"Made in Senegal": Beninese Guitarist Writes the "Door of No Return" into Orchestra Baobab's Repertoire
According to an Agence France-Presse report published by Africanews, Senegalese band Orchestra Baobab is set to release "Made in Senegal," its first album of new songs in nearly a decade. About half of its 12 tracks are newly composed, and a new generation of musicians carries on the band's tradition of weaving together Wolof griot music, Congolese rumba, Senegalese mbalax and jazz fusion while adding personal styles. Beninese lead guitarist Bolero Lagratte's "Wida" points to the historic slave
According to an Agence France-Presse report published by Africanews, Senegalese band Orchestra Baobab is set to release "Made in Senegal." It is the band's first album of new songs in nearly a decade, comprising 12 tracks, about half of them newly composed, with the vast majority never previously appearing in the band's recordings. The work continues the band's sound, which takes Afro-Cuban fusion as its framework and interweaves traditions such as Wolof griot music, Congolese rumba, Senegalese mbalax and jazz.
The album begins with a turnover in the lineup and the passing of the torch. Formed in 1970, Orchestra Baobab once dominated Dakar's nightclubs and airwaves, before going dormant for a time and making a comeback in the early 21st century, when it gained international recognition. Most of the band's newer members are now in their 30s and 40s. Lead singer Korka Dieng joined in 2023 and is the band's first and only female member. Founding guitarist Barthelemy Attisso died in 2021, while singer and percussionist Balla Sidibe and Rudy Gomis passed away one after another in the early 2020s; saxophonist Issa Cissokho had also died earlier. The band's previous album of new songs, "Tribute to Ndiouga Dieng," was released in 2017 and likewise commemorated a deceased founding member. Tradition here is not an abstract slogan but is embodied in who succeeds whom, who carries on playing and which songs are written anew.
Dieng told AFP that she and the other younger musicians each bring their own personal style while striving to "preserve the originality that has carried this legendary band to the present day." The originality she describes is not about freezing the old sound in place, but about allowing new members to leave discernible personal imprints within a shared history. For a band that keeps losing older members, generational turnover is the central artistic question at the heart of the album.
The song that truly brings history to the fore is "Wida." Composed by 37-year-old lead guitarist Bolero Lagratte, it points directly to the historic slave port of the same name in his native Benin and to the "Door of No Return" there. Lagratte is the longest-serving of Orchestra Baobab's new members, having succeeded founding guitarist Attisso, who died in 2021. The history of the slave trade is thus made explicit in the song's title and subject. This memory is brought directly into the Senegalese band's present-day work by a creator born in Benin. It cannot erase the structural violence left behind by the slave trade, but it changes who has the authority to place this memory: Lagratte is not merely providing the outside world with an "African sound"; he is also determining how his own history enters contemporary work.
Another new composition on the album, "Gorgorlou," was created by trombonist and tenor saxophonist Wilfried Zinsou. In Wolof, "Gorgorlou" refers to someone who works hard to make a living. If "Wida" turns the gaze toward the slave port and the geographical markers left by forced migration, "Gorgorlou" brings sweeping history back to the everyday realities of ordinary people.
Zinsou calls Orchestra Baobab a national treasure. He told AFP: "People come to know Senegal through us, and we bring Senegalese culture to them. People who do not know Senegal see the country through Orchestra Baobab." The remarks show that the band is not content merely to export rhythms; it also seeks a role in interpreting the country. The band's tours beyond Dakar also carry this self-image as "representing Senegal" across borders.
Between the "Door of No Return" in "Wida" and the everyday struggle to make a living in "Gorgorlou," Orchestra Baobab leaves behind not a static "African tradition" label, but a historical expression that is still taking shape: a Beninese creator brings his country's memory of the slave trade into Senegalese music, while younger members, after the older generation has died, continue to determine how the music will be played.
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