ISAAC MUSEKIWA, the legendary saxophonist of Rumba Congolaise, was far greater than the image traditionally portrayed: that of an occasional, ordinary sax player among many in the OK Jazz lineup.
A tenor sax specialist, Musekiwa honed his craft at Opika Studios under the guidance of Belgian jazz musician Fud Candrix while performing with Grand Kallé’s African Jazz. He became one of the earliest indigenous Africans to rise as a professional saxophonist in Rumba Congolaise. His roots trace back to Zambia.

Born in Southern Rhodesia (now Zimbabwe) to Zambian parents, Musekiwa revealed during a 1973 visit to Tanzania with OK Jazz that he was the brother of Michael Enock, a Zambia-born, Tanzania-based music star. In an interview at the Bahari Beach Hotel with Radio Tanzania, he said they grew up learning music together. Michael Enock later gained fame as a solo guitarist for Dar International and became a prominent saxophonist with DDC Mlimani Park, contributing to nearly all the band’s recordings.

In the African context, the term “brother” is fluid; it can refer to a sibling, cousin, stepbrother, close friend, or community member. This cultural nuance made it hard to confirm whether Musekiwa and Michael Enock were biological brothers. However, Musekiwa’s mention that they learned music together suggests a close bond, familial or otherwise.

Musekiwa’s saxophone mastery is best showcased not with OK Jazz, African Jazz, or even Orchestra Revolution (which he joined in 1967), but with Vedette Jazz. Similar to Verckys, another iconic saxophonist who only fully expressed his talent after forming his own band with room for his wild, trademark “sebene”, Musekiwa reached his peak at Vedette Jazz, where his true musical depth could shine.
Vedette Jazz, founded in 1958 by businessman Mr. Shibangu of Bandalungwa (whose venue also bore his name), featured guitarist Léon Bombolo, who would later gain fame with Negro Success alongside Franco’s younger brother, Bavon Marie, on solo guitar.

While at Vedette, Bombolo filled in for Franco when the latter served a prison sentence in 1958 for a traffic offense. Bombolo was instrumental in Bavon’s rise and later clarified that Franco supported the creation of Negro Success, contrary to popular narratives suggesting rivalry with his brother.
Bombolo rejoined Vedette after his time with OK Jazz and was the man behind the sweet guitar sound in the band’s early recordings. Other key members included Khim Valentino, Alphonso (rhythm guitar), Gabriel Ntalani (vocals), Charly (vocals), and Bruno Houla.
In the 1960s, the lineup expanded to include vocalists Charly, Baguette, Deca, and Flujos, as well as guitarists Toula Ticlos, Lassy Sakala, André Lasso, Robin, and bassist Picollo Tshamala (who also played for OK Jazz).
Two of Musekiwa’s compositions with Vedette, “Cheri Akimi Ngai” and “Oyebaka Lingala”, highlight his brilliance. Vedette was signed to the Ngoma label and released dozens of albums.

At OK Jazz, Musekiwa composed “Timing Hole” (the band’s only song in English), “Bana Bakufela Ngai Ntina Nini”, and “Ta Noel”.
He rejoined OK Jazz in the 1980s, contributing to several hits, including the band’s iconic “Mario”, where his signature tenor sax shone. Unverified reports suggest “Mario” became the best-selling OK Jazz song ever.
Musekiwa died in April 1990, six months after Franco. He is undoubtedly one of the founding fathers of Congolese rumba and an icon of African music.

By Jerome Ogola

Jabulani Radio

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