What better way could there be on a November evening when the sun has chosen not to appear for several days, leaving us only in the company of grey, dank and moist weather, than to enjoy the fun and sheer exuberance of a band from sunny Senegal, where the smiles shine brighter than the star itself.
Seckou Keita, although seemingly domiciled in Nottingham nowadays, hails from Ziguinchor, a city in the south of Senegal. His father was descended from Sundiata Keita, the founder of the Mali Empire, his mother born into the Griot tradition, regarded as being the preservers of music and history, as they pass down the oral traditions from each generation to the next, even keeping records of births, deaths and marriages. He was raised by his maternal grandparents, his grandfather was Jali Kemo Cissokho, a revered Griot and kora master. Fortunately for us, he taught the young Seckou to play the kora and he did a great job.
Seckou Keita, with kora.
The kora is an instrument from West Africa which has 21 strings, plucked with the fingers. It is made from a gourd, cut in half and covered in cowskin, to provide the resonator, and a long hardwood neck. The skin is supported by two handles which run underneath it and the strings have a double free-standing notched bridge. Unlike the guitar or sitar, which are probably its closest relatives, it is played with the strings facing the performer rather than away from them. This provides a sound a bit like an acoustic blues guitar. It also makes the instrument appear to be somewhat phallic, or is that just my mind following its usual path.
The Homeland Band: Moussa Ngom, Keyboard; Moustapha Gaye, Guitar; Dialy Kemo Cissokho, Percussion; Seckou Keita, Kora; Korka Dieng, Vocals; Mouctar Diongue, Drums; Modou Gueye, Bass.
I would like to begin by thanking the artist for providing a printed programme, from which I gleaned his personal profile. I have an aversion to downloaded ones which can’t be viewed during performances without disturbing your neighbour, and lack the souvenir value storage boxes full of the paper variety have. Two of my most prized possessions are the programmes from Simon and Garfunkel concerts in 1968 at Manchester Free Trades Hall and 1969 at the Odeon Cinema in the same city. Besides, just try getting a download autographed!
Another helpful aspect of the programme was that it contained the running order of the songs which helped no end as the titles are mostly in French or Senegalese, so to have the name and a resumé of each song was brilliant.
The concert began with Seckou taking the stage with is drummer and performing a piece called Bienvenue, or Welcome, which was an instrumental overdubbed by the recording of a poem read by Yusuf Diallo, an artist and actor from Sierra Leone, and is also the first track on his new album.
Seckou and the band leading the dancing
The full band joined him for the rest of the evening, which had all manner of compositions, from traditional, through jazz and rock styles to a love song. Just as impressive as the music was the very amusing banter between the songs. It was delivered in a very natural and humble style, unlike a few other artists at this venue who have had a rather higher opinion of themselves than was appropriate. A brilliant example was at the end of the first set when he announced that the next song would be the final one in the half. A few people emitted an ‘Awhh’ to which Seckou said that we didn’t sound disappointed enough so he would repeat that it was going to be the last song. This time there was lot cheering, whoops and clapping, a reaction that sent him into fits of laughter. ‘I love Leeds audiences’ he said, and sounded as though he meant it.
On reappearing for the second set, he upped the pace and encouraged us to get to our feet and dance should the music move us. It only moved a few, who found some space at the edge of the room to strut their funky stuff, but, after a couple more tunes he basically ordered us, in the most polite of ways, to stand up and get animated, a command I was more than happy to obey. The rest of the night was party time and I left in a state of mind only a spontaneous event like this could instil. The music, the banter, the sheer talent of the band and the incredible voice of Korka Dieng, combined with the permanent smiles of them all, indicating that they were enjoying the show as much as we were, making this a night to remember, as did the programme which will now join the ones featuring Paul and Art in my collection.
To find out more about Seckou Keita, who is on tour with a few dates left in the UK, before the band moves on to Europe, the USA and Canada, please go to https://www.seckoukeita.com/ His album, Homeland: Chapter 1 is on sale now. To see an example of the artist’s work please look at https://www.youtube.com/watch?v=l24FqzM2XQA&t=34s
To see what Howard Assembly Room has in store it is https://www.operanorth.co.uk/howard-assembly-room/
Feature image provided by Opera North. Photographs by Stan Graham
Tyke It To The Limit 