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A young Franco Luambo playing the six-string guitar on a wooden chair outside a house in Léopoldville in 1956. François Luambo Luanzo Makiadi was born on 6 July 1938 in Sona-Bata [], a town located in then-Bas-Congo Province (now Kongo Central), in what was then the Belgian Congo (later the Republic of the Congo, then Zaire, and currently the Democratic Republic of the Congo).
"Mario" is a Congolese rumba song. It was composed in the key of C-flat major, with a moderate tempo of 115 beats per minute. "Mario" has a C, F, G, F chord progression throughout the song. The song begins with Franco's mi-solo guitar, he is then joined by rhythm guitarist Gégé Mangaya.
However, it was not until Madilu teamed up with Franco, joining his TPOK Jazz in April 1980, that he became a Congolese and International star. He was described as the band's "brightest vocal talent" during its 1980s heyday. Franco is the one who nicknamed him Madilu System, a name that stuck. Madilu's first hit with TPOK Jazz was "Mamou (Tu ...
That year the song "Non", featuring Madilu System and Franco in alternating lead vocals, was released. [ 10 ] In the mid-1980s the band continued to churn out best sellers including Makambo Ezali Borreaux , 12,600 Letters to Franco , Pesa Position , Mario and Boma Ngai na Boma Yo .
Franco Luambo is often credited for popularizing and revolutionizing sebene. [1]Sebene, also spelled seben, is an instrumental section commonly played in Congolese rumba. [2] [3] It is usually played towards the end of the song and is the dancing section where the lead and rhythm guitars take the lead in the dance.
Following her successful stint with Afrisa, she went on to join Franco's OK Jazz. [9] [19] [20] [5] In mid-1986, she was featured in Franco's EP Le Grand Maitre Franco et son Tout Puissant O.K. Jazz et Jolie Detta, which is a blend of Congolese rumba and soukous and includes collaboration with Simaro Lutumba. [10]
Rhumba, also known as ballroom rumba, is a genre of ballroom music and dance that appeared in the East Coast of the United States during the 1930s. It combined American big band music with Afro-Cuban rhythms, primarily the son cubano, but also conga and rumba. Although taking its name from the latter, ballroom rumba differs completely from ...
During its early development, African Jazz maintained a strong rivalry with Leopoldville's other major "rumba orchestra", OK Jazz, led by Franco Luambo Makiadi. [6] The rivalry manifested in a move towards different musical styles by both bands which would define the two schools of Congolese rumba that emerged in the period. [ 6 ]