its a street-band from Kintambo, but I can't remember the name. The guy who created the cri is now a member of Cele Kibinda's band. He's the same guy who created the mulunge-cri. The cri/dance was a huge succes in Kinshasa with all bands using it (even BCBG, but not the cri), but when Maison Mere used, it reached another dimension. Quartier Latin came shortly after it, but they were then seen as copycats.
Wow u learn something new every day, Koffi jacked a lot of animations(he's not the only one) Why wasn't Kester angry at others doing the dance like for example JB?
JB Mpiana started the dance when Longue Histoire was already on the market and the dance being officialy presented on tv (before the release), while with Koffi the dance wasn't yet presented officialy on tv and concerts, but they all saw it live on tv when they performed at Bercy. With Koffi then acting on the French media like he created a the dance, which he did with Ndombolo after performing at Zenith & Olympia and people in Kinshasa having something like what? Emeneya would attack him later in 2004 again for it, being furious about Koffi using the dance "Enterrement, salle des morts" which was a huge succes in Kinshasa back in 2003 at concerts. (CNN animated it in Monde Arabe, but the impact wasn't that strong). With Koffi saying that he hadn't the right to say it, because those dances are created by shegues and street bands (he had a point with that)
Here's an interview of Emeneya back in 2005, talking about Koffi using dances of Wenge & Emeneya, coming quick with his band in Europe to act like he created the dance.
Its for these reasons why most people in Kinshasa and the collegues don't really respect atalaku's of Quartier Latin. Since that they see them as thiefs and copycats. Because they even went to use cries from bands (Anti Choc & Delta Force 'aile Djuna') who were on their decline.
In the 90s and early 2000s, people were sharing cries so it wasn't too big of a deal then. So long as the generique was danceable and the songs were good then people generally gave a pass to being "inspired" by another.
yes, in the 90s and early 2000s. But people were mostly making it a big deal from it if Koffi was using it, because he was mostly getting cries when those bands who created it, hadn't released it on the cd yet or not crediting folkloric bands or streets bands for it.
For example in 1998, just after that Koffi used the cri "Kuzana Mpimpa" which was in first animated "Kuzan Shona" by Wenge El Paris, made Marie Paul furious because they hadn't released and recorded Couvre Feu yet. The same for all the cries, Koffi Olomide used from Wenge 4x4, using the new cri "Bayeba te, somo" which they used to animate in concerts which made the guys angry. But it coincided with the split of Wenge, but JB Mpiana was still throwing some little shots to Koffi for that in interviews they made during the Europe tour of 1998 and Tutu Kaludji stopped with animating that cri "bayeba te, somo".
Radja Kula was furious against Koffi for using some of his dance and cries in the Magie-album. That's why he started at some point crediting the band Nouvelle Image in the videotapes of 1995 & 1996 for the dance Kibinda Nkoy. I remember Werrason being mad at Koffi, for dancing the Koyimbi-dance in the Effrakata-videoclips, saying that he didn't like the way they didn't credit or thank them to his fans during a concert in Kingabwa, coming then with a new version of Koyimbi-ko which was more with the hips.
As a bassist, I found switching to rhythm guitar to be comparatively easier than transitioning into a lead guitarist.
There's certain techniques that I've hardly use when I'm slapping bass or playing rhythm. For example, Roga Roga and especially Kapaya utilizes chord trills to emphasize a particular phrase during a solo.
Roga does trills at 35 seconds of the song, again with Losambo (he adjust his amp for feedback) at 7:57 into the song.
Personally, I'm technical player so I aim for mastery in transitions, walking lines, and so on. I play baritone as well; they're not as popular because it's essentially a six-string bass but I love the sound!
In the Congolese music, if you want to play bass-guitar, you have to learn the rhythm-guitar first. The same if you want to play lead-guitar. Because they see the rhythm as the base. That's why most bass-players and lead guitarist always known how to play rhythm-guitar. For example Wenge Maison Mere just started, bass player Christian Mwepu played the rhythm-guitar during their first concert, because they hadn't recruited musicians yet. Leaving the bass guitar to Didier Masela and the lead-guitar being played by Volvo 840 of Zaiko.
In Congolese music they mostly use the 4-string bass-guitar. When they play bass, its only the last 3 chords who are used, being mostly played with the thumb of the right had and the first one chords being pressed by the thumb of the left hand. Its very rare to see some one playing bass like the way people from America and the USA. If I remember well it were only Mbuta Bass of Victoria Eleison (the guy who played bass along with Yves Tshum Tshum on Longue Histoire and Mboka Mboka) and Fellyko Mbuji Mayi also of Victoria Eleison (he used to be Pinos's reserve and want to Europe with Kester in 1991, playing on the album Reponse Polo Kina before the settle in the USA), who used to play bass like Western people do, by using all the string with the last four fingers.
Congolese bassplayers play bass sometimes on the Western style mostly when they are playing rumba. Here's Blanchard Miantezolo playing bass on that way on Mbabula. (from 1:33 min)
It was Makaba in studio and at the concert you have posted above, you can't miss Makaba's style on his Steinberger guitar infact he goes to the usual corner for the soloist on stage whilst Burkina Faso if that's him on stage is in the rhythm guitarist's position next to the bass guitarist.
Yeah, I know that it was Makaba playing lead, Mbokaliya rhythm and Sunda the bass in that concert. I posted it, because I wanted to compare it to the concert they gave at Palais du Peuple which Philemon Allamadi uploaded, but I can't find the link anymore.
So the sebenes of Titanic were shared by Makaba who played RDC, Champion Kapangala, Barakuda, Likala Moto & Omba. Burkina Faso "Mbokaliya" who played lead on Titanic, Proces Mambika & Serge Palmi. With the rest (Liberation & Tour Eiffel) being left to Maitre Fi-Carre Mwamba ?
I wanted to know why became rhythm player after being years Espe’s reserve player (playing bass on Kemde), instead that Roga took a another rhythm-player from Team B or his friend Saint Petro. But the journalist didn’t ask that.
Ile de Camboge (drummer)and John Scot (atalaku) went to Quartier Latin, Serge Liaki (rhythm player) his with Fally nowadays, Strelly Mikobi (singer) went to Zaiko, Laurent Kadogo became a session singer and the guy singing with like Pepe Kalle used to perform often with Lofombo. Lofombo used to complain that Papy Tex stole his musicians, but I don’t know if he is with him. Lofombo recently said that he fired the whole band and started recruiting new musicians
After collecting some cries of Ponderation 8 (Bazo banga), Victoria Eleison (pesa model ya kobonga na vie), BCBG/Maison Mere (Shofele munu Ku kwiza), in the Force de Frappe they animated the cri “kosala kindumba na Matadi” which Theo Mbala used to animate in Bozi’s album Film Ebaluki with also the cri “mpi mpi, ya ofélé” which Djuna Mumbafu used to animate in concerts (1999-2000) with his Delta Force-fraction after leaving Lofombo. King Kester Emeneya was already furious for them dancing the dance Kiwanzenza at Bercy, while just he just presented on tv when he was about to record Longue Histoire in 1999.
Was it because they barely spent time in Kin to prepare some cris for Force de Frappe ? Because they just spent 1 month in Kinshasa when Attentat came out and they immediatly went to Europe prepare the Bercy-show there for 1 month.
Koffi didn’t want to perform anymore on the last minute. Coco Rubenga who organised the event was furious and 5 years later he started to attack Koffi months long on tv.
Show Posts