AaAaAaAaAaAaAaAaAaAaAaAaAaAaAaA - Cumbancha · Kimi Djabaté was raised in Tabato, Guinea-Bissau, a village known for its griots, hereditary singer-poets whose songs of praise and

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Kimi Djabaté was raised in Tabato, Guinea-Bissau, a village known for its griots, hereditary singer-poets

whose songs of praise and tales of history and legends play an essential role in Africa’s musical life. Centuries ago, Djabaté’s ancestors, a wandering troupe of musicians from Mali, traveled to the region and the king of Guinea so loved their songs he invited them to stay and offered them the territory of Tabato. Ever since, the area has been a recognized center for music, dance, handcrafts and other creative arts. Djabaté was born into a poor but musically accomplished family in Tabato on January 20, 1975. His parents, two brothers and his sister were all professional musicians. Recognized as a prodigy, Djabaté began playing the balafón, the African xylophone, when he was just three years old and soon after learned to play many other traditional instruments. As a pre-teen he was sent to the neighboring village of Sonako to study the kora, which provided a foundation for subsequent accomplishments as a guitarist. As his musicianship developed, Djabaté also mastered a wide variety of traditional drums and other percussion instruments. Music was not a past time or a hobby for the young Djabaté, however, and from a very young age he was obliged to contribute to the family’s income by performing at weddings and baptism ceremonies. Djabaté’s early talents proved both a gift and a burden, as his family often forced him to sing and dance against his will, and he had little time to partake in the carefree fun and games of other children his age. Djabaté’s parents as well as his uncle, provided the young phenom with excellent training in traditional Mandingo music, but Djabaté was also interested in popular African genres such as the local dance music style gumbé, Nigerian Afrobeat, Cape Verdean morna, not to mention western jazz and blues. In 1994, Djabaté toured Europe as a member of the national music and dance ensemble of Guinea-Bissau, and he decided to settle in Lisbon, Portugal. Djabaté’s move to Europe proved to be one of the most difficult experiences of his life, and he faced many personal challenges adapting to a different culture and society. After over fifteen years in Europe, Djabaté still remains devoted to the music he grew up with in Guinea-Bissau, although he brings elements of his own influences and experiences to forge a unique and personal sound. In Europe, Djabaté has collaborated with many exceptional musicians, including Mory Kanté, Waldemar Bastos, Netos de Gumbé and others. In 2005, Djabaté released his first solo album, Teriké, which he released independently. The central theme of Karam, Djabaté’s second solo album, is Africa: it’s social and political realities; the suffering of African people; the fight against poverty; freedom; women’s rights; and love. An expression of his griot roots, Karam pays tribute to the people, soul and spirit of Africa that is at the

heart of his music.

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01. Kodé (Love) 5:35 Balafón and Lead Vocal: Kimi Djabaté Keyboard, Electric Guitar and Lead Vocal: Milton Gulli Drums: Marcos Alves Percussion: Marisa Gulli Bass: Francisco Rebelo Sax: Joao Cabrita Clarinet: João Gomes Kora: Braima Galissa Chorus: Milton Gulli and Kimi Djabaté

Ahah kode nukunubai kunha korsonAhah kode nukunubai kunha korsonKabudisan lunjo de BôBilai nhté bi lelefé kodéKabudisan lunjo de BôBilai nhté by lelefé kodéKabudisan lunjo de BôBilay nhté by lelefé kodéKabudisam lunjo de Bô, bilai nhté bi lelefé KodéKabudisam lunjo de BôNimy jé, nimijé, kanu. Nimyjé nimyjé nimyjéWay way kanunholéNimyjé nte tessinola kanuKabudisam lunjo de BôBilay kananamalia jamarobi

Where do you take my heart? Don’t leave me away from youI want you, my loveDon’t let me be away from youI want you, my loveDon’t let me be away from youI want you my loveDon’t let me be away from you If I don’t see you, I can’t do anything Where are you my love?If I don’t see you, I don’t sleep, my love Don’t let me away from you I want you, my lovePlease don’t make me insignificant

Kodé is about love and about the restless feeling of insecurity that grows inside us when we love someone.

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AaAaAaA02. Karam (Education) 5:13Balafón and Lead Vocal: Kimi Djabaté Bass: Renato Chantre Acoustic Guitar: Kimi Djabaté Kora: Braima Galissa Percussion: Kabum, Kimi Djabaté, Nata Chorus: Bineta Sock, Nina Kodé and Kimi Djabaté

Malam de malam de malam de lalalala Malam de malam de malam de lalalala Mulo–nhaneta Mulo-torrota-je Guine-mulo-torrota Mulo-torrota je Mulo-kumbota Guine molo tourota ha Neman karam foihe tama ne Karanta foihe kannefoNemam-karam foihe tama Ne karanta foihe kannefo Je t’aime, I love you Konko mannhe de konko Manhe de jangaro manhe de Alinha karannu de he he Konko manhen de jangaroManhen de torro manhen de He he, alinha karannu he he Africa, Africa, Africa, Africa, Africa Africa mocolo torrota je heWay alinhodema, way alinhomuta Neman karam foihe tama Ne karanta foihe kannefo He he he he AfricaAfrica, Africa alinhomotaAfrica, Africa, Africa alinhobunhaAfrica, Africa alinha karamJe t’aimeAlinha karam de alinha karam Alinha karam de alinha karam Alinha karannu de alinha karam Alinha karannu de Africa Africa, AfricaJe t’aime, Africa ho Africa, Africa I love you

I do not know, I do not know I do not know, I do not know People suffer so much It’s a tiring experience The people of Guinea have suffered so much!It is a tiring experience People cry too much The people of Guinea still suffer If you don’t study, you should travelYou should study to learn languages To get around

Je t’aime, I love you Guinea is hungry There are illnesses, it is not good People, we have to study!There is hunger, there is disease There is suffering and Lack of school Africa, Africa, Africa, Africa, AfricaAfrican people suffer Help is needed, altogether If you don’t study You must travel! Hey, hey, hey, hey Africa! Africa united Respect in Africa Africa, Africa we have to study!Je t’aime We must study We must understand We need to know We must understand Africa Africa, AfricaAfrica, je t’aime AfricaHo Africa, I love Africa

This song encourages the learning of languages to promote the development of African people, to bridge barriers between people, to promote traveling, to facilitate communication. Education can help dissolve some of Africa’s social problems, such as poverty, hunger, misunderstanding and isolation.

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AaAaAaA03. Djombé (Personality) 3:40Acoustic Guitar: Kimi Djabaté and Nelson Costa Bass: Francisco Rebelo Percussion: Kabum, Francisco Rebelo and Kimi Djabaté Chorus: Bineta Sock, Nina Kodé, and Kimi Djabaté

Oi, Oiayah, yah yahDjombé ny, tamanhogole mouDjombé ni furunho le mouAbentema Ramon SarroAli Malon mogolu, mogolu djombé nyTamanhogolé mou alabulu jonkaná Baga JommaDjombé ni dakanné mou ala buluOi, Oiayah, yah yahOiayaya oumanhedé moluDjombé, djombé, djombé, djombéPerto de bô inka sibi kantaPerto de bô in kasi bi tocaDi sambai, di sam lunjo de bôDi sam mkuri de bôPerto de bô inka sibi canta,Perto de bô mkasibi tocaPerto de bô ninguim canadaDi san mkuri de bôDi sanlunjo de bô

Oi, Oiayah, yah yahEverybody has their own friendEverybody has their partner Djombé, djombé, djombé la laDance! Dance!My friendship with RamonIs valuableLet people be freeLet them do what they feelEach one their own way, becauseNobody is perfectOi, Oiayah, yah yahDjombé, djombé, djombé, djombé, djombéNear you I can’t singNear you I can’t playLet me go, let me be away from youLet me be away from you Near you nobody has any value

This song talks about accepting others racial differences, personality differences, and personal decisions. The song condemns intolerance and encourages opening up to people’s differences.



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AaAaAaA04. Mussolu (Women) 6:38Acoustic Guitar, Lead Vocal and Balafón: Kimi Djabaté Guest Vocal: Mayo Coopé Electric Guitar: Nelson Costa Bass: Renato Chantre Percussion: Laye Traore, Kabum, Kimi Djabaté Chorus: Bineta Sock and Kimi Djabaté

Wai mussolo léGuiné Mussolo ho alabarcaY malon mussolulé ha ha haTabato mussolu ho alabarcaY malón Mussolu le naGuiné Mussolo ho alabarkaUm dia kolegas falakuma mulherE mecinho de home toqui fiaDia mannhon falankuma mulherMecinho De home te panfiaHomes no respita minhers Homes no balura minhersTerima fulalu be nhogon djanfala He he he, djanfamanhidé Badimafula lulabé nhogonDjanfala na na na He he he badiomaluté DjanfamanhidéHe he he furumalutéAlidon alidon donqué Nitata Bissau netata Bafata Ho yo yoNetata Tabato ho ho mogoluTabato mussolu ho Alabarca Netata Sonaco ,ho yo yo Netata Bubaquy, ho yo yoNetata Manssoa ho ye mogoluGuiné mussolu ho alabarcaAla alidon alidonqué Alimalon mossolu hoMussolu Guiné mussolu Ali malon mussolu ho, ho, hoAfrica mussolu , Ho yo yoNetata CantchuncoNetata, farim denden bankoNetata, bulama mogolu Guiné Mussolu ho nhontéImalon mussolu le na Gabú mussolu le nhonté

We have to bless women Women of Guinea-Bissau, thanks Women have much valueWomen of Tabato, thanksWomen have much value Women from Guinea Bissau, thanks Women are men’s cure Men, you’ve got to believe it!We do respect womenWe do value womenBetrayal is not good for men and women It is not good, the betrayal of a family Or inside a coupleDance, dance! Whether you go to Bissau, or to Bafata Ho yo yo Whether you go to Tabato, Or to Sonaco, yo ho yo Or to Bubaque, yo ho yoOr to MansoaWomen from Guinea-Bissau welcome you, thanks Dance, danceWhen you do not know what you have, you do not value it Women of Guinea-Bissau When you do not know what you have, you do not value it Women of AfricaHo yo yo

A tribute to African women. The song emphasizes the need to respect women and extols their many virtues.

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05. Mogolu (The People) 6:20Balafón, Electric and Acoustic Guitar and Lead Vocal: Kimi Djabaté Bass: Francisco Rebelo Koni: Christophe Percussion: Francisco Rebelo and Kimi Djabaté Chorus: Bineta Sock and Kimi Djabaté

Intenle cinlola bancokaFaye bambamYo mogolu mancaynhanYo mogolu mancaynhanKanadoli que fentiguité MoluYo mogolu mancaynhanKanadoli qué, londinaléty, alahYo mogolu manquilinYo mogolu mancaynhanKanadoliqué bulu kuluteYo mogolu mancaynhanKanadoliqué londinaléty

Why is there no equality? Why is there no equality? How come some have so much and others have nothing? How come there is no equality? How come a few have the opportunity to study, and others do not? Why is there no equality? Why there is there no equality?How come some have so much and others have nothing? Why is there no equality? How come a few have the opportunity to study, and others do not?

This song offers reflections on social inequalities, about immigration and Africa’s economic dependence on the international community.

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AaAaAaA06. Manla (I Cannot Believe It) 5:35Acoustic Guitar, Lead Vocal and Balafón: Kimi Djabaté Bass: Francisco Rebelo Electric Guitar: Madshoff Kora: Braima Galissa Percussion: Kabum, Laye Traore, Nata, Kimi Djabaté Chorus: Bineta Sock and Kimi Djabaté

Manla ha manla bimolula de Manla ha manla ha manla Biquel ulade manlaha Queba horiba souro kanaSanoba souro kana horiba Souro katade wande mussolula deManla ha Mussouba horiba soroKana sanoba souro kanaHoriba soro abimirilaDenkolo la de .Manla haÇa c’est pas bon, c’est pas bonSi tu pleur , c’est pas bonSuholuho braimaIsalamaleka braima fadiaDjali soula braima Finalu soula braima Misquinalu soula braima fadia Kamarim nhima braima Kukuba nin bantanba braima fadia Iteleiaque Bissau mogomandu Nin mogosarama te quilinteQueba horiba souro Kana horiba souro Kana sanoba souro Abimirila mussouku lela de Mussoba horiba souroKana sanoba souroKana Horiba souro abimirilaDenkolo la deDenko denko denkole nhogonteÇa c’est pas bon, c’est pas bonNibe musso minféMokania dianamo la malia cherry, ho Wai kana kossy, cherry Mokani dianamo la malia waiHa ha kana kassy, ha ha kana KossyHa ha kanananyÇa c’est pas bon, c’est pas bon

It is difficult to trust today It is difficult to trust men today When men earn a lot of money They go and look for more women to marryWhen women earn a lot of money They are more concerned about looking after children at home This is not good, this is not good If you cry it is not goodI do agree with Braima He only married one woman Fadia Braima, I applaud you for being this way! Braima give a hand to griotsGive a hand to storytellers Give a hand to poor people Braima is a great man And has a big vision Even in Bissau people talk greatly about himWhen men earn a lot of money They only think of having more women at home It is important for men to take care of children tooBecause having children is a great happiness This is not good, this is not goodIf you like a woman Don’t make her sad Don’t abuse her Don’t make her sad No, no mistreatment! This is not good. This is not good.

A song about money and its relation to African polygamy. It states Kimi’s personal opinion about men’s behavior and disapproval of some marriage traditions in Africa.

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AaAaAaA07. Ná (Mother) 4:32Acoustic Guitar and Lead Vocal: Kimi Djabaté Bass: Francisco Rebelo Kora: Braima Galissa Chorus: Kimi Djabaté

Naoh nah, naoh nah, naoh woy nah, naykanakumboJondin kamisouro dunia, assagui alalema dená kanamone kanawasé djomilabalo naohBiry ala ka duniada dolibekombolá dolibe djelelá ná nay kanakumboJudin kamisoro dunia assagui alalemá dená Kanamone kanawasé djomilabalo Uenahonah mahamede dina kanakombo de na Lassana na Mariama na kumbomagni Uenah uenah kanakumbo dé Na manda na manda oh naykanakumbo

Mama, Mama, Mama, don’t you cry All that you have in this world leave it In God’s handsDon’t feel pity or lose hopeYou never know what tomorrow bringsSince the world has existedThere are some who laughAnd others who cryMom, please don’t you cryAll that you have in this world leave it In God’s handDo not feel pity or lose hope You never know what comes tomorrowHi Mama, hi Mama, mother of Mamadu, don’t you cry Mother of Lassana, mother of Mariama don’t you cryMother, mother, mother don’t you cry Please don’t cry, mama

A tribute song to Kimi’s mother that offers a message of courage, gratefulness and hope. Kimi values her even more since his father and some of his brothers passed away.

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08. Dabô (Tribute to Dabò) 5:17Balafón, Acoustic Guitar and Lead Vocal: Kimi Djabaté Guest Vocal: José Braima Galissa Bass: Renato Chantre Chorus: N’Dara Sumano, and Kimi Djabaté Percussion: Kabum, Kimi Djabaté Kora: Braima Galissa

Mamahadi, oh mamahadi, oh mahamaDualé djabitima déMahamadi dabolé mahamadi dabolé Dualé djabitima mamadéKanacassi kanimiry, kanimiry Kanacassy uoh, cassimanhi canacassi Mahamadi dabolé, adja mussuluké Mahamadi daboléDabô dabô lé, dabô alamissola simayalelá wayMahamadidabô, salamaleka nhilelemá Karamô dua le djabitimáBinguy duá lé djabitimáNa dualé djabitimáMahamadi dabô suoluóBafata mogoman duma nin mogô saramantikilintiNah nah dualé djabitimá, way ahah dualé djabitima Suoluó mahamadi dabô faduale djabitimaNa duá lé djabitimáKaramôu dua le djabitima Kukubany bantanba. Nhi lele maMahamadi dabôSalamaleka Mahamadi dabôNhi lele ma bafata mogoman Duma nin mogô saramantikilinty

Mahmadi, oh Mahmadi, oh Mahama God bless you Mahamad, where are you? God bless you, Mamadou Do not cry, do not think Do not cry, because crying is not goodMahamad, where are you? Husband of Adja Mahamad, where are you? May God give you longevity Mahamad DaboI welcome you I speak for youYour Qur’anic teacher is grateful to you Your aunt is grateful to you Your mother is grateful to you Mahamad Dabo, I agreeThe people of Bafata also agree Because you are a thoughtful and respectful person You have gratitudeYes, thanks You have a great visionI speak to you Mahamad Dabo

Another tribute. In this case, Kimi sings for a man named Mahammed Dabó, who has recently lost his wife.

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AaAaAaA09. Fatu (Tribute to Fatumata) 5:25Balafón and Lead Vocal: Kimi Djabaté Bass:Francisco Rebelo Acoustic Guitar: Kimi Djabaté and Nelson Costa Percussion: Kabum, Kimi, Nata Chorus: Bineta Sock and Kimi Djabaté

Tonhalé Faly tonhale fo, tonhalé naah tonhalé fóMussunhima souromandi duonia terróSouromala malu manhi, béni dianamôLambé mala malu manhy Biny tamanhogó mokani dianamo la maliaFatumata yé, Duna makendéTonhalé Fali tonhali fo, tonhalé naah tonhalé fóMussunhima soromandi duonia teróYenso uorila, yenso sanula, yenso bunhá le la Fatumata bá, Duna makendéFatu fatu fatumata báFatu fatu fatumata báSalamalecom, malecom salamSalamalecom, malecom salamTonhalé Fali tonhali fo, tonhalé naah tonhalé fóMussunhima soromandi duonia teróNinko Fatumata nhi lelemá laguinencalu lafatumataMariama Sirem coro mussu fatamata ba Cucubani bantamba , gani gany tambasigaSouromala malu manhi, bény dianamôLambé mala malu manhyTonhalé Fali tonhali fo, tonhalé naah tonhalé fóMussunhima soromandi duonia terróMariama sirem korro mussulé, Wauá nalo FatumataJugulo maliata, Jugulo maliata

The truth is to be toldFinding a great woman is difficult A woman who fights should be valuedShe should not be abused The truth is to be told Finding a great woman is hardThe good you do to peopleOne day God will remember youFatumata is your nameTruth is to be toldFinding a great woman is hard Fatumata, who came from Guinea, this song is for you!The sister of Mariama Siren Woman of honor, I admire youA woman fighting to be valued Should not be abusedYour enemies should be ashamed

This music conforms to a griot tradition: singing to someone special, to encourage and to give strength and good wishes to this person. In this case, Kimi sings a tribute to a woman named Fatumata.



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AaAaAaA10. Manhó (Bride) 5:15Balafón, Acoustic Guitar and Lead Vocal: Kimi Djabaté Guest Vocal: Mayo Coopé Bass: Renato Chantre Kora: Braima Galissa Percussion: Nata, Kabum, Kimi Djabaté Chorus: Bineta Sock, Buba Djabaté and Kimi Djabaté

Mariama, Mariama Mariama djomi labanlôMariama MariamaUoyeh MariamaMariama Mariama yo MariamaManhô be kumbola quema belarem Manhô be kumbola quema belarem Ninha té jon balilá sayalá momé Aly malon quebalu ali kana Mussudi quema, ate quiminféManhô be combola quema belarem Ninha té jon balilá sayalá momé Yo mogobalô, naa aly sabaré

Mariama, Mariama Mariama nobody knows tomorrow Mariama Mariama Uh oyeh MariamaThe bride is crying because she was forced to marryThe groom is waiting for her Please let the women be freeTo choose their grooms! The bride is crying because she was forced to marryThe groom is waiting for her Venerated men, grant freedom to women!They took the heart of Mariama Along a path that is not her ownLet Mariama live her life of nobility Poor Mariama, crying your destination Let Mariama alone, because everybody should be free To choose their love

The song also looks at the conditions of African women’s lives. It is a critique of the practice of forced marriages. It sings about the freedom of being able to choose whom you wish to marry.


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AaAaAaA11. Alifatá (Stop!) 3:27Acoustic Guitar, Shekere and Lead Vocal: Kimi Djabaté Chorus: Bineta Sock and Kimi Djabaté

Maula Maula Maula HaYo maulaAli fata, queleluma hoQuele manhy Alinho muta Kaque quilinteQuele manhyAlinha fataQueleluma deQuele manhyAlinho muta Kaque quilinty Quele manhyMaula Maula Maula Yo maulaAlinho muta Kaque quilintyQuele manhyAlinho dema Kaque quilintyQuele manhy

Leave conflicts War is no good Join up to become one! Don’t make warLeave the war! It is not the wayStay close one to each otherTo become one Not to make war Leave the war!

This song is an appeal, a cry to put an end to war! It is time to stop the violence and conflicts that kill so many innocent people. It is time to ask for peaceful resolutions and attitudes.


12. Djalia (Th e Griot’s Art) 4:30Balafón and Lead Vocal: Kimi Djabaté Chorus: Bineta Sock, Kimi Djabaté and Buba Djabaté

Yo Alala que, yo jonma que Kube kara bailé Ala barro jonte baila Kube kara bailé Ala barro jonte obaila Yo Alala que, yo jonma que Kube kara bailé Ala barro jonte obaila Hote banha jalia de banna deMote banna Hote banna Tabato kaluco djalia te Banna Hote banna, hote Banna Hote banna djalia te Banna de

Only God has the power Whatever God decides Can’t be overruledWhatever God decides Can’t be overruledOnly God has the power Whatever God decides Can’t be overruledThis cannot end, djalia cannot endThe people of Tabato say that djalia cannot end

This song is an appeal, a cry to put an end to war! It is time to stop the violence and conflicts that kill so many innocent people. It is time to ask for peaceful resolutions and attitudes.

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AaAaAaAHaconemi anla mamassambaMamassamba mbalo tawa aiuy mamassamba mimi jó bubacar baldéPulobo do gatá djalijó , Haconenmi anlaYeh yeh fulolon yeh fulolemá, mbafoladé fulolonMamassamba djamansontimáYeh yeh fulolom yeh fulolemá, mbafoladé fulolonMamassamba djamansontimáYeh yeh fulolo yeh fulolemá, mbafoladé fulolon Mamassamba djamansontimaDjalimandiabé mogominfebi saramaya bé mogominfe Sancombá djamansontimáSancombá quelédiariláNah nah nah nah nah nah.yeh yeh yeh yeh. Mogolo MBalô mbalô mbalô mbalô. Yeh balô néMamassamba djamansontima MBalô nibitayensamba. Balô nibitayensambaMamassamba nibitayensambaDjalimandiabé mogominfebi saramaya bé mogominfe Sancombá quelédiariláNah nah nah nah nah nah.yeh yeh yeh yeh. Mogolo MBalô mbalô mbalô mbalô. djamansontimaDjalilo sountimá. Yeh, fulolo sountimáDjalilo sountimá. Yeh, fulolo sountimáDjalilo sountimá. Yeh, fulolo sountimáDjalilo sountimá. Yeh, fulolo sountimá

He is a Fula, I can say that much Mamassamba, people accept youHe is a Fula, I can say that much Mamassamba, people accept you And you have such a high esteem for griots Seriously, the people accept youSeriously, you are a winner Come around, come around. People come nearby!Come cheer Mamassamba. Seriously, the people accept you Balo Mamassamba wherever you go Take me with youHe is a person with great Affection, respect and Consideration for griotsCome around! Come around! People come nearby! Come cheer Mamassamba.Seriously, the people accept youThe griots accept you and the Fula too

A song of praise and gratitude. Again, this song falls into the griot tribute tradition. In this case, Kimi sings for a man named Mamassamba.


13. Fulolón (Ethnicity) 4:37Balafón and Lead Vocal: Kimi Djabaté Acoustic Guitar: Kimi Djabaté and Nelson Costa Bass: Francisco Rebelo Percussion: Laye Traore, Kimi Djabaté, Nata Kora: Braima Galissa Chorus: Bineta Sock and Kimi Djabaté

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AaAaAaA14. Banhané (Enough) 6:11Balafón, Acoustic Guitar and Lead Vocal: Kimi Djabaté Bass: Renato Chantre Kora: Braima Galissa Percussion: Kabum and Kimi Djabaté Chorus: Buba Djabaté, Bineta Sock and Kimi Djabaté

Ayurnidô kuyan mansá tauerakê bedjemabéDidin nénénoh fama nhialaBari dimba jolá bié fa bé sirimTchukael djá tinocam gre yna mo é bamon Nhandé jobanmami django n banma y lara.Ayurnidô kuyan mansá tauerakê bedjemabéDidin nénénoh fama nhialaBari dimba jolá bié fa bé sirimTchukael djá tinocam gre ina mo é bamon Nhandé jobanmami django, banma y lara.Nhala, nhala, nhala, nhala, nhala, nhala, yehNhala , nhala ,nhala ,nhala ,nhala ,nhala, yehDukuléle lengurubassa takabale pinal ningui wali gaussebassa Bassa ualé oulumAuluwalan bassaola, bassaola lengel sene cotto uombô, banhanéAtamba kumba meyma . tapadi pidi tchodi pidi danna crowayan.Crowayan yo, crowayan yo, crowayan yo, crowayan yoDukuléle lengurubassa takabale pinal ningui waly gaussebassa Bassa ualé oulumAuluwalan bassaola, bassaola lengel sene cotto uombô, banhanéAtamba kumba meyma . tapadi pidi tchodi pidi danna crowayanBanhané, banhané, banhané, banhané yo

Look but do not speak, You can be punished if you talk about itIf you talk they will answer you with power They can punish you in front of your parents And nobody can accuse them!They think they are owners of this landAnd can require people to do what they want?That’s enough! That’s enough!They do not respect the voice of the peopleThey dictate the laws and they silence the peopleIt’s an abuse of powerAbuse of power, abuse of power, abuse of power! They think they are owners of this land And can require people to do what they want? That’s enough! That’s enough!They do not respect the voice of the people They dictate the laws and silence the peopleIt’s an abuse of powerAbuse of power, abuse of power, abuse of power

This one comes from Kimi’s conscience as a concerned citizen, and talks about political regimes in Africa; about the dictatorial power that falls upon people and condemns them into si lence and fear; about the violent practices that people suffer without any opportunity to talk about them in public.



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15. Bagi (Tribute to Bagi) 3:55Acoustic Guitar, Balafón and Lead Vocal: Kimi Djabaté Bass: Renato Chantre Kora: Braima Galissa Percussion: Kabum, Francisco and Kimi Chorus: Bineta Sock and Kimi, Nina Kodé

Ala dandala, ala dandalaBagi suna ho koikanakunboAla dandala, Ala dandalaManho be Konbola deAla dandalaAla dandala Ala dandalaBagi sona Koikanakombo Ala dandala, Ala dandalaManho be Konbola de Ala dandalaBagi Kana kumbo de Ala dandalaBagi be kumbola Ala dandala,Bagi be kumbola deAla dandala Ala dandalaYo, yo hoiaiaia iayoIo io ala dandalaYo, yo hoiaiaia iayoIo io ala dandalaAli yo ianGibotoMamé Bissi

Bagi Suna, this will passDon´t cry, don’t cryBagi, don’t cry She is crying She is crying People don’t want to see you sad or crying We are here for you Listen to what I’m sayingBagi Suna

A tribute to the Bagi family. Kimi offers encouragement, strength and good wishes to the family who took him in when he first arrived in Lisbon.

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5:35 01. Kodé (Love)

5:13 02. Karam (Education)

3:40 03. Djombé (Personality)

6:38 04. Mussolu (Women)

6:20 05. Mogolu (Th e People)

4:35 06. Manla (I Cannot Believe It)

4:32 07. Ná (Mother)

5:17 08. Dabô (Tribute to Dabò)

5:25 09. Fatu (Tribute to Fatumata)

5:15 10. Manhó (Bride)

3:27 11. Alifatá (Stop!)

4:30 12. Djalia (Th e Griot’s Art)

4:37 13. Fulolón (Ethnicity)

6:11 14. Banhané (Enough)

3:55 15. Bagi (Tribute to Bagi)

Cumbancha Discovery introduces exceptional emerging talents in international music

CUMBANCHA DISCOVERY 18

Documents

AaAaAaAaAaAaAaAaAaAaAaAaAaAaAaA - Cumbancha · Kimi Djabaté was raised in Tabato, Guinea-Bissau, a village known for its griots, hereditary singer-poets whose songs of praise and