Mandingo Featuring Foday Musa Suso - 1984 - Watto Sitta

Mandingo Featuring Foday Musa Suso

1984

Watto Sitta

01. Harima

02. Muso 

03. Natural Dancer 

04. Kansala 

05. Dewgal

06. Don't Worry

Backing Vocals – Isatou Walker, Nora Harris, Robin Robinson

Bass – Joe Thomas

Congas, Shekere, Bongos, Bells – Adam Rudolph

Drum Programming [DMX] – Bill Laswell, Foday Musa Suso

Drum  – Reymond Sillah

Drums – Hamid Drake

Guitar – Abdul Hakeen

Kora, Kalimba, Talking Drum, Lead Vocals – Foday Musa Suso

Percussion -  Talking Drum – Aiyb Dieng

Herbie Hancock - Keyboards

Producer – Bill Laswell, Foday Musa Suso

Released in 1984 on Celluloid Records, Watto Sitta by Mandingo, led by Gambian kora virtuoso Foday Musa Suso, stands as a landmark album in the evolution of African fusion music. Produced by Bill Laswell and featuring contributions from jazz legend Herbie Hancock, the album is a bold experiment that blends traditional Mande music with modern electronic and funk elements. This longform review explores the album’s historical context, musical composition, cultural significance, and enduring legacy, drawing on its innovative sound and the seamless integration of disparate musical worlds.

n the early 1980s, African music was gaining traction in Western markets, spurred by artists like King Sunny Adé and Fela Kuti, who introduced global audiences to Afrobeat and other African genres. Foday Musa Suso, a griot (a West African oral historian and musician) from The Gambia, had already made waves in the U.S. with his Mandingo Griot Society albums, which fused traditional Mande music with jazz and funk. After the dissolution of the Mandingo Griot Society, Suso reunited with percussionists Adam Rudolph and Hamid Drake in 1984 to form Mandingo and create Watto Sitta, an album that pushed boundaries further by incorporating electronic instrumentation and production techniques.

Produced by Bill Laswell, a prolific figure known for his genre-defying work with artists like Herbie Hancock and Material, Watto Sitta emerged at a time when synthesizers and drum machines were reshaping popular music. Laswell’s involvement ensured a polished, forward-thinking production that bridged the organic sounds of the kora and talking drums with the synthetic textures of the Yamaha DX7 and DMX drum programming. The album also benefited from the contributions of Herbie Hancock, whose synthesizer work on tracks like “Harima” and “Dewgal” added a layer of jazz-funk sophistication.

Watto Sitta comprises six tracks, each showcasing a unique blend of traditional Mande instrumentation and modern production. The album’s sound is anchored by Suso’s masterful kora playing, complemented by a diverse ensemble including Abdul Hakeen (guitar), Joe Thomas (bass), Hamid Drake (drums), Adam Rudolph (percussion), and Aiyb Dieng (talking drum), with backing vocals by Isatou Walker, Nora Harris, and Robin Robinson. The tracklist is as follows: “Harima,” “Muso,” “Natural Dancer,” “Kansala,” “Dewgal,” and “Don’t Worry.”

1. Harima (6:05)

The opening track, “Harima,” sets the tone with a vibrant fusion of kora melodies and Herbie Hancock’s Yamaha DX7 synthesizer. The interplay between Suso’s intricate kora lines and Hancock’s jazzy, electronic flourishes creates a dynamic soundscape that feels both rooted in Mande tradition and uturistic. The track’s rhythm, driven by Hamid Drake’s drums and Adam Rudolph’s eclectic percussion (including Moroccan bongos and Frafra bells), pulses with energy, while Suso’s lead vocals add a soulful, narrative quality. “Harima” exemplifies the album’s ability to balance cultural authenticity with experimental flair.

2. Muso (6:23)

Named after Foday Musa Suso himself, “Muso” is a hypnotic exploration of rhythm and melody. The kora takes center stage, weaving cascading patterns over a steady groove laid down by Joe Thomas’s bass and Reymond Sillah’s dundungo drum. The absence of synthesizers on this track allows the traditional elements to shine, with Suso’s vocals delivering a griot-like storytelling quality. The track feels like a nod to Suso’s heritage, grounding the album in the oral traditions of the Mandinka people.

3. Natural Dancer (6:17)

“Natural Dancer” is a rhythmic tour de force, blending talking drums, shekere, and congas with Abdul Hakeen’s subtle guitar work. The track’s infectious groove invites movement, reflecting the communal dance traditions of West Africa. Suso’s kora provides a melodic counterpoint, while the layered percussion creates a rich, polyrhythmic texture. The production here is particularly crisp, with Laswell’s influence evident in the clarity of each instrument.

4. Kansala (5:57)

“Kansala” is a reflective piece, named after a historical Mandinka kingdom. The track features a slower tempo, allowing Suso’s kora to take on a meditative quality. The interplay between the kora and Adam Rudolph’s gnouan clappers and turtle shell percussion creates a sense of space and introspection. The backing vocals add a haunting, choral element, evoking the collective spirit of Mande music. This track showcases the album’s ability to convey emotional depth alongside its more upbeat moments.

5. Dewgal (6:18)

Another collaboration with Herbie Hancock, “Dewgal” blends the kora’s crystalline tones with the DX7’s synthetic textures. The track feels like a dialogue between tradition and modernity, with Hancock’s synthesizer adding a futuristic edge to Suso’s traditional melodies. The rhythm section, anchored by Hamid Drake and Aiyb Dieng’s talking drum, maintains a driving pulse, while Suso’s vocals soar with a sense of yearning. “Dewgal” is a standout for its seamless integration of electronic and acoustic elements.

6. Don’t Worry (5:24)

The closing track, “Don’t Worry,” features Manu Washington on djembe, adding a powerful rhythmic foundation. The track is upbeat and optimistic, with Suso’s kora and vocals exuding warmth and reassurance. The backing vocals by Isatou Walker, Nora Harris, and Robin Robinson add a gospel-like quality, while the percussion-heavy arrangement keeps the energy high. The track serves as a fitting conclusion, leaving listeners with a sense of joy and unity.

Bill Laswell’s production is a defining feature of Watto Sitta. Recorded at Evergreen Studio in New York City and Studiomedia in Evanston, Illinois, and mixed by Dave Jerden at El Dorado in Los Angeles, the album achieves a polished yet organic sound. Laswell’s use of DMX drum programming alongside traditional instruments like the kora and talking drum was groundbreaking, creating a hybrid sound that was ahead of its time. The mastering by Howie Weinberg at Masterdisk further enhances the album’s clarity and depth.

Herbie Hancock’s contributions on the Yamaha DX7 synthesizer are particularly noteworthy. At a time when synthesizers were often used to create cold, mechanical sounds, Hancock’s playing on “Harima” and “Dewgal” is warm and expressive, complementing Suso’s kora without overshadowing it. This collaboration, born out of Suso’s earlier work with Hancock on the Village Life album, adds a layer of credibility and innovation to Watto Sitta.

Watto Sitta is a milestone in modern African music, as noted by BABE (B)LOGUE, for its “effortless equilibrium of natural and synthesised tunes.” The album represents a bridge between the griot traditions of West Africa and the global music scene of the 1980s. Suso’s role as a griot is central to the album’s identity, as his compositions draw on the storytelling and musical heritage of the Mandinka people. By incorporating electronic elements, Suso and Laswell expanded the possibilities of Mande music, making it accessible to a broader audience while preserving its cultural roots.

The album also reflects the growing interest in world music during the 1980s, a period when artists and producers were increasingly experimenting with cross-cultural collaborations. Watto Sitta stands alongside works like Paul Simon’s Graceland (released two years later) as an example of how African music could be reimagined for a global audience without losing its essence.

Contemporary reviews of Watto Sitta were mixed, reflecting the challenge of categorizing such an innovative album. Music critic Robert Christgau noted that Suso’s earlier work with the Mandingo Griot Society “went right past” him, suggesting that Watto Sitta’s fusion of styles might have been too unconventional for some listeners at the time. However, the album has since been recognized as a pioneering work in the African fusion genre. Rate Your Music classifies it as Mande Music, highlighting its roots in West African tradition, while also noting its electronic and funk influences.

Modern listeners have praised Watto Sitta for its forward-thinking production and timeless appeal. The album’s availability on platforms like Spotify and Apple Music, as well as its reissue on CD in 1987 and 1995, has helped it reach new audiences. Its inclusion in Bill Laswell’s Bandcamp catalog, remastered by James Dellatacoma in 2017, further underscores its enduring relevance.

Watto Sitta remains a touchstone for artists and producers exploring the intersection of traditional and modern music. Its influence can be heard in the work of later African fusion artists like Toumani Diabaté and Salif Keita, who similarly blended traditional instruments with contemporary production. The album’s use of electronic instrumentation also prefigured the rise of worldbeat and electronic music genres in the 1990s and beyond.

Today Musa Suso’s collaboration with Herbie Hancock on Watto Sitta marked a high point in his career, cementing his reputation as a visionary artist capable of bridging cultural divides. The album’s success also highlighted the potential for griot traditions to resonate in a global context, paving the way for other West African musicians to gain international recognition.

Watto Sitta is a masterful blend of tradition and innovation, showcasing Foday Musa Suso’s brilliance as a kora player and composer, elevated by Bill Laswell’s visionary production and Herbie Hancock’s inspired contributions. Its six tracks offer a journey through the rhythms and melodies of Mande music, reimagined through a modern lens. While it may have been ahead of its time in 1984, the album’s fusion of acoustic and electronic elements has aged remarkably well, earning it a place as a classic in the African fusion canon.

For fans of world music, jazz, or experimental genres, Watto Sitta is a must-listen, offering a rich tapestry of sounds that transcend cultural and temporal boundaries. Its legacy lies in its ability to honor the past while pointing toward the future, a testament to the power of music to connect and innovate.