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Prince Zeka
Since 1989, the Congolese singer-songwriter has been mixing his music with a crusade to transform the image of African culture worldwide. Prince Zeka has left his native Bukavu and settled in Vienna and France, where he forged a sound he calls 'makoul'. This mixes soul, reggae, rap and Congolese rumba. In 1999, Zeka released his first CD M'Zee Waka. Seven years later, the musician/MC brought out a highly promising follow-up called Maturité. It features his band Dunia Moja ('One World' in kiSwahili) and a large number of guests.
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Maturité
Now here is a delightful surprise so early in the year. From the outset Prince Zeka has announced that his mission has been to “create modern African music apart from clichés and European expectations”. Maturité seems to be a decisive step in this direction. The CD swings gracefully from traditional soukous and samplings from rural Congo, to slamming rap, soul and gentle folk ballads. Yet the road to maturity has been long: it has been 20 years since Zeka started his career in the Bana Wenge college band in Kinshasa, and the experiences he shared in his voyage to the European shores are reflected in most of the 16 songs of this album.
It is quite a challenge to combine Congolese soukous with jazzy skats, gentle soul, acoustic hip hop, Afrobeat and funk. Well, Zeka has thrown down the gauntlet here with what he calls his “makoul” style. “See if you can do better than this,” he seems to say with no hint of aggression. The singer effortlessly brings together the multi-layered rhythms of his continent with rich western tones he has picked up in his years in the West. Zeka’s linguistic dexterity is also reflected in his compositions, sung in Lingala, English, French and even Arabic. Zeka’s opener “Ukijua” will remind listeners of fellow-Congolese crooner Lokua Kanza, before he moves into the jazzier “Eyala” which reflects the soft and rich texture of his voice. Later his singing finds more trenchancy in the denunciations of the iniquities in the world with “Save the People” or the outstanding “Congo Mabele ya Somi”.
The latter reflects a man who is bewildered by the political realities in a Congo he loves enough to criticise with passion. “Mr. President,” he admonishes, “if your agenda is not compatible with the people and if you risk ruining the country, please leave your place to people who can do a better job. My people, please give the elected President and his government enough time to realise their promises.” Simple words that underline Zeka’s role as a griot whose vision is undiminished from the years in exile. “Since 1989,” he writes in his website, I’m struggling for a respectful presentation of the African culture and trying to modernise it, as it has always been the subject of mockery because of its negative presentation”.
There are constant changes of pace and style making this an album difficult to pigeonhole. And why should we? Zeka is as much as ease in Afropop songs like “Ma Fille qui Passe” as he is in his truculent vocalese exchanges like “Rhythm of my Mouth” or light rap tunes like “Save my People”. The lyrics are also rich in their diversity: there are acoustic love songs (the sweet “Josephine”, or “Couvre-moi” an emotional homage to his mother), politically-engaged tunes like the moving homage to “Lumumba”, or social pleas exemplified in “Save my People” which defends African migrants who seek a place in the sun.
Admittedly, the moralising can be tiresome at times, and “Try Before You Cry” is an example of cheesy and shallow lyrics. Yet, it should not overshadow Zeka’s ability to write with a sincerely caring vision of the world and the people around him. Maturité will hopefully stamp him as an important new voice from central Africa whose music should be heard on mainstream as well as world music channels.
March 2007
Daniel Brown
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| Discography |
Maturité
(Album)
DHF Nocturne
2007 |
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