Franco Luambo Luanzo Makiadi, the brightest star in the constellation that is Congolese music, was born on July 6, 1938. Were he alive today, he would be celebrating his 87th birthday. One cannot help but wonder—had death not stolen this immense talent from the Democratic Republic of Congo, the land of musical gods, where would he be today?

Eighty-seven years is a long time. Most likely, he would have long retired. That’s a whole 27 years past the official retirement age in Kenya and many other countries. It is generally accepted that by age 60, age has taken its toll, and most people are well beyond their peak productivity. However, in music, some players stay in the game much longer.

Take, for instance, Fatuma Baraka, popularly known as Bi Kidude, the Taarab superstar from Zanzibar. She passed away a centenarian in 2013, still active in music. Born in 1910, she began singing in the 1920s and performed well into her final days. Would Franco still be actively making music today? That remains speculative.

Most of Franco’s peers have passed on. However, a few still live. A good example is Jeannot Bombenga of Vox Africa, born in 1936, two years before Franco. Jeannot still resides in Kinshasa and remains a respected cultural figure, often gracing major national events. That said, he hung up his maracas and microphones in 2018, retiring from music at the age of 84, citing old age and health concerns. In 2023, at 89, he donated his instruments to the Musée de la Rumba Congolaise, to be preserved as part of the nation’s musical heritage.

Bombenga was a star musician with African Jazz under Grand Kallé in the late 1950s and 1960s, before branching off to create his own Vox Africa, the same ensemble that gave legends like Papa Noël, Ntesa, and others the platform to showcase their talent.

Many other stars of that era have since passed away, including Papa Noël, Michel Boyibanda, and Pierre Yantula, popularly known as Petit Pierre, who also took part in the famous Hotel Plaza independence celebrations in Brussels with African Jazz.

Of the three, only Papa Noël died while still an active musician. In fact, he passed on with an unfinished studio project, like the proverbial cow that dies with grass still in its mouth, although he had significantly slowed down due to age. The other two, Boyibanda and Petit Pierre, had retired from music long before their demise.

Franco, too, would likely have retired from active stage performances, though not entirely detached from the music scene. After all, he stood head and shoulders above the aforementioned musicians, both in stature and influence. The marathon concerts require tremendous stamina, and even musicians like Dizzy Mandjeku, nearly a decade younger, have stepped away from those grueling all-night performances. In terms of studio work, most musicians tend to do the bulk of their recording while young, with composing and recording slowing down with age. But one thing is certain—Franco would have stretched his career and fame for several more decades, had he lived.

His contemporary, Tabu Ley Rochereau, born around the same time, rejuvenated his career by relocating to the United States, allowing him to sustain his musical journey for at least two decades beyond Franco’s untimely death.

The direction Franco’s music would have taken is also a fascinating topic. Like every other aspect of culture, music is dynamic. It evolves in response to technological advancements, globalization, socio-political changes, and audience tastes. The songs Franco recorded at the start of his career in 1953 are notably different from those of the mid-1960s, which, in turn, differ from his productions of the 1970s. By the 1980s, his sound had evolved even further.

Take, for example, the song "Fabrice," recorded in 1988. Though not among his last works, it leans more towards Soukous than the traditional Odemba style he had long championed. Soukous, whose roots can be traced to Nigerian Highlife influences imported into Congo by bands such as African All Stars, was propelled into popularity by Congolese musicians based in Paris. This marked the beginning of a more commercial phase of Congolese music.

Franco initially resisted this wave of change, despite spending much of that decade in Europe. Yet, his later songs suggest he was gradually embracing the evolving sound. His reluctance may have stemmed from the fact that Soukous lacked key elements he cherished—saxophones, trumpets, trombones, maracas—which were the lifeblood of his Odemba style. But with a growing global audience, change was inevitable. Even had he retired from active music, Franco would have remained an influential figure in Congolese music. His charisma and towering legacy ensured that admiration followed him, not just from fellow musicians but also from political circles.

No doubt, he would have continued to nurture talent, just as he did in his prime. Remember, big names like Youlou Mabiala, who later founded the successful Kamikaze Loningisa, once cut their teeth in Franco's camp. Franco’s greatness also shone through the meteoric rise of Verckys Kiamuangana Mateta, affectionately known as Vévé, whose contributions to Congolese music were immense. Vévé founded Veve, a band and studio that played a central role in the birth and popularity of Cavacha.

Other notable names shaped by Franco’s influence include Madilu System, Ntesa Dalienst, Josky Kiambukuta, and many others. Dozens of musicians interviewed over the years openly list Franco as their role model, their inspiration to pursue music. Franco was a prolific and supremely talented musician, with his band OK Jazz (later TPOK Jazz) recording at least 1,500 songs over its 37-year existence. To date, he remains arguably the most successful Congolese musician of all time.

By Jerome Ogola

Jabulani Radio

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