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.

"African"

As has happened a few times before, in the process of writing this post I found that others (in this case Global Groove) have posted the same (see below) album. In this case I am going to completely ignore this. Well perhaps not completely. But I am nevertheless going to post it.

I know I should get over it, but even with the steady process of aging and the tolerance this is supposed to bring I can still get disproportionately irritated about the indiscriminate use of the adjective "African". The World Cup in South Africa provided plenty of opportunities to congratulate/sympathise with/praise etc. the "African" people/organisers/public and what-have-you. Do these commentators, big shots and others seriously think that there is one common factor in this immense and mindboggling variety of peoples, cultures and worlds which can be found in the African continent? Can anyone explain why a Senegalese should be primarily seen as "African", while an Italian is rarely addressed as "European"?
And I could even see the logic of the latter. There is a far greater homogeny between Europeans than there is between the inhabitants of the African continent. There are plenty of reasons why Africa can not be seen as a country. For one thing, infrastructurally Africa is in parts still in the (relative) dark ages. And I could go on, elaborating on the ethnic diversity of individual countries, the vast differences between cultures within a single country etcetera.

So please, think before chucking in "African", while talking about one country in the continent....

Now that I've got that of my chest, let's get to an example of an "African" lp. A multi-country affair, with music from Congo (Zaïre) but released in Nigeria. A rather strange compilation with two part two's and a mistake which wouldn't look out of place with a African (!)/Sonodisc or a Syllart compilation.

Ntesa Dalienst is represented with two of his compositions with Les Grands Maquisards, "Biki" and "Maria Mboka" (misspelled "Mariam Mboka"). The version of "Biki" is by far the longest I know; it's more than three minutes longer than the version on African 360.014 and the one on African 360.155, and even longer than the almost eight minute version on Ngoyarto NG 034. Like "Biki", the wonderful "Maria Mboka", with Diana, Kiesse Diambu and Lokombe in the chorus, is one of the many highlights in the career of Ntesa (who sadly passed away in 1996).

The first two tracks certainly merit their selection in any compilation of Congolese music. I can think of few songs which are more typical of Johnny Bokelo's Conga 68 (Success) than "FC Dragons", and I can see how the break after 2'52 would appeal to a Nigerian dance crowd.
I can only speculate, but it appears to me that "Lisumu Lisango" by the Elegance Jazz was (also) included for the 'rootsy' feel of the song. And this may also be the reason for the selection of the two part two's. Verckys' "Mfumbwa 2" would undoubtedly get Nigerian 'booties' shaking.... The same goes for Orchestre Bella-Bella's "Sola 2" with the 'get down' break after only 50 seconds.

As a European I am strongly inclined to look up the first part of these part two's. I would like to argue that in both cases these are an essential part of the composition. The song "Mfumbwa" is just not the same without the "bolingo " after 1'11, the subsequent clucking, and - of course - the great horns.
And with "Sola", composed by Mulembu Tshibau, who apparently died this year, I get goosebumps from Pépé Kallé's backing vocal in part 1 in particular and the vocal harmonies in general, plus the horns, the bass player (!) ... and I could go on.

So, European as I am, I am adding the complete tracks as an extra to this post.

The last track, by the way, is not by Bella-Bella, but - of course - by Verckys and his orchestre Vévé (and can also be found on the African 360.014 lp I mentioned above). This song "Na komitunaka" ("I keep asking myself") has been the subject of many studies. In it Verckys asks why all the saints are white. Why is God not an African?

Soundpoint SOP 042
extra

P.S. It appears that this lp has been released at least twice in Nigeria. This version, which I bought at least 25 years ago, is on the Soundpoint label, while the lp Global Groove posted is on a label called Deram.
Has anyone ever seen the volumes 1, 2 or 3???

Succes Zaïrois

The series of "Les Plus Grands Succes Zaïrois" is somewhat peculiar series of Congolese music collections. The title would suggest tracks from the time Congo was called Zaïre, - but all the tracks are from the 1960s, when Congo was still Congo. Furthermore at least one of the groups (Cercul Jazz) is from Brazzaville. And calling the songs selected on the three albums "les plus grands succes" can't have been based on their commercial success. It seems more likely that Sonafric got hold of some singles and decided to launch a series to compete with the L'Afrique Danse series of the African label. 'Research' into this matter reveals that all tracks have been at one point released as singles on the Ngoma label (see the list - there is one single I can't retrieve).

Despite the somewhat awkward title both albums offer a selection of rare beauties from the sixties. Franco and his OK Jazz, Verckys "et son ensemble", Kongo Vox and Cercul Jazz have four tracks each on these two volumes. The remaining are by orchestre Congolia (on Ngoma they are called Congolia 69) and Johnny Roger et son ensemble Cocorico.

Of the OK Jazz songs only the two of Volume 2 have (to my knowledge) been released on another lp. Both "Dix Makuta" and "Club 53" (renamed "Marie Mado") have been included on Volume 10 of the Kenyan In Memoriam series (GMFLP 0010). In both cases the Kenyan versions are significantly longer. In the case of "Dix Makuta" in the "Les Grands Succes Zaïrois"-version Franco has just achieved 'lift-off' when the song ends, while on Volume 10 we are allowed to enjoy full flight with captain Franco at the controls...
On Volume 3 the deficit is compensated by two superb and unique tracks. In "Ngai Na Boya Na Boya Te", a song in a rhythm half-way between rumba and bolero, Franco himself sings the lead, and in "Beyos" he subtly backs Vicky Longomba. Unfortunately I can't help but think that these two tracks too have been shortened....

In the four tracks from Verckys et son ensemble (which seems to indicate these tracks are of a pre-Vévé period) Franco's influence is still very much audible. While still in the OK Jazz Verckys made some records with (amongst others) Youlou Mabiala. It may be my imagination, but one of the vocalists on "Sasa Akeyi Congé" sounds suspiciously like Youlou, and also at the start of "Bawaka" my sensors detect some Mabiala. But it may be that Verckys intentionally tried to get Youlou-like vocals into his orchestra.

I don't know anything about the Kongo Vox orchestra. The fact that they are playing in the OK Jazz style suggests there is no link with Vox Africa (firmly rooted in the African Jazz school of Congolese music). Instrumentally and vocally they certainly stand out as a quality band. And they have the confidence to pull off a comical pause in "Ndoli Ya Mosapi" (should that be "ndoki"?).

Although he sounds slightly different than on the tracks I posted before, I think Franklin Boukaka is singing in at least three of the four tracks by Cercul Jazz. I especially like "Lily Komikosana Te" and "Na Sepeli Aline", both very melodic songs with nice harmonies (and a very nice rhythm guitar). But again I suspect songs have been cut short.

If I heard the ghost of Youlou Mabiala with Verckys's ensemble, with Johnny Roger I hear a voice with the same timbre as Kwamy. But in this case I am quite sure we are dealing with an imitator, and not with the 'real thing'. I like the two tracks, but I can also imagine they didn't stand a chance against the stiff competition of that era.
The same goes for Congolia: in any other period they could have become succesful, but the competition in those days was just too good, with bands like Conga Succes, Cobantou, Negro Succes, African Fiesta National, African Fiesta Sukisa, Vox Africa, Negro Band and all the other immortal bands of the late 1960s.

All in all, and despite my suspicions about shortening most of the tracks, I am very happy with these two albums, - as I am with the first volume*. But that the subject of another post.

Sonafric SAF 50043
Sonafric SAF 50044

* which reminds me: I have received the Docteur Nico book I wrote about a few days ago, and can now officially and wholeheartedly recommend it.

EDIT June 15, 2016: I have reuploaded the two albums to (yet) another server.

Dynamite

The first steps of Kiamwangana Mateta a.k.a. Verckys as a musician were in a brass band playing the clarinet. It was Isaac Musekiwa, considered by many to be the 'godfather' of the sax in Congolese music, and then with the OK Jazz, who taught him to play the saxophone.

Verckys himself became a member of the OK Jazz in 1964, after having played in bands like Jamel Jazz and Dewayon's Congo-Rock and in the band of Gérard Kazembe. Much more a showman than the rather introvert Musekiwa he made quite a name for himself in Franco's band.

His career with the OK Jazz came to an abrupt end in February 1969 when he was kicked out by Franco after recording and producing four tracks with members of the OK Jazz without Franco's permission.

He decided to start his own orchestra: "orchestre Vévé". With Sinatra Bonga Tsekabu dit Saak Saakul as a singer, Verckys manages to get a contract at the Vis-A-Vis bar where they start in June 1969.
Among the first hits of the band is a track called "Mfumbwa", in which -according to our Congolese friends at mbokamusica- an authentic Congolese (vegetable) dish is praised (recipe!).
The two-part track, plus many more, can be heard on this explosive lp, released on the African label. Although there is no mention of this, I am convinced that at least two of the later Trio Madjesi are singing on this album (the other being Loko Massengo 'Djeskin').

African 360.016 (new link October 26, 2010)

Some of these tracks have been re-released on Sonodisc CD36599, which for some reason seems to have disappeared completely....