Music And Arts Scene
African Records Review
By Kwabena Asamoah
ROCHEREAU FEATURING M'BILLA BEL: 'TABU LEY' (SHANACHIE SH 43017). 'Gagner Gagner' 'Ibeba' 'Loyenghe'/'En Amour Ya pas De Calcul' Esw Yo Wapi' 'King Sa'.
Rochereau together with Franco still remain the cornerstone of Zairean music after more than 25 years in showbiz. He has managed to reach the North American audience with his hypnotic and lyrical voice and pulsating music after a 25-city tour. No wonder Shanachie decided to record him, thus providing this debut American LP which has been an immediate success and popularity.In 'Gagner Gagner' Rochereau urges people to pursue their objectives in spite of problems and risks. In an atmosphere of happy dancing the uptempo music flows with Rochereau's voice covering every corner.
Most people associate Zairean music with uptempo pulsating style but 'Ibeba' is a classic example of mid- tempo rhumba which is Zairean music form that also has a strong following. This style continues in 'Loyenghe' where Rochereau does a vocal duet and call-and-answer with M'bilia Bel, one of the hottest female attractions to emerge from the Congo region of Africa. The vocal harmony completely attracts and the music ingratiates itself surreptitiously in your favour. The guitar solo which is never missing in Zairean music comes in with power and a flash. Preaching against divorce, Rochereau may endear him- self vocally to his fans and critics alike.
The B-side would strike you as musically different and probably more interesting. It is possible that the music was played by the 'new look' Orchestre Afrisa International led by Rochereau. You can try on 'En Amour Ya Pas De Calcul' in which the lyrical sax riffs and the throbbing bass guitar would normally get hold of you. When the guitars pick up soles practically every key is possible.
'Esw Yo Wapi' reveals both Orchestre Afrisa International and M'bilia Bel at their best. The guitar picking at the beginning gives you a satisfying foretaste of what to expect in the track which has already been released on M'bilia Bel's debut LP - a hit in Abidjan, Kinshasa and Paris as well as London. The dominant and ubiquitous sax lacks boredom and the guitar riffs function for delight and happiness in which M'bilia Bel's beautiful voice swims.
Orchestre Afrisa International manage to sustain your interest in 'King Sa' with characteristic style and competence ranging from strong bass line, steady drums to guitar displays. The difference in music of the two sides makes you wonder whether the same group played both sides, but both sides are attractive.
Y'SSOUF KANTE: Y'SSOUF KANTE (AICD 003). 'Mansa Couloy 'Conjoncture'/'Dolo' 'Deception' 'Super Gnanmankoudji'.
There is the talk of break-up of Ambassadeurs Internationaux of Mali but the musicians continue to explore their individual styles in different groups. In this debut album recorded in Abidjan, Ivory Coast, Y'Ssouf Kante almost reproduces the sound of Ambassadeurs Internationaux.With the significant female vocal backing of Djene Doumbia, Fatou- mata Kouyate and Djekonia Diabete. Y'Ssouf Kante vocally lifts a tune that sounds like reggae. What would another immediately strike you is the excellent guitar works of Kante Manifla who has played with and led Ambassadeurs Internationaux during the 'Primpin' days. The strong bass line competently provides a prop for the horns and the organ to pursue a musical course that will convince every listener.
Y'Ssouf Kante is at his best in 'Conjoncture' a word meaning recess which is on the lips of almost everybody in Abidjan. The tight horns arrangement coupled with the guitar works are excellent parts of a song that hovers around Ghanaian hi-life beat as in 'Dolo'. The organ solo by Smith, Ghanaian in character, sounds captivating and convincing.
'Deception' is a mid-tempo with a difference but has a beautiful colour to its beginning with an organ refrain which paves the way for the subdued but emotionally-charged female vocal line probably complaining of men's deception. The organ which fills the background reaches the listener quite effectively without frustrating especially as the horns filter in beautiful arrangements as well.
The beginning of 'Super Gnanman- koudji' may bewilder the uninitiated with its apparent complexity but the harmony both vocal and musical is one of the best I have heard lately. Kante Manifla's guitar and Lanfia Camara's conga pounce on the listener with so much satisfaction and pleasantness.
The music on the album is well rehearsed and well-tuned. The harmony is superb and the arrangements quite professional. I enjoyed listening and reviewing.
