A belated dewenati / happy new year to everyone.

After a month-long break Benn loxo is back. I hope you all had a nice holiday season.

Lately I’ve been reading a great book by Gary Stewart, Rumba on the River. It covers the history of 20th century Congolese popular music on both sides of the river, mainly in what are today known as Brazzaville and Kinshasa. Even if you have only a passing interest in Congolese music I really recommend this book. It’s an entertaining read that packs in a lot of information while still managing to tell an engaging story.

Aside from now knowing a large chunk of the groups involved, I’m no expert in the cultural and social history of Congolese music. One thing I certainly didn’t know is how much of a role Congo’s Greek community played in the development of popular music. Almost all of Congo’s greatest stars such as Franco, Dr. Nico, Rochereau, Essous, Kalle and others got their start in Kinshasa and Brazzaville’s Greek-run studios, clubs and labels throughout the 40s, 50s and 60s.

Much like with the Lebanese of West Africa and Indians of East Africa, Congo had a wave of immigration from European political trouble spots during the first half of the 20th century. Many young Greeks had fled the post-WWI troubles of the Greco-Turkish and Greco-Italian wars at home in search of adventure, stability and business opportunities. Plenty arrived on the banks of the Congos.

For reasons that are still not entirely clear to me many of these young Greeks took an interest in the local popular music of the time. Skeptics might argue that they were in it for the money, but starting a successful record label in mid-century Congo wasn’t exactly a guaranteed get-rich-quick scheme. You had to like the music to take the risk. Regardless, by the early 50s nearly every record label and studio in Kinshasa and Brazzaville was run by Greeks. Names like Olympia, Ngoma, Opika and Loningisa, all Greek-run, will all be familiar to Congolese music enthusiasts.

I found myself wondering: what kind of music were these young Greeks listening to back home before they arrived in Congo?

Some help from my friends at Calabash Music (which has been down for a few days, what’s up?) plus a little armchair research later, I offer you Rembetika: Songs of the Greek Underground. Rembetika was a style from the early to mid-20th century that would eventually evolve into Greek popular music.

You’ll hear two Greek Rembetika tracks today, the first by the famous 1930s singer, Rosa Eskenazi, the second a 1936 recording by Jorgos Batis.

It’s interesting to hear the contrast of the music that Congo’s Greek community left behind in their native country with the new sounds that they were producing in Congo. With that in mind, we’ll also hear some music from a few of era’s big stars, Kalle, Rochereau, Nico and Franco.

ps- there’s been much buzz lately about Matthew Lavoie’s African music blog on Voice of America. Great tunes from a humbling musical archive and wealth of knowledge.

Rosa Eskenazy - Eimai Prezakias
Jorgos Batis - Zoula se mia varka bika
O.K. Jazz - On entre OK on sort KO
Orchestre African Jazz - Merengue Fafa
Kalle and Rochereau - Afrika Mokili Mobimbi

Another disc that arrived in the Stern’s package the other day was one I’ve been meaning to buy for a few months: Ken Braun’s compilation of Tabu Ley Rochereau’s music, The Voice of Lightness. It’s even better than I anticipated.

Tabu Ley Rochereau was born Pascal Emmanuel Sinamoyi Tabou in Belgian Congo in 1940. The liner notes taught me that Rochereau earned his name as a boy in Catholic school when he successfully named Colonol Pierre Denfert-Rochereau as a French hero in the Franco-Prussian war. His classmates found that hilarious, so the name stuck.

The compilation covers Tabu Ley’s career throughout the 1960s and 70s, including his work with African Jazz, African Fiesta, Afrisa International and Onaza.

I’d never heard Aon Aon, the first track I’ll post today. Amazing.

The second track, Savon OMO, isn’t necessarily my favourite on the compilation but anyone who has lived in Africa will know why I picked it. Ah, the heady scent of OMO on my badly washed clothes. N’daye of the purple brasier, where are you now?

My favourite track on the compilation is probably Karibou ya Bintou, but I’ll leave that for you to discover on your own…

Tabu Ley Rochereau - Aon Aon
Tabu Ley Rochereau - Savon Omo

Ooh.. a big package from Stern’s arrived yesterday.

A Benn loxo listener suggested that I have a listen to a new collection of Dar Es Salaam star Maestro King Kiki’s rumba from the 70s and 80s, Maestro of Tanzania.

It’s a great collection. My only gripe is the production quality; so much of what is going on in the background is hard to make-out because the levels and acoustics are all over the place. Still, a fun listen.

King Kiki is actually Congolese but he’s one of Tanzania’s most popular musicians from the older generation. We’ve been sort of working a Congolese music in other countries vibe recently, so King Kiki fits nicely into the mix.

I would tell you more but the lack of liner notes and my general lack of east coast African music knowledge leaves me hanging. Once again, I ask the more-knowledgeable-than-I Benn loxo listeners to fill us in.

And thanks for the tips- they keep my collection growing.

Maestro King Kiki - Salza

Here’s another Orchestra Mode Succès track, this time from the fourth volume of the Innovation series.

Does any have any of the other volumes? From reading the AfricanAmbiance forum it looks like there are nine in total.

I wanted to take a moment this morning to direct you to Likembe if you haven’t found it yet. John B’s African music blog is easily the best out there. His collection and depth of knowledge are impressive, plus the blog makes for a nice read. John has taught me lots and his music is consistently great. He’s helped fill me in numerous times for Benn loxo posts as well, so we can all thank him for that.

ps- thanks, Africaruge

Orchestre Mode Succès - Je peux attraper hypertension

Ok, I lied. A post on Saturday this weekend.

Orchestre Mode Succès is a group put together by Baba Ley Assaka and Bopol Mansiamina, both Congo-Kinshasa natives.

Bopol got his start in the late 1960s with Papa Noel in the Orchestre Bamboula. He’s played with many greats over the years, and more recently did some guitar work with Ricardo Lemvo who you might have heard here before.

I’m unsure if he formed the Orchestre Mode Succès when he was still living in Congo or after he had moved to France in the early 80s. I also don’t know anything about Baba Ley Assaka. Can someone fill us in?

Anyway, today’s track comes off the album Innovation Vol. 3, produced by Lokuelo Samba. I love the guitar work on this one and the production is nice, too.

Thanks to Fabian for the music, and to the excellent African Ambiance forum and African Music Profiles sites for background info.

Orchestre Mode Succes - Diffamation Ya Nini

C’est vrai qu’on est assez loin du Congo.. but you could feel a little closer this Friday if you show up at the Heat Me Party at the Cannibale Café. I’ll be playing some African classics there from about 11:30pm until closing. If you’re in Paris this weekend stop by 93, rue JP Timbaud in the 11th.

If you can’t make it, pour yourself a little Bas Armagnac, get a fire going and throw on today’s Bantous de la Capitale track. It’s a little reminder that there’s much more to life than Lisie.

Bantous de la Capitale - Loin du Congo

Konomo No. 1 are a great band to see live. The driving rhythms, on-stage dancers and general charisma of the group make for a great show.

I first saw them in Paris two and half years ago, then again at the Couleur Café that summer.

If you’re lucky enough to have a good audience around you as I did on both occasions their shows turn into big dance parties.

Konomo made a splash when they first hit the international scene, particularly in the burgeoning audioblog scene circa mid-2005. Since then the hype has died down a bit, but they’re still touring and releasing new stuff. Above all they’re still a great live act.

The generous people at Crammed recently sent me a live recording of their performance at the Couleur Café festival in Brussels, Belgium.

To the left, a shot of Belgium kids in the Couleur café 2006 audience.. sweaty dancing fun.

Konono No.1 - A.E.I.O.U

There’s something really sexy about the word ‘rumba’. It’s also a bit of a misnomer in that over the years it came to represent a variety of Cuban-influenced musical styles popular across Africa, not all of them ‘rumba’ in its original sense.

While the heart of rumba was in the country-formerly-known-as-Zaire, there were many great groups in other countries as well. One reason is the civil war that erupted in Belgium Congo during the 1960s. It forced many Congolese musicians out of the country, a bunch of whom ended up in Tanzania.

Tanzania, located in East Africa just below Kenya, was heavy into the Afro-Congo-Cuban sound during the 1960s. Original Music’s 1983 compilation, The Tanzania Sound, captures this beautifully.

Reading the liner notes this morning I noticed a translation of the lyrics for the Dar Es Salaam Jazz Band’s up-beat track, Fitina Nyingi: “Everyone’s rotten, nothing’s any good, I’m better off alone than with these no-goods.”

Now if that isn’t an upper to get us through a grey Friday, I don’t know what is!

ps- thanks, John.

Nuta Jazz - Janja Yako
Cuban Marimba Band - Beberu
Dar Es Salaam Jazz Band - Fitina Nyingi

It wasn’t a great BBC quiz week for me. Only 3 right. I guess that’s understandable considering I’ve been working long hours recently, preparing for something I probably won’t do anyway. (I was hoping to do a rugby series on Benn loxo like I did when I was working at the football world cup, complete with pitch-side African classics. We’ll see.)

Anyway, since my work plans for the next six weeks hang in the balance it’s appropriate that I do Benn loxo listener, Fabian, a favour and post a mystery song that he’d like to know more about.

If you know the composer, singer, language or any other detail about today’s song please leave a comment or send me an e-mail.

I’ll also include a second track by Jean Raph Loumbet sent my way by Fabian some time ago. I love the lyrics and the driving beat on this one.

Loumbet and his band, Les Zoulous, were apparently the first Ivoirians to produce Congolese soukous. The style had long been popular in the country, and mixing with a hint of post-Djedje Ivoirianess sounds great. Today’s track comes off his 1981 release, Renaissance Volume 1.

Speaking of Côte d’Ivoire, does anyone have a copy of Eba Aka Jerome’s single, Trahison?

Unknown - Patricia
Jean Raph Loumbet - Mbonge

Today we have a guest post from Benn loxo listener, CC Smith, in memory of Madilu System:

Bialu Makiese, better known as Madilu System, died suddenly on Aug. 11 in Kinshasa from complications of diabetes. He was 57 years old.

A member of the beefy front line of singers of TPOK Jazz since 1980, Madilu was known as Franco’s favorite singer, and his husky, nuanced baritone was heard on many of Franco’s greatest songs of that era, most notably supplying the lead on “Mario.” (This worldwide hit from 1986 was beautifully reprised by Africando on the 2006 Ketukuba album, again with Madilu on lead vocal.)

Following the death of Franco in 1989 and the dissolution of OK Jazz, Madilu proceeded with a solo career and had just released a new recording, La Bonne Humeur, in Paris this summer. He was also an exceptional harmony vocalist, and frequently joined other singers such as Nyboma, Josky and Malage in duets and lush choral arrangements.

His warm cameo “Tapale” on Kekele’s Kinavana album is one of the delights of that production. But my favorite song by Madilu is “Ya Jean” from his Sans Commentaire album of 1994, a gorgeous heartfelt tribute to Franco Luambo Makiadi with Rigo Star providing the lead guitar on the first section, and Syran Mbenza standing in for the ghost of Franco on the second part, channeling the Grand Maitre’s signature guitar lines as Madilu pours out an anguished wail from the depths of his soul.

CC Smith
The Beat Magazine

Madilu System - Ya Jean

Benn loxo reader and contributor, Fabián, comes through again with some great music by Congolese musicians living in Kenya during the 1970s. I’ve also included a few tracks from my own collection to beef-up the post.

I love reading the stories about how all these bands and the personalities behind them are connected. This is especially true when you’re talking about a relatively small group, Conogolese musicians living in Nairobi during the 1970s and early 80s.

Pepelepe was formed by ex-members of Baba Gaston’s Baba Nationale who had recently moved to Nairobi from Zaire in the early 1970s.

Jim Monimambo formed the Boma Liwanza offshoot, Special Liwanza, in Nairobi in 1976. I would love to get some more Boma Liwanza music. Anyone up for a trade?

Monimambo also wrote and performed for Orchestra Shika Shika, another group that had formed in 1980s in the aftermath of Boma Liwanza’s break-up.

I’ve included some Orchestra Mazemba since they were one of the leading Congolese bands in Kenya during the 1970s and 80s.

Finally, something from the Kenya and Tanzania natives, Simba Wanyika, so we can hear how it wasn’t just the Congolese playing that pre-benga, early soukous style in 1970s Nairobi.

Thanks to Benn loxo reader, Cheeku, and Matt over at Matsuli Music for first introducing me to Shika Shika and the various Liwanzas. And thanks, Fabián, for the continuing contributions.

You can find more info by people who know a lot more about this era than I do here and here.

Orchestre Pepelepe - Mulambo
Orchestre Special Liwanza - Mwale parts 1 & 2
Orchestre Shika Shika - Diabanza
Orchestre Shika Shika - Ivete parts 1 & 2
Orchestre Super Mazembe - Kassongo
Simba Wanyika - Shilingi maua tena maua

This is slowly turning into an Original music week. Today we’ll hear something from The Sound of Kinshasa - Guitar Classics from Zaire, and there’s plenty more to come.

While there’s lots to love on The Sound of Kinshasa, the track I’ll post today is especially remarkable. Gentle, dreamy… and almost Hawaiian.

Speaking of Hawaiian shirts, a Benn loxo reader told me in an e-mail last week that he was going to see the Jimmy Buffett show at the New Morning last week. Turns out he was joking, but my first reaction was, “Amazing.” I have hilarious memories of uncles in Hawaiian shirts, margaritas in tow, singing Come Monday to frightened nieces and nephews.

I was going to post some Jimmy Buffett as a joke, but it’s so crap that even the humour is eclipsed. I’ll leave you all to your own resources to give such classics as Cheeseburger Paradise a listen.

Anyway, I know nothing about Ngwalau Michel but the Orchestra African Fiesta is quite well known. At various stages they included many Zairean guitar greats such as Docteur Nico, Tabu Lay Rochereau and others. You might have heard them here before, and their album jackets remain classics of the genre.

Thanks, as always, to Andrew and the many other Benn loxo listeners who have come through with these Original Music releases and much more. Your e-mails, trades and gifts are always much appreciated.

Ngwalau Michel with Orchestre African Fiesta - Limbisa ngai

Last week I got back from an 11-day trip in Cuba. I spent about a week in Havana plus a few days time in the west of the country, seeing Pinar del Rio, Vinales and finally the beaches and underwater life at Maria la Gorda.

It goes without saying that Cuban music, both old and new, is amazing. I heard the tourist-ringed but high-quality live salsa and rumba on every corner in Havana Vieja, Santaria rumba with the Conjunto folklórico, Afro-Cuban jazz at La Zorra y El Cuelvo, late nights, hard reggaeton and I-wish-I-could-dance-like them action at numerous clubs in Miramar and Vedado, sub-par big-name salsa at La Casa de la Musica and much more.

I try my best not to get political on this site, but let me say that visiting Cuba is a bit like going to a maximum security prison on the beach, snapping pictures of friendly inmates as they go about their business.

Most Cubans aren’t allowed to travel at all, even inter-city within their own country. The average monthly cash take-home is about 15 Euros a month. Prostitution is a disturbingly tolerated practice on a scale that outstrips Nigerian oil bars and Senegalese nightclubs. There are no boats on the water or in the harbour aside from patrols and tourists, not even for fishing. The vast majority of people aren’t allowed to own a car or pretty much anything else. If you’re a Cuban and have a relationship with a foreigner living in Cuba you will usually kiss your chances of getting a travel permit goodbye. The whole system is setup to reward those who play by the rules and punish those who don’t. Never question Fidel and you might get a TV. Organize enough anti-US parades and you might just get a job at a hotel… and the tips that come with it.

As I said to a friend earlier today, Cuba is a beautiful, fascinating… and ultimately very sad place. Any positive things I had thought about certain aspects of Fidel’s Cuba, such as good medicare, innovative urban agriculture policies, etc, went out the window. All of that is worthless if you have absolutely no freedom. And for all those who keep telling me “it was good you went before he dies” - no hurry, it’s not going to change anytime soon. If anything, rules are tightening these days. State-appointed company heads are being replaced with pro-Revolution activists by the dozen and authorities are cracking down on previously overlooked practices. I saw a bunch of “Viva Raul” signs around Havana, albeit small ones not quite ready for the prime time.

Anyway… very glad I went.

And as this is an African music web site I thought I’d post a song by a Congo-born Angolan who has been heavily influenced by Cuban music, salsa in particular. We can all thank Benn loxo listener, CC Smith of The Beat Magazine in San Francisco, for today’s music. I’ll share some real Havana Afro-Cuban later in the week.

Ricardo Lemvo combines salsa, soukous and some Afro-Portuguese elements into his music. He’s lived in the States since he was 15, but was born in Congo to parents of Angolan descent. He normally records with Makina Loca, but he’s also done some work with Africando.

Lemvo’s latest album, Isabela, was released this month. I’ve had it on repeat this afternoon while I cook a spicy, end of winter chilli con carne.

Ricardo Lemva & Makina Loca - Kasongo Boogaloo

Today a short, up-beat Congolese tune courtesy Benn loxo listener, Babacar.

He brings us sounds by the late Abeti Masikini, a member of the early generation of then-Zaire divas.

The full-length featuring this song was released in 1975 on the Pathé Marconi EMI album, La voix de Zaire L’Idole de l’Afrique. The track you’ll hear today is off the 7-inch released at the same time.

I was surfing around for some more Abeti links and came across this great YouTube video about a local dish that she once sung about. Now that’s my kind of cooking show.

Speaking of food, it’s worth noting that in Senegal, “yamba” is slang for weed.

Abeti Masikini - Yamba Yamba

Lately I’ve been getting so much new music from Benn loxo listeners that I can’t keep up. Big thanks for all the great sounds coming my way. I promise I’ll get to all of it.. just give me some time and keep tuning in.

Several of you have asked for more Kenyan music and that champeta post a while back got some great feedback. With these two requests in mind, Benn loxo listener, Fabián, came through with a classic Orchestra Super Mazembe track in both its original format and as a champeta remix. You can also check-out his web site, Africolombia, with much more music.

Apologies in advance if I got the champeta group name wrong - please correct me, but it wasn’t clear from the song tag or some armchair research who exactly recorded this tune.

Orchestra Super Mazembe is actually a Congolese band by origin, forming as Super Vox in Likasi, Congo-Kinshasa, in the mid-60s. After meeting up with the Super Eagles in Zambia a few years later the band decided to hit-up the booming music scene in Nairobi, Kenya. Since Nairobi already had another band named Super Vox they changed their name to Super Mazembe, which roughly translates into “huge bulldozer”.

From the mid-1970s onwards Super Mazembe released several big hits in Nairobi, maintaining a large following right-up until the late 80s. Today’s track was released in 1983. You can find it on Earthworks re-release, Giants of East Africa.

Orchestre Super Mazembe - Shauri Yako
Dogar Dis - Quedo en las tablas

TPOK veteran Antoine Nedule Montswet was born on Christmas day so he always went by the name Noel. As his status as one of the Congolese rumba generation’s greatest guitarists grew he made the switch to Papa Noel.

Noel was Franco’s right-hand man right up until Franco’s death in 1989. Along with Dr. Nico, his guitar sound is synonymous with the Congolese rumba sound that reached its peak in Kinshasa in the 1960s and 70s.

Personally, I find that it’s the best way to wake-up in the morning. Paris is grey, I soon have to work, but I have a large coffee and some rumba is filling my apartment.

You may have already listened to Papa Noel on Benn loxo way back in October, 2004. If you want to hear more, today’s track and many others are available on the great Papa Noel compilation, Bel Ami.

By the way, the photo on today’s post has nothing to do with rumba. Instead, it’s one of my favourite shots by Malian photographer Malick Sidibe. I’ve been really into his work lately, and happened to bump into an exhibit of his photos down in southern France a few weeks ago. If you have any interest in West African culture in the 1960s and 70s I strongly suggest you check-out his photos. Beautiful stuff.

Papa Noel - Bon Samaritain

I’m going to be driving for seven hours today. I need some good sounds for the road.

Guitar.
From the 60s.
African, of course.
Something to keep me awake.

“Eh bien, mon ami!” sings Dr. Nico. There we go… let’s hit the autobahn.

African Fiesta rocked the soukous airwaves from 1963 until they split in 1965. It was originally a collaboration between the great Tabu Ley Rochereau and the “Dieu de la guitare”, Dr. Nico Kasanda. Tabu Ley then went off to form African Fiesta National. Dr. Nico responded with his own originally-named venture, African Fiesta Sukisa.

With a name like “the God of the guitar”, however, you’re bound to get a little cocky; by 1968 this band had disbanded since the other members didn’t feel like they were getting their due.

“Eh bien, mon ami” showed-up on Sonodisc’s 1968 release, African Party. I love the way Dr. Nico sounds like he’s weeping at the mic. Lots more on Dr. Nico’s assorted recordings and checkered past over at musikfan.

African Fiesta - Eh Bien Mon Ami

Guest post today by Benn loxo listener, CC Smith, editor/publisher of The Beat Magazine in Los Angeles, CA:

“Last month I traveled to England to attend several concerts by Samba Mapangala and Orch. Virunga, meeting up with Ethan Bloomberg of Boston, (Samba’s U.S. representative and advisor and East African music connoisseur), and Martin Sinnock, one of the world’s leading experts and collectors of Congolese music, and columnist for my magazine, The Beat. Samba has just put out a new album called Song and Dance, and the short tour of England was to support the release. As an extra added attraction, Orch. Virunga this time included guitarists Syran Mbenza and Bopol Mansiamina, who came in from Paris to assist their longtime friend and colleague.

I first heard Samba’s music in London in 1984 and was instantly a fan. The stunning, pitch-perfect a cappella intro to “Malako Disco” still knocks me out, and the song is as fresh as ever, blending Congo dance music with distinctive Kenyan elements, like the skittering hi-hat cymbal riding atop the flowing music.

Samba is Congolese but made his reputation in Kenya. He had a good deal of success in Europe, America and throughout East Africa in the ’80s and ’90s, but since relocating to the States 9 years ago, his music was put on hold while he established a life for himself and his family. His last newly recorded album was Ujumbe in 2001, so the new disc is a long-overdue treat, and I dearly hope presages the renaissance of his career. We need him back!

The first night I saw them, at the Amersham Arms in SE London on Mar. 21, was a bit rough: the sound was bad, the audience sparse, and the 9-member band, having only played together for a week, still trying to gel. Still, it was an enjoyable performance: Samba still has his magnificent voice, and with two backup singer/dancers, put on a lively show. The next evening, in Brighton, was even better: better attended, better sound, better ambience, but it was the third show, in Graffham, East Sussex, a tiny country town, when the group actually became a band. Two hundred people filled the rustic hall and were dancing from the first note. Syran, who had put down his Kekele-acoustic guitar to pick up his electric again for this tour, was conducting the orchestral maneuvers with guitar cues and glances, and ripping off mind-blowing leads.

The highlight for me came when they trotted out the old warhorse, “Malaika” — I’m thinking, oh, geez, do we have to hear this again? — but Samba, reaching deep down in his soul, brought out such intense emotion that the song was completely transformed, and Syran responded with one of the most profound, heartfelt solos I’ve ever heard him play.

For more information on Samba Mapangala and the new album Song and Dance: www.virungarecords.com. Martin Sinnock and Ethan Bloomberg have recorded an Internet radio broadcast on Samba that will be available April 7.”

Thanks for the great music, cc. It’s great that so many guest posts have been coming in lately. Keep it up! Even if you don’t want to write but have a song you’d like to share, let me know.

Samba Mapangala - Adija

I went to see Kékélé at La Boule Noire last night. Were any of you there? I’ve already met a bunch of you but I should try to meet more Benn loxo listeners who hit-up African music concerts in and around Paris.

I’ll be at the Mahmoud Ahmed/Ethiopiques show in Bobigny next Friday, then Konomo No. 1 on Sunday at Point Ephemere. Maybe Kofi Olomide on the 12th but that’s not for sure. If you’re thinking about going to any of these shows let me know and I’ll buy you a pint. And hey, if you have other suggestions I’m always up for a concert.

Last night I was thinking about how cool Kékélé looked up there on stage in their tuxedos. They were all smiles, dancing in sync and getting the crowd involved. One of the big reasons why I love African music so much is not only is it great to listen to, but the live shows are consistently fantastic. I try my best to stay away from pan-African stereotypes, but one thing is clear: African musicians, be they from Cap Verde or Sudan, usually put on a great live show. And they don’t need fireworks, jetpacks, screaming teenagers or light shows either.

So many Western musicians have completely forgotten how to be classy on stage and put on a good show.. as performers. I say bring back more tuxedos. “Teach the indie kids how to dance again.” More call-outs to the audience. At least one mandatory 20-minute super-extended version of a previously unreleased song. And play two sets! Or at least do a couple long encores. I don’t care if you’ve released only one album. Do a jam up there, get the people moving and go for it. Kékélé should give lessons.

Anyway, the concert was great and so is their third and latest album, Kinavana. You might’ve listened to Kékélé on Benn loxo before, but if not here’s your chance.

Kékélé is a group of well-known Congolese rumba musicians who first banded together in 2000 to release Rumba Congo. Rumba music fuses elements of Cuban music brought back to by African slaves with traditional Central African music, dance and rhythm like marimbula, conga and mambo. It was the sound in Zaire during the 60s. I/We love it here at Benn loxo.

Kékélé - Ponton La Belle

Wednesday. So far from the weekend in either direction. To make matters worse, I had a long day at work after making myself super-tired from a late cheese and wine night. My brain needs something older to pick it up off the floor.

I can’t decide what to post today. Wait, here we go. Brazzaville’s L’Orchestre Tele-Music’s Faux Marie. What a tune. It’s working…

The original ID3 tag tells me that “this group split away from Le Peuple some time between 1975 and 1978. Date of [this] record not known but pre mid 80s.” A little Google research didn’t tell me much about the band at all but apparently they were founded by Ballou Canta, a big name in Congo-Brazzaville music during the late 70s and early 80s.

You can buy a disc (not this one) here. Today’s tune comes off their self-titled album on K-Dance Productions.

…hold on a sec, my friend Mandy just buzzed and she tells me that she got engaged. No fucking way! Apparently this song brings good luck, too. Congrats, Mandy!

ps- zim, you’re a star.

Orchestre Tele-Music - Faux Marie