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Orchestre Toubab
Orchestre Toubab
Teeru deggoo
Record Labels Autoproduction
Released March 7, 2018
Media cd
Recorded 2016 - 2017
  by Robert Falk and Daniel Léon in Tuta Weza and Igloo studios
More information about this album 
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Robert Falk - Acoustic guitar    
Benoit Leseure - Violin    
Alessio Campanozzi - Double bass, Bass    
Gilles Daems - Electric bass    
Gauthier Lisein - Percussion    
Guests :      
Bao Sissoko - Kora    
Chris Thirion - Djembe    
Ben Ngabo - Vocals (on 3), Djembe    
Aida Dao - Vocals (on 1 and 3)    
Manssata Sora - Vocals (on 11)    
Yannick Koy - Vocals (on 4), Animation    
Coco Malabar - Vocals (on 4), Animation    


Orchestre Toubab  


1.   Fo yelamé ti boin   7:11  
2.   El sombrero del gato   5:50  
3.   Umugore w'Ibanga   7:23  
4.   Article 16   5:46  
5.   Brontolaõ   5:11  
6.   Soumbedioune   5:39  
7.   Baktutop   8:20  
8.   Peace Street   6:13  
9.   Gatanu   7:08  
10.   Tokoro   4:46  
11.   Sanaa   6:10  

All compositions by Robert Falk, except Sanaa (traditional Sanou)

Texte également disponible en français 

Teeru Deggoo is a rather loose translation in wolof of ‘Harmony Harbour’. Seaports are typiccally places where travels are told and cultures meet. This is an appropriate symbol for the second CD by Orchestre Toubab.

In this album we continue the tribulations we had started with Tukki Janeer and keep to our approach of drawing our inspiration fropm the modes and rythms of Africa and the afro-descendant communities and transpose them in a mixed fusion music. We tell here our stops in some countries we already visited such as Senega, Congo, Brasil and we add new flavours which are inspired by Rwanda, Burkina Faso, Jamaica and Argentina.

This is mainly an instrumental album where one can find our usual violon, guitar, bass and percussions but we added some vocal interventions in a number of tracks. This singing can be humorous or re)use bits of traditionnal songs such as in « Fo Yelame » or « Sanaa ». There is also a more audacious mix such as the pygmy choir in Umugore.

The tracks are rather long as we wanted to give a lot of room for the solos but also because the richness of the revisited rhythm lends itself to multiple developments both melodically and rhythmically. There is also some joy in being able to develop a tune like Peace Street which starts in a simple way then modulatess on a jazz chord grid then drifts on to a free form – Miles style- before going back to the original theme.

Besides strict written parts the tunes feature also ample improvisation
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