Drissa Kone is my idol! One day I'll go to Bamako and hope he will teach me.
@imhotepcaps43912 жыл бұрын
Ani soroma Merci pour cette vidéo très intéressante 😘😘😘
@tylerwyler7712 жыл бұрын
Thank you so much for sharing this, DjembeDirk. I'll be transcribing Drissa's solos forever, I think.
@sccjeunesse112 жыл бұрын
plain, simple, clean and clear phrasing : Young players should sometimes not forget that speed is not everything.
@OL92455 жыл бұрын
Jeunesse Planète you r right. However i never seen playing that slow in real life in Africa. People would fall asleep. This tempo must be for students in a workshop.
@samsukepicotiri29195 жыл бұрын
This is much more difficult than it seems.
@arnowillekes79799 жыл бұрын
I was wondering: isn't the second, faster part called Yagua or something? I learned this from Modou Khoule in Dakar. Hope someone knows the answer. Much obliged...
@MrDillonz7 жыл бұрын
The second part is called Worokotu or Urukutu not sure which is the correct spelling but I hope that helps. It's often played with Madan.
@luigilatino40376 жыл бұрын
the second part its call "rukutu
@unibongo20096 жыл бұрын
In Senegal, they mix everything and usually the teaching there is not to be trusted. The fast part of Madan is known as Wurukutu or Rukutu and it is ternary. In this recording, it is actually a Kuku witch is played. Often the 2 rythmes are actually played together, especially in Guinée, but there Madan is called Djagbé.
@rodmansdagoat4 жыл бұрын
stéphane sublet I don’t think your comment is accurate. The dunun part of kuku is ballet created and not traditional. Urukutu may be a possible source. Never seen that ternary version but this one often apears following madan. Kuku is from the forest region in guinea, if I’m not mistaken. I doubt that these guys would call what they are playing here “kuku”
@arnowillekes79792 жыл бұрын
Ah so good to see some comments!! Took a while haha, so hope you can respond soon again! One of my other teachers in Senegal told me how the ‘mixing’ of traditions is actually quite a conscious process and practiced in all the ballet-style contexts (and in nearly all West-African countries). In traditional contexts however the Senegalese sabar, serouba, djembe, dounoun, bala, bugarabu and other players stick to their regular classics and arrangements. Sabar may be an urban and thoroughly modernised musical exception though; it has so many distinct styles and so many contexts which co-exist (in which a lot of money is also made) that I think it is becoming quite unique…djembe in Guinea and Mali is much more traditional though there’s also an ethnic and regional component present… Modou Khoule called Yagua an Ivorian ‘newer’ rhythm btw, he did not include it in the usual riddims played in Dakar…I suspect the situation in Abidjan is similar towards traditional or modern contexts of dance and percussion…
@OneDrumBum11 жыл бұрын
perfect display. Smooth!
@Afrika_Percussie11 жыл бұрын
Yeah!
@MarcioACouto11 жыл бұрын
Muito bom.
@arnowillekes79792 жыл бұрын
Also check these recordings for the repertoire that Drissa and co play and teach, that Urukutu is included! kzbin.info/www/bejne/f2TCeqSCgbtqZs0