In the Beginning: Early Music of Western Africa

Does "Early Music" refer only to Europe?

Our New York season comes to a close with music from the beginning. Don't miss this very special evening, co-presented by our friends at Goddard Riverside, the Bernie Wohl Center and Afro Roots Tuesdays.

The chants and dances of Western Africa pre-date by centuries any music that we currently refer to as "early.” Come hear some of the oldest music known to us today – music that survived a harrowing ocean journey, centuries in the shadows of the Land of the Free, and which continues to pulse through the amplified soundscape of modern popular song.

Acclaimed Liberian soprano Dawn Padmore, scholar & drummer Anicet Mundundu, and kora master Yacouba Sissoko are joined by Afro Roots Artistic Director, percussion virtuoso and multi-instrumentalist Kevin Nathaniel in a thrilling performance of traditional Western African music from the areas that we now know of as Ghana, Liberia, Ivory Coast, Nigeria, Senegal and Sierra Leone.

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Liberian-born soprano Dawn Padmore, a versatile classical artist known for diverse repertoire. She has appeared internationally, having forged a niche performing music by African composers in concerts around the world. Referred to as “a resonating soprano” by Bernard Holland, music critic of The New York Times, Ms. Padmore has performed recitals and as a soloist in acclaimed venues such as  Carnegie Hall, the Kennedy Center and New York City’s Miller Theater, where she was featured performing the works of the acclaimed young South African composer, Bongani Ndodana-Breen. Her Toronto debut recital was reviewed by the Toronto Star as a "series of musical confections smartly wrapped in a silky soprano." As a featured soloist in the world premiere of Akin Euba's opera, Orunmila's Voices, with the Jefferson Performing Arts Society Orchestra, Ms. Padmore's performance was considered "a highlight of the evening"(New Orleans Times-Picayune). Ms. Padmore was invited to sing at the inauguration of the Republic of Liberia’s President, Ellen Johnson-Sirleaf, the first female African president, and performed for Nobel Peace Prize Laureate Bishop Desmond Tutu in Minneapolis as part of the annual National Youth Leadership Council's conference.

Padmore’s iternational performances include Africa, Europe, the Caribbean and North America. Festivals include the Festival of Sacred and Profane Music in Martinique and the annual New Music Indaba Festival in Grahamstown, South Africa. Ms. Padmore has also performed as a soloist with the Minnesota Orchestra, St. Paul Civic Orchestra (MN) and the Delaware Symphony. She was a young studio artist with the Des Moines Metro Opera Company. Operatic roles performed include the Countess (Marriage of Figaro), Lady with the Cake Box (Postcard from Morocco), Elettra (Idomeneo) and Sister Angelica (Sister Angelica). New operas include the Radical Woman (No Easy Walk to Freedom) and Orunmila (Euba). Competitions won include the Austrian American Society Competition (DE), the Metropolitan Opera Guild Competition Midwest District Winner, and the Delaware Symphony Concerto Competition. She resides in New York City.

Anicet Mundundu is a performer-scholar of African music with particular expertise in Congolese traditional and contemporary musical practice. Upon receiving his B.A. in music education from the Institut National des Arts of the Université Nationale du Zaire (now Congo), he joined the faculty as an assistant professor. During his tenure at the Institut National des Arts, he taught courses in music theory, history, solfege, instrumental studies and educational practice, eventually promoted to Director of Music Studies. Here, he played a leading role in restructuring the national music curriculum for secondary level and higher education. Well known in Congo as a choral conductor, Mundundu was the director of the GEVAKIN choir of Kinshasa, which toured the United States in the summer of 1989. Mundundu holds a M.A. and a Ph.D. in ethnomusicology from the University of Pittsburgh where he taught music fundamentals, class piano, world music, music technology, and directed the African music ensemble. His research centers on the recontextualization of African music, with a particular focus on contemporary trends in African choral music and the globalization of Congolese popular music.

Mundundu is the founder and artistic director of Jambo Lugamba, a company dedicated to presenting the music and dance of Africa. Mundundu’s unique background as both a tradition bearer and scholar of African music keeps him in demand as lecturer, workshop leader, and educational consultant. He has shared his expertise with members of various institutions including, Carnegie Mellon University, Mt. Holyoke College, Carlow University, Chatham University, Duquesne University, Penn State University, Eastern Arizona College, St. Francis College, University  of Michigan, Pittsburgh Public schools, Pittsburgh Ballet Theater, Pittsburgh Symphony’s Pops, River City Brass Band, Pittsburgh Cultural Trust, and the Afro-American Music Institute. As a studio engineer, producer, score writer, composer and performer on vocals, keyboards, guitar, saxophones, African drums and percussions, Mundundu has been involved in recording for over fifteen years.  Recent projects include Nathan Davis’ The Other Side of The Morning, Akin Euba’s African Pianism, and Kuntu Repertory Theater’s production of the musical, Sarafina. Mundundu is currently finishing a CD of his original compositions entitled Gapudi Dance.

Yacouba Sissoko was born in Kita, Mali, to a well-known djely family. Djelys are the musical storytellers in West Africa, a position that is inherited through a family bloodline. For centuries they have been the keepers of the factual history and the fictional fables of past rulers, nobles, social groups and families. Highly respected within their communities, djelys are responsible for keeping stories of the past alive and applicable to contemporary audiences. The kora was the traditional instrument that djelys played as the accompaniment to their songs. 

At the age of 9,Yacouba started learning the kora and the oral traditions associated with it from his grandfather. By 15, he was touring the country sharing the stories that had been passed down through his family for centuries. Yacouba lived with his grandparents until he moved to Bamako, Mali’s capital, to attend the National Institute of the Arts. Based in the capital, he caught the attention of the music world and began touring with noted artists and ensembles such as Ami Koita, Kandia Kouyate, the Alura Fulero Ensemble, and l'Ensemble Instrumental National du Mali, the orchestra that both his mother and grandmother had sung with.  By the time he finished his studies, he was also touring with Yaye Kanoute, Hono Demba and Adja Soumano, all great musical names in Mali.  

In 1993, Yacouba joined the Ensemble Les Go de Koteba of Abidjan led by Souleymane Koli. Over the next several years Yacouba performed all over the world with the 45-piece band and made his first journey to the United States. Yacouba became determined to return to the United States not only to introduce and share the stories of his people but also to learn from other musicians and cultures.  With this in mind, Yacouba began to incorporate other musical influences into his repertoire, developing his own unique style. 

Yacouba did return tothe United States and moved to New York City in 1998.  Immediately he was in high demand as a soloist, guest artist and collaborator.  He performed, toured and recorded with both well known African musicians such as Sidiki Conde (Tokounou), Abdoulaye Diabate, Baaba Maal, and Kakande, and with new up and coming ones such as Tapane Demba, Awa Sangho, and Sekou (Bambino) Diabate and Kerfala Kante.  He was also a founding member of Super Mande, Tamalalou and Fula Flute.  

Yacouba was not limited to African music. He began to transcend musical boundaries and was soon playing with jazz, pop, R&B, and classical  musicians. Since then, he has recorded and performed with a variety of artists including Harry Belafonte, Paul Simon, Leroy Jenkins and Leni Stern and has been asked to play anything from Indian ragas to Appalachian tunes. He has recorded tracks on over 15 CDs with artists ranging from the Gipsy Kings to Sidiki Conde, from Abdoulaye Diabate to Jayme Saft, and from Regina Carter to Rahim Alhaj. 

Yacouba has also been seen at music festivals across the country exposing new audiences to the sound of the kora.  He has performed at the  Smithsonian Folklife Festival in Washington DC, the Playboy Jazz Festival in Los Angeles, the New York Family Arts Festival in New York City, the Grant Park Music Festival in Millennium Park at the Pritzker Pavilion in Chicago, IL, the Portland Jazz Festival, and the Monterey Jazz Festival. In 2010 he was featured in a documentary filmed by the Africa Channel as part of their “Live from Red Kiva” broadcast.

Rooted to give back to the community, Yacouba regularly performs for cultural programs and benefit concerts.  He regularly performs for the Malcolm X and Dr. Betty Shabazz Memorial, Educational and Cultural Center, partners with La Maison d'Art Gallery in Harlem to set up musical cultural exchanges and provides workshops and presentations to primary school and university students. Recognizing his educational contributions, in 2007 he was selected as a Teaching Artist by the Weill Music Institute at Carnegie Hall.

Yacouba continues to blend effortlessly with other musical styles, whether it is performing Indian ragas or Appalachian tunes.  Yacouba can be seen regularly touring with Regina Carter, Rachel Brown, Jordana de Lovely, Oran Etkin, Kavita Shah, Leni Stern, Benyoro and his own band SIYA. His first CD, which features him as kora soloist and with SIYA, is due to be released in mid-2014.