Cheikh Lo

Born in 1955 in the small city of Bobo Dioulasso, in Burkina Faso, his parents were originally from Senegal. He grew up in a very mixed community, he speaks Wolof, Djula, French, Bambara and Sose. He quit school at a very young age due to his passion for music and he spent many hours playing the guitar, drums and percussion. All the instruments were lent to him since he didn't own any until he bought his first guitar in 1985. During his adolescence, Lo listened to all kinds of music, especially Zairean rumba, which has its origin in the Cuban son. At the age of twenty he began to play percussion with the Volta Jazz Orchestra in Bobo Dioulasso, that was devoted to playing all kinds of cover songs. From there he emigrated to Senegal in order to play percussion with a singer known as Ouza. Lo debuted as a lead vocalist with the orchestra of the Savana Hotel in Dakkar, where he cultivated a repertoire that he calls "varieté," which has influenced his music style. Lo moved to Paris in 1983, where he spent several years as a studio musician. He returned to Senegal in 1990 and gave up music in order to practice his profession of jeweler, although he immediately realized that with his bohemian aspect and his dreadlocks he didn't fit very well with his trade colleagues. His meeting with Youssou N'Dour in 1989 was miraculous. N'Dour discovered in Lo's voice "a trip through Mali, Niger and Burkina Fasso." The first cassette by Lo appeared in 1990 and was called "Doxandeme" (Immigrants). It was very successful despite the poor sound and Ló acquired a certain fame, a new figure to keep in mind. But until 1995, he was not able to record his compositions in a decent recording studio environment until he found the helping hand of Youssou N'Dour. Cheikh Ló loves the reggae "I/he/she/it/you listened to it all the time, especially Bob Marley and Peter Tosh, but I am not a musician of reggae." They were the rhythms of [mbalax] (originally one form of dance of drums for the Wolof celebrations) those that they supposed their authentic musical cradle. These songs are full of the spirit and the ethnical and social teachings of the Mouridas and their prophet.





Cheikh Lo

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