Early on in Conakry I met with Balla Onivogui, whom I last saw in 2001. Sadly he is now mostly confined to his home. I met often, too, with Lamine Camara, the chef d'orchestre and drummer of the Horoya Band, and also with Sékou "Le Grow" Camara, trumpet player of Bembeya Jazz. Lamine informed me that Métoura Traoré, the former band leader of the Horoya Band, was unwell and was in hospital in Dakar. I also learned that Keletigui Traoré was very ill, and I put off meeting him until his health improved. A meeting was arranged in Club Bembeya with Sékou "Bembeya" Diabaté, Mohammed Kaba, Sékou "Le Grow" Camara, Bangaly "Gros Bois" Traoré, Linke Condé, Lamine Camara, and others musicians, and it let everybody know the parameters of my project. I was heartened to see that La Paillote in Camayenne was still going well, and that Keletigui et ses Tambourinis performed there every Saturday night. I had some good times there with Abdoul Karim “Chuck Berry” Camara, Papa Kouyaté, Talibé Traoré, Linke Condé and Amadou Thiam, interviewing them and talking about their music. It was a wonderful time, and to see them smile so broadly as we listened to the CDs of their music blasting out through the big speakers is a memory I will always cherish.

In the era of President Sékou Touré the Guinean government created some of the finest archives and libraries in West Africa. Then, in 1985, a year after Touré's death, an attempted coup resulted in widespread looting and ransacking of government offices. The RTG was bombed and the Syliphone archive apparently destroyed. Many thought that the complete archive of all Syliphone vinyl recordings would never be seen again. As my project to recreate this Syliphone archive began to develop, I persisted with my enquiries to obtain access to the reel-to-reels at the RTG. I had the support of the Arts Ministry, Dr Sylla, and Mme Yayé Haby Barry, the RTG archive head, though it still took several weeks for the paperwork to be processed. It is very difficult to get access to the RTG - it's the nerve centre of the government and is a heavily protected building with many armed soldiers at the gates. Once past them, however, it's quite a tranquil place, right on the ocean, with small herds of sheep wandering underneath the large satellite dishes. After a month I was finally given approval to access the sound archives, and was even allocated my own aircon office to work in. I was given a RTG ID card, and had unfettered access to all of the archives - a rare privilege indeed, especially for a non-Guinean. I  discovered rooms in the RTG archive that I never knew existed, rooms full of reel-to-reels! Many were of orchestras, others featured traditional music, or contained oral narratives and histories. I uncovered perhaps 600 reels of music of orchestres moderne, with many unreleased recordings by the national orchestras. The bulk of the recordings, however, focused on the regional orchestras, the orchestres federaux, and the earliest recordings of Guinean orchestras were from 1963. There were also some reels of post-Touré era groups such as Super Flambeau, who during the Syliphone era performed as the Super Boiro Band. It was a dirty and dusty job to winkle out the reels from the shelves, where they had sat for years, and I set up my laptop studio and began copying as many of them as I could. On a good day I could copy 5 large reels. I began to see first hand how desperately in need of archiving the reels were. Any reel recorded prior to 1965 usually broke when played, for the tape had become brittle, and I repaired many, many reels. Any reel recorded between 1965 and 1970 usually broke when re-wound and also had to be repaired, though tapes after 1970 were in quite good condition. I copied some truly rare and incredible music at the RTG, with some examples being: 1963 recordings by the Orchestre Honoré Coppet (an early member of the Syli Orchestre National); 1963 recordings by Orchestre de la Paillote; 1964 recordings by the Orchestre de la Garde Républicaine 1ere formation; three versions of "Moi ça ma fout" (by Bembeya Jazz, Keletigui et ses Tambourinis, and Sombory Jazz); and recordings by great Federal Orchestras such as Manden Könö, Kébendo Jazz, and Kaloum Star. CD copies of these recordings, over 100 reels, were given to the RTG archive and the British Library.

By late September my Syliphone archive at the BNG was close to completion. Dr Sylla and the Arts Ministry had arranged for an official launch, but as the BNG was lacking space it was decided to hold it at the National Museum. Jean Baptiste Williams had contacted the media and the invitations went out. He had also arranged for the RTG to broadcast a commercial advertising the archive launch, and so one day a camera crew arrived at the BNG and filmed Dr Sylla and I miming "oohs" and "aahs" as we looked over the Syliphone CDs (click here for the video link). There are only about 4 commercials on Guinea's sole TV station, and this one drew a lot of attention! The launch was set for September 29. I worked hard to get all the discs ready and remember the morning when I gave Dr Sylla the last of the Syliphone CDs. The collection was now complete - all 728 songs from the original 159 vinyl records transcribed to compact disc. Dr Sylla and I shook hands. I then gave him three bound colour copies of the Syliphone catalogue, which featured a photo of each album, recto and verso, and its track listing. These catalogues became highly sought after! I also presented the BNG with four large framed pictures featuring Guinea's great musicians and Syliphone disc covers. Click here to view the Syliphone catalogue.

On the morning of the archive launch a huge storm blew in and it rained very heavily. A good sign, someone said. The crowd gathered inside the museum and there were many journalists, musicians, and friends. Dr Sylla opened the ceremony with a speech, followed by my own, and then Minister Ifono spoke. Facinet Touré, President Conté's right hand man, closed the ceremony, and in concluding awarded me a Diplôme d'Honneur. Highlights from the ceremony were broadcast on the TV news that night, and I was so happy that the project was a success. I love the music of the Syliphone era and I was very moved by the heartfelt and sincere thanks for what I had achieved. Some told me that when they had heard of my project they felt like crying, and in fact people cried at the ceremony. It was very moving, and later I watched people look at  all the CDs on display, grouped into orchestras and eras, and saw them pleased and also saddened by the neglect of it all in the last 25 years. Some loudly proclaimed me "a Guinean"! A great honour indeed! I was often asked how I managed to get all of the discs together and what led me to this area of research. I could only respond that West African music means a lot to me and to the world, and that my 15 years of research on Syliphone wasn't work for me, it was pleasure, and that I was a very lucky man.

The Syliphone archive was displayed at the National Museum for a week, and was then re-launched for another week during Guinea's 50th anniversary celebrations. It was planned to tour Mali, and three Guinean ministries became involved. I pledged to Dr Sylla that I will update the Syliphone archive at the BNG as I come across better quality discs and covers.

After the archive launch things quietened down a bit. I was then at the RTG archives 6 days a week, copying as many reels as I could, avoiding the soldiers, and when I had spare time I met with musicians. A few weeks before I left I was informed that I was receiving a medal for my work. The Guinean government through the Ministry of Arts conferred me the Palme Académique en Or, Guinea's highest civilian honour, and on the day before I flew back to Australia I received it.

To my left is Dr Sylla, Directeur de la Bibliothèque Nationale de Guinée, and to my right is Prof. Ifono, Ministre de la Culture des Arts et Loisirs.

Readers will be heartened to learn that the following orchestras continue to play regularly in Guinea - Bembeya Jazz, Horoya Band, Keletigui et ses Tambourinis, Balla et ses Balladins, the 22 Band, and Camayenne Sofa, who released a new CD in September 2008 to mark their 35th anniversary. Even some of the smaller groups in Guinea, such as Kolima Jazz, still get together occasionally, and up until a few years ago groups such as Tinkisso Jazz and the Forest Band were still playing.

All of Guinea was saddened by the news of Keletigui Traoré, who passed away on November 11 2008. He was given a state funeral and was buried in the cemetery at Camayenne. He was a super star, a legend of modern African music, and his career dated to the pre-independence era. His influence on Guinean music is immeasurable. Many of Guinea's musicians from the golden era of the 1960s and 1970s are now very old, and from Kébendo Jazz, for example, there's only one surviving member. But there is happier news. The Balladins now feature a young line-up, hopefully ensuring that their music will find roots in a new generation of musicians. And then there is Kombo Jazz, a great orchestra featuring many of the Syliphone era stars, who play together every week. And La Paillote, after more than 40 years, continues to host music most nights of the week. Go there while you can, and if you're lucky you will sit under the stars on a Saturday night while Linke Condé, now blind, leads the Tambourinis orchestra with his sublime electric guitar.