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'''Soukous''' |
'''Soukous''' is a genre of dance music<ref name="bible">{{cite book |title=The Drummer's Bible: How to Play Every Drum Style from Afro-Cuban to Zydeco |coauthors=Mick Berry, Jason Gianni |year=2003 |publisher=See Sharp Press |isbn=1-884365-32-9, 9781884365324 |page=73 |pages=181 |url=http://books.google.co.uk/books?lang_fr|lang_de&id=Q7S68Hq5nLoC&pg=PA59&dq=Bikutsi#v=onepage&q=soukous&f=false |accessdate=2010-05-29}}</ref> that originated in the African rumba of the [[Belgian Congo]] and [[French Congo]] during the 1940s and gained popularity throughout Africa. |
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Soukous is |
Soukous is known as '''Congo''' in West Africa and '''Lingala''' in [[Kenya]], [[Uganda]] and [[Tanzania]] after the [[Lingala language]] of the lyrics. In Zambia and Zimbabwe, where Congolese music is also influential, it is still usually referred to as Rumba. |
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==History== |
==History== |
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"Soukous", a derivative of the French word ''secousse'' - " to shake"<ref name="secouer">"[http://www.bbc.co.uk/africabeyond/africaonyourstreet/glossary/ African on your street: Glossary (BBC)]"</ref> - was originally the name of a dance popular in the Congos in the late 1960s, an African version of the [[Cuban Rumba]]. From the 1940s Afro-Cuban ''[[Son (music)|son]]'' groups such as Septeto Habanero and Trio Matamoros had been played over Radio Congo Belge in Léopoldville (Kinshasa) and the Congo shared the widespread poplarity of Cuban music during the late 1940s and 1950s."<ref>''The Encyclopedia of Africa v. 1''. 2010 p. 407.</ref></blockquote> |
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Cuban music has been popular in sub-Saharan Africa since the mid twentieth century. To the Africans, [[clave (rhythm)|clave]]-based Cuban popular music sounded both familiar and exotic.<ref>Nigerian musician Segun Bucknor: "Latin American music and our music is virtually the same"—quoted by Collins, John (1992: 62). ''West African Pop Roots''. Philadelphia: Temple University Press.</ref> ''The Encyclopedia of Africa v. 1''. states: |
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To Africans Cuban popular music sounded familiar<ref>Nigerian musician Segun Bucknor: "Latin American music and our music is virtually the same"—quoted by Collins, John (1992: 62). ''West African Pop Roots''. Philadelphia: Temple University Press.</ref> and Congolese bands started doing Cuban covers, singing the lyrics phonetically. Eventually they created original compositions with lyrics in French or Lingala, a ''lingua franca'' of the western Congo region. The Cuban horn ''[[guajeo]]s'' were adapted to guitars.<ref>Roberts, ''Afro-Cuban Comes Home'' (1986).</ref> The Congolese called this new music ''rumba'' though it was more based on ''son''. [[Antoine Kolosoy]], also known as Papa Wendo, became the first star of African rumba, touring Europe and North America in the 1940s and 1950s with his regular band, Victoria Bakolo Miziki.<ref>[http://www.aliaagency.com/artists/artist.php?id=10 Wendo Kolosoyi]</ref> |
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<blockquote>"Beginning in the 1940s, Afro-Cubban [son] groups such as Septeto Habanero and Trio Matamoros gained widespread popularity in the Congo region as a result of airplay over Radio Congo Belge, a powerful radio station based in Léopoldville (now Kinshasa DRC). A proliferation of music clubs, recording studios, and concert appearances of Cuban bands in Léopoldville spurred on the Cuban music trend during the late 1940s and 1950s."<ref>''The Encyclopedia of Africa v. 1''. 2010 p. 407.</ref></blockquote> |
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| ⚫ | By the 1950s [[big band]]s had become the preferred format, using [[acoustic bass guitar]], multiple electric guitars, [[conga drum]]s, [[maraca]]s, [[Scraper (instrument)|scraper]], [[flute]] or [[clarinet]], saxophones, and trumpet. [[Grand Kalle et l'African Jazz]]" (also known as African Jazz) led by Joseph Kabasele Tshamala ([[Grand Kalle]]), and [[OK Jazz]], later renamed TPOK Jazz (''Tout Puissant Orchestre Kinshasa'', meaning "all-powerful Kinshasa band") led by [[Francois Luambo Makiadi|"Franco"]] became the leading bands. One of the musical innovations of Franco's band was the ''mi-solo'', (meaning "half solo") guitarist, playing [[arpeggio]] patterns and filling a role |
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| ⚫ | Banning Eyre distills down the Congolese guitar style to this skeletal figure, where the guide-pattern [[clave (rhythm)|clave]] is sounded by the bass notes (notated with downward stems).<ref>After Banning Eyre (2006: 13). "Highlife guitar example" ''Africa: Your Passport to a New World of Music''. Alfred Pub. ISBN:-10 0-7390-2474-4</ref> |
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| ⚫ | |||
| ⚫ | |||
| ⚫ | |||
| ⚫ | In the 1950s and 1960s, some artists who had performed in the bands of Franco Luambo and Grand Kalle formed their own groups. [[Tabu Ley Rochereau]] and [[Dr. Nico Kasanda]] formed [[African Fiesta]] and transformed their music further by fusing Congolese [[folk music]] with [[soul music]], as well as [[Caribbean]] and [[Latin American music|Latin beats]] and [[Musical instrument|instrumentation]]. They were joined by [[Papa Wemba]] and [[Sam Mangwana]], and classics like ''Afrika Mokili Mobimba'' made them one of Africa's most prominent bands. Congolese "rumba" eventually evolved into soukous.<ref>Roberts, John Storm. ''Afro-Cuban Comes Home: The Birth and Growth of Congo Music''. Original Music cassette tape (1986).</ref> Tabu Ley Rochereau and Dr Nico Kasanda are considered the pioneers of modern soukous. Other greats of this period include [[Koffi Olomide]], [[Tshala Muana]] and [[Wenge Musica]]. |
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===Congolese "rumba"=== |
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Congolese bands started doing Cuban covers and singing the lyrics phonetically. Eventually they created their own original Cuban-like compositions, with lyrics sung in French or Lingala, a lingua franca of the western Congo region. The Africans adapted Cuban [[guajeo]]s to electric guitars, and gave them their own regional flavor. The Congolese called this new music ''rumba'', although it was really based on the son. |
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| ⚫ | While the rumba influenced bands such as [[Lipua-Lipua]], [[Veve (musicians)|Veve]], [[TP OK Jazz]] and [[Orchestre Bella Bella|Bella Bella]], younger Congolese musicians looked for ways to reduce that influence and play a faster paced soukous inspired by rock n roll.<ref>"[http://www.afropop.org/explore/style_info/ID/16/Congo%20music/ Congo music]", ''Afropop Worldwide''</ref> A group of students called [[Zaiko Langa Langa]] came together in 1969 around founding vocalist [[Papa Wemba]]. [[Pepe Kalle]], a protégé of Grand Kalle, created the band [[Empire Bakuba]] together with [[Papy Tex]] and they too became popular. |
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| ⚫ | The following example is from the Congolese "rumba" "Passi ya boloko" by Franco (Luambo Makiadi) and O.K. Jazz (c. mid-1950s).<ref>Stone, Ruth. Ed. (1998: 360). ''The Garland Encyclopedia of World Music. v. 1 Africa''. New York: Garland. ISBN-10: 0824060350</ref> The bass is playing a tresillo-based tumbao, typical of son montuno. The rhythm guitar plays all of the offbeats, the exact pattern of the rhythm guitar in Cuban son. According to the ''Garland Encyclopedia of World Music'', the lead guitar part "recalls the blue-tinged guitar solos heard in bluegrass and rockabilly music of the 1950s, with its characteristic insistence on the opposition of the major-third and minor-third degrees of the scale."<ref>Stone, Ruth. Ed. (1998: 361). ''The Garland Encyclopedia of World Music. v. 1 Africa''.</ref> |
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| ⚫ | |||
| ⚫ | |||
| ⚫ | Soukous now spread across Africa and became an influence on virtually all the styles of modern [[Music of Africa|African popular music]] including [[highlife]], [[palm-wine music]], [[taarab]] and [[makossa]]. As political conditions in [[Zaire]], as Congo DRC was known then, deteriorated in the 1970s, some groups made their way to [[Tanzania]] and [[Kenya]]. By the mid-seventies, several Congolese groups were playing soukous at Kenyan night clubs. The lively ''cavacha'', a dance craze that swept East and Central Africa during the seventies, was popularized through recordings of bands such as Zaiko Langa Langa and [[Orchestra Shama Shama]], influencing Kenyan musicians. This rhythm, played on the [[snare drum]] or [[hi-hat]], quickly became a hallmark of the Congolese sound in Nairobi and is frequently used by many of the regional bands. Several of Nairobi's renowned Swahili rumba bands formed around Tanzanian groups like [[Simba Wanyika]] and their offshoots, [[Les Wanyika]] and [[Super Wanyika Stars]]. |
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| ⚫ | In the late 1970s [[Virgin records]] produced [[gramophone record|LP]]s from the Tanzanian-Congolese [[Orchestra Makassy]] and the Kenya-based [[Super Mazembe]]. One of the tracks from this album was the Swahili song ''Shauri Yako'' ("it's your problem"), which became a hit in Kenya, Tanzania and Uganda. [[Les Mangelepa]] was another influential Congolese group that moved to Kenya and became extremely popular throughout East Africa. About this same time, the Nairobi-based Congolese vocalist [[Samba Mapangala]] and his band [[Orchestra Virunga]], released the LP ''Malako'', which became one of the pioneering releases of the newly emerging [[world music]] scene in Europe. The musical style of the East Africa-based Congolese bands gradually incorporated new elements, including Kenyan [[Benga music|benga]] music, and spawned what is sometimes called the "Swahili sound" or "Congolese sound". |
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===The big bands=== |
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<!-- Deleted image removed: [[File:Franco5.jpg||thumb|right|238px|[[Franco Luambo]] & [[TP OK Jazz]]]] --> |
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[[Antoine Kolosoy]], also known as Papa Wendo, became the first star of African rumba, touring Europe and North America in the 1940s and 1950s with his regular band, Victoria Bakolo Miziki.<ref>[http://www.aliaagency.com/artists/artist.php?id=10 Wendo Kolosoyi]</ref> |
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| ⚫ | |||
| ⚫ | By the 1950s |
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| ⚫ | Soukous became popular in London and Paris in the 1980s. A few more musicians left Kinshasa to work around central and east Africa before settling in either the UK or France. The basic line-up for a soukous band included three or four guitars, bass guitar, drums, brass, vocals, and some of them having over 20 musicians. Lyrics were often in Lingala and occasionally in French. In the late 1980s and 1990s, Parisian studios were used by many soukous stars, and the music became heavily reliant on synthesizers and other [[Electronic musical instrument|electronic instruments]]. Some artists continued to record for the Congolese market, but others abandoned the demands of the Kinshasa public and set out to pursue new audiences. Some, like Paris-based [[Papa Wemba]] maintained two bands, [[Viva La Musica]] for soukous, and a group including French session players for international pop. |
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| ⚫ | |||
| ⚫ | [[Kanda Bongo Man]], another Paris-based artist, pioneered fast, short tracks suitable for play on dance floors everywhere and popularly known as ''[[Kwassa kwassa]]'' after the dance moves popularized by his and other artists' music videos. This music appealed to Africans and to new audiences as well. Artists like [[Diblo Dibala]],Jeannot Bel Musumbu, [[Mbilia Bel]], [[Yondo Sister]], Tinderwet, [[Loketo]], [[Rigo Star]], [[Madilu System]], [[Soukous Stars]] and veterans like [[Pepe Kalle]] and [[Koffi Olomide]] followed suit. Soon Paris became home to talented studio musicians who recorded for the African and Caribbean markets and filled out bands for occasional tours. |
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| ⚫ | |||
In the 1980s and early 1990s, a fast-paced style of soukous known as [[kwassa kwassa]] – named after a popular dance, was popular. A style called [[ndombolo]], also named after a dance, is currently popular. Soukous also mixes styles from [[zouk]] music. |
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| ⚫ | |||
==Musical examples== |
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| ⚫ | |||
| ⚫ | In the 1950s and 1960s, some artists who had performed in the bands of Franco Luambo and Grand Kalle formed their own groups. [[Tabu Ley Rochereau]] and [[Dr. Nico Kasanda]] formed [[African Fiesta]] and transformed their music further by fusing Congolese [[folk music]] with [[soul music]], as well as [[Caribbean]] and [[Latin American music|Latin beats]] and [[Musical instrument|instrumentation]]. They were joined by [[Papa Wemba]] and [[Sam Mangwana]], and classics like ''Afrika Mokili Mobimba'' made them one of Africa's most prominent bands. Tabu Ley Rochereau and Dr Nico Kasanda are considered the pioneers of modern soukous. |
||
| ⚫ | The following example is from the Congolese "rumba" "Passi ya boloko" by Franco (Luambo Makiadi) and O.K. Jazz (c. mid-1950s).<ref>Stone, Ruth. Ed. (1998: 360). ''The Garland Encyclopedia of World Music. v. 1 Africa''. New York: Garland. ISBN-10: 0824060350</ref> The bass is playing a tresillo-based tumbao, typical of son montuno. The rhythm guitar plays all of the offbeats, the exact pattern of the rhythm guitar in Cuban son. According to the ''Garland Encyclopedia of World Music'', the lead guitar part "recalls the blue-tinged guitar solos heard in bluegrass and rockabilly music of the 1950s, with its characteristic insistence on the opposition of the major-third and minor-third degrees of the scale."<ref>Stone, Ruth. Ed. (1998: 361). ''The Garland Encyclopedia of World Music. v. 1 Africa''.</ref> |
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| ⚫ | While the |
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| ⚫ | |||
Other greats of this period include [[Koffi Olomide]], [[Tshala Muana]] and [[Wenge Musica]]. Soukous now spread across Africa and became an influence on virtually all the styles of modern [[Music of Africa|African popular music]], including [[highlife]], [[palm-wine music]], [[taarab]] and [[makossa]]. |
|||
| ⚫ | Banning Eyre distills down the Congolese guitar style to this skeletal figure, where the guide-pattern [[clave (rhythm)|clave]] is sounded by the bass notes (notated with downward stems).<ref>After Banning Eyre (2006: 13). "Highlife guitar example" ''Africa: Your Passport to a New World of Music''. Alfred Pub. ISBN:-10 0-7390-2474-4</ref> |
||
| ⚫ | |||
| ⚫ | As political conditions in [[Zaire]], as Congo DRC was known then, deteriorated in the 1970s, some groups made their way to [[Tanzania]] and [[Kenya]]. By the mid-seventies, several Congolese groups were playing soukous at Kenyan night clubs. The lively ''cavacha'', a dance craze that swept East and Central Africa during the seventies, was popularized through recordings of bands such as Zaiko Langa Langa and [[Orchestra Shama Shama]], influencing Kenyan musicians. This rhythm, played on the [[snare drum]] or [[hi-hat]], quickly became a hallmark of the Congolese sound in Nairobi and is frequently used by many of the regional bands. Several of Nairobi's renowned Swahili rumba bands formed around Tanzanian groups like [[Simba Wanyika]] and their offshoots, [[Les Wanyika]] and [[Super Wanyika Stars]]. |
||
| ⚫ | |||
| ⚫ | In the late 1970s |
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| ⚫ | In a densely textured ''seben'' section of a soukous song (below), the three interlocking guitar parts are reminiscent of the contrapuntal structure of Cuban music, with its layered guajeos.<ref>Stone, Ruth. Ed. (1998: 365). Excerpt from a Choc Stars seben. Original transcription by Banning Eyre. ''The Garland Encyclopedia of World Music. v. 1 Africa''.</ref> |
||
| ⚫ | |||
| ⚫ | Soukous became popular in London and Paris in the 1980s. A few more musicians left Kinshasa to work around central and east Africa before settling in either the UK or France. The basic line-up for a soukous band included three or four guitars, bass guitar, drums, brass, vocals, and some of them having over 20 musicians. Lyrics were often in Lingala and occasionally in French. In the late 1980s and 1990s, Parisian studios were used by many soukous stars, and the music became heavily reliant on synthesizers and other [[Electronic musical instrument|electronic instruments]]. Some artists continued to record for the Congolese market, but others abandoned the demands of the Kinshasa public and set out to pursue new audiences. Some, like Paris-based [[Papa Wemba]] maintained two bands, [[Viva La Musica]] for soukous, and a group including French session players for international pop. |
||
| ⚫ | |||
| ⚫ | [[Kanda Bongo Man]], another Paris-based artist, pioneered fast, short tracks suitable for play on dance floors everywhere and popularly known as ''[[Kwassa kwassa]]'' after the dance moves popularized by his and other artists' music videos. This music appealed to Africans and to new audiences as well. Artists like [[Diblo Dibala]],Jeannot Bel Musumbu, [[Mbilia Bel]], [[Yondo Sister]], Tinderwet, [[Loketo]], [[Rigo Star]], [[Madilu System]], [[Soukous Stars]] and veterans like [[Pepe Kalle]] and [[Koffi Olomide]] followed suit. Soon Paris became home to talented studio musicians who recorded for the African and Caribbean markets and filled out bands for occasional tours. |
||
| ⚫ | |||
| ⚫ | |||
The fast soukous music currently dominating dance floors in central, eastern and western Africa is called soukous ndombolo, performed by [[Dany Engobo]], [[Awilo Longomba]], [[Aurlus Mabele]], [[Koffi Olomide]] and groups like Extra Musica and Wenge Musica among others. |
The fast soukous music currently dominating dance floors in central, eastern and western Africa is called soukous ndombolo, performed by [[Dany Engobo]], [[Awilo Longomba]], [[Aurlus Mabele]], [[Koffi Olomide]] and groups like Extra Musica and Wenge Musica among others. |
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Revision as of 20:26, 13 November 2012
| Soukous/Lingala/Congo | |
|---|---|
| Stylistic origins | Congolese music & other traditional African Music |
| Cultural origins | late 1930s in The Congos (esp. Kinshasa and Brazzaville) |
| Typical instruments | Guitar (esp. fingerstyle) – bass (esp. acoustic) – drums – brass – vocals |
| Subgenres | |
| Ndombolo (complete list) | |
| Fusion genres | |
| Benga, Mbalax, Makossa | |
| Regional scenes | |
| Congolese sound (Kenya, Uganda, Tanzania), Fast-paced soukous (Paris) | |
| Other topics | |
| Soukous Musicians | |
Soukous is a genre of dance music[1] that originated in the African rumba of the Belgian Congo and French Congo during the 1940s and gained popularity throughout Africa.
Soukous is known as Congo in West Africa and Lingala in Kenya, Uganda and Tanzania after the Lingala language of the lyrics. In Zambia and Zimbabwe, where Congolese music is also influential, it is still usually referred to as Rumba.
History
"Soukous", a derivative of the French word secousse - " to shake"[2] - was originally the name of a dance popular in the Congos in the late 1960s, an African version of the Cuban Rumba. From the 1940s Afro-Cuban son groups such as Septeto Habanero and Trio Matamoros had been played over Radio Congo Belge in Léopoldville (Kinshasa) and the Congo shared the widespread poplarity of Cuban music during the late 1940s and 1950s."[3]
To Africans Cuban popular music sounded familiar[4] and Congolese bands started doing Cuban covers, singing the lyrics phonetically. Eventually they created original compositions with lyrics in French or Lingala, a lingua franca of the western Congo region. The Cuban horn guajeos were adapted to guitars.[5] The Congolese called this new music rumba though it was more based on son. Antoine Kolosoy, also known as Papa Wendo, became the first star of African rumba, touring Europe and North America in the 1940s and 1950s with his regular band, Victoria Bakolo Miziki.[6]
By the 1950s big bands had become the preferred format, using acoustic bass guitar, multiple electric guitars, conga drums, maracas, scraper, flute or clarinet, saxophones, and trumpet. Grand Kalle et l'African Jazz" (also known as African Jazz) led by Joseph Kabasele Tshamala (Grand Kalle), and OK Jazz, later renamed TPOK Jazz (Tout Puissant Orchestre Kinshasa, meaning "all-powerful Kinshasa band") led by "Franco" became the leading bands. One of the musical innovations of Franco's band was the mi-solo, (meaning "half solo") guitarist, playing arpeggio patterns and filling a role "between" the lead and rhythm guitars.[7]
1960s–1970s
In the 1950s and 1960s, some artists who had performed in the bands of Franco Luambo and Grand Kalle formed their own groups. Tabu Ley Rochereau and Dr. Nico Kasanda formed African Fiesta and transformed their music further by fusing Congolese folk music with soul music, as well as Caribbean and Latin beats and instrumentation. They were joined by Papa Wemba and Sam Mangwana, and classics like Afrika Mokili Mobimba made them one of Africa's most prominent bands. Congolese "rumba" eventually evolved into soukous.[8] Tabu Ley Rochereau and Dr Nico Kasanda are considered the pioneers of modern soukous. Other greats of this period include Koffi Olomide, Tshala Muana and Wenge Musica.
While the rumba influenced bands such as Lipua-Lipua, Veve, TP OK Jazz and Bella Bella, younger Congolese musicians looked for ways to reduce that influence and play a faster paced soukous inspired by rock n roll.[9] A group of students called Zaiko Langa Langa came together in 1969 around founding vocalist Papa Wemba. Pepe Kalle, a protégé of Grand Kalle, created the band Empire Bakuba together with Papy Tex and they too became popular.
East Africa in the 1970s
Soukous now spread across Africa and became an influence on virtually all the styles of modern African popular music including highlife, palm-wine music, taarab and makossa. As political conditions in Zaire, as Congo DRC was known then, deteriorated in the 1970s, some groups made their way to Tanzania and Kenya. By the mid-seventies, several Congolese groups were playing soukous at Kenyan night clubs. The lively cavacha, a dance craze that swept East and Central Africa during the seventies, was popularized through recordings of bands such as Zaiko Langa Langa and Orchestra Shama Shama, influencing Kenyan musicians. This rhythm, played on the snare drum or hi-hat, quickly became a hallmark of the Congolese sound in Nairobi and is frequently used by many of the regional bands. Several of Nairobi's renowned Swahili rumba bands formed around Tanzanian groups like Simba Wanyika and their offshoots, Les Wanyika and Super Wanyika Stars.
In the late 1970s Virgin records produced LPs from the Tanzanian-Congolese Orchestra Makassy and the Kenya-based Super Mazembe. One of the tracks from this album was the Swahili song Shauri Yako ("it's your problem"), which became a hit in Kenya, Tanzania and Uganda. Les Mangelepa was another influential Congolese group that moved to Kenya and became extremely popular throughout East Africa. About this same time, the Nairobi-based Congolese vocalist Samba Mapangala and his band Orchestra Virunga, released the LP Malako, which became one of the pioneering releases of the newly emerging world music scene in Europe. The musical style of the East Africa-based Congolese bands gradually incorporated new elements, including Kenyan benga music, and spawned what is sometimes called the "Swahili sound" or "Congolese sound".
The 1980s and the Paris scene
Soukous became popular in London and Paris in the 1980s. A few more musicians left Kinshasa to work around central and east Africa before settling in either the UK or France. The basic line-up for a soukous band included three or four guitars, bass guitar, drums, brass, vocals, and some of them having over 20 musicians. Lyrics were often in Lingala and occasionally in French. In the late 1980s and 1990s, Parisian studios were used by many soukous stars, and the music became heavily reliant on synthesizers and other electronic instruments. Some artists continued to record for the Congolese market, but others abandoned the demands of the Kinshasa public and set out to pursue new audiences. Some, like Paris-based Papa Wemba maintained two bands, Viva La Musica for soukous, and a group including French session players for international pop.
Kanda Bongo Man, another Paris-based artist, pioneered fast, short tracks suitable for play on dance floors everywhere and popularly known as Kwassa kwassa after the dance moves popularized by his and other artists' music videos. This music appealed to Africans and to new audiences as well. Artists like Diblo Dibala,Jeannot Bel Musumbu, Mbilia Bel, Yondo Sister, Tinderwet, Loketo, Rigo Star, Madilu System, Soukous Stars and veterans like Pepe Kalle and Koffi Olomide followed suit. Soon Paris became home to talented studio musicians who recorded for the African and Caribbean markets and filled out bands for occasional tours.
In the 1980s and early 1990s, a fast-paced style of soukous known as kwassa kwassa – named after a popular dance, was popular. A style called ndombolo, also named after a dance, is currently popular. Soukous also mixes styles from zouk music.
Musical examples
The following example is from the Congolese "rumba" "Passi ya boloko" by Franco (Luambo Makiadi) and O.K. Jazz (c. mid-1950s).[10] The bass is playing a tresillo-based tumbao, typical of son montuno. The rhythm guitar plays all of the offbeats, the exact pattern of the rhythm guitar in Cuban son. According to the Garland Encyclopedia of World Music, the lead guitar part "recalls the blue-tinged guitar solos heard in bluegrass and rockabilly music of the 1950s, with its characteristic insistence on the opposition of the major-third and minor-third degrees of the scale."[11]
Banning Eyre distills down the Congolese guitar style to this skeletal figure, where the guide-pattern clave is sounded by the bass notes (notated with downward stems).[12]
In a densely textured seben section of a soukous song (below), the three interlocking guitar parts are reminiscent of the contrapuntal structure of Cuban music, with its layered guajeos.[13]
Ndombolo
The fast soukous music currently dominating dance floors in central, eastern and western Africa is called soukous ndombolo, performed by Dany Engobo, Awilo Longomba, Aurlus Mabele, Koffi Olomide and groups like Extra Musica and Wenge Musica among others.
The hip-swinging dance to the fast pace of soukous ndombolo has come under criticism amid charges that it is obscene. There have been attempts to ban it in Mali, Cameroon and Kenya. After an attempt to ban it from state radio and television in the Democratic Republic of the Congo in 2000, it became even more popular. In February, 2005 ndombolo music videos in the DR Congo were censored for indecency, and video clips by Koffi Olomide, JB M'Piana and Werrason were banned from the airwaves.[14][15][16]
See also
- List of Soukous musicians
- Sebene
- Music of the Democratic Republic of the Congo
- Musicians from the Democratic Republic of the Congo
- Music of Africa
References
- ^ The Drummer's Bible: How to Play Every Drum Style from Afro-Cuban to Zydeco. See Sharp Press. 2003. p. 73. ISBN 1-884365-32-9, 9781884365324. Retrieved May 29, 2010.
{{cite book}}: Check|isbn=value: invalid character (help); More than one of|pages=and|page=specified (help); Unknown parameter|coauthors=ignored (|author=suggested) (help); Unknown parameter|lang_de&id=ignored (help) - ^ "African on your street: Glossary (BBC)"
- ^ The Encyclopedia of Africa v. 1. 2010 p. 407.
- ^ Nigerian musician Segun Bucknor: "Latin American music and our music is virtually the same"—quoted by Collins, John (1992: 62). West African Pop Roots. Philadelphia: Temple University Press.
- ^ Roberts, Afro-Cuban Comes Home (1986).
- ^ Wendo Kolosoyi
- ^ Franco and his Great Band
- ^ Roberts, John Storm. Afro-Cuban Comes Home: The Birth and Growth of Congo Music. Original Music cassette tape (1986).
- ^ "Congo music", Afropop Worldwide
- ^ Stone, Ruth. Ed. (1998: 360). The Garland Encyclopedia of World Music. v. 1 Africa. New York: Garland. ISBN-10: 0824060350
- ^ Stone, Ruth. Ed. (1998: 361). The Garland Encyclopedia of World Music. v. 1 Africa.
- ^ After Banning Eyre (2006: 13). "Highlife guitar example" Africa: Your Passport to a New World of Music. Alfred Pub. ISBN:-10 0-7390-2474-4
- ^ Stone, Ruth. Ed. (1998: 365). Excerpt from a Choc Stars seben. Original transcription by Banning Eyre. The Garland Encyclopedia of World Music. v. 1 Africa.
- ^ "Anger at Cameroon dance ban; BBC News", BBC News, July 25, 2000
- ^ "Ndombolo music videos in DR Congo censored for indecency, Lifestyle News, February 11, 2005"
- ^ "Why is this 'Ndombolo' generating so much heat?", Daily Nation (Kenya) October 11, 1998
Bibliography
- Gary Stewart (2000). Rumba on the River: A History of the Popular Music of the Two Congos. Verso. ISBN 1-85984-368-9.