Bondoki

By the mid-1970s Franco was in full control of his orchestra. He had called an end to the coming and going of musicians; once a musician left the Tout Puissant O.K. Jazz there was no coming back. He attracted talent from the 'competition', i.e. from the orchestra in the African Jazz school: in 1973 Josky Kiambukuta (who had been a singer with Docteur Nico's African Fiesta Sukisa), in 1975 Ndombe Opetum (ex-African Fiesta National) and in 1976 Ntesa Dalienst (who had made his debut in Bombenga's Vox Africa). The aim was to widen the scope of the orchestra, not just to attract a larger audience, but also to diversify the musical potential. Because Franco himself found that the OK Jazz style was getting a bit monotonous.

Sam Mangwana had a special arrangment with Franco. He had been contacted long before he joined the orchestre, and was posted as a 'mole' with Rochereau's African Fiesta,and to learn the trade with the competition. When he finally teamed up with Franco in 1973 (first tracks: "Où est le sérieux?" and "Ebale Ya Zaire") he was free to operate outside the OK Jazz. With the OK Jazz his primary role was that of an 'interprète', for which he received a solid 15 percent of a song's revenue.

Another person to maintain a special relationship with Franco was Mayaula Mayoni. He had been a football (soccer) player with Franco's favourite team, Vita Club. He never became a member of the orchestra, but often performed with the OK Jazz as a rhythm guitar (guitare d'accompagnement) player. Also he contributed some memorable composition, the most famous being "Chérie Bondowe".

Here are some 45's from the 1970s, including two superb compositions by Mayaula Mayoni and a classic track featuring Sam Mangwana.
Two of the tracks are probably from 1973. The first of these "Tata Na Bebe" (Populaires EP 205) is a showcase of the vocal talent, with lead parts from Sam, Josky, Michel Boyibanda and composer Franco.

Youlou Mabiala's slightly earlier "Massi" (Populaires EP 203) is sung by the 'old crowd': Youlou, Boyibanda and Lola Djangi 'Chécain'.

"Na Koma Mbanda Na Mama Ya Mobali Na Ngai" (African 91.247, but also released on CD 36571) (which according to Gary Stewart translates as "I've become my mother-in-law's rival") was composed by Franco and recorded -together with Mayaula's "Chérie Bondowe"- in 1976, and was selected best song of 1976 by the readers of the Salongo magazine. The singers are the same as "Tata Na Bebe", but in a very different role.

The other tracks were all released in 1977 (but I suspect some were recorded earlier). The first of these is the brilliant "Bondoki" (African 91.434, but originally released on Mayaula's own Zebi label) ("sorcery"), with Josky, Youlou and Wuta Mayi singing and Franco doing some nice shuffles on his guitar.

The second is Josky's "Mobali Amesana Na Ngai" (African 91.463), with Josky backing Youlou and Franco intervening as lead vocalist.

The third is another classic by Mayaula Mayoni: "Mitelengano" (African 91.474). I am not too sure about the singers in this track. I suspect Wuta Mayi and Chécain, and maybe Boyibanda.

The final of these 45's is Simaro's "Makambo" (African 91.558), as with many compositions by Simaro a complex arrangement with Josky and Ndombe singing, backed by Wuta and -I supect- Ntesa Dalienst.

Finally, here is a small excerpt from a show by the TP OK Jazz on Zairean television. It is probably from 1975. It is part of a track composed by Simaro, "Oko Regretter Ngai Mama" (translated by Simaro as "You will regret me one day, woman"). There are some wonderful closeups of Chécain, Boyibanda (with his typical way of dancing) and of Josky (left) and Wuta Mayi, plus some great shots of Franco 'directing' the orchestra.
Magic!

Kill them

I can imagine that a lot of followers and fans of the music of Franco and his O.K. Jazz get confused about the chronology of this impressive oeuvre. Unfortunately the CD's that have been released in the decades since Franco's untimely death in 1989 have done little to take away this confusion.

I admit, it is not easy to retrieve this chronology. And this is especially difficult in the recordings of the second half of the 1960s. In this period Franco was releasing records through different labels. The main labels were Epanza Makita (which according to Gary Stewart means "the rain that disperses gatherings", which should be a reference to the effect the recordings would have on the competition) and Boma Bango (which simply means "kill them"). To complicate matters other orchestras, like Négro Succès (see for example this single) and Cercul Jazz, were also allowed to publish their songs via these labels.
And to add to the confusion, O.K. Jazz songs were also published through the Likembe, the Tcheza and the Ngoma label.

In a (perhaps futile) attempt to create a beginning of order, I would like to share with you the first four singles released on the Boma Bango label.

I hasten to add that almost all of these eight songs have been released on lp or CD (and in some cases more than once). And the quality of these releases is certainly better than that of these scratchy old singles from 1966*.

It is clear that the O.K. Jazz was in control of what tracks were to be released on what single. The first single on Boma Bango features two songs composed by Franco himself. Both songs (which have been perfectly reproduced on Sonodisc CD 36521) are in every aspect typical Franco songs. Side A, "Bondoki Na Boniama", a bolero dealing with witchcraft (bondoki) and bestiality or cruelty (boniama). And side B a rumba about a (to me, unknown) topical event in Congolese politics. Franco is emphatically present, vocally, jokingly, brilliantly laid back (side A) or aggressive and biting (side B) on guitar....

Boma Bango BB 1 (African 90.020) or BB 1

BB 2 is as typical of Vicky Longomba as BB 1 of Franco. This single featured on "L'Afrique Danse", the first lp on the African label**, with songs released in 1966. It was later somewhat confusingly added, almost as an afterthought, to Sonodisc CD 36588.
"Tonton" is a Vicky and an O.K. Jazz classic, and features, besides Vicky on lead, Michel Boyibanda on backing vocal. The B-side, "Quand le film est triste", is clearly a cover of a sentimental (lyrics!) French ballad. My guess is that Vicky had heard Sylvie Vartan's 1963 (or 1962?) version of this song. This in turn is credited by some to Georges Aber (France), John D. Loudermilk (US) and Lucien Morisse (France), or to Sylvie Vartan herself with lyrics by a Canadian singer called Michelle Richard, while others claim it is a copy of a 1961 song called "Sad movies make me cry" by Sue Thompson. In any case, it seems very unlikely that - as the label claims - Vicky is the composer...
But both Vicky and Franco make the most of it (and I certainly prefer it to Ms. Vartan's version).

Note, by the way, the trumpet in "Quand le film..". Does anyone have a clue as to the identity of this musician?

Boma Bango BB 2 (African 90.008) or BB 2

The third of these singles features two songs composed by Michel Boyibanda. Both of these were digitised for Sonodisc CD 36533, although the A-side "Ata Na Yebi" was renamed to "Valenta Yoka" and the B-side "OK Asuanaka Te Mpo Na Muasi" lost the "muasi" (= woman). The second, a cha cha cha, can certainly be characterised as a typical Boyibanda tune, if only because he had - at the time at least - a certain reputation for singing Cuban songs. But I am personally more inclined to favour the first, a very delicate rumba, with a fine balance of voices and a superb support by Franco, which lift the song to another level. Notable too is the lovely understated sax, probably by Verckys, but very much in the style of that master of saxes, Isaac Musekiwa.

Boma Bango BB 3 or BB 3

The fourth and final of these four singles contains two songs attributed to Verckys. Side A, "Oh Madame De La Maison", has a history for getting misplaced. It was included on the lp Authenticité Vol.3 (African 360.072), a collection of songs released in 1963 and 1964 on the CEFA label, and subsequently in digital form on Sonodisc CD 36586, a rather incomprehensible collection of songs from different labels and years. Besides this, the track is also interesting musically, and more particularly vocally. As far as I can distinguish Mujos is singing with Michel Boyibanda, but both are singing the lead part (so no lead and backing roles). This lack of harmony leads to a very tight song, which helps to accentuate Franco's neat guitar playing. Verckys hovers in the background for a long time, but when he finally does move to the foreground he does not challenge Franco (as he does for example in "Course Au Pouvoir" and other later tracks on the Boma Bango label).
When I mentioned that both sides of this single are attributed to Verckys, I was referring to the B-side, "El Cuini". As far as I known this is a composition by Cuban legend Richard Egües and was made famous by his Orquesta Aragón (still going strong!). As with the other song which the O.K. Jazz borrowed from Aragón, "Chaleco", I am amazed at the idea of copying a song which relies heavily on the presence of a violin section and the flute of Egües. It must have taken quite a bit of inventiveness to 'translate' this to guitars and saxes, and just for this the O.K. Jazz deserve a credit. I particularly like the use of multiple saxes in this version, and I suppose this was Verckys' contribution.
A slight different form of inventiveness seems to have been applied to the lyrics, - but that just adds to the attraction of these songs....

Boma Bango BB 4 (African 90.023) or BB 4

The combined four singles can also be downloaded here.
And more Boma Bango tracks are on this lp I posted earlier.

* Although there are good reasons for preserving these vinyl treasures. Compare, for example, the tragically compressed "Tonton" of CD 36588 to the open sounding version of the single....
** On this lp you can also find BB 5, "Finga Mama Munu"/ "Revolver" both by Mujos.

Photos

Lola Djangi 'Chécain', 1974

You may remember my earlier post in which I described Lola Djangi 'Chécain' as a singer from the 'old' (1960s) O.K. Jazz style. In this post I would like to focus more closely on this singer, who sadly died in 1992.

For most listeners Chécain will not be the easiest singer to recognise. For one thing, he usually acted as backing vocalist. And, perhaps more importantly, his voice matched his personality: unobtrusive - bordering on unpretentious - with a tendency towards the melancholic. Amongst the 'heavyweights' of the Tout Puissant O.K. Jazz he was not one to elbow himself into the limelight.
On the lp "In Memoriam Grand Maître Franco Vol. 9" he sings on a remarkably high percentage of the tracks: four out of the seven tracks. And of these four, his contribution to the song "Bodutaka" (composed by Lutumba Simaro) can be described as 'typical'. The song is dominated by Sam Mangwana and Josky Kiambukuta, with a 'cameo appearance' by Michel Boyibanda, who is allowed to do the third solo part. Chécain can only be heard in the background, when the three other vocalists do their solos, and 'animating' when Franco sets off into the sebene.

Chécain with Sam Mangwana

Far less typical is the fact that of the four tracks no less than two were composed by Chécain. These are in my opinion two of the best songs he has made for the T.P. O.K. Jazz. For one thing both songs feature Chécain sings with or alongside Sam Mangwana. A combination of voices which drew Mangwana, coming from the African Jazz/Fiesta side of Congolese music, into the O.K. Jazz style. And then there is of course Franco.....

But let's start at the beginning. This ninth volume of the "In Memoriam" series, which was released by Polygram Kenya shortly after Franco's death at the end of 1989, starts of with a Part Two. I can only guess why Polygram decided to select "Assitou" again, after they had already included the full version (part 1 and part 2) in Volume 1*. Maybe they were compensating for the inclusion of only the first part on "Fifteen Years Ago Vol.4" (ASLP 1024) a year earlier?
I am not complaining, however, as there can not be enough releases of this superb example of Franco's "let's run down the Kilimandjaro" chauffage (after 3'15). "Terrible", indeed. I strongly advise you to also take note of the complex patterns of rhythm guitars and Mpudi Decca's passionate bass playing.

"Zando Ya Tipo Tipo" is not only an interesting song for its lyrics (see Aboubacar Siddikh's YouTube version), but also for the extraordinary combining of the voices of composer Michel Boyibanda and Josky Kiambukuta. Both have voices with a tendency towards a 'coppery' sound, but the effect is strenghtened because Boyibanda sings the (higher) lead part, - and Franco takes it to another level of 'copperyness' with the sharp sound of his guitar.

The third song, titled "Bano Brekete" on this lp but "Mowunbu Ya Makanisi" on Pathe 2 C006 15717, starts off as a regular duet of Franco (composer) with his pupil Youlou Mabiala, but takes a turn into another direction after 2'22, with Franco experimenting with a new style of pizzicato.

Chécain, July 9, 1991 (photo: A. Siddikh)

And this is where we get to the first of Chécain's compositions on this album. "Lukika", like "Mele", offers another opportunity to enjoy the magical combination of the voices of Sam Mangwana and Chécain, with Chécain following Sam like a shadow. As per usual Chécain is very active as an animateur, in the classic O.K. Jazz style of people like Vicky Longomba before him, i.e. as a kind of commentator in the instrumental bits of the song. Chécain himself has stated that Josky is also singing in this song. If he is, he has managed to stay inaudible; or perhaps he is duplicating the singing of Chécain. The song contains no vocal solo, the duet stays intact until Franco breaks loose after 3'49, with Chécain continuing the animation. Franco's solo, by the way, is a fantastic example of his masterful use of only a very limited amount of chords...

While the songs on the A-side are from 1974, or even earlier, I suspect the B-side was recorded later, and in blatant stereo. The side opens with my favourite from this album: "Toboyana Kaka". The name on the sleeve, "Todutaka Kaka", is clearly an error, perhaps caused by copying part of the following title. Chécain explained the context and the lyrics to Aboubacar Siddikh and me in an interview which took place in the appartment where the T.P. O.K Jazz was staying during their European tour in the summer of 1991. The audio can be found here, and a translation into english here.
Looking back now, nearly twenty years later, I am fascinated by the obvious obsession about the photos, which I have noticed with other Africans too (and also with some Latin-Americans). Especially in the modern age of digital photos any worrying about retrieving photos from someone you once loved seems futile. Perhaps it has to do with the constant threat of witchcraft, which seems especially strong in Congo? Is he afraid that she is going to use the photos to harm him? I wish now I had had the alertness to ask him this....

I think it is safe to assume that the next song, "Bodutaka", was recorded in the same session. The singers are the same, with Sam and Josky backed by Boyibanda and Chécain. Interestingly Franco's guitar is on the left, while the rhythm guitar of Lutumba Simaro is on the right. Especially in the solo from 4'10 on Simaro appears to be trying hard to balance Franco.... Again, Decca is very hyperactive on the bass.

Remarkably Chécain's voice can be best distinguished in Youlou's "Ledi", possibly also recorded in the same session. From 1'40 he can be heard loud and clear on the right, while Youlou, Sam and Josky and again Youlou (and this twice) do their solo bits.

The photo Aboubacar took (on the left) has been hanging on the wall near my computer for some time now. The man with an impressive career from Micran Jazz, via - amongst others - Kongo Jazz, the legendary Rock-a-Mambo and Bokelo's Conga Jazz to the T.P. O.K. Jazz looking up, - with indignation in his expression, but resignation in his composure.
He died too young.

GMFLP 009

* Both parts of "Assitou" have also been released on African 360.053. That album also includes "Zando Ya Tipo-Tipo" and "Lukika".

EDIT December 21, 2010: Aboubacar Siddikh points out that Chécain in fact sings on five of the tracks. He also sings on "Assitou", although this is perhaps not so clear. It can, however, be derived from the fact that he does throw in some 'animation', - and is present on percussion (which may very well be the subject of a future post....).

EDIT January, 9, 2011: After some criticism (unfortunately of the anonymous kind...) I have re-digitised the record and have uploaded this to another server. It can be found through this link.
The A-side sounds slightly better, if you ask me.

Staying O.K.

With the release of yet more compilations of Franco's extensive repertoire it may seem amazing to some that there are still plenty of songs that have not been published in digital form. And I am sure you will be even more amazed when you hear the quality of some of these compositions.

In this post I would like to share three singles with you, all from what many consider to be Franco's heyday. Personally I am more inclined to believe that Franco's whole career existed of one big heyday, or at least an impressive series of peaks. The particular heyday I am referring to started more or less when Sam Mangwana joined the O.K. Jazz. A lot has been written about this move, and I will post Sam's own views about this at a later date.
For now, I would like to stick to the music.

The first of these singles is from 1973. On the A-side is one of the earliest tracks of Mangwana with the O.K. Jazz, "Cedou". Remarkably he is only present as a backing vocalist in this composition by rhythm guitarist Lutumba Simaro (whose compositions* were crucial to the evolution of the O.K. Jazz in this turbulent period). The leading vocals are by Michel Boyibanda and Franco, and Lola Djangi 'Chécain' is present in the background. But Mangwana's contribution is nevertheless impressive, and certainly meant a shift towards a more melodic style for the O.K. Jazz.
Franco's own intentions in this respect are illustrated by the B-side, "B.S.K.". A brilliant bolero sung by Franco himself, accompanied by the full horn section of the Tout Puissant O.K. Jazz. I hope someone can explain to me why this masterpiece has never been digitized.
Note, by the way, that Franco did play this song in a concert in Amsterdam in January 1989.

Fiesta 51.198 B

The second single is from 1974. "Mele", the A-side, was composed by Chécain, who was seen by his colleagues as the main representative of the 'old' style of the O.K. Jazz. In my opinion it was a stroke of pure genius to combine the voices of Mangwana and Chécain, and this is probably one of the best examples of this golden combination. Chécain sings the 'seconde', i.e. the lower of the two vocal parts which adjusts to back the main melody of the song. He has a rather sad, but slightly dry and understated singing style, while Mangwana's voice soars and flows with the melody. To me, Chécain's backing turned Mangwana into an O.K. Jazz style singer.
As Mangwana prepares for the solo, Michel Boyibanda comes in to support Chécain. But some echo is put on to his vocal, adding distance to his singing, while Chécain remains in the foreground. Trumpets come blaring in and Sam launches into his solo. After just over four minutes Franco takes control and leads his orchestra into a full-force climactic finale.
It is not surprising that Chécain had a preference for working with Mangwana in his compositions, e.g. in "Lukika" (which is sometimes incorrectly attributed to Franco) and the 1975 track "Toboyana Kaka".

The B-side, "Mowunbu Ya Makanisi" (titled "Bano Brekete" on the Kenyan release "In Memoriam Vol. 9"), was a song composed by Franco, and is sung by Franco himself and Youlou Mabiala, who had already ventured outside of the O.K. Jazz, but had returned (and would soon leave again). The song starts off in a rather conventional old style O.K. Jazz manner, but after almost two and a half minutes breaks into rather unusual solo by Franco, in which he almost hammers the chords.

Pathe 2 C006 15717

The third record of this post, "Tata Na Bebe 1 & 2", is one I posted earlier, but in a different setting. And, on closer study, I have changed my mind about the dating of this song. The use of four vocalists and the guitar sound are indications it must be from 1974.
The song opens with two rounds of solo vocals by (in this order) Sam Mangwana, Josky Kiambukuta, Michel Boyibanda and Franco, followed by two more rounds in the same order, but with a chorus filling in the gaps. At the end of part one, Franco is about to steer the orchestra into a rousing, nose-down, kamikaze style sebene.

This also means that the first two and a half minutes of part two are a copy of the last two and a half minutes of part one (you can check this if you like...), and the recorded track lasted less than seven and a half minutes (the result of joining the two unique parts can be found here). This is, by the way, not unusual for tracks from this period. My impression is that this was due to the technical limitations I wrote about in an earlier post about Haruna Ishola (who was the co-owner of one of the most advanced recording studios in Africa).

Getting back to the subject of digitizing Franco's oeuvre, only one of the five** tracks in this post has been released on CD. The four other tracks seem essential to the understanding of how the O.K. Jazz became the Tout Puissant O.K. Jazz, - while staying O.K..

Editions Populaires EP 205

* "Ebale Ya Zaire", "Mabele", "Minuit Eleki Lezi" - to name just three.
** counting the two parts of "Tata Na Bebe" as one.

EDIT July 7, 2016: all three singles in one file.

Fifteen years ago (3)

This album by Franco and his O.K. Jazz was released by Polygram Kenya in 1986 as the third volume of a series entitled "Fifteen Years Ago". And for this album the title is not completely inappropriate. As far as I can deduce, only "Où est le sérieux?" (with Sam Mangwana) is definitely from a much later date than 1971.
It seems wise to be cautious in dating songs of this period, as it is not always clear which was the 'original' release (the Congolese or the French) and as tracks were (seemingly) not always released in the order in which they were recorded.

The album is, like the others in this series (Volume one can be found in this earlier post), a collection of tracks previously released only on singles. And as such there are some real 'marvels of the past' to be enjoyed on these volumes.

Such as Franco's version of "Maseke Ya Meme", a song by his brother Bavon Marie Marie which must have provoked some emotion with Franco, who felt at least partly responsible for the death of his younger brother, as the car accident in which Bavon was killed was a result of the fury after a row between the brothers. Franco sings the song together with Youlou Mabiala (photo on the right), who also played a part in the events leading to the accident. Bavon had accused him too of getting too friendly with his girlfriend.

As the first volume was centered around Vicky Longomba, in this third volume the focus is more on Youlou. Vicky is, however, present in "Makambo Maneno", although in a modest role. His presence suggests, by the way, that the track is from an earlier date than the others.

Youlou contributes two composition to this album*, and is vocally present in all of the tracks except the 'misplaced' "Où est le sérieux?". His singing is great, and I especially like the combination with Michel Boyibanda in Boyibanda's "Osabote Jean Jean" and "Andu Wa Andura". But my favourite track is composed by Armando Brazzos. "Sukola Motema Olinga" is one of those (many) special tracks that you can listen to again and again and still discover new details. Particularly the interplay between Franco's lead and the rhythm (Brazzos) and bass never seems to sound the same. Note the way in which Franco leaves the last word in this track to Brazzos.

ASLP 1018

* the first of these, "Sentence" (or "Sentence Ya"), is credited to Kwamy on Sonodisc CD 36603. Given that Kwamy is either almost inaudible or simply not singing in this track, and that Youlou has very clearly the lead role, I think the credits on this album are more likely to be correct.

Limelight

Please don't think that the stream has dried up. I have been very busy digitising more cassettes and records. Given the small amount of time I have this has kept me from sharing more musical wonders with you in the last fortnight.

In this post I would like to revisit the music of one of my favourite orchestras: Franco's O.K. Jazz. And in particular I would like to share more examples of the musical talent of Lola Djangi a.k.a. Chécain (see this post, and many others).

In my earlier posts I wrote about his role as a vocal "deuxième". This usually means the lower of the voices in a song. In this position out of the limelight Chécain's voice can at times - by those unfortunate beings who are less acquainted with the work of the O.K. Jazz - be mistaken for the voice of another vocalist. I can particularly understand his voice being confused with Franco's. Those who have heard his interpretation of "Mario", after Franco's death, will have to agree that - apart from the power which came from Franco's assertive personality - it was the closest anyone has come to Franco's original in sound and timbre.

But luckily Chécain has found another way to 'make his mark'. In the majority of his songs he manages to insert some kind of spoken comment. In the first of these six songs I am sharing with you in this post. "Ta Noel", he can be heard after 33 seconds, - exactly the same moment as his intervention on the B-side "Bana bakufelaka ngai tina nini?".

Both these songs, sung by Youlou Mabiala and Chécain, were composed by sax player Isaac Musekiwa, not one of the regulars when it came to contributing compositions. One would perhaps expect a good dose of sax, but in fact the horns don't show up till after 1'52 and - although present - don't outshine Franco's guitar. On the B-side we even have to wait for just more than two minutes to get any sax....

According to the label of this single on the African label, but originally released on Franco's Epanza Makita, the single was produced in 1970. Although dating in this period is a tricky business I think this must be correct, given that Chécain's "Emilie Na Gabon" and Youlou's "Likweyi" (both on Sonodisc CD 36520) were released as Epanza Makita 100 and 101. Of the singles released on the Epanza Makita label relatively many remain undigitised. And the singles of this period that háve been digitised have sometimes been sadly mistreated.

African 90.464 [Epanza Makita 114]

The second single was released on Decca's Congo sublabel. The B-side of the single is the same as the B-side of the first single. The A-side was originally released as Epanza Makita 111, with "Nabanza tele" on the flipside (according to Ewens). This song, "Nganda Benda Bika", was composed by Michel Boyibanda, who is also one of the three singers. The others are, yes you guessed right, Youlou and Chécain.

In this song Chécain is perhaps a bit harder to discover. He is certainly not responsible for the spoken incursion after 52 seconds. To be honest I don't really know who is talking there. Any ideas?

The quality - 'vinylwise' - of this single is disappointing, as is the case with most of the singles I have heard of this label. I am not sure if this is a problem of aging or one of intention on the part of Decca.
Musically this is also not one of the hottest songs in the extensive catalogue of the O.K. Jazz....

Decca Congo CD.191 [Epanza Makita 111/114]

In case you are wondering: the A-side of the next release on the Epanza Makita label, Epanza Makita 112 was "Bolingo Marie-Angele", composed by (who else?) Chécain, and digitally released on Sonodisc CD 36514. This is a track very much in the vein of "Ta Noel"/"Bana bakufelaka ngai tina nini?", - with Chécain's trademark comment at almost exactly the same point in the song.

Our friend again features in the next single, released originally as Epanza Makita 113, but here in the Decca Congo version. On both sides he is backing Michel Boyibanda, and this appears to give him almost an equal spot in the vocal balance. Particularly in these two songs the resemblance to Franco is noticeable.

Listening to the opening of "Simon Temoin Ya Libala" (I suppose this means "Simon witness at the wedding") one wonders what Chécain contribution was in this composition by drummer/conga player Jean-Félix Pouéla a.k.a. Du Pool (who I think I mentioned earlier*), as the bride appears to be his dearest Emilie ("Emilie mon amour"). The same Emilie as the one in Gabon (see above)? Chécain certainly has composed songs about his own experiences.

In both songs he is a bit late with his chat. He doesn't show up until after 0'50. I must add that someone else takes over after him (after 0'56) in "Simon Temoin Ya Libala".

I like these two songs, despite the poor record quality. Although they don't radiate brilliance on the level of Franco's Great Hits, they are good enough for a modest spot in the limelight.

Decca Congo CD.192 [Epanza Makita 113]

All three singles can also be found, bundled together, here.

* and who I as I recently noted also played on that classic Papa Noel album "Bon Samaritain", with that glorious voice of Carlyto.

Bilombe ya mindule

I am hoping that this post can shed some light on a mystery that's been bugging me ever since I have heard "Bilombe ya mindule", a song attributed to Franco and his O.K. Jazz. The thing is: I can't identify the singer of this song. There are some slight touches of Kwamy in his voice, but it's not him. It's certainly not Vicky or Youlou, and after closer study Boyibanda and Chécain could also be eliminated. Given that the music suggests the track is from the late 1960s, there is not a lot left....

Friend Aboubacar decided to ask a Congolese connaisseur, and his answer meant a dramatic shift in my perception of the track. He wrote: "Here is my true opinion: this is from CONGO-BRAZZAVILLE, not necessarily from the Bantous de la Capitale, but nonetheless from some band in Congo-Brazaville. I'd say even the lyrics point at that side: traditionnaly & 'politically' people from Congo-Brazzaville have always wished the two Congo's to unite... Listen to Franklin Boukaka for instance .... Whereas my people have always seen those from Congo-Brazzaville with suspicion...
The lyrics talk about the Congolese music and musicians of both sides. No Congolese musician from Congo-Kinshasa would sing about a musician from Congo-Brazzaville, - not that I know of anyway.."

The title, he explained as follows: "Bilombe is the plural of elombe. And what does elombe mean? (...) Elombe = someone living, thus elombe mobali = a man, elombe mwasi = a woman. Elombe is always 'positive' and contains some kind of admiration, the opposite is yuma. Bilombe ya Mindule = those 'fantastic men' who make music & song, i.e. musicians (with the touch of admiration I was referring to above)."

With this in mind, I begin to understand why I couldn't recognise the singer: maybe the song is simply not by the O.K. Jazz... Could the track be by the orchestra that is responsible for the A-side of this single on the Pathé-Marconi label: orchestre Manta?
A mix-up is not completely unlikely. Manta also released some records through Franco's Epanza Makita label, so maybe the mistake started there.
And listening to one of those records, I can hear some similarities between the singer of "Tokei Kotala Bango" and the singer of the mysterious "Bilombe Ya Mindule"....

But there is still doubt. A doubt inspired by the horns on "Bilombe Ya Mindule". There is no sax at all on the Epanza Makita record, and only one sax on "Gaby Kulutuya Tango", the A-side of the Pathé 45.

So who are these 'fantastic men'?

Pathe PF 11590
Epanza Makita 384.432

PS: Come to think of it: where is Franco on "Bilombe Ya Mindule"?

Franco in Paris

As promised, I will dedicate a few posts in these weeks to the work of Franco and his OK Jazz. And today I start with this album of songs recorded and released in the 1960s (I estimate they are from 1966 and 1967). As far as I can ascertain (I have never seen a catalogue of this label), all these tracks were originally released on the Boma Bango label.

Most of the tracks on this lp have been digitally released on Sonodisc CD 36553, and two of those tracks have been re-issued on Glenn Music SAKU 007. Personally I can remember feeling very disappointed when I heard the Sonodisc cd, as the wonderfully open sound of the Pathé lp had been dynamically compressed (thus boosting the presence of the music and levelling the depth). In retrospect I can only conclude that the level of compression is rather moderate, and that things have gone from bad to worse - and way beyond - since....

The songs are from a period when both Vicky Longomba and Mulamba Joseph a.k.a. Mujos were still active as singers with the OK Jazz. Backing them on most of these songs is Michel Boyibanda.

A number of these songs seem to carry a political message, "Retroussons Les Manches"("Let's roll up our sleeves") being the most obvious of these. With "Matinda" there is only a slight reference to Patrice Lumumba, and it seems unlikely this has a political intention.
"Colonel Bangala", however, is certainly political, or at least a reference of a more topical nature. Colonel Alphonse Bangala, Governor of Leopoldville, had in May 1966 turned in four ex-ministers, stating they were plotting a coup against Mobutu (who himself had assumed power only six months before). He claimed he had received instructions from Mobutu to pretend to go along with the plot. More details can been found in these two (1, 2) newspaper clippings. It seems safe to assume Franco was singing in praise of the Colonel....

But the song "Course Au Pouvoir"("Race to power") has nothing to do with politics. It is Franco's final retort to Kwamy's repeated attacks, the last of which had been "Faux Millionaire" (with Rochereau's African Fiesta). Kwamy had recruited some of the members of the OK Jazz for his Orchestre Révolution (more about this here, and in a future post), and Franco was getting really fed up with Kwamy. According to Ewens (in his book "Congo Colossus") Franco* replies: "You are running me down everywhere, my brother, but I take it as a joke. You have invaded my private life. What jealousy. It hurts you to hear that Franco has done this or that... You wish Franco's name would disappear for ever. God created Judas, but judas stabbed him in the back" (* although it is actually Vicky who is singing). The duel between Franco and Verckys, that follows these harsh words has become a classic in the extensive repertoire of the OK Jazz, and was repeated in Abidjan, in 1980, with Matalanza playing the part of Verckys.


Pathe STX 229 (new link August 27, 2012)

PS: I will be back with more Franco very soon.

Mwana ya Luambo

So far this has not been my year, I think. Fate (or call it what you like) seems to throw all kinds of obstacles in my way to prevent me from spending time on this blog. Since my - apparently dangerously - optimistic penultimate post both sad personal events and ill health have been demanding my full attention. So I am more careful now in promising very frequent postings, but I can assure you that this blog will continue, - and hopefully also to surprise you with more musical 'wonders of the past'.....

It is hard to imagine that he must be 64 by now. In my mind I still see Youlou Mabiala as the mwana ya Luambo, as Franco's musical child. Discovered at the age of only 15 in a vocal group which performed on Brazzaville radio, he was recruited into the O.K. Jazz in 1963. He spent the first years in the shadows, being drilled into singing shape by the likes of Vicky, Kwamy and Mujos, before being allowed to contribute his first composition ("Obimi M'Bwe") in 1966.

On the basis of just the historic facts it is hard to understand how Youlou ever got his nickname. He was involved in several rebellions against Franco, starting with the one in 1968 which led to the departure of Verckys, followed only a few years later by the "Orchestre Mi-affair". He even left the O.K. Jazz in 1972 to join Vicky in Orchestre Lovy, and returned three years later only to leave again in 1977 to launch "Les Trois Frères".
I recall reading somewhere that he did return to the O.K. Jazz in 1987 to record the medley version of "Vyckina" (a.k.a. "Nakomi Musulman").

Of course there is his marriage to Franco's daughter, which certainly must have contributed in the family's selection of Youlou as the heir to the name of Franco's orchestra in the early 1990s (but not the orchestra itself!).

To understand why Youlou is called "mwana ya Luambo" you have to turn to the music. To the many duos of Franco and Youlou in the late 1960s, to the gentle guidance Franco provided to Youlou's sometimes hesitant vocal, to the at times brilliant interplay between Youlou's and Franco's voices.
Then there is the reception of Youlou, after his stint with Lovy and Somo-Somo. Remarkably, Youlou is treated almost as a prodigal son, and is allowed a position at least equal if not more prominent than new stars like Josky Kiambukuta. Testimony to this is this video from the end of 1975, showing a very confident Youlou Mabiala:


Personally I am inclined to think that Franco saw in Youlou a worthy replacement for the likes of Sam Mangwana, who - as Franco was beginning to understand - would always be a 'cavalier seul'. The single which I would like to share with you may have confirmed Franco's vision of Youlou.
This single is surrounded by some mystery. According to this discography Youlou is being accompanied by the O.K. Jazz. Although the orchestra is very competent, I have my doubts about this. It seems more likely that this is a recording from his Orchestre Somo-Somo period.

But, as always, I hope you are able to shed more light on the matter....

Editions Elengi ELg 008 or ELg 008

More posts about Youlou in the future.

P.S.: a full version, but in black&white can be found here. And the singers accompanying Youlou are (l. to r.) Michel Boyibanda, Wuta Mayi and Lola Djangi 'Chécain'.

EDIT April 14, 2011: As Peter Toll has pointed out, Youlou did not enter the O.K. Jazz in 1963, but in 1966. In my hurry to post this I did not look this up. Simaro actually confirmed this in an interview in 1991. Naturally this means that neither Kwamy nor Mujos were involved in his training.

Butterflies

So much inspiration, and so little time... I hope to have more time in the next month to post all the things I have in mind, - or just planned.

You may remember the post of those great EP's recorded by Les Bantous for the Stenco label. These EP's were actually pressed and marketed by Pathé. Gary Stewart's "Rumba on the River" reports that the label was founded in Brazzaville in 1963 by a French clothing salesman called Stein. Apparently he did so well in the clothes business that he expanded into music, first opening a bar - called "Super Jazz" - and then a home recording studio. Stein not only was the recording engineer for his own Stenco label, but also took care of the artwork* for the sleeves, as well as marketing the records 'locally' in Congo Brazzaville. He managed to persuade Pathé to do the pressing, and the distribution and marketing on the international market.
Unfortunately his success did not go unnoticed. A few years later he was miraculously forced out of business with the help of and/or by the Brazzavillois authorities.

The two EP's in this post were recorded and released on the Stenco label. Both records feature the Negro Band (of which I posted some later work earlier), an orchestra which was founded in Léopoldville in 1958 according to some by sax & clarinet player Max Massengo, according to others (Stewart, page 163) with the aid of Franklin Boukaka and Michel Boyibanda, while others (Mbokamosika) add even more 'founders'.

The eight songs on these two EP's are of a disarming freshness which typifies the Negro Band at this stage of their existence. They have their 'own thing', while on the other hand I am constantly reminded of Franco and his O.K. Jazz, - and not just by the solo guitar of Jean Mokuna a.k.a. 'Baguin', but also by the vocals (by Démon Kasanaut?) which bear some resemblance to Vicky Longomba's.

As with their work on the Esengo label I particularly like their 'spanish' songs. I am using quotes as these songs are in a kind of mock language, which sounds very good, but is mainly rubbish. I love it! On Negro Band No.5 there are two of those: a pachanga called "Bailar Con Negro" and an "afro cha cha" called "Ahora Las Mariposas" ("Now the butterflies"). I would love to have a year to investigate the meaning of this last song....

Stenco NB 4092
Stenco NB 4099

* You may remember that brilliant sleeve of Negro Band No.3 (see the Muzikifan site)!

Loyalty

The OK Jazz started the 1970s with an all-time low. The year 1970 not only saw the final break between Franco and Vicky Longomba, but also the death of Franco's younger brother Bavon Marie Marie, with Franco playing a very dubious role. To make matters worse, Franco split up with his wife Paulina, with whom he appeared to have had such a strong bond.

After a period of semi-retirement Franco decided it was time he took control. The coming and going of musicians must end, he ordained. Once someone left there was no turning back. He took on extra musicians too, four trumpet players, and replacements for those who had left.
Among those being replaced was Celi Bitshou, bass player and a remarkable composer. His replacement was Mpudi Decca (who will be the subject of a future post).

It seems likely that the tracks of this lp were recorded in the time before Celi Bitshou left the OK Jazz. On the other hand, Franco felt no qualms about using a composition after the composer had left the orchestra; so it's possible that Bitshou's most famous composition was recorded without him. This composition is "Mado", also known as "Infidélité" or "Infidélité Mado".
The track is in a lot of respects typical of the period. And even more so, the 'alternative' version on this lp (second track on the A-side). The unusual guitar solo is Franco's cynical reaction to the criticism that his solos were getting monotonous (Graeme Ewens also writes about this in his "Congo Colossus").

The release of these songs must have coincided with president Mobutu's launch of his 'Authenticité' and 'Zaïrisation' (or 'Zaïrianisation') campaign. The sleeve shows the OK Jazz in the uniform of revolutionary militants of the Mouvement Populaire de Révolution (left to right: Dele Pedro, Rondot Kawaka, Isaac Musekiwa, Celi Bitshou and singers Lola Djangi 'Chécain' and Youlou Mabiala).
But more interestingly, the lp features a song by Manuel D'Oliveira, the Angolan star of the 1950s Ngoma label and leader of the legendary ensemble San Salvador. According to Chécain he can be even heard singing in the chorus (lead vocals are by Michel Boyibanda and Youlou Mabiala). The song, "Na Mokili Mibale Na Mibale", is a version of San Salvador's 1953 song "Lokumu Ya Mwasi Mpo Na Mobali" (Ngoma 1445). Apparently Franco (too) interpreted the slogan 'Recours à l'authenticité' as a return to the times before Western influences had 'changed' Congolese culture. Evidence of this can not only be found on this record, but also in -for example- the recordings with another star of the 1950s Ngoma label, Camille Feruzi. Later, this interpretation was rejected*.
Franco later claimed that he had always interpreted 'Authenticité' as the loyalty to one's own roots. And of that kind of 'Authenticité', which he later described as "originalité", Franco was and remained a Master....

Pathe 2C054-15194

*cynically four titles on this lp are in French, with in at least two cases good Zairean alternatives ("Je Ne Peux Faire Autrement" = "Ma Hele" and "Infidélite" = "Mado"). This is due to the release in France (and not to Franco's naughty nature) .

Viclong

In 1970, the turn of the decade saw some decisive events in the history of the O.K. Jazz. Franco himself about this period in an interview in 1986: "I was a shy person at the time. But what do you want? I had friends in the OK Jazz that left and returned, and left and returned. And at a certain point I said: "Stop! If you leave, you leave for ever." And when they had gone for ever, I tried to organise the O.K. Jazz my way" "A coup, yes. Because, although shy, with them going one day and coming back the next, I said "Stop!", and tried to organise things my way. Je me suis imposé."

I can't help but thinking that after the attempts that were made to end the reign of the OK Jazz in the second half of the 1960s (Orchestre Révolution - see this post and this post / Verckys' attempt to lure away half of the orchestra in 1969 - post coming up), it was not surprising that the number one singer Vicky Longomba started looking for some securities.
In 1969 he followed in the footsteps of Verckys and founded his own record label, rather unimaginatively called "Viclong". Apparently he did this in total harmony with Franco, because the first recordings on this label were with the O.K. Jazz, and with Franco.
At a later stage, after the break-up with Franco, Vicky released the recordings of his own Lovy du Zaïre through this label.

But in this post I would like to share three of the Viclong singles of the OK Jazz with you.
The first of these is also the first record released on the label. It contains, like the other two singles in this post, two songs composed by Vicky. The A side, "Nakosala Nakolota", is a good example of Franco's talent as a backing vocalist, or 'second'. It is a side of Franco which unfortunately has remained somewhat hidden in the writings and releases of his work.
While the A-side may be seen as a demonstration of harmony between Franco and Vicky, "J'Ai Trompé Mon Amour", the B-side, can be seen as proof of Vicky's independence of Franco. It is a remake of a song Vicky recorded (probably in 1962) with his own Negro Succes and released on the Esengo label (see this post).
Unfortunately the quality of this single is rather poor.

African 90.318 [Viclong VC1]

Luckily the quality of the second single is a lot better. It contains a downright impertinent version of the Cuban classics "El Carretero", renamed "A Moins Que Namikosa", and subsequently claimed by Vicky. Franco is at it from the word "go", and remains unstoppable throughout this brilliant interpretation. On the B-side Vicky is backed by Lola Djangi, a.k.a. Chécain, a - in my opinion underrated - singer with a voice with a built-in dose of sadness and nostalgia (who will certainly also be subject a future post).

African 90.452 [Viclong 20]

I regret to say the last of these three singles is again rather scratchy. The A-side "Mbanda Nani A Gagner?" is a ballad sung solo (and beautifully) by Vicky, with some very nice sax (by Musekiwa? or Rondot? or whom?), and no noticeable Franco, - although I keep expecting Franco to 'impose' himself...
"Nasomba Mwana Naboti?", which was released (and fortunately in a better quality) on Sonodisc CD 36586, compensates for the absence of Franco's guitar on the A-side. Backing Vicky is Michel Boyibanda.
I like the songs Vicky later made with Lovy, but to me they can not compare with the songs Vicky made when he was with Franco.

African 90.468 [Viclong VC 23]

More Franco coming up soon.

update August 26, 2018: replaced the link to African 90.452 with a new (improved) one.

Union

In the aftermath of the death of Margaret Thatcher I have missed a documentary analysing the relation between Thatcherism and the present economic crisis. Perhaps it was broadcast and I just did not see it, or perhaps this is being prepared.
Or maybe the absence of such an analysis is an indirect result of the deceased's policies. Certainly in the Netherlands the media have fallen victim to the "free-market economy". The dramatic effects of this can be observed daily. A movement towards (very) 'light entertainment for the masses' which started in the 1960s with the then new broadcasting corporation TROS was rocket-fuelled by Thatcherism. What was seen in the late 1960s and early 1970s as mindless drivel and the lowest of the low has now - through a process that can only be described as 'incestuous' - achieved the status of 'high culture'. Products of this free-market culture have been exported all over the world. And I am not only referring to Endemol produce such as Big Brother and similar blockbusters, but also to the Tiëstos and Armin van Buurens and other - in my opinion disturbing - phenomena. Mindlessness as a major export.

The latest exponent of this trend is now almost literally forced down the throats of an entire nation. Apparently it is not enough to infect the brains of the defenseless with retarded programming mixed with and/or incorporating matching adverts, with the "King's song" (see this article in The Guardian) an element of coercion is added. We, as a nation, are expected to sing along with this sub-Eurovision (and that's as low as it gets) standard sh*t, in celebration of the new king. This may be the start of the new Middle Ages.....

Perhaps stubbornly, I am still hoping it is not too late. Although on a local level all seems lost, globally there may be sufficient individuals ready to combat the regression into cultural barbarism. By joining forces we can avoid slipping into the abyss. The motto "l'union fait la force" ("Unity makes strength") was - according to this wikipedia page - first used in these low countries in the 16th century. And that's where we will have to look.

As it happens, this unity, this joining of forces, was the main target of the policies of the late Mrs. T. and her sad & misguided successors. The vigour with which she attacked any form of grouping of workers to defend their rights against the forces of the free-market economy - and specifically the trade unions - can only be described as manic. So it stands to reason that we turn to these very unions in our attempt to turn the tide.

And that's where we arrive at the subject of this post: the orchestra of the National Union of Tanzania, the NUTA Jazz Band (see also this earlier post). A great example of strength in unity, and of the high cultural level that can be the result. A unity that is demonstrated in strong vocal harmonies, in a solid wall of horns, and in some great interaction between musicians. And although I have no information about their salaries, I am convinced they can not be labelled as 'overpaid' (like many of the exponents of the present-day 'free-market culture').

This cassette, released by FLATIM Records (see also here), was probably recorded sometime in the mid-1970s. It is a collection of brilliant and very Tanzanian songs, but there is certainly an influence of the then dominant Zairean (Congolese) music. Particularly the influence of the (by that time) Tout Puissant O.K. Jazz is more than obvious. And, as you may have noticed, this will give a band a serious advantage in my rating.
One song stands out in this respect: "Mwana Iddi". In every aspect this is a superb tribute to Franco, but especially in the execution of the sebène. After 1'40 the build-up starts, an ascent in stages which reaches its culmination after 3'19 with one of the very best Franco-esque solos I have ever heard. The band clearly has listened carefully to the grand maître, for they also have grasped the added value of the shouts (with the O.K. Jazz often by singers like Chécain and Boyibanda).

But let me stress that NUTA Jazz is nevertheless very much original, very much Tanzanian - and very much authentic NUTA Jazz.

AHD(MC)032

Anniversary

Today it's the anniversary, and not just of D-Day, my sister, King Albert of Belgium, Thomas Mann and Bjørn Borg, but especially of the founding of one of the greatest African orchestras of all time: the OK Jazz. In a future post* I will explore the details of this momentous event.
But for now I would like to share this double album on the Pathé label with a selection of songs from the 1950s and 1960s, when the OK Jazz was just OK, and not yet Almighty.

Of the 25 tracks in this collection 8 are from the 1950s. Of these the oldest are the two compositions by Dewayon; these are from 1956 and are the last two tracks recorded on the Loningisa label featuring singer Rossignol, Essous (clarinet) and Pandi (sax). On January 1, 1957 they left for the newly started Esengo label, where they founded Rock-a-Mambo.
In the other six Loningisa tracks (from 1957 and 1958) the focus is on Vicky Longomba; not only has he composed four of these songs, but he is the lead singer in all six. Not including at least one bolero sung by Franco himself seems to me a regretful omission...

And while on the subject of composers, I would like to point out that there appear to be some 'politically motivated' errors in the composers listed on the sleeve. It is well known that Franco had a tendency to claim songs which he hadn't composed. And in this case I can understand Franco claiming "Na Congo Nazali Refugie Te" and the sublime "Mivais Temoin", which were both composed by 'persona non grata' Kwamy (who accused Franco several times of not keeping his promises**). But I can't figure out why he would claim Michel Boyibanda's "Masua Enani".

I certainly won't complain about the inclusion of the songs featuring Kwamy. I love the songs from the "Bolingo Ya Bougie" era; and "Vincent" and "Na Congo Nazali Refugie Te" are a welcome addition. The same goes for "Zuani Naweli Kitayele", which has been sadly shortened on the CD-version (on CD 36553).
Compared to the re-issues on CD I can only conclude that a lot of the original sound has been lost in the conversion to digital form. The most tragic example of this is the track "Gare A Toi Marie", which really sparkles on this album. In general, I can recommend any of the records of the OK Jazz on the Pathé label for their superb sound quality, - and will be posting some more in the future....

And I can assure you there will be lots more (Tout Puissant) O.K. Jazz in future posts!

Pathé 2C 150 15973/74 part 1
Pathé 2C 150 15973/74 part 2

* the second in the series about the OK Jazz on the Loningisa label will highlight the 'birth' of this orchestra on June 6, 1956.
** I will come back to this in a future post. For more Kwamy I refer you to the podcasts (bottom left of this blog).

Recours

I would like to round off* this (in many aspects not so happy) year with some sounds that I am almost sure will make you happy. And in the process I will try and clear up some misunderstandings and/or correct a few errors.

The subject of this post is one of my favourite ones: the music of Franco and his O.K. Jazz. More precisely I would like to focus on that fascinating period of the early 1970s, when Franco took control of the O.K. Jazz and the O.K. Jazz had not yet 'transformed' into the Tout Puissant O.K. Jazz.

Although it is easy to state this nearly forty years later, I am inclined to belief that Franco came out on top after the attempts to undermine his popularity in the late 1960s. One of the key ingredients of his success, and not just then but throughout his career, was that he had a capacity to absorb influences by others while remaining himself. Asked about the inspiration for his music Franco has replied in several interviews that he has spent his whole life listening to the music from his country. These words are not to be taken as some form of cliché. Franco really listened to all music from Congo/Zaïre and had done so since his youth. Seen in this light the call by Mobutu for a "recours à l'authenticité" seems 'tailor-made' for Franco.
The word "recours" has over the years been misinterpreted. It does not mean a return to, but rather an appeal to.
And authenticity was of course by no means an invention of Mobutu. For Mobutu it was actually more a solution to an imminent - or perhaps even urgent - problem. In that respect I think there are some parallels with the present search for a national identity and the 'recours' to a disturbing and shortsighted form of nationalism in countries like the Netherlands...

For Franco the 'recours à l'authenticité' meant a confirmation of what he was already doing. When he contacted people from the pre-independence era of Congolese music in 1971 he wasn't the first to do so. Wendo had been playing with Rochereau in the 1960s. Contrary to Rochereau legendary musicians from the Ngoma label like Manuel D'Oliveira and Camille Feruzi played with the O.K. Jazz on equal terms; they weren't used as an embellishment.

As far as I know (and please, please, please correct me if I am wrong!) Franco recorded two songs with and by Manuel D'Oliveira and a whopping five with Camille Feruzi. Of the latter I am only sharing four with you in this post. Of the last song (unconfirmed title "Tika Kolela Cherie") I have only a sadly very low-fi copy.

Three of the songs with Camille Feruzi have been released on CD (Sonodisc CD 36581), but - typical of Sonodisc - not without a slight cockup. "Kuyina" has been renamed to "Mbanda Nasali Nini?", - which happens to be the title of the track that is missing from the CD.

The songs were originally released on three singles by Franco's Editions Populaires, and according to my information in December 1972 (the first two singles) and the beginning of January 1973 (the third). Gary Stewart states that it was exactly one year earlier, and - although I am willing to believe this - I have no confirmation of this, or of the source of this dating.

The first of the three singles contains besides Franco's brilliant "Likambo Ya Ngana", featuring not only Franco and Camille Feruzi (on accordion) but also the same female chorus that can be found on "Boma L'Heure", an equally brilliant "Casier Judiciaire" (= criminal record). And this last song is a different version from the track included on the CD I mentioned before. Franco's acoustic solo after 3'20 is to me one of the absolute highlights of his career.
A small detail: on the CD "Likambo Ya Ngana" fades out a few seconds earlier than on the single. Why??

EP 78 [Fiesta 51.149]

On the second are two compositions by Camille Feruzi. On the B-side is "Siluvangi Wapi Accordeon?" which you may know from the CD. And on the A-side is the song missing from the CD, "Mbanda Nasali Nini?". Again I wonder why. Why wasn't this song included in the CD?
Coincidentally this happens to be a song with a bit of a mystery. Because who is the singer besides Youlou Mabiala? Aboubacar Siddikh suggests it might be Vicky, but I am more inclined to think it is Kwamy. Alternatively it can be a singer brought along by Camille Feruzi (Tenor Beya perhaps?).
This song is not only different because of the singer, but also because of the arrangement. In the second part (after 2'32) there is a full orchestral arrangement with the horn section sparring with Feruzi's accordion. Fascinating!

EP 79 [Fiesta 51.151]

The third single not only features the fourth track with Camille Feruzi, "Kuyina", with Franco and Feruzi competing for a place in the limelight, but also a track composed by that seminal composer duo from the early 1950s: Georges Edouard and Manuel D'Oliveira. Together with Henri Freitas and Bila Edouard they formed the group San Salvador, which can be described as the band that laid the foundation for all Congolese modern music. I will certainly be dedicating a post (or perhaps even more than one) to this group in the coming year.
The song "Ba Mipangi Ya Matadi" is in my opinion the very best example of a "recours à l'authenticité". I am not sure of the singers, but I suspect one of them is Manuel D'Oliveira, and the other could be Michel Boyibanda. The rhythm is 100% San Salvador and is accentuated by the percussion. Franco seems to have adjusted his tuning to the tuning of San Salvador, but remains clearly and recognisably Franco.
Again I can not understand why this song has never been included on one of the many Sonodisc CD's.

EP 80 [Fiesta 51.181]

The three singles plus the second track of Manuel D'Oliveira with the O.K. Jazz ("Na Mokili Mibale Na Mibale" - see this post) can also be downloaded in one file and in the FLAC format (alternative links - 2 files: here and here).
I will be posting more from this fascinating period very soon.

I wish you all a happy, healthy and successful 2012!

* and I am well aware that you may already be in the new year.

Franco at Ngoma

You may remember my earlier posting of two of the volumes of the Sonafric series (of three) "Les Grands Succes Zaïrois". In that post I mentioned that all of the tracks on those two albums appeared to have been released on the Ngoma label.
Furthermore I indicated that it looked to me like the two tracks by Franco et l'O.K. Jazz on Volume 3, "Beyos" and Franco's superb "Ngai Na Boya Na Boya Te", had been shortened.

A few weeks later I received a mail from Danish journalist and connaisseur Flemming Harrev. He wrote: "I can confirm that the two Sonodisc albums 'Les Plus Grands Succès Zaïrois' vol. 2 (SAF 50.043) and vol. 3 (SAF 50.044) were rereleases. They were originally released by Ngoma in France ca. 1969. The Ngoma albums were titled 'Toute l'Afrique Danse' vol. 5 (J 33 008) and vol. 6 (J 33 009) respectively. The track-titles and the sequencing is identical on both Sonodisc albums. In your comments on the Sonodisc albums you indicate the length of the tracks have been tampered with. I have a copy of Ngoma J 33 008 and have compared it to Sonodisc SAF 50.043 and can confirm that the length of all the tracks are identical. The back cover of my Ngoma album has b/w pictures of covers and track info on nine other Ngoma albums (inluding J 33 009 alias Sonodisc SAF 50.044)."

And there is more!
"When it comes to Sonodisc SAF 50.044 I can only make a comparison of the two tracks with Franco & OK Jazz (BEYOS / NGAÏ NA BOYA NA BOYATE) which I also have as an Ngoma single (J 1 056). When I checked the length of the tracks on the single against the length of the same tracks on the Sonodic album I came up with the following result: the Ngoma single tracks are 5.26 / 5:21 respectively, compared with the Sonodisc album tracks' 3:49 / 4:15. Voila!

I have copied the cover of the Ngoma single - attached. On the back-cover you will find the missing series number on your list of Ngoma original singles for Verckys & son ensemble (Okokoma Mokristo / Sasa Akeyi Congé): J 5 146. I also have two other Ngoma singles with OK Jazz: J 1 058 MARIE CECILE / MARIE ELENA and J 1 059 CONGO MIBALE / THOMAS which I could send if you are interested.

Returning to the Sonodisc albums 'Les Plus Grands Succès Zaïrois'. Vol. 1 (SAF 50.042) is identical to the Ngoma album with Dr. Nico and African Fiesta (J 33 007). Another Ngoma album with Dr. Nico (J 33 001) was rereleased as Sonodisc SAF 50.007, Ngoma J 33 002 with Rochereau was rereleased as Sonodic SAF 50.004, Ngoma J 33 003 with Dr. Nico was - as far as I can make it out - never rereleased (Alastair Johnson does not have it in his book either, so it must be very rare) , Ngoma J 33 004 - still in the 'Toute l'Afrique Danse' series - was with Don Diego et son orchestre (Cuban band-leader), Ngoma J 33 005 with Rochereau was rereleased as Sonodisc SAF 50.002, Ngoma J 33 006 with Dr. Nico was rereleased as Sonodisc SAF 50.003, Ngoma J 33 008 and J 33 009 became vol. 2 and 3 of 'Les Plus Grands Succès Zaïrois', Ngoma J 33 010 with Kosmos Alphonso et l'orchestre Les Esprits I have no further information on.

I have checked old issues of Bingo Magazine and found 3 more Ngoma albums in Gilles Sala's list from March 1971 (page 57): J 33 013, J 33 014 and J 33 015. Judging from the album titles alone the two first albums with Verckys would be identical to Sonodic SAF 50.008 and SAF 50.009. The third album (J 33 015) Kwamy à Paris 'Ma cousine Bernadette' I have no further information on. I miss copies of Bingo from 1969 and 1970 (have 1967-1968 + 1971-1991) so I have no idea of what might have been released on Ngoma J 33 011 and J 33 012.

In your comments on 'Les Plus Grands Succès Zaïrois' you also made a point of Cercul Jazz not being a band from Zaire but came from Congo-Brazzaville. Maybe the other two unknown bands, Kongo Vox and Congolia, also cane from Brazzaville. I have a another Ngoma single with Kongo Vox where the composer of the tracks is given as Dupool - alias Jean-Félix Pouela - whom I am to believe came from Brazzaville (according to the information I can find on the internet) and who should have had a short envolvement with OK Jazz. Does this ring a bell with you?"

What a delight to receive such detailled information!

I must correct the point about Docteur Nico's Ngoma J 33003 not being in Alastair's book. It is, on page 40.

I am very curious about the Kwamy à Paris album (Ngoma J 33015). If anyone has it, please share it with us!

As to Dupool, Lutumba Simaro mentioned him in 1991 as a drummer originally from Brazzaville, where he played with Les Bantous.

It gets even better. Flemming not only sent the three singles he mentioned in his mail, but later even found a fourth one. And all four singles are in absolute top condition. And, as if to prove a point I made in an earlier post, none, - I repeat: none - of these tracks has made it on to CD.
Which, if you ask me, is a miracle......

Because not only is there an extended version of "Ngai Na Boya Na Boya Te", which not only means the sax solo is finished (it is faded out on the lp version), but also that Franco returns once more. This 'upgraded' version of one my (many) favourite O.K. Jazz songs would be enough for me.
But the other three singles also have some classic O.K. Jazz songs to offer.

"Michaël Bolingo" is one of these, with Vicky Longomba (again - as in "Beyos") delicately backed by Franco, and with Youlou joining Franco when Vicky does his solo bits. For some it may sound like more of the same, but me, I can't get enough of these songs.
The B-side "Mbanda Na Ngai" (not to be confused with the song of the same title by Kwamy on the Surboum label) again offers proof of composer Lola Chécain's great skills as a backing singer. Here he backs Youlou like a shadow, - but does add his signature after 48 seconds...

On Ngoma J 1058 "Marie Cécile" offers a mystery. Well, at least to me. For who is the singer next to Franco at the beginning of this song? Is it a cleverly disguised Michel Boyibanda? And who is the guy talking after 1'11? And what is the meaning of that comical interlude with the sums, after 4'10?

And talking about comical, is the B-side serious? I mean, it is an absolutely fantastic version of that Mexican evergreen "Maria Elena". But it is also very much too. The singing is relatively normal (and who is singing the lead? And is that Chécain backing? Or - also - Franco*?), but my pants dropped when the trumpet came in.
Wow!

I suspect "Congo Mibale" is one of Franco's song with a Message. The decisiveness of Franco's singing, the fact that he is trying to fit words into the rhythm, the naming of famous Congolese (Lumumba).... The passage between 1'48 and 2'55 suggests that the song is about the division of the two Congos. Franco names the languages the two countries have in common. It is clear that this was in issue in the second half of the 1960s (see also my earlier post about Orchestre Manta Lokoka).
As to the B-side, "Thomas" (again composed by Franco**), is it me, or is this song dominated by the bass player? For some reason it seems to provide a perfect build-up to Franco's solo, starting at 2'41.

I have mentioned it before, and these four singles offer more proof: there is still a great part of Franco's legacy that has never been released in digital form. So there is also no reason to stop looking, and to only reproduce (and sometimes even in distorted or incomplete form) what others have produced before.

Ngoma J 1056
Ngoma J 1057
Ngoma J 1058
Ngoma J 1059

Alternatively you can download all four singles in one file.

* I am almost sure the hums after 4'42 are Franco.
** In fact the only two songs on these four singles not composed by Franco are the song composed by Chécain and "Marie Elena".