Showing posts with label Lingala. Show all posts
Showing posts with label Lingala. Show all posts

Saturday, September 5, 2009

From Congo to Kenya Pt. 2



As a follow-up to my earlier post From Congo to Kenya Pt. 1, here are some melodies courtesy of the Congolese diaspora in East Africa. Like that post, this one is focused on the early 1980s. In 1985, President Daniel Arap Moi ordered the expulsion of foreign workers, including musicians, from Kenya, and the Congolese/Zairean musical community there scattered to the four winds.

For some time I had wondered who possessed the soulful voice that featured on so many 45s issued during the '80s in Kenya by such disparate groups as the Kenya Blue Stars and Bana Ngenge. Was it the same person? Along comes Alastair Johnston to clear up the puzzle in his article Congolese/Zaïrean Musicians in East Africa. Turns out the mystery voice is Moreno Batamba (nee Batamba Wenda Morris), who was born in Kisangani in 1955 and joined Orchestre Maquis Sasa in 1971. In 1974 he hooked up with Fataki Lokassa and a number of other Congolese exiles in Uganda to form Bana Ngnege, which seems to have undergone a number of permutations and name changes over the years. Although Alastair writes that Bana Ngenge broke up in 1976, a group called Bana Ngenge Stars Popote, featuring Fataki Lokassa, released this record in Kenya (Universal Sounds USD 005) in the early '80s. Moreno is relegated to supporting vocals:

Bana Ngenge Stars Popote - Dunia Imelaniwa Pts. 1 & 2

After serving stints with Orchestra Shika-Shika, Les Noirs (both featured in From Congo to Kenya Pt. 1) and Orchestre Virunga, Moreno started Moja One in Nairobi in 1980 and recorded "Dunia si Yako si Yangu" (CBS/ACP 702) around 1983:

Moreno & Moja One - Dunia si Yako si Yangu Pts. 1 & 2Finally Moreno shows up as part of the pop/disco trio the Kenya Blue Stars, along with Margaret Safari & Sheila (pictured at the top of this post), who recorded this infectious little ditty (CBS/ACP 1201) in 1984:

Kenya Blue Stars - Shufa Pts. 1 & 2

Along with Jimmy Monimambo and Frantal Tabu (about whom more below), one of Moreno's colleagues in Shika-Shika was Lovy Mokolo Longomba, whose high-pitched voice was a perfect counterpoint to Moreno's. His father was Vicky Longomba, a founding member of OK Jazz, and his brother Awilo Longomba, is one of the biggest stars of contemporary Congo music. Lovy moved from Kinshasa to Nairobi in 1978 and joined Les Kinois, a predecessor of Orchestra Virunga. His sojourn there lasted only three months, after which he left for stints with Boma Liwanza and Super Mazembe. While a part of Orchestra Shika-Shika, he also helmed his own band, which recorded under the names Orchestre Super Lovy and Bana Likasi. Sadly, Lovy Longomba died in an auto accident in Tanzania in 1996. Here he is on Editions Lovy 01:

Orchestre Super Lovy - Elee Pts. 1 & 2

Frantal Tabu (picture below), like Moreno Batamba, hails from Kisangani, and also played a role in Orchestra Shika-Shika, as well as Boma Liwanza and other bands. He formed Orchestra Vundumuna in 1984, which also featured Ugandan Sammy Kasule on vocals. Here is a recording Frantal Tabu made with Orchestre Malekesa du Zaire on the Editions du Hudson label (EDH 01):

Frantal Tabu & Orchestre Malekesa du Zaire - Asali Pts. 1 & 2




Finally, here are a couple of sides in the style made famous by Verckys & Orchestre Veve, from a group I know nothing about. I don't know for sure that Python Mas's group Zaire Success was based in East Africa, although the name gives a clue (groups that were actually based in Congo/Zaire didn't usually include "Zaire" in the name), and this 45 (sides A & B of Africa AFR 7-36) was pressed in Kenya:

Python Mas & Orchestre Zaire Success - Sofia Motema

Python Mas & Orchestre Zaire Success - Mado

For more about these artists and many more I refer you once again to Alastair Johnston's essential article
Congolese/Zaïrean Musicians in East Africa.

Sunday, July 19, 2009

From Congo to Kenya Pt. 1



Have you seen Alastair Johnston's website Muzikifan? It's a must-go-to destination for anyone who's interested in African music or World Music™ in general. Alastair recently published A Discography of Docteur Nico (Poltroon Press, 2009), which is an outgrowth of the site. I haven't seen it yet, but it's an obvious labor of love, and a must-have for any African music fan. You can get it through the site. As of yet there doesn't seem to be any distribution through Amazon or Sterns, but hopefully there soon will be.

But that's not what this post is about. Some time ago, Alistair began a comprehensive study/discography of Congolese/Zaïrean musicians in East Africa, which over the years has grown into an impressive body of work. It turns out I have a fair number of tracks by some of these musicians, so I thought it would be worthwhile to give them a spin.

Political and economic turmoil sent Congolese/Zaïrean musicians east to Tanzania and Kenya beginning in the '60s, and the '70s through the mid '80s were the "Golden Age" of expatriate musicians in East Africa (in 1985 President Daniel Arap Moi of Kenya ordered the expulsion of foreign workers, including musicians). The well-known Samba Mapangala of Malako Disco fame is part of this generation, as are Mose "Fan Fan" Se Sengo and Remmy Ongala.

Probably the most influential of these artists was Baba Gaston (1936-1997), whose picture is at the top of this post, and who ended up in Dar-es-Salaam
with his Orchestre Baba Nationale in 1971, moving to Nairobi four years later. Gaston's various orchestras comprised a veritable university of East African music owing to the numerous musicians who passed through before going on to join or establish other outfits, among them Les Mangalepa.

Here are some 45s from Gaston's career in East Africa. I suspect the first two tracks (from ASL ASL 7-1520) are from 1973 or thereabout, while "Kalai" (Yahoos YS 001) is probably from the early '80s:

Baba Nationale - Zala Reconnassant Fa Fan

Baba Nationale - F.C. Lupopo Bana Ya Tembe

Baba Gaston & Orchestre Tchondo National - Kalai Pts 1 & 2

You can download Baba Gaston's wonderful LP Condition Bi-Msum (ASL ASL 971) from Worldservice here.

Jimmy Monimambo, who features in "Amba," was one of three outstanding vocalists in Orchestra Shika-Shika, the others being Moreno Batamba and Vicky "Lovy" Longomba, who will be discussed in a future post. "Amba" (Daraja DJ 005) was one of the group's major hits:

Jimmy Monimambo & Orchestra Shika-Shika - Amba

"Shauri Yako" is a song that is well-known to many Likembe reader/listeners thanks to the version by Orchestre Super Mazembe, but it was written by Nguashi Ntimbo, a veteran of Baba Nationale for many years before starting his Orchestre Festivale du Zaire and later working for Franco's TPOK Jazz. In addition to Super Mazembe, "Shauri Yako" was recorded by Ugandan singer Sammy Kasule and Mbilia Bel, but Festival du Zaire's version (ASL ASL 3393) is arguably the best. You may have heard this one before as it's been on a couple of other blogs, but another go-round won't hurt you:

Orchestre Festival du Zaïre - Shauri Yako

"Madya" (ASL ASL 7-3351) was apparently recorded a year or two before "Shauri Yako":

Orchestre Festival du Zaïre - Madya


It's interesting how, once Congo musicians moved to East Africa, their sound opened up and became more rhythmically free and experimental. To get what I'm talking about, listen to the guitar and horn work in the next two tracks (ASL ASL 7-1145) by Les Noirs/City Five. Alastair doesn't say much about the origins of Les Noirs, but they seem to have been one of those groups that everyone was a member of at one point or another:

Les Noirs/City Five - Mungo Iko Helena

Les Noirs/City Five - Lwaki Oyomba Awatali Nsoka
Alastair Johnston's article "Congolese Bands in East Africa" was of inestimable help in preparing this post, and should be consulted for more information about these artists. I'll be discussing more Congo musicians in East Africa in a future post.

Monday, December 22, 2008

Merry Christmas!




A glorious Christmas to our readers and listeners who follow the Christian faith! To commemorate this joyous occasion I present Oliver de Coque's "Omumu Onye Nzoputa (Jesu Kristi)/Olu Ebube Nke Onye Nweayi," an account of the Christmas story from his 1983 LP of the same name (Ogene OGRLPS 03):

Oliver de Coque & his Expo '76 Ogene Sound Super of Africa - Omumu Onye Nzoputa (Jesu Kristi)/Olu Ebube Nke Onye Nweayi

This is one of my favorite de Coque songs, thanks to his eloquent guitar work and the interplay of traditional Igbo percussion. Some listeners may notice something oddly familiar about the melody, however. Take a listen to this song, by Congolese orchestra Minzoto Wella-Wella from their LP Malembé Kidiba Chant (K-Dance/Eddy'son 4219):

Minzoto Wella-Wella - Nanu Lubutu


It's obvious that somebody copied someone else. The Minzoto LP is not dated, but I suspect that it was issued sometime before the de Coque record. Oliver no doubt, then, lifted the melody and distinctive guitar work from the Minzoto record and not the other way around. But who cares? They're both great records!

Speaking of lifting, I purloined the image at the top of this post from the BBC's site. It is from a series of Christmas cards drawn by students at Swanland School in Nairobi. Follow the link and consider buying a set of the cards. Proceeds go toward rebuilding the school.

Friday, October 31, 2008

Happy Halloween!




Whoa! I just realized today is Halloween, and to mark the occasion, here's the only thing I could come up with that approaches being an "African Halloween song." From the Congo via Nairobi, here's Orchestre Les Mangalepa (above) and "Dracula" (ASL 2250N, circa 1983):

Orchestre Les Mangalepa - Dracula Pts. 1 & 2


Friday, August 22, 2008

Some Somo-Somo




Guitarist Mose Se Sengo "Fan Fan" was a crucial member of Franco's Orchestre TPOK Jazz from 1967 to 1972. In that year he left, and after some time in Orchestre Lovy, founded the first of several orchestras called Somo-Somo in 1974. This band was short-lived, and Fan Fan soon made his way south and east, first to Zambia and then Tanzania, where he played with the legendary Orchestra Makassy, composing some of its greatest hits, notably "Ciska," "Mosese" and "Molema." Moving on to Nairobi in the early '80s , he founded another iteration of Somo-Somo, recording two LPs and several singles with the group.

In the mid-'80s Fan Fan ended up in London where he formed a new Somo-Somo band, which recorded a wonderful LP entitled, of course, Somo-Somo (Sterns 1007, 1985, left). What set this London version of the band apart from the earlier incarnations was that, apart from Fan Fan, fellow Congolese N'Simba Foquis and South African vocalist Doreen Thobekile Webster, it was composed entirely of British session musicians.

I suppose the line-up of the UK Somo-Somo was more a product of necessity than design (Unlike, say, Paris, there is a dearth of Congolese musicians in London), but the tracks on Somo-Somo, mainly reworks of songs Fan Fan recorded earlier in Africa, have a punchiness and vitality lacking in many of the more formulaic Paris productions. The extensive use of saxophones really sets it apart - talk about making lemonade from lemons!

Somo-Somo has long been out of print. For some time I've wanted to digitize it and make it available here, but wouldn't you know? Moos, over at the blog Global Groove, has beat me to it! You can download it here.

However, I have two more hard-to-find Fan Fan tracks for you, apparently recorded around 1983 during his sojourn in Kenya. I have no idea what the lyrics of "Kimoze-Moze" (
Editions FrancAfrique EFA 015) are about but the chorus does seem to share a theme with Fela Anikulapo-Kuti's classic recording "Lady." Musically, of course, the songs have nothing in common:

Mose Fan Fan et son Orchestre T.P. Somo-Somo - Kimoze-Moze Pts. 1 & 2

And here's Fan Fan's cover of Pamelo Mounk'a's classic tune "l'Argent Appelle l'Argent" (Editions FrancAfrique EFA 013):

Mose Fan Fan et son Orchestre T.P. Somo-Somo - l'Argent Appelle l'Argent Pts. 1 & 2

You can get Pamelo's original here.

An excellent overview of Fan Fan's career is available on the CD Belle Epoque (RetroAfric RETRO 7CD), issued in 1994 and available here. Several recent recordings by this consummate professional are available from Sterns.

Thursday, December 27, 2007

Those Were the Days




I mentioned a while back that I recently digitized a number of 10" tape reels that I've had lying around for many years. I've been working through this material ever since, organizing it and processing the sound, and the result has been a number of recent posts. Today I'm putting up several 45s of classic music from the Congo (then known as Zaïre). These were all issued in Kenya in the early '80s.

Our first selection is by Mayaula Mayoni (above). Mayoni, formerly of Congo's Vita Club football team, was a member on and off of Franco's TPOK Jazz, played in other bands, and put out a number of solo recordings in the TPOK Jazz vein. "Ba Chagrins" was issued in Kenya as ASL Records ASL 3390:

Mayaula Mayoni et son Ensemble - Ba Chagrins Pts. 1 & 2

Speaking of Franco, if you're a devoted fan, I'm sure you've heard this one. "Tangawusi" is one of TPOK Jazz's most popular songs, and has appeared on a number of compilations and reissues. Naotaka Doi's excellent Franco discography at Forest Beat credits the song to Papa Nöel (right), which would lead one to think that he sings lead as well (an extra bonus, Papa Noël being one of my fave African musicians of all time). Here's the Kenya pressing (ASL records ASL 2318):

Franco & l'Orchestre TPOK Jazz - Tangawusi Pts. 1 & 2

Souzy Kasseya is best known as a backup musician, particularly on the recordings of Tshala Muana, but he has had a number of solo outings, particularly "Le Telephone Sonne" (left), which I understand actually "crossed over" in Europe and got some mainstream radio play. He was born in Lubumbashi in 1949 and bounced around among various orchestras including Vox Africa, the African Team and Mpongo Love's group. "Sulia Tantine" was issued in Kenya as ASL Records ASL 2328:

Souzy Kasseya - Sulia Tantine Pts. 1 & 2


Doug Paterson wrote in the British magazine Africa Beat in 1986: ". . . In 1984 the biggest selling single in Kenya was 'Amour Cherche Amour’ by Manana Antoine, a record with a French title and Lingala lyrics sung by a Zairean working in Cote D'Ivoire. It sold 30,000 and got universal radio airplay while the biggest vernacular record got heard only on its local district radio and sold 8,000. . ." Antoine, known as "Papa Disco," was a well-known musician in Côte d'Ivoire for a time, with his own record label, but he seems to have dropped from view in the years since. Here is "Amour Cherchez Amour" itself, from the Kenyan pressing (ASL Records ASL 2329):

Manana Antoine (Papa Disco): Amour Cherchez Amour Pts. 1 & 2


Lipua-Lipua was one of the many innovative new bands that arose in Zaïre in the early 1970s. While the label of this 45 (Editions Sakumuna SN 018) credits "Anifa" to Lipua-Lipua, the very informative Bolingo website lists a version by Les Kamale (on the LP Sonafric SAF 50087, right). Of course, Nyboma Mwan'dido was a member of Lipua-Lipua before splitting to form Les Kamale, sings on this version (although not lead), and on SAF 50087 is credited as composer. I've been unable to dig up another citation of "Anifa," and not having the Kamale LP, I can't say if there are actually two versions of this song or one version issued under two different names. Can someone clarify?

Orchestre Lipua-Lipua - Anifa Pts. 1 & 2

Update: Several reader/listeners have confirmed that there are two different versions of "Anifa," one by Lipua-Lipua and the other by Les Kamale. Thanks also to Ronald, who informs us that the lead vocalist on "Tangawusi" is Ntesa Dalienst, not Papa Noël (although Papa Noël did compose it).

Saturday, November 3, 2007

Points of Light




In my last post I described the last twenty years as the "Dark Ages" of Congolese music. I'll admit that this isn't my main area of interest or expertise, and the stuff I have heard is mostly from Paris-based Congo musicians, but I stand by my judgment for the most part. What has the Paris-Congo axis produced in the last two decades? Mainly endless posturing and rehashing of past glories (cf. Soukous Vibration!). Please prove me wrong!

I do concede that there have been a few bright spots in Congo music lately. Of course, I loved the two Congotronics releases on CramWorld. Another artist who redeems Congo music for me is the great Bozi Boziana.

Bozi got his start in Zaïko Langa-Langa, the first and most influential of the "New Wave" bands that burst onto the Kinshasa scene toward the end of the '60s. From there he journeyed through a veritable "Who's Who" of the Congo music world: Isifi Lokolé, Yoka Lokolé, Langa-Langa Stars and the Choc Stars, finally establishing his own Anti-Choc about twenty years ago.

Anti-Choc's first releases were decent enough party music but I think Boziana realized something was missing because around '88 he started teaming up with a series of spunky female vocalists - notably Joly (or Jolie) Detta (with Bozi Boziana, above) and Déesse (or Deyess) Mukangi, and the results were nothing less than sublime. The best of his recordings with these two stellar singers were gathered in two compilations issued around 1997 by Ngoyarto, now sadly out of print.

Here are two recordings from Anti-Choc's early work, enjoyable if rather formulaic examples of the Kinshasa/Paris sound as it existed in the late '80s, featuring light-fingered guitar playing and noteworthy vocals marred by rather irritating synthesizer work. "Adieu l'Ami" is from Anti-Choc (Sterns 1022, 1988):

Anti-Choc - Adieu l'Ami

"Pot Pourri 18 Ans de Succes," from 18 Ans de Succes (Mualaba Lukusa SIC 003, 1988) is a medley of tunes Bozi Boziana recorded with various groups throughout the Seventies and Eighties. The complete playlist is as follows:

1. Tshala (Choc-Stars)
2. Touou Muana CFA (Zaïko Langa-Langa)
3. Diana Ya Mama (Zaïko Langa-Langa)
4. La-Mignone (Langa-Langa Stars)
5. Alena (Choc-Stars)
6. Sandu Kotti (Choc-Stars)
7. Sisina (Choc-Stars)
8. Expplication Sisi (Anti-Choc)
Bozi Boziana & Anti-Choc - Pot Pourri 18 Ans de Succes

Now here's where I prove my point that the collaboration of Bozi Boziana, Déesse Mukangi and Joly Detta marked a quantum leap forward for Anti-Choc and Congo music in general. Bozi Boziana has one of the sweetest, most plaintive voices in African music. Of course, I don't understand Lingala, but he usually sounds like he's hurtin'! But listen to Bozi when he teams up with those two sassy ladies, Joly and Déesse. Talk about synergy! The interplay between the voices, guitar and synthesizer in these tracks is unequaled. The first three tunes here are taken from The Collection Bozi Boziana Vol. 1 featuring Jolly Detta & Déesse (Ngoyarto NG 020), the last two from The Collection Bozi Boziana Vol. 2 featuring Déesse, Scola Miel (Nza Wissa) & Betty (Ngoyarto NG 021):

Bozi Boziana & Anti-Choc w. Joly Detta - La Reine de Sabah

Bozi Boziana & Anti-Choc w. Joly Detta - Evelyne

Bozi Boziana & Anti-Choc w. Déesse - Ba Bokilo

Bozi Boziana & Anti-Choc w. Déesse - Fleur de Lys

Bozi Boziana & Anti-Choc w. Déesse - Lelo Makambo Lobi Makambo

It makes you wonder why more African bands don't make use of female vocalists. Of course, Tabu Ley and Afrisa International had M'Bilia Bel (before their rancorous falling-out), and Franco and TPOK Jazz made use of Joly Detta herself on one memorable recording, but this great cultural resource has generally been underutilized.

Déesse has made a couple of solo recordings (Little Goddess on Sterns [STCD 1040, 1992] was a standout), while providing backup vocals on a number of recordings. Joly Detta, sadly, has kept under the radar, but you can view her in a wonderful recording with TPOK Jazz here.



Discography of Bozi Boziana & Anti-Choc

Tuesday, October 23, 2007

Avoid Shocks, Indeed!




You may have noticed that I have a soft spot for female singers with unique, over-the-top vocal styles. Kiné Lam is one. Daro Mbaye is another. I fell in love with Vonga Aye and her baby-doll voice the first time I heard "Bolingo Mobesu," her contribution to 1982's groundbreaking compilation Sound d'Afrique II (Mango MLPS 9754). I know she put out several LPs, and over the years I've searched high and low for more music by this idiosyncratic chanteuse, but all I have been able to come up with is 1984's Pare-Chocs (Veve International EVVI 25). But what an album it is!

People speak of "the Golden Age" of Congo music, but in reality there are several "Golden Ages." For some it is the early 1960s, the era of Grand Kallé, African Fiesta and "Afrika Mokili Mobimba." Others swear by the late Sixties and early Seventies, when Authenticité was the rage, Congo (Kinshasa) was rechristened Zaïre, and harder, more indigenous sounds displaced the old Latin paradigm.

To me, the real Golden Age of Congo music has always been the late Seventies and early Eighties, when the great Orchestres - TPOK Jazz, Bantous de la Capitale, Afrisa and Veve among others held sway on both side of the Zaïre River. Pare-Chocs is well within this tradition, although scandalously none of the backing musicians are given credit. I suppose they are drawn from the ranks of Orchestre Veve or others in that milieu (
Pare-Chocs sounds an awful lot like others on the Veve label). At any rate this is obviously a band that is used to working together. Sadly, the mid-Eighties marked the end of the big band era in both Zaïre (Congo-Kinshasa) and Congo-Brazzaville. As political chaos mounted and the economy went south, the musicians went north, to Paris and points beyond. And while there have been some bright spots, as far as I'm concerned, the last twenty years have been the Dark Ages of Congo music.

Given the title of this blog, it's about time I posted some Congolese music, so here it is in its entirety: Vonga Aye's Pare-Chocs, and for good measure I've thrown in "Bolingo Mobesu" as well!

Vonga Aye - Pare-Chocs

Vonga Aye - Yona Nani

Vonga Aye - Nazali Occupée

Vonga Aye - Mina Kupenda

Vonga Aye - Bolingo Mobesu