Kékélé

The first iteration of Kekele was led by the older guitarist Papa Noel Nedule as music director, and included, in addition to the five core members named above, Jean-Papy Ramazani (vocals), Yves Ndjock of Cameroon (guitar), Sungu Debat (conga), and Viviane Arnoux of France (accordion).[1][11]

By contrast to the increasingly fast, electronic Congolese music of the 1990s, the album's musical style was a throwback, with slow rumba tempos, acoustic guitars, and accordion. Reviewers noted the high quality of the musicians and the slow, smooth nature of the music. For example, Mark Romano wrote, "Here is the full glory of Congolese rumba, played with style and an elegant sensuality that is without equal in the world of African music. . . . There is no filler here, only unguent guitar work, honey-laced vocals, piping-hot percussion, and tight fat horns."[12] Christina Roden wrote, "The tunes uniformly reflect the languid yet well-marked Cuban clavé beat, chiming strings, and close-harmony vocals that characterized the older, more classic styles. There is not a single rough edge or hurried tempo within earshot. Ultimately, the project comes across as a mellifluous living history taught by those who know."[13] Rock critic Robert Christgau wrote "As long on lilt as it is devoid of drive, the abiding quietude is irrelevant to an up-and-at-'em mood. But when nothing seems sweeter than home, it's a blessed comfort--the harmonies whispering, the drums twining, the groove massaging each overtaxed muscle until the blood can do its work there and flow on."[14]

The album was critically well-received. Christgau gave the record an A−,[14] and Romano concluded "It would be difficult to top this recording for Congolese rumba album of the year or, for that matter, African album of the year."[12]

Papa Noel was ill when the second Kekele album was recorded, and did not participate. He was replaced on guitar by Rigo Star Bamundélé.[1] Ramazani and Ndjock also did not return for the second album.[15]

Similar to the first album, the second featured acoustic guitars and slow conga rhythms. Differently, it added flute, clarinet, and violin.[5] It includes a tribute to OK Jazz, Souvenirs-OK-Jazz. Reviewers again focused on the record's beauty. John Armstrong, for BBC Music, described the album's "[d]elicious melodies, inspired and original arrangements, faultless and non-indulgent playing, scalp-tingling voices."[16] The album's song composed by Rigo Star, Oyibi Bien, was singled out by two reviewers as particularly outstanding.[17][18]

Christgau preferred the first album over the second,[14] but other reviewers felt differently. Rick Sanders of fRoots magazine wrote "here, a couple of years down the line, comes number two, an album that shows even more warmth, wit and soul than its predecessor."[18] John Pareles wrote in the New York Times, "Kekele is an alliance of musicians who have played in some of Congo's best-known bands, and on "Congo Life" (World Music), they feature acoustic instruments—guitars, woodwinds, marimbas—in pristinely recorded soukous that's no less danceable for its gentle arrangements."[19]

Papa Noel returned for the third album, on which Kekele was joined by saxophonist Manu Dibango, from Cameroon, and singers Mbilia Bel and Madilu System, both from the Democratic Republic of the Congo.[20]

The title of the third album refers to an imaginary place, a combination of Kinshasa (Democratic Republic of the Congo), and Havana (Cuba).[21] The album explores the connections between Congolese and Cuban rumba music. In Kinavana, the band takes songs written or performed by the Cuban songwriter Guillermo Portabales, and plays them in a Congolese style, replacing their Spanish lyrics with Lingala ones.[20]

Band member Nyboma has pointed out that Cuban rumba -- both the word and the dance -- derives from the Congolese nkumba, with the Spanish "r" added to the word, and that it was brought from Congo to Cuba in the transatlantic slave trade.[21][22][23] When Congolese rumba developed after World War II, it was heavily influenced by Cuban music. Thus, Kinavana incorporates at least three successive cultural crossings of the Atlantic—music and dance from Congo combining with other influences to become Cuban rumba, that same Cuban music then contributing to the Congolese rumba, and then bringing the music of Portabales into Congolese music for Kinavana.

This album also received positive reviews. Norman Weinstein wrote for All About Jazz: "This music sounds effortless, joyous, free of contrivance, and even for ears steeped mainly in jazz, intensely swinging. This is not just the best African album I've heard in years; it's superior to most of the world music releases that I've heard lately, from any place. What a case for how age can bring a perfect blend of musical seasonings."[24]