Gangbé Brass Band

A metal sound as soft as silk

Paris 

02/09/2004 - 

With the birth of Gangbé (metal sound) brass band in 1994 in Cotonou in Benin, the "brass band" phenomenon spread from the Northern hemisphere to the Southern. To carry out their project, Athanase Déhoumon , Sam Gnonlonfoun , James Vodounnon and their friends had a specific goal in sight : to combine the brass sounds of fanfare, with a medley of "vaudoun" percussion and sacred bells, mixing the rhythms of their homeland with American styles, in order to create a type of music which is lively, vibrant and dynamic.
Since the spring of 2004 , this bunch of lively lads has been all over Europe with a third album , Whendo (Roots) which is effervescent, sumptuous and festive.

The gangbé brass band has developed a style of orchestration over two generations. It was in the Benin "Garde d’Honneur" that their grandparents learnt to play brass and drums. Enchanted by these sounds of brass which came from elsewhere, the sons of these police officers reproduced them in civilian demonstrations in the city. The fanfares spread beyond the barracks all over Benin, carving out a respectable niche for themselves at baptisms, weddings and funerals. These fanfares became a traditional feature in all kinds of demonstrations.

When the next generation picked up these instruments, they implemented a new "genetic modification" to what they had inherited, by injecting new blood into a music which was originally martial, and then ethnic. The ten members of the G. B. B., all versatile musicians, were all first and foremost trained in variety and jazz. But they had all secretly dreamed of making more of their instruments and one day leaving behind routine accompaniments to become professional and join the ranks of their music-making ancestors, bringing with them the stamp of modernity.

So in 1993, they supported the creation of the Union of Benin Wind Instrumentalists. Athanase Déhoumon : "We had to have some form of recognition of our speciality, hence the need to become part of the same melting-pot, develop our theoretical knowledge, and improve technique, before we could sound out our cultural roots and propose innovative music. We created this Union in order to institute more rigour in our practice and unite all the brass-players from different musical backgrounds. And our orchestra grew out of this union."

In its quest for identity, G.B.B. aimed to incorporate the most characteristically traditional instruments. However, they are all protected by taboos. And you can’t help yourself to sacred objects as if they were in a jumble sale. According to James Vodounnon, a protocol had to be established. "In 1993,we had to explain at great length to an elder our need and desire to perpetuate the language of these holy instruments. He negotiated with the Vaudoun priests and the guardians of the tradition. Then we chose three kinds of percussion as well as a set of Royal bells, which we had been taught to play by the Elders. And in order to be able to play them in the public square, we offered grains, poultry and sheep as a sacrifice to the Gods. After a year of rehearsal, we presented our new repertoire to the French Cultural Centre in Cotonou in front of an audience of Vaudoun priests, top civil servants and other important figures of the community. In that way, they were consecrated..."

One thing led to another. Eliane Vurkumorh discovered them in 1995 and took them to the festival of the Théâtre des Réalités in Bamako, Mali in 1997 . The meeting with Lo’Jo Triban d’Anger resulted in a trusting relationship which opened up opportunities for them in France. They recorded their first album in 1998 Gangbé (metal sound), then Togbé (ancestors) in 2001 and Whendo(roots) in 2004.

In their most recent work, the words witness stories (Noubioto), comment on the baseness of war (Awhan-Ho), and demand respect for the earth (Glessi)… The supporting music is played on animal skins, metal, wood and earthenware and explodes with colour.
Flowing from many different sources, it is underpinned with the rhythms of the Vaudoun gods, rolls on the Yoruba drums and Uncle Sam’s Swing, the Ghana High-Life, Fela’s Afro-Beat as well as several other unidentifiable influences.
A theatrical music which is dramatised by performers who visibly experience a sublime joy whilst sharing their art with their audience, whether in Africa or Europe.

Solo  Soro

Translation : Caroline  Preller