Who I Am
My name is Louis Cesar Ewande. I have been playing and teaching the djembe for over three decades through classes, workshops, and long-term projects across different countries. My training is rooted in traditional West African djembe music, shaped by years of close contact with master drummers and sustained practical experience. I also studied violin in childhood and later developed a sustained practice of piano, as well as experience in music production. All these experiences led me to create DJEMBESOLO.
Background & References
I learned with African teachers, notably Fotigui Touré, and also took part in a few workshops and classes with Mamady Keïta and Famoudou Konaté, which were important moments of learning and musical exchange.
I performed for several years with the Ballet Nimba, a Paris-based Guinean dance company, and accompanied dance classes led by Mbemba Camara.
I have collaborated, recorded, and performed with artists such as André Ceccarelli, Jean-Louis Aubert, Duran Duran, Dee Dee Bridgewater, Archie Shepp, Ryo Noda, and Katsumi Watanabe. In the 1990s, I also led my own group, Percussion Ensemble.
Why DJEMBESOLO Exists
Over the years, I noticed that many djembe students learn by imitation alone. They repeat patterns, sometimes very well, but often without understanding how rhythms function, interact, or evolve within the music. DJEMBESOLO was created to address this gap. The goal is not to replace tradition, but to make it clearer and more accessible by providing structure, vocabulary, and reference points that help students understand what they play and gain confidence in their musical choices.
My Approach
DJEMBESOLO is built on a simple idea: understanding creates freedom. The teaching approach is based on traditional rhythmic material, clear explanations of structure and function, and practical tools for musical autonomy. Rather than focusing on speed or accumulation, the emphasis is on clarity, coherence, and long-term musical development.
For Whom
DJEMBESOLO is designed for: beginners who want solid foundations, intermediate players looking to organize what they already know, advanced players seeking vocabulary, technique, and practical tools to move toward professional-level playing. Previous musical experience is an advantage, but not a prerequisite.
Understanding and Transmission
In traditional African contexts, musical understanding is largely transmitted without being verbalized. It is learned through constant exposure, imitation, and immersion in a living musical environment. Because this understanding is rarely explained in words, it is sometimes mistaken for pure “feeling” or intuition, as if it existed beyond comprehension.
In reality, this understanding is very precise, but implicit. It becomes natural when one grows up surrounded by the music and its cultural context. Outside of Africa, however, much of this non-verbal information is missing. As a result, important elements are harder to perceive, integrate, and internalize.
In my teaching, explanation is therefore not a way to intellectualize the music. It is a way to give students clear reference points and orientation. I learned myself through oral transmission with African teachers, and I deeply believe in its power. My approach simply adds the explanations that help students know where to listen, what to focus on, and how to recognize when they are moving in the right direction.
As understanding grows, perception becomes more precise. Feeling develops more naturally when students know where to direct their attention and how to orient their perception.
Transmission and Clarity
DJEMBESOLO aims to transmit this music with clarity and consistency, while giving students the tools to become autonomous.
Long-Term Direction
Now that the foundations of DJEMBESOLO are well established, I plan in the coming years to develop a dedicated section focused on the observation and analysis of outstanding improvisations by African master drummers, including some of my personal favorites, as well as selected examples from my own work.