Motherland Music Artist Profiles

Abdoul Doumbia

Abdoul Doumbia was born and raised in Mali, immersed in the ancient musical and cultural traditions of this West African nation. He was called to the drum at the age of 5 and completed a 16-year apprenticeship under Master Drummer Moriba Keita. Abdoul worked with a number of professional dance/drum companies in Mali, including serving as lead drummer for the renowned traditional drumming and dance troupe, Babemba, for 9 years. He was also chosen as the representative of his region for 8 consecutive years for the National Drum Festival of Mali. Abdoul was brought to the United States in 1991 by Brown University. He moved to Boulder, Colorado in 1998 where he lives with his wife Katrina and 2 sons. Abdoul teaches and performs regularly across the United States, and also organizes CULTURAL TOURS to MALI on a regular basis.

Count M?Butu was born Harold L. Jones in Georgia, 1945. As a young boy he sang in the church choir and from that moment on he could see the sun, he knew that music would be in his future. But it wouldn?t be until many years later that the Count would be able to fulfill his dream.

In 1976 the Count studied music at Georgia State University. He then transferred to The Neighborhood Arts Center College in Atlanta, GA where he learned more about African history and music. That same year he was invited to Nigeria to continue his studies. The sights and sounds of Africa?s beautiful green surroundings awakened deep spiritual feelings for the Count. He knew he was on the right path.

While in Africa, the Count not only learned more about playing the drums but he also learned the art of drum making. It was there that he became enthralled with the wide array of percussion instruments. And the drum became his instrument of choice. He also performed in various African ballets, which tell the history of Africa through song and dance.

Upon returning to Georgia, the Count completed his degree in African studies but continued to study under the great Armando Peraza, percussionist for Santana. In 1979 the Count began performing publicly. His first big break was playing percussion on a Nationally syndicated music variety show called "The Memphis Music Store. " Guests included Herbie Hancock, Kenny Rogers, Loretta Lynn and Rufus Thomas, among others. When the show was canceled, the Count went on the road with artists Nancy Wilson, The Manhattans and George Clinton and Parliament Funkadelic.

The following year, the Count traveled to Europe and moved around performing for American soldiers stationed overseas. Upon returning to the U.S., the Count, who worked as percussionist at a popular nightspot in Atlanta, met Argentinean beauty Graciela Lopez. Lopez was the lead singer of the band. And as those old-sayings go, the two fell in love and began making beautiful music together. Graciela added Latin flavor to the Count?s African sounds.

In the late eighties the Count met underground legend Col. Bruce Hampton. Col. Hampton has worked with other well-known musicians such as the infamous Frank Zappa and Chuck Leavell, keyboardist for the Rolling Stones. The first time Col. Hampton met the Count he proclaimed he shall be called Count M?Butu. That was the first of many synchronicities. You see, the family that the Count lived with in Africa was called M?Butu but there was no way that Col. Hampton could have known that. The Count claims that Col. Hampton was like his lucky rabbit?s foot. It was a meeting that was meant to be.

The following five years were dedicated to recording and touring with the legendary Col. Bruce Hampton & the Aquarium Rescue Unit. The band played in front of thousands of fans all over the U.S. and was a staple on The HORDE Tour, composed of various bands such as Blues Traveler and The Spin Doctors. They garnered critical acclaim from their peers and critics alike. In 1995 the band broke up and the Count pursued a solo career.
During this time the Count was recording for Warner/Capricorn Records. He, along with Graciela Lopez and Harry Case, began working on the making of SEE THE SUN. The album is a variety of melodious jazz rhythms that include a unique and inventive fusion of African and Latin sounds.

In the last few years, the Count has shared the stage with such artists as Widespread Panic, Blues Traveler, The Allman Brothers, Phish, and Edwin McCain, among many others. The Count continues to teach his unique style of hand drumming and is also active with the Seminole Indian Tribe in Okeechobee, FL. He can be heard playing the drums on two of Chief James Billie?s CD?s.

In 1999 the Count signed with Terminus Records and finished producing his long awaited solo-debut, SEE THE SUN ? featuring Graciela Lopez. This latest accomplishment is due out in March 2001. The record displays the talents of some of the finest musicians in the world. It is the culmination of years of influences and friendships that blend to make rare magic.

This year, the Count played percussion for Debbie Allen?s play "Soul Possessed." Singer James Ingram and the great Arturo Sandoval were part of the repertoire. The amazing play was sold out for two months while it played at the Alliance Theater in Atlanta.

Currently the Count is living in Atlanta, GA and is concentrating on the release and promotion of SEE THE SUN.

Osei John Kwame

Osei John Kwame popularly known as ?Osei Korankye? started playing the Seperewa at the age of twelve. Hailing from Ghana, Osei developed a keen interest in music quite early in his life. When he was still a child, his grandfather began teaching him to play the Seperewa.

In Ghana, when talk is made of the Seperewa, one of the first names mentioned will be that of Osei. Simply one of the best players of the instrument, Osei is currently the Seperewa?s demonstrator at the International Center for African Music and Dance. Along with being an expert musician, Osei is an accomplished composer on the Seperewa. He has composed several songs for the Hewale Sounds, which is the resident Legon performing group of the University of Ghana's International Center for African Music and Dance. Osei is also the assistant leader of this group.

Throughout his musical career, Osei has had many opportunities to travel to other countries to demonstrate his musical talents. Some of these journeys include: South Africa (on two separate occasions), Abidjan, Norway (Fjiord Festival), Switzerland, The United States (St. Louis Cultural Exchange) and also Germany for various workshops and concerts. Osei is currently living in Boulder, Colorado where he has been conducting workshops at the University of Colorado and the Bantaba Center for World Music and Dance. During his stay in the United States, Osei has traveled around the country to perform concerts in many cities, including New York City. You may contact Osei by sending an email to korankye_osei@yahoo.com

Dan Forman Well established in the LA recording studios, Dan Forman is recognized as one of the area's most innovative and creative musicians. His professional credentials began in Arizona as a contract member of the Phoenix Symphony, but his broader interest pop music soon led him to the recording studios in Los Angeles. Interspersed with his early touring experience, Dan's personal trips to Brazil and Japan were important influences on his playing; he developed a style of "color" hand percussion and extended the on-stage instrument collection well beyond the routine Latin instrument group common at that time by utilizing found objects like hubcaps and artillery shells, sculptural artifacts and odd metal and wood constructions.

For percussionists the study of music becomes a life-long investigation of the world's instruments, techniques and styles. Dan's pursuits have led to interests in African forms, Afro-Cuban, Asian, Blue Grass, Brazilian, Cajun, Classical, Country, Indian, Jazz, Gospel, Hip Hop, Middle Eastern, Pop, Rock, techno- the list goes on. Recently he's been devoting a lot of attention to the bodhr?n and traditional Celtic music.

Dan has helped broaden the definition of percussion in film music as well. He was quick to incorporate digital samplers and signal processors as a natural extensions to the acoustic sonic effects he's often called to create. The result is a unique textural sound design concept. One of the first percussionists to use computers to drive and synchronize digital samplers with a live orchestra during real-time film scoring sessions, Dan has developed techniques to seamlessly blend electronic percussion with ethnic acoustic instruments. Often he'll work directly with composers and directors to generate a sonic bridge between the picture's musical score and it's sound effects track. In 1997 in an effort to make real percussion more accessible to composers self-packaging projects Dan opened Tambourine Percussion Studio in Venice, California, a recording environment with a large resident collection of ethnic and orchestral percussion instruments.

Chata Addy is a professional drummer, composer, dancer and choreographer from Ghana, West Africa. He is a member of the renowned Addy family of musicians and dancers. He has performed with his father, Tete Kojo Addy in Ghana, his uncle, Yukubu Addy in Washington DC, his uncle, Obo Addy in Portland Oregon. Chata has also performed with Jimmy Cliff, Rakumi Arts, O.J. Ekemode and the Nigerian Allstars. Chata has toured the U.S., Japan, and Canada.

Chata's band, Susuma, masters AfroReggae/Funky Highlife language. This band has worked with dancers nationally to present traditional Ghanaian music and dance at festivals, art celebrations, and opening performances for international musicians such as, The Mathaliani Queens and Samite.

Chata teaches traditional and interpretive drumming and dance in classes and workshops for both children and adults. Chata also performs solo drumming wearing traditional Ghana costumes.

"I want to share the culture of Africa with the people of America," says Chata. As a solo performer, Chata brings the fascinating rhythms, melodies, and movements of both traditional and modern West Africa to his audiences.

Locally, Chata has performed with the Northwest African-American Ballet, with jazz musician Randy Weston, for the UW School of Music, Edmonds School District, Seattle Center Music Workshops and the Museum of History and Industry. Chata currently appears in local clubs.

"The dance, the drums-not everyone will feel it like I do. We all have different views, different understandings, but when you give the music a chance, treat it nice, you will feel it."

The giving of one's special gift of music is an Addy tradition, and Chata has a rich background in both traditional and contemporary music to share.

"When you teach children, you give them something to work with when they grow up. When they respond to the music and the dance, we communicate. They understand what I am trying to share with them. Children, they don't fight the rhythm," he laughs.

Chata has developed a cultural encountering program for school children, which lasts approximately 50 minutes. The program consists of several traditional songs and dances that he performs in traditional costume to the accompaniment of his own musical and percussion studio recordings. He shares with the children about his own native country, its locations, people, and what it is like to grow up in Africa. Chata also individually demonstrates his instruments and describes how each is used in African traditional music, using its Ghanaian name that he has the students repeat. He invites students to volunteer and join him by playing one of the instruments or learning the dance steps. Performing allows Chata to share what gives him enjoyment.

"All my life is music. Music is a partner and a friend; it leads me to feel good," says Chata. "I have to give what I know so you can enjoy it like I do." Chata has a lot to give; as a solo performer, as a teacher, and as the leader of Susuma.

For booking and information please call: 1(503)632-0411 email: ChataAddy9@AOL.Com