For Laye, like many musicians — and certainly African musicians — there is a very strong element of social responsibility in what he does, “I sing about life as a Fula. My tradition is story and history telling through songs. They respect what songs say and it is important in my culture. The great wall paintings in the cathedrals of Europe are about education, for the medieval people, that is the same role as a musician in Senegal today. Songs are education where no education exists.”

most of all I learned about the jealousy between musicians in Senegal. Every musician in Senegal is a threat to every other. The more successful, the more threatening you are

We were having an interesting discussion about Senegalese musicians’ love of travel and I put it to Laye that the nomadic way of life seems to go hand in hand with music, “I am a Fula and we are nomadic people (herds people) we travel around, we are based all over the world. In my home town (Podor) we are based on both sides of the River Senegal in Mauritania and Senegal but the French decided that the river was the boundary. One of my songs is about the Fula and where you find them — which is just about everywhere in the world.”

Despite his strong attachment to Podor, it was necessary for him to go to Senegal’s capital Dakar to develop as a musician. It was not particularly a happy time though, “It was hard because I went to the Academy and I had no financial support. I came from a poor family, and they could not help me.

We are expressive people and this is where the talent and music techniques come from. An honest expressive art is a pure art

“I joined Orchestra National and there I learned techniques and became the lead singer, but most of all I learned about the jealousy between musicians in Senegal. Every musician in Senegal is a threat to each other, the more successful the more threatening you are. Musicians don’t help each other. It’s hard in Dakar: if you release a cassette you find it has been duplicated by someone else and you don’t make anything.”

So what is it that makes Senegal such a vibrant country musically? For Laye, the answer is in the very essence of the people, “Music in Senegal is born with you, you hear it in the womb. The people in Cuba are from the same route and they took it with them and have it in their genes. We are expressive people and this is where the talent and music techniques come from. An honest expressive art is a pure art.”

believe it or not, Blues is African music. I played in hotels in Senegal as a one-man show for many years

And at the heart of Senegalese music for many years has been Mbalax, “In Senegal, you don’t exist unless you play Mbalax: although Youssou N’Dour plays European music here, he only plays Mbalax at home. This is true of most Senegalese musicians. The album recent released here by Youssou is not even played in Senegal it is for the European market.”

Laye has been told that there is no market for Mbalax in Europe but his experiences of playing it at concerts here have led him to doubt the popular wisdom. He wishes more people would come to his country and see the music in action and decide for themselves, “It is difficult for us because we have to change our style to come to Europe.”

His solution has been to develop his own African music that embraces the blues like the prodigal son returned to Africa, “Djamano came about because I have always performed acoustic music and believe it or not, Blues is African music. I played in hotels in Senegal as a one-man show for many years.”

Over 28 people in all I am expected to support. This is not only my problem but the problem of all Africans

While remixing his Mbalax CD Mami with producer Steve Marshall, his manager persuaded him to lay down some acoustic tracks that would become Djamano. Despite experimenting with styles including flamenco, it was blues guitarist Richard Caswell who hit the mark. Unfortunately for Laye, Richard was unwilling to tour the album and it has taken him a while to get the right sound live. “Finally, I found three excellent musicians Don, Dan and Mike. We only had a few days rehearsal but immediately it jelled. I am hoping they will come to Europe with me this year to do some European dates.”

Laye sees the harmony between the blues and his singing as entirely natural, “The musical style of the album is blues and the pure vocal of my people in Futa. In Senegal language is important because you are communicating information. The blues is the language of our ancestors who suffered and, through their pain, developed a musical style that we all know as the blues.”

Laye knows something about suffering and responsibility, “I am a single parent and my mother looks after my daughter Mami. I am the first-born child and my father is dead which makes me the breadwinner for all my seven brothers and sisters and their families. Over 28 people in all I am expected to support. This is not only my problem but the problem of all Africans.”

Djamano is out on Polish Label Orange World and is well worth tracking down. There are also a few chances to see him in Europe over the next few months, “My first Festival is Bath International on 20th/21st May, then I go to Germany and will be back to do A Festival in Manchester for the relaunch of The Factory.”

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More information and bookings: Jelitara Management