Atongo Zimba - Barefoot in the sand

Enlarge Cover
Enlarge Cover HiP 008
See backside

01. Ti zaa tari sum la be-em (5.10)

02. Bo Sukpeene Gilima (5.21)

03. Hun dee ani ti mam dee ani? (3.53)

04. Saaliba wan Toghe (4.41)

05. Deingo sanga (6.12)

06. Saa Pouh Kaahahka (6.01)

07. Oor ma’asiga n’kerima (4.29)

08. Ntinga Buratale (3.30)

09. Nyuure (5.07)

10. Nsuro Bune ti kan kong taaba (4.07)

11. Guuse, en sugro (7.06)
Total playing time 55.39

All lyrics written by Atongo Zimba, all music written by Atongo Zimba and Niels Brouwer

Recorded and mastered at Bromo Studio, Amsterdam, between November 2006 and April 2007 by Niels Brouwer

Mixed by Julio Hernandez

Produced by Atongo Zimba and Niels Brouwer

Executive producer: Rob Bierings

Atongo Zimba – Barefoot In The Sand (HIP008)

Barefoot in the Sand (2007) shows Atongo Zimba’s mellower side, in an unplugged setting, adhering closely to the rural roots of his Fra Fra tribal tradition of the savannahs of northern Ghana.

Barefoot in the Sand mixes his unique voice and signature two-string calabash lute known as the koloko into an acoustic stew of string and percussion instruments, spiced with subtle bursts of flute and sax.


This CD has a much more restful and balanced sound. The opening track Ti zaa tari sum la be-em shows a Atongo Zimba that has grown and become more experienced in his songwriting and performing. His sound is a bit more acoustic and the biggest difference are his vocals. So much more relaxed, so much nicer to listen to. Atongo Zimba is a musician with many possibilities and a great talent. The way he developed in the last three years is very promising for the near future. He has the potential to become a major African roots artist.

(FolkWorld, EU)

Né dans la savane ghanéenne en 1967, Atongo Zimba joue du kolinko, un luth traditionnel.

Fort de ses racines fra-fra – un peuple du Nord-Est du Ghana – et des influences récoltées tout au long de sa vie, notamment auprès de Fela Kuti, le chanteur livre aujourd’hui un troisième album délicat, plus recherché que le précédent. Tout en étant profondément ancré dans ses racines rurales, avec des chansons traditionelles, il affirme ici une réelle volonté de mélange en rassemblant basse, guitare, percussions, chœurs, cuivres et même tabla ‘pour donner un côte arabe nord-africain, qui a un peu le même genre de groove, (…) et pour qu’a l’écoute on ressente des vibrations indiennes, européennes et africaines’. Une belle fusion acoustique sur laquelle Atongo pose sa voix de velours.

(Mondomix, France)


Design by MoArt