Booklet

Sam Fan Thomas, 1978 When I stepped off the plane in The foundations of Makossa are roo- Douala I was greeted by a blast ted in the rich cultural traditions of the of heat and a chap named Claude Sawa people, a tribe which originated Fabo. Claude, a highly respected in the coastal areas around Douala and musician who has worked with whose language gives Makossa much some of the greats – including of its spice. Makossa was inspired by Franco, Tabu Ley, and Sam Fan various Sawa musical styles, especially Thomas – was going to spend a Assiko, Bolobo and Essewé, a psycho- month helping me locate and in- therapeutic dance performed at fune- terview musicians in this chaotic, rals intended to exorcise the pain that sparkling city. Claude knew im- comes from losing a loved one. mediately where to begin: “We have to start with Akwa.” Revolution was in the air when mo- dern Makossa started to emerge du- Akwa, also known as the artist’s quar- ring the early 1950s. Alongside strug- ter, is one of Douala’s oldest and most gles for independence and the idea important neighbourhoods, and has of Négritude as put forth by Léopold always been the musical heartbeat Senghor, illegal leisure places that sold of the city. From clubs and labels to locally brewed drinks such bili-bili, record stores and recording studios, Kwata beer, and raffia wine, flourished everything happened there, and most giving musicians a venue to showcase Doualians of a certain age will remem- their talent. With the spread of electri- ber nights spent dancing up a storm city and new musical equipment, Nel- in its discotheques and cabarets. It is le Eyoum and other pioneers forged also in Akwa that Sam Fan Thomas, the identity of Makossa and defined the man responsible for recording one the grammar rules for generations to of Africa’s most successful albums, come. The one main rule was that any had built his Makassi Studios. I didn’t kind of music that would improve the know what to expect from this Ma- already existing sound would be ad- kossa legend, but he turned out to ded as an additional flavour. That‘s be one of the coolest and nicest peo- what made Makossa so successful; its ple I would meet during my journey. ability to absorb and integrate count- Sam welcomed us into his place with less different musical genres. a wonderful smile and over a crate of ice cold beer began giving us an insi- The one musical genre that had the de look at the history of Makossa by greatest impact on the sound of Ma- pointing at a wall full of vintage pho- kossa was Congolese rumba. Rumba, tos that represented countless magic which had reached Cameroon thanks moments: to the powerful transmitters of Radio Léopoldville in what is now Kinshasa, “Those were good times – good music originated from African slaves in Cuba; it is a music of migrant workers and and good times. This is a picture of Nel- the urban poor, and is itself a fusion of different sounds including Calypso, le Eyoum, the guitar player of Orchestre Merengue, Antillean Biguine and Spa- nish Fandango. From Cuba, Rumba re- Negro-Styl and the guy responsible for traced the triangular route of the slave ships back to the motherland where it first coining the word Makossa. Nelle finally rooted itself in West Africa and used to encourage people to dance by shouting ‘Kossa! Kossa!’ In our local Douala dialect Kô means fall and Sa means dance, so basically what Nelle was saying is let’s ‘fall’ into the dance and move. We started to say ‘Let’s go to the club where they’re playing ma (my) kossa tonight’ and the name Ma- kossa stuck.”

the Congo. Due to its association with these musicians have the advantage The third and last Makossa gene- the struggle for African independence, of a solid platform on which to build, ration – including such legends as Rumba took many sub-Saharan coun- but many had received a musical Nkotti François, Emile Kangue, Misse tries by storm and a whole generati- education as well. Ngoh François, Ngalle Jojo, Eko Roo- on of Cameroonian musicians grew sevelt and the mighty Black Styls – up listening to the wizardry of guitar Just as Makossa had absorbed the developed a style of modern Makossa virtuosos such as Vicky Longomba, popular styles of Rumba and High- in which the rhythm guitar had be- Franco and Docteur Nico, to name a Life a decade earlier, it now began to come the central instrument. A parti- few. Many of the Makossa guitar riffs integrate an element of Funk. “James cular arpeggiation technique, which were little more than reworkings of allowed the musician to play several Rumba ones! Brown’s music had a huge impact in notes at once, gave this new brand Cameroon” said Bernard Ntone, saxo- of Makossa its unique sound. Charles In addition to Rumba, two musical phonist in Manu Dibango’s band “No Ewandje, Eboa Lotin, Vincent Nguini styles that had a major impact on Ma- and Nguime Manulo all mastered this kossa were Merengue from the Do- wedding took place without the song technique, although the one guitarist minican Republic and High-Life from who set a new standard for Makossa Ghana and Nigeria. Makossa was ‘Say it Loud – I’m Black and I’m Proud’ was Toto Guillaume; Toto, also known an urban hybrid. By fusing the folk as Toguy, shot to stardom with Nkotti rhythms of Cameroon with the popu- being played; so all bands had to know François’s Black Styls in the mid 70s, lar dance styles of the city, groundbre- and would later move to Paris whe- aking bands such as Les Negro-Styl, how to play JB’s stuff. As a result you re he would study music and become Uvocot Jazz and Los Calvinos – led by the captain of l’Equipe National du the likes of Lobe Lobe Rameau and can hear Funk in Makossa’s horn sec- Makossa. Mouelle Guillaume – spearheaded the Makossa movement and established a tions, its bass lines, and to an extent in With the success of Makossa, pro- new musical standard. the drum beats.” ducers began investing in new tech- nologies and importing all kinds of If Makossa could be expressed as a One of the musicians heavily influ- synthesisers and guitar effects which, single mathematical formula it would enced by Funk was Manu Dibango, in turn, boosted the sound making it be: Bolobo + Essewé + Assiko + whose hugely popular 1972 song more appropriate for night clubs. Congolese Rumba + Merengue + ‘Soul Makossa’ – which made it to the High-Life = Makossa. top of the US charts and sold in the millions – was a turning point for Ma- kossa. And while the song itself had nothing to do with Makossa except for the name, the promotional impact was phenomenal: people who had never even heard the word Makossa were now asking for more. Between the mid 60s and the mid Of course, other musicians – notab- Les Black Styls, 1978 70s, a second generation of Makossa ly Ekambi Brillant, Tim & Foty, Jules From L to R (standing): musicians emerged, which included Kamga, Pasteur Lappé, and Elvis Ké- such names as Willy Le Pape, Eboa mayo – thought: “If Manu can do it unknown, Lottin, Ebanda Manfred, Charles why can’t we?” Suddenly there were Toto Guillaume, Lembe, Jean Dikoto Mandengue, dozens of new compound rhythms Francis Bebey, Georges Anderson being churned out: Disco Makossa, unknown, and Charles Ewandje. Not only did Funky Makossa, Pop Makossa, Salsa Nkotti François, Makossa, Smurf Makossa, Soukous Makossa, Love Makossa, Jazz Ma- Emile Kangue kossa, Soul Gandjal, Soul Mangam- From L to R (Sitting): beu, Soul Mendzong, Soul Assiko and countless others. Mouele Jean, Lobe Yves, Éboulé ALbert

Another important label was Disques Benin … that revolutionary move was a Cousin, founded by Mathias Njoga game-changer for the region. Labels in 1976. His first release by Nkotti started to mushroom in Cameroon, François et les Black Styls was recorded especially in Douala the Makossa capi- on a 4-track recorder and pressed in tal of the world.“ Kinshasa, with the help of a flight at- The offices of Tamwo Records, one of tendant from Cameroon Airlines who Cameroonian musicians touring Douala’s most important labels, are agreed to take the master tape to the Europe would change the face of located in the same building as Ma- Congo. By the following year, the label Makossa forever. Due primarily to kassi Studios. When founder Isidore had become much more serious, with economic factors, Cameroon’s cultu- Tamwo got wind that someone from Njoga producing numerous talented ral resources had been in a state of Europe was making a “documentary” artists including Salle Jhon, Atanga- constant crisis since independence; in about Cameroonian music one floor na Pascal, Ebongue Edouard, Tokoto Paris, however, there was not only a below, he rushed down to participate Ashanti … the list goes on and on. more advanced infrastructure of clubs, in the conversation. labels and studios, but also a constant You also had Nicholas Mongué’s Nicholas Mongué of the Chic Sound supply of studio musicians – known as “In the past, it was crazy – people Chic Sound, who’s biggest hit was the label recalled the complexities of the ‘sharks’ – who had, for the most part, used to come and dance in front of my masterpiece Résurrection Los by Los production process: “The record covers come to Europe to study music. record shop - before going out to the Camaroes, released in 1978. It was were printed in Lagos (Nigeria) and, night clubs! That was la grande époque. recorded live to two-track at the Man- since the journey was short, we would Cameroonian musicians, especially go Bar in Yaoundé. Chic Sound also transport them by car to the Satel the bass players, had been gradually released Djoumbissie Gérard, Dussalo, premises in Cotonou where everything establishing a name for themselves Manuel Guysso, Richard Band de Zoété, would be assembled. Most of us wor- in the world of international show Valère Ebéné Maxime, Philipe Eteki and ked with Satel until 1980 when Paul business, to the point where it was Lobé Lobé Emmanuel. Bayi, a film producer, imported a vinyl possible to speak of a “dynasty of press from France and opened the plant Cameroonian bassists.”  Manfred for business. Unfortunately the press Long, Joe’ Tongo, Jeannot Karl, Diko- closed five years later when Bayi gave it to Mandengue and Richard Bona are up to concentrate on a political career. just a few of the names who received The press was dismantled and the metal their training playing Makossa. While recycled” lamented Mongué. some bassists like Jean-Paul Lietche remained in Cameroon, many deci- Makossa started to make an interna- ded to settle overseas where working tional name for itself and bands who conditions were better. until then had been mainly based in Cameroon started touring overseas, The international success of Makossa, especially to Paris. and the ensuing ‘Makossamania’, was due largely to a group of top studio An important label for Makossa was Meeting between Manu Dibango musicians in Paris known as L’Equipe Africa Oumba, founded by Wonga (president of the Cameroon music corporation - Cmc), Jules Patrick in 1979. He produced music producers and labels, Douala 1978. From L to R Ange Ébogo Émérant, Axel Mouna, From L to R: Soh Bernard - Editions Soh, Manu Dibango, Unknown sound Engineer, Clement Djimogne Aloa Javis, Jean Paul Mondo and Eyoto Nde Michel - Editions Tricontinental, Mathias Njoga - (aka Mystic Djim) and bass player Jean Paul Lietche Norbert. But his biggest success was the Disques Cousin, Ndedi Pierre Chartriand - Composer at CrTV (Cameroonian Radio and Television) Makossa album Dikom Lam La Moto Isidore Tamwo 1974 by Émile Kangue, bassist and singer of The Black Styles. It became one of the When I started producing music there best-selling records of 1981. were no pressing plants in Cameroon,   so we would record the artists here and And finally, there was Productions mail the master tapes to France where Lanceleaux-Foty, which produced  Sala the records would be manufactured and Bekono, Kon Mbogol Martin, Effa Paul, then sent back to Cameroon. Jean Paul Dikoto Mandengue, Charly Nelle, Ekwe Mondo, Sam Batcho, Djene Djento, and Silo, Charly Bokher, Jo Bayi, Gapit- Mister Bibi are among the most illustri- cha, Cella Stella, Bikoi Joseph, Roger ous artists of my stable. Especially Sam Etia Atebass, and the huge Bikutsi band Fan Thomas, who enjoyed a spectacular Les Têtes Brulées. success with his album African Type   Collection, the best-selling record in the All these labels, with a few exceptions, history of Makossa. had to have their records manufac- tured overseas until 1973 when Satel [Societé Africaine de Techniques Elec- troniques] opened a pressing plant in

National du Makossa (the national Makossa team). This team soon esta- blished itself as a hit-making machine, averaging fifty gold records per year, and as the go-to band for any aspi- ring artist. Two of the sizzling songs on this compilation – Eko Roosevelt’s ‘Mongele M‘Am’ and Bill Loko’s ‘Nen Lambo’ – were recorded with mem- bers of L’Equipe National and demons- trate the calibre of their talents. The team’s earliest players included Isidor Tamwo´s Disco Soul record store Toto Guillaume, 1978 Manu Dibango, Jean Dikoto Manen- gue (bass), Eko Roosevelt (keyboard, piano, arrangement), and Claude Vamur (Antillean, drums). But it was the expanded second group – including Toto Guillaume (guitar, arrangements), Aladji Touré (bass and arrangements), Vicky Edimo (Bass), Jean Claude Naimro (keyboard, pia- no), Ebeny Donald Wesley (drums), and Jean Marie Ahanda (trumpet) – who scored the biggest hits with stars like Dina Bell, Bill Loko, Guy Lobe, Pierre De Moussy, Ben Decca and many others. Despite the successes, it wasn’t all “We had built a strong team which Although Douala had been the capi- Claude added just before I jumped Interviews by Déni Shain smooth sailing: the team was allege- played for practically all the artists who tal of Makossa, many of the musicians onto the bus. Written by Samy Ben Redjeb and Adz dly torn apart by a war of leaders- came to record in France. The band was we wanted to interview were now Edited by Jesse Simon hip between the two most prominent tight, there was a real cohesion … but living in Yaoundé. And like Douala, Claude hadn‘t promise too much. One arrangers, Toto Guillaume (Toguy) and then it was bit by the Cameroonian Yaoundé’s nightlife had once been day and many phone calls later we had Special thanks to Jean Maurice Noah Aladji Touré. When the smoke had virus. With Cameroonians it’s always buzzing with the sound of Makossa. already tracked down the legendary writer of the book “Le Makossa - cleared, all that remained was an like that, I don’t know why. When In its heyday, the cabarets were full bassist Jean-Paul Lietche who took Une musique africaine moderne“ unhealthy rivalry between the pro- things go well, there is jealousy, people every night of the week and each me to the house of Clement Djimogne ISBN : 978-2-296-54150-4 Toguys and the pro-Tourés, something oppose you. The result is an icy chill like one had its own band. The Tulipes also known as Mystic Djim, the mer- that many have come to regret, you can’t i magine. Everything broke Noires played at The Philanthrope, curial hit-maker whose wizardry on a including Touré himself: down, we stopped playing together and Messi Martin and the Camaroes at simple home 4-track recorder could everyone was on his own.” the Mango Bar, Élanga Maurice at outshine even the mighty studios The Passo Bar, The Denga Boys were of Cameroon’s National Radio The break up had catastrophic at the Hotel Aurore, Pierre Didy Tcha- station. But before arriving in consequences for Makossa, which kounte was at The Kings Bar, and The Yaoundé, I made an all important quite never recovered. His majesty Big Vultures were somewhere else; stop in Kribi to meet the enfant Eko Roosevelt, nostalgic for the the Black & White often featured fo- prodige of Cameroon’s music collaborative spirit of the old days, reign artists like the legendary Ama- scene, his majesty and dismayed by the cut-throat and ra Touré, and the Mount Fébé Palace Eko Roosevelt. egocentric individualism he sees was where Johnny Black, Cameroon’s today, remarked wryly:  answer to James Brown, used to sing. These stories, and many more, “Even before Cameroonian football, Knowing all this I decided to hop on are recounted in the Makossa managed to unite the entire the next bus to Yaoundé. Claude had following interviews. In the country around one powerful identity. put me in touch with Marcel Talla, a meantime, fasten your seat But just like les Lions indomptables, respected tenor saxophonist with the belt, set up your headphones, success is dependent on team spirit and Cameroonian Radio and Television and enjoy this very groovy the unity between members. Unfortu- (CrTV) Orchestra and a knowledge- flight to the land of Makossa.  nately some Makossa artists became able, well-connected music lover. greedy. As soon as they had their first “I am putting you in good hands … with Drummer Ebeny Donald Wesley, hit they ditched their old collaborators him you will find everything you want” 1981 so they could boast of being simulta- neously the author, composer, arranger, bandleader, multi-instrumentalist, pro- ducer, distributor and everything else! That hyper concentration of roles just creates pseudo-artistic big-shots, much to the detriment of the final product.”

Eko Roosevelt relaxing on a beach in Lobé, 1983

The town of Kribi is a magical band called Dikalo. It was a band in the dio DJs realised there were more gems place. I had just spent a month vein of M’Bamina and Les Cheveux Cré- on the album. Before I knew it ‘M’On- in the busy port city of Douala, and pus (Frizzy Hair), both Afro-funk groups gele M’Am’ was being played in all of was now making my way to ano- based in France. We recorded a success- Douala’s night clubs. It became a disco ther large city, Yaoundé, the capi- ful album and got invited to play at fes- sensation, and it turned into a huge hit tal of Cameroon; but on this mor- tivals where we would share the stage a few years later when our national te- ning when I opened my bedroom with Osibisa and other mighty bands. levision channel used it as a jingle. That window I was greeted by the stun- wasn’t an isolated case. The song ‘Kili- ning view of a street lined with From a personal point of view, the tur- mandjaro’ was used as the theme music palm trees – half their trunks pain- ning point came when I was asked if I for Africa Nr. 1 [one of the continent’s ted white – and colourful wooden could compose a song for the first Con- most popular radio stations, based in houses overlooking the ocean. This corde flights from Paris to New York via Libreville] for over twenty years … and gorgeous little seaside town was Dakar. That’s the moment my career I never received a penny for it either – a blessing. Outside on the street, took off. It was a song called ‘Nalandi’ that tune was bootlegged like crazy! I waited for the arrival of the man which was later used as a jingle for a known locally as ‘his majesty’. Eko French TV program. That propelled me I came back to settle in Cameroon Roosevelt enjoyed considerable suc- into the limelight as a pianist and sin- around 1982 and started teaching mu- cess in the 1970s and 80s as one of ger. With the money earned I co- foun- sic at the university of Douala. In the Cameroon’s greatest bandleaders ded a company called Safari Ambiance evenings I would entertain the jetsetters and arrangers, but had spent the and signed numerous Af- rican and An- at the Méridien Hotel, and from time last several years as chief of this tillean artists, including Martin Rompa- to time I would tour. My whole life was idyllic town. vel, Bovic, Sami Massamba, Tanawa, structured around music … until my M’pongo Love, to name just a few. I was grandfather passed away. Soon a rusty blue Toyota 4x4 pulled constantly producing and the studios of up, and a man got out: classy baseball Paris became my living room: Barclay, I arrived in Kribi to attend the funeral cap, a smile on his face, sparkling eyes Davoux’s, Maia, La Grande Armée, and and after the ceremony I was surroun- and an impeccably trimmed white plenty of smaller ones. ded by the traditional leaders who as- beard. I had no doubt it was him. We ked me to replace my grandfather as shook hands and within seconds we The song ‘M’Ongele M’Am’ is from my village chief. I didn’t want to leave mu- were already laughing, talking music album Eko, recorded at Studio Johanna sic, but I loved the idea of helping my and enjoying each other’s company. in 1980, with Vicky Edimo and Aladji community. I thought to myself: ‘Came- We left for Lobé, the nearby village, to Touré on bass, and Patrick Francfort roon is not that big; I can live in Kri- have a drink. The dirt road was rough (from the Gibson brothers) on drums. bi and play music in Douala or in Ya- and famed for accidents, but Eko knew I sang, played keyboards and some oundé.’ So that’s how I ended up living it by heart; he navigated an effortless guitar. The huge analog mixing conso- in this heavenly place! path through potholes so deep and so le looked like the flight deck of a plane numerous that I began to wonder if, and was controlled by the sound en- People have often said to me ‘One has one day, Cameroon could utilise their gineers Didier Pitois and Gabriel Nass. to be a multi-millionaire to have all potential as tanks to breed fish. Recording the rhythm section took one that!’ but I tell them that I didn‘t buy day, the voices another, and one more it. I was born here, my parents’ graves Twenty minutes later we arrived at the for the brass. I added harmonies later are here. This was my first house, where local beach bar. As required by Came- using a Solina keyboard. my daughter grew up, and where my roonian custom, I ordered a crate of grandchildren play … and now I’m beer and brought it to a small table The studio is always an adventure when about to become a great-grandfather. were we sat, bare footed, toes in you start an album. At the beginning I‘m also waiting for someone,” Eko look- the golden sand. Over ice-cold beer I’m a bit stressed, but once we finish ed up at the sky, “to tell me ‘You’ve had I asked his majesty about his life as recording the rhythm section and the your time. It’s time to come up now’.” a musician in Cameroon and how he thing starts to take shape, that’s when had come to be the chief of such an I can relax. At the end of the recording Interview by Déni Shain extraordinary place: sessions we would all go and have din- Written by Adz and Samy Ben Redjeb ner together, then go to a bar to enjoy “The Canadian missionaries of my the Parisian nightlife. The next day we Top Picture would all meet in the studio, listen to A happy fan on stage at Cinéma Le Wouri school noticed that I was talented, and everything carefully one last time and fix anything that needed fixing. That with Eko Roosevelt, Douala 1978 they started giving me piano lessons. was my routine. Central Picture They also taught me music theory, I imported the Eko album to Cameroon Ekoulé Francis (Trumpet), Féfé priso (Trombone), for distribution and I was sure that the Dooh Émile (Saxophone) and Fotso messack (Saxophone) which is how I became the organist of song ‘M’Ongele M’Am’ – which has almost a Latin rhythm – was going to at Cinéma Le Wouri, Douala 1978 the school choir. Then I moved to Sene- take off and make everybody dance … but surprisingly nobody was interested Lower Picture gal and studied art in Dakar. Music was in it. From that LP it was ‘Attends-moi’, Ekoulé Francis (Trumpet), Féfé priso (Trombone), a track we spontaneously created while Dooh Émile (Saxophone), Fotso messack (Saxophone) the field I was most interested in, especi- warming up in the studio, that got most and Tchato Flaubert (Bass) at Cinéma Le Wouri, of the attention; but from there the ra- ally because I understood I could make Douala 1978 a living out of it … if only I had the chance to travel overseas. That oppor- tunity arose in 1968. I travelled by ship from Dakar to Marseille, and from there I continued to Paris where I enrolled in music school. I began jamming with va- rious musicians and we formed a funk



The pollution in Yaoundé is al- town anyway, so this time my father en- just given birth to my first daughter ways palpable, but today the rolled him in another missionary school and my dad used to take care of the air is so thick I can hardly breathe. much further away, in Balmaio. What baby while I was in the studio. Mystic The humidity is at 90% and I’m he didn’t know is that Balmaio was a Djim was in the control booth doing the struggling to make my way to the real hive for some of the greatest mu- sound. The music was recorded first and city centre where I have a meeting sicians of the day including Jules Kam- the vocals were added later. Mystic was with Marcel Talla. Two days ear- ga, Mickael “Mike” Kounou and many communicating with us via a micropho- lier we had started the process of others. ne and would say stuff like ‘Attention, tracking down the artists on this the light is red! No more noise from now compilation, and now we were He got expelled because he was spen- on!’ We listened to the music through reassessing the situation and going ding more time in clubs than in school; the headphones, then we sang. It was a though the list of names one more that’s when he decided to dedicate his weird feeling. time. I started reading out the na- life to music. By that time he was old mes one by one, and when I got to enough to take care of himself, and my We would finish recording every night at Emmanuel Kahe, Marcel said “We dad was tired of giving him orders; ins- around 10 or 11pm. Emmanuel would might as well start with Kahe. His tead he bought him a second-hand car pay each musician, then drive everybo- sister Jeannette lives just a few mi- so he could work as a taxi driver. dy home in his taxi. We would be the nutes from here!” But music was never too far away. last ones to get home. We took plenty Every evening, after he’d parked his of pictures of that adventure. The third We drove up the main avenue from cab, his friend and bassist André Man- and last day was the day I was going to the roundabout of Nlongkak, but ga would come over and they would sing my song ‘Soua’ but things didn’t suddenly we made a turn onto a dirt practice. When Manga moved to Libre- go well. I was nervous and not singing path. It didn’t take me long to figure ville he was replaced by Jean- Paul Liet- well, and there were heated arguments out that we were in a rough area … che, considered by many as Yaoundé’s with Emmanuel. ‘If you don’t want to and judging by the surprised look on finest bass player. sing, don’t sing” he shouted “but don’t people’s faces, I can tell that not many come here and waste my time!’ Fortu- foreigners had ever set foot here. As One day Emmanuel returned home nately Mystic Djim calmed everything we started to walk down the narrow with Kaful, a refugee from Equatorial down by reminding Emmanuel that path between two wooden houses that Guinea who was looking for a place to recording wasn’t easy, especially not lead to Jeannette Kemogne’s house, stay until he could figure out what to for someone recording for the very first I could hear the rumble of a bass do next. I’m not sure where my brother time. There were some little tensions, guitar. A cluster of children appeared picked him up but he clearly looked lost but we finished the album. and escorted us inside where I found and my brother invited him to stay at Jeannette, all flowing dreadlocks, sea- our home. It turned out Kaful was an I wasn’t the only one to struggle: even ted next to an amp practising her la- excellent guitar player; they started our lead guitarist Marcelin Wandja had test song. She smiled in surprise at the jamming and that jam session lasted a hard time adapting to the beat my sight of a white man in her home and two years. They became inseparable brother had in mind and Kaful, who asked us to sit down and have a drink. and every night they would rehearse knew Emmanuel’s songs by heart, hel- In the room was an old broken fridge the songs in preparation for the album. ped with the guitar arrangements. At which had been turned into a cup- I was always hanging around, and since some point everything clicked, and the board; she reached inside to pull out I played the guitar and also sang I was band started rolling seriously. I recall two glasses and, from where I was sit- asked to compose a song for the project. that a producer from Nigeria showed ting, I couldn’t help but notice a copy The result was the song ‘Soua.’ up while we were recording, and he of the album Pouala stuck in among asked my brother if he would consider the plates and cups. Upon seeing my Everything started to fall into place and selling the project. Kam Alex heard the reaction, she grabbed the record and Emmanuel began looking for musicians conversation and encouraged him to handed it to me; it was in absolutely to form a solid band; Kam Alex, was take the money, but it wasn’t going to perfect condition. “So that’s what you the drummer, percussionist and lead happen. Emmanuel had put too much came here for?” she asked with a smile. vocalist; Efila Vincent, now the head of of his heart into the project and now the CrTV Orchestra, was on keyboard; he wanted to see how far he could take “This neighbourhood was a hot-spot for Jean-Paul Lietche was on bass, Marcelin it. At the time most people here didn’t Wandja and Kaful played the guitars, believe in the project … to see someone artists back in the day. Johnny Black and Ndjike Réne and Josoua were on coming for this record 32 years after it horns. Although he sang a little, Emma- was recorded just shows that he had a had a night club here called Le Salon, nuel was mainly the composer and ar- vision which none of us had.” ranger of these songs. Seke Louise and and we would all linger around peeking myself did the backing vocals. Emmanuel Kahe continued to com- pose until his death on 24 December in from time to time because officially We entered the 16-track studio of the 1997. He was only 39. National Radio Station in April 1984. we weren’t allowed to enter. My father I clearly remember the date since I had Interview by Déni Shain Written by Adz and Samy Ben Redjeb was worried because he didn’t want Emmanuel to become a musician, so he sent him to the Adventist seminary in Ananga. But that didn’t help. Emma- nuel used to sneak out to play music in Emmanuel Kahe and Jeannette Kemogne Douala, 1983



“Whether you accept it or not ‘the moved to Yaoundé to pursue a career Wom’ by Zélé Le Bombardier, ‘Femme Mystic Mobile Studio’ rises like a as a musician and, in 1983, formed the Cocue’ by Bibabi Nfana were just some flood and fills the heart of many mu- band Mystic and the Spirits whose de- of the hits we recorded in his studio; but sic lovers. It’s signed by Mystic Djim, but cassette Fire Largeau contained there were many more. We recorded a man who helped many. Concerned the song ‘Yaoundé Girls’. While he over fifty albums together, and worked with raising his seven children cor- was an undeniably talented guitarist, with artists such as Atebass, les Daltons, rectly, he knew he had to make percussionist and singer, his true gifts Rantamplan, Zangalewa, Sala Bekono, some sacrifices by wearing trousers were as a producer, arranger and, Tino Bazoa, Mbarga Soukous, Gibral- with no style and canvas shoes, so- above all, as a sound engineer … and tar Drakus, Noah Nkukuma, Ebogo metimes accompanied by an old, his unique vision for what sounded Emérent, Owona Anderson and Jean tatty hat, which some people suspec- right would soon become legendary. Miché Kankan. ted only served to cover encroaching baldness. But all of that added to the In 1986 he bought a cheap and very In 1987 Elvis Kémayo, a well-known mystique surrounding this very aty- basic 4-track recorder, along with an Cameroonian singer, witnessed Mystic pical man, who people would nonet- assortment of instruments, amplifiers working his magic with some orchestras heless benefit from getting to know.” and other pieces of gear; this became – The Combatant’s Orchestra and The – Joseph Tsala Adah, La Face cachée the foundation for his ‘Mystic Mobile Golden Sounds – during a military fes- de Mystic Djim Studio,’ which he set up in his living tival. Kemayo was so impressed that he room. Working night after night with a offered Mystic the job of sound engineer His birth name was Clement Djimog- tight-knit group of backing musicians for the prestigious CrTV orchestra. Since ne, but his wizardry in the recording – in particular the legendary bassist, the work would provide a much-needed studio soon earned him the name Jean-Paul Lietche – Clement’s creative source of income, Mystic accepted. ‘Mystic Djim’. The songs he recorded genius thrived. Lietche, who still lives on a simple four-track could outshine in Yaoundé, told us about the history But Mystic’s work was not without con- even the professional 16 track studio and atmosphere of Mystic’s studio: troversy. In the mid 80s he produced at Cameroon’s National Radio station, a compilation of music entitled Mbon- and by the mid-1980s Djim’s home “It was Daniel Vusa on rhythm guitar, ga Vol. 1, which contained versions of studio had become the place of choice Steven Njana on drums, Daniel ‘Simba’ songs by popular artists recorded with for many popular artists from Ya- Evoussa on lead guitar, myself on Bass some unnamed musicians. According oundé. The legion of singers who got and Mystic Djim on vocals and per- to Mystic, his intention had been to their first break thanks to Clement also cussion – that was the team. We were promote Bikutsi. But, allegedly, not all referred to the mercurial producer as all on the same wavelength, and that’s of the songwriters – including Gibraltar ‘The Star-maker’. Clement’s ascent what made the difference. The rehear- Drakus, Nkodo Sitony, Ebogo Emérent through the world of African music sals were rigorous. We would meet in and Mbarga Soukous – liked the way began with an unplanned trip to Ni- the afternoon and Mystic would start their songs were presented; and they geria in 1976. “I went there on the spur the session by giving us some ideas and never received any kind of royalties. we’d improvise around them. We spent However, even though Mystic had his of the moment for an adventure with a lot of time getting the bass line right, share of detractors, what’s unquestio- because everything else revolves around nable is that he was decades ahead of some pals who, like me, were attracted it. He’d say ‘The bass can’t be like that his time. He had a revolutionary im- to Nigerian afrobeat music,” Clement because it will inhibit the dancers. The pact on the music scene in Cameroon recalls. “From Nigeria I roamed the bass line should make the girls shake in the 1980s and 90s, which is still like they did the other night at L’Esca- being felt today.” whole West-African coast playing in a lier Bar’ … and then he’d imi- tate them dancing! Sadly Mystic Djim died from head in- band called The Mighty Flames and se- juries suffered as the result of a mo- All he had was this small mixing desk, torcycle accident in 2009. We were arching for what was out there. We were but he managed to get the sounds just able to meet with his widow, who told right! Some people would say ‘We can’t us that Mystic always believed someo- often broke but I was content with the record with Mystic. He’s only got a ne would come looking for his music basics: rent and food.” 4-track, and we need a bigger studio’ one day. “When you came, my child- … all that nonsense. But what Mystic ren and I thought it was a dream. We’re What Clement found was a musical produced sounded better than what very moved. It’s not about the money. calling. He was hired as a live sound came out of the national radio studio! It’s more that his name will be remem- engineer for Fela Kuti’s concerts, and His experiences in Nigeria – especially bered that makes us happy.” spent a year mixing the sound for Son- the frugality – taught him a few import- ny Okosun. It was a premonition in the ant lessons, especially that less is often Interview by Déni Shain form of a dream that caused Mystic to more, and that your ears are the best Written by Adz and Samy Ben Redjeb return to his home in Baffousam, in the recording equipment … and his ears West of Cameroon. “Fela, and especial- made all of Cameroon dance! Little by little – and then in droves – singers ly Okosun, were sad to see me go but my started knocking on his door. If he liked an artist he would make a demo tape parents were delighted. They told me: and help the artist find a producer. So- metimes he’d even produce it himself. ‘God told you to come back. We prefer ‘Thermomètre’ by Catino, ‘N’Nom you to come and eat tapioca here than caviar over there.’ ” When Clement returned to Cameroon in 1979, he came with copies of his al- bum Money Make Man Mad in his suitcase; the album had enjoyed some success in Nigeria on the strength of the uplifting ‘Africa’. Clement soon

When I arrived to meet Ber- ce. I was awoken by Marcel Talla who Olinga Gaston (Guitar), Théodore Essama (Bass), Koffana André (Guitar) and Bernard Ntone (Saxophone) at the Decca Studios, Paris 1976 nard Ntone at his house in came knocking at my door at dawn. Yaoundé, I found him hectically He told me to get dressed and said my plans to a very attentive group of gained its independence and Franco had at the Decca Studios, which was just a going through boxes full of docu- we were heading to the other side of legendary and curious musicians. At released the legendary ‘Baya Baya’ song. stone’s throw from our hotel. Manu had ments. The former saxophonist in Yaoundé. I obeyed, half asleep, not the end, one of them approached me [which Ntone starts humming]. For you booked the studio for four days but we Manu Dibango’s band explained really knowing what was going on. and reached out to shake my hand: to understand the musical level I had rea- finished the album in three … and since that he was hoping to come across a “You are a lucky guy” he continued, “My name is Bernard Ntone.” “The ched by then, let me just say that I knew the place was already paid for, Manu specific letter he had written to the seemingly more excited than usual. ‘Mussoliki’ Bernard Ntone?!” I exclai- how to play all of Franco’s songs as a lead asked us if we had some tunes we wan- Fiesta label in 1978. In the letter, he “Some veterans of the Echo Jazz Orche- med. He looked at me with a mixture guitarist. ted to record. In life everyone has their asked why he had not received any of confusion, surprise and pride and moment of opportunity. So I recorded royalties for the single ‘Mussoloki’ stra are getting together today for their said, “You know that it’s the only record We started touring extensively, and in ‘Mussoloki’ and ‘Musima Mam’ and even though his friend Olinga Gas- I ever made?” those days we had to go through a British Olinga Gaston recorded ‘Ngon Engap’ ton – Manu Dibango’s guitarist – bi-annual jam and musical discussion. military checkpoint to reach the Victoria and ‘Be Ngon Ya Nnam Ewondo’. ‘Mus- who had recorded his single on the I met Bernard Ntone again a few region, the southwest part of the country soliki’ was influenced by James Brown, very same day, in the very same And one of them knew Olinga Gaston. days later and this time I brought my which included the cities of Kumba, Buea, but the lyrics are in Ewondo, and in the studio, and distributed by the same Lets go.” recorder: Mutenguéné, Tiko, and Limbé. The au- song I sing about – or rather lament – label had received his? Its situa- diences there were bored of hearing the the disappearance of our traditions. tions like this, Bernard wrote at the We crossed the whole city – which, “I started playing music around 1957, same old songs, but we had a more varied end, that discouraged musicians to due to the traffic, felt like something when I was just 15 years old. I lived with repertoire; we mixed Makossa, Congole- Manu’s album became a huge seller continue doing the work they love. of an odyssey – and crashed the Echo an uncle who was the director of the Na- se rumba, French songs, Merengue, funk and we were invited to perform at nu- Bernard never received a response. Jazz reunion which was taking place in tional Orchestra of Douala at the time; and soul and everything else. In the crowd merous festivals, including the Cannes the shade of a huge mango tree. From would come to rehearsals and play the one night there was a man of Moroccan film festival, to which numerous other My first encounter with Bernard Nto- their banter and laughter I could tell tumba drum in the intervals. Another origin who owned the Crystal Garden Cameroonian artists, including Eko ne, only three days earlier, had been that these guys had been friends for a influence was my nephew, who owned a club on the outskirts of Victoria. He wan- Roosevelt and Elvis Kémayo, had also something of a miraculous coinciden- long time. Following the local custom, guitar and was the first person to show ted us as the band for his venue and, since been invited. It was the start of a wor- I ordered beer for everyone and they me how to play the chords. During the the place was located in a wonderful area ld tour that was going to take us to the asked me why I had come to Yaoundé; holidays we would jam together, and close to the botanical gardens, we decided United States. Unfortunately Manu’s I spent the next half-hour explaining that’s how it all began. The National to go. We ended up staying for four years, father passed away in the middle of the Orchestra had no guitar player, and one until 1965. festival, so we all flew back to Cameroon day my uncle asked me if I could back and the tour was cancelled. them on some of the simpler songs, like A few years later, Echo Jazz – the police or- those of Cloclo [Claude François] and Tino chestra – recruited me as a soloist; basically In the years that followed I continued Rossi. I became a cop. I wrote the song ‘M’Bim- playing in the police orchestra, but by ba Mota Tsava,’ as part of my application then the music industry had started to Around the same time, the director of the for the Police academy, and it became a crumble and that single is the only thing Cameroon Development Corporation – success. The way I tuned the guitar strings I ever recorded. Life is a bit like playing which was connected to the banana tra- especially caught people’s attention; it the saxophone: the notes are always ch- de – was looking for a band to pro- mote sounded like a Hawaiian guitar! But it anging and you have to adapt.” his company. He had brought all these was during my time with Echo Jazz that musical instruments back from overseas, I learned to play the saxophone … and “Voilà, c‘est à peu près ça.” and now he was looking for musicians. I’ve never looked back since. He had a meeting with my uncle, and we Interview by Déni Shain agreed to be ‘double booked’. That was In 1976, we got invited by Manu Diban- Witten by Adz and Samy Ben Redjeb around 1961, just after Cameroon had go to travel to Paris and record an album

phonist Bernard Ntone remembers the sessions well: Bernard Ntone, 1969 “The audience coming out of the in his bow-tie and three piece suit for a “In 1976, Manu Dibango invited us Capitole on Sunday left with two police uniform as he underwent rookie Olinga Gaston (Guitar), Koffana André (Guitar), Théodore Essama (Bass) and Bernard Ntone (Saxophone) convictions. The first: Manu Diban- training. to Paris to record his album Manu 76, at the Decca Studios, Paris 1976 go’s fame is not overrated. The second: Echo Jazz is a fants- “All of these individuals from The Echo which included the hit ‘Mouvement stic orchestra. They just proved Jazz Orchestra confirm they are dri- it. Simply, without contortions or ven and stimulated by Manu Dibango. Ewondo’. We recorded it at Decca Stu- a fancy stage-show; but without ‘Manu has given us a lesson that we’ll any timidity either. Bravely above never forget: that of imposing one’s dios, and there were four of us: myself, all. Because from the start when own music’, remarked with fervour they came on stage and in front Saxophonist and band leader Ngoda the bass player Théodore Essama, and of a young crowd, they attacked Joseph after the concert. Contact with with Bot Be Moni by Olinga Gas- Manu also taught the Echo Jazz mem- the two guitarists, Olinga Gaston and ton. Other bands would have begun bers other things: the spirit of collabora- with James Brown or the Avera- tion, but also of taking initiative. Manu André Koffana. At the time Olinga didn’t ge Blues Band … but right up until for instance was flexible about how to when Manu arrived they didn’t play play his songs and let them decide on use pedals or effects; to get that balafon anything but Cameroonian songs.” the musical arrangements and even – Antoine Ahanda: ‘... mais aussi change some of the song lyrics if they sound – the ‘takatakatak’ – he stuck a l‘Echo-Jazz.’ Cameroon Tribune, wanted to. All of these lessons will soon handkerchief between the strings.” Af- No. 521, 16 March 1976, p. 5 bear fruit. An album may be produced ter they had finished recording Manu from the European tour that Echo Jazz 76, Olinga and his band-mates took Apart from Messi Martin – the king of Bi- will undertake with Manu. And if the advantage of some free time in the kutsi – there is probably no one who did recording is as good as Sunday’s per- studio to record the songs ‘Ngon En- more to modernise Bikutsi music in the formance, its success is guaranteed.”– gap’‬ (Girl from the village of Engap) 1970s than Olinga Gaston, a singer and Antoine Ahanda: ‘... mais aussi l‘Echo- and ‘Be Ngon Ya Nnam Ewondo’. guitarist known for his enchanting voice Jazz.’ Cameroon Tribune, No. 521, 16 and his unique, balafon- inspired guitar March 1976, p. 5 Yet despite his talents, Olinga devoted style. Unfortunately we know very little much of the next two decades to his about his life, and most of what we do Ahanda’s prediction could not have day job in the police force. After re- know is related directly to his professi- been more accurate. While on tour tiring in 1999, he told a journalist to onal relationship with Manu Dibango, with Manu, several members of Echo expect more music soon: “I’m freer. Cameroon’s best-known musician. Jazz played on the album Manu 76 which became a hit. Echo Jazz saxo- You’re going to hear more of my music Olinga started out studying guitar in Yaoundé with two legends of Came- than in the past. I expect to launch a roon’s music scene, Jean Gabari and Messi Martin of Los Camaroes. He new album which will make Cameroo- became known throughout the city for nians dance a lot, I assure you!”. Only his intricate finger-work and, by the three weeks later, on 9 July 1999, end of the 1960s, he had played guitar Olinga Gaston died in Yaoun- dé; he in most of the orchestras which anima- was only in his fifties and seemed to ted Yaoundé’s bustling cabarets. be in good physical health. Ted Me- koulou, the head of the police orchest- ra, mourned Olinga’s passing wth the words: “It’s a huge loss. He was part of the generation of Cameroonian musici- ans who wrote the mysteries of art in our country in golden letters.” Written by Adz and Samy Ben Redjeb Taken from an article written by Channon Jean-François called “Le Père de “Essam Sekele“ venait de mettre sur le marché un album dont il ne fera pas la promotion“ Published in July 1999 by Le Messager N° 94014. In 1970, Manu Dibango invited Olinga Olinga Gaston, 1978 to join the recently established Natio- nal Orchestra of Cameroon. It would be the first of many collaborations to- gether. Four years later, in 1974, Olin- ga released his first record Essam seke- le which was a huge hit and sold by the thousands. The title track, which tells the story of a volatile and unfaithful wife, is still widely known among fans of Bikutsi. However his musical ambi- tions were forced to exist alongside a career in the national police; although he became a member of Echo Jazz – the police orchestra, which featured nume- rous talented musicians including Ber- nard Ntone – music took a backseat for a few years. The dapper Olinga traded



“I met this surprisingly resourceful “I hope for my fans to set the tone; they ruption present in the world of concert *The Bassa people played a prominent young man, full of charm and the can orient my music. I never take drugs, promoters, some of whom didn’t give role in the process of decolonisation, allure of a play-boy in Paris. A nos- because my drug is the public. So long the concert-goers what they had been and the Bassa-Bakongo region was talgic poet, I listened to his hoarse as they are into it and participate, I go promised. a hotbed for radical anti-colonial voice, and his vibrant music which all out. During each concert I lose two nationalist groups, particularly the intoxicated me first, and then blows kilos, which I later recoup by drinking It is not known if the paper ever came Union des Populations du Cameroun me away like a stick of dynamite. two litres of sweetened water.” to fruition, but between 1979 and (UPC). However, the Bassa approach It remains African at its core, but 1981 Lappé released three albums to anti-colonialism ultimately lost out happily wed to disco and funk. The Lappé appeared on the scene in the on the French label Disques Espéran- during the creation of the postcolonial Plantation, the Black and White and early 1970s as a presenter and DJ on ce: We, The People; Na Man Pass nation of Cameroon. The Rose Panther and other African Radio Adele in Douala. He had previ- Man and Ashiko, Sekele. The last of discotheques in Paris are filled by ously been the editor of the Douala these featured the Zulu Gang, whose The Sekele Movement … qui est au Gazette and had become friends with guitarist Jacob Desvariaux was also a Hit-Parade.” numerous other African musicians in- member of the highly influential band — Tjade Eone, Radio Cameroon cluding Fela Kuti. Kassav. Although the character of The Sekele Movement was local in its in- The idiosyncratic Pasteur Lappé was “When I left Radio Douala in 1976 to spiration, it’s broad appeal allowed way ahead of his time back in the 70s continue my studies in France, I already Lappé to give concerts as far away as when he started making his eclectic had the rough outline for forty songs. In the US. and highly danceable music. Although France I met Janvier Ahanda, who beca- he could sing in several languages – me the leader of my band and also en- “Music is certainly a good thing but it including English, Bassa and pidgin couraged me to release my first single, doesn’t facilitate a good family life. My – he refused to be pigeon-holed into ‘The Sekele Movement,’ which did very wish is that my musical experimentati- any one style of music. well in Africa, but also in the United Sta- on will allow me to help other young tes and Jamaica. I had every intention artists. I’ll continue to make music as “I don’t want to make the same mu- of doing something different, something long as it works, but I hope not to live that would bring attention to Bassa cul- too long because I’d like people to miss sic every day,” he once said in an in- ture*.” me when I’m gone…” terview, “because that demonstrates a Ahanda had started working as a re- His wish seems to have come true: porter for the cultural bureau of the Lappé disappeared at some point in lack of imagination. It’s important to Cameroon Tribune, which systemati- the late 1980s and no one in Douala, cally covered all the country’s cultural in Yaoundé, or in Paris had seen or vary the music a little. Even with poetry, events. The free publicity provided heard from him since. However the a huge boost both to Lappé’s Sekele music he created during the brief hey- there are times when the writings of a Movement and to many other Came- day of the Sekele Movement refuses roonian artists. In 1980, Lappé gave to be forgotten by anyone fortunate poet are violent and angry, and other an interview to the Cameroon Tri- enough to have heard it. bune where he expressed a desire to times when it’s melancholic, tender, or set up a music paper, which would Written by Adz and Samy Ben Redjeb report on the country’s music scene Taken from an interview made by romantic. I’ve always intended to do so- and the problems facing musicians; Ebwelle Ebongue Isaac his idea was that “the writers and edi- for an article called mething different with music; that’s why tors will be the musicians themselves.” At the time, the high price of vinyl re- “Je peux faire une musique engagée“ I created the Sekele Movement, which is cords and the widespread availability published by the of bootlegged cassettes were serious a fusion of Sekele, funk, Afro- beat, reg- issues in Cameroon, as was the cor- Cameroon Tribune N°1891 on October 2nd, 1980 gae, soul and RnB. Born sometime around 1953, Nicholas Lappé was christened Pasteur (prea- cher or shepherd) by his parents from an early age; with an extraordinary faith in the transformative power of music, he would certainly live up to the name. However he never claimed to have all the answers and he expected a symbiotic relationship with his fans:

Bill Loko, 1980

The process of tracking down Ekambi was already a star back home in I called a cousin of mine with a beautiful I knew it was now or never so I grabbed only concert in the city.’ I was backstage Bill Loko – whose whereabouts Douala when he first spotted me singing voice to ask if he had some spare time the chance by two hands and proposed giggling since I had never set foot in Ame- have been a mystery for close to and playing guitar at a music contest to do backing vocals for me. He arrived, we should start recording. ‘So how do we rica and a few other shows in the neigh- three decades – took almost a year. which took place around 1970. I won the accompanied by his curious siblings who do that?’ I added. But my worries evapo- bourhood were planned. These shows My search began in Paris, but soon competition and Ekambi came backsta- just wanted to check me out but ended rated as soon as the guys grabbed their were surprisingly sold out and I would took me to Douala where I was told ge shouting and pointing a finger in my up singing as well. There was a certain instruments with Michot Dhin at the perform in front of a packed house, beau- he might be in Yaoundé; however, direction: ‘Hey you! Stop singing and command. What I didn’t know at that tiful women dancing in front of me—I was when I arrived in Yaoundé, I was told give me these songs, I want them.’ I will magic that day, everybody was excited time was that the musicians present with not used to that. One of them, a gorgeous he had moved to Dakar. In the end, never forget that man standing there like and although we didn’t really know whe- us that day were musical geniuses who blond started taking her cloths of and be- it turned out he had been in Paris all a tree with a huge grin on his face. Al- re we were going everyone believed in were part of ‘l’equipe National du Ma- fore I knew it she was on stage dancing all along. His brother in Douala gave though I was 14 years old at the time, what was happening. Sideney Haddad, kossa.’ The two songs we recorded that naked. That was incredible! Super ambi- me his number and I finally met him we bonded and he instantly became like a studio musician, got attracted by the day were both first takes. Unbelievable. ance. At the end of the gig some guys who at Le Verre Volé, a restaurant in the a big brother to me, very supportive and commotion that was going on, loved the had been Johnny Hallyday’s bodyguards Canal Saint-Martin neighbourhood always encouraging me to pursue a mu- vibe and offered to lay down some gor- We couldn’t afford sound technicians surrounded and escorted me away as of Paris. The afro was gone, but not sical career. The biggest honour came geous conga beats. either so we did all the mixing ourselves though I were Johnny himself. But I just the handsome smile. We ordered when he chose one of my compositions there in the studio. It was a bit of brico- wanted to party with the guests and I coffees and, as I set up my digital for his new album. Unfortunately with lage but it sounded great—we were very started arguing with them telling them to recorder, he started chatting about the political unrest in Cameroon my dre- lucky. And we were helped a lot: they’d stop that nonsense. the latest scandal of the 2017 French am came to a halt and my parents choo- let us stay all day in the studio and didn’t election campaign; he clearly had se to send me to France to study. charge us for the extra hours. That first The fame didn’t come progressively, it no idea what I had gone though to recording session really struck me, and came like a hurricane. I felt my privacy find him. I arrived in Paris in 1976 where I met an it became a blueprint of how I wanted invaded, and I couldn’t control it. Luckily old friend from Cameroon, Michot Dhin, my music to be recorded and immortali- my university proposed an exchange In 1980, Bill’s song ‘Nen Lambo’ (I un- a very talented musician known for sed in the future. Those times were great with Australia so I decided to go and derstand my mother’s advice) caused playing a variety of instruments. Since and simpler. You’d just ask musician for hide there for a while! a tsunami in the dance scene of the he didn’t know what to do with his time help, and they’d say ‘J’arrive!’, they’d French capital; for Bill, however, the and with himself we started jamming come as soon as they could, listen, play What was supposed to last a year beca- sensational success of the song proved and working together on a few tunes. The along, and leave. They didn’t need nor me a few years … until one day, I was to be a double-edged sword. On the songs ‘Salsa Makossa’ and ‘Nen Lambo’ want money and didn’t even care about walking in Cabramatta, a neighbour- one hand, he went from being a com- which I had composed are the fruits of having their names appearing on the al- hood of Sydney, and I smelt the scent of plete unknown to a star overnight, with those moments. We knew we were up to bum! One of them for instance was Eko a herb I recognized from my childhood all the perks that such fame brings. On something and made our way to Synthe Roosevelt, a great arranger who had in Cameroon. Its called Ngongui and it the other, the fame became overwhel- Production, a Parisian studio known for technical skills we could only dream of. is used for witchcraft, basically to cast ming and nearly drove him crazy, as being frequently used by Antillean and Although busy, Eko always took the time spells. For instance, at football games, Bill recounted in his interview: African musicians. The first people we to talk to us and offer advice. to weaken the opposing team’s goal bumped into were drummer Claude Va- keeper, we would take some Ngongui, “When ‘Nen Lambo’ came out I had mur and keyboard player Jean-Claude We then took our recordings of ‘Salsa cast a spell on it and then, before the Naimro. The chemistry was good so we Makossa’ and ‘Nen Lambo’ to Abou match started, bury it behind the goal. no special expectations and the least I asked them if they would consider per- Sylla of Ledoux Records who agreed to When we won, the sorcery had paid off forming a song for us, adding for clari- sort out production and distribution and … when we lost, the voodoo ritual hadn’t can say is that its success took me by fication that we couldn’t afford their ser- then we did some promotional gigs in been executed to perfection. vices. Naimro replied without hesitation: Marseilles, a city with an important Afri- surprise. At some point walking th- ‘if I like the song I’ll play, no problem.’ can community. Smelling that herb in the middle of Syd- Claude echoed: ‘same with me’. Michot ney, my head started to spin, and I saw rough the streets of Paris, especially in grabbed an acoustic guitar and I started My cousin, a DJ named Francis Ekoko my whole life flash in front of my eyes singing, a minute into the song we were Timba, would take the mic and introduce like a film: my youth, my friends, my fa- Clichy, became an issue. People coming all grooving and I could see smiles on all me: ‘Ladies and Gentlemen, tonight he is mily, Cameroon. When I got home I told faces … that’s when I knew we had won here, Bill Loko, a great singer, and talen- my wife: ‘Africa is calling us!’” towards me to ask for autographs was them over. At the end of the song Vamur ted musician, who has travelled all over said, ‘I have some time now, lets go and the world and has arrived just today all Interview by Déni Shain not something I felt comfortable with record that hit!’ the way from America for this one and Written by Adz and Samy Ben Redjeb and I mostly tried to walk away as fast as I could. The thing with fame is you either dive in and get overwhelmed by the waves, or you withdraw. I chose to withdraw and made sure nobody knew where I lived. And I have to blame all of this on Ekambi Brillant.

Nkodo Si-Tony was one of the rehearse in the city centre. That’s whe- Cameroon. The way artists are treated driving forces behind the Bi- re I got to know Nkotti François, Émile there doesn’t encourage me to do so! kutsi wave that swept Cameroon Kangue, Guy Lobe, Johnny Black, Dina Here in Europe artists are guaranteed in the mid-to-late 1980s. However Bell, Ben Decca – it was like a family author’s rights and I receive regular it was Messi Martin, guitarist ex- at the time. I started playing the guitar cheques for royalty payments from traordinaire with the mighty Los first, then slowly moved from one inst- SACEM [the Society of Authors, Com- Camaroes, who was largely respon- rument to another: mvet [a single strin- posers and Publishers of Music] in my sible for modernising the Bikutsi ged instrument similar to the Brazilian letterbox. I don’t have to chase after style, known locally as “music of berimbau], bass, balafon, banjo – which anyone anymore for my rights.” the people from the forest” I learned from my dad – and plenty of percussion instruments. Interview by Déni Shain The primary instrument in Bikutsi is Written by Adz and Samy Ben Redjeb the balafon, and Messi Martin came I formed my first band, Les Africains up with a clever trick that catapulted D’ongola, in the early 80s. It was made Nkodo Si-Tony, him to stardom. Legend has it that up of teenagers from the Kolndongo Pictures taken from his first LP, he would chew small pieces of paper neighbourhood in Yaoundé, lead by pi- Papa Comavic (1984) until they reached the right consis- anist Ibabi Fana, with Mbida ‘Soso Bass’ tency. Stuck in between the strings Paul on bass. Our first LP, released in these pieces of chewed paper would 1984, had the song ‘Mininga Meyong turn a normal sounding electric guitar Mese’ on it. The song is a mixture of into a balafon-sounding guitar. The Highlife and Makossa but played with a technique was later adopted by Zan- Bikutsi spirit. It was recorded at Studio zibar, guitarist for Les Têtes Brulées, Dusala in Colono and, as you can hear, and the rest is history. it’s quite raw … but you can also feel how I kept up with the traditions of our It was Messi Martin – the king of Bi- ancestors. In 1985, I continued develo- kutsi himself – who took Nkodo Si- ping music with Albert Breuks – rest his Tony under his wing, and after month soul – a music engineer and producer of unfruitful search we started to won- who had set up a studio in his flat. To- der if he was still stuck in there. But gether we produced a string of Bikut- no, he had been living close to Gare de si albums: the first was called 90º of Lyon in Paris, which is where we met, Bikutsi in the Shade followed by 100º in a couscous restaurant. Si-Tony arri- of Bikutsi in the Shade. I still perform ved all wrapped up in layers of warm these tunes. The lyrics are about fri- clothes as though he was about to set endship, and how a good friend can off on a hiking expedition in Siberia. A sometimes be even more reliable than huge smile on his face, super relaxed, your own brother. and just feeling good about his music getting the attention it deserves, Si-To- I released one LP per year, more or less. ny began to talk: For the LP released in 1986 I did all the promotion myself – cafés, bars, etc. – “It’s true, Messi Martin was my mentor. and two years later, it suddenly beca- He had invented his own way of playing me a hit. One of the tracks won ‘Song Bikutsi, and I took that as a base, brin- of the Year’ in Cameroon in 1988 and ging back the balafon and boosting the my Dolo Eibe LP went gold in 1990. whole thing by adding keyboards and But after that the music industry in Ca- other instruments. Most of the musici- meroon started to go downhill and, to ans in Yaoundé had started to update make ends meet, I ended up playing Bikutsi according to their own vision, Reggae in a band based in Germany. and that’s how the style developed, litt- I stayed there for a few months befo- le by little until it eventually exploded. re moving to France, where I am still living today. Music started entering my soul when I was still a high-school student in Doua- I didn’t intend to stay in France but, la. You know when you’re born with a as you know, sometimes things work gift, you don’t really know where it will out differently than you expect. It’s take you, but I had a feeling it would be true that living in France for so many music. I used to skip school all the time years hasn’t always been easy … but and go watch Cameroonian musicians that doesn’t mean I want to go back to

Mastering by Nick Robbins at Soundmastering (London) [email protected] Graphic Design by Kathrin Remest [email protected] Biographies by Déni Shain, Adz and Samy Ben Redjeb Text editing by Jesse Simon (Berlin) Vinyl Record Cutting by Frank Merritt at The Carvery (London) · [email protected] Special Thanks: To Claude Fabo, Marcel Talla, Sam Fan Thomas, Isidor Tamwo, Ange Ébogo Émérent, Pablo Master, Esso Essomba, Tchemke Nana Blaise, Miosine, Alice Huc, Thomas Vicente, Olive Davoux, L‘équipe du Verre Volé, Prof Babacar, Teddy Gilles, Lorraine Bert, Mbarga Soukous, M. Molo, Benjamin Rougier, Primelle Fénéon, Bernard Mattei, Valerie Mattei Nja Kwa, Arnaud Tarabout, Emmanuel Guysso, Adam Bristow To Jeannette Kemogne, Bernard Ntone, Jean Paul Lietche, Bill Loko, Eko Roosevelt, Nkodo Si-Tony, Sonodisc, John Pitcher, the family of Clement Djimogne To Arc Musica and Joachim Oelsner for the song Pop Makossa Invasion To Jean Maurice Noah author of the book Le Makossa - Une musique africaine moderne ISBN : 978-2-296-54150-4

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