Paradi

A short post to finish the year in style. And what better way to round off a year* than with two records by Franco and the O.K. Jazz.

I assure you music does not get a lot better than this. These four tracks, composed by Franco himself and recorded on February 18, 1960 for Editions Loningisa, are among my absolute favourites, - and not just of the early work by Franco.
The songs stand out for several reasons. First the line-up is unique, with the departure of Vicky Longomba (first to join Kabasélé at the Table Ronde and then to start his own orchestra: Négro Succès). To replace him Mulamba Joseph a.k.a. Mujos had joined the O.K. Jazz and he is the Vicky-like voice in these songs. Isaac Musekiwa too had defected in July the year before, after Franco had been imprisoned for a traffic offence; he had joined Orchestre Vedette Jazz but returned to the O.K. Jazz at the end of 1961. He proved difficult to replace, and I am not sure who is playing the sax in these songs. The O.K. Jazz did engage others such as trumpet player Dominique Kuntima, better known as Willy (who is perhaps best known for his time with African Jazz and African Fiesta), and clarinetist Edo Lutula a.k.a. Edo Clari, and in 1961 Albino Kalombo (who had gathered fame alongside the great Léon Bukasa at Ngoma).
On guitar Franco was joined by Bombolo Léon a.k.a. Bholen, who had been recruited by Vicky, as had been singer Hubert 'Djeskin' Dihunga. Both were later persuaded by Vicky to join him at Négro Succès.

But the most impressive new recruits to the O.K. Jazz were two singers. First a singer of considerable repute: Gérard Madiata (whom you may remember from his songs with Kongo Jazz). He is the star of that immortal cha cha cha "Cuando Paradi", - and this while only singing backing vocal!
The second is Jean Munsi, better known as Kwamy or - in those days - Coimy. As Gérard Madiata in "Cuando Paradi" he adds that very special something to the equally immortal boléro "Caro Simon Mabanzo", even though he is not the lead singer. His velvet voice is the secret ingredient to one of Franco's most exciting boleros.

But star of these four tracks is of course Franco himself. In "Mobembo Ya Franco Na Wele" he is tiptoeing, in "Cuando Paradi" he is cheekily doing pirouettes. In "Mobali Asundoli Ngai Na Mwana" he is in charge and leading the orchestra, dictating breaks and turns. But "Caro Simon Mabanzo" sees the master in his natural environment: the boléro. He adds an extra dimension to the song, adding tension, joking, coaxing, provoking, in short: being Franco.
It doesn't get better than this........

Loningisa 267
Loningisa 268

For a limited period these tracks can also be downloaded in FLAC-format: Lon 267+268

I wish you all a very happy and successful 2013!

* or for those in more eastern time zones: to start the new year!

Bossa nova

I can still get very worked up about the barefaced con-job the catholic church and its associates pulled on us when I was a young boy. In those days in the late 1950s and early 1960s we were led to believe that those poor lost souls in the Congo were running around butt naked and without a grain of rice to eat. Good little catholic boys and girls like myself were encouraged to save the aluminium tops of milk bottles, which would - in some mysterious way - help to put an end to the misery of these downtrodden children of God.
It took me almost a decade to find out that I had been the victim of a world-wide conspiracy! Instead of butt naked and starving, in the Congolese capital Léopoldville they were living it up, with bars and music on every corner, the latest fashion, and - come to think of it - all the modern comforts we enjoyed at the time. In those days it was getting fashionable for women to wear trousers (well at least lady trousers...). Ladies with slightly loose morals were seen wearing wigs (I still have a trauma over a wig one of my aunts used to wear). Folk with a bit of money could be seen driving around on a Mobylette (or little egg, as we used to call these motorbikes).

It is exactly about this world that Franco is singing in his song "Quatre Boutons". In fact, he names the Mobylette itself as a symbol of modern life in Léopoldville. Marie, the female subject of the song, has acquired this motorbike through the opening of four buttons. And the four buttons seem to be a reference to the garment this woman opened: a pair of trousers. In those days before the "Recours A L'Authenticité" of Mobutuism it was just as normal for a modern Congolese woman to wear trousers as it was for a progressive Dutch girl. The fact that she received the motorbike plus a wig from a married man, with the implication of sexual favours which had been performed as payment for these modernités caused quite a stir in the more conservative parts of post-colonial Congo (as I am sure it would have done in the Netherlands). Franco defended himself, as he did later with songs like "Paka Lowi", "Hélène" and "Jacky", by arguing that he was only singing about what was happening in daily life. Besides, he was continuing a theme which he started earlier, with tracks like "Ngai Marie Nzoto Ebeba".
"Quatre Boutons" was one of the songs that led Mobutu to appoint a censorship commission a year later....

"Quatre Boutons" is on the A-side of this record on the Pathé label, which get its EP status from the B-side. Of the two tracks on this side, "Didi" and "Jean-Jean", I don't know the story. But it seems likely that "Jean-Jean" is about Franco's friend and bodyguard, who judging by the stories told by contemporaries also acted as an intermediary in Franco's personal affairs. If you listen carefully you will hear his name mentioned in other songs.

You may have noticed that the (front) sleeve of this EP does not mention the O.K. Jazz, but instead refers to the artists as "Orchestre Franco". I remember one of the members of the O.K. Jazz talking about Franco's struggles with (especially French) record companies; if I remember correctly some records were released under this name to circumvent a clause in a contract with another record company. I have tried to recall who told me this, but so far have been unsuccessful. If anyone has more details, please let us know.

While the tracks on the first Pathé EP have been re-released on lp ("Quatre Boutons") and cd (all), those of the second have so far escaped reproduction - let alone digitisation. And that is a huge pity.

This extraordinary collection of marvels opens with Franco's interpretation of a bossa nova, and, as if this is not enough, it is a version of a song made famous by Charles Aznavour (see this great video from 1963) AND it is sung by a woman.
And that's where the mystery starts.

"Miss Bora"

Because who is this singer? It is clear that this is the same lady who sings "Mosika Okeyi Zonga Noki"(on Sonodisc CD 36553). But who is she?
Aboubacar Siddikh suspects she is Henriette Bora Uzima (or Boranzima, which is it?), but I have my doubts. Henriette, nicknamed "Miss Bora" by Rochereau, started off with the O.K. Jazz in 1963 but moved to Rochereau's African Fiesta in 1964 or 1965. I have never read or heard of her recording with the O.K. Jazz, and there is at least one recording of her with African Fiesta. Comparing the singer in this song, a version of the Cuban evergreen "Guantanamera", with the singer in the two O.K. Jazz songs I myself don't hear any similarities. I am including both "Guantanamera" and "Mosika Okeyi Zonga Noki" so you can judge for yourself. I am curious to know what you think.

Apart from the female lead the song is certainly noteworthy for Franco's lightfooted guitar flutterings. But musically it is blown away (in my opinion at least) by the second track on the A-side, "Ba Musicien Ba Mema Mgambo". To me any track with Kwamy is a treat. I think he is backed by Edo Nganga in this track. And I love this staccato singing, but it really takes off when Franco takes control after 1'44. If you liked "Dr. Klerruu" by Mbaraka Mwinshehe: here's where he got the inspiration!!

The B-side opens with a kind of Hank Marvin guitar, but soon switches into a real Franco style bolero, with both Vicky Longomba and Kwamy alternately taking the lead. I can never get enough of these boleros, but I am slightly (only slightly though) disappointed by the lack of 'intervention' by Franco.....
After "Jose Maria" there is another song in the typical rumba style of the mid-1960s O.K. Jazz. "Trouble Trouble" features Vicky singing the lead and again ends (after 2'00) with Franco demonstrating yet another technique in his guitar playing.
The only problem I have with this EP is that the music ends after only 13 minutes....

Pathé EG 926
Pathé EG 930
Guantanamera/Mosika Okeyi Zonga Noki

Alternatively you can download all the songs in one file.

P.S.: the photo on the front of the Pathé EG 926 sleeve (by Gilles Sala, as is the photo on the front of EG 930!) appears to be of the mosque in Bamako. A rather strange choice, considering the songs...

UPDATE March 11, 2014: I have found an alternative version of "Je T'Attends" which appears to credit the singer: see the label on the right.
And Marcelle Bibi is more than likely Marcelle Ebibi, who was a singer at CEFA. She sung with Bill Alexandre, who introduced the electric guitar into Congolese music in the mid-1950s. Readers of Gary Stewart's "Rumba On The River" may remember this photo of her and a very colonial looking Bill Alexandre (in shorts).

Kwamy & Youlou

Within weeks after Franco's death in October 1989 Polygram Kenya released a series of ten records (and matching cassettes) which they named "In Memoriam Grand Maitre Franco". The albums contained a selection of songs from the 1960s and 1970s. Some of these were re-issues of earlier Polygram albums, - like Volume 8, which had been released five years earlier as "10 Years Ago". So far I have not found an earlier version of this album, which is the second in the series.

As with most (if not all) of the lp's the sleeve of this volume has no relevance whatsoever to the music. Judging by the costumes Franco and Simaro are wearing I assume the photo is from 1980 or 1981 (see for example this video of a performance in Abidjan in 1980), while the music is from around 1970.

So, seen from a positive angle, there is really nothing to distract us from the music. And - as with other albums of this series - there is more than enough to enjoy in that.

The lp opens with two superb tracks featuring the vocal talent of Youlou Mabiala backed by Kwamy. The latter had returned to the flock, after having insulted Franco (with African Fiesta, in "Faux Millionaire" and other songs) and after repeatedly provoking an insurgence against Franco (with Orchestre Révolution). According to Graeme Ewens (in "Congo Colossus") Simaro "prevailed on Franco to take the singer back", much to the disgust of Vicky Longomba. It is likely that Kwamy's return contributed to the split between Franco and Vicky, later in 1970.
While Kwamy may not have had the same brilliance as before, there is ample proof of his vocal qualities in his last period with the O.K. Jazz*. In both "Nakweyi Tapis" and "Celita" Kwamy's backing vocal is of an exceptional quality, fitting to Youlou's lead like a velvet glove. Youlou too adds some honey to his at times harsh vocals, and Franco contributes with a few unusual shuffles on guitar.

After these two songs there is a rather surprising experiment involving a drum kit, in "Beya". While the O.K. Jazz did use a drum kit in their live performances it was difficult to incorporate the noisy instrument in their studio recordings. In "Beya", which sounds like it was recorded in the same session as "Caisse D'Epargne" (from Volume 4), the volume of the kit is still rather 'suppressed', but nevertheless very noticeable. The interplay between Franco and the rhythm section in the sèbène is certainly interesting.

The B-side opens with "Georgette 1 & 2", a track of which only the second part has appeared on CD (CD 36572), - another example of the artistic amputations of which Sonodisc can be accused over the last decades. I am not sure about the lyrics, but I have a feeling that the staccato singing in the second part may be related to the remarks about the cold in the intro.
The song, composed by Franco, has some brilliant 'intertwined' vocals (after 3'25, and again after 5'28 and 6'58) by Franco, Youlou and Lola Chécain. To me this is one of Franco's classic masterpieces.

The lp is concluded by the 'normal' version of Celi Bitshou's "(Infidelité) Mado".

GMFLP 002

* Ewens' report that Kwamy died in 1974 is - by the way - a mistake. He in fact died in 1982.