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Zaïko Langa Langa

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(Redirected from Zaiko Familia Dei)
Zaïko Langa Langa
Zaïko Langa Langa performing in Brussels in 2024
Zaïko Langa Langa performing in Brussels in 2024
Background information
OriginKinshasa, Democratic Republic of the Congo
GenresCongolese rumba
DiscographyAlbums and singles
Years active1969 (1969)–present
Labels
  • ProZal (Production Zaïko Langa Langa)
  • Éditions Veve International
  • N'Goss
  • SonoDisc
  • Sonima
  • JPS
Members(See Personnel section)
Websitezaikolangalanga.org

Zaïko Langa Langa is a Congolese rumba band formed in Kinshasa, in December 1969.[1] Established by D.V. Moanda, Henri Mongombe, Marcellin Delo and André Bita, the band evolved from the Orchestre Bel Guide National, which is seen as Zaïko's predecessor.[2]

Currently led by Jossart N'Yoka Longo,[3][4][5] Zaïko Langa Langa is one of Africa's most influential band and has contributed to the evolution and innovation of Congolese rumba during the 1970s, popularizing distinctive elements including variances in percussive pacing, snare drum utilization (cavacha rhythm), the sebene guitar technique, and a performance assemblage comprising atalaku, a harmonized choir, and a soloist.[6][7][8] The band has been a breeding ground for prominent artists like Papa Wemba, Félix Manuaku Waku, Bozi Boziana, Dindo Yogo, and Evoloko Jocker, who went on to establish successful careers.[9][10] Zaïko Langa Langa has spun off several groups consisting of groups or factions of former members, including Isifi Lokole, Viva La Musica, Langa Langa Stars, Zaïko Langa Langa Familia Dei, Anti Choc, Choc Stars, Quartier Latin International, and many others.[9] Their dedication to mentoring young musicians and attention to fashion has garnered a significant youth following.[9]

By 1973, Zaïko Langa Langa was acclaimed as the trailblazer of the third generation of Congolese rumba due to their innovative approaches, diverging from the heavily orchestral and horn-driven sounds of their predecessors.[11][12][13][14][7] Their infusion of contemporary elements into Congolese rumba revitalized the genre and positioned the band as pioneers in 20th-century Congolese and African popular music.[15][16][17] Throughout their fifty-year career, Zaïko Langa Langa has recorded officially[a] 30 albums and three maxi-singles. Their 1983 album, Zekete Zekete 2e Épisode, was the first to feature atalaku,[18][19][20] while Nippon Banzai, released in 1986, was the band's most commercially successful record.[21][16][22][23] In the 1990s, Zaïko Langa Langa sustained their prominence with albums such as Ici Ça Va… Fungola Motema (1990), Jamais Sans Nous (1991), and Avis De Recherche (1995).[16]

Due to several schisms within the group, the Langa Langa clan was formed, consolidating all dissenting factions from the original Zaïko fold, including Viva La Musica, Isifi Lokole, Choc Stars, Langa Langa Stars, Quartier Latin.

Etymology

[edit]

According to the band's co-founder D. V. Moanda, the name Zaïko etymologically originates from a group of Congolese students in Belgium known as Les Belgicains, which was initially called Zaïco and meant "Zaïre du Kongo".[24] According to Marie-Louise Mumbu, a Paris-based Congolese journalist, Zaïko is a contraction of "Zaïre ya bankoko," a Lingala colloquialism meaning "the Zaire River of our ancestors."[25] This etymology references the exploration era and Diego Caô, the explorer credited with discovering the Zaire River, now known as the Congo River. The name Zaïko honors the band's cultural lineage and ancestral heritage.[25]

"Langa Langa" was given by Papa Wemba. It is a medicinal plant that brings luck.[24] According to the band's website, it means "marvelous" or "almighty".[26]

History

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1968–1970: Formation

[edit]

From Bel Guide National to Zaïko Langa Langa

[edit]
Félix Manuaku Waku and Jules Presley in 1972.

A band of young musicians called Bel Guide National had been active since 1967. This orchestra included N'Yoka Longo, Félix Manuaku Waku, Enoch Zamuangana, Teddy Sukami and Gégé Mangaya as musicians, and also D.V. Moanda as administrator.[27] A year later, on 23 December 1969, a young man named Jules Shungu Wembadio—who adopted the stage moniker Jules Presley and was an associate of the Mangaya cousins—attended a rehearsal session of Bel Guide and sang accompanied by Manuaku on guitar.[28] Moanda, impressed by Jules' performance, then decided to dissolve Bel Guide to form a new ensemble by keeping Jules and some team members.

On the next day, 24 December around 3:00 p.m,[28] a seminal meeting convened at the residence of the Mangaya family, located on 10 Avenue Popo Kabaka in the Kasa-Vubu commune, where D.V. Moanda, Henri Mongombe, Marcellin Delo and André Bita formalized the creation of Zaïko Langa Langa.[29][30] On the following days, several musicians joined the band, including Matima Mpiosso, Siméon Mavuela and Evoloko Jocker. On 24 March 1970, Zaïko Langa Langa played their debut concert in the Bar Dancing Hawai,[31] and later that year, they recorded songs for Polydor Records and other Congolese labels and released the single "Mosinzo Nganga/Pauline". The tracks were respectively composed by Teddy Sukami and Jules Presley Shungu. Jossart also released one of his first compositions "La Tout Neige" as a standalone project.[32]

Influenced by youngster band Los Nickelos, the musical style of the latter was highly remarkable in Zaïko Langa Langa's initial recordings. The group was bifurcated into two distinct segments: the typical section and the pop section. Jules Shungu Wembadio, Jossart N'Yoka Longo, Antoine Evoloko Bitumba, Siméon Mavuela, Pierre Nkumu, and Mashakado Nzolantima were the vocalists (with the latter two hailing from the pop section). Instrumentalists included Félix Manuaku Waku, Enoch Zamuangana, Teddy Sukami, Damien Ndebo, and Zéphyrin Matima Mpioso on guitars (Mpioso belonging to the pop section), Beaudoin Mitsho on drums, and Ephraim on congas. Still in 1970, precisely in March, drummer Bimi Ombale joined the band's pop section. The band remained based in the Kasa-Vubu commune during this period.[33]

1971–1976: Rise and first tour

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Performance in 1971. From left to right: Beaudoin Mitsho, Meridjo Belobi (behind), Enoch Zamuangana (behind), Teddy Sukami, Papa Wemba, Damien Ndebo (behind), Evoloko Jocker, Félix Manuaku Waku

First line-up changes and innovations

[edit]

One of Zaïko's pioneering innovations was the excision of the horn section from their compositions, in contrast to TPOK Jazz. The emergence of the band heralded the third generation of Congolese music (the first generation encompassed Wendo Kolosoy, Adou Elenga, Antoine Kasongo, and others; the second generation included TPOK Jazz and l'African Jazz).[34][35][36][37] During the years 1971–74, Zaïko Langa Langa proliferated, issuing over fifty singles. In 1971, Ombale was interested in singing, but not all the members wanted him to sing, which caused a dispute. Disappointed following this, he left the band to join Tabou National.[33][38] However, some months later, he rejoined Zaïko Langa Langa. New additions to the lineup that year included bassist Muaka Mbeka, nicknamed Bapius, percussionist Belobi Ng'Ekerme, nicknamed Meridjo, and vocalist Efonge Isekofeta, also called Gina wa Gina, all joining in early 1971.[33]

Shortly after his induction, Bapius instituted a novel bass-playing style named trombone or kindobika that differed from the band's antecedent influences. According to himself, he was inspired by traditional Kongo music and dances he performed as a boy scout.[39] Efonge gained acclaim after his song "Consolation", released in 1972, became a hit. Meridjo switched from congas to drums, after Ombale's departure.[40] The pop section's soloist, Mbuta Matima, transitioned to the typical section. During this period, Zaïko Langa Langa became one of Zaïre's premier bands, and Jules Presley adopted the stage name Papa Wemba.[33]

First awards and Plaisir De L'Ouest Afrique

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Zaïko Langa Langa joined Verckys' emblematic label, Éditions Vévé. In 1973, during a trip from Brazzaville to Pointe-Noire by train, marking the band's debut trip outside Zaire, the members sang along, accompanied solely by their drummer, Meridjo Belobi, who wielded his drumsticks. Evoloko proposes the idea to the rhythmic cadence of the train with his snare drum. Belobi executed this notion, thereby pioneering the cavacha beat, an innovative drumming style utilizing the snare and hi-hat that soon became ubiquitous across sub-Saharan Africa.[41] According to Oncle Bapius, "Mbeya Mbeya", composed by Evoloko in 1973, stands as one of the earliest compositions to incorporate the cavacha rhythm.[39]

Jossart N'Yoka Longo in 1979

For the first time in its existence, Zaïko Langa Langa was awarded by the Association des Journalistes Chroniqueurs de Musique du Zaïre (ACMZA) as Best Orchestra of Zaire, later that year. Evoloko Jocker emerged as arguably the band's most popular member, credited with inventing a dance craze also named cavacha, that swept East and Central Africa during the seventies.[42][43] In mid-1974, Meridjo was arrested and imprisoned in Ekafela Prison with a 21-month sentence. In the wake of this misfortune, Bakunde Ilo Pablo, the drummer from the group Chem Chem Yetu, was recruited to temporarily replace Belobi. Shortly after his inclusion, Bakunde achieved a high level of success following the release of his compositions, "Ndonge" and "Ando", which were issued as singles. During this same period, Bozi Boziana joined the band, stepping in for Gina Efonge, who was struggling with depression.[33]

In September 1974, Zaïko Langa Langa participated in the Zaire 74 music festival, performing alongside TPOK Jazz, James Brown, Miriam Makeba, Etta James, Fania All-Stars, Tabu Ley Rochereau, Orchestre Stukas, Manu Dibango, Bill Withers, The J.B.'s, B. B. King, Sister Sledge, Abeti Masikini, and The Spinners, among others. Their set lasted 45 minutes.[44][45][46] That same year saw the release of Zaïko Langa Langa's debut LP, Non Stop Dancing, featuring six tracks, including the smash hits "Eluzam" and "Mbeya Mbeya".[47][48]

Meridjo Belobi in 1979

In December 1974, Zaïko Langa Langa survived its first split. Papa Wemba, Evoloko Jocker, Bozi Boziana and Mavuela Somo left and formed Isifi Lokole.[1][49][50] This offshoot would later disband as well, giving rise to Yoka Lokole, which would eventually evolve into Viva La Musica in December 1976. That year, Zaïko Langa Langa received two awards: Best Orchestra of Zaire and Best Star of the Year, the latter awarded to Evoloko Jocker. "Mizou" was one of the band's debut singles, which premiered in early 1975. To fill the void left by the members of Isifi Lokole, singers Likinga Redo and Lengi Lenga Nsumbu joined the group.[51][52] Mbuta Mashakado changes from pop section to typical. During the latter half of 1975, Zaïko Langa Langa released the singles "Eboza", "Yudasi", and "Elo", all of which met with considerable acclaim, especially the highly successful "Elo".[53]

In late 1975, under the production of prominent guitarist Henri Bowane, Zaïko Langa Langa embarked on a month-and-a-half-long tour in Ghana,[54][55] where they recorded their second LP and first double album, titled Plaisir De L'Ouest Afrique, at Studio Essiebons. Plaisir De L'Ouest Afrique was later remastered and reissued as Zaire-Ghana in 1993. They also toured in Togo as part of the same tour. In 1976, Félix Manuaku Waku joins Ray Lema, Bopol Mansiamina and many others to form an offshoot band, Les Ya Toupas du Zaïre.[56][57] After ensemble returned to Kinshasa, Mashakado departed from the band to join Yoka Lokole, while Gina Efonge made a triumphant return after overcoming depression (although he left in 1977 to established his band T.P. Libanko). Meridjo Belobi rejoined Zaïko Langa Langa following his release from prison.[58]

1977–1979: Pre-golden era

[edit]

FESTAC 77 participation and tenth anniversary

[edit]

Bozi Boziana and Mbuta Mashakado have reintegrated into Zaïko, after the failure of Yoka Lokole. Manuaku Waku, N'Yoka Longo, Likinga Redo and Mashakado were selected by Tabu Ley Rochereau to join the National Orchestra of Zaire (ONAZA).[59][60][61] They participate as band members at FESTAC 77 in Lagos.[59][62][63]

Numerous singles were released in early 1977, including Bimi Ombale's "Ima," in which Manuaku Waku uses the bouzouki for the very first time in Congolese rumba, another innovation credited to the band. The instrument was later stolen and never seen again.[24]

Zaïko Langa Langa performing in Kinshasa, ca. 1979

After brief stint, Belobi signs his comeback with Zaïko Langa Langa with the release of the single "Sangela". Upon his return, he plays alternately with Pablo.[64][65][66] Boziana also garners recognition with the release of his critically acclaimed hit singles, including "Diana Ya Mama", "Bibichana" and "Toutou". In early 1978, Zaïko Langa Langa recorded several songs at the RENAPEC studio in Kinshasa. These songs were released as standalone songs throughout the year, including "Pacha Labaran", "Mystère", "Likamuisi" and "Belingo" (a new version of "Ndendeli"). In mid-1978, Zaïko Langa Langa had made its first European tour, accompanied by a JMPR delegation.[33]

Teddy Sukami created an offshoot band called Les Casques Bleus.[67] The band lineup had included Lengi-Lenga and Yenga Yenga Junior. The latter joins the group Zaïko Langa Langa as Likinga's understudy, since they have extremely similar voices. Sukami released the song "Bongo Bouger" with this group in June 1978. The single was certified gold by SONECA.[67][53]

Zaïko Langa Langa recorded N'Yoka Longo's hit "Sentiment Awa" for the first time towards the end of the year. Evoloko Jocker rejoined the band after the failure of Isifi Lokole.[68] In December 1979, Zaïko Langa Langa celebrated 10 years of existence. In early 1980, a concert commemorating the tenth anniversary took place at the Palais du Peuple in Kinshasa.[68]

1980–1989: Golden decade

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Manuaku's departure, from Gitta Production Présente Le Tout-Choc Zaïko Langa Langa to Nkolo Mboka

[edit]

During the first trimester of 1980, Manuaku's hit "Obi" was released.[69][68] In September 1980, a mass revocation of many members, led to several disputes between Manuaku Waku and other members of the group. He left with Cheikdan Mbuku, Mbuta Sanza, Otis Mbuta and Djudjuchet Luvengoka to form Grand Zaïko Wawa. Months later, towards the end of the year, singer JP Buse, soloists Petit Poisson Avedila and Roxy Tshimpaka joined the band.[69][70][71][72] They also released the hit "Fièvre Mondo", composed by Evoloko Jocker, which was awarded Best Song of the Year.[69][73] Apart from this song, the singles "Solomo", "Viya" and "Crois-Moi" were also issued.

Zaïko Langa Langa's third LP, entitled Gitta Production Présente Le Tout-Choc Zaïko Langa Langa, debuted in 1981, containing four songs. It was recorded during an exhaustive 8-song session at Studio Igloo in Brussels during the VISA 80 European tour launched by Franco Luambo, which was a third tour in the zone for the band.[74] In September of that year, a faction led by Evoloko Jocker, including Bozi Boziana, splintered from Zaïko Langa Langa to form Langa Langa Stars with the backing of producer Verckys Kiamuangana Mateta.[75][76] Meanwhile, internal tensions brewed, leading to a rift with Verckys, who took back the instruments he had previously lent to the group in the middle of a concert at the Ciné Palladium in Kinshasa, later called Cinémax. Zaïko Langa Langa was inactive for a nine-month hiatus, bereft of both instruments and financial sustenance.[75]

During their time with the band, Bébé Atalaku and Nono Monzuluku co-pioneered atalaku.[77][78]

The four remaining tracks from the Studio Igloo session were released in 1982 on the band's fourth LP, titled Tout-Choc.[79][80][81][82] Despite these adversities, the band's main songwriters composed several tracks. In late 1981, they managed to embark on another European tour for some months and recorded new material. Their fifth LP, a double album named Nkolo Mboka, premiered in September 1982.[79][80][83]

During the official presentation of the album on 30 October 1982, on the televised program Variété Samedi Soir, spectators witnessed the pioneering inclusion of atalaku (also called "animateur" by the French term) in contemporary Congolese music.[84][85] The atalaku Nono Monzuluku and Bébé Mangituka as well as the percussionist Djerba Mandjeku Makale joined the group, coming from the traditional group Bana Odéon, based in Kintambo, where the animation originated. Over the next few decades, almost every band on the Congolese music scene introduced atalaku as members.[86]

From Muvaro to Nippon Banzaï

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Zaïko Langa Langa's eighth LP, Muvaro, was recorded in early 1983 at Studio I.A.D. in Brazzaville. The eponymous song, composed by Lengi Lenga, was a great success.[87][88] The melodious sebene of the song was played by Beniko Zangilu Popolipo.[87] The latter was recruited to replace Roxy Tshimpaka, who had previously left in 1981 with Evoloko and was one of the "7 patrons" of Langa Langa Stars. Popolipo also came from the offshoot.[87][89] The band's next LP, entitled Zekete Zekete 2ème Episode, was also released in 1983, specifically in the month of August. It was recorded in Paris during another European tour.[90][18][91] Zekete Zekete 2ème Episode becomes the first record to include atalakus. The album's name derived from the band's flagship dance of that era, zekete zekete.[18][19][20]

D.V. Moanda demised on 10 January 1984, at the age of 36. Until 1987, an annual concert was executed in tribute to him.[92][93][94] Concurrently, in early 1984, Likinga Redo was arrested in Grândola in Portugal for narcotic possession.[95][96] A few months post-Moanda's death, a Gabonese promoter, Gustave Bongo—self-styled 'Ngossanga' or 'Ngoss' for brevity, alleged to be kin to president Omar Bongo—proposed to Zaïko Langa Langa's administrators to sponsor band. That same year, singer Dindo Yogo joined the band.[97]

Zaïko Langa Langa's tenth studio album, named On Gagne le Procès, was released in June 1984.[98][99][100] It was issued on CD in 1992 by SonoDisc as L'Authéntique Zaïko Langa Langa.[101] The succeeding album, Le Tout Choc Zaïko Langa Langa en Europe, was also published in 1984.[102] During Zaïko Langa Langa's European tours, albums were recorded in Brussels. On 2–3 November 1984, Zaïko Langa Langa gave out sold-out concerts respectively at the Palais du 12 mars and Stade Omar Bongo in Libreville.[103] The subsequent year, the band embarked on a Canadian tour. In mid-1985, Ngoss procured Zaïko Langa Langa's Ma-Elika Bar, a modest club on Rue Kanda-Kanda in Matonge, which he refurbished and renamed N'Goss Club, establishing it as the band's headquarters.[21] Two additional LPs were released: Prozal-produced Zaïko Eyi Nkisi, which included the third version of "Etape" and Dindo Yogo's acclaimed hit "Mokili Échanger", chronicling Yogo's musical career and a segment of Zaire's political history,[104][105][106] and the four-track Tala Modele Echanger, produced by Prozal and distributed by Safari Ambiance in Belgium.[107][108] Tala Modele Echanger was recorded and mixed at D.E.S. Studios.[108]

During a string of Ngoss-coordinated concerts in Gabon late in 1985, Ngoss endowed Zaïko Langa Langa with new instruments, and in 1986, they released the four-track LP Pusa Kuna... Serrez! Serrez!, which included singles "Paiement Cash", "Mena", "Ben-Betito", and "Matshi Ya Ilo".[39][109] Produced by Prozal, it explores the themes of love and separation, with "anguish set to tunes of joy".[21] British writer Gary Stewart extolled it, stating, "The voices blend with ease, yet the beat steps lively as before with a dose of synthesizer added in the name of progress".[21] To recompense Ngoss for his support, copies of Pusa Kuna... Serrez! Serrez! and other Zaïko Langa Langa records were directly dispatched to Ngoss Productions in Libreville for distribution in Gabon.[21] Zaïko Langa Langa managed its distribution in Zaire, while Safari Ambiance oversaw the European distribution.[21] According to Stewart, they also named Ngoss the band's honorary president, and their mabanga vocabulary expanded to include the shout "eh Ngoss, eh Ngoss".[21]

In October 1986, Zaïko Langa Langa traveled to Japan to perform shows in universities around Tokyo, as part of a festival, as well as many concerts in Osaka and Sapporo.[21] The tour was dubbed Nippon Banzai. The moniker was also ascribed to the band's sixteenth LP, a medley of Zaïko's earlier songs. It remains one of the most classic Congolese albums.[21] Zaïko Langa Langa eventually became in 1987 the first Congolese band to appear on TF1, during a TV show presented by Christophe Dechavanne. In June 1987, the band became finalists in the Référendum RFI Canal tropical, ranking second among Afro-Caribbean groups behind Kassav.[110]

Subissez les Conséquences and 1988 major split

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On 1 August 1987, as part of the 4th All-Africa Games, Zaïko Langa Langa performed at a sold-out Moi International Sports Centre.[111] In November 1987, Zaïko Langa Langa's remix album Bongama Kamata Position was released.[112] In December 1987, the band's eighteenth album was published, entitled Subissez Les Conséquences. A two-day concert at the Palais du Peuple was held on 26–27 of that month to commemorate the band's 18th anniversary, with guest appearances by Papa Wemba, Evoloko Jocker, Mavuela Somo, and Félix Manuaku Waku.[113]

At this time, internal tensions escalated within the band due to leadership disputes, salary issues and unpaid royalties. On 6 May 1988, more than eleven members of the band left, including Ilo Pablo, Bimi Ombale and Lengi Lenga, who also were the headliners of a new group. Zaïko Langa Langa Familia Dei was born. Likinga, who had been incarcerated in Portugal, briefly joined the group. A quarrel between Zaïko Langa Langa Nkolo Mboka and Zaïko Langa Langa Familia Dei was triggered after this split. The conflict was also notable in the early records of both factions after the split.[114][115][116]

Zaïko Langa Langa released their nineteenth LP, entitled Jetez l'Éponge, in December 1989, a medley to introduce the new members of the band.[117][118]

1990–2002: Ici ça va...Fungola Motema to Euréka!

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In 1990, Zaïko Langa Langa became the headliner of concerts in French halls, notably the Maison de la Mutualité. During the tour they recorded their twentieth album, Ici ça va...Fungola Motema, which contained six songs, including "Exil" composed by Adamo Ekula.[119] Described by the Beat Magazine, an Australian tabloid-sized music publication, as characterized by "spirited choral vocals, good hooky melodies and vibrant, spin-ning and tortuous solo guitar passages", the album gained significant recognition, with "Exil" winning the ACMZA accolade of Best Song of the Year.[120][119]

The following year, Zaïko Langa Langa readied their next album, Jamais Sans Nous, which included the breakout single "Dede" composed by Jossart N'Yoka Longo.[121] They then set out on another tour through Paris, Belgium, Switzerland, England, Spain, and Portugal.[122]

After the international tour, Zaïko Langa Langa stayed in Kinshasa for three years and prepare N'Yoka Longo's debut solo studio album, Avis de Recherche.[123] At the same time, they performed many concerts, notably a double-headline show (duel concerts) against Wenge Musica in the Intercontinental Hotel of Kinshasa (now Pullman Kinshasa Grand Hôtel), which they won,[124][125] and also a two-day reunion concert of the Langa Langa clan on 15–16 November 1993 with Papa Wemba and the members who had previously splintered to form Zaïko Langa Langa Familia Dei. Apart from those concerts, Zaïko Langa Langa also performed concerts across East Africa.[126][127][128][129] In February 1995, after arriving in Paris to record their next album, they played a double-headline concert with Pépé Kallé at Aquaboulevard Paris. Eventually, on 31 May 1995, Avis de Recherche was released. The album was a great success and was featured in the French weekly cultural and television magazine Télérama.[130][131][132] The success of Avis de Recherche also allowed Zaïko Langa Langa to embark on another European tour for a year and a half.[133][134]

Upon their return to Kinshasa, Zaïko Langa Langa obtained lucrative contracts with Castel Beer in 1997. They also recruited young musicians to rejuvenate their lineup. Their new album, Nous y Sommes, released on 2 April 1998, was recorded at a popular local studio in Kinshasa, N'Diaye, which also produced the record.[135] The ensemble arrived in Paris in 1999, they performed at the Cannes Film Festival in May, then they recorded the album Poison, which was released towards the end of 1999.[136][137] Shortly before the recording of the album, three eminent members—Meridjo Belobi, Oncle Bapius, and Modeste Modikilo—seceded from the ensemble to establish Zaïko Langa Langa Universel.[138][139][140][141] Despite this, Zaïko Langa Langa continued to tour internationally, performing in Paris and the Benelux. During this time, a documentary was made about Zaïko Langa Langa, titled Zaïko Langa Langa, le goût du travail bien fait, directed by Yves Billon.[142][143][144]

Zaïko Langa Langa was scheduled to perform in Canada from 25 October to 25 November 2001, as part of their Canadian tour. However, due to logistical challenges, the tour was postponed to early December 2001[145][146] and was then expanded into a Euro-American tour including performances in France, Belgium, Ireland, London, Switzerland, Germany, Italy, Canada, and the United States.[146][147] Four weeks before the rescheduled date, the Euro-American tour was again deferred to 2002.[148] From 22–24 December 2001, Zaïko Langa Langa commemorated their 32nd anniversary with various nationwide performances.[149]

Before their Euro-American tour, a performance at Zénith Paris, initially slated for 13 July 2002, was postponed to September 7.[150][151][152] Despite the change, the event was a huge success, with Zaïko Langa Langa's fandom considering it as the band's renaissance.[152][153] Joseph Kanka of Le Phare described the performance as a "high-quality show" and praised Zaïko Langa Langa as the "leading orchestra of the 3rd generation" and a "great Congolese musical group" esteemed by black Africa, Europe, and the global musical fraternity.[153]

On 23 December, Zaïko Langa Langa released their twenty-seventh studio album Euréka!, which was recorded in Paris during their Euro-American tour at Studio Plus XXX, Studio Marcadet, Studio Harry Son, and Studio Zola Tempo.[154][155][153][156] Comprising 11 tracks, Euréka! was produced by JPS Production, a Cameroonian record label established by Jean-Pierre Saah.[156][153] It blends Congolese rumba, soukous, and ndombolo.[156][153] Jossart N'Yoka Longo was the album's art director and lead vocalist, with contributions from vocalists Adamo Ekula, José Père Elanga, Strelly Mikobi, Prince Bela, and Thiro Mulunda, and instrumentalists Jean-Louis Manzanza and Jean-Marie Motingia on bass guitar, Trocadero Mukusa on drums, Daniel Muanda, Petit Poisson and Tshanda Sourate on lead guitar, and Clément Synthé on keyboards.[156] Euréka! was the final album featuring the late soloist Daniel Muanda and marked the introduction of Tshanda Sourate.[156] It received significant acclaim in the Democratic Republic of the Congo and the Republic of the Congo.[157] Congolese producer and businessman Eugide Defer acclaimed Zaïko Langa Langa as the "greatest Congolese musical group of all time."[157]

[edit]

In April 2003, during their performance in Ireland to further promote Euréka!, Daniel, Clément Synthé, drummer Célé Mbonda, and Trocadero expressed dissatisfaction with Jossart N'Yoka Longo's handling of funds.[158] Tensions persisted, affecting Zaïko Langa Langa's consistency in concerts.[158] In November 2003, the Belgian authorities launched an investigation into the "Nyoka Longo case," leading to charges and N'Yoka Longo's temporary imprisonment on allegations including "modern slavery", "human trafficking", "visa trafficking", "incitement to pimping", "illegal immigration", "nighttime disturbance", and "use of unsanitary premises".[159][160][161] Despite a lack of concrete evidence,[159] N'Yoka Longo spent a month in preventive detention in Brussels.[160] The Congolese Ministry of Culture, SONECA, and UMUCO campaigned for his release, which was eventually granted in June 2004 after bail was posted by the Congolese head of state.[160][162]

Following N'Yoka Longo's release from detention, Zaïko Langa Langa announced the impending release of their twenty-eighth studio album, Empreinte, which was in its final production stages.[163] Empreinte was officially launched on 3 December.[164] Initially planned as a maxi-single with five tracks in 2003, it evolved into a full-length album.[163] Recorded after Zaïko Langa Langa's contractual relationship with JPS Productions ended, the album was released under their own label, Prozal, in collaboration with WBE and distributed by Atoll Music.[163][164] Empreinte was released as a CD and DVD package. The CD contained nine audio tracks, while the DVD included music videos for several songs and additional live performances.[163][164] The album featured a guest appearance by Sam Mangwana.[163] N'Yoka Longo was album's lead vocalist, with Jean-Marie Motingia on bass guitar, Alonso Baba on drums, Jimmy Yaba on rhythm guitar, Clément Synthé on keyboards, Tshanda Sourate on lead guitar, and vocal contributions from Gégé Yoka Mangaya, Shango Landu Kiangala, Adamo Ekula, Lassa Landu, Marcel Bakenda, Prince Bela, Strelly Mikobi, and Thiro Mulunda.[164]

Zaïko Langa Langa's twenty-ninth studio album, Rencontres, debuted on 7 September 2007.[165] The album was produced by Wedoo Music and distributed by Prozal.[166] Rencontres consists of 11 tracks and was recorded at Music Box Studio, Studio Rimshot, Studio Music' Ange, and Digital Edge. The album was produced by Bienvenu Chirac Mondzo, with executive production handled by Gégé Mangaya.[166] The mixing was done by Thierry Galion and Wilfrid Harpaillé, while engineering was carried out by Edouard Meunier and Yves N'Jock.[166] It featured former members of Zaïko Langa Langa and associated acts of the band, including Tony Dee.[166][167]

2009–present: Successful resurgence

[edit]

Performances and the 40th anniversary celebration dispute

[edit]

In early 2009, Zaïko Langa Langa returned to Kinshasa after a period of dislocation, during which most members remained in Europe. After their return, the band consisted of only eight musicians, but they had a reserve team called Les Ganers.[168] In April 2009, Zaïko Langa Langa headlined four concerts in Kinshasa.[169] The first, a VIP event, was at Pullman Kinshasa Grand Hotel on 18 April, and the second at Chapiteaux du GB.[169] The other two, sponsored by Bralima and Primus beer, took place in the Kinkole neighborhood and at Métropole dancing club in the Kasa-Vubu commune.[169]

In October–November 2009, N'Yoka Longo and Gina Efonge clashed over the organization of the 40th-anniversary celebration of Zaïko Langa Langa which was intended to reunite former band members.[170] Nyoka Longo, asserting his leadership, sought to direct the event, arguing that he epitomized the band's legacy on stage. Contrariwise, Efonge opposed this and advocated for a collaborative effort among all original members, including Evoloko Jocker, Mavuela Somo, Papa Wemba, Likinga Redo, Bozi Boziana, and Félix Manuaku Waku, to ensure a grand celebration.[170] Consequently, the event did not materialize due to persistent disagreements and a lack of cohesive leadership.[170]

Bande Annonce, Sisikaaaaaahh! Moto na moto na...

[edit]

In April 2011, during an interview with La Prospérite, N'Yoka Longo announced Zaïko Langa Langa's forthcoming four-track maxi-single, Bande Annonce, was nearly complete.[171] Band member André Betty Mambu also told the press that Bande Annonce would "revolutionize musical data in Congo and Africa."[171] The maxi-single was officially released on 6 August under Prozal and distributed by Sebig Sprl.[172][173] It was recorded at Zola Tempo studio within the RTNC compound in the Lingwala commune, with sound mixing done in South Africa, mastering in France, and pressing in Dubai.[172] N'Yoka Longo composed three tracks: "Boh!", "Jusqu'où Papy?" and "Mo Mambu", with Tony Dee composing "Eka".[174] Bande Annonce achieved commercial success and introduced a new dance called "Mukongo ya Koba", which translates to "the turtle's back" in Lingala.[175][172][173] Jordache Diala of La Prospérité stated that the dance "made apotheosis in the Kinois musical sphere".[176] It won the Best Dance at the ninth edition of the Trophée Muana Mboka on 24 August 2011, held at Pullman Kinshasa Grand Hotel.[177][178] In December of that year, Bande Annonce peaked atop the 2011 Congolese Hit Parade.[179] They support it with a concert at Pullman Kinshasa Grand Hotel on 31 January 2012,[180] followed by a sold-out performance at Nuit de la Francophonie hosted at Stade des Martyrs on 10 October, as part of the events planned for the 14th summit of the Organisation internationale de la Francophonie.[181][182]

On 2-3 March 2013, Zaïko Langa Langa held a two-day concert in Mbuji-Mayi, in celebration of Kasaï-Oriental Province's govornor Alphonse Ngoyi Kasanji's 50th birthday.[183] On 21 June, they appeared at the Bralima-sponsored Primus mega-concert at Stade des Martyrs as part of the festivities marking Bralima's 90th anniversary.[184] On 19 April 2014, Zaïko Langa Langa took the stage at Roméo Golf in Kinshasa,[185] followed by the Bralima-sponsored Primus Fete de la Musique at the Théâtre de Verdure in Ngaliema commune in June 2014.[186][187]

On 2 August 2014, Zaïko Langa Langa released the four-track maxi-single Sisikaaaaaahh! Moto na moto na... after the popularity of their Maman Siska dance.[188][176] It was a follow-up to Bande Annonce, with an additional track and a bonus track added to the original list.[189] The album was produced by Dios Mena and distributed by Prozal.[189] The lead single, "Susu Atambuli Yenga", achieved significant success in Kinshasa.[189] They endorsed the maxi-single with a show at Stade Municipal de Masina at Hôtel Invest in Kinshasa in January 2015[190] and later took part in the unveiling of Bimi Ombale's mausoleum at Cimetière Mingadi on the Bas-Congo road in Kasangulu.[191] Zaïko Langa Langa then performed on Bimi Ombale Avenue in Matonge alongside Bozi Boziana, Evoloko Jocker, and Papa Wemba.[191]

On 27 June, they took part in Kinshasa's city center festivities commemorating the 55th anniversary of DRC's Independence[192] and subsequently performed at the 10th edition of the Pan-African Music Festival (FESPAM) at Stade Félix Eboué in Brazzaville.[193] In August 2015, Zaïko Langa Langa held a concert in Kindu during Prime Minister Matata Ponyo Mapon's visit to Maniema Province.[194]

Sève and performances

[edit]

In 2018, Zaïko Langa Langa embarked on an American tour that took them to 12 American states, including California, Texas, Maryland, Ohio, and New York State, as well as the capital, Washington. They also visited Ottawa, Montreal and Toronto in Canada.[195] The following year, the band began their tour in New York State and returned for a double concert before going to Connecticut, Maine, Pennsylvania, and Texas.[195] They then joined Missouri and Illinois before returning to Missouri once again.[195]

After their international tour, Zaïko Langa Langa performed two concerts in Kinshasa in July 2019, at the Kinshasa's performing arts theater Show Buzz and Chez Ntemba, during which they announced the release of their new double album, Sève, in honor of their 50th anniversary.[196][197] Initially slated for a July 2019 release,[197] Sève made its debut on 7 September.[198][199] The album was mainly produced in Kinshasa by ProZal, and mixed in France by the Parisian record label Quart de Lune.[198][199] It consisted of fourteen tracks, with a predominant blend of Congolese rumba.[198][199][200] The accompanying music videos for "Sielumuka Ngwasuma" and "Ambiance Eyenga" premiered on 28 December 2019 and 28 January 2020, respectively.[201][202] Jossart N'Yoka Longo's breakout composed track "Système Ya Benda" was released on 23 August 2020. The song denounces the negative values prevalent in modern Congolese society, such as poisoning, duplicity, envy, and ingratitude.[203]

After more than ten years of absence on the European stages, N'Yoka Longo and Zaïko Langa Langa perform at the Palais des Beaux Arts in Brussels on 29 February 2020, to celebrate the band's Golden jubilee.[204][205] Starting from the late 2000s, a group of opponents of ex-president Joseph Kabila, the Combattants, have boycotted performances by Congolese artists, accused of being close to the Government.[206][205] On the day of the concert, about forty of them were present outside the hall, but they failed to cancel the performance.[204][207] On 16 May 2024, Zaïko Langa Langa gave a performance at the Clapham Grand hall in London. On 19 May and 14 June, they proceeded to headline two umpteenth sold-out events at the Salle de la Madeleine in Brussels.[208][209]

Musical style and development

[edit]

Zaïko Langa Langa is widely celebrated as a pioneering force in Congolese rumba, often credited with introducing a "third generation" of the genre by evolving traditional styles and establishing the distinct "Cavacha" school.[210] The band broke from Odemba and Fiesta—the two primary styles that previously defined Congolese rumba, respectively pioneered by OK Jazz and African Jazz—by crafting an innovative sound that has left a lasting imprint on the music of the Congo and broader music scene.[211][212]

Zaïko Langa Langa drew inspiration from the Fiesta school, notably Belgium-based bands like Los Nickelos[213] and Yeye National, as well as the influential Congolese singer Tabu Ley Rochereau, whom they took as "godfather."[214] Inspired by Fiesta’s dynamic approach, the band developed a unique singing style where multiple vocalists contributed distinct voices to a single song, creating a rich, layered vocal tapestry. An early instance of this style appears in their 1973 song "C’est La Vérité," featuring Papa Wemba, Jossart N’Yoka Longo, and Mavuela Somo.[215]

Guitarist Manuaku Waku revolutionized the rumba guitar with his intricate style, which he attributed to influences including Docteur Nico, Franco Luambo Makiadi, and Gerry Gerard.[216][217][218] His finger malformation allowed him to execute complex chords that became a defining aspect of sebene (the instrumental section of Congolese rumba).[219] Waku’s style was widely adopted by subsequent generations of Congolese guitarists, marking a new era for the genre’s instrumental arrangements.

Zaïko Langa Langa introduced the Cavacha rhythm in 1973 during a journey from Brazzaville to Pointe-Noire. As drummer Meridjo Belobi kept time to the rhythm of the train, Evoloko suggested they use his snare drum to echo the cadence. This led to the creation of the Cavacha beat—a distinctive snare and hi-hat rhythm that was widely emulated across Africa.[220]

In 1979, Zaïko Langa Langa pioneered the use of synthesizers in Congolese rumba when guitarist Manuaku Waku brought keyboardist Nzenze Mongengo into the band. By using guitar pedals to play the keyboard, Mongengo achieved a synthesized sound that was first heard in the song "Révélation," written by singer Mbuta Otis.[217][221] The band continued to feature prominent keyboardists over the years, such as José Piano-Piano, Alpha Kopeya, Modeste Modikilo, Guy Matope and others.

In 1982, Bébé Atalaku, Nono Monzuluku, and Djerba Mandjeku from the group Bana Odeon joined Zaïko Langa Langa, infusing the music with Humbu folklore chants and dynamic dance moves. The 'cri' "Atalaku! Tala!" introduced a new role in Congolese rumba, the atalaku or animateur, a vocalist who provides rhythmic chants and commands to enliven the sebene section.[220] This practice soon became a staple in rumba, with the presence of an atalaku becoming essential for most youth orchestras.[78]

The band also inducted the concept of double-drumming into Congolese rumba in 1984, with drummers Meridjo Belobi and Bakunde Ilo Pablo introducing a style where one drummer focused on the snare while the other handled rolls and cymbals.

Zaïko Langa Langa’s stage setup, an arrangement that became a blueprint for subsequent Congolese bands, has influenced the standard positioning of musicians and instruments in Congolese youth groups. In 2001, the band also popularized the ngongi, a traditional double metal cowbell.

Awards and accolades

[edit]

Zaïko Langa Langa has been honored with the Best Orchestra of Zaire award on five occasions by the Association des Journalistes Chroniqueurs de Musique du Zaïre (ACMZA), in the years 1973, 1974, 1976, 1979, and 1992. Evoloko Jocker was awarded Best Star of Zaire in 1974 (Eluzam) and 1980 (Fievre Mondo). Songs by individual members of the group received recognition for Best Song, with Evoloko Jocker receiving the award in 1974 and 1980, Jossart N'Yoka Longo in 1976 and 1979, and Adamo Ekula in 1991.[222] In 1979, N'Yoka Longo was elected Second Best Songwriter, with the top position being awarded to guitarist Mayaula Mayoni for his composition "Sentiment Awa".[223]

In 1977, N'Yoka Longo, Likinga Redo, Mbuta Mashakado, and Félix Manuaku Waku were chosen to join the National Orchestra of Zaire (ONAZA) and participated in FESTAC 77 (World Festival of Black Arts) in Lagos, Nigeria.[224]

Notably, in 1986, Zaïko Langa Langa secured the second position in the RFI referendum, closely following the Caribbean group Kassav.[55][222] In 1987, Zaïko Langa Langa earned the Georges Delerue Award for Best Music at the Flanders International Film Festival in Ghent for their musical contributions to the film La Vie est Belle with the songs "Muvaro" and "Sandra Lina".[225] Their participation in the Cannes Film Festival took place in May 1999, and in 2000, Zaïko Langa Langa was acclaimed as the best orchestra of the century in modern Congolese music.[222]

Significantly, the dance "Mukongo ya Koba" was bestowed the Best Dance award at the ninth edition of the Muana Mboka Trophy in August 2011. Moreover, in April 2014, Zaïko Langa Langa was honored with the Honor Award at the 14th edition of Kundé d'Or in Ouagadougou.[226] During the first edition of the Pool Malebo Music Awards in October 2019, Zaïko Langa Langa received a nomination in the Best Orchestra category, while N'Yoka Longo was nominated for Artist of the Decade.[227]

Discography

[edit]

Albums

[edit]
See also: Zaïko Langa Langa discography
  • Non Stop Dancing (1974)
  • Plaisir de l'Ouest Afrique (double album, 1976)
  • Gitta Production présente le Tout-Choc Zaïko Langa-Langa (1981)
  • Tout Choc (1982)
  • Nkolo Mboka (double album, 1982)
  • La Tout Neige, Christine & Nalali Mpongui (1983)
  • L'Orchestre de tous les Âges (1983)
  • Muvaro/Etape (1983)
  • Zekete Zekete 2è Épisode (1983)
  • On Gagne le Procès (1984)
  • En Europe (1984)
  • Zaïko Eyi Nkisi (1985)
  • Tala Modèle Echanger (1985)
  • Eh Ngoss! Eh Ngoss! Eh Ngoss! (1986)
  • Pusa Kuna... Serrez Serrez! (1986)
  • Nippon Banzai (1986)
  • Papa Omar (1987)
  • Subissez les Conséquences (1987)
  • Jetez l'Éponge (1989)
  • Ici Ça Va... Fungola Motema (1990)
  • Jamais Sans Nous (1991)
  • Avis De Recherche (1995)
  • Sans Issue (1996)
  • Backline Lesson One (1997)
  • Nous Y Sommes (1998)
  • Poison (1999)
  • Euréka ! (2002)
  • Empreinte (2004)
  • Rencontres (2007)
  • Sève (2019)

Maxi-single

[edit]
  • Feeling (2001)
  • Bande Annonce (2011)
  • Sisikaaaaaahh! Moto na moto na... (2014)

Contributing artist

[edit]

Notes

[edit]
  1. ^ Other records recorded by members of the band, often with other session musicians - a practice known in the Congo as “nzonzing” (moonlighting) - have been credited to Zaïko Langa Langa but aren’t considered as part of their discography.

References

[edit]
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  196. ^ "N'yoka Longa et Zaïko Langa-Langa annoncent la sortie de leur nouvel album «Sève»" [N'yoka Longa and Zaïko Langa-Langa announce the release of their new album "Sève"]. www.digitalcongo.net (in French). Kinshasa, Democratic Republic of the Congo. 10 July 2019. Retrieved 2024-04-19.
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  203. ^ "« Système ya Benda », le nouveau clip de Zaïko Langa Langa" ["Système Ya Benda", the new music video by Zaïko Langa Langa]. Musique (in French). 26 August 2020. Retrieved 2024-05-03.
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