OK Jazz, later renamed TPOK Jazz (short for Tout Puissant Orchestre Kinshas… Read Full Bio ↴OK Jazz, later renamed TPOK Jazz (short for Tout Puissant Orchestre Kinshasa, "all-powerful Kinshasa orchestra"), was a Congolese rumba band from the Democratic Republic of the Congo established in 1956 and fronted by Franco. The group disbanded in 1993, but begin again in 1996.

The OK Jazz band was formed in 1956 in Léopoldville (now Kinshasa), in what was at the time the Belgian Congo. On independence in 1960, the Belgian Congo became the Republic of the Congo, later Zaire and is now known as the Democratic Republic of the Congo. At one time in the late 1970s and early 1980s the band grew to over fifty members.During that period, it often split into two groups; one group stayed in Kinshasa, playing in nightclubs there, while the other group toured in Africa, Europe and North America.

History
1950 - 1959
The musicians who started OK Jazz included Vicky Longomba, Jean Serge Essous, François Luambo Makiadi, De La Lune, Augustin Moniania Roitelet, La Monta LiBerlin, Saturnin Pandi, Nicolas Bosuma Bakili Dessoin and vocalist Philippe Lando Rossignol. They used to play at Loningisa Studios in Kinshasa as individual artists, before they got together to form a band in June 1956. The name OK Jazz originated from the bar in which they played which was named OK Bar, owned by Oscar Kashama. The new band played regularly at a specific studio in the city during the week and on some weekends they played at weddings. In 1957, the lead vocalist, Philippe Lando Rossignol, quit OK Jazz and was replaced by Edo Nganga, from Congo-Brazzaville. Later in the same year, Isaac Musekiwa, a saxophonist from Zimbabwe joined the band. Up to that time the band's leadership was shared between Vicky Longomba, Essous and Franco.

1960 - 1969
In the early 1960s Vicky Longomba and Jean Essous left OK Jazz to join African Jazz. Franco then became the leader of the band. He recruited vocalists Kwamy Munsi and Mulamba Joseph Mujos. Simaro Masiya Lutumba joined OK Jazz in 1961. Essous was replaced by saxophonist Verckys Kiamuangana Mateta. In 1962 OK Jazz visited Nigeria on their first foreign tour. Later that year, Vicky Longomba rejoined the band. Lola Checain, a vocalist who had left earlier also came back.

Around this time, the band changed their name to TPOK Jazz. TP stood for "Tout Puissant" (all mighty). Band membership had increased to over twenty. The quality of their music had improved to where they could challenge African Jazz for the position of Congo's premier group. Franco's music appealed to ordinary people mainly because it discussed issues that affect the common man on a daily basis. Franco led other Congolese musicians in using new technology to produce sounds of much higher quality than in any other part of Africa. The new technology included electric guitars, amplifiers and basses. Congo had now assumed the premier position as Africa's leading music nation. During the late 1960s, Kwamy Munsi and Mulamba Joseph Mujos led nine other musicians in a mass defection from TPOK Jazz. A few months later, saxophonist Verckys Kiamuangana Mateta also left. Franco recruited Rondot Kassongo wa Kassongo to replace Verckys. He also brought in solo guitarist Mose Fan Fan. Fan Fan had a new style of guitar-playing called sebene, which was more danceable. This style came to be known as Sebene ya ba Yankees. Fan Fan also composed a number of extremely popular hits including Dje Melasi.

1970 - 1975
During the 1970s Franco and TPOK Jazz consolidated their position as one of the two giants of Congolese popular music, along with Grand Kalle & l'African Jazz. Many musical stars emerged from one or both of these bands. TPOK Jazz was staging concerts all over Africa, including places like Chad and Sudan. The band's finances also improved tremendously.

Franco brought on board the composer/vocalist Sam Mangwana. Sam has a Zimbabwean father and an Angolan mother, but was born and raised in Kinshasa, DRC. He spoke English, Lingala, French and Portuguese, along with a number of African dialects. His recruitment energised the band and infuriated Afrisa, where he came from.

In early 1970 Vicky Longomba, who was then acting as Co-president of the band left. Mose Fan Fan, the band's flamboyant solo guitarist also left. Then Youlou Mabiala quit and formed Orchestre Somo Somo with Fan Fan. Soon after that Tshongo Bavon Marie Marie, Franco's biological brother died in an automobile accident. The band fell upon hard times with low record sales and as sparsely attended concerts. Franco was grief-stricken and despondent and stopped playing music for some time. Upon his return, he recorded several songs in memory of his late brother.

He then began to rebuild the band. This coincided with the restructuring of Congo by President Mobutu Sese Seko under the program of 'L'Authenticite'. The name of the country was changed from Congo-Kinshasa to Zaire. Franco adopted the names "L'Okanga La Ndju Pene Luambo Luanzo Makiadi". During this time, vocalist Mayaula Mayoni came on board, along with guitarists Mpundi Decca, Gege Mangaya, Michelino Mavatiku Visi and Thierry Mantuika. Franco then appointed Simaro Lutumba, as the chef d'orchestre. Sam Mangwana composed his hit Luka Mobali Moko around this time.

In 1973 Josky Kiambukuta Londa, a seasoned composer and vocalist joined the band. In 1974, Youlou Mabiala returned to TPOK Jazz. However, Sam Mangwana left and started a solo career in Cote d'Ivoire. Ndombe Opetum was recruited from Afrisa International to replace Mangwana. He came along with hornsman Empompo Loway. In 1975 Franco released yet another classic hit Bomba Bomba Mabe.

1976 - 1979
By the mid 1970s Franco was one of Zaire's wealthiest citizens. He invested heavily in real estate in Belgium, France and in Zaire. He owned Kinshasa's four largest and most popular nightclubs, the biggest of which was Un-deux-trois. TPOK Jazz played there every weekend to a packed house. In 1976, vocalist Zitani Dalienst Ya Ntesa and guitarist Gerry Dialungana were convinced to join TPOK Jazz. Mayaula Mayoni composed a song, Cheri Bondowe which was released in an album that also included Alimatou and Bisalela.

In 1977 Franco introduced a handicapped female singer known as Mpongo Love. Despite her handicap which was the result of childhood polio, she went on to become one of the continents most popular singers on the strength of her charming, vivacious voice and her songwriting. Papa Noel Nedule, an accomplished guitarist joined soon after that. Later that year the band represented Zaire in what was Africa's largest ever cultural event, The Festac which was staged in Lagos, Nigeria.

In 1978 Franco released two songs Helene and Jacky, that were deemed "indecent" by the Attorney General of his native country. After a brief trial, he was convicted and sent to prison, along with other band members, who included Simaro Lutumba. He was released two months later, following street protests. That same year, Mayaula Mayoni released Nabali Misere (I am married to misery). He quit the band soon after, to pursue a solo career.

In 1979 Franco moved his recording base from Kinshasa to Brussels, Belgium to take advantage of superior recording facilities. Franco embarked on a tour of eight West African countries. That same year Josky released Propretaire.

1980 - 1989
This period marked the pinnacle in the success of the band and that of its leader, Franco Luambo Makiadi. The band was releasing an average of four albums a year during this period. The rival Congolese bands, Afrisa International, Orchestre Veve and African Jazz could not keep up with the competition. Life was good.[10] In 1982 Sam Mangwana returned briefly and release an album with Franco called Cooperation. Franco also released several albums with former nemesis Tabu Ley. In 1983 TPOK Jazz toured the United States of America for the first time. That year the song Non featuring Madilu System and Franco, alternating lead vocals, was released.

In the mid 1980s the band continued to churn out best sellers including Makambo Ezali Borreaux, 12,600 Letters to Franco, Pesa Position, Mario and Boma Ngai na Boma Yo. By this time, Madilu System had taken over as the lead vocalist. In 1986, Josky Kiambukuta and Zitani Dalienst Ya Ntesa, two vocalists who felt they were not getting enough prime time exposure led another mass exodus to form their own band. Around this time, Simaro Lutumba released an album outside the OK Jazz system, featuring the song Maya. During the same time frame, Malage de Lugendo, a vocalist, was recruited. Also Kiesse Diambu ya Ntessa from Afrisa and female vocalist Jolie Detta came on board.

At the beginning of 1987, Franco released a 15-minute song Attention Na Sida (Beware of AIDS). The song is sung mainly in French amid heavy African drums and a kaleidoscope of thundering guitars. The song is moving even if one does not understand all the words. Also in 1987, TPOK Jazz were invited to perform at the 4th All-Africa Games in Nairobi, Kenya. In one of the eight albums that the band released in 1987, called Les On Dit, Franco introduced two new female vocalists Nana Akumu and Baniel Bambo. In 1988, Josky and Dalienst re-joined the band.

1989 was a challenging year for the band. Franco's health was in obvious decline. He had by now moved permanently to Brussels. He did not play much and when he did, could only manage about twenty minutes. The band started to fall apart with the defection of Malage de Lugendo and Dizzy and Decca who returned to Kinshasa to pursue other opportunities. Later that year Sam Mangwana teamed with Franco to release the album Forever. The album sleeve carried a photograph of Franco who appeared emaciated, and obviously in ill-health. It turned out to be Franco's last album.

On 12 October 1989, Francois Luambo Makiadi died in a hospital in Brussels, Belgium. His body was flown back to Zaire. After four days of mourning, he was given a state funeral on 17 October 1989, by Mobutu Sese Seko's government.

1990 - 1993
Following the death of Franco, the band members, led by Simaro Lutumba, Josky Kiambukuta, Ndombe Opetum and Madilu System approached the Franco family and agreed to split earnings; (70% musicians and 30% family). This arrangement worked from August 1989 until December 1993.

During that period, the band released an album Hommage A Luambo Makiadi, made of songs recorded before Franco died. Josky released an album featuring the song Chandra. Simaro released an album that featured the hit record Eau Benite, sung by Madilu, and another album Somo which included the records Marby composed by Josky, and Mort Viviant Somida composed by Madilu System. The band continued to tour both in Africa and in Europe. More defections beset the band but the majority of the musicians hung in there.

Then in December 1993 it all came crashing down. The Franco family was not satisfied with the profit-sharing arrangement in place at the time. The family wanted more money. They could not reach an agreement with the musicians. The musicians returned the musical equipment to the family and went on to form a new band, Bana OK. Thus ended the life of one of Africa's most famous bands of the 20th Century, that lasted over thirty-seven years; from June 1956 until December 1993.

Band members

TPOK Jazz had many members over the nearly thirty-eight years of its existence. The list of band members reads like the "Congolese Music Hall of Fame Inductees". Many members came and went, with many coming back, some on more than one occasion. Here are some of the members of the band.

Francois Luambo Makiadi
Aime Kiwakana
Empompo Loway
Henri Bowane
Isaac Musekiwa
Jean Serge Essous
Josky Kiambukuta Londa
Lola Checain
Madilu System
Malage de Lugendo
Mayaula Mayoni
Michelino Mavatiku Visi
Michel Boyibanda
Mose Fan Fan
Mpudi Decca
Ndombe Opetum
Papa Noel Nedule
Philippe Lando Rossignol
Rondot Kassongo
Sam Mangwana
Saturnin Pandi
Simaro Lutumba
Kiamuangana Mateta
Vicky Longomba
Wuta Mayi
Youlou Mabiala
Zitani Dalienst Ya Ntesa
Albino Kalombo
Moniania Roitelet
Camille Feruzi
Céli Bitshou
De La Lune
Diatho Lukoko
Dizzy Madjeku
Djo Mpoyi
Edouard Lutula
Gege Mangaya
Gerry Dialungana
Hubert Dihunga Djeskin
Jean Malapet
Jean Tashamala Piccolo
Djeskin
Jeef Mingiedi
Johnny Bokelo
Kwamy Munsi
La Monta LiBerlin
Leon Bolhen Bombolo
Lunuma Mbemba
Matalanza
Mulamba Joseph Mujos
Nestor Diangani
Ngiandu Kanza
Nyoya Fwala
Paul Ebengo Dewayon
Pedro Dele
Thierry Mantuika Kobi
Adamo Seye Kadimoke
Alphone Epayo
Antoine Armando Brazzos
Baniel Bambo
Barami Miranda
Celestin Kouka
Christophe Djali
Edo Nganga
Flavien Makabi Mingini
Celi Bitchoumanou:
Georges Kiamuangana
Guillaume Mbembe
Jean-Felix Pouela
Jolie Detta
Kapitena Kasongo
Kiesse Diambu Ya Ntessa
Kongi Aska
Lassa Carlito
Makonko Kindudi Makos
Milanda Barami
Monogi Mopia
Mpongo Love
Nana Akumu
Bosuma Bakili Dessoin
Simon Moke
Tchandala Kosuana
Vieux Kalloux
Dénis Bonyeme
Lokombe Ntal

Merengue
Franco & L'Orchestre T.P.O.K. Jazz Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Y como suena el merengue, Willy Franco, Franco, Franco y su marimba orquesta

Macorina pon, pon Macorina ponme la mano ahí Ay, Macorina pon, pon Macorina ponme la mano ahí

Macorina pon, pon Macorina pon y pon Macorina pon, pon, Macorina ponme la mano ahí

Macorina pon, pon Macorina ponme la mano ahí Macorina pon, pon Macorina ponme la mano ahí

Macorina pon, pon Macorina ponme la mano ahí Ay, Macorina pon, pon Macorina ponme la mano ahí

Macorina pon, pon Macorina pon y pon Macorina pon, pon, Macorina ponme la mano ahí

Macorina pon, pon Macorina ponme la mano ahí Ay, Macorina pon, pon Macorina ponme la mano ahí

Macorina pon, pon Macorina ponme la mano ahí Macorina pon, pon Macorina ponme la mano ahí

Macorina pon, pon Macorina pon y pon Macorina pon, pon, Macorina ponme la mano ahí
Macorina pon, pon Macorina ponme la mano ahí Ay, Macorina pon, pon Macorina ponme la mano ahí

El ambiente esta que quema con Willy Franco, Francos, Franco
Y su marimba orquesta

Amor ya, ya vengo me voy A un asado como tomo Alguito y vuelvo Tú sabes que te quiero
Anda a dormir tranquila
Te despierto cuando vuelvo

Se canso de llamar
Y él no respondió jamás Se armo la gran Truqueada después de La guitarreada y ya todos Borrachos me pidieron Que cantara  Pero que culpa tengo yo Pero que culpa tengo yo Que la gente me invite Y no puedo decir que no
 Pero que culpa tengo yo Pero que culpa tengo yo Que después del asado Me pidan una canción
 Pero que culpa tengo yo Pero que culpa tengo yo Entiéndeme que culpa Tengo yo de no poder Decir que no

Oh, oh, oh, oh
Oh, oh, oh, oh
Que culpa tengo yo
De no poder decir que no

Oh, oh, oh, oh
Oh, oh, oh, oh
Que culpa tengo yo
De no poder decir que no

Amor créeme
Cuando quise volver
Me atraparon esa gente
Sabes las veces
Que dije ya me voy
Pero insistieron que me quede

Se canso de llamar
Y él no respondió jamás Llamaron a un taxi
Que me dejaría en casa
Todo fue un complot
Toda la gente esperándome

Pero que culpa tengo yo Pero que culpa tengo yo Que la gente me invite Y no puedo decir que no
 Pero que culpa tengo yo Pero que culpa tengo yo Que después del asado Me pidan una canción
 Pero que culpa tengo yo Pero que culpa tengo yo Entiéndeme que culpa Tengo yo de no poder Decir que no

Oh, oh, oh, oh
Oh, oh, oh, oh
Que culpa tengo yo
De no poder decir que no

Oh, oh, oh, oh
Oh, oh, oh, oh

Que culpa tengo yo
De no poder decir que no

Overall Meaning

The lyrics to Franco & L'Orchestre T.P.O.K. Jazz's song "Merengue" primarily revolve around the singer, Willy Franco, and his marimba orchestra playing a lively merengue music. The repeated lines of "Macorina pon, pon" and "Macorina ponme la mano ahí" serve as catchy and rhythmic chants that enhance the energetic mood of the song.

The first part of the song introduces Macorina, who is potentially a character or simply a reference to the dance style. The repetition of "Macorina ponme la mano ahí" emphasizes the physical interaction between the dancers, inviting them to connect and engage in the merengue.

In the second part of the song, the lyrics shift to Willy Franco and his marimba orchestra. The repeated lines of "El ambiente esta que quema con Willy Franco, Francos, Franco y su marimba orquesta" highlight the enthusiasm and passion brought by Willy Franco and his orchestra to the atmosphere. It showcases their ability to create a fiery and intense musical experience.

The third part of the song portrays a conversation between two individuals. One person expresses their intention to leave briefly for a gathering or event, assuring their loved one that they will return soon. They reassure their partner to sleep peacefully, promising to wake them up upon their return. This part of the song captures the affection and consideration between the two individuals.

The fourth part of the song switches to a situation where the singer is overwhelmed by people insisting on their presence and participation. The lyrics express that the singer was repeatedly called but did not respond, leading to a gathering where everyone got drunk and asked the singer to sing. The singer acknowledges their inability to say no and feel responsible for not wanting to disappoint the crowd. This part delves into the internal conflict of feeling obligated to please others, despite personal desires.

Overall, the lyrics of "Merengue" evoke a lively and festive atmosphere, while also exploring themes of traditional dance, love, obligation, and the challenges of asserting oneself in social situations.

Line by Line Meaning

Y como suena el merengue, Willy Franco, Franco, Franco y su marimba orquesta
Listen to the sound of the merengue played by Willy Franco and his marimba orchestra

Macorina pon, pon Macorina ponme la mano ahí Ay, Macorina pon, pon Macorina ponme la mano ahí
Macorina, please play the beat Macorina, put your hand there Oh, Macorina, play the beat Macorina, put your hand there

Macorina pon, pon Macorina pon y pon Macorina pon, pon, Macorina ponme la mano ahí
Macorina, continue playing the beat Macorina, keep playing and playing Macorina, play the beat Macorina, put your hand there

El ambiente esta que quema con Willy Franco, Francos, Franco Y su marimba orquesta
The atmosphere is sizzling with Willy Franco, Francos, Franco And his marimba orchestra

Amor ya, ya vengo me voy A un asado como tomo Alguito y vuelvo Tú sabes que te quiero
My love, I'll be right back I'm going to a barbecue, just to have a drink I'll be back soon You know I love you

Anda a dormir tranquila Te despierto cuando vuelvo
Go to sleep peacefully I'll wake you up when I come back

Se canso de llamar Y él no respondió jamás Se armo la gran Truqueada después de La guitarreada y ya todos Borrachos me pidieron Que cantara
He kept calling, but he never answered There was a big fuss After the guitar playing, everyone was drunk They asked me to sing

Pero que culpa tengo yo Que la gente me invite Y no puedo decir que no
But what fault do I have If people invite me And I can't say no

Pero que culpa tengo yo Que después del asado Me pidan una canción
But what fault do I have If they ask me to sing After the barbecue

Pero que culpa tengo yo Entiéndeme que culpa Tengo yo de no poder Decir que no
But what fault do I have Understand that it's not my fault That I can't say no

Amor créeme Cuando quise volver Me atraparon esa gente Sabes las veces Que dije ya me voy Pero insistieron que me quede
My love, believe me When I wanted to come back Those people trapped me You know how many times I said I'm leaving But they insisted that I stay

Llamaron a un taxi Que me dejaría en casa Todo fue un complot Toda la gente esperándome
They called a taxi That would take me home It was all a plot Everyone was waiting for me

Que culpa tengo yo De no poder decir que no
What fault do I have Not being able to say no

Lyrics © O/B/O APRA AMCOS
Written by: Francisco Mandujano Hernandez, Manuel Luis Tapia, Sergio Gabriel Ledesma, Ulises Mauro Bueno

Lyrics Licensed & Provided by LyricFind

To comment on or correct specific content, highlight it

TRACKS