When he made himself unavailable at the band’s headquarters at Un Deux Trois for a few days, Franco launched a manhunt for him. A physical search was conducted in town to establish his whereabouts until he was finally found. Each time the band was traveling abroad for performances, he was the very first to be cleared. He literally participated in all concerts that the band held abroad during the period he was with the band.

Could it be for the reason that he was a versatile vocalist, gifted with a wide vocal range on the musical scale, which made him fit anywhere as a lead or backup vocalist? Maybe it was because he had been with the band for long and carried some institutional memory critical to the band’s output in performances. But this can easily be debunked by the reality that Lola joined the band before him (1967) and did not leave at any time, and so would have definitely beaten him on that front. Josky joined in 1973.

It is also possible that Franco had a preference for him as a dependable commander of the vocal section; and having participated in many studio assignments in the band’s repertoire, Franco feared that leaving him behind would have crippled the band in some way. Although he had sung with two other bands before—African Fiesta Sukisa and Orchestra Continental—between 1969 and 1972, it is actually at OK Jazz that Josky stamped his authority as the band’s most prominent member and one of the superstars from the DRC, the "land of musical gods," as Peruvian filmmaker Allan Brain refers to the DRC.

For the reason that the two bands did not last long and were also little known, at least compared to OK Jazz, it is only reasonable that Josky’s greatness is defined by his period in Franco’s band. "OKJ was definitely a bigger platform," opines Shaddy Shihusa of Jabulani Radio. The presenter, who hosts Rumba Overdose, points out that the relationship between Josky and OKJ was symbiotic in the sense that despite Josky gaining a bigger platform, the band also had a dependable musician in its rank and file—one who was instrumental in the band's success in the 1970s and 1980s. “Josky’s voice became the band’s signature,” he adds.

From the period he joined throughout the 1970s, he composed several songs and participated in the singing of many others that were not necessarily his own compositions. At the time of his joining, the band already had Sam Mangwana, Prince Youlou Mabiala, and Michel Boyibanda. He joined alongside Wuta Mayi, who had previously been his colleague at Orchestra Continental, the band that also had Bopol Mansiamina, Serpent Kabamba, and others. Singer Paul Ndombe also joined OK Jazz not long after.

It is said that Simaro was instrumental in the recruitment of Josky into OK Jazz. Despite having settled in the band, in terms of singing, most of his earlier attempts at composing while at OK Jazz invited ridicule from Franco, who insisted that the songs did not conform to the OK Jazz school of rumba, also referred to as Odemba. Franco insisted that the songs were actually of the African Jazz school of rumba, also known as Fiesta, and having had stints at African Fiesta Sukisa and Continental only meant that his style was inclined in that direction.

However, Franco tasked Simaro to help Josky conform to the OK Jazz School. Watching the OK Jazz 20th anniversary concerts, one gets the idea that in terms of performances, Josky had settled. His voice became a constant feature in most of the songs of the period. His own compositions, like Selija, seem to confirm that he was not just fast at adapting to the Odemba style, but was fast rising to become a star singer of the style that had previously been associated with the voice of Vicky Longomba.

The composition of Propriétaire in 1980 became Josky’s defining moment. The song, composed in the context of a woman lamenting her abandonment despite her charming beauty, became a huge success. It became the band’s most popular song of the period and naturally thrust Josky into the limelight for more glory. The whole of Kinshasa was humming along to the song, which came out perfectly in an Odemba style, featuring Franco and Gerry on solo guitars.

With fans thirsting for more, Josky did several compositions as follow-ups to that success. Josky participated in a zing zong that involved Michelino, an ex–OK Jazz musician who had left the band in 1978 and flown to Paris after a sojourn in Nairobi with his band Makfe. In a typical lisanga ya banganga, Josky, Michelino, Matalanza the sax player, and Franco did an album which featured the songs Chacun pour soi (Josky), Laissez passer (Matalanza), Suite lettre 2 (Franco), and Missile (Josky).

Michelino, still based in Paris, told Jabulani Radio that despite having a prominent saxman, Matalanza, on board, they chose to exclude the saxophone in the songs to allow Franco’s serene guitar to thrive. In the songs that featured no horns, Bofi Banengola played drums while Thims Toroma played bass. Michelino played solo and rhythm while Franco concentrated on the serene. However, in Suite lettre 2, Franco only sang but did not play any guitar—in itself a very rare occurrence.

The songs recorded in 1983 also became very popular. The epitome of Josky’s creativity as a musician hit fans with the release of exclusively Josky compositions in the album Franco Presents Josky. The first of the twin albums contained the songs Limbisa Ngai, Masini, Mehida, and Alita Tshamala. Another early-1980s milestone for Josky was his song KSK (Kasongo Seif Kitima), which was released in the album L’Ancienne Belgique. This album also contained hits like Mukungu (soloist Dialungana), Ndaya (bassist Decca Mpudi)—whose first part is sung in Kintandu, his native language—and Pesa Position, composed by Madilu.

The album featured the band’s dream team of Gege Mangaya on rhythm, Mpudi on bass, while Gerry and Franco were on first and second solo respectively. The 1980s decade was Josky’s. He did very many songs with the band, both as lead and backup vocalist. He also emerged in some zing zong (makeshift bands) that yielded songs like Lela Ngai na Mosika and Likongo Limboka. These songs featured several OK Jazz musicians, among them Ntesa, whom he sang with. The songs were composed by Momene Mikengo.

Josky kept the tempo, and even in the post-Franco era, he composed Chandra and Mibali Bosali, songs arranged by Dizzy Mandjeku, all of which became hit songs. The album also featured Kakoma Nado on drums, Gerry and Dizzy on solo, while Josky sang with Ntesa, Madilu, and Malage. Veteran percussionist Bosuma Dessoin also participated.

Away from OK Jazz, Josky also did other collaborations that became equally successful. Among them was an album he did with guitarist Rigo Star that contained the songs Jotongo, Bon Payeur, Promise Ezali Niongo, Bilei Special, and Malia. Another was the album Sans Frontière that he did with Ntesa, which contains the songs Selengina, Le Monde et ses Problèmes, Aye Pitié, and Limbisaka. The album features Assan Corvin on solo, Djo Djo on rhythm, Dele Pedro on sax (a Nigerian saxman who played for OK Jazz), and Didier Boluwe on drums, among others.

Another Josky project that helped define his greatness was Destin Sincérité, which featured Madilu and Lita Bembo, formerly of Stukas, on vocals. The album, recorded at Cartex Studios in Brussels, featured Rigo Star on guitars. Other songs on the album are Erreur and Pierre.

Despite composing songs that did remarkably well with African Fiesta Sukisa and Orchestra Continental, OK Jazz was the natural home of Josky Kiambukuta. Josky was born on Valentine’s Day in 1949 at Gombe Matadi and grew up in Barumbu in Kinshasa. He died on March 7, 2021, at Ngaliema Hospital.

As the world marks what would have been his 77th birthday, there is a rich discography to keep his fans dancing. His remains may be resting at the Nécropole Cemetery in Kinshasa, but his voice resides inside the hearts of fans. Radio Jabulani has dedicated an episode of Rumba Fiesta to this icon, among many other events in Congo, Africa, and beyond, themed at celebrating this singing genius.

By Jerome Ogola

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Roosters, who probably relied on temperature and light to wake up the villages, occasionally got it all wrong. For that reason, the responsibility of waking everyone up was bestowed on the radio. In those days, only three stations were accessible through a shortwave transistor receiver: VOK English, Swahili, and Vernacular services. The Kiswahili service was the most popular. The station opened at 5 a.m. with the signature tune “Uvivu Mbaya” by the Maroon Commandos. Over the years, the song became synonymous with the daily struggle of life.

Those who woke up to work in the farms, in industries, or to go to school all looked forward to that signature tune, which signified a new day and renewed hope. The song became a clarion call for work, almost equivalent to the Congolese line “salongo alinga mosala.”

This irreplaceable segment of life means the role that the band played occupies a significant place in many people’s memories.

The tune began with a saxophone line performed by the band’s founding member, Major David Kibe, followed by the words “uvivu adui mkubwa kwa ujenzi wa taifa” — admonishing laziness and calling everyone to wake up and build the nation.

The band behind the song was the iconic Maroon Commandos, a military band based at Lang’ata Barracks in Nairobi, home to the 7th Kenya Rifles, an infantry battalion. The band prides itself on several firsts, with its age being the most outstanding. A person born at the time the band began is today 55 years old and almost headed for retirement. That very few bands survive long enough even to celebrate their tenth anniversary only buttresses the iconic status of this group.

As narrated by Major David Kibe in a YouTube interview, the story of the Maroon Commandos began in 1969 when a group of young Kenyan musicians from the Strollers Band, who performed at Bamboo Night Club on River Road, Nairobi, were approached for possible enlistment into the military. The Strollers had been in existence for two years, previously performing at the popular Sabina Joy.

This recruitment was an initiative of Lt. Col. J. M. Wambua, also known as Nyeusi, who deserves recognition as the father of the Maroon Commandos. While serving as the first commander of the then Gilgil-based 7th Battalion (7 KR), he conceived the idea of creating a band for his unit and tasked his adjutant, Captain Muchemi, who went prospecting for talent to create the band. He had patronized joints that the Strollers performed at and had always been elated by the sheer talent in the boys.

Musicians such as Ibrahim Ringo, Juma Kizito, Habel Kifoto, Peter Masheti, Shem Shisia, Joel Muchiri, Jared Otieno, Tonny Sobayen, and John Kimani were enlisted into the military and taken to Lanet in Nakuru for mandatory military drills. Upon completion, they were posted to Gilgil, then the headquarters of the 7th Battalion.

It is worth noting that the battalion later shifted to Nairobi, which is why the band, initially based in Gilgil, eventually relocated to the city.

For the young men who had previously hustled for survival in a tough city, life now took a new turn with salaries, free food, free accommodation, state-of-the-art equipment, and other privileges. Their sole responsibility was to make music. This new reality pushed their output and creativity to its peak.

As David Kibe, who began as a vocalist before training as a guitarist and later settling as a saxophonist, explains, the band initially played cover versions of rhythm and blues, Congolese rumba, and Kenyan music such as that of D. O. Misiani. But they needed something uniquely theirs, and that is how the slow-paced Swahili rumba style was born.

In the formative days, Joel Muchiri played solo guitar while Habel Kifoto played bass.

The band’s privileges did not end with the welfare offered by the employer. They extended to a space critical for any musical outfit’s success. Apart from entertaining during military events, the band was naturally invited to perform before dignitaries at state functions in Nairobi, Mombasa, Nakuru, and Eldoret. They were even invited to perform during Namibia’s Independence celebrations in Windhoek in 1983. They also graced the opening event of the All-African Games in Nairobi in 1987.

Maroon Commandos, popularly known as Wana Maroon (after the official colors of the 7th Battalion), produced many other songs besides “Uvivu Mbaya.” One of their earliest major hits, Charonyi Ni Wasi,  a Taita song about the difficulties of urban life, was released in 1978 and shattered the glass ceiling in terms of popularity. The song was on everyone’s lips. Over the years, the band has released tens of albums comprising hundreds of songs.

Among their notable tracks are Dada Mdaku, Dawa Nimuone Hani, Usiniambie Unaenda, Betty, Aida, Sophia, Dotty, Riziki, and Safari, among many others. The band also recruited many other musicians over time, including Paul Mwandembo, Laban Ochuka, and Tuesday Oguro.

Habel Kifoto, who led the band for many years and was himself a founding member, was an exceptionally talented musician. Born at the Coast and passing away in 2011 at the age of 62, he had retired from the military in 2009. Kifoto was a gifted guitarist, playing both solo and rhythm, and an excellent keyboardist — as demonstrated in “Usiniambie Unaenda.” He also began as a bassist. He was a gifted composer and vocalist who wrote the band’s first song, Emily in 1971, produced by Polygram, and the hit Charonyi Ni Wasi, Uvivu Mbaya, and many others.

A fan, Elphas Ambundo, who attended Kifoto's burial, noted the burial of the music genius was a low-key event attended by a handful of friends and former colleagues, an indication that the authorities hadn’t done much to recognize these musical legends.

One of the band’s saddest moments came in 1972 when they were involved in an accident that led to the death of saxophonist Peter Masheti. The devastated band went into a lull that lasted a few years before they made a comeback.

After Kifoto’s departure, leadership of the band passed to Albert Tuesday Oguro, who later handed it to David Kombo. Kombo later passed the leadership baton to Magneto and Diwani Nzaro. The iconic band continues to perform in various venues, with their most recent concert taking place during KDF Day in Eldoret.

Other military bands of the era included the Blue Rangers Band of 5 KR, the Scarlet Band of 3 KR in Lanet, the Moi Air Base Air Raiders Band, the Yellow Wagoners, the Navy Pirates Band, the Green Rovers Band, the O’Rangers of Moi Barracks in Eldoret, led by Lenga, and Ulinzi at the DoD Headquarters.

There is no doubt that this band, which has outlived most of its contemporaries, is an important part of the country’s history.

By Jerome Ogola

Jabulani Radio

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According to information shared on the band’s official Facebook page, Mwandembo, who sang with the military outfit for over two decades, passed away on October 31st after a period of illness.

Mwandembo joined the military in 1975 and served in B Company at Lang’ata Barracks for 25 years before retiring with the rank of Corporal. During his time with the Maroon Commandos, he distinguished himself as both a composer and a vocalist, and is best remembered for writing "Dawa Nimuone Hani", one of the group’s most popular songs.

He will be laid to rest on November 7th at his rural home in Taita.

Formed in 1968, the Maroon Commandos is a military band based at Lang’ata Barracks in Nairobi. The band was established when Lt. Colonel Wambua sought to combine music and discipline within the army by recruiting talented musicians such as Habel Kifoto, who went on to lead the group, and others, including David Kibe, Laban Ochuka, and Tuesday Oguro.

The group rose to prominence in the late 1970s, recording timeless hits such as "Charonyi Ni Wasi" and "Riziki Haivutwi Kwa Kamba". These songs cemented the band’s reputation as one of Kenya’s most iconic and enduring musical ensembles.

To date, the Maroon Commandos remain active, performing at military functions and occasionally entertaining civilian audiences in clubs and public events. The death of Paul Mwandembo marks the loss of yet another pillar of the celebrated group’s golden era.

By Jerome Ogola

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But Newton Kariuki is not your typical politician. In fact, he is known more as a musician than a legislator, despite having served three terms as an elected MCA representing Muminji Ward in Embu County. Even with his success in politics, he attributes it all to music, which is what sold his candidacy during his maiden bid. So who exactly is Newton Kariuki Ndwiga, the man always dressed in colourful suits?

Newton Kariuki was born and raised in Gangara, in present-day Embu County. He attended Gangara Primary School and Kegonge Secondary School before transitioning to Kangaru High School, but he dropped out due to a lack of school fees. It was while in Class Six at Gangara Primary that he composed his first song, "Kavoka."

However, it took several more years before he recorded his first track, which he finally did in 1993 using savings from menial jobs at a shop owned by an Asian trader in Embu Town. This was under the mentorship of Peter Kigia, a big name in music at the time. It is not just his flashy dressing that makes him easily recognizable and popular, but also his storytelling prowess. Although most of his songs are high-tempo, Newton Kariuki, also known as Karis or KK, narrates thrilling stories.

Take "Muthoni Kifagio," which came out in the 1990s when the AIDS pandemic was sweeping across the country. In the song, he narrates how he brought Muthoni from the village to the city when she was thin and emaciated, unattractive to any man. He then nourished her well until she became voluptuous and curvaceous. Once beautiful, Muthoni embraced the ways of the city and began cheating on him. One evening, as he was leaving work, he saw her crossing Jogoo Road, heading for her escapades. He concludes by asking her to leave because he cannot bear to end up lying in a cold morgue after dying of AIDS.

Muthoni was a fictional character. Karis, who is married, says his wife initially discouraged his music career and urged him to quit. But one evening after a performance, he showed her the money he had made, and she became fully supportive.

In yet another song, "Muziki Bila Nguo," he narrates how thugs raided his concert and ordered everyone to strip. When the attackers left, the panicked crowd scrambled for their clothes, with many ending up wearing garments that weren’t theirs. He himself went home in women’s underwear, and it was difficult to convince his wife of the circumstances. This could easily have been assumed to be a clever excuse to conceal a randy escapade—if the song were based on a true story. Luckily, it was fictional. One song that foretold his rise was "Tabu Ni Mbaya," which narrated his difficult past and the transformation into who he had become.

The musician has also proudly worn the badge of controversy. Several of his songs have been criticised—like "Rossy," which was condemned for being demeaning to women. Karis has also invested in mentorship, having initiated a talent search project known as "Guitar ya Karish," aimed at identifying and nurturing talent within the region.

His music has given him a platform that makes his candidacy more recognizable than those of his rivals. With that popularity, he hopes to use political office to influence policies that are friendly to art and artists—for as the Swahili sage once said, "Mwamba ngoma huvuta kwake." This means that in every endeavor, a person is bound to try and shape things in a way that favors them.

By Jerome Ogola

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As the aphorism reminds us, "The proof of the pudding is in the eating," and when it comes to assessing the genius of Franco Luambo Makiadi, nothing illustrates his depth and talent more effectively than listening to his music. To properly celebrate his legacy, Planet Ilunga has selected 20 O.K. Jazz songs recorded between 1957 and 1977, taken from the five compilation LPs that Planet Ilunga has dedicated to O.K. Jazz.

Most of the selected tracks are Franco’s own compositions, which portray him not just as Congo’s biggest artist but as a profound portraitist of Congolese society.

Since 2013, Planet Ilunga has focused on reissuing this popular Congolese music from the 1950s to the 1970s—music that has not been re-released since its original issue—providing a crucial opportunity for listeners to experience this historic sound firsthand.

These are the tracks. Most are rare gems that have been unavailable from other sources:

Kenge Okeyi Elaka Te

Translates as ‘Kenge, you left without warning’. What else could be the opening song on our LP compilation devoted to the boleros of O.K. Jazz? The song is about Marie-José Kenge, alias Majos, Franco’s first love and the subject of many of Franco’s compositions in the late fifties. Below is a translated excerpt from the lyrics, sung by Vicky Longomba:

Ah Majos / You left without warning maman / My dear young Majos / You, the flower of my mind / Day and night I’m asking myself / I don’t know where you went / Young Majos, is this a way to test me / To leave me in despair / If you confess this / I am in danger to kill myself / Ah Kenge / Franco worries

https://planetilunga.bandcamp.com/track/kenge-okeyi-elaka-te

Lopango Ya Bana Na Ngai

In this magnificent rumba, Franco, who lost his father Yvon Emongo at a very young age, does what he does best: interweaving personal experiences with criticism of Congolese society. The song addresses members of families who seize the property of the deceased to the detriment of the direct heirs, the children.

https://planetilunga.bandcamp.com/track/lopango-ya-bana-na-ngai

La Mode Ya Pius Apiki Dalapo

The song title translates as ‘La Mode of Pius has planted his flag’. Bana La Mode was an association of fashionable women, and they were unconditional fans of Franco & O.K. Jazz. Pius Bokango was its president. Pauline Mboyo, Franco’s first wife, was a prominent member of the collective. La Mode was often a theme in the band's songs, particularly in the late 1950s, as was its male counterpart, Bana Ages.

https://planetilunga.bandcamp.com/track/la-mode-ya-pius-apiki-dalapo

Yimbi

Yimbi, released in 1958 on the Loningisa label, is a special song. It was the first time Franco released a song in Kikongo, the language he learned after the early death of his father, when he briefly moved back to his birthplace Nsona-Mbata (Sona-Bata). ‘Yimbi’ is Franco’s take on a traditional fable about a mythical bird (the predator) and a mother (the victim) who begs the phoenix bird to give back her child. Some interpret ‘Yimbi’ as an implicit personalization of the colonial situation at the time, since Franco sings “Give me my child back, I want to feed him. Don’t you hear my tears and those of the child? Don’t you see my sadness?” But according to native Kikongo speakers that I spoke to, neither the original folk song nor Franco’s version refers to Belgian colonial rule.

https://planetilunga.bandcamp.com/track/yimbi

Baila Charanga

In the mid-sixties, O.K. Jazz covered many songs, not only Cuban but also French, American, and Mexican. Most of the time, the covers were released as own compositions or as ‘arrangement O.K. Jazz’ on the label without mentioning the original composer. This was justified considering the band usually changed the instrumentation, tempo, or even the lyrics of the original song. O.K. Jazz’s ‘Baila Charanga’ is a fairly faithful reinterpretation of the Cuban song ‘Baila Charanga’ by José Fajardo Y Su Orquesta.

https://planetilunga.bandcamp.com/track/baila-charanga

Na Mokili Mibale Na Mibale

One of the classics of O.K. Jazz, recorded in the late sixties/early seventies. It is magnificently sung by Vicky Longomba. The title translates as ‘In this world, you have to live together as man and wife’. It’s credited to the Angolan guitarist, singer, and composer Manuel d’Oliveira. The song was originally released in 1953 on the Ngoma label as ‘Lokumu Ya Mwasi Mpo Na Mobali’ (‘The honor of a woman is to have a husband’) by San Salvador (a band formed by Manuel d’Oliveira, Georges Edouard, Henri Freitas, and Bila Edouard). San Salvador’s original recording was a Polka Piké, a style in Congolese Rumba that was in vogue in the early to mid-fifties. For many connoisseurs of Congolese rumba, ‘Lokumu Ya Mwasi Mpo Na Mobali’ stands out as one of the most beautiful songs from the early days of Congolese Rumba. Manuel d’Oliveira made another version of the song, together with Groupe San Salvador. It sounds like it was made in the seventies. You can listen to this version on YouTube.

https://planetilunga.bandcamp.com/track/na-mokili-mibale-na-mibale

Tika Kolela Chérie

In the early seventies, Camille Feruzi and Manuel d’Oliveira asked Franco to play their compositions with the T.P.O.K. Jazz. This resulted in the release of at least six songs with Feruzi and five with d‘Oliveira. Manuel d’Oliveira and Camille Feruzi were among the best musicians from the early days and famous for their releases on the legendary Ngoma label. ‘Tika Kolela Chérie’ (Stop crying, my love) is a composition of the accordionist Camille Feruzi. The title was originally released as a calypso in July 1959 on Ngoma by Camille Feruzi & Orchestre Mysterieux Jazz. The early seventies version with O.K. Jazz is quite different in phrasing, lyrics, tempo, and style. In my humble opinion, it stands out as one of the best songs in the oeuvre of O.K. Jazz.

https://planetilunga.bandcamp.com/track/tika-kolela-ch-rie

Ndokoyo

In this song, released in January 1959 on the Loningisa label, O.K. Jazz presented its odemba take on the calypso genre to its fans, and especially the female ones. O.K. Jazz loved the calypso vibe in the late fifties, and it usually worked out really well. In ‘Ndokoyo’ we hear vocalist Edo addressing the beautiful women of Kinshasa and especially the members of Bana La Mode.

https://planetilunga.bandcamp.com/track/ndokoyo

Liwa Ya Emery

Franco’s heartbreaking tribute to Patrice Lumumba, who was murdered in the Katanga province in January 1961. His assassination involved torture and execution by firing squad, with the CIA and the Belgian state—as we would later learn—largely held responsible for orchestrating the killing. The song was recorded in April 1961 in Brussels. Here are some of the translated lyrics:

Lumumba was murdered because he wanted our country to remain united / Oh, who will raise his children?

https://planetilunga.bandcamp.com/track/liwa-ya-emery

Mboka Mosika Mawa

The title translates as ‘Faraway Blues’ or, more freely, as ‘Homesick Blues’ and was recorded in 1961 in Brussels, during the first European tour of O.K. Jazz. My personal favorite from O.K. Jazz’s exquisite output of Congolese boleros. Below is a translated excerpt from the lyrics:

You’ve gone to a faraway land / Sadness has taken over my heart / Come home quickly, I can’t take it anymore

https://planetilunga.bandcamp.com/track/mboka-mosika-mawa

Tolinganaki Toboyanaki

Most of the boleros of O.K. Jazz were released in the late fifties and early sixties. The slow form of the bolero allowed Franco to express his most profound soul stirrings and to create a style of his own. Thanks to the combination of the suave voice of Vicky (or Kwamy, Mujos, or Edo), the breathtaking and dramatic guitar touch of Franco, and the delicious saxophone licks or solos of Isaac Musekiwa, O.K. Jazz was often able to capture the true essence of the bolero. In the seventies, the bolero was less frequent in the band’s repertoire but became longer, even more dramatic, going into blues territory, and was mostly sung solo by Franco. Below is a translated excerpt from the lyrics of ‘Tolinganaki Toboyanaki’, which translates as ‘We were in love, we broke up’:

When you were with me, you had the body of a woman / Look how thin you are now, it’s shameful / Your miserable life now, because you have a big mouth, shut your mouth, it’s shameful / Your miserable life now, you will die from your narcissism / Swallow your pride, it’s shameful

https://planetilunga.bandcamp.com/track/tolinganaki-toboyanaki

Cha Cha Cha Erique

Franco & O.K. Jazz’s take on cha cha cha, recorded in 1961. Note in the title the homage to Enrique Jorrín, the Cuban inventor of the cha-cha-cha.

https://planetilunga.bandcamp.com/track/cha-cha-cha-erique

Lokolo

This rumba was the first release on Les Editions Populaires, Franco’s label founded in 1968. Franco complains to those, including fellow musicians, who badmouth him, spread rumors and hate, intrude on his private life, and accuse him of witchcraft, most notably that he sold his legs for success. In reality, Franco suffered from a serious leg condition and couldn’t sleep because of the pain.

https://planetilunga.bandcamp.com/track/lokolo-digital-bonus-song

Ya Mbala

Like the song ‘Yimbi’, modernized by Franco in 1958 (Loningisa 246), ‘Ya Mbala’ (Elder Mbala) is a folk song that originated with the Bakongo people. Mbala is the name of a man living in a remote village who went to Kinshasa and describes what he saw there: white people, motorbikes and cars, cigarettes, etc. It was recorded in 1961, and it shows how confident Franco felt singing in his mother tongue.

https://planetilunga.bandcamp.com/track/ya-mbala

Pas Un Pas Sans Bata

Commercial song in the bolero style for Bata Chaussures, the shoe brand and retailer that was hugely popular in many African countries. Franco also wrote a rumba for Bata (discover my upload on YouTube). An interesting fact that few people know: Franco was in his younger days an employee at Bata’s subsidiary in Léopoldville. Below you find a translated excerpt from the lyrics:

I was born barefoot / Today I became a man of standing, I wear shoes, thanks to Bata / My friends, let me sing for Bata / Beautiful cheap shoes of Congo you find at Bata / Bata has no competitors in Congo / Our fathers were praising Bata / Let’s avoid problems, buy our shoes at Bata

https://planetilunga.bandcamp.com/track/pas-un-pas-sans-bata

Malata

Malata is once again a fantastic example of the collaboration of T.P.O.K. Jazz with Camille Feruzi in the early seventies. Antoine Kasongo, another musician from the early days, was also present in this recording, as we can hear in the complete version of the song (including the intro) that I shared on YouTube. One of the 7-inch releases even credits Kasongo as the composer (though on the one I have, Camille Feruzi is credited as the composer). I haven’t figured out yet what the original version of this song was, but most probably it was released on the Ngoma or Olympia label.

https://planetilunga.bandcamp.com/track/malata

Minoko

The change of rhythm in the middle, from Congolese Rumba to afrobeat, is what makes this song stand out. Note also the use of English, which is rare for Franco, who seems to have had great fun performing this song.

https://planetilunga.bandcamp.com/track/minoko

Mosaka Ya Kilo

It’s really surprising that this exciting bolero of Le Grand Maître, made in 1969, was never reissued until 2024. Wonderful saxophone solo by Verckys!

https://planetilunga.bandcamp.com/track/mosaka-ya-kilo

Tika Kobebisa Tango Na Ngai

This excellent bolero, written by Franco and released in February 1958 on the Loningisa label, translates as ‘Stop wasting my time’. Vocalist Vicky delivers the declaration of a man who feels badly treated by his fiancée. The lyrics are rather harsh and misogynistic:

Eating with a wife stands for eating with a witch / The intelligence of a woman is superior to that of a man / My friends, I advise you not to trust any woman / They will turn their back on you and betray you

https://planetilunga.bandcamp.com/track/tika-kobebisa-tango-na-ngai

Mbongo Na Ngai Judas

Another bolero on Loningisa, released in January 1959, sung by Vicky Longomba & Edo. It’s about betrayal, hence the word Judas in the song title. Partial lyrics (translated) included:

My dear Marie, you are my most precious one, since we are in love / Why do you always embarrass me by cheating on me? / Afterwards, you change your words

https://planetilunga.bandcamp.com/track/mbongo-na-ngai-judas

I take this opportunity through the Jabulani Radio platform to thank and acknowledge the individuals who taught me a great deal and welcomed me into the world of Franco and O.K. Jazz: Yves Luambo Emongo, Hama-Dinga Ya Makilo, Stefan Werdekker, Christian Ongoba, Julien Longomba, Samuel Malonga, Messager, and Sylvain Konko (RIP).

By Bart Cattaert 
Founder, Planet Ilunga
https://planetilunga.bandcamp.com/
www.youtube.com/@planetilunga

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The genesis of this rumor can be traced to an April 1990 episode when Congolese musician Kanda Bongo Man was unceremoniously ejected from the country via a cargo plane. Kanda had been on a sojourn in Kenya's capital, where he held electrifying concerts at KICC, Nyayo Stadium, among other venues. However, just as the stage was set for a concert at the Stanley Hotel, policemen arrived, canceled the show, and ordered him to leave within a few hours.

Although veteran broadcaster Fred Machoka, who had been part of the team that organized the events, later clarified that Kanda's troubles at the hands of state agents may have stemmed from his refusal to perform at the wedding of the daughter of the then-powerful PS Hezekiah Oyugi (which the musician had reportedly declined, stating he didn't perform at private functions), the rumors that Kanda may have made seductive overtures to Catherine Kasavuli persisted. This was especially true after one of the officers in the arresting team was allegedly quoted as alluding to it.

The concerts had been electrifying, with some pundits estimating that the one at Nyayo may have been the most attended music event in the history of the Republic. Prominent government officials, including then-Vice President Prof. George Saitoti, attended the event. The soukouss fever was sweeping across the country, and with his kwasa kwasa dance style, Kanda had brought the country to a standstill.

If it wasn't for the wild guitars, it was for his swinging waist that one prominent woman is said to have joked, "If this is what he manages on stage, then he must also be exceptionally good off stage." The country was literally talking and dancing to Kanda Bongo Man, and his songs "Monie" and "Isambe" were playing everywhere.

Yet another version claimed that women removed and threw their panties at him during one of the concerts, an act that infuriated a government official in attendance, whose wife also participated in the "panties throwing." This version didn't gain much traction, nonetheless.

Kanda Bongo Man, who had been accompanied by a six-man and one-woman team comprising 'Miss C. H.' Loial, lethal soloist Mandoza Mbedi Nene (aka Nene Tchakou), Martin Miabanzila, Fulgence Zola Solo, Mohamed Charles Barry, and Anne Aimée-Eugenie, kept fans on their feet and asking for more. He was subsequently escorted to Jomo Kenyatta International Airport (JKIA) and deported to Paris via a cargo plane because no passenger flight was available at the time. It was evident that State House security, who were pursuing his case, were under instructions for him to be ejected immediately.

As much as Kanda Bongo Man became a soukouss sensation, he actually emerged in the third generation of Congolese musicians, those who thrived in the mid to late 1970s. He was born on April 11, 1955, in Bandundu province in the Democratic Republic of Congo (DRC), then known as Congo. He made his debut with Orchestra Bella Mambo, an offshoot of Orchestra Bella Bella that was headed by Soki Dianzenza after he ran into loggerheads with Soki Vangu over the leadership of Bella Bella. Bella Bella had been one of the biggest bands in DRC in the early 1970s and had been signed to the famous Maison Veve, owned by Verckys Kiamuangana.

In 1981, Kanda traveled to Paris to seek opportunities, not necessarily as a musician. With a vibrant music industry and a legion of Congolese in the country, he reconnected with his countrymen, who were mostly musicians, and struck a rapport with a young and talented soloist, Diblo Dibala, with whom he recorded their first song, "Iyole." The duo did several songs together. In 1983, he performed at the WOMAD festivals, which further catapulted him into more musical glory. He released his first album, Sai, in 1988.

Thereafter, he released several albums in quick succession and played concerts in Africa, Europe, and even the USA. His kwasa kwasa dance was addictive to the audience. Children in deep villages tried to ape his dancing styles, and the urban youth also kept the tempo.

In Kenya, he became persona non grata until Moi retired, after which he made a return to the country. He has since toured the country many times and has had several concerts. However, despite releasing several albums thereafter, like the famous "Sweet Elizabeth", a composition of SE Rogie, he didn't gain such wild popularity as he did in the smash 1990 to 1991 era with his soukouss fame. Nonetheless, he remains the biggest showman to perform in Kenya, and the mystery surrounding his deportation only served to flare up the embers of his fame.

By Jerome Ogola

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Performing in clubs all night, being away from family, and battling the stigma that often portrays musicians as vagabonds are just some of the challenges that have bogged down many aspiring female musicians. But Queen Jane defied the odds. She not only navigated these hurdles but also rose to the apex as one of the region's and the country's top musicians.

Her song "Mwendwa KK" remains a darling of music enthusiasts across Kenya. It is still one of the most requested songs in clubs and on radio stations, decades after its release. Themed on love and romance, the song showcases Queen Jane's exceptional singing prowess, pouring her heart out as she reminisces about the sweet moments shared with her lover. Her melodious voice captures the raw emotion in the song, making it timeless.

Born Jane Nyambura in Mugoiri, Murang'a County, on the eve of Kenya's independence in 1962, Queen Jane attended Elburgon Primary School and Likipia Secondary School, where she pursued her education with determination. Her musical journey began under the mentorship of Simon Kihara, popularly known as Musaimo, the Kikuyu Benga kingpin who also hails from Murang'a. Alongside her cousin Princess Aggie, Queen Jane started out as a backup vocalist for Musaimo, performing in a campaign song he had composed for veteran politician John Michuki, who was contesting the Kangema parliamentary seat in the 1983 elections against the formidable John Kamotho, a wealthy KANU stalwart.

The ladies impressed audiences, and in 1984, Musaimo took them to Nairobi, offering them a platform to grow. He composed the song "Mwana wa Ndigwa," performed by Queen Jane, her cousin Aggie, and Lady Wanja. The song became an instant hit, marking the beginning of their rise to stardom. The trio formed a formidable performing group, akin to the Rochereulets of Rumba legend Tabu Ley Rochereau in the 1970s. Performing under the name Kihara Sisters, a sub-unit of Musaimo's Mbiri Stars, they quickly became a household name.

After years of performing under Musaimo’s wing, the trio eventually felt ready to chart their own path. In 1991, they formed Queenja Les Les, named after Queen Jane herself. As the group’s leader, she assembled formidable talent, including renowned guitarist Dr. Michuki, Simon Nyaga, and others. The group made an immediate impact, releasing several popular songs. But it was the 1993 release of "Mwendwa KK" that catapulted them to the top. Their popularity soared, and they secured lucrative contracts to perform in top clubs across Kenya, satisfying the demand for quality local music at a time when visiting Congolese bands dominated the scene.

She built quite a rich discography that includes hits like "Muici Wa Itura," "Ndutige Kwiyaba," "Muthuri Teenager," "Muoyo Mwega," "Muthuri Uri Mukabi," "Arume Ni Nyamu," "Nduraga Ngwenda," "Ndiri Mutwe Mwega," "Mbia Ihenya," and "Njata Yakwa," among many others. Queen Jane’s band also became a breeding ground for raw musical talent, nurturing the next generation of stars who would go on to shape the industry. Among the big names who emerged from her mentorship were renowned guitarist Mike Murimi, Mugithi king Salim Junior, Mike Rua, Kamau Mapengo, and singers like Ciru and JJ Gitahi, among others. These are the superstars who helped create and popularize Mugithi, making Queen Jane the undisputed matriarch of the genre that has captivated the region for decades.

Queen Jane passed away on June 29, 2010, bringing the curtain down on an illustrious career that broke barriers and paved the way for countless women in music. This week marks the 15th anniversary of her death, with a series of events lined up in Nairobi to honor her life and musical legacy.

By Jerome Ogola

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Little did he know that he was also unknowingly scouting for talent for Gor Mahia, one of East Africa's leading football clubs. At the time, Kampala's thirst for Congolese rumba was growing daily, especially after a series of shows in the city by Orchestra Veve, led by saxophonist Verckys Kiamuangana. Orchestra Veve was then one of the biggest bands in Congo and the region.

Some members of the Veve band chose to remain behind and formed a group known as Bana Ngenge, which featured Jojo Ikomo, Roxy Tshimpaka, and others. These bands created a wave of euphoria for Congolese music in Kampala.

Thus, when Christopher Atama set out on his journey to the DRC in 1975 to scout for talent, his mission was to establish a resident band for his club back in Kampala. His first stop in the musically saturated country was Isiro, in northeastern DRC, where he visited a club known as Matete. Matete had a resident band called Saka Saka, led by veteran musician Bikassy Bidjos.

Fortunately for Atama, the band leader was not present at the time, which made his work easier. He managed to convince the musicians to travel with him to Kampala in search of better musical fortunes. They agreed and traveled back with him.

The musicians included Pele Ondindia, Samba Mapangala, Fautau Waroma, Madjo Maduley, Bibiley Kabakaba, Diabanza Nicky Jo, and others. Once in Kampala, the group adopted the name Orchestra Le Kinois and set up base at Atama's club.

After a few years in Kampala, the band relocated to Nairobi. It was in Nairobi that one member’s musical and athletic talents began to truly shine. Pele Ondindia, a vocalist with both Saka Saka and Le Kinois, was also a highly talented footballer whose skills on the pitch caught the attention of the Barclays Bank team in 1982. “Most of the Le Kinois members were football fans,” said Jacob Owiyo, a retired footballer who played for several Premier League teams at the time. “They often gathered in local fields to practice and have fun when they weren’t performing.”

Jacob, a devoted fan of Le Kinois, became close friends with the band members during this period. While juggling his music and football responsibilities, Pele Ondindia’s striking abilities eventually caught the eye of Gor Mahia scouts, who recruited him into the squad. He became a star footballer at the club, which has since become the most successful in the country, with over 20 league titles to its name.

Jacob Owiyo, also known as Papa na Pele, named his son, now 33 years old, after the legendary footballer-musician. He likens Pele Ondindia to Mayaula Mayoni, a footballer who played for the DRC national team, The Leopards, in 1974 and for AS Vita locally before going on to a music career with Franco’s OK Jazz band.

As fate would have it, Pele Ondindia died in 1987 in a road accident near Wilson Airport and was later buried in Lang’ata Cemetery in Nairobi. His story, which began as a musical expedition into East Africa, ended up unveiling and nurturing his footballing prowess.

Despite his excellence in football, he was equally gifted in music. He was a star singer with Le Kinois, and his compositions included the song "Semeji Siama" and another dedicated to his wife, Alice Achieng, a Kenyan from Nyanza, with whom he had several children. He also composed a song titled "East Africa," which embraced the theme of Pan-Africanism. Interestingly, it seems the football gene dominated among his children. His son, Sunday Odhiambo, previously played for Premier League side Mathare United and is now based abroad.

It is also worth noting that Le Kinois eventually disbanded in Nairobi. A frustrated Samba Mapangala initially planned to return to Congo, but veteran producer Tabu Osusa persuaded him to stay. Samba went on to form Orchestra Virunga, which became one of Kenya’s most popular bands before he later relocated to the USA.

Pele Ondindia’s time at Gor Mahia and his marriage to a local woman illustrate the broader impact that the influx of Congolese musicians into East Africa had, not just in music, but also in areas like sports and cultural integration.

By Jerome Ogola

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The song, undoubtedly the biggest hit by benga sensation Osito Kalle, is a musical narration of the history of his Kakia sub-clan of the Asembo clan. He compares this history to the beauty of Jane Akelo Nyaimbo, a woman the musician was in love with. The clan traces its origin to a legend of a hunter from Kano who was killed by a fellow hunter from Asembo during an expedition. A court session presided over by the Ruoth adjudicated the matter and sentenced the killer to offer his daughter in marriage to the family of the deceased.

The daughter, Kia, was taken as a wife by the Kano family. However, much later, when her father visited her, he found the flooded fields of Kano unpleasant for his daughter. He instead offered her and her family land in Asembo, thus marking the origin of the Ka-Kia clan.

The motivation behind this relocation was the beauty and fertility of Asembo, which was referred to as "piny maber" (the good land). This story is aptly captured by Okeyo Soja and Agutu Onagi in their book Benga Maestro, a biography of the benga superstar.

The name "Kalee" is thus an acronym of the prefix "Ka" and "Lee," meaning all the descendants of the Ka-Kia clan are technically Joka-Lee. This name has always been mistaken to be shared with Kale, a sobriquet for Ochieng’ Kabaselle, a fellow musician from Asembo, who coincidentally was also referred to as Kadory. Kale, for the founder of LUNNA Kidi, on the other hand, is a shorter version of Kabasele, a Muluba name adopted by Kabaselle in admiration of the founder of African Jazz, Grand Kale, also known as Tshamala Joseph.

As such, the song stands out for the rare quality of blending clan history with a praise song for a woman. This may explain its popularity, not just in Asembo, a clan that resides in present-day Bondo Sub-County, but also across the Nyanza region.

This clan occupies such a central position that when Osito wanted to name his band, he considered names like Mabinju Stars and Asembo Stars, Mabinju being the name of his village, before finally settling on Nabii Kings in honor of one of the clan's revered prophets.

Although not listed among the originators of the genre due to his late entry, having begun his music career in 1990, Osito rose to be counted among benga’s greatest. He joined the ranks of pioneers like John Ogara, Were Carey, and Jose Jokeyo (father to Akothee), who began benga as nyatiti dero—a one-man instrumentalist setup beside the traditional granary.

Although the etymology of the word "benga" is debated, with various theories proposed, there is consensus that the genre was born in the mid-1950s, with John Ogara as one of its patriarchs.

Despite having its epicenter in Siaya, the genre's musical waves reverberated widely, reaching the furthest corners of Kenya. The beat was adopted in Central Kenya, Kisii, and the Rift Valley.

In later years, thanks to the production and distribution of big names like Oluoch Kanindo, the genre surged in popularity and crossed national and continental borders, gaining traction in Southern African countries and the Caribbean. Other big names in the genre include Ochieng Kabasele, Ochieng Nelly, Musa Olwete, Kaudha Kings, Collela Mazee, and D.O. Misiani, among many others.

At the center of Benga’s evolution was the Victoria Jazz Band, which transformed into Victoria Kings in 1973. Later, in the late 1970s, it disintegrated into smaller groups. After several mutations caused by disinterest, defections, and splinters, Osito Kalle, then eking out a living as a carpenter in Nairobi, found himself practicing with one of Victoria Jazz’s offshoots, Victoria C, under the mentorship of Awino Lawi in 1977.

Osito quickly learned the ropes, mastering the guitar and becoming the lead singer for the band. His first song, "Asembo Piny Maber," was recorded with his own band, Nabii Kings. The team that recorded the album included Osito Kalle (vocalist and solo guitarist), the late Paul Oduge (drummer), Olenyo (vocalist and backup), Omondi Gimoro Ogulo (vocalist), the late Ochieng Soja (bass guitarist), the late Andare Bodho Bodho (conga), and Hosea Jakadem (vocalist).

He has since released about 26 albums, featuring hit songs like "Carolina," "Adhiambo," "Beatrice," and "Aluoch," among many others. "Aluoch" was dedicated to his former vocalist Aluoch Pamba, who later joined Shirati Jazz under D.O. Misiani. Aluoch, now a musical giant in her own right, had previously worked as a hotel waitress in Sondu, where Osito discovered and trained her due to her talent and interest in music.

Osito, who was born in Mabinju, has two wives, and some of his songs, "Betty" and "Nyakadenge," are dedicated to them. He was born to Elly Mirasi Akumu in Mabinju, Asembo, in 1958. His young son, who plays the guitar exceptionally well, is expected to follow in his father's musical footsteps.

He remains one of the few musicians who have remained true to authentic benga, without veering into Congolese rumba.

By Jerome Ogola

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"Bilenge" is a Lingala word for youth. The name was given to us by Mr. Dr. Maloba, who managed the band," Darzee Kalend says in response to the origin of the name.

"At that time, we couldn't agree on the name to baptize our new band, with some members insisting that it be named Kivu, Lubumbashi, while others wanted Bukavu, based on their hometowns." That was in the mid-1990s. Darzee had been in Nairobi for a few years, having traveled from his home country, the DRC, in 1993. He was brought into Kenya by Evany Kabila Kabanze, the Les Mangelepa supremo, with the intention of reviving the band whose fortunes were fast dwindling.

Brought alongside Darzee were Kounkou, Djo Bebe, and Gregory. They worked with the band for some time before their leader, Kabila Kabanze, traveled to Japan with Kankou Kelly, formerly of Maquis Du Zaire, and others, leaving them stranded in Nairobi.

Life became a little difficult for the young men. The town was becoming a far cry from what they had envisioned when they came to Nairobi. It became a survival of the fittest as Darzee sought opportunities in several bands in the city. He moonlighted with several bands in the city. It was in these sojourns that he encountered Ochieng Kabaselle of Lunna Kidi, whom he singles out as extremely talented and an individual with a warm, welcoming heart. He says he learned a lot from him. He was given an opportunity at a club known as Aturo, and it was here that he became an atalaku (rapper). Previously, he was a drummer and a conga player, the two specializations he had trained in back home in Lubumbashi.

It was during this time that singer Bobo Sukari traveled to Nairobi and was assembling a band with Lesasa Joker and others. They sought the services of the young atalaku, and Darzee got an opportunity to join the starting lineup of Bilenge Musica. The band leader at this nascent stage was Bobo Sukari himself, deputized by Lesasa Joker. Lesasa had been a musician with Saka Saka, led by veteran Bikassy Mandeko Bidjos. Bikassy knew how to smell opportunities from a distance. He sang for Mobutu, sang for Iddi Amin, sang for Kenyatta, Moi, and others. It is possibly for this attribute that he brought Lesasa Joker into East Africa.

The band performed briefly in Nairobi before flying to Dubai, where it found a new home and set up base. They would occasionally return to Nairobi before flying back. In Dubai, to conform to the tastes and preferences of an international audience, the band had to veer off and intentionally derail from the tracks of traditional rumba that the members were traditionally weaned on, adapting to global beats like reggae.

These, among a cocktail of other factors, made Darzee rethink his continued stay in Dubai. He discussed it with the other members and made a decision to create a second faction of Bilenge that would specialize in Congolese odemba and be based in Nairobi. That’s exactly how Bilenge Du Congo was born. True to his word, the band has a unique style that mirrors the OK Jazz School of rumba, colloquially known as odemba, which was based on Franco’s guitar and Vicky’s voice. This style features an extra guitar beyond the traditional solo, rhythm, and bass. In Bilenge, this fourth guitar is acoustic and brings in that unique odemba luster.

The new Bilenge Du Congo was to be based in Nairobi, as the other segment, in its latter days, headed by Lesasa Joker, maintained its base in Dubai. Darzee’s baritone is flawless and unique. It blends perfectly with the high tenor of Dano and Bomb, both vocalists with the band, which is presently based at the Village Inn, where they perform on Wednesdays, Fridays, and Saturdays. The band also boasts the expertise of Jojo and atalaku Abriola, another vocalist, and soloist Barcelona. The rhythm guitarist is Tshimanga, and the band has two bassists, Kitos and Fanfan. The drummer is Jerry, while the percussionist is Pakajuma. This team comprises Nairobi-grown talent and some who Darzee occasionally brings from the DRC.

The band’s fourth album is currently in the studio, following the success of the first three. Darzee began his music career back in his hometown of Lubumbashi in Eastern Congo. He played with several bands in the town.

The notable ones include Sapeur Musica, headed by Chrispine Tambwe, who also later immigrated to Nairobi, and a university student band known as Stono Musica. His engagement with these outfits was strictly as a drummer and percussionist, as opposed to his role these days, where, apart from being band leader with managerial responsibilities, he mostly composes and sings. The musician, born and schooled in Lubumbashi, has also ventured into some social corporate responsibilities, giving back to the community, which he says built him. He sponsors and houses several children from vulnerable backgrounds. The children, some of whom are in national secondary schools here in Kenya, he says, are also an inspiration for him to succeed, as they offer him an opportunity to extend a helping hand.

Darzee, a confessed admirer of ODM politician Raila Odinga, who is also his fan, opines that it is very possible for bands in Nairobi to reclaim the glory of the 1970s and 1980s. In fact, he states that this is the destination Bilenge Du Congo, currently the biggest Congolese band in Nairobi, is headed toward.

By Jerome Ogola

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Kasule Sammy, a gifted bassist who played a unique six-stringed bass guitar, was also a prolific composer and vocalist who made a name in Nairobi during the golden era when the city had a vibrant music industry that attracted musicians throughout the region and garnered a global audience.
Born in Uganda in 1952, Kasule improvised his guitar at age ten, inspired by Congolese musicians of the 1960s. At the time, he was still a primary school student at Kibuli Primary School.

His mother (who died three years ago) was unamused. She destroyed the instrument, but that did not subdue the budding musical ambitions of young Kasule. Many parents in that era, and even today, discourage their children from associating with music due to the popular misconception that it is linked to delinquency.

He joined secondary school and later attended Light College Katikamu, both in Kampala. He debuted in music in 1969 when he joined a local band, Kawumba Band, which played at a bar called New Life. He stayed with the band for three years. With political instability in Uganda, young Kasule shifted base to Kenya, where he joined a Congolese music outfit based in Nairobi called Le Noir, headed by war veteran Chuza Kabaselle, in 1973. He remained with the band until 1977, when he quit and joined another Congolese band, Special Liwanza of Lola Shango, as documented by Alastair Johnston in his Muzikifan blog.

In 1978, he became part of the Somajeko International Band and a year later joined the team that created the Makonde Band, led by Greece-born Taso Stephanou. He also performed with the Talents Band in Nairobi before finally settling at Vundumuna. He composed several hit songs during this era, including Maria Wandaka, Kitoobero, Shauri Yako (English version), among many others. The music industry in Nairobi was highly fluid at the time, and he played with numerous bands, both as a member and a guest musician. Among the most notable was Lunna Kidi of Ochieng Kabaselle, who played bass on the song Milicento, with Frantal Tabou, on solo.

In 1984, alongside Frantal Tabou, he co-founded Orchestra Vundumuna. Kasule traveled to Japan on a musical sojourn in the late 1980s before settling in Sweden, where he established his musical home for over three decades, performing with his band Makonde, which specialized in Congolese rumba and Afro-Cuban music.

Two years ago, he relocated back home to Kampala, where he remained actively involved in music and even released a new album. He had contacted this writer to inquire about securing a recording deal in Nairobi, and this writer shared the contact information of veteran producer Tabu Osusa of Ketebul in Nairobi.

Kasule, a citizen of the world, is arguably more renowned in Kenya than Uganda. His former colleague Frantal Tabou mourned his death, describing him as a talented and dedicated musician. He is survived by his widow, Mary Wandaka, and two sons. Mary is the woman immortalized in his song of the same title. Apart from Frida Sonko, who recorded with Equator Sounds of Nairobi in the 1960s, Kampala did not boast a music industry as robust as Nairobi or Dar es Salaam, leaving the country with few widely recognized musicians. Sammy Kasule remains one of Uganda’s most celebrated artists. 

NOTE: Sammy Kasule Is Not To Be Confused With Kasule Mopepe, also a Ugandan, who Played With Orchestre Les Kinois.

By Jerome Ogola

Jabulani Radio

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Dieudos Duki Makwanzi, the renowned soloist of Le Noir, passed away on March 20 in Brussels, Belgium, where he had been residing.

In the early 1970s, he performed with Le Noir in Nairobi, Kenya. The band was led by veteran musician Chuza Kabaselle and was among the few Congolese bands that returned to the Democratic Republic of Congo (DRC) intact, unlike many others that either remained abroad, disbanded, or disintegrated.

In addition to Chuza Kabaselle, who played the congas, Le Noir featured other notable musicians, including Negro Sax veteran Beya Maduma and Amba Zozo, who also played with Negro Success. According to Alastair Johnston’s Congo in Kenya documentary on his Muzikifan blog, the band also included Mathieu Kuka, who had performed with African Jazz and composed the song "BB69", along with Ndongo Amani and several others.

Dieudos also played with several top Congolese bands in his homeland and is regarded as one of the country's most celebrated musicians. He contributed to the entire Bouger Le Coq Chante album by Baniel Bambo and Nana Akumu.

Born in Kinshasa on December 12, 1946, Dieudos composed several songs, including "Lwaki Oyomba". Le Noir is also remembered for the timeless hit "Sikiya Sauce".

By Jerome Ogola

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Which one is your favorite?

Bavon with Bholen (Negro)

Nico with Dechaud (Fiesta Sukisa)

Franco with Simaro ( OKJ-60s) 

Franco with Gege ( OKJ-70s and 80s)

Ngereza with Omari (Les Wanyika)

Dizzy with Lokassa ( African Stars)

Roxy with Pierre (Veve)

Lusuama with Vata (Lupua Lipua)

Michelino with Lokassa (Afrisa)

Guvano with Bokassa (Fiesta National)

Bwamy with Siama (Viva Makale)

Diblo with Kazidona (Loketo)

Dino with Makondele (Afrisa)

Dally with Lokassa (Soukouss)

Kifoto with Oguro (Maroon)

Damoisseau with Casino (African Jazz)

Dino  with Maika (Afrisa)

Johnny with Pierre (Conga Success)

Mbaraka with Kazembe (Super Volcano)

Gerry and Samba (Bantous)

Do you love African classics? Tune in, subscribe, and share our station! Let’s come together to celebrate and support our legendary artists by playing their timeless music. Join us on this journey to keep their legacies alive and thriving!

LET US KNOW IN THE COMMENT SECTION WHICH ONE WAS YOUR FAVORITE

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AWILO is a musical giant in his own right was a star drummer with Loketo in the 80s.

He played both percussion and drums. 

He is a son of musical legend Vicky Longomba who sang with Franco's OKJ in the 60s.

He is also half-brother Lovy Longomba of Kenya's Super Mazembe and uncle to Longombas.

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In a post on social media, the Young Leader announced a new collaboration. It can be said that the clip has already been shot. In the teaser, the two artists are seen dressed as the former dancing to a very danceable song. “After the success of your song MABOKO MILAYI, our new collaboration is coming
AWILO LONGOMBA MBONGO NA NGA feat INNOSS’B ... 

We look forward to your challenge videos, wrote Innoss’B. This will probably be a generic that will get the public dancing during the end of this 2024 year.

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