Damien Masterson

It all started with his guy some 20 years ago:

Ali Farka Touré, RIP.

The I moved on to Mbalax, ala Lemzo Diamono and Youssou N’Dour.

From there, on to Mali, Nigeria, South Africa, Madagascar,
a brief stop in Ethiopia, before finally arriving to

Ahhh, poor

Kingdom of Kongo (1395-1914)
Luba Empire (1585-1889)
Lunda Empire (c. 1665-1887)
Yeke Kingdom (1856-1891)
Congo Free State (1885-1908)
Belgian Congo (1908-1960)
Republic of the Congo (1960-1964)
Democratic Republic of the Congo (1964-1971)
Republic of Zaire (1971-1997)
Democratic Republic of the Congo (1997-present)

They’ve been through quite a tumultuous run. The latest civil war, cited as “Africa’s World War”, was one of the most underreported humanitarian disasters in recent times, and has taken about 5 million lives in the past decade. It was never easy, but somehow these people have created some of the most upbeat, vibrant and festive music in the world. At first it was too happy for me, I couldn’t let myself go. But now that I’m enlightened, I can listen to Congolese Rumba, Soukous, and all of the variants and offshoots all day long! Right at the moment I’m listening to “Nazali Mwasi”, by Mbilia Bel & Tabu Ley, from the Stern’s “Mbilia Bel” compilation. A voice made in heaven.

Honestly, it’s like musical prozac. I have yet to hear a minor key Soukous song. I’m sure they exist, but it would be genre defying. This music is deep in history, culture and meaning. Just Google “Congolese Rumba” or “Soukous” and behold. Its evolution over the past century is as interesting as anything I’ve found.

Here are some good places to start:

Le Grande Kalle (Joseph Kabasselleh)
Franco’s TPOK Jazz
Zaiko Langa Langa
Tabu Ley Rochereau
Madilu System
Sam Mangwana

and more contemporary:

Les Quatre Etoiles (Four Stars)
Somo Somo, the band led by Zairean guitarist, Fan Fan
Papa Wemba
Kanda Bongo Man

It appears that the Civil War and 3 decades of Mobutu has taken its toll on the scene. Today, it’s harder and harder to find any of the stars touring and performing, but when they do, fans drop what they’re doing and scramble to the clubs. I wish I had known about this incredible music a decade ago when it was at its height globally, but I was somewhere else then.

Some might say that Congo Rumba just sounds like Africans emulating Cuban music, which is how it began. But if you listen to the development, especially that sweet period where the transition from the 50’s and 60’s to the 70’s, the “Autenticité” period, you can hear the new sound coming about. Today’s Soukous and its offshoots have turned a lot of older fans off. The use of drum machines, synthesizers and stage props (like female dancers and “animateurs”) have made more of the spectacle and less of the music.

I’m hoping to compose some songs with basic ideas and structures from Soukous, especially the extended instrumental “Sebene”, with harmonica and guitar playing the interweaving rhythmic melodies.

Stay tuned…

D

This was posted on Tuesday, March 18th, 2008 at 7:32 am and is filed under World Music News. Comments are open.