The liner notes tell a fascinating story of a family of Greek import-export traders who started at mines in the then-Belgian Congo, and branched out to open up the Ngoma label in the mid-1940s. Ngoma may have been the very first label recording early Congolese artists, and the label's unusual push to promote and distribute its music was apparently fundamental in Zairian/Congolese rumba becoming a pan-African sound more than a national one. The master tapes were lost in a pressing plant fire, and a pristine vinyl collection ...
Read More
The liner notes tell a fascinating story of a family of Greek import-export traders who started at mines in the then-Belgian Congo, and branched out to open up the Ngoma label in the mid-1940s. Ngoma may have been the very first label recording early Congolese artists, and the label's unusual push to promote and distribute its music was apparently fundamental in Zairian/Congolese rumba becoming a pan-African sound more than a national one. The master tapes were lost in a pressing plant fire, and a pristine vinyl collection destroyed in Kinshasa, so the songs here were transferred from old discs, and the sound quality is fairly rough and very compressed. More important, this music is very much pre-full-band-rumba-phase that took off with Franco and others in the mid-'50s, so there aren't any flashy rave-ups. It's dominated by lilting acoustic guitars backing singers, with the Cuban influences pretty implicit. If anything, it sounds like a parallel to pre-electric band pop stages, like mento in Jamaica, or pre-Mighty Sparrow calypso in Trinidad (Some rural Cuban styles would probably fit the profile, too).The disc is bookended by two versions of Congolese legend Wendo's "Marie-Louise": the 1948 track plaintive with guitar, the 1958 one with a full band in cha cha mode. Camille Mokoko contributes two strong songs -- "Ekoko Bata" is an ad for Bata shoes -- and the first taste of light electric guitar surfaces on "Yen Vavanga," by Manuel D'Oliveira. There are faint traces of the Franco sound-to-come here, and "Njila Ya Ndolo" features Antoine Moundanda's high-pitched voice, answering group harmonies, and introducing what sounds like a marimba.The big expansion comes on Leon Bukasa's tracks. A "solovox" organ comes out to play on "Tokanista Tata Ngoma" (which might be a 1952 funeral tribute to label owner Nico Jéronimidis) and some clarinet-saxophone duels on "Bibi Yangu." A full horn section flavors the melody to "Bibi Bertha Mosoko," and prominent organ dominates "Congo Ya Biso Basi Bayebi Kolata." Other highlights: Camille Feruzi's instantly catchy blend of sax, singing, and accordion on "Nabala Muluba"; Fylla Guy Léon's trio, with their lively rumba and vibrato-laden sax, and Adou Elenga's early version of "Maria Tchebo" (aka "Maria Tebbo," a big hit for Sam Mangwana 20 years later) with faint "La Bamba" touches.Ngoma: Early Years scores big for historical value, and those liner notes are a goldmine bonanza for African music historians. The one caveat here is they don't give a sense of how much Ngoma's presence influenced Franco's arrival, and how his popularity, in turn, affected the label's fortunes. It's also a good, but low-key listen within its fairly limited scope of African acoustic guitar music with well-sung vocals. Just don't come in hoping for pristine sound or big rhythm bands that will connect directly with the Franco stage. ~ Don Snowden, Rovi
Read Less
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
Very Good. Size: 5x4x0; This item is in very good condition with all original artwork and materials. Cover has some wear. The disc may have light superficial marks that do not affect play.