Quote from: Congomusiclover001 on December 20, 2018, 18:20

I've been around Congolese music for a minute and I do not know who Maitre Gims is (Alias for someone we all know?). Could someone please enlighten me? Danke Schon!

He is a rapper in France. He released a very long album this year that I did enjoy.  But you have to like rap.

I just found out Gims father is the one and only, Djuna Djanana. Dude was swagger out in the late 70s and 80s.

They're supposed to do a feature together.

Interesting list

Dr. Nico Kasanda is the father of single note playing and most influential. He birthed Sekou Bembeya Diabate of Guinea (West African version of Nico) and mastered every style known to mankind. Dizzy Mandjeku, Doris Ebuya, Gerry Dialunguna of OK Jazz, Kizunga Rickos, Dally Kimoko; Caen Madoka; Rigo Star and many more. I'm surprise him and Franco didn't collab, despite them blowing up at the same time.

I would add Bongo Wende but then, he was inspired by the late Jimi Hendrix (Afro diaspora).

Pepe Manuaku who inspired countless bands in the 1970s, he promoted Octaves which was introduced by Afro-American, Wes Montgomery (). This also influenced Roxy, Beniko, Kinanga Boeing of Empire Bakuba, Nene Tchakou Mandosi (Nene has a style of his own as well), Makaba, Petit Poisson and so on.

Dino Vangu changed the way of Afrisa.

Bavon Marie Marie (Franco's younger brother) -- birthed the fast swift playing utilized in Rumba Soukous in the late 60s. This was later mastered by Nseka Huit Kilos, Michelino Mavatiku Visi, Denis Loubassou, Yacomba Diblo Dibala, etc.


Charles "Dechaud" Mwamba -- mastered mi-compose which nurtured Denis "Lokassa Ya M'Bongo" Kassiya, Pablo Lubadika, Prof. Omari in Les Wanyika, Lele Nsundi of Orch. Kiam, Carrol Makhamba of Choc Stars, Bopol Mansiamina, Vata Mombasa, Benga players in Kenya, etc. Almost every guitarist in Central and East Africa had this tuning.

Mose Fan Fan was the man who made Franco changed to his signature aggressive style in Odemba Rumba; he was in OK Jazz from 1967-1973 but one may not know until they listed to Djelemasi. This style also nurtured Syran M'Benza; Nguza Viking (Maquis Original); Shiko Mawatu; Caen Madoka and Dally also mastered

Flamme Kapaya - no comment. But listen to One Kienga in Shora Mbemba's Super Choc and you'll see the influence in Kapaya.

Felly Tyson and Japonais Maladi -- introduced Ndombolo riffs.

Baroza wasn't the first to bring distortion though. Ya Manuaku came through on Zaiko''s "Adieu Petit Cherie" in 1979 and Diblo in Loketo's Extra Ball in 89. However, there's many variations of distortions some include chorus, some include organ, piano, etc.

George Ramogi & D.O. Misiani influenced Kenyan Benga. They took the syncopated melodies and imitated it in the late 1960s.

Mboka Liya especially in the middle of the fret-board.

Many African guitarists are also influenced by their cousins overseas. That's how they become diverse in their playing. If sebene was taught in workshop like in U.S.; Canada; etc, you'll probably see more younger cats abroad.

Mboottte ladies and gentlemen . Let's discuss the history of Rumba/Soukous and how it influence the Afro diaspora of today. We'll also discuss the introduction of Ndombolo, Congolese migration of East & West Africa, guitarists who changed the game, etc.

When people hear of Rumba, they identify it with Cuban-Son but Son is just one of the many variants of this interesting genre.

In the 1930's, a French Antillean man by the name of Jean Rèal of Brazzaville and a group of Pointe Noires called Kato were already using the name "Kongo Rumba"(https://books.google.com/books?id=gKEHO1z413EC&pg=PA19&lpg=PA19&dq=jean+real+congo+rumba&source=bl&ots=-xvffaHDxi&sig=cw3xWTymvaLJScgGPzeuvLy9law&hl=en&sa=X&ved=2ahUKEwjqwMyw3aLcAhUJK8AKHdTABhUQ6AEwFXoECAcQAQ#v=onepage&q=jean%20real%20congo%20rumba&f=false). Unfortunately, I could not find any audio

Now, let's dive in. In the 1940's, they were two pioneers such as Paul Kamba and Wendo Kolosoy "Papa. Paul Kamba is depicted as the shaping Modern Congolese Music. In 1942, he discovers a group called "Victoria Brazza". (http://maziki.fr/histoire-de-la-musique-centrafricaine/viles-precurseurs-de-la-rumba-congolaise)



 In 1946, a young Wendo who was a self taught mechanic and boxer formed the band "Victoria Bakolo Miziki -- fusing traditional Congolese folklore with tibits of Cuban Son.  From returning from a fight, he joins up with a Greek business who signs him to then Leopoldville (Kinshasa) label-Ngoma. This lead to the recording of the timeless classic "Marie Louise" in 1948.


 Some say, this was the....first recorded song to have a "sebene".  Henri Bowane is credited as guitarist. The song "Marie Louise" is said to rise the dead from the cemetery. Due to Radio Congolia, this was a big hit in West Africa.

This form of Rumba known as "Rumba Sukuma". The other Latin tinctured Rumba is called Rumba Fiesta -- will later go into this.


Note that the name "Victoria"  still to prove democracies on the Nazis, where Brazzaville plays an eminent role: virtual capital of the "Free France", it hosts in 1944 the "African-French Conference" where a speech by the General de Gaulle shyly lays the foundations of emancipation. De Gaulle, aware that he owes everything to the radio, hastens to give considerable resources to the transmitter of Brazzaville, which becomes the most powerful of the continent.


 There was another pioneer that goes by the name of Elenga Zakari aka Jhimmy Le Hawaiean. He hails from Bangui, Central African Republic. He comes to Leopoldville (Kinshasa) in 1946 in where he meets with the Ngoma's label musicians such as Papa Wendo, Henri Bowane, Manuel D'olivera, Paul Mwanga and Adou Elenga. Around this time, singers are accompanied by two guitarists and percussionist. He revamped Congolese music by adding guitar solos into the mix of a complete band including 1 rhythm guitar, 1 solo guitar, 1 double bass, 1 saxophonists, singers and percussionist. He is responsible for training both Tino Barosa and Charles "Dechaud" Mwamba (http://www.congopage.com/Le-duo-memorable-Jhimmy-na-Mwanga).




Adou Elenga

Maria Tebbo "original" later reprise by Sam Mangwana "Le Pigeon Voyageur"

Paul Mwanga

Paul Mwanga is considered as one of the precursors of Modern Congolese music. He hails from Angola. He updated the traditional Maringa and fused with the Highlife of West Afrca, Polka Pike, etc (http://www.congopage.com/Le-duo-memorable-Jhimmy-na-Mwanga).



Part 2 will be addressing  the introduction of Grand Kalle & African Jazz, Docteur Nico, Dechaud, etc. Stay tuned!

Benikoooooo "Zero Faute". Brotha really came a long from starting as accompaniment towards becoming a polyvalent musician (solo, rhythm, bass).

Beniko indeed...is the creator of the timeless Zebola "Micko" rhythm. Ndombolo Ya Solooooo




When he left QL, it really did damage to Koffi Olomide and the band since he was very instrumental in the band's rhythm section. He also helped groomed Felly Tyson.

Here's a sebenology. Enjoy

Does this feature the atalaku Oceanie?

This guy hehehe

I'm from the states but my family is from Liberia-West Africa. Liberian American. My last name "Massaquoi"; its Va , they who were one of the sub-groups of Mandinkas.

Visited Africa for the first time this summer .