Ever since Koffi Olomide swept the Kora Music Awards last year, Afropop Worldwide's man in Kinshasa, Kavlo Madikani has been watching the Congolese star's moves closely. Here's Kavlo's report on an artist who bridges many worlds in a tough musical environment.

"These trophies are a dedication for peace in the DRC, my home country." The words of Congolese musician Koffi Olomide on Saturday, November 2, 2002 after receiving 4 trophies at the 7th edition of the Kora Music Awards in South Africa. Koffi received awards for Best African Musician, Best Central African Musician, and Best Album Clip, for the album Effrakata, and also a special prize for his overall contribution to the African music.

That's the fruit of a devoted musical career that has also been a real odyssey. Koffi has had to struggle to keep himself up as a star, due to many controversies. Younger stars have certainly been inspired by his progress to continue to fight, to be self-assured and to make their way through life through their natural talents.

His Debut

Born Antoine Agbepa Mumba in 1956, Koffi began singing at a young age, at first mimicking Tabu Ley and other celebrities of that time, and also devoting himself to the guitar. Koffi's father was keen to prevent him from getting into the swing of the music, so he flew him to Bordeaux, France, for higher education, which he completed, graduating in 1980. But during his vacations, Antoine Makila Mabe ("Antoine the unfortunate," as friends called him) couldn't resist providing such Kinshasa-based big bands as Viva la Musica of Papa Wemba and Zaïko Langa Langa with a few lyrics. Consequently, he made himself conspicuous with his debut title Onia, and during his 1977 vacations, he produced the records Asso and Princesse ya Senza in Vévé's studio, Kasa-vubu-Kinshasa. These achievements earned him a new nickname: "L'Etudiant le plus célèbre du Zaïre" (The most famous student in Zaire). In 1980, Koffi was acknowledged as the best star for the song "Anibo," a single performed as a duo with Koffi and Papa Wemba.

Once he achieved musical maturity, Koffi stopped roaming through different bands and recording occasional singles like "Ngounda." He launched his own group Quartier Latin in 1988, the very year that the original Zaïko Langa-Langa broke up. Koffi was dubbed "Rambo" du Zaïre, after recording his album Dieu Voit Tout "God Sees All" in Paris. This debut album began Koffi's career in earnest, and since then, he has continued to earn one colorful nickname after another: Golden Star, Mopao, Mopao Mokonzi, Papa Plus, Papa Sucre, Papa Bonheur, Le Guide, etc.

Starting from that time, Koffi won wide recognition as a gifted songwriter, especially good at sentimental, lyric poetry. Koffi's songs were widely appreciated by women and girls whom he regards as being "the dressers of the inner wounds." In the late 1988, he recorded "Rue d'amour" and launched a slogan "Tcha-tcho ezala kaka tchacho," whose actual explanation is beyond people's understanding but which could go as: "his music should reflect anything that is good, attractive, well and different." And then came more classics, "Elle et moi" and "Noblesse oblige." Koffi is a charming singer whose Congolese rumba groove typically featured Rigo Star's high-pitched, syncopated guitar sounds. In addition, Koffi earned a reputation as a smart dresser, and a very intelligent man, who speaks both French and English with impressive fluency.

Meanwhile, Quartier Latin became a large band, as many as 20, including a large contingent of female dancers. That's when Koffi set out to win over large European halls (Olympia, Zénith, Bercy). Ever since, he has been releasing a stream of albums at very short intervals. "That's my musical policy," he says. "It helped me to be present on a long term basis on the record market over the 1990-2000 decade." Some of those albums were a success; others were not; but the music never stopped for a minute.

Stars at War

The unity between Koffi and his supporters--through songs, albums, shouts, nicknames, even lampoons--goes way back now. Music lovers in Kinshasa identify with him and vice versa, and he goes nowhere unnoticed. As poet LUTUMBA wrote: "Koyebana ezali ngambo" (Being famous is a source of trouble). For instance, Koffi sang "Toza ko rond-point" (We're beating about the bush) at a time when the Congolese music and politics were experiencing a kind of lethargy and lack of innovation, the line sparked controversy. It is in that spirit that he has been living a sometimes competitive, sometimes friendly life with other Congo music veterans. Papa Wemba and Nyoka Longo have watched his advance and have sometimes integrated him into their bands and projects. More recently, these friendships have frayed.

Koffi ran into serious trouble with Nyoka Longo, leading to an exchange of bold and bitter insults through the media as well as among fans on the streets. Nyoka Longo was even rumored to be dating Koffi's mother!

Koffi is currently at loggerhead with some of his juniors, in particular J.B. Mpiana (leader of Wenge BCBG), with whom he has been living a cat-and-dog life of late. Their disagreement can be traced back to the period of time shortly before J.B. performed at Bercy in September, 2001. J.B. belittled his predecessors (Koffi & Werra) saying in the press that he was going to correct them at Bercy. But man proposes and God disposes : the September 11th attack made it impossile for JB to achieve his dream, as traveling by plane became the worst thing in this world most people could think of. Given that many of the concert-goers were to travel to Paris through borders which were closed down, there were few people at the concert. Immediately, Koffi and Werrason launched challenging words at JB.. J.B. took the liberty of insulting Koffi's mother and his fans actually attacked her home. Werrason, shocked, went to see Koffi's mother to appologize on behalf of Congolese musicians.

Another case in point, Koffi sang a duet with Papa Wemba on the album Wake up. The song was a hit at first, but when a bitter disagreement arose between the two singers, each accusing the other of being at fault, the song went out of favor with the public. Gossip had it that Koffi had made a secret arrangement with a white producer so as to deceive Papa Wemba and ensure that he got the lion's share of the proceeds. And on it goes…

According to Koffi, the senior figures of Congo music must understand that their former student (him) has become Papa Bonheur, and now deserves respect on his own terms. His trademark has become the search for material affluence, symbolized by his cars, the most famous of them being "V12," the one he immortalized on the album V12, Problèmes sur Problèmes.

[Editor's Note: In an October 23, 2003 interview in the UK, Koffi downplayed these conflicts, referring to Werrason as "my young brother." For more, visit http://www.koffiolomide.net/.]

His Songs

Through his songs, Koffi tries to depict Congolese society with all its ups and downs, and even its depravities, which influence and affect him as well. A season never passes that Koffi doesn't launch sharp words that will make you laugh, but also irritate and sometimes relax you. Koffi's own feelings and experiences mirror those of the society: "Zero faute", to proclaim his mea culpa?; "Cinq sur cinq", to promote his pro modo?; "Kokende liboso ezali kokoma te" (= making an early start does not mean arriving first) - an answer to all the veterans who are still playing down his achievements; "Ba soeurs moko ya mikuli"(=extremely old sisters); "système ya Kung Fu (i.e. roughly fighting down the battle, not giving up too soon); "Obeti gauche, obombi droite (i.e. dealing a left hand punch while keeping the right hand ready.), "Lokuta eyaka na ascenseur, kasi vérité eye na escailer mpe ekomi (i.e. lying took the elevator, but the truth went upstairs and was finally revealed.).

On Effrakata, he gives an account of a fly that eventually got drowned and went all the way to the bottom of the an old drunkard's glass of local alcohol shortly after flying away from a sweeping brush stroke! In the song, "Choc," he addresses girls: "Keba okoya kozanga nzoku mpo na likelele"(Be careful not to miss an elephant because of a cricket.); in "Logique," he spotlights the deceptions of boys that most girls eventually suffer. "Kaka nzoto na ngaï! Kaka nzoto na ngaï! Bala mpe ngaï"(....only for carnal desires! Why don't you marry me for a change?), then he continues saying "Likaku soki azali likolo ya nzete basalelaka ye mosaka te" (Don't count your chickens before they are hatched) and he sings: "Est-ce qu'obala ngai? Est-ce qu'obala ngai? Est-ce qu'opesela nga mbongo epai na biso? Est-ce que ba parents na ngai basi balia mbongo na yo? Luka obala nga ebongo o diriger ngai (Did you marry me? Did you marry me? Did my family receive a dowry from you? Do your best to marry me and then you'll be able to order me.

Quartier Latin: A Saga

The syndrome of departure and separation that is a blight on the Congolese music has certainly been felt within Quartier Latin. A woderful musician and star, Koffi is trying to get on with all those tough boys (his musicians), as much as they are unsteady, contaminated by what might be called The Congolese Nomadism Virus, which causes them to wander from one band to another. That said, Koffi, like any other band president in Kinshasa, sometimes doesn't know how to manage his band successfully.

Following one performance at Zenith, a number of his musicians decided to leave the band and created "Quartier Latin Académia," which later became "Academia" under the leadership of Sam Tshintu. On the staff were Somono, Bourreau Mpela, Modogo, Mboshi and others. No sooner did Koffi released the album Droit de Veto, that these breakaways launched their first album, Sanction. Hurt by his amour-propre, Koffi retorted with "Attentat," a song that foreshadowed further departures, including Depitcho Savane and JF Ifonge. In order to fight off that sinking feeling, Koffi, then going by the name of "Le Professeur des Élèves," counter-attacked the drop-outs with Force de Frappe (Force of the Blow). Working on the album were Bourreau, Falli Pupa, Soleil, Montana, Gypson, Deo, Lola Mwana, Mama Ley, Titina, Binda basse, and many others. This was a big job that required patience, know-how and many sleepless nights from Koffo Olomide.

Quadra Kora Man

The four Kora Awards mark a major milestone for Koffi. All the way back in 1987, he stated on a TV program that he dreamed of appearing at Olympia and Zenith in Paris one day. Now, he had gone well beyond that, creating albums rich with references to all genres of Congolese music, and many foreign influences as well. He has indeed become an international African star.

As evidence of his prolific output and his expansive stylistic repertoire, "Africando" with "Mopao, nalingi yo" (I love you, Boss), is an excellent salsa. In his latest albums, Koffi has mixed the Rumba style with soukous and traditional Luba rhythms, as on "Shabani" or "Mutwashi," and Mongo style on "Bilan."

If a new melody turns out to be all the go in Kinshasa, Koffi introduces it into his repertoire. Successful with the Kibinda Nkoy melody, in "Loi" he rushed into Ndombolo. Even melodies of the old veterans can be found in his repertoire. In "Aspirine", he replayed some lines of Wendo Kolosoy's "Lucie Eyenga," "A yi o lele ya ngai na ye/Bisengo ya biso mibale/Ata balobi, baloba/Ata bafingi, bafinga/ A yi o leli ya ngai na yo/Bisengo ya biso mibale (i.e. No matter what they say, using abusive language, slandering, our happiness is for both of us.), Koffi's recent albums include: Ultimatum, Loi, Droit de veto, Force de frappe, Effrakata (everything is broken and the damage is highly appreciated.), and his 2003 release, Affaire D'Etat. Force de Frappe in particular is a perfect album, a top seller ever since it was released. Coming right up is Monde Arabe.

[By the way, Effrakata and Affaire D'Etat jump on the recent bandwagon of releasing 2-CD packages, almost an obligation for major stars at this point. The trend was started by King Kester Emeneya with the album Longue Histoire containing 18 titles. "You can happen to be short of creation at times, so some of the songs on the two CD packs can help as a selection for a remix when the going gets rough," he said. Later on came Werrason with Kibuisa Mpimpa (Break of Night, 2001), with 16 titles, and then J.B. Mpiana with Internet. Koffi has been doing this since December 2001 when he released Effrakata. A La Une and the brand new Somo Trop by Papa Wemba also follow suit, as does Muna by Adolphe Dominguez. If you want to swim with the big fish, a single CD may not cut it anymore.]

As an educated musician with out-of-this-world musicianship, from now on, Koffi intends to struggle to uplift Congolese music. In recent television and radio interviews he has spoken of helping it rise above all its controversies, insulting shouts and so on, to become more balanced, educational, respectful and ethical. In this, Koffi has a long way to go indeed and the odds are tough, but he is confident, calling himself "L'homme de tous les défis" (The man of all challenges). And in the face of his four Koras, it's hard to argue with that.

Having reached a new level of success in his career as a musician, Koffi now enters a new and delicate stage: He must be able to manage his success. Among all the praises he gets are also some reproaches. For example, he ought to respect Congolese and African ideas as to what clothes his female dancers should wear in performances. Some are eager to see him move beyond material consumption and into investment, like Yousou N'Dour in Senegal--to invest especially in his homeland. Others say he ought to change his attitude toward producers who complain that he is too much of a tough guy. On this, it can be argued that Koffi is simply aware of his own value, and demands a big share in the deals because he deserves it. Perhaps this is a lesson young Congolese musicians should learn so as to avoid being despoiled out of ignorance. Perhaps Koffi is just helping other Congolese musicians to live from their art.

In that spirit, he got the name "Mopao Mokonzi" (a big boss who guides others). He is currently going by the name of "Hero National." It is said however that JB Mpiana, "Le Salvator de la Patria," called so by his fans, and Bozi Boziana, "Le Grand Père" are also claiming the rather heavy name "Hero National." So the jury is still out on that one.

For Afropop Worldwide, this is Kavlo Wadigesila Madikani in Kinshasa.










Contributed by: Kavlo Wadigesila