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Bana Congo

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Crítica do álbum

There's always been a strong link between Cuban music and Congolese rhumba — over the years the two have influenced each other in countless ways. African guitarist Papa Noel was always one of the more Cuban-leaning of the rhumba virtuosos, which makes this pairing with Cuba's Papa Oviedo a perfectly natural mix. Not only does it show the similarities between West Africa and Afro-Cuban music, but it showcases two scintillating players and singers, whether on the gorgeous ballad "Juliana" (which slips effortlessly in double time at the end) or the swinging "Oye; Sabroso Son." It's more about the connections than the differences and the complex polyrhythms at the heart of the music — just try keeping time to "Molimo," for example. The guitar work, though understated, is spectacular in its taste and economy; the vocals are gloriously laid-back but soulful; and the arrangements are careful to let the stars shine. All in all it's a thing of beauty, with every single second a pure joy.


Género: África

Anos em actividade: '80s, '90s, '00s

One of the most important members of Franco's legendary OK Jazz band, guitarist Papa Noel's quick-fingered virtuosity and light, airy touch made him a major figure in the music of Zaire (later the Democratic Republic of Congo). Born Noel Nedule circa 1941, Papa Noel grew up in Brazzaville in the Republic of Congo (the country adjacent to what became Zaire), and learned to play the guitar by copying the Afro-Cuban-derived rumba music that was becoming popular in the region. In 1957, at the age of...
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Bana Congo, Papá Noel
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