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Verckys Kiamuangana Mateta
Congolese saxophonist (1944–2022) From Wikipedia, the free encyclopedia
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Georges Kiamuangana Mateta (19 May 1944 – 13 October 2022), known professionally as Verckys, was a Congolese saxophonist, composer, producer, bandleader, and record executive.[1][2] A significant figure in the evolution of 20th-century Congolese and African popular music, he is referred to as "Vévé", "the man with the iron lungs" and "Wazola Nzimbu".[3][4][5][6] Kiamuangana was the second Congolese artist to establish and independently manage a record label, Éditions Vévé, through which he brought many Congolese musicians to prominence, including Zaïko Langa Langa, Koffi Olomide, Empire Bakuba, Afrisa International, OK Jazz, Langa Langa Stars, Victoria Eleison, Historia Musica, Orchestre Kiam, and others.[7][8][2]
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Georges Kiamuangana began his career with Kinshsa-based orchestra Los Cantina and subsequently performed with several prominent groups, such as Fauvette Kabangu's Jamel National, Paul Ebengo Dewayon's Congo Jazz, Gérard Kazembe's Oui Fifi, and Johnny Bokelo's Conga Succès.[2][3] He garnered widespread acclaim after joining Franco Luambo's OK Jazz in 1963,[9][10][11][12] where his saxophone solos became integral to hits such as "Bolingo ya Bougie", "Polo le Chipeur", and "Mokoloya Mitano Na Monaki Yo".[13][14] He also made significant contributions as a composer, writing some of 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 Jazz in February 1969 and founded Orchestre Vévé by April of that year.[17][18][19] The group quickly emerged as one of Zaire's most commercially successful recording and live acts.[20]
In 1972, he established Kinshasa's most modern recording studio, Vévé Studio, and in 1978, he inaugurated the entertainment complex known as Vévé Centre.[21][22] Kiamuangana also served as the president of UMUZA (Union des Musiciens Zaïrois), succeeding Franco Luambo at the end of 1978.[21] As his business ventures flourished, Kiamuangana's performance schedule diminished, ultimately leading to Orchestre Vévé's gradual dissolution.[23]
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Early life and career
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1944–1962: Childhood, education and music debut
Georges Kiamuangana Mateta was born on 19 May 1944 in Kisantu, Bas-Congo Province (now Kongo Central), in what was then the Belgian Congo (later the Republic of the Congo, then Zaire, and currently the Democratic Republic of the Congo).[24][25][26] Kiamuangana hailed from a wealthy family; his father was a prominent businessman in Léopoldville (now Kinshasa).[3][27] He began his primary education at Athénée de Ngiri-Ngiri and later completed it at Athénée de Kalina, where he pursued modern humanities.[27] Kiamuangana was attracted to music from a young age and learned the clarinet with Léopoldville's Kimbanguist Brass Band (Fanfare Kimbanguiste).[27][28] He then polished his skills with help from Isaac Musekiwa, who taught him the saxophone. Taking to the saxophone, Kiamuangana adopted the pseudonym "Verckys", inspired by the American saxophonist King Curtis, after mishearing "Curtis" as "Verckys".[1][27][29]
While still a student, Verckys became increasingly enamored with music and devoted himself entirely to it.[27] He ended his education against his father's counsel, who had hoped to send him to Europe for academic pursuits.[3] In 1961, at the age of 17, Verckys began his musical career in the Los Cantina orchestra. He then made a brief appearance in Clari Lutula's Jazz Africain.[3] In 1962, he played and toured with several groups, including Fauvette Kabangu's Jamel National, Paul Ebengo Dewayon's Congo Jazz, Gérard Kazembe's Oui Fifi and Johnny Bokelo's Conga Succès.[3]
1963–February 1969: OK Jazz
In 1963, Verckys joined Franco Luambo Makiadi's Ok Jazz, alongside trumpeter Christophe Djali, vocalist Henriette Boranzima, and Dele Pedro.[30][31][3][27] There, he collaborated with Isaac Musekiwa and Dele Pedro, both English-speaking saxophonists who played pivotal roles in the group's brass section.[3][27] In December of that year, Franco, recognizing Verckys' exceptional talent, brought him to Belgium along with Vicky Longomba and Edo Nganga. In Brussels, OK Jazz recorded several tracks including "Mino ya Luambo diamant" and "Lisaso ya kronenbourg".[3][27] Demonstrating his distinctiveness from the outset, he began performing duets with Musekiwa and Dele Pedro on tracks such as Kwamy's "Bolingo ya Bougie", Luambo's "Polo le Chipeur" and "Mokoloya Mitano Na Monaki Yo".[3][27] He also delivered solo performances on Michel Boyibanda's "Samba Tokosamba", Vicky Longomba's "Tété Ngelele Eleki Ngai", and Joseph "Mujos" Mulamba's "Tuna Mageda".[3][27] Verckys achieved prominence with his saxophone solos in Franco's "Course au pouvoir", wherein his instrument engages in an instrumental dialogue with Luambo's guitar.[3][27]
While still with OK Jazz, Verckys began composing songs such as "Chérie O Changer", "Mobali Na Ngai", "Madame de la Maison", and "Gina Simba Ngai", and gained recognition for his distinctive dance style.[3][27] He became a leading figure in OK Jazz and the band's private secretary.[3][27] This close association afforded him insights into recording management and production.[3][27] In September 1968, Verckys, alongside singer Youlou Mabiala, announced the creation of a new record label, Éditions Vévé.[30] The label's name, Vévé, was derived from the reduplication of his pseudonym's initial syllable, while its logo featured a saxophone, symbolizing the instrument that had become emblematic of his success.[3][27] The label released six records, though Kiamuangana insisted they were entirely independent of OK Jazz.[30] These recordings, which included Verckys' "Mbula Ekoya Tokozongana" and "Nakopesa Yo Motema", as well as Youlou Mabiala's "Billy Ya Ba Fiancés" and Simaro Lutumba's "Okokoma Mokrisstu", were future's side project.[3][27][30] In December of that year, during Verckys' stay in Brussels with Franco, it was revealed that the six Vévé records had been illicitly recorded by nzonzing (moonlighting) musicians under exclusive contract with OK Jazz.[30][32][33] Verckys clandestinely transported the tapes there, where he also recorded for Decca Records France (a subsidiary of Decca Records) with Franco, who assured him that compensation would follow.[34] Determined not to return empty-handed, Verckys absconded on the day of departure and, having purloined Franco's contacts, entrusted his tapes to a publisher, receiving a generous advance with which he acquired two cars.[34] Franco subsequently uncovered the deception and, following his investigation, dismissed Kiamuangana from OK Jazz.[34] However, Franco later renegotiated Verckys' reinstatement in exchange for 40 percent of the profits from the unauthorized recordings.[30] This arrangement was short-lived, and Verckys eventually severed his affiliation with OK Jazz in February 1969, parting ways with Youlou, who opted to remain with Franco.[30]
April 1969–1973: Orchestre Vévé and other ventures
Following his departure, Verckys founded his Orchestre Vévé on 5 April 1969 in Kinshasa, the namesake of his eponymous record label.[3][27][35] His image was prominently featured on each record as a marketing strategy.[3][27] Orchestre Vévé made its public debut in June of that year at the Vis-à-Vis bar.[3][27] It included vocalist Sinatra Bonga Tsekabu (also known as Saak Saakul) and bassist Jim.[3][27] Orchestre Vévé quickly garnered widespread acclaim, producing hits such as Verckys' "Mfumbwa" and "Bankoko Baboyi" (inspired by a traffic accident), as well as Saak Saakul's "Fifi Solange".[27] Other notable compositions from this period include included "Ekuile Ferros", "Bolingo Florence", "Linga Ngai Zuwa Te", and "Ah Mokili", among others. During the same year, Verckys recruited Congo-Brazzaville vocalist Marcel Loko Massengo, also known as Djeskain.[3][27] Orchestre Vévé's lineup became a prominent powerhouse, featuring Kelly Makiadi, José Bébé, Saak Saakul, Bovick Ye Bondo on vocals, Danila on lead guitar, Jim on bass guitar, Verckys and Maproco on saxophone, with Mario Matadidi, a Lubumbashi-born singer, also joining the band.[3][27]
In 1971, Verckys revolutionized record production by deviating from the traditional practice of including two disparate songs on 45 rpm vinyl records.[27] He released "Mfumbwa 1st" and "Mfumbwa 2nd", innovatively dividing the record into two segments—one for melody and one for dance.[27] Recognizing the financial benefits of this approach, numerous musical groups followed suit.[27] This initiated a phonographic revolution in Congolese music, making it the sole industry worldwide to produce only one title on a record instead of two.[27]
In 1972, Sinatra, Djeskain, and Mario departed Orchestre Vévé to establish the Sosoliso orchestra, named after a song by Mario Matadidi.[27] They called themselves the trio Ma-Dje-Si, an acronym embodying the fusion of their names—Mario, Djeskain, and Sinatra.[27][36] That same year, Pépé Kallé was contracted by Éditions Vévé and lent his voice, alongside José Bébé, to Verckys' polemic composition "Nakomitunaka", which was a scathing retort to the Catholic Church's staunch opposition to President Mobutu Sese Seko's Authenticité campaign, which sought to employ music as an instrument of state-sponsored political and cultural propaganda.[27][37][38] The provocative lyrics, which questioned why saints depicted in religious iconography were exclusively white, generated significant consternation within both the Catholic Church and the broader Congolese Christian community, ultimately leading to Verckys' excommunication.[27] However, "Nakomitunaka" enjoyed substantial airplay on La Voix du Zaïre television per Mobutu's regime's directive.[27] Concurrently, Verckys donated musical equipment to the Bella-Bella orchestra, which recruited Pépé Kallé.[27] Later that year, Verckys reinvested his initial earnings to purchase new musical equipment from Roger Izeidi, fully equipping Orchestre Vévé and establishing Vévé Studio at his property on Eyala Avenue in the Kasa-Vubu commune.[27][37] He also opened the Zadis Store on Place de la Victoire in the Kalamu commune.[27]
Orchestre Vévé proceeded to release a 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, Verckys 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 contributed significant compositions: "Baloba Yo Mbongo Mingi", "Natuni Namemi Ngambo", "Lina Mapendo", "Sosoliso", "Lucie Nakoloba Nini", and "Moïse ou Anne" by Mario Matadidi; "Sois Sage" and "Reste Avec Moi" by Bovick Ye Bondo; "Marcello Tozongana" and "Pronostics" by Sinatra Bonga; "Loboko", "José Okosambwa", and "Mita Yeba Ngai" by Djeskain Loko; and "Isabo" by Kelly Makiadi.[27]
1974–1987: from James Brown's endorsement to formation of new orchestras
In 1974, James Brown, who performed at the three-day Zaire 74 music festival, anointed Verckys "Mister Dynamite" after seeing one of his live performances.[39] Orchestre Vévé embarked on a two-month tour in Kenya.[40][41] That year, Éditions Vévé commenced the issuance of 45 rpm vinyl records, extending its support to various prominent groups such as Zaïko Langa Langa, Grands Maquisards, and others.[27]
Éditions Vévé was officially renamed Zadis (Zaïroise du disque) in 1976.[27] Around this time, Orchestre Vévé issued the tracks "Papy Baruti" and "Muana Mburu", composed by Francis Bitsoumani, alias Celi Bitsou, with the latter enjoying considerable success.[27] The orchestra's composition during this period included Tino Muinkwa, Djo Roy, Nejos Tusevo, Pepitho Fukiau on vocals; Lambion on lead guitar; Aladji Baba on accompaniment; Ndolo and Celi Bitsou on bass; Bayard on drums; Ponta Vickys on tumba; Verckys, Dibuidi, and Sax Matalanza on saxophone; and Makamba on trombone.[27] Following the success of "Muana Mburu", Celi Bitsou departed from Orchestre Vévé to pursue a solo career. After a period of inactivity, Verckys revitalized the orchestra in 1985, appointing Dizzy Mandjeku as artistic director.[27] He participated in the reformation of the ensemble, enlisting Diatho Lukoki, Jo Mpoy, Sonama, and Michel Sax.[27] Luciana De Mingongo transitioned from Viva La Musica to join Orchestre Vévé, replacing Jo Mpoy, who returned to OK Jazz with Dizzy.[27] Verckys also recruited Elba Kuluma, Serge Kiambukuta Nlemvo, Assi Kapela, Rochesi, and Lawi. Luciana departed after three months. Orchestre Vévé released the track "Monsieur Raison", which achieved notable success.[27]
In 1978, Verckys inaugurated an entertainment complex, Vévé Center, which evolved into a cultural epicenter, hosting performances from Kinshasa orchestras such as Grand Zaïko Wa Wa, Langa Langa Stars, Victoria Eleison, Mbonda Africa, Afro International, Kola la sommité, and Wenge Musica.[27] That year, he also oversaw the recording, production, and distribution of "Sango Ndambu", "Asso", "Samba Samba", "Synza", and "Anibo" by Koffi Olomide, with "Anibo" becoming the year's breakthrough hit.[27] In 1980, Zadis was renamed Éditions Vévé International (EVVI), and continuing its support for various orchestras such as Zaïko Langa Langa, Koffi Olomide, Empire Bakuba, Afrisa International, TPOK Jazz, Taz Bolingo, Tiers-Monde, Franck Lassan, Grand Zaïko Wa Wa, Langa Langa Stars, Victoria Eleison, Mbonda Africa, Afro International, Kola the luminary, Vonga Aye, and others.[27]
In October 1981, Verckys assembled a new orchestra comprising Evoloko Joker, Bozi Boziana, and 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 Viva La Musica.[27] They formed the Langa Langa Stars, though Kester Emeneya was later excluded from the leadership.[27] In 1982, Verckys welcomed twelve musicians who had left Viva La Musica, leading to the formation of the Victoria Eleison orchestra. He provided them with instruments and produced their works, as well as Bozi Boziana's Anti-Choc.[27] That same year, he established the multinational Vévé and launched Izason (Industrie Zaïroise du Son) in 1984.[27]
1988–2022: from UMUZA's presidency to president of SOCODA
In 1988, following the demise of Vicky Longomba, president of UMUZA (Union des Musiciens Zaïrois), Verckys assumed the presidency.[27] He restructured the office, instituting a section dedicated to liaising with Soneca and managing musicians' social circumstances alongside another section focused on musicians' professional relations.[27] In May 1995, he was unanimously re-elected as national president of UMUZA by the collective membership.[27] Following the incursion of Laurent-Désiré Kabila's Alliance of Democratic Forces for the Liberation of Congo-Zaire (AFDL) into Kinshasa in May 1997, which led to the expulsion of Mobutu and Kabila's subsequent self-proclamation as president on 17 May, the country was renamed the Democratic Republic of the Congo, and Union Des Musiciens Zaïrois was renamed Union des Musiciens Congolais (UMUCO).[27] In 1998, Verckys presided over UMUCO in concert with Tabu Ley Rochereau, Zatho Kinzonzi, and Philippe Kanza. Throughout his tenure, Kiamuangana personally and financially supported the funerals of deceased musicians.[27]
On 15 December 2001, Verckys-led delegation and Christian musicians submitted a memorandum to Kinshasa's provincial government, opposing the installation of a police container at Place des Artistes in Kalamu, which honors deceased artists.[42] They also raised concerns about post-concert insecurity and armed robberies.[42] In February 2005, Verckys participated in a reconciliation meeting at Maïsha Park in Gombe, Kinshasa, led by Tshala Muana and Koffi Olomide. The gathering included symbolic reunions between rivals like Olomide and Félix Wazekwa, as well as JB Mpiana and Werrason.[43] President Joseph Kabila endorsed the effort and donated $15,000 for transportation, but disputes over fund distribution caused Verckys, King Kester Emeneya, Werrason, Tabu Ley Rochereau, and others to withdraw, reigniting discord.[43] In March 2005, UMUCO engaged with the Office des Douanes et Accises (OFIDA) to address widespread music piracy, marking the first formal contact between musicians and the relevant state agency.[44] That same month, Verckys launched the Union des Musiciens Africains (Union of African Musicians), aimed at fostering solidarity among African musicians and promoting intra-continental collaboration.[45]
In February 2006, Verckys participated in a cultural industries forum held in Brazzaville. Organized by UNESCO and supported by a Danish cultural development agency, the forum sought to build Pan-African cultural networks and encourage South-South cooperation for sustainable development through culture.[46] He resigned from the presidency of UMUCO in October 2006, citing government favoritism toward the Association des Musiciens Congolais (AMC).[47][48] He expressed frustration over President Kabila's repeated engagements with AMC representatives while overlooking UMUCO, which he viewed as the legitimate national body representing Congolese musicians.[48] He also criticized the government's neglect in funding UMUCO, which had received no public financial support for nine consecutive years, unlike the state-subsidized AMC. His resignation plunged UMUCO into a period of uncertainty due to the lack of formal leadership.[48] In May 2007, Congolese dancer and choreographer Lambert Moke, popularly known as "Lambio Lambio", declared his candidacy for the UMUCO presidency.[46][49] By 2011, the Kinshasa-based French-language daily La Prospérité reported that Verckys was still regarded by some as UMUCO president, although he was residing in Europe.[50] During this period, Congolese musician Blaise Bula served as vice president.[50]
In April 2015, Sterns Music released a significant portion of Verckys' Éditions Vévé record label output in MP3 format. This release was accompanied by a blog post that included his biography.[51] On 16 July, he was elected president of SOCODA (Société Congolaise des Droits d'Auteurs et des Droits Voisins) in the presence of delegates from the Ministry of Culture and Arts.[52][53][54] However, on 13 November 2019, Verckys resigned after several months of internal crisis. The organization faced significant issues, including financial mismanagement, a failure to distribute royalties for two years, and delayed reforms due to inadequate funding.[55] Although two special commissions were appointed—one to revise the organization's statutes and another to conduct a financial audit—neither commission accomplished meaningful progress.[55] Tensions within the Board of Directors intensified, prompting the Minister of Culture to intervene and establish a tripartite commission aimed at stabilizing the situation and preparing for an extraordinary general assembly. In light of the unresolved conflicts, Verckys opted to step down from his position.[55] On 20 November 2020, he participated in the fourth edition of the Kinshasa Jazz Festival at the French Institute (Institut Français or Halle de la Gombe) in Gombe, Kinshasa, which celebrated a unique convergence of jazz and urban music.[56]
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Personal life and death
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Family and relationships
Verckys was the father of seventeen children from several relationships. With his childhood beloved and legal wife, Lucie Caroline Bola, whom he married in 1971, he had four children: Solange (born 1965), Rolly (1967), Jean-Yves (1971), and Annie (1973).[57] He also fathered four children with Christine Mireille Simone Ngoie Juster—Nicole (1975), Sylvie (1977), David (1978), and Ancy (1990), the latter of whom was regarded as having inherited her father's musical talent.[57] Christine passed away in Kinshasa on 12 July 2021.[58] With Stéphanie Feza, who died in 1998, he had two children: Christian (1981) and Deborah (1996).[57] Three other children—Mamitsha (1967), Gisèle (1970), and Émilia (born in the 1990s)—were born of common-law unions. In total, Verckys had thirteen recognized biological children: nine daughters and four sons.[57]
In early April 2022, while still legally married to Lucie Caroline Bola, Verckys formalized a marriage to Séraphine Kondoli Kiamutu, also known as Séraphine Kiriza, with whom he had reportedly shared a relationship for 29 years.[59][60] This decision was met with strong opposition from his children. On 21 April, his thirteen children jointly signed a procuration spéciale (special power of attorney) objecting to the planned marriage, scheduled for 23 April.[61] In the document, they raised concerns about the legality and morality of the union, citing that their father remained married to Lucie Bola and had suffered a stroke, impairing his cognitive capacity to make informed decisions.[61] They asserted that he lacked the mental clarity to consent to a new marriage and, on that basis, unanimously opposed the ceremony.[61] Despite their objections, the marriage proceeded on the scheduled date in Kinshasa, held on Avenue de l'OUA in the Gombe commune.[61][62][63]
In November 2022, Congolese news outlet Dépêche.cd reported that Verckys had four additional children with Séraphine—two sons and two daughters—bringing the total number of his children to seventeen.[64]
Death
In November 2007, Le Potentiel reported that Verckys was in poor health, noting his reliance on a walking cane.[65] Following the death of fellow musician Madilu System in August 2007, Tabu Ley Rochereau publicly appealed for government assistance on Kiamuangana's behalf, citing his declining condition.[65] In response, the Minister of Culture and Arts, Marcel Malenso Ndodila, allocated funds to facilitate Verckys' transfer to Belgium for medical treatment. After several attempts to secure a visa, he was eventually able to travel to Belgium for care.[65]
By April 2022, reports confirmed that Verckys had previously suffered a stroke, which had left him with lasting cognitive impairments. Observers noted that he had not fully regained his mental faculties and lacked the capacity to understand or consent to legal or personal decisions.[61][66] Footage from his April 2022 marriage ceremony—widely circulated on social media—showed him in a visibly weakened state, struggling to walk, avoiding eye contact, and appearing incoherent and unresponsive throughout the nuptial rites.[66][67]
Verckys died on 13 October in Kinshasa at the age of 78.[68][69] His funeral, held on 19 December, was a major national event. Prior to burial, his remains were displayed at both the National Museum of the Democratic Republic of the Congo and the esplanade of the People's Palace, allowing the public to pay their respects.[70] He was laid to rest at the "Entre Terre et Ciel" cemetery in Kinshasa.[70]
During the official funeral ceremony, President Félix Tshisekedi posthumously awarded him the Order of the National Heroes Kabila-Lumumba. The ceremony was marked by military honors and a gathering of dignitaries, including government ministers, parliamentarians, cultural figures, artists, and members of the general public.[70] The Minister of Culture, Arts and Heritage, Catherine Furaha, delivered a eulogy on behalf of the government, celebrating Verckys as a prominent figure in Congolese music.[70] She highlighted his versatile legacy—specifically noting his pioneering role as the first African of his era to own and operate a record label, Éditions Vévé. She credited him with significantly shaping Congolese rumba and promoting African music on the international stage.[70] His hit song "Nakomitunaka" was cited as an example of his philosophical depth and cultural influence.[70]
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Discography
- Compilations
- Verckys & L'Orchestre Veve, Congolese Funk, 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
References
External links
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