La femme se plaint

Is there an element linking this and the previous post? The answer is yes. What both artists have in common is a unique and original singing style. And that's not all: they both draw their inspiration from tradition. Although I add that the source of this tradition may not be so clearly defined - and certainly not in ethnomusicological (what?) terms - in the case of the singer who is the subject of this post.

I am sure you have already recognised him from the photo on the sleeve; the subject of this post is Josky Kiambukuta. I am sure I am not the first blogger to post this album, but there is a valid reason why I still would like to share it with you again. This is a special album. First, because it was conceived as an album, and not as a random collection of previously released songs. Secondly, because Josky was the first singer who was allowed to make his own album with the T.P. O.K. Jazz.

Josky was recruited into the O.K. Jazz (by Simaro Lutumba*) after Sam Mangwana to add a different style to the orchestra. As an ex-singer with Docteur Nico's African Fiesta Sukisa and a member of the Orchestre Continental (as was Wuta Mayi) he was firmly rooted in the African Jazz school of Congolese music. As he explained in an interview in 1991 he had been a great fan of Rochereau since his early youth. Obviously his first vocal contributions were in the style of idol (great example), but he soon started making his mark in the O.K. Jazz, and was actively encouraged to develop his own style. Like all musicians within the O.K. Jazz he was also asked to contribute as a composer, which he did with fervour ("Kebana", "Monzo", "Seli-Ja").
In the interview he pinpoints the song "Fariya" as the start of his own style. A style which he traced back to the legendary ensemble San Salvador, who dominated the recordings on the Ngoma label in the first half of the 1950s. He further developed and refined his style in songs like "Ba Pensées", "Amour Violé", "Mobali Amesana Na Ngai", "Toto", "Bisengambi", "Tokabola Sentiment", "Propriétaire" and - of course - "Bimansha" and "Nostalgie". All these songs were hits.

In the 1991 interview Josky indicated that traditional music was another source of inspiration for these songs. He named "Amour Violé" and "Limbisa Ngai" as based on a traditional rhythm from Shaba (now once more named Katanga**). This personal development culminated in the lp "Franco présente Josky Kiambukuta du T.P. O.K. Jazz", an album which he treated with considerable respect and care. This resulted in a true Classic of Congolese music.

And this is a rare feat for an O.K. Jazz album to which Franco himself has not contributed (i.e. he is not playing in these recordings...). What I personally really like in these four songs is the variation which Josky has managed to introduce both in the rhythms and in his singing. He is without a doubt the star in these songs, but none of the songs is the same, and within the songs it is like he is constantly 'feeling his way', almost exploring the right notes. Solidly backing him in all songs are Aimé Kiwakana, Lokombe Ntal and Madilu System. This harmonic backing only acts to emphasise Josky's vocal excellence in all four songs. Just listen to the ease with which he weaves through "Massini" and "Mehida"!

Josky stated in the interview that most of his songs are sung from a perspective of a woman. "La femme se plaint" (the woman complains) as he described it. Keep this in the back of your mind and listen to this album again. It will add another dimension to what is already a masterpiece.

Edipop POP 025 (1983)

* who knew him from the age of 15.
** Josky himself is from Bas-Congo.

Recours

I would like to round off* this (in many aspects not so happy) year with some sounds that I am almost sure will make you happy. And in the process I will try and clear up some misunderstandings and/or correct a few errors.

The subject of this post is one of my favourite ones: the music of Franco and his O.K. Jazz. More precisely I would like to focus on that fascinating period of the early 1970s, when Franco took control of the O.K. Jazz and the O.K. Jazz had not yet 'transformed' into the Tout Puissant O.K. Jazz.

Although it is easy to state this nearly forty years later, I am inclined to belief that Franco came out on top after the attempts to undermine his popularity in the late 1960s. One of the key ingredients of his success, and not just then but throughout his career, was that he had a capacity to absorb influences by others while remaining himself. Asked about the inspiration for his music Franco has replied in several interviews that he has spent his whole life listening to the music from his country. These words are not to be taken as some form of cliché. Franco really listened to all music from Congo/Zaïre and had done so since his youth. Seen in this light the call by Mobutu for a "recours à l'authenticité" seems 'tailor-made' for Franco.
The word "recours" has over the years been misinterpreted. It does not mean a return to, but rather an appeal to.
And authenticity was of course by no means an invention of Mobutu. For Mobutu it was actually more a solution to an imminent - or perhaps even urgent - problem. In that respect I think there are some parallels with the present search for a national identity and the 'recours' to a disturbing and shortsighted form of nationalism in countries like the Netherlands...

For Franco the 'recours à l'authenticité' meant a confirmation of what he was already doing. When he contacted people from the pre-independence era of Congolese music in 1971 he wasn't the first to do so. Wendo had been playing with Rochereau in the 1960s. Contrary to Rochereau legendary musicians from the Ngoma label like Manuel D'Oliveira and Camille Feruzi played with the O.K. Jazz on equal terms; they weren't used as an embellishment.

As far as I know (and please, please, please correct me if I am wrong!) Franco recorded two songs with and by Manuel D'Oliveira and a whopping five with Camille Feruzi. Of the latter I am only sharing four with you in this post. Of the last song (unconfirmed title "Tika Kolela Cherie") I have only a sadly very low-fi copy.

Three of the songs with Camille Feruzi have been released on CD (Sonodisc CD 36581), but - typical of Sonodisc - not without a slight cockup. "Kuyina" has been renamed to "Mbanda Nasali Nini?", - which happens to be the title of the track that is missing from the CD.

The songs were originally released on three singles by Franco's Editions Populaires, and according to my information in December 1972 (the first two singles) and the beginning of January 1973 (the third). Gary Stewart states that it was exactly one year earlier, and - although I am willing to believe this - I have no confirmation of this, or of the source of this dating.

The first of the three singles contains besides Franco's brilliant "Likambo Ya Ngana", featuring not only Franco and Camille Feruzi (on accordion) but also the same female chorus that can be found on "Boma L'Heure", an equally brilliant "Casier Judiciaire" (= criminal record). And this last song is a different version from the track included on the CD I mentioned before. Franco's acoustic solo after 3'20 is to me one of the absolute highlights of his career.
A small detail: on the CD "Likambo Ya Ngana" fades out a few seconds earlier than on the single. Why??

EP 78 [Fiesta 51.149]

On the second are two compositions by Camille Feruzi. On the B-side is "Siluvangi Wapi Accordeon?" which you may know from the CD. And on the A-side is the song missing from the CD, "Mbanda Nasali Nini?". Again I wonder why. Why wasn't this song included in the CD?
Coincidentally this happens to be a song with a bit of a mystery. Because who is the singer besides Youlou Mabiala? Aboubacar Siddikh suggests it might be Vicky, but I am more inclined to think it is Kwamy. Alternatively it can be a singer brought along by Camille Feruzi (Tenor Beya perhaps?).
This song is not only different because of the singer, but also because of the arrangement. In the second part (after 2'32) there is a full orchestral arrangement with the horn section sparring with Feruzi's accordion. Fascinating!

EP 79 [Fiesta 51.151]

The third single not only features the fourth track with Camille Feruzi, "Kuyina", with Franco and Feruzi competing for a place in the limelight, but also a track composed by that seminal composer duo from the early 1950s: Georges Edouard and Manuel D'Oliveira. Together with Henri Freitas and Bila Edouard they formed the group San Salvador, which can be described as the band that laid the foundation for all Congolese modern music. I will certainly be dedicating a post (or perhaps even more than one) to this group in the coming year.
The song "Ba Mipangi Ya Matadi" is in my opinion the very best example of a "recours à l'authenticité". I am not sure of the singers, but I suspect one of them is Manuel D'Oliveira, and the other could be Michel Boyibanda. The rhythm is 100% San Salvador and is accentuated by the percussion. Franco seems to have adjusted his tuning to the tuning of San Salvador, but remains clearly and recognisably Franco.
Again I can not understand why this song has never been included on one of the many Sonodisc CD's.

EP 80 [Fiesta 51.181]

The three singles plus the second track of Manuel D'Oliveira with the O.K. Jazz ("Na Mokili Mibale Na Mibale" - see this post) can also be downloaded in one file and in the FLAC format (alternative links - 2 files: here and here).
I will be posting more from this fascinating period very soon.

I wish you all a happy, healthy and successful 2012!

* and I am well aware that you may already be in the new year.