Author Topic: The historical origin of Soukous and Rumba Congolaise.  (Read 14407 times)

soukousman

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The historical origin of Soukous and Rumba Congolaise.
« on: April 07, 2014, 09:48:51 am »
Sorry I've been away for too long, I've been busy focusing on school, my Youtube channel, and other important tasks. Here, we're going to delve into the historical origin of "secourer" aka Soukous. I will also present the solo founder of Rumba Congolaise and the pioneers.



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If you want to get an idea of what the Rumba " Soukous " yesterday , just listen to "My Loukoula." Refined dialogue of voices and instruments : the little folk side , now extinct , was not known rival . Especially in the overriding importance that represented the bass; and sought more complex rhythmic textures, requiring dancers to invent new steps.

At that time, everything was done "by hand " no electronic percussion, or synthesized brass . Real sax , like the good old days of " Walla ". And a man to type modulation with the skins of Tumbas. The typical music in all its juicy glory. But, alas ! SINZA is no longer of this world since the 80s.

For the record , in 1964 reminds us of the creation of the orchestra SUPER TUMBA ; orchestra Ouenzé which - after Orpheus Jazz - won fame in Brazzaville. Thanks to its main actors Gabriel DIANZOLO , Kimbembe Jacques Anatole Bokassa and Hyacinthe MALONGA , the orchestra SUPER TUMBA born in 1964, at the bar " Vis- à-vis " Ouenzé before becoming SINZA " Kotoko " 1965 . In 1968 Pierre arrives MOUNTOUARI that will play an important role in strengthening the group. Including the launch of successful titles as " Veve ", " My Loukoula ", " Mavoungou " ... published by Editions Pathé Marconi , the result of a consistent and strong team.

The most phenomenal success of the orchestra SINZA is its participation in Tunis in June 1973 First Pan African Youth Festival . He seduced a whole people, to the point where despite the presence of charismatic TABU LEY and Afrisa , has not prevented SINZA to get the gold medal of the Festival. SINZA had succeeded in denying the facility offered by the popular " Soukous disco " and " Soum Joum " to play based on a traditional modern music which showed that the group had fully assimilated the ideas launched by the singers Angel Linaud NDJENDO and BITSIKOU Theophilus " Theo". Both were part of the Congolese delegation.

In SINZA " Kotoko " of 1973 include a parade of monsters. The small world discovered and launched by the then Chief Gabriel DIANZOLO " Ya Gaby ", Alphonse BAHOUKA , Remy SAH'LOMON (famous bassist who played for Loketo, Kanda ****o Man, Les Officiers) , Faithful SAMBA Kalonga, Jean Luc Nkounkou, Victor MAMPOUYA, and Makosso Anatole Bokassa who have all experienced a great reputation in Congolese music scene.

Link: http://www.mbokamosika.com/article-il-etait-une-fois-un-grand-orchestre-sinza-kotoko-105943188.html

Notable information from one of the users,
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It should noted that the songs starting " soukous " trafficked , thus breaking the
traditional plan " verse -chorus rumba soukous " which has long been a brand of exclusive manufactures Sinza initially, before its adoption by the third school in Zairian music, " Clan Zaïko "
( Zaïko Langa Langa , Bella Bella , Stukas Boys , Cavacha , Shama - Shama , Kiam , etc ... )
(Mwenze. Il était une fois, un grand orchestre:Sinza "Kotoko". Mboka Mosika. Blog. URL)

Sinza Kotoko - Mahoungou. 1969. As for Paris? Paris was just another base for recording and producing Congolese Music just like Lome, Abidjan, and Lagos.

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In 1938, the Caribbean musician Jean Réal sign with the creation of the Congo Rumba group which gave to the birth of the rumba. The following year, Bernard founded the Jazz Bohemia Massamba group. But it was really Paul Kamba who popularized rumba in 1942 with his group Brazza Victoria. Its success is as Wendo Kolosoy based in Leopoldville in 1948 a group similarly named "Victoria Kin" ...
(No Author. Afrisson. Website. URL.)  A little information to add about Jean Réal:
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He came from the French Antilles with the French military around the beginning of World War II and pulled several local guitarists together into a band called Congo Rumba.
(Stewart Gary. "Rumba on the River". pg 19. Print.)

The link to Kinshasa
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Paul Kamba took his Victoria Brazza to Léopoldville (now Kinshasa). Odéon Kinois returned the honor by playing its own engagement in Brazzaville. These exchanges gave birth to imitators on both sides of the river. One of Brazzaville's leading intellectuals, Emmanuel Dadet, created an instrumental group called "Melo-Congo", while in Léopoldville, singer Antoine 'Wendo' Kolosoyi formed a vocal group called Victoria Kin.
(Stewart Gary. Rumba on the River: History of the Popular Music of the Two Congos. pg 22. Print.)

One of the earliest recordings on Paul Kamba.


Papa Wendo paying tribute to Paul Kamba


The refined version of his 1948 classic "Marie Louise" . With its success came trouble: the song had "satanic" powers attributed to it by Catholic religious leaders. Stories from the time even claimed that the song, if played at midnight, could raise the dead. The furor drove Wendo out of Kinshasa, and resulted in a brief imprisonment by the Belgian authorities in Stanleyville and his excommunication from the Catholic Church. Don't know if that assumption is true, that may be based on the emotion of fear.
https://www.youtube.com/watch?v=XLC4ygLI5HU






« Last Edit: April 07, 2014, 09:54:34 am by soukousman »

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Yovo

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Wonderful post, Soukousman!
Yes, we tend to overlook the important role played by the "other Congo" in the development of the music we love. So Orcheste Sinza outplayed Tabu Ley in Tunis? Man, how I wish we could go back into time and witness this historical moment!

soukousman

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Wonderful post, Soukousman!
Yes, we tend to overlook the important role played by the "other Congo" in the development of the music we love. So Orcheste Sinza outplayed Tabu Ley in Tunis? Man, how I wish we could go back into time and witness this historical moment!

Yep, Congo River tends to be neglected which is a pity because they play a significant role in the development of Congolese music; both Congos have helped each other by admiring and adopting each other's musical ideas. On that concert? I have a feeling that may lead to Tabu Ley claiming that "he pioneered Soukous", but now you know where that came from.