Seduction

Today it is exactly 25 years ago that Franco passed away in Namur, Belgium. To commemorate this tragedy, and as a tribute to this giant of Congolese, African and global music, I would like to share with you some of the songs of his early career. Songs which earned him the appellation "Franco de mi amor".

These songs by the O.K. Jazz were recorded between August 28, 1957 and March 10, 1959; so at a time when Franco (born July 6, 1938) was 19 and 20 years old. All songs fall in that unfortunate category of 'inédits', i.e. songs which - as far as I know (and please correct me if I'm wrong!) - were never rereleased. They were originally recorded for the Loningisa label owned by the cousins Basile and Athanase Papadimitriou, and released both on the Loningisa label and on His Master's Voice. The full catalogue of the Loningisa label can be found here, and more detailled catalogues of the HMV releases of Loningisa recordings and of the O.K. Jazz songs on Loningisa can be found on Flemming Harrev's excellent Afrodisc.com.

As I have written before, it is a mystery to me why these songs have not been reissued, either on vinyl or in digital form. These recordings are in my opinion of the quality which should deserve them the protected status of the Unesco's World Heritage List or such.
I have to add that a number of songs of this era have been released, both on vinyl (African 360.144¹ and 360.158, Discostock DS 7950) and on CD (Sonodisc 36502 and the first 10 songs on 36505, RetroAfric Retro 2XCD). But still a lot risk being forgotten in the dense mist of time.....

Let me stress that the quality of (the copies of) these records leaves a lot to be desired. Although this is not always a bad thing.
A good example of this is the song originally released as Lon 199: "Linga Ngai Tolinga Ye". Despite its obvious shortcomings I prefer this version to the remastered (?) version on Discostock DS 7950. The instruments, the vocals, they are much clearer in this version, far more defined. Vicky Longomba's heavenly velvet voice, backed by the subtly understated Edo Nganga, Franco adding touches, colour, filling in sentiment in the background, caressing Isaac Musekiwa's sax play (in one of his very first recordings with the O.K. Jazz!), Brazzos providing the stable base on rhythm guitar: what a sheer delight is this song! A boléro, but one that seduces the listener into movement, - if not dance.

The second song in this collection is the A-side of Lon 203: "Oboyi Ngai Likambo Te", composed by Celestin Kouka. The B-side, "Tika Na Bala Ye", can be found on Sonodisc 36505. A typical rumba, with Franco and Musekiwa side-by-side providing the base of the song, sung by Vicky and Kouka. I particularly like the decorations added by Musekiwa. Ordinary as these may sound now, they were completely new at the time. Musekiwa had come over from African Jazz just a few months before, so he and Franco were busy inventing a new style in these songs.

In the A-side of Lon 205, "Obebisi Chance Stephanie", the interplay between Franco and Musekiwa is very different. Instead of joining they are complimenting each other. Isaac plays the chorus², with Franco doing the decorating. And in the refrains Isaac does the decorating, while Franco signals the breaks.
The B-side of Lon 205 is equally interesting. Both "Tokomi Na Bonne Année" and the A-side are composed by Vicky, but he does not sing the lead vocal on the B-side. Instead he modestly backs Edo. Franco is very active in the refrain and the first chorus is another combined effort with Isaac. But from halfway into the song Isaac takes over from Franco in the refrain, and he and Franco play an extended version of the chorus.

Lon 206 has two songs composed by Edo. The A-side, "Christine Yo Nde Boye", is particularly interesting as the bass player, De la Lune, plays an unusual role. Musekiwa only appears after two minutes, so Franco seems to chose De la Lune for some interaction. The B-side, "Bonne Année To Sepeli" starts off with Isaac colouring in the refrain, only to be joined by Franco for an extended chorus. Unfortunately the song is incomplete; it breaks off after 2'50.

The next two songs (Lon 217), both composed by Franco, are of a muffled sound quality, but it is still clear that there is quite a bit going on in the songs. "O.K. Jazz Bana Mike" has Franco really sweating, pushing the rhythm, with Dessoin on congas vaguely audible in the background. A lovely steamy song, of which I would love to have a better copy (hint..).
In the B-side "Ah! Mi Espana" too there is an important role for Dessoin. Vicky is dishing out the rubbish spanish with the usual unperturbed conviction and cool. It seems the country of Spain itself was not known to the members of the band, as they consistently pronounce it as "Espana" (instead of "España"). But who cares?

One of my favourite songs of this collection is Vicky's "Olongi Na Yo Mama" (Lon 221). Despite the poor quality of this copy it isn't hard to hear that Franco is dying a thousands deaths in the background. What pathos!
The killer in the chorus is Vicky's "Boyoki Mama" (1'13) followed by "Ah .. bolingo". This just is the icing on the cake for me. Vicky had a rare gift for adding these spoken comments at exactly the right moment, but this is one of the very best. In an inexplicable way it lifts the whole song to another level.
In the second refrain Franco is more subdued but certainly not more intense. In the following chorus he throws out all the emotion. What a gem!
The B-side, the rumba "Nayebi Bolingo", is (relatively) less exciting, with Musekiwa playing a very active part throughout the song.

The emotion is certainly present in "Ah! Pauvre De Moi" (Lon 227), composed by Edo, but is a different one than the extreme one of "Olongi Na Yo Mama". Here Franco is Franco de Mi Amor: more loving, almost seducing his audience. The vocal harmony between Edo and Vicky is simply heavenly. Another song which just cries out for a rerelease...
In this case the B-side, "Bokokana Se Pamba", is equally interesting, particularly because of the delightfully lightfooted rhythm, which all contribute to accentuate. Again De la Lune plays a crucial role on bass in keeping the song flowing.

The next two songs in this selection were composed by Brazzos. Along with Edo Nganga he is one of the few survivors³ of this golden era of the O.K. Jazz (and of Congolese music in general). "Cuando Yo Te Dico" (Lon 231) is in a lot of ways a typical Brazzos composition, with its pseudo-spanish lyrics and a rhythm which is a cross between a boléro and a cha-cha-cha. The interplay between Franco and Musekiwa in this song sounds very casual and easy. It is not clear what the role of Brazzos is in this song. Perhaps he is playing bass in this?
The B-side, "Boni Na Ngai?", is a rumba with a rather unusual rhythm. Dessoin's conga gives it an galopping pace, with Franco dancing on top. As on the A-side the quality of the 78rpm record is quite bad, but the music still shines through.

"Hey John, here's your heisty time for the calypso, fine" are the cryptic opening words of "Timing Hole", a composition by Rhodesian Isaac Musekiwa. Released as Lon 241 and recorded on December 3, 1958, the song is labelled as a calypso, but I personally don't hear the similarity with any other calypso, be it of African or of West Indian origin. The rhythm is pleasantly slow and stretched out, leaving plenty of space for Franco to fill in with his inimitable riffs. This song and its at times incomprehensible lyrics (in English) remind me of the songs Musekiwa composed with African Jazz ("Flowers of Luckyness" and "While She's Away"), and leave me with the same puzzled feeling. What are these songs about?
The A-side "Ondimi Sik'Oyo" is a straightforward rumba, with Isaac in a leading role.

Lon 244 features another composition by Vicky in a local version of spanish, - as the title "Eschucha Mia Demanda" already suggests. My guess is the song is intended to be about a man (Vicky) begging a woman (?) to listen to his plea and not let him suffer. And I guess a large part of the Leopoldville audience understood the gist of the song, if only on the basis of the few french words strategically thrown in. Harmonies again are superb, and Isaac is clearly in his element.
Unfortunately I don't have the B-side.

The next record, Lon 245, contained two more songs composed by Brazzos. The A-side is a rumba: "Naboyi Bilubu Ya Bandumba". A compact and powerful song with a strong contribution by Franco, including a very tight interplay with Isaac.
The B-side has a more relaxed, loose rhythm; a cha-cha-cha with boléro touches: "Naci Para Bailar". In this song the contribution of the composer seems more pronounced, assuming he plays rhythm guitar. The interplay of Musekiwa and Franco has reached a tightness where Franco is almost hidden behind Isaac's notes. The break or shift at 1'14 is a stroke of sheer genius of the composer. Wonderful song!

The next song is one of those very special compositions by Franco lui-même. The A-side of "Masumbuku" (see this post), "Yimbi" (Lon 246) is Franco's personal take on traditional music. These songs are usually very personal songs, sung by Franco himself. Franco is hyper and hyper-present from the start. In case there was still any doubt about Franco's vocal agility, this song is a great example of his talent in this field. He may not have the belcanto of Vicky, or of Kabasele, Kwamy or Rochereau, but he does have character and personality in his singing. And if that is not enough there is that hard-hitting guitar. The omission of this song in any collection of his work is almost criminal, if you ask me...

"Pantchika Es Mi Cancion" (Lon 249) offers a unique opportunity to distinguish its composer, Celestin Kouka. Unfortunately it is only for a few seconds, from 1'18 to 1'30 and from 2'41 to 2'55, - and then barely audible in this somewhat dull sounding copy. In the rest of the song he is hidden behind Vicky. Star of this track is Musekiwa. He is clearly getting the hang of things within the O.K. Jazz.
The B-side is much clearer sounding. "Na Tikali Ngai Moko", is a rumba in the style of "Naboyi Bilubu Ya Bandumba" and others. Notable is the subtle variation in the interplay between Franco and Musekiwa. Here Franco is clearly 'in the lead'.

The songs on Lon 251 were composed by a new talent: Jean Bokelo. I have no idea what Bokelo's contribution to "Elongi Nayo Ya Bomwana" involves. It seems unlikely he was playing guitar, with the likes of Franco and Brazzos around. The guitar certainly sounds like Franco, with the usual addition of bonus chords. Bokelo, who of course is better known as the leader of Conga Succès (and later Mbonda Africa), recorded two more compositions with Loningisa, "Likambo Soki Ya Koloka" and "Pobre Don Pierro" (Lon 299). He has also recorded for the Esengo label with his brother Dewayon's Conga Jazz, and I am not sure which came first.
The B-side, "Makanisi Makondisi Ngai", is a marvelous boléro, of the type patented by Franco. Again it is not clear what Bokelo's role is in this. Perhaps he is playing an extra guitar?

The final song in the compilation is "La Muyer" (Lon 253). Composed by Franco, it is a cha-cha-cha "espagnol" with a tight rhythm. The gimmick in this song is obviously the upward chord on the sax, executed with verve by Isaac.

This collection of 25 songs on the 25th anniversary of Franco's death proves that there is still a lot of work to do to preserve the legacy of this monument of African music. There are still countless songs to discover, and to uncover even...

The collection can also be downloaded here as one file.

¹ Recommended
² I.e. the instrumental bits between the sung refrains.
³ At least as far as I know.

On sort O.K.

In this second commemorative post I am going back to the start of Franco's O.K. Jazz. The three EP's I would like to share were released in the early 1960s, but the songs on these were recorded between late November 1956 and August 1957.

All of these songs have been - at some time - released on CD, so you may wonder why I am posting them. The answer is actually quite simple: I think the sound on these EP's is better. And I don't mean that these EP's are flawless. On the contrary, I would described the state of the vinyl as mediocre*. There is a steady crackle on all these three Extended Play records. Nevertheless, the definition of the music, of the instruments and the singers, is - in my opinion - better than on the CD's.

Essous & Rossignol in 1957

This 'definition' is immediately noticeable in the first song of the EP with the title "O.K. Jazz No.2". This song, "La Fiesta" (here "La Fiesta-Tcha-Tcha-Tcha", probably copied from the labelling on the HMV shellac), features singer Vicky Longomba backed by Philippe Landot a.k.a. "Rossignol". Just on the voices there is clearly more definition: Rossignol's voice can be distinguished far better and is positioned behind Vicky's in the sound image. But an even greater difference can be heard in the sound of the maracas. This instrument no longer sounds muffled. Also that wonderful clarinet, played by Jean-Serge Essous (see this post), is more more '3-D' than on the CD, which even further enhances the part of this song after 1'24 which I see as one of the climaxes in the Essous' work with the O.K. Jazz.
Unfortunately there are very few of those. And this is not so much due to the lack of talent on the part of Essous, but entirely to the fact that on January 1, 1957 he (and Rossignol, plus drummer Saturnin 'Ben' Pandi and Paul Ebengo better known as Dewayon) left the O.K. Jazz and Editions Loningisa for the new created Esengo label. So this was exactly 5 weeks after recording "La Fiesta" and the A-side of this 78 (Loningisa 160), "On Entre O.K., On Sort K.O.", which by many - and in my opinion erroneously - is considered to be the first track by the O.K. Jazz. My guess is that this has to do with the HMV catalogue, in which "On Entre O.K., On Sort K.O."/"La Fiesta" is the first record (HMV 1001). The tracks recorded at the Loningisa studio were sold on to His Master's Voice. There are even a few tracks which were only released on HMV.
Going by the recording dates the first record by the O.K. Jazz (founded June 6, 1956) is Loningisa 154 "Makambo Mayiza Mazono" (recorded June 20, 1956), with the tell-tale B-side "La Rumba O.K." (recorded on June 21, 1956). Both these songs, composed by Franco, are on Crammed Disc CRAW 7, which also contains Loningisa 157: "Tika Kondima Na Zolo"/"Meya Te, Kaka Elamba". And, in case you are still convinced that Loningisa 160 was the first release by the O.K. Jazz: Loningisa 158, recorded in July 1956, features another Franco song entitled "Bana O.K. Jazz".

To me the best tracks of Essous with the O.K. Jazz must be the two on the A-side of the second EP, which carries the rather anonymous title of "Congo Rhythm". These two tracks, "Alliance Mode Succès" and "Tongo Se Elangisa" (both composed by Dewayon), were recorded just days before Essous and Rossignol departed, on December 24 and 27. The interplay between Franco and Essous in these songs is just brilliant, and makes me wish the cooperation between these two Greats would have continued for much longer. It is clear that this interplay was the basis for the - almost hallmark - interaction between Franco and Isaac Musekiwa, the sax player who in the early part of 1957 came over from Kabasellé's African Jazz to fill the gap Essous had left.
I assume the song "Alliance Mode Succès" is one of many paying tribute to a female association (and I suppose this must have been "La Mode"**). Rossignol encourages the members of the association to show their dancing skills, calling them one by one.
"Tongo Se Elangisa" is my favourite song of Vicky singing with Rossignol. Rossignol is singing lead, with a touch of the dramatic (it is a bolero); and Vicky shows great control in backing him in an understated manner.

More songs from 1956 can be found on the third of these EP's. Something appears to have gone terribly wrong with the title of this EP, as the trademark slogan "On entre O.K., on sort K.O." has been 'corrected' into "On Entre O.K., On Sort O.K.". It is unlikely that the correction was intentional, as even the opening track of this EP, the A-side of "La Fiesta" (see above), has been changed.
The two songs on the B-side of this EP were composed by Essous. As with the songs on the other EP's, both "Lina" and "Se Pamba" sound more open than the CD-versions, which also makes it easier to distinguish Franco's antics in the background.

After the departure of Essous, Rossignol and Pandi new members were recruited. Vocalists Edo Nganga and Célestin Kouka joined the young orchestra, and Nicolas Bosuma a.k.a "Dessoin" was attracted to replace Pandi. No doubt provoked by the serious competition from the new orchestras and temporary groupings on the Esengo label, the O.K. Jazz progressed at an incredible rate.
Also new with the O.K. Jazz was Antoine 'Brazzos' Armando. He had played with Vicky at Editions CEFA in the mid-1950s. There he worked with Belgian (jazz-)guitarist Bill Alexandre, who in 1955 introduced the electric guitar into Congolese music. Bill Alexandre named Brazzos, in an interview in 1992, as the best guitarist of the era. I am not sure what the precise grounds were for this qualification, or if this was in any way influenced by the fact that they cooperated at the CEFA label. Nor do I have any idea if Mr. Alexandre was aware of the full extent of the competition. Fact is, however, that Brazzos played a crucial role in the evolution of the O.K. Jazz, - if only for his compositions.
For, to be honest, Brazzos' role as an instrumentalist within the O.K. Jazz is still a bit of a mystery to me. As I mentioned, he joined the O.K. Jazz in 1957 as a rhythm guitarist, left the orchestra at the end of 1959 to join Kabasellé (and Vicky) as a bass player at the Table Ronde. And when he returned a few years later (again with Vicky), his place as an accompagnateur was taken by Lutumba Simarro and Franco was well on his way to establish himself as the undisputed star of the orchestra.

In the time between his arrival at the O.K. Jazz and his departure for African Jazz Brazzos composed 20 songs for the orchestra, and all of these are veritable gems. His first record was "Na Banzaki Angelu"/"Nde Okobanza" (Loningisa 181 / HMV 1027) and his second was "Tcha Tcha Tcha De Mi Amor"/"Yaka Nakoki Te" (Loningisa 189 / HMV 1045). These last two songs can be found on these EP's. "Tcha Tcha Tcha De Mi Amor" is the first in a line of killer cha-cha-cha's, which with the O.K. Jazz were usually not very far from a boléro. Franco is at it and restless like a caged animal, while the rest of the orchestra remains relatively sedate and seemingly undisturbed. In "Yaka Nakoki Te" Franco seems more controlled, but this control is deceptive.
I am sure I'll get back to Brazzos and his contribution to the early O.K. Jazz at a later date.

I leave you to evaluate the remaining four tracks from these three EP's by yourself. The two most 'recent' of these, "Nakolela Mama Azonga" and "Ah Bolingo Pasi", were composed by Vicky and were recorded on August 21, 1957 and released as Loningisa 198 (HMV 1054). Edo Nganga's "Taxi Avalon" was released on Loningisa 192 (HMV 1048). And I am sure you recognise "Aya La Mode" (Loningisa 194 / HMV 1050) from the compilations in which this compositon by Franco has been included, - unfortunately in most cases out of context and seriously compressed and/or otherwise mangled. In the version on the EP you can still hear Brazzos' understated rhythm guitar, which Franco uses as a line to set his exclamation marks.

Pathé 7 EMF 218 - 7 EMF 291 - 7 EMF 302 (or in one file)

*this the equivalent of what those online sellers of vinyl label "NM", - which I, naively, believed to mean "near mint", but should be interpreted as either "slightly worse than anything in your own collection" or "exposed to a pre-school playgroup"....
** and that reminds me: I am still waiting, with considerable anticipation, for the documentary which Vincent Kenis, Césarine Sinatu Bolya and others have made about the 1950s Congolese music scene, in which these associations play an important role.

23 Years

It is 23 years ago today that I, like many other mélomanes, was shocked to receive the news of Franco's death in Namur, Belgium. And in writing I am tempted to add "only". For in many ways it seems like no time at all has passed since the tragic day of October 12, 1989.

I am referring (once again) to the lack of progress in 'uncovering' Franco's legacy, in making available the treasures that so far have not been re-issued since their first (analog) release. Still the majority of the HMV/Loningisa catalogue remains hidden from the global audience, only a fraction of the Epanza Makita recordings have been reproduced, and less than half the wonderful tracks released on the Surboum OK and CEFA labels. And I could go on...

On this EP from 1964 alone there are - at least* - three songs that have so far escaped digitisation. Three songs which on their own would amply merit a release on CD. And not just for the fact that no less than two of the three are in the musical style which seems to fit Franco like a glove: the bolero.

The A-side contains two songs composed (and of course sung) by Vicky Longomba, while those on the B-side are composed by Franco lui-même. Needless to say that the two boleros are hot favourites on this record, with Franco at his dramatic best on guitar in Vicky's composition and addressing the Congolese/lingalaphone masses in the intriguing "Biloko Bihati Ntalona". This song is especially intriguing as it follows "On A Osé Le Dire", which can be translated (rather badly, I admit) as "They have dared to say it". Apparently the person who is being addressed in the song has been accused of using sorcery ("fétiches") against the singer, or rather the person represented by the singer. And the singer is gradually starting to believe that these rumours are true.

To add to the intrigue, I have the impression that "biloko" may refer to malignant dwarf-like creatures, which the Mongo people believe roam the dense forests and are considered to be the spirits of ancestors of the people living there, - according to this article in the wikipedia.

Perhaps someone who does understand lingala can help us out...?

Pathé EG 763

*I am not sure if "On A Osé Le Dire" has appeared on CD. I can't find it right now, but it is possible I have overlooked it...

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.

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).

Viclong

In 1970, the turn of the decade saw some decisive events in the history of the O.K. Jazz. Franco himself about this period in an interview in 1986: "I was a shy person at the time. But what do you want? I had friends in the OK Jazz that left and returned, and left and returned. And at a certain point I said: "Stop! If you leave, you leave for ever." And when they had gone for ever, I tried to organise the O.K. Jazz my way" "A coup, yes. Because, although shy, with them going one day and coming back the next, I said "Stop!", and tried to organise things my way. Je me suis imposé."

I can't help but thinking that after the attempts that were made to end the reign of the OK Jazz in the second half of the 1960s (Orchestre Révolution - see this post and this post / Verckys' attempt to lure away half of the orchestra in 1969 - post coming up), it was not surprising that the number one singer Vicky Longomba started looking for some securities.
In 1969 he followed in the footsteps of Verckys and founded his own record label, rather unimaginatively called "Viclong". Apparently he did this in total harmony with Franco, because the first recordings on this label were with the O.K. Jazz, and with Franco.
At a later stage, after the break-up with Franco, Vicky released the recordings of his own Lovy du Zaïre through this label.

But in this post I would like to share three of the Viclong singles of the OK Jazz with you.
The first of these is also the first record released on the label. It contains, like the other two singles in this post, two songs composed by Vicky. The A side, "Nakosala Nakolota", is a good example of Franco's talent as a backing vocalist, or 'second'. It is a side of Franco which unfortunately has remained somewhat hidden in the writings and releases of his work.
While the A-side may be seen as a demonstration of harmony between Franco and Vicky, "J'Ai Trompé Mon Amour", the B-side, can be seen as proof of Vicky's independence of Franco. It is a remake of a song Vicky recorded (probably in 1962) with his own Negro Succes and released on the Esengo label (see this post).
Unfortunately the quality of this single is rather poor.

African 90.318 [Viclong VC1]

Luckily the quality of the second single is a lot better. It contains a downright impertinent version of the Cuban classics "El Carretero", renamed "A Moins Que Namikosa", and subsequently claimed by Vicky. Franco is at it from the word "go", and remains unstoppable throughout this brilliant interpretation. On the B-side Vicky is backed by Lola Djangi, a.k.a. Chécain, a - in my opinion underrated - singer with a voice with a built-in dose of sadness and nostalgia (who will certainly also be subject a future post).

African 90.452 [Viclong 20]

I regret to say the last of these three singles is again rather scratchy. The A-side "Mbanda Nani A Gagner?" is a ballad sung solo (and beautifully) by Vicky, with some very nice sax (by Musekiwa? or Rondot? or whom?), and no noticeable Franco, - although I keep expecting Franco to 'impose' himself...
"Nasomba Mwana Naboti?", which was released (and fortunately in a better quality) on Sonodisc CD 36586, compensates for the absence of Franco's guitar on the A-side. Backing Vicky is Michel Boyibanda.
I like the songs Vicky later made with Lovy, but to me they can not compare with the songs Vicky made when he was with Franco.

African 90.468 [Viclong VC 23]

More Franco coming up soon.

update August 26, 2018: replaced the link to African 90.452 with a new (improved) one.

Group Watam

This post is about Franco's first steps into professional music.

I gladly refer you to Gary Stewart's "Rumba On The River", which is very detailed about this period (and is highly recommended in general).

A key figure in this early part of Franco's career is Paul Ebengo a.k.a. Dewayon. I'm still looking for someone to translate this excerpt from a documentary about the "birth of the O.K. Jazz", but other sources seem to confirm Gary Stewart's description that young François Luambo learnt the first chords on the (acoustic) guitar he 'borrowed' from Dewayon. Dewayon, who came from a relatively well-to-do family and was four years older, acted as a kind of big brother to the timid Franco.



Albert Luampasi, who lived in the same neighbourhood of Léopoldville, was a musician with the Ngoma label and performed with his own group. He allowed the children of the quartier to come and watch the rehearsals at his house. And, as he owned several guitars, he let them practise and showed them some chords. Seeing the eagerness and the talent of the two boys, after a while he even let them join his group when he played at so-called 'matangas' (meetings of mourning). Franco even participated in the rehearsals for the track "Chérie Mabanza" (Ngoma 732) which Luampasi sings in this video.

Luampasi, who mainly sung in the kikongo language, stopped recording in 1957.

Eventually (I suspect it was a little later than 1950 - as Gary Stewart writes) Dewayon formed his own group which he called "Watam" (derived from "watama", which means something like "layabout"). In 1953 they auditioned with Henri Bowane (who had switched to the Loningisa label) and were taken on. Dewayon's first composition for Loningisa was "Nyekese" (Lon 100, on CRAW 4), recorded February 5, 1953, with the B-side "Bokilo Ayebi Kobota" ("Ayebi Kobota" on CRAW 10).
After that, in August the same year, "Tuba Mbote" and "Esengo Ya Mokili" (Lon 111, on CRAW 10 and 4), and -probably in the same recording session- "Bikunda" and "Group Watam" (Lon 112).
In October they recorded two more compositions by the then 19-year old Dewayon: "Naino Ngai Nakufi Te" and "Bana Bosenge" (Lon 120, the latter on CRAW 10).

A month later saw the debut of a musician from Brazzaville, bassist Daniel Lubelo, who called himself "De La Lune", with the compositions "Marie Kanisa Ngai" and "Bitumba Mabe" (Lon 121).

And twelve days later, on November 17, 1953, Franco recorded his first composition: "Kombo Ya Loningisa", followed a day later by "Lilima Dis Cherie Wa Ngai" (Lon 122).
This last song evoked quite a few chuckles among those who knew the 15-year old, as it was about Franco's first girl friend, and the shy Franco certainly didn't have a reputation as a womanizer.

Nearly two years passed before Franco's next composition was recorded. The delay was not due to Franco, but to the Loningisa studio moving and the lack of recording activity. Only 6 records were recorded for the Loningisa label between November 1953 and October 14, 1955, when Franco entered the studio, and with him a new singer: Philippe Lando, who was better known as "Rossignol" ("nightingale"*).
Backed by Franco, Rossignol sung "Bayini Ngai Mpo Na Yo", which in the literature is sometimes called "Bolingo Na Ngai Na Beatrice", and "Marie-Catho" (Lon 129). Both compositions were credited to Franco, but this got the Loningisa label into some trouble, as the melody for the first track was taken from a song titled "Mélodie Mexicaine" by the French duo Patrice and Mario (personally I don't hear the similarity...).
The boys didn't know that if you borrowed a melody you had to (at least) report this on the label....
By the way: not Béatrice, but Marie-Catho was Franco's girlfriend.

Rossignol would later state, as Ntesa Dalienst recalled, that Franco was the best backing vocalist he had worked with.

The songs established Franco as a composer. A month later he recorded "Flamingo" and "Veronica Wa Mboka Bukligham" (Lon 134), the latter about another girlfriend who had deserted Franco. After this track Franco decided he wouldn't sing about girls anymore, as the subject provoked too many rumours.

A few months later (March 1956), with the next recordings, the outlines of Franco's early guitar style were getting clear in the "boogie woogie cosmopolite" "Elo Mama" and the already quite mature "Naboyi Yo Te" (Lon 138), both featuring Franco singing the backing vocal next to Rossignol's falsetto.

In the same month Victor 'Vicky' Longomba joined the Loningisa label. After the CEFA label had gone bankrupt in 1955, he had worked in a factory for a bit.
His first compositions with Loningisa, "Mokili Mobongwani" and "Nalingi Ozonga" (Lon 140), are also the first songs with Franco.

In the next post about the early part of Franco's career I will focus on the birth of the O.K. Jazz.

A file containing all the Loningisa tracks in this post can be found here (but you can also download them individually).


*and let me take this opportunity to point you to a post about another (Nigerian) nightingale on the With Comb & Razor blog

Cigarette Leopard (cha-cha)

A musician has to think of his basic necessities. I mean, soap is okay, but how much do you need?

One can only guess about Vicky Longomba's motives to dedicate not just one, but two songs to a cigarette brand. Maybe the key is in the name of the label, - the leopard being one of Mobutu's symbols of power.


Vicky's tracks are on the B-side of two singles on the Pathé label. The A-sides are originally from one single on the Boma Bango label and were composed by Youlou Mabiala, who on the label is referred to as 'Youlou (or on PF 11.526 'Youcou') Gilbert'. The two Youlou tracks have been released on CD (Sonodisc CD 36554).


PF 11.526 PF 11.540