Today it may go online, but once upon a time, the cultural syncretism that propelled music internationally was driven by social processes that were absolutely human. For example, the Afro-Latin sound that could be heard in Senegal in the 70s, appeared many years ago with the help of Cuban sailors who brought their music here. The Baobab Orchestra was born in such Dakar, which started as a permanent orchestra of the eponymous nightclub in the city and became one of the most important orchestras of West Africa and the so-called world music.

Their current main musician himself, saxophonist Tierno Koite, who tomorrow at 9 pm. will perform with his band on a European tour on the occasion of his fiftieth birthday, a concert in the Concert Hall, influenced by a variety of home environments. “I grew up in a family of musicians,” says Tierno Koite, “and my older brothers played the saxophone, jebbe and other traditional African instruments. I was particularly influenced by jazz because my brothers had a lot of records at home, so I learned Charlie Parker, Dizzy Gillespie, Miles Davis.”

A similar atmosphere reigned in almost all of Dakar when Orchestra Baobab took its first steps, and the capital of Senegal was full of scenes from the 70s. “In addition to our own club, there were Miami, Ballafon and Jander, where Yussou N’dur performed,” says Tierno Koite, and goes on to list a few more exotic names: “In the city,” he recalls, “you used to hear music like rumba everywhere, chacha and meringue. However, it was Youssou N’dour, who in the mid-80s represented the most modern and popular musical genre, mbalax, who unwittingly contributed to the decline of Orchestra Baobab, which disbanded in 1987. They reunited in 2001 with Europe and America to show more interest in their music. A total of 24 albums were released. Some key members have passed away. Tierno Coite thinks they see the band from above and want it to continue. However, he doesn’t think the old days were better in every way. “We only played music with passion,” he concludes, “without actually making any money. I think today the life of a musician has improved. Back then it was difficult to even have good instruments. Today we are touring all over the world.”