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Kanda Bongo Man, another Paris-based artist, pioneered fast, short tracks suitable for play on dance floors everywhere and popularly known as kwassa kwassa after the dance moves popularized by his and other artists' music videos. This music appealed to Africans and to new audiences as well. Artists like Diblo Dibala, Aurlus Mabele, Tchicl Tchicaya, Jeannot Bel Musumbu, Mbilia Bel, Yondo Sister, Tinderwet, Loketo, Rigo Star, Madilu System, Soukous Stars and veterans like Pepe Kalle and Koffi Olomide followed suit. Soon Paris became home to talented studio musicians who recorded for the African and Caribbean markets and filled out bands for occasional tours.[29][53]

By 1937, Ral had refined his arrangements and equipped local musicians with contemporary instruments, leading to substantial advantages for Brazzaville's native artists, including Alphonse Samba, Michel Kouka, Georges Nganga, Cme Batoukama (guitars), Vital Kinzonzi (accordion), Emmanuel Dadet (saxophone, guitar, and more), and Albert Loboko (banjo, piano, guitar).[27][30] Four brass bands were later established in Brazzaville, notably the Fanfare Militaire, the Fanfare de la Milice, the Fanfare Catholique, and the Fanfare Municipale.[31] Dadet and Antoine Kasongo became the first Congolese artists to contemporize Congolese folk music by incorporating new influences into their songs.[31] Dadet became one of the rare homegrown artists proficient in saxophone, clarinet, and guitar simultaneously. Inspired by jazz soloists, he developed a musical style that incorporated diverse instruments, leaning towards "free polyphony".[31] His dance band, "Melo-Congo," gained prominence among the white elites, performing a diverse repertoire ranging from more geriatric waltzes and foxtrots to the contemporary rumba, biguines, and tangos.[4] It significantly contributed to the prominence of local artists like Pierre Mara, Georges Ondaye, Jean-Marie Okoko, Philippe Ngaba, Pierre Kanza, Casimir Bounda, Jean Dongou, Augustin Thony, Andr Tsimba, Pierre Loemba, Barte Mody, Pascal Kakou, Flix Maleka, and Botokoua. The band enjoyed tremendous success, performing in Poto-Poto at the dance bar PICKUP, then at dance halls like Chez Faignond, Macumba, Beaut Brazza, Chez Ngambali, Mon Pays, and Lopoldville.[31][4][28]

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In the early 1950s, local artists associated with eclectic Congolese labels owned by white settlers, such as Ngoma, Cognolia, Opika, Loningisa, and CEFA, began producing a similar style of Congolese rumba.[27][28] This style, often characterized by a slower tempo and minimal distinctions between orchestras, included songs like Zacharie Elenga, Antoine Wendo Kolosoy, and Antoine Moundanda's "Paul Kamba Atiki Biso" (1950) and Antoine Moundanda's "Mabele Ya Paulo" (1953), recorded by Ngoma Editions.[27][28][38] These record labels also provided the Belgian Congo a substantial platform for the proliferation and cultivation of homegrown orchestras and bands, such as African Jazz, OK Jazz, Conga Jazz, Negro Band, and Rumbanella Band.[27][28] Although the band names frequently included the word "jazz", Martin notes that "the essential musical inspiration came from African and Latin American roots". The name was used because young men were bedazzled by the American soldiers, especially African Americans, who were based at a military camp in Lopoldville during the Second World War.[4] Scholars such as Isaac A. Kamola of Trinity College and Shiera S. el-Malik of DePaul University suggest that these Congolese "jazz" ensembles exhibited minimal musical affinity with American jazz, interpreting the appropriation as "identification with another culturally vibrant yet politically under-represented population" and that it symbolized a form of modernity that deviated from Eurocentric norms.[39] This hybridity and foreign essence ensured that Congolese rumba did not align exclusively with "any particular tradition, region, or grouping" and allowed "Congolese rumba a broad and shared appeal".[39]

Following the establishment of Radio Congo Belge, with its extensive broadcasting reach in East, Central, and West Africa, Congolese rumba garnered an extensive audience, evolving into a central focus for East African artists to observe and emulate.[115] According to ethnomusicology professor Alex Perullo of Bryant University, Mobutu's Zairianization movement precipitated an upsurge in the popularity of Congolese rumba in Tanzania and Kenya,[116] and pirated albums and cassettes from Kinshasa made their way to local markets in East Africa.[116] Congolese rumba bands, such as Orchestra Maquis Original, established their operational base in Tanzania, alongside Mzee Makassy.[115] Proficient in executing Congolese rumba in Kiswahili, these bands exerted influence over local musicians like Simba Wanyika, Les Wanyika, Fundi Konde, Daudi Kabaka, and Fadhili William, who fused Congolese rumba rhythms with East African linguistic and cultural elements.[115] Kenyan local bands, such as TP Luna Kidi[117][118] and Limpopo International, embraced the Congolese rumba style while singing in their native language, Dholuo, interspersed with Swahili.[115] Meanwhile, other homegrown artists heavily leaned towards the Congolese rumba style, singing entirely in Lingala, to the extent that their local languages were seemingly overshadowed.[115] The popularity of rumba in East Africa, particularly in Kenya, coupled with the evolution of musical tastes, became a musical touchstone for older audiences, with resident bands in entertainment spots consistently including rumba in their repertoire.[115]

RASCOE: So you've been making music for more than two decades. And you have a lot of fans in France and the Democratic Republic of Congo, your home country. Is this album a new experience for them, or is it an extension of your signature sound, the music you've been making for a long time?

East African music fans are mourning the death of long-time bass guitarist Atia Jo. He played with the Orchestra Super Mazembe- a Congolese band that has been based in Kenya since 1975. The group which plays Africa rhumba music started in Democratic Republic of Congo (DRC) in 1972.

Atia is fondly remembered for his active role in popular music, as a composer, trainer, coach and recording artist. He played African rhumba in the Lingala language of the DRC, Congo-Brazzaville, Angola and Central African Republic. Atia added modern instruments such as the guitar and saxophone and was famous for songs like South View, Atia Jo, Kassongo and Ndona.

Kenny credits Atia for the bass guitar that helped drive the rhythms behind rhumba and animate the dance halls. He says during live performances, Atia looked cool and composed while the sound of his guitar moved the whole crowd.

Over the last couple of years the Lingala language has gained and continues to gain unprecedented popularity in Kenya. Many Kenyans now can speak fluent Lingala. Some even sing in the langauge! I'm talking about Papa Fololo, Igwe Prezda Bandasson, Awilo Mike of Jamnazi Africa, Fofona Bangali and myself, just to name but a few. Part of the reason for this popularity is: Lingala is easy to learn (For Lingala-Swahili similarities, click here). I mean, it is ridiculously easy. So easy, in fact, it takes just a few months. Forget about the Lingala you hear in songs that's bedeviled with iterations of Lingalized French (Hahah, what does that even mean?). I'm talking about Lingala in its purest form here, the one not polluted with foreign languages. Well, before I bore you to death with detail, I'm happy to present you here with 20 popular lingala words and phrases I thought you could be interested in knowing their meaning. Let's get right into it, shall we?

Once there they crafted the musical instruments they had played back home -- "percussion instruments, membranophones, idiophones and also the African piano, the xylophone," explained Gabriel Kele, head of musicology at DR Congo's National Museum.

Rhumba in Kenya is celebrated for its elevating gentle sound and its ice-cream sweetness depending on who is singing. It is a mood exciter and because it has a distinct afro-rhythm which resonates with the heart, many unconsciously identify with it. It proudly brings us together as a continent. We talk, we forget our problems and settle down to a sundowner with rhumba. Its who we are and how we like it.

Maurice Anguka, 46, is a rhumba enthusiast who has had his share of the Kenyan airspace. From Nyota Media in Bungoma, to Classic105Fm, KBC TV, ZukuTV and Radio Umoja he has worked with them all. He attributes his interest in rhumba on the fact that it simply oozes with charm and an unforgettable afro-centric beat and pulse.

This mix is spoken mostly by town dwellers, often the masses, with the middle class largely using French to pronounce a gentrified class statement. In rural DRC Congo, the country folk converse largely in unadulterated Lingala. Both produce a spectrum of rhumba delicacies we love.

In this century, languages and music are recognized, and rightly so, as more than just tools of communication and entertainment. They are gradually being placed in the same pedestal as natural resources. With more rhumba shows, there can be a deepening and appreciation our continental heritage as we blur the multilingual, multicultural boundaries of this rich continent. ff782bc1db