Do, 07/09 Talk on Western-Eastern musical fusions 1955-1985




The Golden age of Western-Eastern musical fusions 1955-1985 in the francophone area 

A talk between the record collector and DJ Loïc Guillaume (Phono Mundial / Galette Records / Marseille) & Booty Carrell (B-Music/ Groove City/ Hamburg) with audio samples and a presentation of record sleeves.

The event is part of Loic Guillaume´s residency in Hamburg funded by Goethe Institut Marseille, Institut Francais and the City of Marseille.

Most recent years have seen the emergence of a specific kind of musical research, under the form of looking after rare recordings of popular modern music from every part of the world, mostly eastern-western fusions and electric forms of traditional tunes ; which generally originated during the 60’s era in most of non-occidental continents.

As for Africa, we often speak of « music of the independances », as this matter is closely linked to the political and cultural context : modernisation of the forms, supply of western instruments such as electric guitars, bass, keyboards and brass instruments, but also influences of style due to the listening of music from the US American continent or Europe – all this led the way to a new musical era. But this pattern also apply to many non-occidental countries in Asia, Middle-East, South America..

For years, western listeners that were interested in music from the non-occident world would know about Fela Kuti from Nigeria, they would know about the France-based Camerounese saxophonist Manu Dibango, and of course they could listen to many south-American artists that gained popularity into American jazz at the time.
The 80’s period saw the global rise of malian and senegalese musicians such as Mory Kante, Youssou N’Dour and Salif Keita, into a global « World Music » form, meaning mixed with western influences and losing somehow their origins – and almost none of these western listeners had access to their 10 or 15 years career before that rise, which was also a mix of latin, jazz, psychedelic or rock with ancient roots.

Thanks to the efforts of english « diggers » like Duncan Brooker from Strut Records, Miles Cleret from Soundway in the early 2000’s, or French Ethiopian music lover Francis Falceto of famous Ethiopiques reissue series (who started his quest in the 80’s) we then had a closer view of many 70’s modern recordings from this part of the globe. And it led the way as we therefore gained access to middle-eastern pop scene from the time, either popular or totally forgotten, as well as Asia’s, South America’s, Carribean’s and so on. Adding this to a passionate community of internet curators from all over the world, we now can pretend to a more extended view of this wave of globalization. It allows us to understand the following wave (80’s, MTV, music tended to be more similar in a way) but it now creates a new musical map, obscure artists become stars for the first time (think about Ata Kak or Selda, and Mustapha Ozkent), and most special recordings are now club anthems and influence nowadays creation.

As Loïc Guillaume does his research in Marseille, a city that has a lot to deal with the french colonization history, as well as specific immigration waves (Armenian, Vietnamese, French Caribbean, Algerian, West African, Indian Oceanese, Cape Verdians…), we will bring these cultural aspects into the talk : how francophone communities went to be represented into the music industry through the years, how mentalities evolved from the much «exotic» era of the 1950’s to the World Music explosion of the 1980’s, to a most recent form of recognition of Caribbean, Indian Ocean Islands and North-African heritage.

Furthermore Loïc Guillaume and Booty Carrell will discuss the question whether this „old, archival“ music matters more in diaspora communities than in the homeland. This might be very different since Booty Carrell´s hometown Hamburg is more Turkish influenced while Marseille is more North-African.