Who is Good Enough to Replace a Guitar god?
This was likely the question that troubled many Tabu Ley fans upon learning that the singing superstar, son of Bagata, had parted ways with Dr. Nico in the short-lived band, African Fiesta.
The band emerged in 1963 following a significant split within Grand Kalle's African Jazz, resulting in a mass exodus. The new group was led by both Dr. Nico and Tabu Ley.
However, Dr. Nico was musically more experienced and, therefore, more prominent than Tabu Ley. While Tabu Ley was a talented singer, he was considered comparable to other singers of the time, unlike Dr. Nico, whose guitar virtuosity was undisputed.
Thus, when Ley and Nico separated due to leadership disputes, there was significant curiosity about who would succeed Dr. Nico. In Congolese rumba, a band's quality is heavily attributed to its guitarists, particularly the soloists. The genre relies heavily on guitars, making Tabu Ley's choice of a replacement crucial for the band's success.
Ley selected Jean Paul "Guvano" Vangu, a 21-year-old, relatively unknown guitarist from the obscure band Diament Blue. The future of the new band, African Fiesta National, hinged on the young guitarist's abilities.
His slender physique made him noticeable, and his skills quickly made him a celebrity. He had played for Diament Blue since the age of 16. His task was to fill the void left by Dr. Nico, who had formed his own African Fiesta Sukisa.
In the band's new guitar lineup, he joined former African Jazz bassist Joseph Mwena, and later, Bovic Shammar, who, despite being primarily a singer, was also a skilled bassist. Johny Bokassa was the rhythm guitarist, and Augustine Izeidi, also known as Faugus Izeidi, played the "mi-solo" (lead rhythm).
The vocalists were Rene Kasanda, Sama Mangwana, Tabu Ley himself, and the Ugandan trumpeter Christophe Djali provided exceptional trumpet parts. Their first studio project was "Lily Mwana Ya Quartier." Although the recording process went smoothly, a noticeable inconsistency was discovered upon release.
Apparently, the sound engineer had failed to properly balance the guitars. "We were shocked at the release. Nonetheless, the team proved itself on the subsequent recordings from the same album," Faugus recalled. Guvano delivered exceptional guitar work in the recordings of that era. A prime example is "Congo Avenir." In this song, Guvano employs a unique style, following the song's melody and then taking an unpredictable path in the second line.
In "Mokolo Nakokufa," Guvano solidified his reputation as a master of Congolese rumba guitar. Other songs from that period, such as renditions of "Guantanamera," "Djeke," and "Pangoula," are considered classic masterpieces.
When Ley's band faced challenges in 1967, Guvano led a group that formed Festival Des Maquisards, which included Dizzy Mandjeku, Bokassa, and Mangwana. After a split with Mangwana, they created Festival Des Guvano et Mangwana.
This ensemble was short-lived. Subsequent attempts by Guvano to form his own band met with limited success, leading him to focus on session work. He played with various bands in Kinshasa.
He pioneered the guitar style at African Fiesta National, which later became Afrisa. His successors included Pierre Attel Mbumba, Michelino, Dizzy, Dino Vangu, and Nseka Bimwela, also known as Huit Kilo.
Damasseau Kambite also contributed to songs like "Monsieur Malonga" and "Jalousie Mal Place," as did Dr. Nico during a brief reunion with Ley. Lambert Ber also played on some tracks.
The song "Mwana Vangu" was composed for Guvano as a message of goodwill and a wish for his speedy recovery after an automobile accident that required hospitalization. "Nasambeli mwana ya Nzambe, Mwana Ya Vangu abika," (I pray that God heals Mwana Ya Vangu) Ley sang, imploring divine healing for the guitarist.
The prayers were answered, as Guvano celebrated his birthday on February 25th, 58 years after the song's recording. While Guvano's name may not be as widely recognized as Dr. Nico's, he remains one of the finest soloists in Congolese rumba. Guvano has retired from active music and now resides in his rural home.
By Jerome Ogola
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