Diabate, Sidiki. 1987. Sidiki Diabate and Ensemble: Ba togoma. Rogue, FMS/NSA 001.
This well-known tune from the Kita region of Mali originally was composed in honour of Mamadi Keita, who fought against the fula of Birigosirakoro to stop their cattle raiding, in the early 19th Century. The tune was considered so beautiful that the head of the Sackos, a leading family of the region, 'bought' the song for large amounts of gold.
Kouyate, (El Hadj) Djeli Sory. 1992. Guinée: Anthologie du balafon mandingue. Vol 1. Buda, 92520-2.
After their victory, the Sako confiscated the land of the Peul. The griots dedicate this piece, "Land of the Sakos", to the conquerors.
Jobarteh, Ebraima "Tata Dindin." 1994. Salam: New Kora Music. World Network, WDR 56.981.
This instrumental improvisation quotes a famous song from Guinea.
Charry, Eric. 2000. Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa. Chicago; London: University of Chicago Press.
The parent-child relationship of some pieces is common knowledge and is readily talked about as such among many musicians: Saxo (Sacko) Dugu comes from Duga; Jula Jekere from Janjon; and Jaka from Hama Ba Jata.
The piece Sacko Dugu is musically derived from Duga. According to Namankoumba Kouyate (1994-per) of Niagassola, Sacko Dugu was originally based on a piece commemorating the founder of Niagassola, Nasira Mady Keita, and his victorious battle against the Fulbe from nearby Birgo. The piece received its name later when Jemori Sacko, the chief of Kunjan, travelled to Niagassola to purchase it.
99. Knight (1991a:46–47) cites many examples of shifted tonal centers on the kora, which he correlates with various Western modes, including Sidiki Diabate’s version of Duga (Ministry of Information of Mali 1971-disc) Sacko Dugu (Sidiki Diabate 1987-disc), both with tonics on the 6th degree of Hardino; and Toumani Diabate’s (1988b-disc) version of Jarabi, with a tonic on the 6th degree of Sauta.
The earliest nonstudio recordings of Mande music played on a guitar may be those made by Arthur S. Alberts in Kissidougou, Guinea, in 1949 . . . These recordings demonstrate that a Mande guitar style had developed by then and was well integrated into the jeli tradition. They show a broad knowledge of the repertory of the jeli, including Lamban, Sakodugu, Sunjata, and Nanfulen. One of the guitarists often sang along with his guitar lines and appears to have been the leader of the group, which also included a female singer.11
11. Several older musicians from Kissidougou, Kankan, and Siguiri whom I interviewed could not identify the guitarist or vocalist recorded by Alberts in Kissidougou, but they noted that the singer was young and inexperienced. They also recognized the vocal dialect as probably coming from Siguiri.
Older pieces from the jeli's repertory were rare on commercial recordings before the 1960s.13
13. The few tradtional jeli pieces with guitar accompaniment recorded before independence include Mali Sajo (Sory Kandia Kouyate) 1956?-disc), and Sakodugu and Samory, on a Phillips 45 rpm from about 1959 featuring Kavine Kouyate, Kelema Doman, and Odia Conde (Nourrit and Pruitt 1978, 1:48–49).
pp. 398–401 (Appendix C: Recordings of Traditional and Modern Pieces in Mande Repertories)
Unidentified Instrumental Origin: Duga/Saxo Dugu
Unidentified (Guinea Compilations 1962a)
Keletigui et Ses Tambourinis (1967b)
Fanta Damba (1971)
Sidiki Diabate and Djelimady Sissoko ([Ministry of Information of Mali 1971, vol. 5] Musiques du Mali 1995b)
Sory Kandia Kouyate ( 1990)
Orchestre National "A" du Mali (1970)
Orchestre Régional de Kayes (1970)
Balla et Ses Balladins (1967)
Quintette Guinéenne (Guinea Compilations 1976)
Tata Bambo Kouyate (Ainanah Bah, 1985; Diadie Diawara, 1988)
Maa Hawa Kouyate (n.d.b.)
Sunjul Cissoko (1992)
Moussa Keita (Ntani gnini, 1937)
Ami Koita (N'Darila, 1995)
Moriba Koita (1997)
Camara, Alkhaly. 2004. Xylophone Masters: Guinea; Alkhaly Camara, Vol. 1. Marimbalafon, MBCD001.
"For the Sakos." In honor of the "Sako" family.