"Mama Z'allumettes" , Generique Off of "Absolument" , 2000

Mama Z'allumettes

Aurlus Mabele - Bonne Nouvelle

Zaiko Langa Langa Au Japon - Nippon Banzai - 01 - Sentiment

X Maleya - Toi et Moi (Cameroun)

If you'd like to see the track list it's here: http://ghettobassquake.com/kanda-bongo-man-in-london

This is a twenty four minute journey from the Kavasha music of 1970’s Kinshasa to the Soukous music of 1980’s and 90’s Western cities. 

It’s a mixtape of some of my favourite Sebens* in Congolese popular music from the early 1970’s to the 1990’s to celebrate that Palm City Social: https://www.facebook.com/groups/236141043126978/ have been invited to DJ at the Kanda Bongo Man, London gig, 1st April: https://www.eventbrite.co.uk/e/a-night-with-kanda-bongo-man-tickets-21302011891 

*Seben is the - largely instrumental  - dance sections in congolese popular music, where the pace tends to speed up and the focus is shifted away from the vocalists and on to the lead guitarist. This is the second and final session of the composition where the vocalists chant; calling out and performing dances. This chanting is referred to as ‘animations’

I’m sure that connoisseurs of Congolese music would be affronted by me selecting just the Seben from these classic recordings, turning my back on the honey sweet vocals, with their glorious three or four part harmonies. However I’m interested in hearing what they sound like abstracted from the wider context of the composition as a whole. Weather they become ‘monotonous’ as BARIKI NGOWO would suggest in his post ‘SHORT HISTORY OF CONGOLESE MUSIC’ http://kavashagrouptz.blogspot.co.uk/2015/12/short-history-of-congolese-music-by.html where he argues that a criticism made within Africa of ‘Star’ African musicians - like Kanda Bongo Man - that are based in ‘Western’ cities; “is the lack of variety within the numbers” (compositions) and this is because “There is too much emphasis on the solo guitar and chanting (animations). This contrasts with the 1970's when all instruments and vocals were given prominence and/or acknowledged”. He also goes on to suggested that this maybe the result of the composers living in the ‘West’ and there for tailoring their music to suit ‘Western tastes’ and expectations. BARIKI NGOWO could have a point here in the later suggestion, however I wouldn't agree that the result is ‘monotonous’ but then to be fair I probably do have 'western taste'... 

So here we go…I’ve made one more naive step - backwards, forwards, or sideways - into the seeming Western obsession with the brilliant sound of the Conglese Sebens..and these ones still sounds pretty BANGING to me!    

 

Twenty Four Seben - A.J. Holmes Soukous Mix

Pierre Tchana - Va Tien

Diblo Dibala - Matchatcha weto

Marthe Zambo - Avec Toi

VOICI UN MIX DES MEILLEURS SONS QUI ONT BERCE L'AFRIQUE AVEC AURLUS MABELE...GADJI CELI. AWILO LOGOMBA....PEPE KALE..KANDA BONGO MAN...FREDDY DE MAJUNGA...DIBLO DIBALA...EMORO DE PEPE KALLÉ...GROUPE LOKETO...LUCIEN MOKILO...NDEDI EYANGO..LUTCHANA...JEAN BARON..MARC MACAIRE..ADIMI..DEFAO..ECT

BEST OF SOUKOUSS AND ZAIKO ( BY MATHS PROD )

09 Plein d'Amour (la katalina)- Aurlus Mabélé & Loketo

Promis à la victoire (Virtuose Lyrical)

Afric espoir (feat. Ange, Josey)

A.J. Holmes (aka Vanishing Breed) is a Musician, DJ, Recordist, Big fan of Pan-African music, Lover of 20th Century Architecture and Founder of The Hackney Empire (band)

Twenty Four Seben - A.J. Holmes Soukous Mix

A.J. Holmes

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