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Verckys Kiamuangana Mateta
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 "Verckys", "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] Georges Kiamuangana began his career with Kinshsa-based orchestra Los Cantina and subsequently performed with several prominent groups, such as Los Cantina, 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] Early life and career1944–1962: Childhood, education and music debutGeorges 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, Kiamuangana 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, Kiamuangana 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 JazzIn 1963, Kiamuangana 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 Kiamuangana's 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, Kiamuangana 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] Kiamuangana 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, Kiamuangana 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, Kiamuangana, 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 Kiamuangana's "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 Kiamuangana's 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] Kiamuangana 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, Kiamuangana 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 Kiamuangana's reinstatement in exchange for 40 percent of the profits from the unauthorized recordings.[30] This arrangement was short-lived, and Kiamuangana 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 venturesFollowing his departure, Kiamuangana 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 Kiamuangana's "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, Kiamuangana recruited Congo-Brazzaville vocalist Marcel Loko Massengo, also known as Djeskain.[3][27] Orchestre Vévé's lineup became a veritable powerhouse, featuring Kelly Makiadi, José Bébé, Saak Saakul, Bovick Ye Bondo on vocals, Danila on lead guitar, Jim on bass guitar, Kiamuangana and Maproco on saxophone, with Mario Matadidi, a Lubumbashi-born singer, also joining the band.[3][27] In 1971, Kiamuangana 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 Kiamuangana's 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 Kiamuangana's excommunication.[27] However, "Nakomitunaka" enjoyed substantial airplay on La Voix du Zaïre television per Mobutu's regime's directive.[27] Concurrently, Kiamuangana donated musical equipment to the Bella-Bella orchestra, which recruited Pépé Kallé.[27] Later that year, Kiamuangana 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, Kiamuangana 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 orchestrasIn 1974, James Brown, who performed at the three-day Zaire 74 music festival, anointed Kiamuangana "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; Kiamuangana, 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, Kiamuangana 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] Kiamuangana also recruited Elba Kuluma, Serge Lemvo, Asi Kapela, Rochesi, and Lawi. Luciana departed after three months. Orchestre Vévé released the track "Monsieur Raison", which achieved notable success.[27] In 1978, Kiamuangana 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, OK 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, Kiamuangana 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, Kiamuangana 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 SOCODAIn 1988, following the demise of Vicky Longomba, president of UMUZA (Union des Musiciens Zaïrois), Kiamuangana 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, Kiamuangana 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] In April 2015, Sterns Music released a significant portion of Kiamuangana's Éditions Vévé record label output in MP3 format. This release was accompanied by a blog post that included his biography.[42] On 16 July, Kiamuangana 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.[43] Personal life and deathKiamuangana had 13 children; four born to Lucie Bola (his legal wife), four others to Christine Juster, and two to Stéphanie Feza. He died in Kinshasa on 13 October 2022, at the age of 78.[44] Discography
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