Zairean upbeat tempo goes on
African Records Review
By Kwabena Asamoah
PAMELO MOUN'KA: Ca Ne Se Prete Pas" (EDDY SON RC 2001) 'Ca Ne Se Prete Pas" "Qu'as-Tu Fair De Ma Pille"/"Tomara Ndjeu Nkasi A Me Nouruma
Most Zairean records appear to have a lot of surprises and "Ca Ne Se Prete Pas' is no exception. "A woman is a crossroads of problems" so says Moun ka in the first track whose musical hypnotism to the feet confirms the stamp of the Zairean musician. The merciless guitars leave no space to digest the music which itself flows impeccably. The arrangements in this track have a superlative quality.Moun'ka's choice of lyrics is fascinating. In 'Qu'as-Tu Fait De Ma Fille ("What have you done to my girl?") the only respite you've got is a short refrain; the rest is all 'musique à la Zairoise", tempting in form and content. When the trumpets echo in and out hell breaks loose. You are then convinced that the ghost of Rochereau lingers on.
You are wrong if you think that all Zairean/Congolese rhythms follow the same pattern. The beginning of "Tamara, Ndjeu Nkasi A Me' has a slow charisma which continues throughout the track especially when Master contracts to solo on his guitar. It is said that in almost every Zairean/ Congolese home there is at least one guitar. If this is true there might not be anything strange about it but good tuition is another thing which cannot be bought.
Where the guitar appears to be lacking there is something to compensate at least. The singing is particularly good in 'Nourama in which the trumpets carry the uptempo on top throughout
Experience is important in everything including music. Picking up some from Rochereau who together with Franco can summarise Zairean music, Moun'ka has proved his worth in this album which is one of the best I have heard recently. The question is: Can apprentices overtake their tutors? Check the album out.
XALAM: ""Goree"" (CELLULOID CEL 6656) 'Sidy Yella' 'Ade2' 'Goree' 'Kanu 2' 'Soweto'
Xalam, an 8-piece band whose background is mainly West African, employ influences from all other continents to embrace their music. The instrumentalists in 'Sidy Yella' sound like musicians who have got control over their instruments and can have versatility. The harmony in the horns section is more pleasant than the singing. Though Xalam have got a big name the arrangement in this album is unfortunately too ordinary to be equated to their standing.In 'Ade 2' which sounds like a number already done by Touré Kunda the guitar and the alto sax solos point to a mastery equal to enlightened professionals.
'Goree approaches the style of Edikanfo - a Ghanaian group who released their debut British album in 1981 in the Afrojazz vein. The track gets jazzier mid-way when Yoro Gueye picks up extraordinary trombone solos interchanged with Diatta's sax solos against the background of soft but beautiful synthesizers.
At the beginning of 'Kanu 2' is a catchy transformation of horns which could convince you that if they organise their music slightly better Xalam can mount the international music scene without necessarily playing African music. Just like most Afro rock groups the emphasis is not on singing, which is a pity.
Xalam have played alongside Hugh Masekela and others and have researched into Senegalese and other music forms. This rich experience is displayed in 'Soweto' which is livelier rhythm to seal off the album. Room is created for individual displays of instruments.
