GRAND KALLE: THE FATHER OF CONGOLESE RUMBA

'Mongongo kitoko, tokozua yango lisusu wapi?'

This is Tabuley in his song, In Memoriam, in which he collaborated with another titan, Franco. In the song, he is extolling the greatness of Grand Kalle, wondering aloud where the music world can find such a melodious voice, now that the musician is no more.

Tabuley himself was considered one of the greatest voices of Rumba Congolaise. For him to declare that someone is as great means that person was exceptionally good.

American jazz musician Yves François, who heads a group known as Rocambu (whose name was largely inspired by the Congolese studio ensemble of the late 1950s, Rock A Mambo), also once stated that of all singers of the genre, no one has had a voice as soothing as that of Grand Kalle.

Grand Kalle: The Father of Modern Congolese Music

Grand Kalle, born Joseph Athanase Tshamalla Kabasele in Matadi in 1930, is undisputedly the father of modern Congolese music. This title is his for a cocktail of reasons.

First, his golden voice and easy style of singing are simply outstanding. He perfected the solo style, also known as 'lolaka' in rumba parlance, in which a song features only one vocalist, without a backup section.

This came to define the African jazz style of rumba, which some pundits called Fiesta. This is exemplified in any of his tracks. As opposed to the choir-like orchestra style associated with OK Jazz and other bands, Grand Kalle’s musical style featured only one singer, and this was either him, Vicky (on a few occasions), or Matheus Kouka.

The Impact of African Jazz

The second thing that made him outstanding was the fact that his band, African Jazz, was a model band that inspired many Congolese to get into music full throttle, having been the very first fully professional role model band in the country. Although several bands had existed in the country before, African Jazz was unique in that it was the very first band to employ full-time musicians, as opposed to the prior arrangements with other bands, where musicians would only gather in the evenings or on weekends for events.

African Jazz lived and operated at Studio Opika, which was established in Leopoldville in 1950, the second one after Ngoma Label, which had set base two years before, in 1948. The very first band signed at Opika, which Grand Kalle featured in, belonged to guitarist George Doula.

It went by the name of Groupe Doula Georges, which featured legendary guitarist Jhimmy Elenga and Yamba Albert. Nonetheless, this didn’t last long, and in 1953, a new kid on the block was born and baptized African Jazz. The band came in and revolutionized Congolese music in many aspects.

Historical Significance: Representation and Independence

Thirdly, he represented the country at the independence fete during the round table conference at the Hotel Plaza in Belgium. This not only set a precedent that has been followed ever since, but also imitated in every important historical moment. These moments are graced by the country's music. The same was to be replicated fourteen years later in the Rumble in the Jungle bout in Kinshasa. This event hoisted Grand Kalle to a very important position in the country's history, as the event that ended Belgian imperialism was a milestone for the country.

Defections and the Decline of African Jazz

However, the Titanic ship that was African Jazz didn’t sail smoothly for long, as it was hit by small waves of defections, such as that of Vicky Longomba and Armando "Brazzos" in 1961. The duo had been poached earlier for the trip to Brussels, but upon their return, they had disagreements with Grand Kalle and chose to quit. They joined hands with Andre Menga, Leon Bholen Bombolo, and others to create Negro Success. However, in 1962, they abandoned their new band and made a return to Franco's OK Jazz.

It was actually upon their return that "Brazzos," who played both the contrabass and rhythm guitar, was displaced to the former. A new kid on the block, Simaro, had been brought in to take over the rhythm guitar. In 1963, the otherwise smooth-sailing African Jazz hit a glacier when a mass defection occurred in the band.

Trumpeter Willy Kuntima, Roger Izeidi, singer Tabu Ley, solo guitarist Nico Kasanda, and rhythm guitarist Charles Mwamba quit African Jazz to create their own band. They named it African Fiesta. Although the new band had another splinter in 1966, one that birthed African Fiesta Sukisa and African Fiesta National, which was later rebranded into Afrisa International, the development left African Jazz crippled, and it never fully recovered.

The Later Years of Grand Kalle

Grand Kalle recruited new musicians, including guitarists Damasseau Kambite and Papa Noel, rhythm guitarist Casino Mutshipule, singers Jeannot Bombenga, Matheus Kouka, and others. This is the team that brought you songs like 'Ilunga Zepherina,' which musician Dizzy Mandjeku told a writer was done in honor of a beautiful girl by that name. He said he knew the lady as they grew up together in the Equatorial Province.

Hits like BB 69, a composition of Matheus Kouka, became very popular across Africa. Grand Kalle, however, in the late 1960s, relocated to Paris, where he met Gonzalo Fernandez, a renowned Cuban flutist whom he had dreamt of performing with for a long time. They eventually recorded several songs together.

Legacy and Conclusion

Grand Kalle may have been deficient in the necessary managerial acumen that would have kept the band together longer, but there is a consensus among rumba fans that he is among the very best, if not the best, vocalist in the rumba world. He is also credited with creating the very first indigenous record label, Surboum, which published Franco's songs before the great man of OK Jazz created his own, Epanza Makita. In the 1970s, he completely quit performing and only concentrated on working with the musician's rights body SONECA. He died in Paris in 1983, and his body was flown home for burial.

BY JEROME OGOLA

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