Papa Noel
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Papa Noel’s new album, Café Noir, which he will
promote during his June UK tour, was recorded in Havana, Paris, London
and the Congo. The rhythms of Café Noir are an eclectic mix
of rumba, son, merengue zoukous and soukous son.
NEW CD
"A profoundly moving experience" The Times
"Spell-binding performance...wonderfully atmospheric" Songlines - Top of the world
"Magical...obvious warmth and natural empathy" Straight No Chaser
"A Stunner" FrootsGuest Artists: Manu Dibango, Ray Crespo,Tomas Dyani Akuru, Palma Ernesto Reyes, Coto, Sultan Zembellat, Abby Surya, Stella-liv Makasso, Adam Pedroso, Pierre Belkos, Niurka Galarraga Piquero & Ezequiel Domenech Alfonso.
Tracklisting: 1. Africa Mokili Mobimba (Congolese Rumba)
2. Democratie (Central African Rhythm)
3. Lolita (Congolese Rumba)
4. Salsa Africaine (Afro-Cuban Son)
5. Café Noir (Classical African Rumba)6. Sandokan (African Rumba)
7. Soleil (Merengue Zoukous)
8. Tomatito (African Rumba)
9. Soukous Son (Soukous Son)
10. Latin Reverie (Latin Rhythms)English Text:Papa Noel (whose stage name comes from the fact he was born Antoine Nedule Monswet on Christmas day 1940) is a veteran of the golden age of Congolese music. In the 1940s and 50s Congolese rumba, until then performed traditionally on lokole log drum and sanza thumb piano was modernised by a group of pioneers. They transformed it by playing it on electric guitar, Latin congas and brass instruments. There was certain influence from commercial Cuban music – including rumba, son and cha-cha-cha - circulating at the time, as well as the absorption of sounds from regional and folk musics brought by rural migrants to the country's cities. Rumba's musical structure shifted due to the creative impulse of Joseph Kabasele 'le Gran Kalle' and members of his band African Jazz. Others involved in this re-birth were Mwamba Déchaud, Tino Barroza and Nicolas Kassanda aka Dr Nico. The first success of this new period came in 1948 with Marie Louise, by guitarist Antoine ‘Wendo’ Kalosoyi. Other groups contributed to the increase in popularity including in 1956 the legendary Franco Luambo Makiadi's OK Jazz, les Bantous de la Capitale in 1958 and later Tabu Pascal Ley's African Fiesta in 1963. Through their inventiveness and the very lively local scene rumba became the Congolese musical trademark, the first Pan-African dance sound. Papa Noel played guitar with several groups from that era notably Rock a Mambo (with two members of Franco's OK Jazz), les Bantous de la Capitale, Kabasele's Orchestre African Jazz and then Franco's OK Jazz. For Café Noir he draws inspiration from Cuba, the island whose rumba has inspired many leading Congolese musicians. The connection is direct as during the colonial period many Congolese took an enforced passage as enslaved peoples to Cuba. Having survived their music was key to the creation of traditions in the ports of Matanzas and Havana which have become known as Cuban rumba.To celebrate this on this recording, Papa Noel's guitar is joined by the distinctive sound of the Cuban tres with its three pairs of metal strings played by Cuban sonero Cotó. Joining in this reunion is Cameroonian saxophonist Manu ('Makossa man') Dibango, giving him the opportunity to evoke the hot nights of Léopoldville (today’s Kinshasa), drawing on his own early years playing there with African Jazz. Both Cuban and Congolese rumba callejera (street rumba) are all about dance! With Café Noir, Papa Noel pays tribute to the fact that Cuba has always been both a model and source of inspiration for African rumberos.
Française:Antoine Nedule Monswet doit son nom de plume, Papa Noel, a sa naissance le jour de noel 1940 le 25 Décembre 1940. Un veteran de l'âge d'or de la musique congolaise mais aussi un pionier qui modernisé. Dans les années 40s et 50s la rumba ditte "Congolaise", Traditionellement à l'origine se jouait avec des tambours, le sanza et le lokole. La transformation de la structure musicale de la rumba congolaise commence avec la introduction de la guitare electrique, des congas et des instruments à vents y metal. Il y on a une certaine influence de la musique comercial Cubaine – rumba- son- cha-cha-cha – en circulation a l'époque – et l'apport des sons regional et folklorique des paysans qui migres vers les villes. La rumba change sous l'impulse creatíf de notament Joseph Kabasele et les membres son group l'African Jazz., Mwamba Déchaud et Tino Barroza et Nicolas Kasanda (aka Dr. Nico) qui vont tous jouer un role important dans cette musique Le premier succés de ce genre fut ‘Marie Louise’ du guitariste Antoine ‘Wendo’ Kalosoyi en 1948. D'autres formations donnerent de l'essor à cette musique surtout urbaine; l’OK Jazz (1956) de Franco Luambo Makiadi, les Bantous de Capitale(1958); l’African Fiesta de Tabu Pascal Ley (1963) (lplus tard s’appelle Tabu Ley Rochereau). Ils donnerent une grande impulsion a cette rumba qui devient la marque de fabrique musicale congolaise; Papa Noel fut guitariste de plusieurs formations de cette époque (Rock a Mambo, les Bantous de la capitale, African Jazz). Pour Café Noir il prends inspiration en refaisant a l'inverse le chemin des esclaves à la rencontre de Cuba qui a inspire plusieurs musiciens de cette époque. La connection est directe parce que pendant la periode colonial beaucoup de Congolais prenderont le passage enforce a Cuba commes esclaves. Cette musique etait la clé de la creation dans les ports de Matanzas y Havana de la tradition qui s'appele Cuban rumba, Por celebrare c'est la rencontre de la guitare tres du sonero rocker cubain Cotó et celle du rumbero qu'il est; les retrouvailles ont pour témoin Manu (‘makossa man’) Dibango; occasion pour lui de se rappeller les nuits chaudes de Léopoldville aujour d'hui Kinshasa; sus premiers annés ou il a joue avec African Jazz y autres.
La rumba callejera de Cuba et celle du Congo ont pour point commun la danse! Avec Café Noir Papa Noel a voulu rappeller que Cuba a toujours ete source d'inspiration et modele pour les rumberos Africains.
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