congotronics

I know that Zaire Classics series. Funny enough, it's on the very same Belgian label, Crammed, that has put out Konono #1*. Incidentially, the series was put together by Vincent Kenis, co-founder of Aksak Maboul and sometime member of the Honeymoon Killers and Minimal Compact, who also played keyboards on some late 80s TPOK releases and toured Africa and Europe with both Koffi Olomide and Ntesa Dalienst. More recently, he has produced/engineered/worked with Zap Mama, Taraf de Haïdouks, the Kocani Orkestar, Bebel Gilberto and Zuco 103 (in other words, on half of the releases found the 'World Music' section of your local store - and not necessarily the worst ones, IMHO). MiltonParker probably knows much more about Vincent Kenis/Crammed than me.

Some fantastic stuff on Zaire Classics --essential listening, no doubt-- but there isn't a badly amplified likembé pumping out Bazombo death trance music in sight. Nor would you find a lot of the other distinctive features of Konono #1 (communal self-organization/self-reliance, homebuilt equipment, street musicianship, critical subject matter in the songs, sheer volume and power, etc.). A lot of the things on Zaire Classics are very big-band and Cuban-sounding (rhythms, horn charts, vocal phrases - rhumba, innit?), and, this being the pre-independent Belgian Congo, don't yet show much of a distinctly African sensibility and have little of Konono #1's pure DIY sonic anarchy, I find. I also think that most 'world music' listeners would have no trouble sitting through and enjoying a Zaire Classics disc, and that this would not necessarily be the case with the Konono set. But this is just me.

The bottom line is that I don't find at all that it is a question of either/or regarding 'classic' Congolese rhumba or amplified likembé madness -- "get 'em all!"


*Not to forget the amazing Trio Mocotó albums Samba Rock and, especially, Beleza! Beleza!! Beleza!!!, both of which I wholeheartedly, unashamedly, enthusiatically and unreservedly recommend.

i hate you

Get in the queue.

polz said:

You can be too suspicious.

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Yeah maybe you're right.

redcrescent said:

@MiltonParker
I had no idea that Made to Measure has more volumes than the Ultimate Beats & Breaks series! This stuff must be investigated for sure. I'll look out for the volumes you mentioned, I'm especially hoping to find the Sussan Deyhim/Richard Horovitz on vinyl. I've heard Majoun before and thought it was very good. Thanks for the advice!

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I've always wanted to hear that Deyhim/Horowitz records but 'fraid to admit that I've always thought the Made to Measure series looked incredibly unappealing.

Did possibly slam this a bit hard. I think I'm just registering frustration that an anomalyous thing like this is so easily paraded on Avant Garde Festival stages/lapped up by Wire readers while the 'true' music of young Congo is completely ignored.

A hypocritical position as I couldnt tell you what "the 'true' music of young Congo" is, except to say that it sure as hell aint this. Does no-one else know what I mean?

polz said:

from what i read on this forum, i think it maybe might be the 'true' music of east london, but that's about it)

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my point precisely.

polz said:

it seems you want your music from Africa 'authentic', and not arty or pretentious or anomalyous (yes, wire-y).

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i think you're sleeping on the true developmental axis of world music. you're kidding yourself if you think the kind of music you think is coming out of the congo is whats actually being made there.

WOEBOT said:

Did possibly slam this a bit hard. I think I'm just registering frustration that an anomalyous thing like this is so easily paraded on Avant Garde Festival stages/lapped up by Wire readers while the 'true' music of young Congo is completely ignored.

A hypocritical position as I couldnt tell you what "the 'true' music of young Congo" is, except to say that it sure as hell aint this. Does no-one else know what I mean?

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Some thoughts.

The fact that Konono #1 may become hip currency in avant garde circles says more about the state of the avant garde (a bit jaded, perhaps?) than about Konono's music, which I presume would have developed regardless of the current interest in it. As these things go, interest won't last long into next month anyway, the avant garde being a fickle mistress, so to speak. Though it would be great, I doubt people will turn to Congolese popular music as a result of exposure to Konono, they are just so completely different. My analogy might be a bit far-fetched, but to me it's like attempting a comparison between a N'worlins jug band and the Duke Ellington orchestra.

Why not simply take Konono #1 for what they are: a self-reliant collective of street musicians playing amplified traditional instruments and making the best of what they have. Of course they do not represent the popular taste in the Congo, but they are no more or no less 'authentic' or 'real' than any other musical group.

However, given the current situation in the Congo, the production of "true music" is suffering considerably.
As ever, I lack knowledge, but here is what I take to be a good article on some recent developments in the country and it's popular music.

It's not a golden era for Congolese music, and the most exciting recent high-profile releases nod to the greatness of bygone times (Kékélé's Congo Life on Stern's being a case in point). I think it's incredibly difficult to be a musician in the Congo these days, and many of the most talented will have opted for a move abroad, which does the local scene and Congolese music in general no favors. By cruel economics or simply greed, many a great musician has been reduced to a sort of court minstrel for politicians and the rich and powerful. Try listening to a recent Papa Wemba album, where the most delicious grooves are utterly spoilt by a due-paying PW reading out endless lists of contributors and collaborators over the music. The live prowess of his terrific band aside, PW is a good case study for excess leading to ultimate downfall.

Of course I'd love the thought of Congolese music regenerating itself from the bottom up, and these fantasies of revitalized grassroots activity inevitably conjure images of dozens of self-sufficient Konono-type outfits springing up.

As to what exactly the 'true' music of the Congo is, I have no clue, but I think you have a similar situation to that in other countries/musical genres. Basically, many African musical greats have always led double lives as far as recording output is concerned. There are releases aimed at the domestic market and there are releases for international (read: Western) audiences, frequently re-recorded, high tech, watered down versions of the domestic originals. Also, many musicians keep bands both at home and abroad, and it's only logical that there will be differences between what is offered to local audiences and what is toured around the world.
All of this is not helpful if it's 'authenticity' you seek, which is a very elusive concept in any case. Personally, I like the idea of Konono better than the prospect of the latest digital crossover production by Parisian studio hacks.

I don't know if I'm making sense, but think of Bob Marley's international career. Phenomenally successful reggae/pop/rock mélange, but a million miles away from what rule the dance hall back in Jamaica. And you never get discussion on who is more 'authentic', Yellowman or the Gong?

redcrescent said:

Some thoughts.
It's not a golden era for Congolese music,

Papa Wemba is a good case study for excess leading to ultimate downfall.

As to what exactly the 'true' music of the Congo is, I have no clue, but I think you have a similar situation to that in other countries/musical genres. Basically, many African musical greats have always led double lives as far as recording output is concerned. There are releases aimed at the domestic market and there are releases for international (read: Western) audiences, frequently re-recorded, high tech, watered down versions of the domestic originals. Also, many musicians keep bands both at home and abroad, and it's only logical that there will be differences between what is offered to local audiences and what is toured around the world.

All of this is not helpful if it's 'authenticity' you seek, which is a very elusive concept in any case. Personally, I like the idea of Konono better than the prospect of the latest digital crossover production by Parisian studio hacks.

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The thing is.. except Papa Wemba and Kanda Bongo Man (or Ray Lema is a very different way), congolese musicians don't cross over like ..hmm.. Youssou N'Dour for instance does.
Few of them have released albums FOR the West..

And if most of the Congolese superstars live and record in Paris and Brussels, their records are aimed at the african audiences and of course the african dispora.

That said, you're right, it's far from being a golden era. And there are thousands of reasons, all valid to explain why.
What's REALLY scary is that as i can witness it in Paris, Congolese Music is even loosing its title of #1 DANCE music among Africans... The Ivorean music series are getting longer and longer while the same 2 Koffi Olomidé and Extra Musica songs are getting played..


i don't hate you anymore

Martin Sinnock, of Croydon England, is one of the few people writing about Congolese music for an English-speaking audience. I've been reading his column in the Beat magazine (a Los Angeles publication--see Getthebeat.com) and some of his articles are/were available at africasounds.com

He writes about both current new releases by Werrason and whomever else, as well as Tabu Ley Rochereau and Franco reissues. I don't think he's ever written about Konono.

Also, a small handlful of Congolese folks living around the world often post on a music board at africaonline.com . They love Kofi Olimide and Extra Musica and get irritated at anyone who suggests that Congolese rumba is stuck in a rut and is less relevant than Yousou N'Dour or African rap .

steve-k said:

get irritated at anyone who suggests that Congolese rumba is stuck in a rut and is less relevant than Yousou N'Dour or African rap .

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and they're right !

lol @ my nationalism

but like I said before, the competition comes from Ivory Coast mostly.

I saw two discs from the Ex's Terp label advertised on Aquarius Records a while back. One was by an Eritrean singer called Tsehaytu Beraki, the other was a Malian musician called Djibril Diabate. The MP3 clips offered on the site were AMAZING.

Has anyone heard these? The Terp label's presence is pretty non-existent. I think I may have tried to track these down through Forced Exposure and they didn't carry it ...

konono in London Alert!

Ok so the sound system is at the QEH South Bank 24th May

= concert hall venue, bit pricy & no dancing , but...

anyone up fer it ????????

WOEBOT said:

i think you're sleeping on the true developmental axis of world music. you're kidding yourself if you think the kind of music you think is coming out of the congo is whats actually being made there.

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From the Economist article:
Congo's music industry, like its politics, has a few crooks and rabble-rousers at the top. But, almost incredibly, down among the weeds, Congolese music and the brutalised people who really make it are thriving still.

Perhaps it's a cliche, but Africa seems saturated with music, and the commercial recording industry is just the visible part an immense iceberg (this is beginning to feel like the mother of mixed metaphors) that includes all kinds of traditional and modern music, dance and beliefs, little of which is made by "professionals".

FWIW, I quite like the Konono album. The music is good, but I deplore the shoddy liner notes and the lack of a track or two of the traditional music on which it is supposedly based.

A couple of rather different, but equally mind-expanding Congolese albums:

Likembe of the Shi People The likembe is type of mbira with a a resonating gourd attached.

I was going to recommend Polyphony of the Deep Rainforest, also on JVC, but it seems to be long out of print in the West. Shame, as it is a startling and extraordinarily beautiful CD.
.


To paraphrase Victor Grauer: Africa is the home of music, and music is most at home in Africa.

some journo was going on about them this week on R4. Apparently visas were refused , Papa Wembe had done some people smuggling which kinda put the french authorities off. Damn shame.

Orchestre Tout Puissant Likembe Konono No.1

Congotronics is not a new project! Orchestre Tout Puissant Likembe Konono No.1 has been around since the 1970's, playing the same over-amplified likembe music! ...MP3 of Mungua-Muanga at 96 kbps (29'30) - be warned, this takes a long time to download!

For more on this and Franco and more see my posts in the Congolese music ? thread.

heard this again the other day (one of the kosmische guys played it) and was blown away!

so much for consistent critical evaluation.

WOEBOT said:

heard this again the other day (one of the kosmische guys played it) and was blown away!

so much for consistent critical evaluation.

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just in time for number two with a dvd then
http://www.crammed.be/craworld/crw29/index.htm

ache have released it on vinyl as well which is good too with a nice poster of em.

what's the second one like then? worth picking up?

It's absolutely brilliant.