By Jose Oliveira and Rosine Alleva – Rock At Night EU Editors
Interview
RAN – Thanks a lot for having us right before the concert. Tell us about this new musical project, “Countryside”…
Etienne Mbappe – For me, *Countryside* represents a lot of things. Leaving the city for the countryside—reconnecting with one’s roots, in a way. But it also reflects an inclination I hadn’t previously admitted to. I love country and American folk music—artists like Crosby, Stills, Nash & Young, James Taylor, and the Eagles—who have a distinctive approach to sound and vocal harmonies. With this project, I wanted to build a bridge between my African roots and that quintessentially American country sound. Picture yourself by the fireside, making people happy with soothing background music. A return to the Sixties, in a way. Honestly, I think the world needs that move right now.
RAN – You’re also on the road promoting your latest album, *Time Will Tell*—a theme that looks to the future—but let’s touch on the past a bit anyway. Could you tell us a little about your background? I know it’s a huge story.
EM – Yes, indeed. I’ll try to sum it up. I was born in Cameroon, started playing the guitar around the age of 10 or 11, and arrived in France when I was 14. That was in 1978, and right away, I tried to put together a band with some friends. Like a true Cameroonian, I took up the bass guitar; it came naturally to me. I was also attending the conservatory, where I studied classical guitar and double bass. Then, at the age of 20, I began associating with big names in African music, such as Ray Lema, Touré Kunda, Salif Keita, and Manu Dibango. They liked my bass playing and brought me on board for their tours. At the same time, I was already starting to write my own compositions with that first jazz-fusion band, Ultramarine. I harbored an ambition to one day release an album under my own name—a goal I finally achieved in 2004. Fate then led me to join forces with legendary figures like Joe Zawinul and John McLaughlin. Later, I played with Carlos Santana and had the opportunity to do a studio session with Ray Charles. I had truly realized my dreams of playing with the people I had always admired! All of this has taken me on extensive travels. I’ve been lucky enough to tour the world and encounter a wide range of artistic diversity. I toured Portugal as the bassist for Mayra Andrade—a magnificent artist from Cape Verde. I’ve had a very eclectic journey, filled with music and wonderful encounters.
https://music.youtube.com/watch?v=sKe-_UIlTDk&si=cFihDeprWKf4QtPR
RAN– Seeing you on stage, the first question that comes to mind is: why do you wear gloves when playing the bass?
E.M. – It gives me a distinctive sound. Nicely muted—and the thickness of the gloves makes the sound even fuller. It’s velvety. A very soft, very warm, enveloping sound.
RAN – The last time we interviewed Marcus Miller, he spoke to us about that unique Cameroonian connection to the bass guitar. How do you explain it? After all, there’s you, Richard Bona, Vicky Edimo, Guy Nsanguay…
EM – I think we owe it to the older musicians who came before us—the “big brothers” who were active here in Europe while we were still back in Cameroon, in Africa—like Jean Dicotto Mandenguet. He is the father of Cameroonian bass playing. In fact, you can tell he listened closely to all the records from the Motown and Stax era. He actually knew the bassist James Jamerson and almost certainly studied his basslines. That school of R&B was very much in vogue at the time. When I was ten, my father took me to see a James Brown concert in Cameroon. There were so many people. And so, it stems from that school of James Brown, Otis Redding—all those artists who influenced Cameroonian bassists. That gave rise to a distinctive Cameroonian style rooted in a more rhythmic bassline—reflecting our African identity—which is now shaping many young musicians. They are influenced by Richard Bona and myself, since they didn’t experience the older generation firsthand.
RAN – With a career filled with incredible encounters, what are your most memorable moments? Working with Ray Charles must have left a lasting impression, right?
EM – I was called to a studio in Paris to play with him. An unforgettable moment. Pure class. I also met one of my greatest idols: Carlos Santana. I played with Salif Keita, too. Music and travel really bring energies and people together! And let’s not forget John McLaughlin and Joe Zawinul—my fellow travelers at one point in time. Between Ray Charles, John McLaughlin, and Joe Zawinul, there is a vast diversity of musical styles; in each case, I had to adapt and step into their musical worlds. Music knows no boundaries. You simply have to know how to listen to one another and let the project leader take you—at times—to places you aren’t used to going.
RAN—I really liked Joe Zawinul and that 2002 album, *Faces and Places*. You brought a distinctly African feel to it…
EM—Joe was a great musician. He had even played with Duke Ellington and then, of course, Weather Report. The dream was a constant in all his projects. For that, he needed African and South American tones—and why not Portuguese ones, too? I am sure that if he had heard the sound of the Portuguese guitar—which I love—he would have said, “Play it again, play it again.” Because those sounds were a source of inspiration.
RAN – In terms of instruments, which basses do you use on stage?
EM—I play F Bass a lot. I use French luthiers. Right now, I have an STR from Japan. I have a Fodera and a Noguera. As for amplification, it’s Aguilar.
RAN – How do you see the future for instrumentalists—including bassists—in today’s increasingly standardized and digitized music production landscape?
EM—When drum machines and samplers arrived, there was an electronic trend. Drummers were somewhat sidelined. But the times changed quickly. Sometimes, even bass players worry that work will dry up due to the current trend of artificial intelligence. Every instrument has always gone through periods of boom and bust. You just have to adapt and roll with it. It’s the same with the climate.
RAN – In terms of composition, where do you find inspiration?
EM – It comes to me through my many travels, the people I meet, and real-life experiences. Initially, it stemmed from Africa, but at 62, I felt the call of folk music, and I am really enjoying this new project.
RAN – What also moves me when I listen to your records is that interaction between the bass guitar, the piano, and the drums…
EM – Admittedly, there is that sense of rhythmic precision because we all know each other so well. We’ve been playing together for a very long time, but that doesn’t diminish my strong desire to play with other musicians. I always learn something when I play with other musicians. When I get up in the morning, I tell myself: I hope the day brings me something new. Sometimes, it is a remark someone makes that touches me deeply. It makes me wonder, and I seek to understand.
RAN – With this new “Countryside” project, is there already an intention to make an album?
EM – Yes. In fact, it’s actually already recorded, but I’m currently deciding which tracks to release first on streaming platforms. As with all my previous albums, I’m acting as the producer, which gives me a great deal of creative freedom. It really marks a unique turning point, and I’m still undecided on the title for the album.
RAN – To wrap up, a quick word about the Musiques Métisses Festival in Colmar…
EM – When people say “mixed-race” or “biracial,” it really resonates with me! I feel like a mix of cultures myself, even though both my parents are Cameroonian. I lived there for 14 years, and I’ve been living in France for 48 years now. I feel both European and African at the same time. So, when there’s a magnificent festival like this—one that opens doors by bringing diverse people together and introduces us to new musical styles—I can only applaud. It’s just brilliant!
RAN– We were truly delighted by this journey through your exceptional career. A big thank you for granting us this interview.
EM – The pleasure was mutual. I’m very glad to have met you.
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I was born in Portugal and lived the Sixties exploring the great UK Rock magazines: "The New Musical Express" and "Melody Maker". Ray Charles and Pat Boone were my father’s fav. I became “The Great Pretender”. Cliff Richard was our Elvis Presley. As a beach boy, with my first guitar, I met a beautiful French girl on the beach! It was the Summer of 69!! We got married and rock music was our dowry. In France, I became a Wine Genetic Research Scientist. One of my works contributed to the decoding of the genome of the vine! As a rock journalist, I’ve worked twenty years for the Portuguese and Brazilian Rock Press. I ‘ve interviewed so many great artists. Then, one day I met FRANK ZAPPA! I got into trouble for introducing my wife to "Uncle Meat"!
