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Messages - Bohemian Rhapsody

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1
Criticism

Congolese music hasn't had prestige since 2004. This is due to the late Tabu Ley's critic of Koffi. Unfortunately, this has dethroned the genre of Rhumba (Nkumba).

Congolese musicians should take caution of their mental health before going on stage. We have seen a lot of talented musicians of OK Jazz, Afrisa, Zaiko pass through numerous illnesses. Ya Chiro, Matima, Pompon Kuleta, Pepe Kalle, etc.

Polemic is fucking hilarious. Mon lingala eza petit. However, drama is futile. Competition is engaging and stimulates the creativity of musicians. Just look at Wenge Vs Koffi.

Most soloists are imitating Kapaya instead of discovering their own sound. Innovation is lacking. Creativity is lacking. Lack of catchy solo riffs are lacking. Listen to Nene Tchakou, Ya Luambo, Mboka Liya, Dally Kimoko, Bongo Wende just to name a few, they have memorable riffs. Bongo Wende is one of the special cases because he was inspired by Jimi Hendrix. Michelino was inspired by AA Jazz guitarists, noted on his Facebook.

The 1970s was the most creative era. Why? Because many bands were being created at once. Verckys were promoting like hot cakes mdrrr.

Lack of promotion. Musicians need to hire promoters that are consistent, charismatic, and focused. Congolese Music always had international potential: Afro Cuban Era, Cavacha, Dance era, Ndombolo, etc. It just lacks the proper promotion to take it further.

Sebenes aren't exciting as they used to be. The sebenes from the 1950s towards the early 2000s had a lot of fervor, passion, and rawness!!!!

Every artist wants to be a solo artist. Not everyone can be a solo artist. Luckily, Fally and Ferre had a stable promoter and took off.

The Afro Latin era produced some of the most simple and rich Congolese music. Listen to the works of the 1960s and '50s.

Bavon Marie Marie was on the road to being a superstar. Sad, he died so early. Michelino took his style.

Aurlus Mabele was the Likolo of Soukous. Toujours Likolo. He was actually a band leader in the 70's. Fronting a orchestra called "Ndimbola Lokole". His energy was unmatched. Plus, Aurlus played percussion. RIP

Congolese musicians should tour a LOT in Latin America and Asia. Why? Cause most Bantu descendants of the Kongo Empire (Congo, Angola, Gabon) were exported to Latin America (Cuba, Colombia, Argentina, Brasil). For instance, Tango comes from the Kikongo word - N'tangu. Merengue of DR is Angolan. Rhumba is Nkumba (dancing by the waist).

Franco was the greatest musician coming from Congo. Meaning he put his heart and soul into his passion.

Most Congolese people haven't known that Congolese music has been produced in East Africa and West Africa. Samba Mapangala, Les Mangelepa, Super Mazemba just to name a few aren't well known in Kinshasa. However, the music is delicious and arranged properly. Maybe because in East Africa, Swahili is king. While in Kin, Lingala is widely spoken. My sister-in-law told me this. However, there is more to Lingala and these languages should be promoted.

Vocalist Pompon Kuleta should've capitalized from the Soukous Vibration compilation in the '90s. His vocals played a major role due to producer Ouattara Mamouni. If Ouattara is still alive, I hope we can get an interview of him promoting a lot of Congolese musicians and also making Pompon Kuleta a superstar. Same with an interview of Geo Bilongo, Dr. Sakis ( ;D)

Apart from Dr. Nico, Papa Noel "Ya Nono" is the greatest rumba guitarist. Pay attention to his fingers.

Lokassa Ya M'Bongo is one of the greatest rhythm guitarists Africa has produced. However, Dechaud (Nico brother) pioneered the mi-composed. But the first to play was Jhimmy Zakari of Central African Republic!

https://maziki.fr/wp-content/uploads/2009/04/jimmy2.jpg

I long for the legacy of Zaiko.

Once Nyoka Longo is no more, who will continue the legacy? Lola Muana? Notice how Tabu Ley was gone Dino Vangu decided to reprise Afrisa in Europe. In the US, there was a mini-reunion with Huit Kilos, Dodo Munoko (RIP), Wawali Bonane but unfortunately, the death of Dodo Munoko was a huge blow.

Ageism suffers from generation vs generation. Does the youth even know musicians of the yesteryear? Do they even listen to the music of yesteryear? They may say it's old, but yet our parents are old, but we still listen to them ;D ;D ;D










2
Congolese Music / New Sebenologies & Drumology
« on: April 28, 2021, 04:25 »
The homie Shaddy is back with new Sebenologies :D.
He said he was particularly inspired by YouTuber Harris for starting the legacy. For the people to acknowledge the musicians who make us dance and reminisce. He believes the spirit of sebene will never die...I agree with him!!!

Djudjuchet "Djudju Music" Pt. 1. !!! Pt. 2 will come soon...


Saladin Ferreira of Soukous Stars!!!!


Alvarito Solo


Baroza Bansimba!!!

3
Thanks!!! I'll check this out...

4
Congolese Music / Re: RIP DMX
« on: April 10, 2021, 07:56 »
Oh man....this death hits me hard like a train!

DMX is from my state, New York. Can't believe this man is dead!!!  :'(

I always respected DMX for his rawness, his authenticity, his ability to be vulnerable about his issues and not being scared about it. It takes a lot of courage to put yourself out there. When you listen to his music, you just FEEL his passion. That's how you know -- shit is real.

Addiction is nothing to play with. Seriously. You never know when your life is gonna go. That's why we gonna cherish each day breathing...

RIP X, your iconic run from the late 90s to the early 2000's will always be legendary! Not forgetting, one of the smoothest and exciting flows Hip Hop has ever had!!! The only person I can think off that comes close is Notorious BIG.

5
Congolese Music / Re: This is the type of beat Fally need
« on: October 28, 2020, 22:09 »

Its sound like something that could've been on Droit Chemin

Beck Solo.....Am a sucker for the rhythm guitar (accompaniment). Pity rythmists are not celebrated

In the 1960's and 1970's, rhythm guitarists were the highlight in Congolese Music. I love solo guitarists but it's the rhythm guitarist along with the bass and drums that is the driving force of harmony and melody.

Vata Mombasa, Lokassa Ya M'Bongo, Lele N'Sundi just to name a few can go head-head with a lead guitarist.

6

This is arguably one of his greatest solos and best songs of TPOK Jazz! That Blue Gibson guitar tone never fails to make me smile.



7
Congolese Music / Re: Patrouille des Stars Split?
« on: October 28, 2020, 22:02 »
One of the best bands of the "nouvelle generations".

Patrouille des Stars along with Extra Musica played a pivot role in sparkling the Brazzaville music scene in the mid 90's-2000's.

The soloist Docteur Custo is very good!

8
Congolese Music / Who played on this Awilo track?
« on: August 27, 2020, 19:00 »



The "classic" that cemented his success in Afrika and its diaspora! (Especially Nigeria lol)

So we know Japonais played his signature riffs on "Gate Le Coin". This was a mega-success! But who played on "Coupe Bibamba" was it Japonais Kyoto or Dally Kimoko?


The reason I added Dally Kimoko is because if you listen to the sebene of  "Moyen Te" or "Moto Pamba" from Awilo, the distortion was played by Dally.

Here's Moyen Te for observation


9
Congolese Music / Re: DRC IS A POOR COUNTRY
« on: August 27, 2020, 18:29 »
We are not the poorest country, we are just the poorly managed country.

Exactly, we can say that about the motherland in general!

If Kongo was so poor, why is it rich in such resources such as Cobalt (the same Cobalt found in our cellphones!), Gold, Diamonds and etc.

The main problem is poor management, non-effective business moves and lack of strategy especially towards outside forces.


10
Congolese Music / Re: Rest in Peace Meridjo
« on: August 27, 2020, 18:24 »
Ah, le grand Machine Ya Kauka. Ya Meridjo!

He played a innovative in changing the structure of rhythm. Mbeya Mbeya.

Rest in peace brotha, we'll miss you :'(

11
Congolese Music / HISTORY OF AFRIKAN KUMBA & SOUKOUSS PT.2
« on: April 18, 2020, 10:11 »
Mbote ndekos and mwasis, this is volume 2 of the series. Let's dive right in.


KINGDOM OF KONGO roots

To locate the birthplace in Africa of Rumba, you have to look at the Congo basin side and inside the territory that made up the Kingdom of Kongo whose capital M'Banza Kongo or San Salvador was in Angola. "(Page 13)






Kongo music was varied and was performed according to events, situations. Among the most popular dances, there was the "navel dance", during which the two partners rub the navel. "Navel" is said to be " Kumba " in kikongo (or Mu-Kumba). The slaves originating from the Kongo kingdom who land in Cuba are keen to make their cultural heritage prosper, especially since the slaves are authorized to regroup in "calbidos", that is to say "black associations of same ethnic origin. " The ceremonies organized by these "calbidos" are all occasions to find the dances, the rites of the land of Africa which is always present in their memory.

Thus, The second part of Clément Ossinondé's work not only provides information on music, it is also a section of the history of Cuba that is offered to the reader. The Kumba, belly dance performed in circumstances such as the birth of twins, will become the Rumba, " depending on the deformation, let's even say the particular pronunciation of the Spanish masters " (page 34).



From Kumba to Rumba, what evidence, do you want to shout, and yet the idea would not have crossed my mind if I had not read Ossinondé. The book has only fifty pages, it reads quickly and allows you to take a quick tour of Congolese rumba. The great names of this music who have distinguished themselves on both banks of the Congo River are cited from the beginning of the work. Twenty, including Joseph Kabassele, whose name is definitively linked to a song that has taken on the value of an anthem, according to David Van Reubrouck, who has written an exciting book on the Congo. Here is what he writes from the testimony of Charly Henault, the Belgian drummer of the African Jazz (" I was white, but what importance? I was a drummer in a country full of drummers "), testimony collected in 2008 :

" They started at the Plaza Hotel to concoct a song that would soon become one of the greatest successes of Congolese music: Cha-cha independence . The text, in Lingala and Kikongo, was delighted with the newly acquired autonomy, praised the collaboration of the different parties and sang the big names of the struggle for independence: "Independence, cha-cha, we got it, / Oh! Round table, cha-cha, we won! "After 1960, the Congo was going to receive different national anthems, at the time of Kasavubu, at the time of Mobutu, at the time of Kabila, from pompous compositions to texts pathetic, but throughout these last fifty years there has been only one true Congolese national anthem, one single tune which until today spontaneously swayed all of Central Africa: playful music , light and moving of cha-cha independence . "



THE TRUE HISTORY OF SOUKOUSS RHYTHME.


Don Fadel is one of these little-known geniuses. He is writing the history of Congolese music. For him the roumba comes from Congo-Brazzaville, as well as the soukous. To support his arguments, he carried out fieldwork in Brazzaville and Kinshasa. He interviewed Diaboua, Wendo. Video interviews of more than one hour with Diaboua will be used. This work will be the subject of a publication entitled "History at the Place".

Don Fadel


You learn first-hand information.
For example, Diaboua was the first master of Jean-Serge Essou. He taught her the flute then offered her his first clarinet. Diaboua was the first musician to introduce congas into the Congolese roumba. To Kabassélé’s great surprise, said Kalé Jeff, Diaboua suggested inserting the percussions in the song Parafifi. It worked. Before, groups like Victoria Brazza by Paul Kamba used the paténgués (rectangular tambourines). Since then, we can no longer do without congas in Congolese music.
Don Fadel wishes to restore the historical truth. He goes back to the sources, notably on the other bank of the Congo river to discuss with the actors of the early hours of the roumba.
" What do you want ? Who are you ? Yelled Wendo when Don Fadel landed at his home in Kinshasa to investigate the origins of the roumba.

“I am a Congolese citizen. I'd like to interview you, "said Don Fadel.
"Yeah, I imitated Victoria Brazza in 1948," said Wendo Kolosoy.
"In fact, this patriarch had poached a musician from Victoria Brazza to reinforce Victoria Kin" explains Don Fadel.
When Rocheraud says after his stint at Olympia in 1969 that he is the father of the Soukous, it makes Don Fadel laugh.
“Everything is reversed. Things will have to be put back in place, "promises this ethnomusicologist.

"The soukous was born in Ouénzé with the Sinza orchestra. The person who will popularize this rhythm is Pamelo Mounka. Walking through the night in Ouénzé, Pamélo intends to play an orchestra at the Vis à Vis bar. It was Sinza Kotoko. The rhythm pleases him. He composes "Mama na mwana" on this tempo .

It was a great success. But Pamelo Mounka is just a mediator. In truth, the soukous was born in 1959 thanks to a musician named Ibombon with his group Air Mambo. Ibombon played in a bar next to the Ouénzé market. Accountant by trade, Ibombon is assigned to Dolisie. He then decides to sell his material to the young musicians of the rue Mouila who had just created Sinza Kotoko (Mousse, Ya Gabi, Don Fadel…)
"I leave the material for a small fee, but I also leave you a rhythm. Take advantage of it. "
"The advice does not fall on deaf ears. Piere Mountouari composes the song Vévé and Ma Loukoula whose swing has toured Africa. The soukous was born from there ”notes Don Fadel.
Full Link (http://www.congopage.com/Don-Fadel-revisite-avec-brio-les)

The legacy of Sinza Kotoko and the Soukous rhythm






Quote
The "Soukous" one of the genres of modern Congolese music to be recognized internationally is a creation of Sinza Kotoko. Orchestration with traditional music and dance accents "Kongo", with as main director, the irremovable solo guitarist Jacques Kimbembe "Mous".

"My Loukoula"

If you want to get an idea of ​​what Rumba "Soukous" was yesterday, just listen to "Ma Loukoula". The refined dialogue of voices and instruments: the little folk side, now gone, has not been emulated. Especially in the preponderant importance represented by the bass; and the more sought-after, more complex rhythmic textures, forcing dancers to invent new steps.

At that time, everything was done "by hand": no electronic percussion or synthesized brass. Real sax, like in the good old days of "Walla". And a man to type with modulation the skins of the Tumbas. Typical music in all its enjoyable splendor. But unfortunately ! Sinza has not been in this world since the 80s.

For the record, 1964 reminds us of the creation of the “Super Tumba” orchestra; Ouénzé orchestra which - after Orphée Jazz -  won fame in Brazzaville. It is thanks to its main actors Gabriel Dianzolo, Jacques Kimbembe, Anatole Bokassa and Hyacinthe Malonga, that the orchestra "Super Tumba" was born in 1964, at the bar "Vis-à-vis" Ouénzé, before becoming Sinza "Kotoko" in 1965. In 1968 Pierre Mountouari arrived who played an important role in strengthening the group. In particular with the launch of successful titles like "Veve", "Ma Loukoula", "Mavoungou" ... published by Pathé Marconi editions, the result of a coherent and solid team.

1973 - Sinza Gold medal of the 1st Pan African Cultural Festival in Tunis

The most phenomenal success of the Sinza orchestra is its participation in Tunis in June 1973 in the First Pan African Cultural Festival of Youth. He seduced a whole people, to the point where despite the charismatic presence of Tabu Ley and Afrisa, did not prevent Sinza from obtaining the Festival's gold medal. Sinza had succeeded by refusing the facility offered by the vogue "Disco" and "Soum Joum", to play music based on the tradi-modern "Soukous" which showed that the group had perfectly assimilated the ideas launched by the singers Ange Linaud Djendo and Théophile Bitsikou "Théo",. Both were part of the Congolese delegation .

And then a musical genre in its own right, the "Soukous" which has crossed all eras and all styles, producing perhaps the most creative in the history of Congolese music.

Link (http://www.dac-presse.com/sinza-kotoko-plus-grand-orchestre-soukous-annees-70/)



The influence of guitarist Huit Kilos.


Nseka Huit Kilos Bimwela's swift arpeggios would be later be the archetype of the Kumba-Soukouss tone. Listen to a young 14-yr old Huit Kilos on Dindo Yogo & Orch. Macchi's Lola Muana.



The influence of Drummer Ya Meridjo!



In 1973, Zaiko Langa Langa would changing it's drumming structure. Meridjo adds a new rhythm called "Machine Ya Kauka" inspired by the sounds of th train movement (http://www.mbokamosika.com/article-belobi-meridjo-createur-du-tempo-machine-ya-kauka-68531525.html). You can hear the "Machine Ya Kauka"  on such melodies such as Eluzam, Mbeya Mbeya and much more.




Prince Nico's Sweet Mother

Prince Nico Mbarga is a Nigerian/Cameroonian musician that revolutionize Afrikan Music with his timeless's hit "Sweet Mother". One of the most known songs from the continent.

Quote
It was a love song from a son to a mother that, in its old-fashioned way, never actually once says “I love you.” Instead, it’s a grateful son praising what his mother did for him as a child: drying his tears, putting him to bed, feeding him, praying when he’s ill:

When I dey hungry my mother go run up and down / she dey find me something when I go chop oh! / Sweet Mother a-aah / Sweet Mother oh-e-oh!

And if “Sweet Mother” was dedicated to all mothers and the things they do for children, it was inspired by the loving sacrifices Mbarga saw his own mother, a widowed farmer, make after his father died. The lyrics began, “Sweet Mother, I no go forget you, for dey suffer wey you suffer for me.”

For six months Mbarga – now calling himself Prince Nico Mbarga – Rocafil and Rogers All Stars worked on “Sweet Mother,” rehearsing daily from seven in the morning until one in the afternoon. It was, says Rocafil rhythm guitarist, Cameroonian Jean Duclair, “real every day work,” as they made change after change, turning it from a gentle “cha cha cha” to a more upbeat highlife sound, adding little dance breaks, and crafting a song marked more and more by the drive of Mbarga’s Congolese-style finger-picking lead guitar.

Finally satisfied, the band travelled across the country to record, and after a heavy night in a Lagos hotel, with all but Mbarga drinking and smoking, recorded it live at Decca Studios – hung over for sure, but they had practiced so much it hardly mattered.

And what was the reason for its success? Certainly, with its Congolese guitar-picking, its West African highlife beat and its pidgin lyrics, “Sweet Mother” had something for people all over.









Oliver de Coque. Nigerian guitarist inspired by Kongo


Oliver de Coque during his lifetime was an accomplished musician who became popular with his brand of highlife. He started playing music in 1974 after he learnt how to play guitar from Piccolo and he has about 86 albums to his credit. He played a major role during civil war playing music for the Biafran soldiers.

Together with Chief Stephen Osita Osadebe and the various Orientals off-shoots, Oliver De Coque (b. Oliver Sunday Akanite) can be considered one of the prime exemplars of and chief innovators in contemporary Igbo popular music. Of these musicians, he has done the most to integrate contemporary highlife and traditional Igbo music. Indeed, his trademark "system" or "style" takes its name from the Ogene, a double-headed bell used in traditional Igbo music. One of Africa's greatest guitarists, he has been much inspired by Congolese soukous, and this is shown to good form in such releases as 1985's "Nne Bu Oyoyo / Ezigbo Nna." "Omumu Onye Nzoputa (Jesu Kristi) / Olu Ebube Nke Onye Nweayi" from 1983 shares a guitar line with the tune "Nanu Lubutu" by Congolese group Minzoto Wella-Wella.

De Coque hails from Ezinifite, Nnewi South LGA, Anambra State, and got his musical start in 1965 at the age of 17 playing ekpili, a form of Igbo traditional music. In 1970, following the defeat of the Biafran war of independence, he got a job playing with a Lagos group, Sunny Agaga & his Lucky Star Band. Shortly after he engaged with Jacob Oluwole & his Friendly Unity Band, and was featured on their hit "Agbasisi." De Coque's stint with this group was also short-lived, and in 1973 he took up with Sule Agboola & his Moonlight Star Band.

As this discography shows, De Coque has continued into the '90s with his usual fecundity. In addition to his singing career he has also branched out into the acting field, appearing in several Nigerian video releases. While De Coque still delivers a great stage show, his last few releases have been rather weak. His younger brother Eugene, however has ably carried on the "Ogene" tradition with his updated "Igede" sound (see his separate discography below).

He sadly died of Cardiac arrest on June 20, 2008.

Here's a piece of his powerful guitar playing! You can hear the "Franco" influence



How the Kongolese sound went to Abidjan!

Sam Mangwana & African All Stars




African All Stars, influential but short-lived Congolese rumba band, formed 1978; disbanded 1979. Théo Blaise Kounkou (born Brazzaville, 1949; vocal), Lokassa ya Mbongo (born Kinshasa, 1946; guitar), Dizzy Mandjeku (born Kinshasa, Aug. 20, 1946; guitar), Sam Mangwana (born Kinshasa, Feb. 21, 1945; vocal), Ringo Moya (born Kinshasa, 1953; died Paris, Apr. 1993; drums), Roland M'vogo (born Cameroon, bass).

Band formed in Abidjan, Côte d'Ivoire, where a number of Congo-Kinshasa (Zaire) musicians, disillusioned with economic and political conditions at home, had gone to seek a fresh start. Mangwana, Lokassa, Mandjeku and Moya, four veterans of Tabu Ley's band, Afrisa, joined with Congo-Brazzaville's Kounkou and Cameroonian M'vogo to launch their new band.

The All Stars felt Congolese dominance of African pop music to be under threat from pressing plants at home, idled by lack of raw materials and spare parts, and from a certain absence of artistic innovation. It was the time of "Sweet Mother" from Nigeria's Prince Nico Mbarga, who fashioned a mixture of West African highlife and Congolese-style guitars into a world-wide hit. To counter Mbarga's challenge, the All Stars speeded up the rumba (Congolese music's base) and de-emphasized conventional Lingala lyrics in favor of more widely understood French and English.

With help from a Nigerian producer, the players traveled to Lagos in the middle of 1978 where, in little more than twenty-four hours, they recorded enough material for three albums: Sam Mangwana et l'African All Stars, Les Champions, and Zeneba. Most of the songs incorporated the speeded-up "new beat," but a laid-back rumba called "Georgette Eckins" produced the session's runaway hit. The All Stars played concerts along the West African coast and, while in Ghana in early 1979, recorded four albums of new material: Est-ce Que Tu Moyens?, M'banda Kazaka, Mamadou, and Suzana Coulibaly. A faster, "new beat" song, "Suzana Coulibaly," produced the biggest hit of these sessions.

Also in 1979, the group moved its headquarters from Abidjan to Lomé, Togo, where it was joined by three additional guitarists from Kinshasa: Pablo Lubadika, Bopol Mansiamina, and Syran M'Benza. By then, however, dissension had begun to mount. After recording a final album, Matinda, in Lagos, the African All Stars broke up, ending a brief but extraordinarily creative year of existence. A reunion of Lokassa, Mandjeku, Mangwana, and Moya in 1982 produced three new albums—Affaire Video, N'simba Eli, and Bonne Année—under the African All Stars name, but all lacked the fire and spontaneity of the group's original work.

Despite its brief existence, the African All Stars proved to be tremendously influential. They demonstrated to other musicians that there could be artistic life outside of Kinshasa and Brazzaville.  (http://rumbaontheriver.com/allstars.html).




Another obscure band came on the scene in Abidjan from Kongo (Zaire). This was called Micky Micky led by percussionist Mavos Meme Mavungu







Other musicians such as Nyboma Canta of Lipua Lipua, Bella Bella and Kamale went to Abidjan. In fact, this is where he released his biggest hit - Double Double with Dally Kimoko on solo.



Dally Kimoko




Tchico Tchicaya of Bantous de la Fame fame went to Abidjan as well. From Congo Brazza





12
Congolese Music / Re: RIP Aurlus Mabele
« on: March 23, 2020, 21:07 »
Just as a point of curiosity, I haven't seen any mention of Aurlus' passing on social media platforms of many Congolese artists. The likes of Werra, Ferre, Koffi, Fally, Fabro... It's kinda odd given the stature of Aurlus Mabele in the African continent and outside as well.

I think the congolese based Musicians did not appreciate Paris based Musicians, when Kanda Bongo Man was attracting record crowds in East Africa, Bozi Boziana toured Tanzania and when asked about Kanda Bongo Man he said nobody knows him in Congo. Is that true? that the Soukous legends like Kanda and Mabele were not known in Congo?

Yes, its true. They weren't know in Dr Congo. The few who knew them in Kinshasa, didn't like them, because they saw them as people who tried to kill the authentic Congolese music. Koffi once openly attacked in a video for that. Aurlus Mabele was known in Brazzaville, because they were proud to have finally  a big star who was defending their colors, after the old generation of les Bantou de la Capitals. But the population didn't really like the music, because they saw it as the fast, weird, the lyrics being very basic and not real pure Congolese music.



from 2:19 min

This narrative that "Soukous was invented in Paris" is a common misconception. Lets discuss!

The truth is that Soukous was invented in 1958 in Brazzaville, Congo. The group was Ibombon & Air Mambo.


http://www.congopage.com/Don-Fadel-revisite-avec-brio-les

It was then Pamelo Mounk,a of Bantous de la Capitale that first utilized the Soukous rhythm with "Masuwa" and "Mama na Mwana".



The group Sinza Kotoko later popularized it. This is where vocalist Pierre Moutouari of "Missengue" came from.



In this instrumental, you can hear the Soukous sound developing with the "Cavacha" drums.



Soukous came to Kinshasa in 1968 with the late Bavon Marie Marie & Negro Success.



In this era, it was mainly congas and percussion that kept the rhythm.

Then Dindo Yogo with Lola Muana


In 1976, the Soukous rhythm was taken to West Afrika. L'afrique de l'Ouest. Ba Nigeria Ba Togo Ba Ivory Coast.

Prince Nico popularized along with Makossa and Highlife with "Sweet Mother"


In 1978, Sam Mangwana along Lokassa Ya M'Bongo, Dizzy Mandjeku "Salam" and a couple others created African All Stars.











Tchico Tchicaya of Bantous de la Capitale, Bopol Mansiamina, Nyboma and a couple others also went to Abidjan.

It wasnt until the 1980s that Soukous came to Paris. People like Kanda Bongo Man were in bands like Bella Mambo, Bana Mambo, Makoso Bika.





Aurlus Mabele had a band called Ndimbola Lokole but unfortunately we dont have any recording of them.

As for the name "rumba" the original name is Nkumba but the Spanish colonizer remixed with a "R". Pretty much, the Kongo beat live thru Kumina (Jamaica), Calypso, Soca, Cuban Son, Palo (Dominican Republic), Kompa (Haiti), Ecuador, Brazil and a couple more.

Remember, the "Bantu" people were distributed heavily in Latin America & Caribbean. Lisapo Ya Afrika! Kongo Lisoloooo!

Kongo is more than Kinshasa.

13
Congolese Music / Re: RIP Aurlus Mabele
« on: March 21, 2020, 01:43 »
Oh man, this is very devastating news! Makambo monene!!!

This guy along Loketo in the 80s and 90s really ruled the airwaves in the Afro diaspora.

The Loketo - Choc a Distance album along with Embargo and Stop Arretez features some of the greatest guitar playing from Dally Kimoko!






Featuring Caen Madoka


Featuring Nene Tchakou on Guitar!


Live in Congo!




Saladin on Guitar!

14
Mbote Everybody. Jambo. Bonjour to everybody at Congo Vibes.

Who are these people, you say? ??? These are the infamous Kru sailors. The same people who the late Wendo Kolosoy witnessed coming into Kinshasa and Matadi.  8)




You probably have heard of the Kru of West Africa who were a very strong-willed and independent group of people that could not be captured into slavery. Originally from Liberia, the Kru were also found in parts of Sierra Leone and Gambia and were a fishing community that had skill in swimming and sailing with great knowledge about the navigation on sea to other parts of West Africa and Africa at large. Due to this skill, they developed a great bond with the Westerners and were hired as sailors to help them navigate through West Africa.

Historically accounts suggests the Kru sailors of Liberia greatly influenced West Africa and Central Afrika through music and their unique way of playing the guitar and the concertina. The guitar style they mastered was played by the thumb and arpeggiation along with the other fingers. Jean Bosco Mwenda e.g.

Before being introduced to the guitar, the Kru men were conversant with similar string instruments such as the kora and lute which were popular in West Africa. This made learning the guitar very easy.



The Kru sailors played the guitar and caught the attention of the locals who would then learn to play. The Kru sailors taught them how to play Portuguese and Calypso melodies learnt from the Westerners as well as their own incorporated rhythms. However, it was in Ghana that Highlife music began after the locals who lived in small villages along the coast learnt to play the guitar.

The Kru brought this style of guitar playing at various future African capitals along the West African coast and up the Congo River Basin: Dakar Senegal, Conakry Guinea, Abidjan Ivory Coast, Accra Ghana, Cape Coast Ghana, Kinshasa (Leopoldville) Kongo, Port Harcourt Nigeria, Lagos Nigeria, Brazzaville Kongo, Douala Cameroon and much more.

In Ghana, the locals who learnt the guitar grew very fascinated with the sounds and adapted the two-finger picking style of playing the local instrument, known as the Seprewa, on the guitar which started a new era of music known as the Palm Wine Music. It was very popular in the rural parts of Ghana which was then known as the Gold Coast.

After a while, palmwine music and the guitar playing style made its way into the more urban parts of Ghana where dance bands were developing. With the introduction of the guitar and the palmwine style of playing it, Highlife music was born.

The term highlife developed from the use of both Western instruments and local ones to create music. The name itself came from the issue of social classes which indicated that such music was usually enjoyed by elite Ghanaians who were high up in the social classes hence ‘high-life ‘music.

Highlife music created huge names in Ghana such as E.T Mensah and also spread throughout West Africa ultimately giving birth to several other music genres in West Africa such as Burger Highlife, Afrobeat, Hiplife, Afro Jazz and several others.

From history, it is the guitar that would later become an important part of African music and lead to the development of Highlife music in Ghana, spreading throughout Africa and parts of Central Africa like Congo.

It's because of these guys, Modern Afrikan Music has added the sebene ("seventh chords") including Nkumba (also known as "Rumba" ), Coupe Decale, Benga, Zengue, Semba, Zouk,Mandingue, Maringa, Kalindula, Mbaqanga, Bikutsi and many more.

You'll also notice that Abidjan mimics Kinshasa with the Sebene culture. By this, we're talking about who's the best, who's "hot" and  has potential.



Sources:

Rumba Rules: The Politics of Dance Music in Mobutu's Zaire  Bob W. Wilfe  Pg. 256 (https://books.google.com/books?id=AuN2CnGwsnQC&pg=PA256&lpg=PA256&dq=kru+guitar+leopoldville&source=bl&ots=faEsuiMPYL&sig=ACfU3U26RY6PBooTKMm3IFTwkLWS0_0b0Q&hl=en&sa=X&ved=2ahUKEwjtmIyeneHlAhXmqFkKHQgfBjcQ6AEwAnoECAgQAQ#v=onepage&q=kru%20guitar%20leopoldville&f=false)

Punk Ethnography: Artists & Scholars Listen to Sublime Frequencies Michael E. Veal, E. Tammy Kim. Pg 215
(https://books.google.com/books?id=Oqv3DAAAQBAJ&pg=PA215&dq=kru+guitar+leopoldville&hl=en&newbks=1&newbks_redir=0&sa=X&ved=2ahUKEwjsnfa5neHlAhUso1kKHZIyAJcQ6AEwAXoECAYQAg#v=onepage&q=kru%20guitar%20leopoldville&f=false)

The Garland Encyclopedia of World Music: Africa Ruth M. Stone
(https://books.google.com/books?id=IB03DwAAQBAJ&pg=PT1064&lpg=PT1064&dq=kru+guitar+leopoldville&source=bl&ots=KjlWRlMgAw&sig=ACfU3U3Whlaw29MVh_xuJ_t_LAxwU6VDaA&hl=en&sa=X&ved=2ahUKEwjtmIyeneHlAhXmqFkKHQgfBjcQ6AEwAHoECAoQAQ#v=onepage&q=kru%20guitar%20leopoldville&f=false)

Face2Face Africa (https://face2faceafrica.com/article/how-the-resilient-kru-sailors-of-liberia-influenced-highlife-music-in-west-africa)


15
Congolese Music / Re: SUZUKI LUZUBU 4X4 INTERVIEW WITH ADO YUHE
« on: November 11, 2019, 03:34 »
Before there was Fally Ipupa

There was Suzuki. Him and Willy Bula, the premier stars of QL.

It was an interesting transition how Flash Musica members were slowly being recruited. Along with the experience of Beniko Poli and the older members.

His solo album was cool but unfortunately at the time, it was difficult to reach the public. Just look at Montana, Aimelia and co who released solo album around 2000. Great moments from Tutu Caludji and soloist Mi Cowboys Kambani! 8)

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