La femme se plaint

Is there an element linking this and the previous post? The answer is yes. What both artists have in common is a unique and original singing style. And that's not all: they both draw their inspiration from tradition. Although I add that the source of this tradition may not be so clearly defined - and certainly not in ethnomusicological (what?) terms - in the case of the singer who is the subject of this post.

I am sure you have already recognised him from the photo on the sleeve; the subject of this post is Josky Kiambukuta. I am sure I am not the first blogger to post this album, but there is a valid reason why I still would like to share it with you again. This is a special album. First, because it was conceived as an album, and not as a random collection of previously released songs. Secondly, because Josky was the first singer who was allowed to make his own album with the T.P. O.K. Jazz.

Josky was recruited into the O.K. Jazz (by Simaro Lutumba*) after Sam Mangwana to add a different style to the orchestra. As an ex-singer with Docteur Nico's African Fiesta Sukisa and a member of the Orchestre Continental (as was Wuta Mayi) he was firmly rooted in the African Jazz school of Congolese music. As he explained in an interview in 1991 he had been a great fan of Rochereau since his early youth. Obviously his first vocal contributions were in the style of idol (great example), but he soon started making his mark in the O.K. Jazz, and was actively encouraged to develop his own style. Like all musicians within the O.K. Jazz he was also asked to contribute as a composer, which he did with fervour ("Kebana", "Monzo", "Seli-Ja").
In the interview he pinpoints the song "Fariya" as the start of his own style. A style which he traced back to the legendary ensemble San Salvador, who dominated the recordings on the Ngoma label in the first half of the 1950s. He further developed and refined his style in songs like "Ba Pensées", "Amour Violé", "Mobali Amesana Na Ngai", "Toto", "Bisengambi", "Tokabola Sentiment", "Propriétaire" and - of course - "Bimansha" and "Nostalgie". All these songs were hits.

In the 1991 interview Josky indicated that traditional music was another source of inspiration for these songs. He named "Amour Violé" and "Limbisa Ngai" as based on a traditional rhythm from Shaba (now once more named Katanga**). This personal development culminated in the lp "Franco présente Josky Kiambukuta du T.P. O.K. Jazz", an album which he treated with considerable respect and care. This resulted in a true Classic of Congolese music.

And this is a rare feat for an O.K. Jazz album to which Franco himself has not contributed (i.e. he is not playing in these recordings...). What I personally really like in these four songs is the variation which Josky has managed to introduce both in the rhythms and in his singing. He is without a doubt the star in these songs, but none of the songs is the same, and within the songs it is like he is constantly 'feeling his way', almost exploring the right notes. Solidly backing him in all songs are Aimé Kiwakana, Lokombe Ntal and Madilu System. This harmonic backing only acts to emphasise Josky's vocal excellence in all four songs. Just listen to the ease with which he weaves through "Massini" and "Mehida"!

Josky stated in the interview that most of his songs are sung from a perspective of a woman. "La femme se plaint" (the woman complains) as he described it. Keep this in the back of your mind and listen to this album again. It will add another dimension to what is already a masterpiece.

Edipop POP 025 (1983)

* who knew him from the age of 15.
** Josky himself is from Bas-Congo.