Ndombe

Another of the big men of Congolese music has gone. Paul Ndombe, better known as Pépé Ndombe or Ndombe Opetum has died on May 24, 2012 in Kinshasa.

The first rumours of his death reached me on the very same day. As it was impossible to verify this tragic news, and as rumours have often been found to travel faster than the truth, it seemed wise to wait a little before posting it in this blog.
Unfortunately, the rumours were soon confirmed by several sources. Apparently Ndombe had been taken ill a few days earlier; it appears this illness was to be his last...

I have never had the fortune to interview Ndombe. So with regards to his biography I have to rely on other sources.
Born on February 21, 1944 in the Bandundu province, Paul Ndombe moved to the capital Leopoldville at the age of five, where his father had found work as a teacher. Having succesfully finished his schooling, Paul was sent to the town of Kikwit in the Kwilu province to start work as a civil servant. There, at the age of seventeen (and far from the watchful eyes of his parents?), he gave in to his passion for 'the arts' and joined a group called Select Jazz. A few years later, with some friends and with the help of a local sponsor, he started a band called Super Fiesta.

In 1965, as a result of the unrest in the Kwilu province, his job was 'relocated' to the capital. Although this meant leaving his band behind, it appears the urge for music did not diminish. According to some reports (link no longer working) Paul Ndombe in 1967 attempted to join Vox Africa, after Sam Mangwana left the group. But Jeannot Bombenga turned him down.

A single by Ndombe with African Fiesta Nationale
on the Isa label (link to this single)

A year later he was encouraged to audition for an even greater star of Congolese music: Rochereau. According Gary Stewart (in his "Rumba On The River") and others he again was to replace Sam Mangwana, who had left after the orchestra had been suspended for showing up late for a gala concert set up by President Mobutu. He managed to impress Rochereau with an immaculate rendering of the song "Baboka" (a.k.a. "Michelina"), according to this interview (which unfortunately is in lingala, but which I still recommend very strongly, - if only for the bits of singing by Ndombe!).

Ndombe, nicknamed "Pepe" by Rochereau, settled in great with African Fiesta National (or African Fiesta 'Le Peuple'). His voice combined perfectly with Rochereau's. In fact, both voices were similar to a point where fans even confused Ndombe's vocal with that of Rochereau.
As a composer too Ndombe soon started to make a name for himself, with hits like "Hortense", "Nakoli Kotika Yo Te! Papa" and - my favourite - "Longo". And in 1970 he accompanied Rochereau, who by then had adopted the title of "Le Seigneur", during his prestigious concerts at the Olympia in Paris. Concerts which - by the way - Rochereau has described in several interviews as a highlight in his career.

In the following year, things turned slightly sour for African Fiesta. Some musicians and dancers left after they had not been paid for nine months. Rochereau himself was even jailed after a dispute about money.
The exodus was completed in 1972, when Pierre 'Attel' Mbumba (who had joined African Fiesta shortly before Ndombe) and Empompo Loway 'Deyesse', together with Ndombe (who had been renamed Ndombe Opetum in the Mobutu's Authenticité campaign), were lured out of the orchestra to form Orchestre Afrizam.

Sam Mangwana joined for a short while, but after he had left Ndombe was the star of the show. He composed a great number of songs and sang in most, if not all.

My impression is that things did not go as smoothly as Ndombe would have like with Afrizam. Some point out that the ghost of Tabu Ley Rochereau's Afrisa/African Fiesta kept pursuing Afrizam and that this was only strengthened by the use of Afrisa's rhythms. Ndombe decided to team up with guitarist Dino Vangu and change the name of the orchestra into Makina Loka. Here he recorded - amongst others - this single "Zongisa Bolingo 1 & 2" (which was re-released on CD as "Mpongo").

My guess is that it did not take a lot of persuading to get Ndombe to join the Tout Puissant O.K. Jazz in 1975. He fitted perfectly into Franco's strategy to merge the styles of the two schools of Congolese music into one.
Again he served as a replacement for Sam Mangwana, although I assume that Franco saw the 'added value' which Ndombe could bring, and which he very soon demonstrated in songs like "Yo Seli-Ja" (video) and - especially - "Salima" (highly recommended video).

Besides being a great addition as a vocalist Ndombe also proved his relevance as a composer. Best known in this early stage of his career with the T.P. O.K. Jazz is his song "Voyage Na Bandundu". Although others see this song as a continuation of his repertoire with Tabu Ley, I don't agree. My impression is that Ndombe tried to emulate the success of Lutumba Simaro's classic "Ebale Ya Zaïre", which had been so brilliantly interpreted by his 'predecessor' Sam Mangwana.

In later years Ndombe produced many hits with the T.P. O.K. Jazz, the biggest of which were the 1982 "Mawe" and "Na Yebi Ndenge Bokolela Ngai" (video) from 1983 (also known as "Masha Masha" or "Mashata"; here Franco explains the meaning of the song). And perhaps I should add this song, originally from 1979:


In 1983 Ndombe left the T.P. O.K. Jazz*, for reasons which so far I have not been able to uncover. Perhaps they had to do with Franco's lengthy stay in Europe, and with Ndombe's ownership of a bar dancing, called "Lal Abiy Santamaria", which was his pride until it was burned down (in 1994?).
He teamed up with Sam Mangwana and Empompo Loway in a group ambitiously called "Tiers Monde Cooperation" ("third world cooperation"). The Tiers Monde 'project' delivered - as far as I am aware - three lp's, and four if you count the lp featuring "Fatimata" which is credited to Sam Mangwana (who is only on one of the Tiers Monde Cooperation lp's) and orchestre Tiers-Monde.

Ndombe returned to the O.K. Jazz flock in 1986, and joined Franco on the tour of Kenya that year, and during the concerts in Brussels in April 1987.

Ndombe and son (Delft 1991)

But later the same year he had another row with Franco and left the band to rejoin Tabu Ley's Afrisa International.
Fortunately Franco and Ndombe put aside their differences and reconciled before Franco's death on October 12, 1989. Ndombe rejoined the T.P. O.K. Jazz and became one of the leading forces of the band after Franco's demise. In 1993, when the band was forced to abandon the name of T.P. O.K. Jazz as a result of dispute with Franco's family, Ndombe was one of the initiators of the new orchestra Bana O.K.. He played a crucial role in the continuation of Franco's legacy until his untimely death.

Ndombe leaves a wife and 9 children.
May he rest in peace.

Ndombe with African Fiesta National and Afrizam
Ndombe with T.P. O.K. Jazz

Madilu System, Ndombe Opetum, Lola Djangi Chécain, Aimé Kiwakana (Delft 1991)

 

 

* according to some sources. Other sources claim that he never left the T.P. O.K. Jazz, but was allowed to 'moonlight' with Tiers Monde.

Crossover

Over the years I have come to acquire a distinct aversion against the term "crossover". It must have started in the eighties with (the highly respected and very likeable) journalist Stan Rijven, who was always on the lookout for the connection, the 'cross-fertilisation' (yuk) and the 'sameness of the other'. At the back of this inclination I couldn't help but suspect a lack of confidence in the appeal of African music.
My personal preference lay and lies in finding the 'otherness in the other', in the authenticity of the (so far) unknown. If I had wanted more of the same I wouldn't have ventured out into the realm of African music. How can I appreciate a crossover if I have no idea of the individual elements involved in the crossing?

Rochereau (r) with a very young Daouda Sangaré

Twenty-five years later my aversion is still present. Experience has shown that musicians claiming that their music is a 'crossover' between styles usually produce a watered-down blend of predominantly western music.

This doesn't mean, however, that all 'interaction' between different musical styles is uninteresting. But the real enjoyment of this can only start with the understanding and acknowledgement of the styles involved.

And that brings me to the subject of this post.

For how can anyone really enjoy Rochereau's version of "Seyni Kay Fonema" without knowing Laba Sosseh's original (here and here), and without having some knowledge of Rochereau and his background and of the music of African Fiesta (in this case National) and African Jazz?
Rochereau's version was recorded in the late 1960s and is not only interesting because it is a cover of a Senegalese song. That in itself is if not unique, at least very special. I suspect that Laba Sosseh singing a Congolese tune (Orch. Bella Bella's "Sola") is not half as special.
It is unclear why "Izeidi" is included in the title, unless Roger Izeidi is playing the (prominent) maracas in the song or is responsible for the rather abundant orchestral arrangment, as he was in the Surboum days with African Jazz. Both are possible.

The end result is very enjoyable. I doubt very much though if this song can or should be called a crossover. Not only is there no crossing going on (it's just a slightly different version of the original), but also it is not really very far from African Fiesta's style. As Franco put it in 1987, the main source of inspiration of the African Jazz school of Congolese music lies in Latin-American music. So a Latin-tinged song like "Izeidi Seyni Kai Fonema" is normal for one of the main representatives of the school.

The B-side of the single (Ngoma J 5153), "Los Probas", seems to confirm this. I haven't been able to trace the - no doubt latin - original of this song (maybe this has another title?), but it is still very much in the African Fiesta style of borrowed melodies like "Africa(n Jazz) Mokili Mobimba" and "Kayi Kayi".

The second single (Ngoma J 5156) has more of the same: an instrumental, "Négra Sanda", which could be (and I'm not saying it is) a version of "La Negra Sanda", a song composed by a certain Francia, and made famous in the early sixties by Pete Terrace (I hadn't heard of him either..) and - perhaps even earlier - by Fajardo y sus Estrellas.
The B-side, "Munequita" (and that's what he sings), certainly is not the "Muñequita" of Sonora Matancera or of Orquesta Aragón, nor Aragón's "Bella Muñequita", - but I'll be damned if the original is not Cuban.

Luckily I have traced the source of "Trembla Tiera" (Flash FL 39, the B-side of Sam Mangwana's wonderful "Bina Ringa", which has appeared on several lp's and cd's). The song was composed by a certain G. Ruiz Perez and recorded as "Tiembla Tierra" by the (still) great Orquesta Aragón.

With all these tracks I love the way in which Rochereau is trying to cover up that he has no idea what he is singing. In "Izeidi Seyni Kay Fonema" this results in a kind of melodic mumbling with a few recognisable words thrown in. In the spanish songs he is slightly more confident, but still has a tendency to drift off into gibberish.
I love it!

More Rochereau to follow soon.

Ngoma J 5153
Ngoma J 5156
Flash FL 39

or as one file.

UPDATE October 14, 2026: I have added the covers of the two Ngoma singles.