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Congolese musicians started playing Cuban songs, mimicking the Spanish lyrics or replacing them with verses in their own languages and composing original songs in Cuban styles.

Congolese Soukous | Rumba Video - VOL1

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Records produced in Léopoldville (the Belgian Congo) and Brazzaville (the French Congo) in the 40s and 50s confirm, however, that the early stars of rumba Congo never merely imitated Cuban music. Paul Kamba, Antoine Wendo, Henri Bowane, Kallé Kabasele and other artists of their generation created a new sound.

They called it Rumba but used a variety of rhythms and song structures, some recognizably Latin, some not.

Their melodies followed the tones and accents of Lingala and other local languages instead of Spanish. They favored clarinets or saxophones over flutes and trumpets, and above all they featured guitars.

In Congolese Rumba, guitars—usually in pairs or threes—covered all the parts that the guitar, the trés, the violins and the piano played in Cuban music.

And when innovative guitarists such as Franco, Dr. Nico and Papa Noel took up electric guitars in the mid-’50s, Congolese Rumba further distinguished itself from its Cuban antecedent. Soukous is a offshoot Rumba.

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