Music and Musicians in Eastern and Central Africa Muttu  Mondiya Mama July 15th., 1998 Copyright: Vital Logistics Teknokacia, Nairobi,  Kenya

• Some people, especially in the West (Europe and North America), and perhaps some of the musicians themselves, would like to imagine that Afican music has made significant advances since the emigration in the late 1970's to Paris, Brussels, London, Amsterdam and various other U.S cities. There is no doubt the musicians are financially better off, earning many times what they would in their home countries.  They are also heard more on radio stations worldwide and live performances to mainly non-African audiences have increased.

• Certainly, people like Yousouf Ndour and Papa Wemba have become well known since they started the so called `fusion' of African with Western beats, whatever that means.  However, it is also obvious that these `fused' numbers are only  `hits' in the Western world and perhaps among the few elitist (read `self- brain washed') youths in some African cities. Ndour and Nene Cherry's 'Seven Seconds Away' never sold as much in Africa as it did in the West. Papa Wemba's and Olomide's 'Imagination' is also not a best seller in Africa.  As a matter of fact, a rapidly growing number of Africans in East & Central Africa are becoming disechanted.  Many bands in this part of the world often find themselves being forced by audience demand to play oldies performed by long-defunct bands of the 1950-1980's.  This is a sign that the apparent financial and publicity success of the European and American-based African performers is not reflected as followings.

• In Africa, many Africans view this as retardation in artistic creativity.  It is no longer possible to distinguish between most of the songs from the Western capital-based musicians since only the composers vary.  The performers are largely the same.  So Kanda Bongo Man, Aurlus Mabele and many other `so-called' stars hire the same people - Diblo Dibala, Lokassa ya Mbongo, Dally Kimoko, Nene Tchacou, Miguel Yamba etc.  These performers therefore all sound and look similar.

• Another criticism apart from this lack of individual identity (probably plagiarism, exemplified in the animations - Madiaba,  Ndombolo etc) is the lack of variety within the numbers themselves which  are often monotonous and short.  There is too much emphasis on the solo guitar and chanting (animations). These contrasts with the 1970's when all instruments and vocals were given prominence and/or acknowledged. Some journalists in Britain have dubbed Diblo Dibala the `fastest' guitarist in the West but they are, no doubt, unaware that even in Europe, there are better African solo guitarists like Dally Kimoko and Kinzunga Ricos.  In the days of Zaire of the 1960's to 1970's, annual competitions for outstanding musical performers never turned up Diblo Dibala.  Instead, largely forgotten names like the Zaiko Langa Langa lead guitarist in the hit `Zaiko Wawawa' and Fataki Lokasssa, among others, were outstanding.  Like everywhere else in the present world, Western journalists with very little experience in African issues suddenly become `experts' and distort facts which are then carried far by their extensive media connections and outlets.

• Closely tied with the increasing lack of artistic imagination  of East and Central African musicians in the West, is the offensive and degrading dancing style promoted largely by the Zairoise (a better sounding and more distinctive name than 'Congolese'). Almost-naked women and sexually-explicit dance styles are probably extensions of the strip-tease acts in Western night clubs. The late Luambo Luanzo Makiadi, who first used women dancers in his band long before moving to Brussels, certainly did not foresee their misuse by the present genre.  Even Tabuley's dancers kept their clothes on.

• Viva La musica, Quarter Latin and Wenge Musica could also be grouped in the `lost' category' of African musicians under discussion since they are fairly young bands and tend to suffer from the monotony of the Paris-Brussels-Amsterdam-London sickness.

• Papa Wemba is not even an outstanding vocalist to be compared with Pepe Kalle, Nyboma, Dindo Yogo, Mopero or Jojo Ikomo,yet the Western world keeps glorifying him as the best from Africa.

• It must be emphasized that, although most African music is largely for dancing with vigour, it is certainly not sexually-oriented as exhibited by the Zairean woman dancers of the present day.

• Those who would like to compare the past and present to understand where Africa has lost musical talent, are advised to try and listen to recordings of the following artists at their peak.  Sadly, most of them are too poor, have passed away or have been forgotten.

1. 1. Orch Lipua Lipua - Prof Vata Mombassa, Nyboma Muan'dido (presently in Paris with 4-stars), Kizunga Ricos, Athos Mongoley, Mbubie Malanda - one of the best composers and vocalists), Benazoe Mbuta, Tshimanga Assosa (in Tanzania with Marquis du Zaire), Mule Mulembu Tshibao, Nsayi Nono Nkuka, Tedia Wunu Mbakidi, Toninoe, Lusuama Aspro, Nzaya Nzayadio, Mwalupu, Deni Wade, Ken Kiesse, Pepe Kalle (broke off to form Empire Bakuba), Mbanza Velela, Makaya etc

1. 2.   Orch Les Kamale - Formed by Nyboma from Lipua Lipua. Included Mulembu Tshibao, Tshimanga Assosa, Kinzunga Ricos, Mbuta Benazo and, later after the break away of Orch. Fuka Fuka, Bompongo Assana.

1. 3.   Bella Bella - the late Socki Vangu and his late brother Soki Dianzenza; also included Shaba Kahamba.  Off shoots saw the emergence of Kanda Mbongo Man.

1. 4. Orch Shama Shama de Mopero - Featured Mopero, Mambo Ley, Jeampy and Dona Mobeti.  The Keyan-based vocalist Prince Koko Zigo Mike is reported to have once been part of Shama Shama in Uganda towards the end of Idi Amin's reign and before he was invited to Kenya by Bwami Walumona and Kalombo Mwanza when they formed Orch Viva Makale Almasi.

1. 5. Empire Bakuba - featuring Pepe Kelle Kabaselleh Yampanya, Pay Tex, Kinanga Nzaou Boeing, Dilu Dilumona, Doris Ebouya and the late 'Dancing' EMORO.  This band, like Zaiko Langa Langa, is very popular because it is still largely based in Zaire rather than in any Western capital.  Pepe Kalle himself is on record saying that he gets his inspiration from his live audiences in Africa. The band now boasts of another very good (but unknown in the West) vocalist/composer, Jojo Ikomo from the Kenyan section of the Zairoise Diaspora.

1. 6.  African All Stars that featured Sam Mangwana who once also sung with Franco's TP OK Jazz.

1. 7. Tabuley Rochereau and Afrisa International - Especially the hits of the late 1960s, 1970s and mid 1980s.  Once Tabuley and the famous Nicholas Kasanda (Dr Nico) performed together as African Fiesta.  The late Dr Nico is rated in the same category as Tabuley and Franco. Tabuley's popolarity has waned somwhat since the departure of Mbilia Bel and his attempts at 'Madiabafication' of his music.

1. 8. Luambo Luanzo Makiadi Franco & TP OK Jazz.  All his entire repartoire from the late 1950's to his death in the late 1980's.  Probably the  most prolific composer and the best known Zairean musician.

1. 9. Zaiko Langa Langa - and most offshoots except those that emigrated to Paris which have become bogged down in the African Morass in Europe. Nyoka Longo, Zangilu, J.P Buse, Bimi Ombale, Zamuangana, Bozi Boziana, Belobi Nge Ekerne, Bakunde Ilo Pablo, the late Lengi Lenga, Dindo Yogo (now caught up in the Paris vicious circle), Yvon Kabamba, Dju Dju Mandjeku, Muaka Bapius Mbeka etc.  This band, especially under Nyoka Longo, has been popular in Zaire and most of East and Central Africa since the late 1970's.  It is currently the most popular, although some people think that Alain Makaba's Wenge Musica and Koffi Olomide's Quarter Latin as well as Papa Wemba's Viva La Musica are strong challengers.  However, none of these other bands can claim the longterm consistency of Nyoka Longo.  In the West he is less well known than either Olomide or Wemba.

Photo 2: Orch. Zaiko Langa Langa during a recent tour of Kenya     (29-31st May 1998)

1. 10. Grand Piza - featured Mbo Mayu, Makengo Roy and Aime. Disappeared without trace in the mid 1970's.

1. 11. Baba Nationale and its offshoots - Mangelepa, Bwambe Bwambe, Bana Ekanga, Pepe Lepe.

1. 12. Festival Du Zaire - featured Nguashi Ntimbo (very good composer and vocalist who also sung with Franco's TP OK Jazz), Estazo wa Esta, Kadima, Zele Kabamba etc. Ntimbo was also associated with Orch. Sentima and Orch. Citoyen.

1. 13. Bana Ngenge - Based in Nairobi in the mid 1970's and featured Fataki Los Los Lokassa Masumbuko ya Dunia, Jojo Ikomo (now with Empire Bakuba), Nsilu Bansilu Manicho (on the Japanese Circuit), the late Lawison Somana (produced Lady Issa at one time), Ochudi, Mandala Otis Musa, Zengele Saida, Beya Maduma, Roxy Tshimpaka (now with Zaiko Langa Langa, formally with Choc Stars).

1. 14. Bangambo Zigidia - of Koko Jeriko Zigo Mike who later joined Shama Shama de Mopero before moving to Kenya as part of Viva Makale, Kombe Kombe, Virunga (of Samba Mapangala) and currently leading his own Losako Musica in Nairobi.  A very very good vocalist and composer but neglected by producers hence not financially sucessful as his Paris-based mates.  In recognition of this fact, Prince Koko is requested to get in touch for a possible recording deal.

1. 15. Orch. Bassanga - led by the very good saxophonist and vocalist, George Kalombo Mwanza.  Also had Jojo Ikomo (now with Empire Bakuba), Batchalinge Tabu Ogollah (of Special Liwanza, Boma Liwanza, Shika Shika, Les Jaca and now on the Japanese circuit), William Tambwe Lokassa and the Ethiopian Tamrat Tommy.

Who knows what happened to Kalombo? Where is Tambwe since he  left Orch. Virunga?

1. 16. Orch Les Kinois - featured Samba Mapangala (now with Virunga), the late Pele Ekwaki Ondindia, Madjo Maduley Iliko Presto DjO (now in USA) Walengo Diabanza Niki Djo, Kaba Kaba Bibiley (now very successful in Nairobi with Malembe Stars or Bana Motindo), Joseph Okello Songa (later joined Super Mazembe), Kasule Mopepe, the late Bedjo Dibuba Mikobi Maumo), Musa Otis Mandala, Fataki Lokassa, Zengele Saida etc. Samba Mapangala has reportedly moved to the USA and should probably seek his old mate Madjo to re-do some of their old numbers with Les Kinois like `Kilindo', `Bawa', Mbepe', `Mabouidi', `Anyango', Susan, etc.  To some, the Samba-Madjo-Pele combination produced more melodious and memorable songs than the more famous VIRUNGA which unfortunately lost its identity when it used the Paris morass in the studio instead of its own musicians like Koko Zigo, Fataki Lokassa, Ntambwe etc. One wonders why Samba preferred this arrangement.

1. 17. Viva Makale - of Kalombo Mwanza George, Bwami Nalumona (Formerly of Baba Nationale and Mangelepa, now a `born-again' christian in Nairobi), Jimi Monimambo (of Shika Shika fame, now in Tanzania), Kasongo Kanema (ex-Baba Nationale, ex Bwambe Bwambe, then joined Orch Vundumuna and Ibeba Systems), Elliot Aduonga (ex-Somajeko), Sammy Mansita (later joined VIRUNGA and also Ibeba systems), Mwalimu Siama Matuzu-Ngidi Ntima (also of Kombe Kombe and Virunga), Le Muttu Vumbi Lava (Love) Machine (also of Kombe Kombe & Virunga), Mukala Coco, the late Tommy Lomboto Ahmed Brown, Tcherry Stone, Kabeya Elombe etc. It would be a releif to know where these great musicians are today.

1. 18. Johny Bokelo Isenge of Conga De J. Bokelo, Conga Success, Conga International and lastly with Bonda Africa

1. 19. Orch KIAM (Kiamwangana):  A very popular group in the 1970's. Had Mfui Mwane and Lele Nsundi as key members. Could  outsell even Zaiko Langa Langa today. Who knows how and why they broke up and stayed down?. Was it because Kiamwamgana's support was so vital that when Mobutu expelled him from Zaire, the band could not survive? The author would like to get and keep in touch with survivors.

1. 20. Les Noirs - of Mukaputu Kalemby Kajos, the late Moreno Batamba, Jojo Ikomo, William Tambwe Lokassa, Mankwazi Duki Dieudos and Chuza Kabaselleh.  What happened to Kajos, Duki and Chuza?

1. 21.  Somajeko International - Nairobi-based band with distinctive beat but whose existence was shortlived.  Was composed of big names like Sammy Kasule, Festus Adwonga, John Njaghe (what happened to him) and others.

1. 22. 9 stars Orchestra and Prof. Naaman.  The Kenyan equivalent of Pepe Kalle, the late 'Prof.' Naaman had a very successful musical career with his 9 Stars Orchestra. This was in addition to his herbal medicine practice.  The group's compositions were much sought after but the band did not survive the death of its founder and sponsor.

1. 23. Orch MAS System - another very successful all kenyan show that was based at Muungano Bar in Eastleigh, Nairobi.   With the deaths of some leading members and the departure of others, the band is now a pale shadow of its former self and is now reportedly based in Kisumu, western Kenya.

1. 24. Super Mazembe (Bana Likasi) - Didos Longwa, the late Bukalos Bukassa, Kasongo Songoley, Atia Joe, Katele Aley, the late Lovy Longomba, Kasongo wa Kanema, Lobe Roddy Mapako, Samba Mapangala, Madjo Maduley, Kalombo Mwanza, Fataki Lokassa.  Popularity waned when these stars left.  Katele Aley penned most of the Mazembe hits although few people know this and he was less famous than the other members of the group.  Nothing has been heard of him in a long time but Longwa has been seen in various kenyan towns in the recent past with a Super Mazembe band which has not had a successful hit in the last 10 years.  It is not even known if any recordings have been made.  Muntokole Longwa should let us know the situation since they participated in the recent opening of the 'City Cabanas' restaurant near the International Airport in Nairobi.

• Unlike their Ugandan and Kenyan counterparts, Tanzanian musicians have not been too carried away by the Zairean influence and have largely maintained their unique identity and their recordings are well respected and much sought after.  Thus, Afrosa (Afro 70) of Stephen and Patrick Balisija, Western Jazz (Segere Matata), Morogoro Jazz (Super Volcano) of the late Mbaraka Mwinshehe Mwaruka, Jamhuri Jazz (though was led by a Kenyan), Arusha Jazz (Simba Wanyika) of the Peter Kinyonga brothers (Wilson, George and William), NUTA Jazz (Wana Msondo Ngoma) Mlimani Park Orchestra (Wana Sikinde Ngoma ya Ukae), and Cuban Marimba (of the late Juma Kilaza), produced hits that every serious collector of African music should have.  The strong Tanzanian identity is felt even in Zairean groups resident in Tanzania, like Marquis du Zaire, Makassy and Super Matimila (of Remmy Ongala Sura Mbaya).  Even largely Tanzanian shows in Kenya such as Les Wanyika (off shoot of Simba wa Nyika) have retained much of the Tanzanian style of strong lyrics.

• Other groups worth listening to include Orch. Shika Shika, Orch. Soso Liso (Mario Matadidi Mabele Bwana Kitoko), Orch. Super Tukina (Selly Ekelu and Samba Mapangala), Orch. Somejeko (John Njaghe, Festus Okonda, Sammy Kasule, Elia John - from Simba Wanyika, Festus Okonda, Elliot Aduon'ga), Orch. Tabou National, (Fataki Lokassa & Bokake), Orch. Tout Mopia (Chumu Lay Lay), Orch. Top Forum, Orch. Baya Baya, Orch. Boma Liwanza of Mzee Shango Lola, Kikuni Mbongo Pasi (Veckyz) and Jimmy Monimambo (now in Tanzania but founder of the famous SHIKA SHIKA of Nairobi in the 1980's, Orch Cavacha, Orch. Enafi Likembe, Orch Etumba na Gwaka (which first brought Dindo Yogo to attention), Orch Et Son Ensemble (featured Bakunde Ilo Pablo- later of Zaiko langa Langa), Orch, Les Ezazo, Orch. Ibeba System (of Kasongo, Kanema, Sammy Mansita, Elliot Aduonga, Siama Ntima, Diabanza Niki Djo, Tony Kalanzi, Lava Machine and Kasongo Fundi), Orch. Kombe Kombe (Koko Zigo, Tcherry Stone, Tommy Lomboto, Siama Ntima and Lava Machine), Orch. Les Pazo, Orch. Lisanga (Beya Maduma, Passy Djo, and Bisthou Manou), Orch. Mamaki, Orch. Mirage, Orch. Mos Mos, Orch. Moja One (Moreno and Koko Zigo), Orch. Mpete wa Mpete (Higha Fives).

• Each of these named bands and musicians had a distinctive touch and could easily be recognized even without reading the record label.  Many of their songs are still sought after, unlike those Kanda Bongoman, Arlus Mabele, Koffi Olomide, Geo Bilongo and other African-Parisians which sound good only as long as they are on radio but which individual buyers do not listen to  very often except in bars.

• Something else of significance is that even though recording facilities are reputed to be much better these days, the real surround/stereo/live effect is only found in early recordings  such as those done by Kimwangana Mateta's mobile recording studios that sponsored and brought to fame most of the cited Zairean bands.  Certainly, Kimwangana (who also led his own band, Orch. Veve), was a very well known and good sounding vocalist/composer.  However, he found it necessary to record and sponsor most other unknown groups who later rose to prominence.  Since his departure from the recording scene, African producers now tend to be business men, rather than musicians, killing off most promising talent. Kianmwanjana is reputed to have been the sponsor of groups like Orch. Lipua Lipua, Orch. Kiam, Orch. Shama Shama, Orch. Les Kamale, Orch. Bella Bella, Empire Bakuba and many others including Zaiko Langa Langa.

1.  P O Box 868
    BUNGOMA, Kenya

2.  P O Box 6300
    NAIROBI, Kenya

3.  C/o This web page

Electronic audio samples of productions of cited groups can be sent on request via this web page.  Arrangements can also be made to supply tapes at Cost subject to Copyright Laws.

The following numbers were big hits are still much sought after by collectors. Contact this web page if you have any for sale or exchange.

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