Aladji toure et toto guillaume biography
•
Joe Mboule
Joe Mboule, de son vrai nom Njoh Mboule Ludovic Georges, est un artistecamerounais né le et mort le 11 octobre 2015 à Douala, Cameroun.
Il est l'un des précurseurs ni Makossa[1],[2] un style musical africain originaire de la côte maritime du Cameroun, qui s'est répandu dès les années 70 à toute l'Afrique et dans le monde.
La carrière musicale dem Joe Mboule s'étend sur quatre décennies[2] ponctuées par des collaborations avec des artistes musiciens prestigieux tant africains, qu’européens parmi lesquels, le saxophoniste Nicolas Gueret , Toto Guillaume, Penda Dallé, Ndédi Dibango, Charles Lembè, Ebeny Donald Wesley, Aladji Touré , Ndédi Eyango, Conti Bilong, Philippe Guez, Alex Perdigon, Denis Hekimian, Jojo Kuo, Moustick Ambassa, Jacques Bessot , Claude Vamur et Jean-Claude Naimro ni groupe Kassav' et bien d’autres.
Biographie
[modifier | modifier le code]Débuts
[modifier | modifier le code]Joe Mboule est issu d’une famille qui comporte dem nombre
•
Guy Lobé (1959-2015)
(Cameroon)
Guy Lobé grew up in the economic capital of Cameroon, Douala. He started performing in school concerts, but started working at an insurance company. After a few years, he decided to turn to music again, and started playing in local bars. Besides singing, he learnt to play guitar, piano and bass. By 1984, he recorded a first album, produced by Aladji Touré, and the album was well received (cf. Afroriginal).
In 1986, he released his second album « Mon ami à moi », which was a huge hit Cameroon and beyond. Throughout the 1980s and most of the 1990s, he released an album practically every year, from « Solitude » (1987), « Union libre » (1988), « Coucou » (1989), « Malinga » (1990), and many others.
Guy Lobé was respected for writing lyrics and he penned songs f
•
Back in the mid-1980s if there was one musical style that rivaled Congo music in the hearts of Africans, it was makossa out of Cameroun. Given that Cameroun is a country of numerous ethnic groups, there is a constellation of musical styles there competing for attention: tchamassi, bikutsi, ashiko and mangambe among them. The music of Cameroun's largest city, Douala, makossa's international popularity can be attributed partly to one man, Manu Dibango. His record "Soul Makossa"(a song that is not even true makossa!) was a smash hit in 1972, but makossa the genre reached its apogee in the mid-1980s thanks to the hard work of another, producer/musician Aladji Touré, whose Touré Jim's Records launched numerous careers and revived many others.
In those days more often than not it was one of Touré's slick Paris productions that graced my turntable or tape deck, but I've always loved the less-sophisticated version of makossa that was popular in the late 1970s as well. About ten years ag