In the Democratic Republic of the Congo, formerly known as
Zaire (and before that, the Belgian Congo), a style of music known as soukous
originated. It’s a popular dance style that emerged from African rumba and
infected and influenced music all over West Africa from the 1960’s up through
the 80’s (and beyond) with its sung intros and lengthy, danceable guitar
segments which could stretch upwards of a half hour in live shows. The two
undisputed giants of the music are Franco and Rochereau. Franco is the leader
of the group T.P. OK Jazz, known as the “Sorcerer of the Guitar” for his
seemingly effortless, fluid, hypnotic guitar lines, while Tabu Ley Rochereau is
the leader of Afrisa International, the great rival band to OK Jazz, and
Rochereau’s high, sweet singing is the expression of one of the most renowned
and distinctive voices in all of 20th century African music. Their
career trajectories are both detailed on a series of superb 2-disc collections
released by Sterns Music – Franco’s on Francophonic Vols. 1 & 2, and
Tabu Ley Rochereau’s on The Voice of Lightness (only the second volume
is currently in print). But this intersection of both of their careers is one
of the high points of either one.
This collaborative effort makes the
most of what they both do, merging Franco’s rougher, rawer style with Tabu
Ley’s slicker, more plainly lovely version into something unique in both their
catalogs. To this end, they’re helped considerably by guitarist Michelino, who
defected from Afrisa International to OK Jazz in the late 70’s but plays with
both of his bosses here, and Matalanza whose terrific saxophone is given some
leads, but is heard mostly as part of a great horn section.
The record
kicks off with killer groove, “Lisanga Ya Ba Nganga” a highlight in the
extensive body of work of either of the artists. It finds both of them doing
what they do best, with lyrics that call out nods Franco and Rochereau, but
also to Michelino who interlocks with Franco here to create a shimmering dance
groove that’s irresistible, while Rochereau’s sweet voice mixes with Franco’s
rougher, lower one up top. The next track, “Ngungi” features less guitar, and
provides more of a vocal showcase, an interesting turn for Franco who, while no
slouch in the vocal department, is best known for his guitar and who often
hired the best singers around to take the vocal spot while he concentrated on
the rest of the music. Rochereau is of course resplendent again in the vocal
department. Third cut is the title song and it’s another uptempo slayer to get
you on your feet. Franco again earns his title as Sorcerer and Michelino is
again called out in song to weave intricate patterns against the Sorcerer’s
work. It’s also the only cut on the album clocking in at under 8 minutes,
tagged at a mere 7:58. The record closes with “Kabassele in Memoriam” a
heartfelt tribute to Rochereau’s former bandleader and the spiritual father of
all rumba/soukous, Joseph Kabassele, who died shortly before the recording of
this album. He is known more widely by his recording name Le Grand Kallé and
has been called the "Father of Congolese Music” for his innovations, his
patronage of the country’s music, and his broad influence, and the song is a
gorgeous farewell and a spiritual passing of the torch from his works to those
of successive generations. He himself is the tributee of yet another great
two-disc collection recently released by Sterns: His Life, His Music.
Franco
himself would be dead of AIDS within six years of the making this album while
Rochereau went into exile in 1988 in France (and later California), only
returning to Zaire after the dictator Mobutu Sese Seko was deposed in 1997. But
though he kept recording, his career never again reached the heights of
popularity or artistic integrity that he enjoyed from the 60’s through his
exile. This album stands as a monument to the amazing and enduring powers of
both musicians, and hopefully as a starting point to exploring the works of
both of them (and their godfather, Le Grand Kallé as well).
- Patrick
Brown
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