Translation?

t was a bit difficult to follow because Coco Tchomba couldn’t remember many events and Mbuta had to keep him on track. The interview he made 4 years ago Nadege Ibwakungu was by far better.



I will do the translation based on memory. In short, Coco said that his real name is Tchombé and that he is currently drumming for Stino Mubi, whom he likes because he reminds him of King Kester Emeneya. He also mentioned being a huge Viva la Musica fan.

He explained that he used to play in Minzoto Wella Wella alongside the late Shiro Mvemba (who later joined Zaiko), comedian Ngadiadia Ngadios and others. During that time, he even had the privilege of meeting Mobutu while performing at a private show. Coco also played in The Best, a cover band. They were based at the Intercontinental Hotel, where they were allowed to eat and drink for free.

One day, while Koffi and his band were rehearsing with Zaiko at Salon Congo (then called Salon Zaïre) to prepare for two shows at the Palais du Peuple (Salle des Congrès and l’Esplanade), Koffi did not have a drummer. Coco stepped in to play, after that he got spotted by guitarist Shiro Mvuemba and from there he joined Quartier Latin. He said that, at that time, Koffi used to gather artists just for performances and pay them afterwards. Eventually, Koffi asked who truly wanted to be part of Quartier Latin. Coco was among those who committed, while some older veterans refused, preferring to receive immediate payment after each concert rather than wait until the end of the month.

Coco also revealed that his first stage name was Mille Baguette, but he decided to change it because there were already too many musicians using that name. He said it was actually Koffi who came up with “Coco Tchomba” during the recording of Papa Plus, asking him what he thought of the animation: “Coco Tchomba, Coco Tchomba, chèque na 100, chèque ti na 200, affaire ya bana chekula.”

Mbuta then asked if Koffi had ever requested them to copy Wenge Musica. Coco denied it. Mbuta pressed further, asking if the générique Étage ya Suka wasn’t pure Wenge-style, for way  late atalaku Manzuguidi was animating. Coco cut him off, insisting that it was pure Quartier Latin. Still unsatisfied, Mbuta asked whether Quartier Latin wasn’t copying Wenge when Willy Bula was animating in Papa Plus or when Beevans in Magie was doing animations similar to Ekokota. Coco replied that were their choices, saying that his drumming style came from Kauka (like Meridjo of Zaiko) and not like Titina, saying that in Magie he drummed on his own. He added that Champion was the one who drummed like Titina.

Mbuta then asked why Coco didn’t contribute songs to Pas de Faux Pas and Magie. Coco couldn’t give a clear answer, only saying that he eventually got the opportunity to put a song on Ultimatum. He also said that he shared the drums  with Champion and that he (Coco) played on Miss Nicole, Papa na Roissy and his own song Boussano. Mbuta was surprised, thinking that Boussano was Champion’s song, saying that Boussano had been credited to Champion (which isn't true). Hearing this made Coco express regret. He also said that Ultimatum was recorded at Studio IAD in Brazzaville, though he was likely confusing it with Pas de Faux Pas and Magie, since that Ultimatum was first recorded during a tour in Kenya. But the original files were lost and Koffi had to redo everything in Europe with programmed drums and Champion only adding snare parts.

At one point, Mbuta asked why Kaps Kapanga had left. Coco replied that Kaps had difficulties recording in the studio, unable to reach the green point and feeling ashamed. Mbuta also asked how many times Coco went to Europe and he replied that he was there for the 1992 and 1993 tours. He said that, if he had a bad heart, he could have run away during the Papa Plus tour in Canada, but since Koffi didn’t have another drummer, so he chose to stay loyal to Quartier Latin. Mbuta asked if he was also part of the Magie tour in the USA and Coco said yes. However, Mbuta doubted his answer and tested him by asking indirect questions based on Beevans’ interview. For example, he asked if they had problems filming near the Statue of Liberty. Coco said no, claiming they filmed freely, while Beevans had said they had to film secretly because police had forbidden it.

Coco also talked about his departure from Quartier Latin. Saying that when Quartier Latin came back from their the long Ultimatum tour, he wasn't attending rehearsals. The band started looking for him at home to ask him to come back. So during the rehearshal that followed,  Koffi called out his name to play drums but he wasn’t there, causing fans to laugh. Koffi saw it as a humilation. At the next rehearsal, Coco finally showed up, but Koffi ignored him and walked past him. It's from that day that Coco decided to leave.

Later, he said he also played with Wenge. Saying that he drummed one day for Werrason with Burkina Faso, Patient Kusangila, and Aimelia being present. Mbuta suggested he was confusing this with Wenge Maison Mère around 2000, since those musicians weren’t there when Werrason first started Maison Mère. Coco hesitated, then continued with his story, saying that Werrason had to perform at Rond Point Ngaba while JB Mpiana performed at Campus. Werrason had no drummer and the drummer that was backing the band that did the first part, wasn’t skilled enough. Not wanting to be embarrassed by his friends of Wenge 4x4 (JB and co), Werrason sent people to find Coco, who helped Wenge 4x4 to perform. The following day, Wenge 4x4 was set to perform at Place du 4 Janvier 1959 (also known YMCA) with JB, Blaise and others, but the concert was cancelled due to rain.

Coco said he followed Werrason after the split, but when he returned home he met the Quartier Latin bodyguards, who told him Werrason would not succeed and advised him to join Victoria Eleison instead, as they were recruiting. He joined Victoria Eleison instead of Wenge Maison Mère. Mbuta reminded him that Adricha Tipo Tip was already there, but Coco said that it didn't mean anything because he  ended up drumming Mboka Mboka almost alone since that Adricha struggled in the studio. He added that Adricha was strong in drum partitions (passages), but saying that playing drums in the studio being another story. He added that Adricha only played on Dandy. When asked if Depatra also drummed, Coco said Depatra only played on Kimpiatu and that he (Coco) did the rest, which made people think that he used witchcraft. He also claimed to have drummed most of the Longue Histoire tracks.

On the end, Mbuta asked why he left Victoria Eleison and missed the Zénith and Olympia shows after drumming on their albums. Coco admitted it was a huge mistake he still regrets. He said he simply followed Guy Moller, Sampaio, Zoe Bella and others for the hype when they left to form their own band. He added that at Mambo de Panama’s house there was a witchdoctor and that if you would enter there, you  would completly forget everything about Victoria.

t was a bit difficult to follow because Coco Tchomba couldn’t remember many events and Mbuta had to keep him on track. The interview he made 4 years ago Nadege Ibwakungu was by far better.



I will do the translation based on memory. In short, Coco said that his real name is Tchombé and that he is currently drumming for Stino Mubi, whom he likes because he reminds him of King Kester Emeneya. He also mentioned being a huge Viva la Musica fan.

He explained that he used to play in Minzoto Wella Wella alongside the late Shiro Mvemba (who later joined Zaiko), comedian Ngadiadia Ngadios and others. During that time, he even had the privilege of meeting Mobutu while performing at a private show. Coco also played in The Best, a cover band. They were based at the Intercontinental Hotel, where they were allowed to eat and drink for free.

One day, while Koffi and his band were rehearsing with Zaiko at Salon Congo (then called Salon Zaïre) to prepare for two shows at the Palais du Peuple (Salle des Congrès and l’Esplanade), Koffi did not have a drummer. Coco stepped in to play, after that he got spotted by guitarist Shiro Mvuemba and from there he joined Quartier Latin. He said that, at that time, Koffi used to gather artists just for performances and pay them afterwards. Eventually, Koffi asked who truly wanted to be part of Quartier Latin. Coco was among those who committed, while some older veterans refused, preferring to receive immediate payment after each concert rather than wait until the end of the month.

Coco also revealed that his first stage name was Mille Baguette, but he decided to change it because there were already too many musicians using that name. He said it was actually Koffi who came up with “Coco Tchomba” during the recording of Papa Plus, asking him what he thought of the animation: “Coco Tchomba, Coco Tchomba, chèque na 100, chèque ti na 200, affaire ya bana chekula.”

Mbuta then asked if Koffi had ever requested them to copy Wenge Musica. Coco denied it. Mbuta pressed further, asking if the générique Étage ya Suka wasn’t pure Wenge-style, for way  late atalaku Manzuguidi was animating. Coco cut him off, insisting that it was pure Quartier Latin. Still unsatisfied, Mbuta asked whether Quartier Latin wasn’t copying Wenge when Willy Bula was animating in Papa Plus or when Beevans in Magie was doing animations similar to Ekokota. Coco replied that were their choices, saying that his drumming style came from Kauka (like Meridjo of Zaiko) and not like Titina, saying that in Magie he drummed on his own. He added that Champion was the one who drummed like Titina.

Mbuta then asked why Coco didn’t contribute songs to Pas de Faux Pas and Magie. Coco couldn’t give a clear answer, only saying that he eventually got the opportunity to put a song on Ultimatum. He also said that he shared the drums  with Champion and that he (Coco) played on Miss Nicole, Papa na Roissy and his own song Boussano. Mbuta was surprised, thinking that Boussano was Champion’s song, saying that Boussano had been credited to Champion (which isn't true). Hearing this made Coco express regret. He also said that Ultimatum was recorded at Studio IAD in Brazzaville, though he was likely confusing it with Pas de Faux Pas and Magie, since that Ultimatum was first recorded during a tour in Kenya. But the original files were lost and Koffi had to redo everything in Europe with programmed drums and Champion only adding snare parts.

At one point, Mbuta asked why Kaps Kapanga had left. Coco replied that Kaps had difficulties recording in the studio, unable to reach the green point and feeling ashamed. Mbuta also asked how many times Coco went to Europe and he replied that he was there for the 1992 and 1993 tours. He said that, if he had a bad heart, he could have run away during the Papa Plus tour in Canada, but since Koffi didn’t have another drummer, so he chose to stay loyal to Quartier Latin. Mbuta asked if he was also part of the Magie tour in the USA and Coco said yes. However, Mbuta doubted his answer and tested him by asking indirect questions based on Beevans’ interview. For example, he asked if they had problems filming near the Statue of Liberty. Coco said no, claiming they filmed freely, while Beevans had said they had to film secretly because police had forbidden it.

Coco also talked about his departure from Quartier Latin. Saying that when Quartier Latin came back from their the long Ultimatum tour, he wasn't attending rehearsals. The band started looking for him at home to ask him to come back. So during the rehearshal that followed,  Koffi called out his name to play drums but he wasn’t there, causing fans to laugh. Koffi saw it as a humilation. At the next rehearsal, Coco finally showed up, but Koffi ignored him and walked past him. It's from that day that Coco decided to leave.

Later, he said he also played with Wenge. Saying that he drummed one day for Werrason with Burkina Faso, Patient Kusangila, and Aimelia being present. Mbuta suggested he was confusing this with Wenge Maison Mère around 2000, since those musicians weren’t there when Werrason first started Maison Mère. Coco hesitated, then continued with his story, saying that Werrason had to perform at Rond Point Ngaba while JB Mpiana performed at Campus. Werrason had no drummer and the drummer that was backing the band that did the first part, wasn’t skilled enough. Not wanting to be embarrassed by his friends of Wenge 4x4 (JB and co), Werrason sent people to find Coco, who helped Wenge 4x4 to perform. The following day, Wenge 4x4 was set to perform at Place du 4 Janvier 1959 (also known YMCA) with JB, Blaise and others, but the concert was cancelled due to rain.

Coco said he followed Werrason after the split, but when he returned home he met the Quartier Latin bodyguards, who told him Werrason would not succeed and advised him to join Victoria Eleison instead, as they were recruiting. He joined Victoria Eleison instead of Wenge Maison Mère. Mbuta reminded him that Adricha Tipo Tip was already there, but Coco said that it didn't mean anything because he  ended up drumming Mboka Mboka almost alone since that Adricha struggled in the studio. He added that Adricha was strong in drum partitions (passages), but saying that playing drums in the studio being another story. He added that Adricha only played on Dandy. When asked if Depatra also drummed, Coco said Depatra only played on Kimpiatu and that he (Coco) did the rest, which made people think that he used witchcraft. He also claimed to have drummed most of the Longue Histoire tracks.

On the end, Mbuta asked why he left Victoria Eleison and missed the Zénith and Olympia shows after drumming on their albums. Coco admitted it was a huge mistake he still regrets. He said he simply followed Guy Moller, Sampaio, Zoe Bella and others for the hype when they left to form their own band. He added that at Mambo de Panama’s house there was a witchdoctor and that if you would enter there, you  would completly forget everything about Victoria.

I recently had the opportunity to observe a studio session and I have a better understanding of why Koffi, Werra, and others appreciated the assistance of Djudju-chet Luvengoka.

The environment of studio is an emphasis on precision, less fills, but accuracy with use of the click track. Everything passage is under scrutiny because of the microphone set up, the engineer is more sensitive to "mistakes". That's pressure...but I see Coco's improvement with each band. He was damn near at his best for Kester!