Fortunately a lot has been done in the last few years to preserve and/or restore his legacy. And one can only hope that even more can be retrieved before it disappears in the inevitable mist of time.
In this post I would like to share one of the key albums of the Grand Maître's extensive legacy. This double album, "Tonton Franco et le T.P. O.K. Jazz - 6 juin 1956-6 juin 1980 - 24 Ans d'Age", released on the V.I.S.A. 1980 label (FRAN 004-005), contains eight songs, - and only one composed by Franco himself. The album was released in 1981, so in fact almost 25 years after the foundation of the O.K. Jazz. It is only the fourth album on the V.I.S.A. label, the label which Franco had initiated after the collapse of Fonior/Decca in March 1980 and for which he had negotiated a distribution deal with Daniel Cuxac's Disco Stock in Abidjan in 1980 (an interview with Daniel Cuxac from 1983 can be found on the afrodisc.com website).
Unlike the first of the V.I.S.A. 1980 albums this album is not dominated by Franco himself, but more of an orchestra-wide effort, with compositions from Josky Kiambukuta, Ndombe Opetum, Gerry Dialungana, Lola Djangi (a.k.a. Chécain), Makosso (credited as "Mackos" on the label and "Makos" on the sleeve) and two compositions by Wuta Mayi. Of the two records the first one probably contains the most 'well-known' songs. Songs which were reproduced during concerts in the 1980s and became 'household names' with mélomanes all over Africa.
It looks like this record was intended as a 'theme' record, and perhaps even as a single lp. For the songs "Propriétaire" (owner), "Héritier" (heir), "Locataire" (tenant) and "Ayant Droit" (beneficiary or rightful owner) all refer to ownership and rights. It is doubtful that these songs were composed with this theme in mind though, as the composers later referred to them with other titles. "Héritier" was also referred to as "Machata", "Propriétaire" as "Sambwa Sambwa".
There are many highlights on this classic album. The first of my personal favourites is the start of Josky's "Propriétaire". I just love it when Ntesa Dalienst shines through in the chorus, adding extra swirls like a baroque painter.
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| Ntesa & Wuta Mayi |
Josky is also great in the chorus in "Héritier", where he is joined by Lukoki Diatho, adding warmth and depth to the song which - as often with Ndombe's compositions - has plenty of drive, but tends to stay a bit two-dimensional.
"Ayant Droit", the first of the two compositions by Wuta Mayi, is in my opinion the star of "24 Ans d'Age". It has everything: great rhythm, great arrangement and - above all - great vocals. The melodious lead vocal by Wuta Mayi, the adornments by Ntesa, Josky providing the solid base: this is why the T.P. O.K. Jazz was top of the league. Ntesa told us in 1991 that Franco did not play on this and the other Wuta Mayi song; so the 'Franco guitar' in "Ayant Droit" is Thierry Mantuika.
Of course this is not the case on "Locataire". This is Tonton Franco himself playing. Once more Ntesa is prominently present, although more restrained than in the Josky and Wuta Mayi compositions. As per usual with the Franco compositions the sébène is intense, with Franco in charge.
"Kufwa Ntangu", composed by guitarist Gerry Dialunga, features Wuta Mayi and Josky alternating on lead vocal, backed by (a once more very prominent) Ntesa and (probably) Lola Djangi. "Probably" as Lola manages to stay well hidden behind Ntesa, but the combination of voices does remind me of his own composition, - which happens to be the next song on the album. "Kufwa Ntangu"" is one of those songs that grows on you after a while, and it is a pity that it is the shortest song on the album.
"Meka Okangama" has that special element which typifies a Lola Djangi composition: there is always something of a "mélodie mélancholique", as he himself described it. Even with the energetic voice of Ntesa besides him Chécain succeeds in radiating a certain sadness in this wonderful song, which is probably the most typical 'old school' O.K. Jazz song on the album. Besides Ntesa Josky is singing and Ndombe was clearly present during the recording (he can be heard animating at 8'30) but I doubt if he was singing.
Wuta Mayi's second composition, "Likambo Ya Moto", is in my opinion not as exciting as "Ayant Droit", but still has some interesting vocal combinations, with Ntesa, Lukoki Diatho and of course Wuta Mayi. Although Franco is not playing there is a lot of guitars battling it out in the sébène...
Djo Mpoyi, who joined the orchestra in 1978, only sings on one song: "Banza", composed by rhythm guitarist Makosso (full name Makonko Kindudi). Like "Héritier" this song does not feature Ntesa Dalienst, but this is amply compensated by Josky, who is backed by Wuta and Djo. Josky is once more in great form and really carries this song.
"24 Ans d'Age" is not so much a showcase of le Grand Maître Franco, but more of his Tout Puissant O.K. Jazz, and particularly of the vocal talents, which in the year before the release of this album had led to a huge hit with Ntesa's "Liyanzi Ekoti Ngai Na Motema". With the album Franco targeted a wide, mainly African, audience. The success of the V.I.S.A. 1980 albums made him realise that an even wider audience was possible, and in the following years he developed a plan to reach out to the world.
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| Wuta Mayi - Josky - Djo Mpoyi - Franco - Makosso - Papa Noel - Ndombe - Lola Djangi |
Live versions of these songs can be seen on Aboubacar Siddikh's YouTube channel:
Propriétaire: Télé-Zaïre 1980
Héritier: Télé-Zaïre 1980
Ayant Droit: Télé-Zaïre 1980 and at 1-2-3
Locataire: Télé-Zaïre 1980 and in Abidjan 1980
Kufwa Ntangu: Télé-Zaïre 1980 and in Abidjan 1980
Meka Okangama: Télé-Zaïre 1980
And for those who can not enjoy music without seeing a picture, Aboubacar has also uploaded the songs of this album: Propriétaire - Héritier - Ayant Droit - Locataire - Kufwa Ntangu - Meka Okangama - Likambo Ya Moto - Banza.
FRAN 004/005 (mp3)
FRAN 004/005 (flac - available until December 31, 2019)
PS: coming up: more music from Mali....
