#congos_ — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #congos_, aggregated by home.social.
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Verckys – catalogue Éditions Vévé
https://amf.didiermary.fr/verckys-catalogue-editions-veve/
James Brown dubbed Verckys “Mister Dynamite” after seeing him perform in Kinshasa in 1974.
http://www.youtube.com/watch?v=JdGaXbQEUw8&feature=share
In 2015, Sterns Music released the most comprehensive digital reissue of Editions Vévé catalogue : 10 singles featuring their original covers, 15 albums with original covers and sequence, 6 compilation albums including rare tracks.
https://www.youtube.com/watch?v=kitcn-KMM5s
In addition to being a talented instrumentalist, composer and arranger, Verckys was a showman whose dance moves and stage antics won him avid fans of his own. So self-confident was he that in 1968 he started a record company, Éditions Vévé, and persuaded Youlou Mabiala and several other members of OK Jazz to record for him in breach of their contracts with Franco. When Franco found out about it he fired the lot but then relented in consideration of 40% of the new company’s earnings. This episode convinced Verckys that he no longer needed Franco; he left OK Jazz to form Orchestre Vévé.
More infoCongo’s turbulent and exhilarating ’70s: Nightclubs and dance floors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence a decade prior, grooved to the sounds of the country’s classics. In fact the whole continent was submerged into the Congolese Rumba craze. Encouraged by the fantastic productions of the Ngoma label, vibrant radio waves had been spreading the Congo sound from Leopoldville all over the continent, becoming the countries’ No.1 export. The unexpected success nurtured an incredible wealth of talented musicians. One of them was Verckys, who, at age 18, became a member of the country´s most dominant and influential band; Franco’s OK Jazz.
This “relationship” however was short-lived as Verckys, aka Georges Mateta Kiamuangana, now a versatile and potent multi instrumentalist, had plans of his own – the formation of Orchestre Vévé in 1968, with the aim of reinventing and modernising the Congolese sound. Blending the ever influential prowess of James Brown with Congolese Merengue, Rumba and Soukous, Verckys stripped away the conventional approach that O.K. Jazz had pioneered, allowing his saxophone-laced melodies to dominate.
Around 1970 a new important area began with the foundation of the label “les Editions Vévé” on which Verckys would release his own productions. A studio was built and Verckys started recording young urban artists, with guitar-driven Cavacha sounds; Les Freres Soki, Bella Bella, Orchestre Kiam and many more shot to stardom overnight, making Verckys a very wealthy man.
But that wasn’t enough for an ambitious man with a vision. He built a sprawling entertainment complex called Vévé Centre, and dispatched a team to learn the intricacies of record pressing to set up the first pressing plant in the country. This was followed by the construction of the Congo’s most modern recording studio in Kinshasa, in which he recorded the legendary Tabu Ley Rochereau.
Orchestre Vévé’s popularity poured across borders and in 1974 the band travelled to Kenya for a 2 month tour. “Bassala Hot”, “Cheka Sana” and “Talali Talala” were some of the tracks recorded in Nairobi for the Kenyan market.
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Verckys – catalogue Éditions Vévé
https://amf.didiermary.fr/verckys-catalogue-editions-veve/
James Brown dubbed Verckys “Mister Dynamite” after seeing him perform in Kinshasa in 1974.
http://www.youtube.com/watch?v=JdGaXbQEUw8&feature=share
In 2015, Sterns Music released the most comprehensive digital reissue of Editions Vévé catalogue : 10 singles featuring their original covers, 15 albums with original covers and sequence, 6 compilation albums including rare tracks.
https://www.youtube.com/watch?v=kitcn-KMM5s
In addition to being a talented instrumentalist, composer and arranger, Verckys was a showman whose dance moves and stage antics won him avid fans of his own. So self-confident was he that in 1968 he started a record company, Éditions Vévé, and persuaded Youlou Mabiala and several other members of OK Jazz to record for him in breach of their contracts with Franco. When Franco found out about it he fired the lot but then relented in consideration of 40% of the new company’s earnings. This episode convinced Verckys that he no longer needed Franco; he left OK Jazz to form Orchestre Vévé.
More infoCongo’s turbulent and exhilarating ’70s: Nightclubs and dance floors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence a decade prior, grooved to the sounds of the country’s classics. In fact the whole continent was submerged into the Congolese Rumba craze. Encouraged by the fantastic productions of the Ngoma label, vibrant radio waves had been spreading the Congo sound from Leopoldville all over the continent, becoming the countries’ No.1 export. The unexpected success nurtured an incredible wealth of talented musicians. One of them was Verckys, who, at age 18, became a member of the country´s most dominant and influential band; Franco’s OK Jazz.
This “relationship” however was short-lived as Verckys, aka Georges Mateta Kiamuangana, now a versatile and potent multi instrumentalist, had plans of his own – the formation of Orchestre Vévé in 1968, with the aim of reinventing and modernising the Congolese sound. Blending the ever influential prowess of James Brown with Congolese Merengue, Rumba and Soukous, Verckys stripped away the conventional approach that O.K. Jazz had pioneered, allowing his saxophone-laced melodies to dominate.
Around 1970 a new important area began with the foundation of the label “les Editions Vévé” on which Verckys would release his own productions. A studio was built and Verckys started recording young urban artists, with guitar-driven Cavacha sounds; Les Freres Soki, Bella Bella, Orchestre Kiam and many more shot to stardom overnight, making Verckys a very wealthy man.
But that wasn’t enough for an ambitious man with a vision. He built a sprawling entertainment complex called Vévé Centre, and dispatched a team to learn the intricacies of record pressing to set up the first pressing plant in the country. This was followed by the construction of the Congo’s most modern recording studio in Kinshasa, in which he recorded the legendary Tabu Ley Rochereau.
Orchestre Vévé’s popularity poured across borders and in 1974 the band travelled to Kenya for a 2 month tour. “Bassala Hot”, “Cheka Sana” and “Talali Talala” were some of the tracks recorded in Nairobi for the Kenyan market.
-
Verckys – catalogue Éditions Vévé
https://amf.didiermary.fr/verckys-catalogue-editions-veve/
James Brown dubbed Verckys “Mister Dynamite” after seeing him perform in Kinshasa in 1974.
http://www.youtube.com/watch?v=JdGaXbQEUw8&feature=share
In 2015, Sterns Music released the most comprehensive digital reissue of Editions Vévé catalogue : 10 singles featuring their original covers, 15 albums with original covers and sequence, 6 compilation albums including rare tracks.
https://www.youtube.com/watch?v=kitcn-KMM5s
In addition to being a talented instrumentalist, composer and arranger, Verckys was a showman whose dance moves and stage antics won him avid fans of his own. So self-confident was he that in 1968 he started a record company, Éditions Vévé, and persuaded Youlou Mabiala and several other members of OK Jazz to record for him in breach of their contracts with Franco. When Franco found out about it he fired the lot but then relented in consideration of 40% of the new company’s earnings. This episode convinced Verckys that he no longer needed Franco; he left OK Jazz to form Orchestre Vévé.
More infoCongo’s turbulent and exhilarating ’70s: Nightclubs and dance floors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence a decade prior, grooved to the sounds of the country’s classics. In fact the whole continent was submerged into the Congolese Rumba craze. Encouraged by the fantastic productions of the Ngoma label, vibrant radio waves had been spreading the Congo sound from Leopoldville all over the continent, becoming the countries’ No.1 export. The unexpected success nurtured an incredible wealth of talented musicians. One of them was Verckys, who, at age 18, became a member of the country´s most dominant and influential band; Franco’s OK Jazz.
This “relationship” however was short-lived as Verckys, aka Georges Mateta Kiamuangana, now a versatile and potent multi instrumentalist, had plans of his own – the formation of Orchestre Vévé in 1968, with the aim of reinventing and modernising the Congolese sound. Blending the ever influential prowess of James Brown with Congolese Merengue, Rumba and Soukous, Verckys stripped away the conventional approach that O.K. Jazz had pioneered, allowing his saxophone-laced melodies to dominate.
Around 1970 a new important area began with the foundation of the label “les Editions Vévé” on which Verckys would release his own productions. A studio was built and Verckys started recording young urban artists, with guitar-driven Cavacha sounds; Les Freres Soki, Bella Bella, Orchestre Kiam and many more shot to stardom overnight, making Verckys a very wealthy man.
But that wasn’t enough for an ambitious man with a vision. He built a sprawling entertainment complex called Vévé Centre, and dispatched a team to learn the intricacies of record pressing to set up the first pressing plant in the country. This was followed by the construction of the Congo’s most modern recording studio in Kinshasa, in which he recorded the legendary Tabu Ley Rochereau.
Orchestre Vévé’s popularity poured across borders and in 1974 the band travelled to Kenya for a 2 month tour. “Bassala Hot”, “Cheka Sana” and “Talali Talala” were some of the tracks recorded in Nairobi for the Kenyan market.
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🎶🎶 Nzongo Soul & Bernard Lavilliers
🔗 https://amf.didiermary.fr/nzongo-soul-bernard-lavilliers/
Faustin Nzongo, plus connu sous le nom de Nzongo Soul, était un auteur-compositeur-interprète franco-congolais, qui a débuté sa carrière à Brazzaville avant de remporter en 1984 le Prix Découverte RFI, qui lui permettra de rencontrer Bernard Lavilliers l’année suivante.
Et c’est ainsi qu’ils enregistrent tous les 2 la chanson Noir et Blanc, […]
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🎶🎶 Bantous de la Capitale – Osala Ngai Nini
🔗 https://amf.didiermary.fr/bantous-de-la-capitale-osala-ngai-nini-alphonsine/
Passy Mermans, guitariste des Bantous de la Capitale, est mort le 28 décembre 2022 à l’âge de 80 ans, quelques jours seulement après Ignace Makirimbia, batteur principal des Bantous.
Les Bantous de la Capitale, premier orchestre congolais créé en 1959, est né à la veille de l’indépendance du Congo.
Bakolo MbokaBakolo Mboka
Je les avais vus sur scène en 2009 à Babel Med Music à Marseille.
RIP Nganga Edo, décédé en 2020 et qui fit partie d’OK Jazz et des Bantous de la Capitale.
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🎶🎶 Zaïre 74 – the African Artists
🔗 https://amf.didiermary.fr/zaire-74-african-artists/
A côté des stars américaines qui ont fait le show à Zaire 74, il y avait aussi de nombreux groupes et artistes africains, dont congolais pour ce grand festival, aussi connu sous le nom “Soul Power” d’après le documentaire diffusé en 2009.
“Ali, boma ye”
(en français : “Ali, tue le”)Pour mémoire, ce grand festival de musique eut lieu quelques jours avant le “combat du siècle” opposant 2 boxeurs américains (Mohamed Ali / George Foreman) à Kinshasa.
Zaire 74 sur AMF
https://www.youtube.com/watch?v=2U0kIQWyh7c
Quelques-uns des artistes et groupes présents lors de cet événement, dans des billets individuels :
The video showing Orchestre Stukas live in “Cherie” has been removed from YouTube.
More info
Zaire 74 was a three-day live music festival that took place on 22 to 24 September 1974 at the Stade du 20 Mai in Kinshasa, Zaire (now Democratic Republic of the Congo).
The concert, conceived by South African trumpeter Hugh Masekela and record producer Stewart Levine, was meant to be a major promotional event for the heavyweight boxing championship match between Muhammad Ali and George Foreman, known as “The Rumble in the Jungle”. When an injury forced Foreman to postpone the fight by six weeks, the festival’s intended audience of international tourists was all but eliminated and Levine had to decide whether or not to cancel the event. The decision was made to move forward, and 80,000 people attended.
In addition to promoting the Ali-Foreman fight, the Zaire 74 event was intended to present and promote racial and cultural solidarity between African American and African people. Thirty one performing groups, 17 from Zaire and 14 from overseas, performed. Featured performers included top R&B and soul artists from the United States such as James Brown, Bill Withers, B.B. King, and The Spinners as well as prominent African performers such as Miriam Makeba, TPOK Jazz, and Tabu Ley Rochereau. Other performers included Celia Cruz and the Fania All-Stars.
A documentary about the Zaire 74 festival, entitled Soul Power, was released in 2009.
Listen to the album on Spotify.
Bonus: James Brown – Celia Cruz
#OldAfricanMusic - #70smusic #CongoS_ #FrancoLuambo #SoulPower
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🎶🎶 Miriam Makeba Zaire 74
🔗 https://amf.didiermary.fr/miriam-makeba-zaire-74/
Miriam Makeba Zaire 74. Yes she was part of the event performing the famous Click Song (Qongqothwane). She also sang Amampondo, Umqhokozo and West Wind, but these are not available on YouTube anymore.
More artists at the Soul Power concert.
#OldAfricanMusic - #70smusic #CongoS_ #LiveMusic #SoulPower #SouthAfrica
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Franco & l’OK Jazz – Mado (Infidélité)
https://amf.didiermary.fr/franco-ok-jazz-mado/
“Mado” (Infidélité) is a classic from 1969, composed by bass player Céli Bitshou, sung by Franco, Youlou and Boyibanda.
https://www.youtube.com/watch?v=UF-Er3l9ix4
Through the 1960s, Franco and O.K. Jazz toured regularly and recorded prolifically. By 1967, Franco was a co-leader of the band, with vocalist Vicky Longomba. When Vicky left in 1970, Franco became the sole leader of the band.
The song in this video comes from the “Francophonic: A Retrospective Vol. 1 1953-1980” compilation, a double-CD released in 2008.
An essential release, whether you know Franco‘s music or not, or even whether you know African music or not.
—Pitchfork -
🎶🎶 Tabu Ley Rochereau – Seli-Ja
🔗 https://amf.didiermary.fr/tabu-ley-rochereau-africa-70-seli-ja/
Tabu Ley Rochereau with Africa ’70 (or Afrisa?) at the start of the big Zaîre ’74 show, also know as “Soul Power”.
Excerpt from the DVD “Soul Power”, for the mega-concert in Kinshasa in 1974, where American Soul & RnB artists such as James Brown came to play.
Celicia or Seli-JaCelicia or Seli-Ja
More “Soul Power” on the blog.
Join the conversation on#OldAfricanMusic - #70smusic #CongoS_ #LiveMusic #NSFW #SoulPower
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🎶🎶 Trio Madjesi & Orchestre Sosoliso
🔗 https://amf.didiermary.fr/trio-madjesi-orchestre-sosoliso/
Trio Madjesi & Orchestre Sosoliso was one of the hottest acts in then Zaire in the early 1970s. The name Madjesi comes from the first letters of the names of the singers Mario Matadidi Mabele, Loko Massengo “Djeskain” and Sak “Sinatra” Sakoul. They made a joyful mix of Zairean music and soul music in the style of the James Brown, who came to the country in 1974.
- 00:00 Benadioko
- 06:01 Feza
- 10:43 Luzolo
- 17:59 Sex Madjesi (Sosoliso na Sosoliso)
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🎶🎶 Baloji – Tout Ceci Ne Vous Rendra Pas Le Congo
🔗 https://amf.didiermary.fr/baloji-tout-ceci-rendra-pas-congo/
After the release of “Hotel Impala” in 2008, Baloji felt an urge to go to the Congo and start a deeper exploration of his roots.
Tout Ceci Ne Vous Rendra Pas Le Congo – Part 1Tout Ceci Ne Vous Rendra Pas Le Congo – Part 1
When he set out for Kinshasa, his original plan was to work with local musicians and rework the songs from his latest album. The results were so exciting that he ended up writing and recording entirely new songs. The resulting “Kinshasa Succursale” album features contributions from some of the finest musicians from Kinshasa, including Konono n°1 & Zaïko Langa Langa, as well as a contribution by Amp Fiddler. The album also contains two remixes, one by UK electronic producer déBruit, and another which features rising Ghanaian-American hip hop artist Blitz the Ambassador.
See also: Baloji Feat. Konono N°1 – Karibu Ya Bintou
Join the conversation on