. Njie ) 2:55 | 2. Su Nous Harit (B.
Jobe/ F.Taylor/ O.Njie ) 3:04 | 3. Viva Super Eagles (B. Jobe/
F.Taylor/ E. Touray/ M.Cham) 2:57 | 4. Dohi Gudi Bahut (B. Jobe/
F.Taylor/ Dauda Njie ) 2:55 | 5. Gambia Su Nous Raew (B. Jobe/ O.Njie
) 3:05 | 6. Aduna Poti Ndala (B. Jobe/ F.Taylor/ M.Cham) 2:55 |
7. Love1s A Real Thing (B. Jobe/ E. Touray) 2:55 | 8. Hey Jude
(Lennon & McCartney) 3:15 | 9. Gambia Zambia - African Unity (B.
Jobe/ O.Njie ) 3:30 | 10. Don1t Do That To Me (B. Jobe/ E.Touray)
2:50 | 11. Tagu Nein Lein (B. Jobe/ M.Cham/ O.Njie / Dauda Njie )
3:16 | 12. Aliou Gori-Mami (B. Jobe/ F.Taylor/ O.Njie ) 2:38 | 13.
False Love (B. Jobe/ E.Touray) 3:15 | 14. Gail Gain Chi Rabi
(Trad/arr. B. Jobe/ F.Taylor) 3:05 | 15. Bada Tourey (O.Njie /
F.Taylor) 3:08 | 16. Dauda Sarge (B. Jobe/ F.Taylor/ O.Njie ) 3:06
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