The Syliphone Years

We Say...

Review by Jon Lusk

Ordered by President Sékou Touré to ditch ‘western’ music in favor of traditional sources under his post-independence policy of authenticité, Guinea’s musicians rose to the occasion, updating their local folkloric themes in a golden era for Guinean music. This ended suddenly with Touré’s death in 1984, but among the great "orchestres" that held sway (quite literally) over the popular imagination during this period, Balla et ses Balladins were one of the finest.

This compilation covers rare recordings, b-sides and hits between 1968 and 1980, during which time they were known initially as Orchestre du Jardin de Guinea and, for a few years, as Pivi et ses Balladins. But despite the brief leadership change that prompted the latter moniker, the line-up remained relatively stable. Balla was actually the trumpeter, but their star player was guitarist Sékou "Le Docteur" Diabaté, who's featured on every piece. His ravishingly beautiful playing sometimes shows the influence of Bembeya Jazz’s Sékou ‘Diamond Fingers’ Diabaté — especially on the likes of “Kognö Koura” — but Le Docteur is less of a show-off, and perhaps even more satisfying a player because of it. Just check his wonderful, ruminative solo on the epic “Sarah ’70.”

You can hear strong echoes of Cuban music (one foreign style that thankfully wasn’t banned) on the swinging “Yo Te Contres Maria” and “Bedianamo,” while “Wilikabo” features James Brown-style shrieks and a chugging Afrobeat-inspired rhythm. Although neither of their featured vocalists are especially distinctive, it’s the instrumentalists that are the real focus. Apart from Souleymane Sylla’s lovely, sinuous soprano sax and clarinet, there’s with a well-oiled rhythm section, squawking horns that comment on the action, and fantastically fluid interplay between the rhythm guitarists and Le Docteur, dispensing strong medicine for whatever ails you.