Senegalese Baaba Maal says music is about dance and learning

By Emmanuel Mwendwa

To average music enthusiasts, his name may not easily ring a bell. But for connoisseurs of afro-fusion rhythms, Baaba Maal is celebrated as one of Senegal’s leading performing artistes and exponent of the West African indigenous yella genre.

Though he remains largely unknown in the local circles, the energetic and lively Maal made his formal ‘acquaintance’ with Kenyan music fans during his maiden concert at the arboretum grounds in Nairobi mid last year.

Those who graced his concert treasure the memorable gig, wherein the artiste proved his mettle as a top-notch performer and a crowd favourite on live concerts podiums.

Previous rave reviews have waxed praise on the down to earth artiste — widely credited for his adept ‘… fusion of wolof, yella, reggae, afro-rap and Cuban music with centuries of cultural traditions, multi-languages and cutting edge technology in a way, which not only makes sense but also oozes passion and integrity’.

Baaba Maal is celebrated as one of Senegal’s leading performing artistes and exponent of the West African indigenous yella genre.

The artiste’s songs have also been described as distinctly rooted in ancient African traditions, with lyrics in apparent communion with the world, life and each other, yet seeming at odds with a slab-faced corporate jungle he lives in.

Over a span of two decades, Maal has curved his niche in a growing list of Africa’s leading musical voices, with a wave of popularity building upon his illustrious career.

Nightingale

On the global live circuit; the multi-talented artiste is referred to as the ‘Nightingale’ — owing to his clear high-pitched voice and haunting vocals range on stage. He has variously been referred to as a spiritual pop singer, yet the artiste was never destined to be a music composer or performer.

"In West African culture, ancient tradition dictates only the griot caste must produce singers and storytellers. But I was born in riverside town of Podor, in Northern Senegal, into a fisherman’s caste. My father is a fisherman, thus I was expected to follow in his footsteps," he noted in an interview with the Sunday Magazine in Nairobi last year.

At one point, his parents harboured ambitious plans for their son, with his father once suggesting he pursues law. Maal, however, found his passion for music, which grew gradually, as he got drawn into absorbing traditional sounds around him.

"I remember defying tradition at teenage, opting to learn how to strum the kora harp-like string instrument. Much later on, I was introduced to guitar, which I utilise as my choice instrument," he noted.

Whereas the bulk of Senegal’s top musicians hail from the larger Wolof ethnic group, Maal descends from the lineage of minority Fulani community.

Ancient dialect

His lyrics are predominantly sung in pulaar dialect, traced to the ancient Futa Tooro Senegalese kingdom. It comprises traditional nomads also found in Niger, Somalia, Guinea, Mali, and Benin.

A chance to train at Dakar’s music conservatory opened up new horizons for the budding musician. He would later acquire a coveted scholarship to Ecole des Beaux Arts in Paris, where he studied composition, arrangement of Western music, American R&B and soul music.

"I was swept off my feet upon discovering rhythmic jazz and blues on my own. I was inspired to attempt blending these rich influences with my cultural roots and heritage", he recounted.

Maal gradually became immersed in tireless efforts to perfect his vocals and singing skills. The artiste’s musical career took root during the stint in Paris, after he teamed up with blind griot singer, and guitarist Mansour Seck.

In early 1980s, they performed occasionally with Seck, as the group Lasli Fouta — recording a collaborative, traditional acoustic album Djam Leelii (the adventurers) in 1984 in Paris. Upon his return to Senegal, he had saved enough resources to form his own band, Daande Lenol — it literally means ‘Voice of the Race’.

Man with a mission

Maal consistently explores feelings with his music, always seeking to hone a distinctive rhythmic sound, a fusion of traditional African music influences with pop and reggae elements.

Off the stage, Maal is a man with a mission beyond his music.

"It strengthens my determination to work harder to contribute and improve living conditions of disadvantaged people across Africa, especially young people, whose future is seriously threatened by illiteracy, poverty and HIV/Aids", he says.

He subscribes to the view that it is pointless to make people dance "…yet you can’t make them think."

Ideally, music is not just about having a party or dancing — it helps understand varied aspects of our lives.