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Sam Mangwana

BIOGRAPHY

SAM MANGWANA
AND CONGOLESE MUSIC

By Flemming Harrev

PAN-AFRICAN SUPERSTARS
Since the late 1950's, Congolese music has had a profound impact on
most African countries south of the Sahara and enjoyed a following that
stands uncontested by any other African style of popular music.

Long-standing bandleaders like the late Franco Luambo Makiadi and his
T.P. O.K. Jazz and Tabu Ley (Seigneur Rochereau) with his band Afrisa
International (formerly African Fiesta National) have established them-
selves as truly Pan-African superstars, alongside that special position only
accredited Miriam Makeba. The only name to be added to this exclusive
list is that of singer Sam Mangwana.

Not only has he been a member of O.K. Jazz as well as African Fiesta /
Afrisa, but he has also been cited by both Franco and Tabu Ley as their
favourite vocalist. And unlike any other contemporary African artist, Sam
Mangwana has travelled the width and breadth of the continent and taken
musical influences into his repertoire from all parts of Africa.

POPULARITY OF CONGOLESE MUSIC
No single factor explains the dominant position held by 3 Congolese on
this exclusive list of artists, known to anyone with an interest in modern
music - from Kenya, Tanzania and Moçambique in the east - across
Central Africa - to Côte d'Ivoire, Mali and Guinea in the west. Other artists,
notably the late Fela Anikulapo-Kuti, Salif Keïta and Youssou N'Dour, are
perhaps better known outside Africa. But beyond their region of origin,
their music has never achieved the popularity Congolese music has
enjoyed across the continent since the 1950's.

Perhaps the deepest secret to the success of Congolese music in Africa
lies within itself. It's extremely danceable, beautifully sung, has intricate
guitar licks and horn arrangements. It is simply good music. Even when it
was first diffused throughout the continent in the 1950's, it was some of the
best music around. The only other countries that, at the time, had a modern
sound, rivalling that of e.g. Franco & O.K. Jazz, were Ghana and Nigeria
with their famous highlife dance-bands, and South Africa, although its artist
remained isolated throughout the apartheid years. 

'RUMBA CONGOLAISE'
An important factor in the diffusion of Congolese music was the record
industry that grew up in the Belgian Congo in the early 1950's. Another
contributing factor was the radio station build by the Americans for de
Gaulle, when he set up his H.Q. in Brazzaville during WWII. The station was
so powerfully build it could transmit the news bulletins of the Free French
Forces back to France, and after the war it was one of the most powerful
stations in Africa, transmitting Congolese rumba to anyone in possession
of a radio-set who cared to listen. 

But the popularity of Congolese music can be contributed to yet another
factor. Listening to today's music from Mali and Guinea one is immediately
struck by its roots in the traditional music of that area. It's typical Malinke.
The same applies e.g. to jújù and fují music from Nigeria. It's typical
Nigerian. Or more specifically, it is distinctively Yoruba. And there are
many similar examples to be found in the numerous styles of popular music
existing across Africa. The music of Congo-Kinshasa and Congo-
Brazzaville has never carried that same ethnic mark. Taking off from GV
shellac records with Afro-Caribbean music and an instrumental line-up
modelled on the Cuban dance-band (hence the phrase 'rumba
congolaise'), the Congolese have created their own style - yet easily
identifiable - build on generally recognisable Pan-African concepts of
music. As a Tanzanian once commented, 'I love this music too much.
How can you help it, when they sing so beautifully!'. Incidentally, he didn't
understand one word of Lingala (the lingua franca of Kinshasa and
Brazzaville).

SAM MANGWANA
40th anniversary as professional singer 1963-2003

One singer, in particular, always mentioned with special affection is
Sam Mangwana. Born in Kinshasa 21st February 1945 by parents of
Angolan descent, explains his command of Portuguese besides Lingala
and French, in addition to Spanish, English and KiSwahili. The career of
Samuel Mangwana began in 1963 when, as a 17-year-old singer in a
school band, he was discovered by Tabu Ley (Seigneur Rochereau) and introduced to Dr. Nico (Kassanda wa Mikalay) and shortly after became
a member of African Fiesta. He did several 45 rpm singles with this
formation of African Fiesta, including his own composition 'To soy
prisonero' under the name of 'Samy' [1 - 2 & 6].

LOS BATCHICHAS
The period of patronage ended in 1964 when Sam Mangwana joined 
Los Batchichas (lead by  solo guitarist Dicky Barosa) based across the
river in Brazzaville. Now, under the name of Sam Moreno, he wrote a
couple of Los Batchichas's most popular songs released by the Stenco
label, 'Aprende pachanga' and 'Emilie mibali ya baninga' [see Discography
4 & 49]. During his stay in Brazzaville in 1964-65 he also appeared with
Négro Band and ended up by joining De La Lune's Orchestre Tembo for
eight months.

Only recently, on his latest CD 'Cantos de esperança' (P 2003) [97], Sam
Mangwana recorded yet another popular song of this period, 'Comitée
bantu', originally released by Les Bantous on the Stenco label (which even
featured bands like Cercul Jazz, Négro Band and Fiesta Négro).

AFRICAN FIESTA NATIONAL 
In 1966 Sam Mangwana was back in Kinshasa where he rejoined Tabu
Ley's African Fiesta National. He stayed on throughout the whole of 1966
and made several records, including some of his own compositions [7 -14,
42 & 43]. In 1967, however, he left and joined Jean Bombenga's Vox Africa
for six months, only to rejoin African Fiesta National later that same year as
the band was preparing to go to the World Expo in Montreal. 

VOX AFRICA
In Bombenga's Vox Africa he worked with vocalist Ntesa Dalienst and
guitarist Papa Noël Nedule. In what has been described as a stort but sweet collaboration he recorded a number of 45 rpm singles, including his own composition 'Oyo zuwa ?' [15 -19]. But his third stint with African Fiesta
should prove equally shortlived, for in 1968 he left with several other band-
members and formed Orchestre Festival de Maquisards (see Gary
Stewart's 'Rumba on the River' page 141-142 for more details).

FESTIVAL DE MAQUISARDS
Sam Mangwana served as lead-singer with Festival de Maquisards
alongside Ntesa Dalienst in 1968-69. It was during this period he had
the first major hit with his compositions 'Zela ngaï nasala' [23], which he
later re-recorded in an up-tempo version with African All Stars (that has
been re-released several times over in its own right). 

For years the Maquisards' recordings have remained very difficult to come
by [53 - 57] which was only remedied recently by two separate compilations
[58 & 138]. When Festival de Maquisards folded up, Sam Mangwana had
set up his own record label Sonora [41 - 43] which became a platform for
the next step in his career. Initially he tried  to set up a new wing of Festival 
de Maquisards with Guvano. It did not work out and soon after the two
musicians parted. It was then Sam Mangwana decided to live off his
records. Over the next couple of years - without being a member of a 
band -  he carried on as a recording-artist and worked with an irregular
group of studio musicians. It was also at this stage the first LP album was
released in his name, a compilation based on the 45 rpm singles made
with studio musicians, who - on the album cover - were also called Festival
de Maquisards [57].

O.K. JAZZ
Eventually, in November 1972 Sam Mangwana signed up and agreed 
to join a band again. Only this time it was with Franco's T.P. O.K. Jazz!
Shock and disbelief! How could anyone who belonged to African Jazz
and African Fiesta, to the clan of Grand Kallé, Dr. Nico and Tabu Ley, 
ever think of joining the rivalling clan of O.K. Jazz? Angry remarks and
great pressure was put on both Franco and Sam Mangwana by fans 
and fellow musicians to give up the move. However, O.K. Jazz with the
soulful and mellow voice of Sam Mangwana caused a sensation, and the
period 1972-75 should prove some of the most decisive years in the
musical development of O.K. Jazz.

Sam Mangwana's voice can be found on a string of hits that not only
defined the style of Franco & T.P. O.K. Jazz in the 1970's and well into 
the 1980's, but has served as a benchmark for Congolese music ever
since, 'Mabele (Ntotu)', 'Envoutement', 'Ebale ya Zaïre', 'Cedou', 'A.Z. DA
no. 1 & 2', 'Assitou no. 1 & 2', 'Ye no. 1 & 2', 'Minuit eleki lezi no. 1 & 2',
'Nganda ma campagne', 'Où est le sérieux ?', 'Lukika', 'Tangela ngaï
mboka bakabaka mobali', 'Bamasta bon année', 'Luka mobali moko',
and 'Monzo' [59 - 62, 128].

The numbers included in some of the titles indicates songs that were
extended on the B-side of the 45 rpm single record, more in line with
the way they were presented live. But most notably for these recordings
with T. P. O.K. Jazz is the enlarged horn-section (in part inspired by the
popularity of James Brown and soul music) and Franco Luambo
Makiardi's lengthy and ornate guitar-solos.

The exact number of recordings made by Sam Mangwana with Franco 
& T.P. O.K. Jazz is not known. Both Graeme Ewens, in his book 'Congo
Colossus', and f-Beat's online discography, the most comprehensive
documentation of O.K. Jazz recordings, falls short when it comes to the 
45 rpm releases in the Congolese 'Les éditions populaires' series.

Years later Sam Mangwana recalled his time with O.K. Jazz in an interview
with the Paris based monthly Bingo. »The two leading bands (O.K. Jazz
and Afrisa International) alternatively proposed me a contract. I stayed with
one band then the other, the duration of a contract. This system had its
benefits. Until then it was not possible for a musician to leave a band and
come back. Because of the contact system I became the best-paid singer
in the country. However, the system gave me some specific problems.
Certain persons would not accept I left the clan of African Jazz. These
persons actually opposed I could develop in another band and threatened
me with anonymous letters to the point that I was obliged to take refuge in
a state hotel under the supervision of gendarmes« (Bingo, octobre 1980: 52).

AFRIZAM
For a brief period in 1973, in between his contracts with O.K. Jazz and
Afrisa International, Sam Manwana was called upon by the former African
Fiesta vocalist Pépé Ndombe (Ndombe Opetum) to join his newly formed
band l'Orchestre Afrizam [63]. The period with Afrizam mostly saw Sam
Mangwana in the role of supporting vocalist, however, it brougt him
together with saxophonist Empompo Loway and Ndombe Opetum in a
musical cooperation they would repeat several times in the 1980's.

NATIONAL ARTIST OF ANGOLA
Following the independence of Angola in 1975 Sam Mangwana took up a
song he had already recorded once earlier [57]. Sung in Portuguese, 'Mia
Angola', or 'Liberdade e terra' as it was re-named, induced the Angolan
government to award him the title of national artist. Nonetheless, be it the
popularity and several re-releases of this song [44, 47 & 48], his title of
national artist, or his parent's Angolan decent, this has led to a widespread
misconception about his national origin.

AFRICAN ALL STARS
In 1975, as a sign of his newly won status, Sam Mangwana had his
recordings with Tabu Ley (Seigneur Rochereau) released with his name
given an equal billing as that of his mentor [45]. But eventually he quit both
O.K. Jazz and Afrisa International. Allegedly, Franco offered him a house
to make him stay (he had already given him a car). 

Yet again Sam Mangwana should live up to his nickname as 'le pigeon
voyageur'. In 1976 he left Congo and set out on a musical exploration of
West Africa. Eventually he settled in Abidjan and established the
outstanding group African All Stars with guitarists Dizzy Mandjeku (solo
guitar) and Lokassa Ya M'Bongo (rhythm guitar) as its principal musicians.
African All Stars revitalized Congolese music with elements of biguine and
highlife in an up-tempo style with a strong emphasis on the guitars
(inspired by the highly popular Price Nico Mbarga and the Igbo highlife
bands from Nigeria and the emerging 'zouk musique' from the French
Antilles). 

With this musical formula, Sam Mangwna and African All Stars enjoyed
a string of hits on the ever-popular theme of male-female relationships,
'Georgette Eckins' [65], 'Matinda' [67], 'Suzanna Coulibaly' [71], and
'Affaire video' [80]. And by switching the lyrics from Lingala to French
new fans were won over across West Africa. It was also in Abidjan
Sam Mangwana ventured into his first highlife record and - so far - only
co-production with a female artist, the Ghanaian vocalist and saxophonist
Asabia Cropper [79]. 

All these recording were made as original LP productions, a new format at
the time, which allowed for 3-4 songs, each of duration of 10 to 15 minutes.
Sam Mangwana & African All Stars were in such demand that 5 new
albums were released in West Africa alone in 1979 [67 - 71]. African All
Stars literally tapped into a booming recording industry that was flourishing
on the new LP format. Band-members Dizzy Mandjeku, Lokassa Ya
M'Bongo (Denis Lokassa Kassia) and Kanyama 'Ringo' Moya Lotula,
drums, made several solo albums on their own, varying the musical formula
which had already proven so successful for African All Stars. Devoid of
Sam Mangwana they also made albums with former O.K. Jazz vocalists
Mayaula Mayoni, Joe Mpoyi Kaninda and Dialu Antoine (Lukoki Diatho).
At one point they teamed up with Nyboma Mwandido and les Kamalé
Dynamique. On other albums they sat in with Assi Kapela, Sammy Massa,
Manana Antoine, Zitany Neil, Pablo Lubadika, Bopol Mansiamina and
Syran Mbenza. Vocalist Théo-Blaise Kounkou, however, who had been a
founding member of African All Stars, left in order to persue a career on
his own.

In retrospect, African All Stars became a West African test-run and spring-
board for much of the music from Central Africa that was to emanate from
the Parisian recording studios in the 1980's. Sam Mangwana arrived in
Paris in 1979 to make his next album, in addition to two albums with
re-recordings of his West African repertoire [72 - 73]. But it should take
another, less franticly organized studio session to produce his next hit
album 'Maria Tebbo' in 1980 [80]. 

Paris has since served as his base for subsequent tours of Europe,
North America and across Africa. In between visits to the Congo, he
visited Cameroun (1980), Côte d'Ivoire (1982), Moçambique (1983),
Kenya-Tanzania-Malawi-Zambia-Botswana-Zimbabwe (1984 -1986).

COOPÉRATION
When Sam Mangwana finally went back to Kinshasa in 1982 after 6 years
absence it was as an established international star in his own right. Yet his
return stirred up an even greater fuzz when it became known that he had
made the album 'Coopération' [77] with 'le grand maitre' Franco Luambo
Makiadi and T.P. O.K. Jazz. Not only was it voted album of the year in
Congo-Kinshasa in 1982 but also awarded a 'Spécial Maracas d'Or', the
francophone music industry's equivalent of a grammy. It is little known that,
Franco and O.K. Jazz only participated on two of the titles, 'Coopération'
and 'Faute ya commercant'. To make up a full album Sam Mangwana and
the rhythm guitarist Simaro Lutumba from O.K. Jazz recorded two additio-
nal titles with an assorted group of musicians, solo guitarist Dino Vangu,
Empompo Loway on saxophone and the rest of the brass section and the
drummer made up from Bobongo Stars.

AFRICAN TOURS
The next couple of years, however, Sam Mangwana more or less 'dis- appeared' from the international scene in favour of yet another musical
exploration, this time of East and Southern Africa. On a tour to Moçambi-
que in 1983 he recorded 'Canta Moçambique' in Maputo with Dizzy
Mandjeku and a group of local musicians [83 & 124], a tribute in Portu-
guese to the newly independent nation. Later that year he did an album
in Congo with vocalist Ndombe Opetum and saxophonist Empompo
Loway and his band Tiers-Monde [84]. On his extended tour of East Africa
in 1984 he recorded the album 'Furaha ya bibi' [85] in Nairobi with songs in
KiSwahili, that catered especially for the East African market. His Southern
Africa experience and first attempt to sing in English was included on three
albums with Empompo Loway recorded in Brazzaville in 1986 [86 - 88].

INTERNATIONAL ARTIST
After years of African tours it should take until 1987 for Sam Mangwana
to resurface on the international scene with the hit album 'Aladji', produced
in Paris by Ibrahima Sylla. Here he summed up the musical inspiration
gathered over the past decades with ballads as well as up-tempo songs 
in KiSwahili, Lingala, Portuguese and a reggae-influenced tribute to the
countries in Southern Africa [89]. The re-release of 'Aladji' by Shanachie
on the North American marked in 1989, only seemed to confirm Sam
Mangwana's position as an international artist [125].

In 1989 he teamed up - in what should prove a last session - with Franco
Luambo Makiadi. The reunion was presented on two albums, but the old
magic was absent [90 - 91]. Franco, it seemed, was already marked by the
'mysterious' illness that caused his death later that year.

In 1990 Sam Mangwana tapped into the commercial fad for non-stop
megamix albums, that followed the introduction of the CD, and reworked a
string of former hits [92]. But the real follow-up to 'Aladji' came in 1991 with
his Cameroonian album 'Duta longo', 6 tracks arranged by guitarist Toto
Guillaume for an all-out group of Cameroonian musicians [93]. However,
the album was released in the old LP (vinyl) format and failed to have an
impact on the international market. That was remedied in 1993 with
'Rumba Music' [94] and the musically even more rewarding album 'No me
digas no' [95] from 1996 which included a song written by the Guinean
guitarist Kante Manfila (of l'Ambassadeur Internationaux fame) with Sam
Mangwana singing in Bambara!

In recent years, Sam Mangwana's musical direction has taken yet 
another new turn, with a distinctively more acoustic sound than before.
'Galo negro' on the Putomayo label from 1998 stands out as his probably
best-produced album ever [96]. In 2000 he teamed up with guitarist Dino
Vangu, a fellow musician from the days of Festival de Maquisards. The
album 'Femmes africaines' or ' Mangwana sings Dino Vangu' is a return to
his first love 'la rumba congolaise' [97].

The latest album 'Cantos de esperança' from 2003 [98] displays Sam Mangwana's current acoustic repertoire, which he has presented live on
tours across Europe and North America in recent years.