Artist Bio:
Born Antoine Agbepa Mumba in 1956, Koffi began singing at a young age, at first mimicking Tabu Ley and other celebrities of that time, and also devoting himself to the guitar. Koffi's father was keen to prevent him from getting into the swing of the music, so he flew him to Bordeaux, France, for higher education, which he completed, graduating in 1980. But during his vacations, Antoine Makila Mabe ("Antoine the unfortunate," as friends called him) couldn't resist providing such Kinshasa-based big bands as Viva la Musica of Papa Wemba and Zaïko Langa Langa with a few lyrics. Consequently, he made himself conspicuous with his debut title Onia, and during his 1977 vacations, he produced the records Asso and Princesse ya Senza in Vévé's studio, Kasa-vubu-Kinshasa. These achievements earned him a new nickname: "L'Etudiant le plus célèbre du Zaïre" (The most famous student in Zaire).
In 1980, Koffi was acknowledged as the best star for the song "Anibo," a single performed as a duo with Koffi and Papa Wemba.
Once he achieved musical maturity, Koffi stopped roaming through different bands and recording occasional singles like "Ngounda." He launched his own group, Quartier Latin in 1988, the very year that the original Zaïko Langa-Langa broke up. Koffi was dubbed "Rambo" du Zaïre, after recording his album Dieu Voit Tout ("God Sees All") in Paris. This debut album began Koffi's career in earnest, and since then, he has continued to earn one colorful nickname after another: Golden Star, Mopao, Mopao Mokonzi, Papa Plus, Papa Sucre, Papa Bonheur, Le Guide, etc.
The unity between Koffi and his supporters — through songs, albums, shouts, nicknames, even lampoons — goes way back. Music lovers in Kinshasa identify with him and vice versa, and he goes nowhere unnoticed. As poet Lutumba wrote: "Koyebana ezali ngambo" (Being famous is a source of trouble). For instance, Koffi sang "Toza ko rond-point" (We're beating about the bush) at a time when the Congolese music and politics were experiencing a kind of lethargy and lack of innovation. The line sparked controversy. It is in that spirit that he has been living a sometimes competitive, sometimes friendly life with other Congo music veterans. Papa Wemba and Nyoka Longo have watched his advance and have sometimes integrated him into their bands and projects. More recently, these friendships have frayed.
Koffi ran into serious trouble with Nyoka Longo, leading to an exchange of bold and bitter insults through the media as well as among fans on the streets. Nyoka Longo was even rumored to be dating Koffi's mother!
Through his songs, Koffi tries to depict Congolese society with all its ups and downs, and even its depravities, which influence and affect him as well. A season never passes that Koffi doesn't launch sharp words that will make you laugh, but also irritate and sometimes relax you. Koffi's own feelings and experiences mirror those of the society: "Zero faute," to proclaim his mea culpa; "Cinq sur cinq," to promote his pro modo; "Kokende liboso ezali kokoma te" ("Making an early start does not mean arriving first"), an answer to all the veterans who are still playing down his achievements; "Ba soeurs moko ya mikuli"("Etremely old sisters"); "Système ya Kung Fu ("Roughly fighting down the battle, not giving up too soon"); "Obeti gauche, obombi droite ("Dealing a left hand punch while keeping the right hand ready), "Lokuta eyaka na ascenseur, kasi vérité eye na escailer mpe ekomi ("Lying took the elevator, but the truth went upstairs and was finally revealed.).
Having reached a new level of success in his career as a musician, Koffi now enters a new and delicate stage: He must be able to manage his success. Among all the praises he gets are also some reproaches. For example, he ought to respect Congolese and African ideas as to what clothes his female dancers should wear in performances. Some are eager to see him move beyond material consumption and into investment, like Yousou N'Dour in Senegal, to invest especially in his homeland. Others say he ought to change his attitude toward producers who complain that he is too much of a tough guy. On this, it can be argued that Koffi is simply aware of his own value, and demands a big share in the deals because he deserves it. Perhaps this is a lesson young Congolese musicians should learn so as to avoid being despoiled out of ignorance. Perhaps Koffi is just helping other Congolese musicians to live from their art.
Koffi Olomide is one of the most talented African singers, producers and composers of the 1990s. He has dominated music charts across the continent and abroad with a combination of his deep baritone voice, which barely caresses the microphone, sophisticated arrangements blending old school rumba and smooth keyboard melodies as well as a searing guitar climax. His compositions are classy and appeal to a wide spectrum of fans worldwide. His songs delve deep into a wide variety of topics including love, politics, technology and even religion. In each song he discusses his feelings about such diverse topics while expressing confused feelings about mythical beasts and dream like fantasies. Names of famous people like Bill Gates, Silvio Berlusconi, Saddam Hussein and even George Weah are mentioned. Indeed he himself said you have to understand the words to fully appreciate his songs. Koffi also has a keen sense of fashion and an extensive wardrobe to match his personality.
While on tour Koffi is accompanied by his 18-piece band, Quartier Latin, which consists of a bevy of talented musicians and his dancers fondly referred to as the Koffiettes. He has wowed fans in Africa, Europe and North America.
All his success has not been without a downside. He has found himself at odds with the powers that be in Congo. Certain lyrics in his album La Loi were interpreted as a veiled criticism of the Kabila regime.
Koffi commenced his musical career as a songwriter. In the late 1970s he joined Papa Wemba's band Viva La Musica. Here he learned his vocal and stage techniques. He launched his solo career in the mid-'80s and has turned out to be one of the biggest success stories in African music.
Koffi, despite his popularity at home, was virtually unknown outside Zaire before the 1990s. Then came albums like Papa Bonheurre and Elle et Moi and Koffi was suddenly a hot commodity all over Africa. The slower types of Rumba which had been in decline since the era of TPOK Jazz and Afrisa ended were now back in fashion thanks to Koffi and his Quartier Latin.
Since then Koffi's discography has continued to expand. He has continued to release hits while being faithful to his self-proclaimed tcha tcho style. Tcha tcho is a slower, more sensuous kind of soukous. He has also branched out with a new style called "ndombolo." In some circles, Koffi is called the King of ndombolo. This style of music has come under criticism amid charges that it is obscene, and has been banned in Mali and Cameroon, among other countries.
At the Kora Awards of 2002, he won a record four awards, including one for Best African Artist. During his subsequent tour, in classic Koffi style, he dubbed himself "Quadra Kora Man," in reference to the four awards he won.
— Courtesy Calabash Music
