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

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

Today we’ll hear some more good Kenyan music from the Orchard re-release collection on eMusic. This time it’s a little later, a mid-70s recording by Kenyan rumba star, Habel Kifoto.

Initially a member of the famous “military band”, Maroon Commandos, Habel Kifoto released a bunch of solo tracks as well. Benn loxo friend, Steve Mugiri, can tell you more about the Maroon Commandos – and much more – if you’re curious.

Elsewhere, this guy was in Habel’s daughter’s class in Nairobi and enjoys good night out in Nairobi, while this guy feels guilty about listening to pirated copies of their music.

While you’re at it, hear Kifoto and others on the excellent selection of African podcasts over at Podmatic. (For those who don’t know, you can listen to Benn loxo as a podcast, too.)

Habel Kifoto – Sine Ndoe
Habel Kifoto – Charonyi Ni Wasi