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Jean de Dieu Makiese (28 May 1950 – 11 August 2007), popularly known as Madilu System, was a Congolese rhumba singer and songwriter, born in what was then Léopoldville, Belgian Congo. He was once a member of the seminal band TPOK Jazz which dominated the Congolese scene from 1960s through 1980s.
Indépendance Cha Cha" (French; "Independence cha cha") was a song performed by Joseph Kabasele (best known by his stage name Le Grand Kallé) from the group L'African Jazz in the popular Congolese rumba style. The song has been described as "Kabasele's most memorable song" and one of the first Pan-African hits. [2]
In 1953, the Congolese music scene began to differentiate itself with the formation of African Jazz (led by Joseph "Le Grand Kallé" Kabasele), the first full-time orchestra to record and perform, and the debut of fifteen-year-old guitarist François Luambo Makiadi (aka Franco). Both would go on to be some of the earliest Congolese music stars.
Congolese rumba, also known as African rumba, is a dance music genre originating from the Republic of the Congo (formerly French Congo) and Democratic Republic of the Congo (formerly Zaire). With its rhythms , melodies , and lyrics, Congolese rumba has gained global recognition and remains an integral part of African music heritage .
Music of the Democratic Republic of the Congo (Zaire, Congo-Kinshasa) In addition, the term Congo music can refer to at least two styles In English-speaking West African countries (e.g. Nigeria, Ghana, Liberia), Congo music refers to the genre more commonly known as soukous, which is widely performed in both Congos, though is more closely ...
"Mario" is a song by Congolese guitarist Franco and his group TPOK Jazz from his eponymous 1985 album. It is considered to be the musician's biggest hit. [1] Written and composed by Franco, the theme of the song is the story of a gigolo who lives with an older woman. Although he is a graduate, he prefers to spend his partner's money. [2]
At the age of 11, Kristy transitioned to gospel music and joined the acclaimed Kinshasa-based group Gospel Paradis Music. [4] Her ability soon became evident, and she quickly seized the attention of fellow Congolese gospel singer and evangelical pastor Kool Matopé, who invited her to become part of his musical group. [ 4 ]
During the early 1960s, a surge of young Congolese musicians sought to speed up the slow tempo of Congolese rumba, which precipitated the emergence of soukous. Artists began incorporating faster rhythms, and prominent guitar improvisation, often characterized by high-pitched, fast-paced lines imbued with more heightened African motif .