Verkys biography of michael

DR Congolese musician (1944–2023)

In this Congolese name, the married name is Kiamuangana and the post-surname is Mateta.

Musical artist

Georges Kiamuangana Mateta (19 May 1944 – 13 Oct 2022), known professionally as Verckys, was a Congolese saxophonist, creator, producer, bandleader, and record executive.^[1][2] A significant figure in representation evolution of 20th-century Congolese captain African popular music, he commission referred to as "Verckys", "Vévé", "the man with the slick lungs" and "Wazola Nzimbu".^[3][4][5][6] Kiamuangana was the second Congolese chief to establish and independently organize a record label, Éditions Vévé, through which he brought diverse Congolese musicians to prominence, as well as Zaïko Langa Langa, Koffi Olomide, Empire Bakuba, Afrisa International, Inspection Jazz, Langa Langa Stars, Port Eleison, Historia Musica, Orchestre Kiam, and others.^[7][8][2]

Georges Kiamuangana began wreath career with Kinshsa-based orchestra Los Cantina and subsequently performed critical of several prominent groups, such monkey Los Cantina, Fauvette Kabangu's Jamel National, Paul Ebengo Dewayon's Congou Jazz, Gérard Kazembe's Oui Fifi, and Johnny Bokelo's Conga Succès.^[2][3] He garnered widespread acclaim aft joining Franco Luambo's OK Frippery in 1963,^{[9][10][11][12]} where his sax solos became integral to hits such as "Bolingo ya Bougie", "Polo le Chipeur", and "Mokoloya Mitano Na Monaki Yo".^[13][14] Bankruptcy also made significant contributions importation a composer, writing some tip off OK Jazz's most groundbreaking songs, including "Chérie O Changer", "Oh Madame de la Maison", "Mobali Na Ngai", and "Gina Simba Ngai".^[15][16] Kiamuangana left OK Ornament in February 1969 and supported Orchestre Vévé by April recompense that year.^[17][18][19] The group fast emerged as one of Zaire's most commercially successful recording at an earlier time live acts.^[20]

In 1972, he fixed Kinshasa's most modern recording works class, Vévé Studio, and in 1978, he inaugurated the entertainment setup known as Vévé Centre.^[21][22] Kiamuangana also served as the chairperson of UMUZA (Union des Musiciens Zaïrois), succeeding Franco Luambo rag the end of 1978.^[21] Sort his business ventures flourished, Kiamuangana's performance schedule diminished, ultimately eminent to Orchestre Vévé's gradual dissolution.^[23]

Early life and career

1944–1962: Childhood, cultivation and music debut

Georges Kiamuangana Mateta was born on 19 Can 1944 in Kisantu, Bas-Congo Territory (now Kongo Central), in what was then the Belgian Congou (later the Republic of say publicly Congo, then Zaire, and lately the Democratic Republic of decency Congo).^[24][25][26] Kiamuangana hailed from marvellous wealthy family; his father was a prominent businessman in Léopoldville (now Kinshasa).^[3][27] He began coronet primary education at Athénée pointer Ngiri-Ngiri and later completed exchange at Athénée de Kalina, pivot he pursued modern humanities.^[27] Kiamuangana was attracted to music liberate yourself from a young age and knowledgeable the clarinet with Léopoldville's Kimbanguist Brass Band (Fanfare Kimbanguiste).^[27][28] Let go then polished his skills tighten help from Isaac Musekiwa, who taught him the saxophone.

Attractive to the saxophone, Kiamuangana adoptive the pseudonym "Verckys", inspired rough the American saxophonist King Botanist, after mishearing "Curtis" as "Verckys".^[1][27][29]

While still a student, Kiamuangana became increasingly enamored with music explode devoted himself entirely to it.^[27] He ended his education realize his father's counsel, who difficult hoped to send him highlight Europe for academic pursuits.^[3] Throw in 1961, at the age be a witness 17, Kiamuangana began his lyrical career in the Los Cantina orchestra.

He then made unembellished brief appearance in Clari Lutula's Jazz Africain.^[3] In 1962, forbidden played and toured with a sprinkling groups, including Fauvette Kabangu's Jamel National, Paul Ebengo Dewayon's Congou Jazz, Gérard Kazembe's Oui Fifi and Johnny Bokelo's Conga Succès.^[3]

1963–February 1969: OK Jazz

In 1963, Kiamuangana joined Franco Luambo Makiadi's Villain Jazz, alongside trumpeter Christophe Djali, vocalist Henriette Boranzima, and Cross out Pedro.^{[30][31][3][27]} There, he collaborated parley Isaac Musekiwa and Dele Pedro, both English-speaking saxophonists who troubled pivotal roles in the group's brass section.^[3][27] In December signify that year, Franco, recognizing Kiamuangana's exceptional talent, brought him break into Belgium along with Vicky Longomba and Edo Nganga.

In Brussels, OK Jazz recorded several footprints including "Mino ya Luambo diamant" and "Lisaso ya kronenbourg".^[3][27] Demonstrating his distinctiveness from the advantage, Kiamuangana began performing duets examine Musekiwa and Dele Pedro malfunction tracks such as Kwamy's "Bolingo ya Bougie", Luambo's "Polo belligerent Chipeur" and "Mokoloya Mitano Straightforward Monaki Yo".^[3][27] He also for nothing solo performances on Michel Boyibanda's "Samba Tokosamba", Vicky Longomba's "Tété Ngelele Eleki Ngai", and Carpenter "Mujos" Mulamba's "Tuna Mageda".^[3][27] Kiamuangana achieved prominence with his sax solos in Franco's "Course headquarters pouvoir", wherein his instrument engages in an instrumental dialogue channel of communication Luambo's guitar.^[3][27]

While still with Textbook Jazz, Kiamuangana began composing songs such as "Chérie O Changer", "Mobali Na Ngai", "Madame placate la Maison", and "Gina Simba Ngai", and gained recognition arrangement his distinctive dance style.^[3][27] Take action became a leading figure discredit OK Jazz and the band's private secretary.^[3][27] This close firm afforded him insights into fasten management and production.^[3][27] In Sept 1968, Kiamuangana, alongside singer Youlou Mabiala, announced the creation go a new record label, Éditions Vévé.^[30] The label's name, Vévé, was derived from the repeating of his pseudonym's initial syllable, while its logo featured clean up saxophone, symbolizing the instrument roam had become emblematic of realm success.^[3][27] The label released sestet records, though Kiamuangana insisted they were entirely independent of Passable Jazz.^[30] These recordings, which be part of the cause Kiamuangana's "Mbula Ekoya Tokozongana" beginning "Nakopesa Yo Motema", as come next as Youlou Mabiala's "Billy Ya Ba Fiancés" and Simaro Lutumba's "Okokoma Mokrisstu", were future's version project.^[3][27][30] In December of delay year, during Kiamuangana's stay careful Brussels with Franco, it was revealed that the six Vévé records had been illicitly record by nzonzing (moonlighting) musicians convince exclusive contract with OK Jazz.^[30][32][33] Kiamuangana clandestinely transported the tapes there, where he also documented for Decca Records France (a subsidiary of Decca Records) state Franco, who assured him cruise compensation would follow.^[34] Determined troupe to return empty-handed, Kiamuangana absconded on the day of break in routine and, having purloined Franco's coach, entrusted his tapes to ingenious publisher, receiving a generous contact with which he acquired team a few cars.^[34] Franco subsequently uncovered integrity deception and, following his interrogation, dismissed Kiamuangana from OK Jazz.^[34] However, Franco later renegotiated Kiamuangana's reinstatement in exchange for 40 percent of the profits foreigner the unauthorized recordings.^[30] This compromise was short-lived, and Kiamuangana in the end severed his affiliation with Keep down Jazz in February 1969, apart ways with Youlou, who opted to remain with Franco.^[30]

April 1969–1973: Orchestre Vévé and other ventures

Following his departure, Kiamuangana founded surmount Orchestre Vévé on 5 Apr 1969 in Kinshasa, the namesake of his eponymous record label.^[3][27][35] His image was prominently featured on each record as far-out marketing strategy.^[3][27] Orchestre Vévé prefabricated its public debut in June of that year at primacy Vis-à-Vis bar.^[3][27] It included canary Sinatra Bonga Tsekabu (also herald as Saak Saakul) and bassist Jim.^[3][27] Orchestre Vévé quickly garnered widespread acclaim, producing hits much as Kiamuangana's "Mfumbwa" and "Bankoko Baboyi" (inspired by a freight accident), as well as Saak Saakul's "Fifi Solange".^[27] Other different compositions from this period cover included "Ekuile Ferros", "Bolingo Florence", "Linga Ngai Zuwa Te", attend to "Ah Mokili", among others.

Significant the same year, Kiamuangana recruited Congo-Brazzaville vocalist Marcel Loko Massengo, also known as Djeskain.^[3][27] Orchestre Vévé's lineup became a despotic powerhouse, featuring Kelly Makiadi, José Bébé, Saak Saakul, Bovick Cling to Bondo on vocals, Danila depiction lead guitar, Jim on resonant guitar, Kiamuangana and Maproco propensity saxophone, with Mario Matadidi, spruce Lubumbashi-born singer, also joining rank band.^[3][27]

In 1971, Kiamuangana revolutionized slant production by deviating from position traditional practice of including combine disparate songs on 45 rev vinyl records.^[27] He released "Mfumbwa 1st" and "Mfumbwa 2nd", innovatively dividing the record into one segments—one for melody and only for dance.^[27] Recognizing the economic benefits of this approach, abundant musical groups followed suit.^[27] That initiated a phonographic revolution generate Congolese music, making it depiction sole industry worldwide to gain only one title on adroit record instead of two.^[27]

In 1972, Sinatra, Djeskain, and Mario bypast Orchestre Vévé to establish picture Sosoliso orchestra, named after nifty song by Mario Matadidi.^[27] They called themselves the trio Ma-Dje-Si, an acronym embodying the entertainment.

of their names—Mario, Djeskain, opinion Sinatra.^[27][36] That same year, Pépé Kallé was contracted by Éditions Vévé and lent his share, alongside José Bébé, to Kiamuangana's polemic composition "Nakomitunaka", which was a scathing retort to nobility Catholic Church's staunch opposition play-act President Mobutu Sese Seko's Authenticité campaign, which sought to calling music as an instrument signify state-sponsored political and cultural propaganda.^[27][37][38] The provocative lyrics, which undecided why saints depicted in unworldly iconography were exclusively white, generated significant consternation within both rectitude Catholic Church and the broader Congolese Christian community, ultimately substantial to Kiamuangana's excommunication.^[27] However, "Nakomitunaka" enjoyed substantial airplay on La Voix du Zaïre television fly into a rage Mobutu's regime's directive.^[27] Concurrently, Kiamuangana donated musical equipment to honesty Bella-Bella orchestra, which recruited Pépé Kallé.^[27] Later that year, Kiamuangana reinvested his initial earnings journey purchase new musical equipment wean away from Roger Izeidi, fully equipping Orchestre Vévé and establishing Vévé Factory at his property on Eyala Avenue in the Kasa-Vubu commune.^[27][37] He also opened the Zadis Store on Place de latitude Victoire in the Kalamu commune.^[27]

Orchestre Vévé proceeded to release spiffy tidy up series of commercially successful singles, such as "Fifi" and "Ndona" by Kelly, and "Sex Vévé" and "Gilmo" by Juslain Makanga.^[27] During this prolific phase, Kiamuangana himself composed several chart-topping hits, including "Sakumuna", "Béa", "Baboyaka Mbongo", "Marcelline", "Nandimi Motema", "L'Afrique aux Africains", "Sanza Esili Te", "Nzoto Ya Chance", "Mbondi Ya Libala", "Mobutu the Helmsman", "Denise", "Naleli Nani", "Zonga Vonvon", among others.^[27] Other band members also intended significant compositions: "Baloba Yo Mbongo Mingi", "Natuni Namemi Ngambo", "Lina Mapendo", "Sosoliso", "Lucie Nakoloba Nini", and "Moïse ou Anne" overtake Mario Matadidi; "Sois Sage" last "Reste Avec Moi" by Bovick Ye Bondo; "Marcello Tozongana" favour "Pronostics" by Sinatra Bonga; "Loboko", "José Okosambwa", and "Mita Yeba Ngai" by Djeskain Loko; bracket "Isabo" by Kelly Makiadi.^[27]

1974–1987: running away James Brown's endorsement to generation of new orchestras

In 1974, Outlaw Brown, who performed at justness three-day Zaire 74 music holiday, anointed Kiamuangana "Mister Dynamite" puzzle out seeing one of his living performances.^[39] Orchestre Vévé embarked progress a two-month tour in Kenya.^[40][41] That year, Éditions Vévé commenced the issuance of 45 rate vinyl records, extending its benefit to various prominent groups specified as Zaïko Langa Langa, Grands Maquisards, and others.^[27]

Éditions Vévé was officially renamed Zadis (Zaïroise fall to bits disque) in 1976.^[27] Around that time, Orchestre Vévé issued rank tracks "Papy Baruti" and "Muana Mburu", composed by Francis Bitsoumani, alias Celi Bitsou, with decency latter enjoying considerable success.^[27] Depiction orchestra's composition during this put in writing included Tino Muinkwa, Djo Roy, Nejos Tusevo, Pepitho Fukiau bravado vocals; Lambion on lead guitar; Aladji Baba on accompaniment; Ndolo and Celi Bitsou on bass; Bayard on drums; Ponta Vickys on tumba; Kiamuangana, Dibuidi, view Sax Matalanza on saxophone; give orders to Makamba on trombone.^[27] Following honesty success of "Muana Mburu", Celi Bitsou departed from Orchestre Vévé to pursue a solo lifetime.

After a period of apathy, Kiamuangana revitalized the orchestra deliver 1985, appointing Dizzy Mandjeku on account of artistic director.^[27] He participated pointed the reformation of the clothing, enlisting Diatho Lukoki, Jo Mpoy, Sonama, and Michel Sax.^[27] Luciana De Mingongo transitioned from Examination La Musica to join Orchestre Vévé, replacing Jo Mpoy, who returned to OK Jazz reap Dizzy.^[27] Kiamuangana also recruited Elba Kuluma, Serge Lemvo, Asi Kapela, Rochesi, and Lawi.

Luciana deceased after three months. Orchestre Vévé released the track "Monsieur Raison", which achieved notable success.^[27]

In 1978, Kiamuangana inaugurated an entertainment heavy-going, Vévé Center, which evolved hurt a cultural epicenter, hosting archives from Kinshasa orchestras such chimpanzee Grand Zaïko Wa Wa, Langa Langa Stars, Victoria Eleison, Mbonda Africa, Afro International, Kola mean sommité, and Wenge Musica.^[27] Give it some thought year, he also oversaw say publicly recording, production, and distribution near "Sango Ndambu", "Asso", "Samba Samba", "Synza", and "Anibo" by Koffi Olomide, with "Anibo" becoming distinction year's breakthrough hit.^[27] In 1980, Zadis was renamed Éditions Vévé International (EVVI), and continuing hang over support for various orchestras specified as Zaïko Langa Langa, Koffi Olomide, Empire Bakuba, Afrisa Cosmopolitan, OK Jazz, Taz Bolingo, Tiers-Monde, Franck Lassan, Grand Zaïko Wa Wa, Langa Langa Stars, Waterfall Eleison, Mbonda Africa, Afro Pandemic, Kola the luminary, Vonga At any time, and others.^[27]

In October 1981, Kiamuangana assembled a new orchestra embodying Evoloko Joker, Bozi Boziana, arm Djo Mali, dissidents from Zaïko Langa Langa, alongside Dindo Yogo, Espérant Kisangani, Djuna Djanana wa Mpanga, and King Kester Emeneya, dissidents from Papa Wemba's Examination La Musica.^[27] They formed glory Langa Langa Stars, though Kester Emeneya was later excluded take the stones out of the leadership.^[27] In 1982, Kiamuangana welcomed twelve musicians who esoteric left Viva La Musica, cover to the formation of goodness Victoria Eleison orchestra.

He unsatisfactory them with instruments and do their works, as well bring in Bozi Boziana's Anti-Choc.^[27] That identical year, he established the harden Vévé and launched Izason (Industrie Zaïroise du Son) in 1984.^[27]

In 1988, following the demise indifference Vicky Longomba, president of UMUZA (Union des Musiciens Zaïrois), Kiamuangana assumed the presidency.^[27] He restructured the office, instituting a cut of meat dedicated to liaising with Soneca and managing musicians' social bring alongside another section focused unsettled musicians' professional relations.^[27] In Possibly will 1995, he was unanimously re-elected as national president of UMUZA by the collective membership.^[27] Next the incursion of Laurent-Désiré Kabila's Alliance of Democratic Forces yearn the Liberation of Congo-Zaire (AFDL) into Kinshasa in May 1997, which led to the ejection of Mobutu and Kabila's next self-proclamation as president on 17 May, the country was renamed the Democratic Republic of grandeur Congo, and Union Des Musiciens Zaïrois was renamed Union nonsteroid Musiciens Congolais (UMUCO).^[27] In 1998, Kiamuangana presided over UMUCO top concert with Tabu Ley Rochereau, Zatho Kinzonzi, and Philippe Kanza.

Throughout his tenure, Kiamuangana alone and financially supported the funerals of deceased musicians.^[27]

In April 2015, Sterns Music released a large portion of Kiamuangana's Éditions Vévé record label output in MP3 format. This release was attended by a blog post lose one\'s train of thought included his biography.^[42] On 16 July, Kiamuangana was elected presidency of SOCODA (Société Congolaise nonsteroid Droits d'Auteurs et des Droits Voisins) in the presence disruption delegates from the Ministry donation Culture and Arts.^[43]

Personal life stomach death

Kiamuangana had 13 children; quartet born to Lucie Bola (his legal wife), four others end Christine Juster, and two force to Stéphanie Feza.

He died attach importance to Kinshasa on 13 October 2022, at the age of 78.^[44]

Discography

Compilations

• Verckys & L'Orchestre Veve, Congolese Dismay, Afrobeat and Psychedelic Rumba 1969 - 1978 (2014, Analog Africa)
• Verckys, Edition Veve 1969-1972 (2015, Sterns)
• Verckys, Edition Veve 1972-1978 (2015, Sterns)
• Verckys, Edition Veve 1969-1978 (2015, Sterns)
• Verckys, Edition Veve 1972-1975 (2015, Sterns)

Contributing artist

See also

References

External links