Showing posts with label Soukous. Show all posts
Showing posts with label Soukous. Show all posts

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.

Monday, June 16, 2008

Franco in the Age of Authenticité




It's hard to believe that the great Franco, l'Okanga la Ndju Pene Luambo Makiadi, has been gone almost 20 years now (he passed on October 12, 1989). In his day he strode the scene like an elephant, or more like a Brontosaurus, really - pretty much defining modern African music, not only in his native Congo, but throughout the continent.

It just so happens that among the many hours of African 45s on tape reels that I recently digitized are thirteen tracks that le Grand Maitre recorded with his band le Tout Puissant OK Jazz in 1972-73. This era is interesting for several reasons. In October 1971 President Mobutu Sese-Seko proclaimed his policy of Authenticité, which had a number of implications. For one thing, the name of the Democratic Republic of Congo was changed to the Republic of Zaïre (it was changed back following Mobutu's overthrow in 1997). The cultural dimensions of authenticité are described by Graeme Ewens, in his essential biography Congo Colossus: the Life and Legacy of Franco & OK Jazz (Buku Press, UK, 1994):

. . . Authenticite coloured every aspect of Zaïrean culture, and Mobutu started by renaming all those places without African names, before imposing the same indigenisation on the people themselves. . . Women were prohibited from wearing miniskirts or trousers, on pain of arrest, while the approved wear was the pagne, or cloth wrapper. Taking further inspiration from the French Revolution the people were obliged to call each other 'citoyen' and 'citoyenne.'. . . Although there were no written laws on the production of music, there were constant reminders that this too should meet the criteria of Authenticity. . . (pp. 135, 137)
Mobutu, of course, was the archetype of the African kleptocratic ruler (he is said to have embezzled over $5 billion from his country), and one could argue that Authenticité was a cynical diversion meant to occupy the masses while they were being fleeced by their rulers. Perfectly reasonable, but there is a lot to be said that it had a salutary effect on the development of music in Congo/Zaïre. Musician Sam Mangwana said:

. . . I am not a politician or a fan of politics, but you can honestly say that when Mobutu spoke of the need for Authenticity it gave the musicians many ideas. Authenticity never blocked musicians from playing other music, like soul or funk if they wanted. But Zaïrean musicians are very proud of their music. They play as they feel, and they don't feel the need to change for any other people. . . (Congo Colossus, p. 140)
The songs presented here, then, show Franco at a major turning point in his career, when short, catchy melodies gave way to lengthy, more complex compositions. In a few years his style would mutate even further, toward baroque, almost orchestral pieces like "Proprietaire," "Tres Impoli" and "Attention na SIDA." While some of these tunes have been reissued on CD in recent years, I'm not sure that any of them are in print now. Others have never been reissued to my knowledge. All of these are Kenyan pressings.

"Siluvangi Wapi Accordeon" and "Casier Judiciare" are Sides A and B of ASL Records ASL 3245. Accordionist Camille Ferruzzi, featured in "Siluvangi Wapi Accordeon," was a contemporary of Antoine Wendo Kolosy and was one of the first Congolese musician to be professionally recorded in the early 1950s. This song and "Casier Judiciare" present Franco and the band in a more sensitive light than many associate them with:

Camille Ferruzzi & l'Orchestre TPOK Jazz - Siluvangi Wapi Accordeon

Luambo Lwanzo Makiadi (Franco) & l'Orchestre TPOK Jazz - Casier Judiciare


"Mbanda Nazali Nini" and its flip side "Likambo Ya Ngana" (ASL 7-3244) also feature Camille Ferruzzi:

Camille Ferruzzi & l'Orchestre TPOK Jazz - Mbanda Nazali Nini

Luambo Lwanza Makiadi (Franco) & L'Orchestre TPOK Jazz - Likambo Ya Ngana

In the early 1980s TPOK Jazz was actually two orchestras, one based in Brussels and led by Franco and a second team helmed by Lutumba Ndomamuendo, or "Simarro," which stayed in Kinshasa. I've been unable to find any mention of "Exodus" (ASL 2271) in Congo Colossus or in Naotaka Doi's extensive Franco discography. I suspect that it has been released under another title. It's just too good a song to dwell in obscurity! Note: See update below.

Lutumba Ndomamuendo (Simarro) & l'Orchestre TPOK Jazz - Exodus Pts. 1 & 2

Likewise, I've been unable to find any mention of "Tangela Ngai Mboka Bakabaka Mobali" (ASL 7-3274, side A) in any of the literature. Check out the extended instrumental break that kicks in around the 3:30 mark! The B side, "Envoutement," features Michel Boyibanda, a talented vocalist from Congo-Brazzaville who joined TPOK Jazz around 1963:

l'Orchestre TPOK Jazz - Tangela Ngai Mboka Bakabaka Mobali

Boyibanda & l'Orchestre TPOK Jazz - Envoutement

"Lezi," written by Simarro, is from the Editions Populaires pressing EP 151:

Lutumba & l'Orchestre TPOK Jazz - Lezi Pts. 1 & 2

Bassist Celi Bitshoumanou ("Bitshou"), who wrote "Mokolo ya Mpasi" (Fiesta 51.086B), joined OK Jazz around 1965 when the band was temporarily in exile in Brazzaville following a run-in with the newly-installed Mobutu regime. He was responsible for a number of OK Jazz hits, including the classic "Infidelité Mado." Bitshou left the band around 1974 with Mosese "Fan Fan" Sesengo and Youlou Mabiala to form the first incarnation of Orchestre Somo Somo. "Fifi Nazali Innocent" is the B side.

Bitshou & l'Orchestre TPOK Jazz - Mokolo ya Mpasi


Simarro & l'Orchestre TPOK Jazz - Fifi Nazali Innocent

Armando Antoine aka "Brazzos," who wrote "Sukola Motema Olinga" (Fiesta 51.125B), was a founding member of OK Jazz in the mid-1950s. "Andu wa Andura," another Michel Boyibanda composition, is the flip side:

Brazzos & l'Orchestre TPOK Jazz - Sukola Motema Olinga

l'Orchestre TPOK Jazz - Andu wa Andura

About "AZDA" (Editions Populaires EP 140), Graeme Ewens writes in Congo Colossus, "As if to show just how good a commercial song could be, in 1973 Franco released what proved to be one of his biggest hits outside Zaïre, AZDA.' This was the advent of the full-blown big band sound which would be the trade mark of the latter-day OK Jazz. While many outsiders thought it must have a heavily romantic lyric it was, in fact, an advertisement for the national Volkswagon dealership, whose acronym made up the title. The refrain 'Veway, Veway, Veway, Veway' is the local pronunciation of 'VW.'"

Luambo Makiadi (Franco) & l'Orchestre TPOK Jazz - AZDA Pts. 1 & 2

Update: Reader Peter writes, ". . . As for 'Exodus,' I don't think it was written by Simaro & performed by OK Jazz. I think it's a Youlou Mabiala track from the late 1970s." Which could very well be true, although I transcribed the recording information on the label correctly. Consulting Tim Clifford's new Kenya-Tanzania 45s, it appears that "Exodus" was issued in the late '70s-early '80s, rather than in the early '7os as I had earlier thought.

Update 2: I should have mentioned this earlier but didn't. The background information in this post came from Congo Colossus, cited above. It's a great book! You can get it from Sterns or Amazon.

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