Orchester Poly-Rythmo de Cotonou

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Orchester Poly-Rythmo de Cotonou
General information
Genre (s) Funk , Afrobeat , Soukous etc.
founding 1968
Founding members
Band leader, guitar
 Clément Melome
singing
 Eskill Lohento
percussion
 Somassou Nestor
percussion
 Allade Lucien
Drums
 Armeoudji "Vicky" Joseph
bass
 Bentho Gustave
guitar
 Bernard "Papillon" Zoundegnon
singing
 Vincent Ahehehinnou
Current occupation
Band leader, saxophone
 Clément Melome
singing
 Vincent Ahéhéhinnou
singing
 Anago Cosme
percussion
 Celestin Honfo
Tenor saxophone, percussion
 Pierre Loko
Drums
 Bonaventure Didolanvi
bass
 Bentho Gustave
guitar
 Maximus-Unitas Adjanohun
guitar
 Fifi Leprince
Keyboard
 Vital Assaba
Keyboard
 Moïse Loko

The Orchester Poly-Rythmo de Cotonou is a band from Cotonou , the largest city of Benin, active under this name since 1968 . The part of the name Poly-Rythmo stands for rhythmic music. The band had their heyday in the 1970s.

Name variations

The band name used here is just one of many that the band uses. All variations are modifications or short versions of Le Tout Puissant Orchester Poly-Rythmo de Cotonou - Benin , or ... de Cotonou - Dahomey . The only common component of all variants is poly-rythmo - sometimes with and sometimes without a hyphen (see polyrhythmics ). The following variations are mentioned as examples:

  • Poly-Rythmo
  • Le Tout Puissant Poly Rythmo de Cotonou
  • Le Tout Puissant Poly Rythmo
  • Orchester Poly Rythmo de Cotonou
  • Poly Rythmo de Cotonou
  • L'Orchestre Poly-Rythmo
  • TP Orchester Poly-Rythmo
  • L'International Poly-Rythmo

style

The Orchester Poly-Rythmo de Cotonou plays various styles that were popular in Benin in the 1970s, as well as an amalgamation of these. Many of the pieces are traditional music that is enriched with jerk (jerk is the West African name for soul and funk ). These songs are based on rhythms that come from the Vodun religion. Often this creates a sound that is similar to the Afrobeat . In addition to these typical elements, influences from the neighboring countries Nigeria and Ghana are recognizable, but also the cultural proximity to other French-speaking African countries such as the Congo . The first-mentioned influence manifests itself through Afrobeat and Highlife , the second through Soukous . Even salsa and Caribbean (especially Cuba) and Latin American styles are in the music poly-Rythmos to find.

Band history

prehistory

The Orchester Poly-Rythmo was not actually founded, but arose from the merger and renaming of previous bands, which are therefore described here.

Group Meloclem (1964-1965)

Clément Melome, who later became the band leader Poly-Rythmos , and François Hoessou formed a duet in the early 1960s that played an entertainment program for children on the radio. Melome played the accordion and Hoessou Guidigbo , a Benin form of the marimbula , and later the bass . Eskill Lohento, who was a neighbor of Melome, joined as a singer in 1964, creating the group Meloclem . In addition to the radio program, they also appeared in a French cultural center. The guitarist Vignon Martin joined as the fourth musician . For lack of money, the musicians had to borrow the instruments from Creppy Wallace, who was the manager of the Sunny Blacks Band . Since he liked the music of the Meloclem group , he asked them in 1965 if they wanted to join the Sunny Blacks Band .

Sunny Blacks Band (1965-1968)

Formed by the merger of Group Meloclem with the original Sunny Blacks band , which consisted of Creppy Wallace (musical director), Pedro Mawa Emboise ( guitar ), Somassou Nestor ( percussion ), Allade Lucien (percussion) and Don Diego Gustave ( saxophone ) formed a nine-piece band. Melome first switched from the accordion to the drums , until the drummer Armeoudji "Vicky" Joseph joined them and Melome switched to the guitar. The first guitarist, Pedro Mawa Emboise, was a member of a religious sect that forbade him to perform in nightclubs. He was then replaced by Akadiri Elias Moutabi, who played in the style of the Nigerian highlife guitarist Sir Victor Uwaifo . With this line-up, the band recorded their first single in 1966: Angelina , a song that Poly-Rythmo still plays today. Wallace left the band after marrying a French woman to become a PE teacher in France. Thereupon Don Diego Gustave took over the musical direction. He was arrested for unknown reasons when the band wanted to travel to Nigeria to record a record there. This destabilized the band and Melome then took over the musical direction, which he held until his death (at Poly-Rythmo).

Another setback came in 1967 when an Ivorian producer poached Akadiri Elias Moutabi and François Hoessou. As a new bass player, Bentho Gustave switched from his previous band Le Super Star de Ouidah to the Sunny Blacks Band . The mediocre guitarist Johnny Achille stepped in temporarily. This was soon replaced by Bernard "Papillon" Zoundegnon. At that time Zoundegnon was still a beginner on his instrument, later it would become downright legendary in Benin. The core line-up of the later Orchester Poly-Rythmos had thus come together. Akadiri Elias Moutabi returned from Ivory Coast at this time and played with the band again at times. Above all, however, he imparted his guitar skills to Papillon. Vignon Martin also left the band at an unknown time under unclear circumstances.

Orchester Poly-Disco (1968)

At that time the band was still using Creppy Wallace's equipment free of charge. When his family noticed this, she asked for it to be returned. For lack of money, the band had to look for a new sponsor, which they found in 1968 in Kentossou André, the owner of a music equipment shop called Poly Disco . Conditions were that the band name was changed to Orchester Poly-Disco and André got half of the concert income. Since soul was very popular at the time , the band was looking for another singer who could sing in this style. She found this in Vincent Ahehehinnou, who was previously active in the band Daho Jazz .

Orchester El-Ritmo (1968)

The agreement between the band and Kentossou André turned out to be not lucrative for André, which is why he sold his instruments to Nikoué Antoné, the owner of three nightclubs. Curiously, André and Antoné negotiated that the band would be “sold” to play in Antoné's clubs. Since it was only important to the musicians to have good equipment at their disposal, they accepted this deal. Antoné asked to be renamed Orchester El-Ritmo , as the band that was previously under contract with him was also called. The band has now managed to attract a growing audience, which is why Adissa Seidou, producer of the record label Albarika Store , became aware of the Orchester El-Ritmo . The band recorded four songs for Seidou in the EMI studio in Nigeria. Even though the band still performed under the name Orchester El-Ritmo at that time , they used the name Orchester Poly-Rythmo de Cotonou for the first time for the recordings , as the musicians did not like to work under a name that was previously used by another band Has. Since Antoné tried to manipulate and control the band, they decided to leave him.

Heyday (1968–1982)

When Adissa saw that the band was free from Nikoué, he signed them and provided them with new instruments. The band now took on the name they had previously used for the recordings for Albarika Store: Orchester Poly-Rythmo de Cotonou . Melome took on other musicians in the band: Loko Pierre ( saxophone ) and Paul "Gabo" Agbernadon (vocals and percussion ). In addition, with Leopold Yehouessi, a new drummer joined the band, as the unique style of the drummer Vicky was not suitable for every type of music that Poly-Rythmo wanted to play. Vicky stayed with the band, but now focused on the singing in the language gene , which on the border with Togo is spoken, and on the composition of pieces on Vodun based rhythms, such as Sato.

Until 1972, Poly-Rythmo recorded exclusively for Albarika Store. When a plate pressing plant opened in Cotonou, they began "secretly" to record for known and befriended owners of small Benin record labels when Adissa was not in Cotonou and couldn't prevent it. They also recorded for a small label in Niamey ( Niger ) when they were there. While the recordings for the Albarika Store in Nigeria were mainly multi-track in the EMI studio in Lagos, the recordings for the small labels were “living room recordings ” that were recorded live by a microphone with a Nagra tape recorder . The singer was closest to this and the band in a semicircle behind him.

In 1973 the band released their first album on Albarika Store, which included four Afrobeat pieces composed by Vincent Ahehehinnou. The peculiarity that all pieces on an album are by one composer was retained until 1981. The next two albums, which appeared in 1974, were composed by Clément Melome.

Biggest Cast (1976)
Surname instrument
Clément Melome Vocals, rhythm guitar
Paul "Gabo" Agbemaddon Vocals, rhythm guitar
Vincent Ahehinnou singing
Joseph "Vicky" Amenoudji singing
Eskill Lohento singing
Theo Blaise Konkou singing
Bernard "Papillon" Zoudegnon guitar
Bonaventure Amenoudji Rhythm guitar
Mado Martino Rhythm guitar
Bentho Gustave bass
Kououhan Theo Ossey Trumpet
Mike Sharp Trumpet
Loko Pierre Saxophone, percussion
Allade Lucien percussion
Somassou Nestor percussion
Yehouessi Leopold Drums

In 1976 the band was expanded to its largest line-up of 16 men. The guitarists Amenoudji Bonaventure (Vicky's brother) and Mado Martino, the singer Theo Blaise Konkou, who was responsible for Congolese music, and the trumpeters Kououhan Theo Ossey and Mike Sharp were new. This resulted in the occupation shown in the table on the right.

Two albums were recorded with this line-up. Then there was another change in the line-up. Mike Sharp, Amenoudji Bonaventure, Mado Martino, Allade Lucien and Theo Blaise Konkou left the band. Then there was the multi-instrumentalist Tidiani Koné, who played alto saxophone, trumpet, violin and guitar and was the founder of the Malian group Le Rail Band de Bamako . In addition, Maximus Adjanohoun, who previously played for Les Commandos , got on the rhythm guitar. This line-up came because the Congolese guitar style was too fast for Melome Clément and he therefore switched to the saxophone.

After Benin became a totalitarian socialist state in 1972, Poly-Rythmo, as Benin's most popular band, was forced to praise the state regime in the mid-1970s. Musicians who did not do this faced consequences such as imprisonment and torture. For example, some of the songs dealt with poly-rhythmic themes like socialism and "fallen heroes". This made them and their families safe. However, they could not appear in this way in African countries that had a capitalist orientation. This should change after Poly-Rythmo represented Benin at the FESTAC 77 festival (Second World African Festival of Arts and Culture) in Lagos. To represent the whole country, they teamed up for this concert with Moussa "Franco" Mama, a musician from the Borgou region , and Nicolas Gomez from the Picoby Band from the Zou region . They performed under the name of L'Orchestre National du Benin (National Orchestra of Benin) and came second behind the Congolese Tabu Ley Rochereau . Through this success Poly-Rythmo became known beyond the borders of Benin, Togo and Niger. Despite their apparent political orientation, invitations from various other African countries followed.

So they now played u. a. Concerts in the Ivory Coast , where they were recognized by the President for their success there, in the Congo and in Burkina Faso . During a tour in 1980 through Angola , which was at that time in the civil war , the band had to travel armed for their protection. Giving the war-torn population positive experiences was a very emotional experience for the members of Poly-Rythmos .

The Benin recording studio Satel had matured into one of the best in West Africa in 1977 with its 24-track technology. Backing bands were Poly-Rythmo and Black Santiago in this studio at the time . In addition to recording their own pieces, the band was also able to make a name for itself as a backing band for Benin artists and artists from other African countries. Poly-Rythmo was also chosen as a backing band for the tours of artists who toured Benin . Particularly noteworthy is the tour with Manu Dibango in 1978, who according to his own statement (at least up to this point in time) had not played with a better band.

Due to the band's success, Melome wanted support as a band leader. As his right-hand man, Eskill Lohento, Vicky, Papillon and Vincent Ahehinnou were nominated, from which Papillon was chosen. Adissa Seidou saw this as his chance to exert more influence on the band and undermine Melome's supremacy. This led to a dispute between Vincent Ahehinnou and Adissa Seidou, which forced Ahehinnou to leave the band. By their own account, it was a question of survival.

Papillon became the main arranger for the band. It composed some Soukous LPs that were the band's top-selling albums. Under these conditions Adissa managed that he was supported by all band members except Eskill Lohento in early 1979 to force Melome out of the band. However, Lohento was able to convince the musicians that they owed their position in the band Melome and that Adissa was just a producer. As a result, the relationship between the band and Adissa was so disrupted that they ended the collaboration a short time later. As a result, Poly-Rythmo lost their vehicles (tour bus and motorcycles), which officially belonged to Adissa. Only through the use of a lawyer could they keep their instruments. Poly-Rythmo then worked with other producers, especially from Abidjan .

In 1981 Melome forgave Adissa and Poly-Rythmo recorded the album Reconciliation for Albarika Store . It contained four pieces by four different composers. Papillon was already feeling sick while recording the album and did not travel to Lagos with the band to mix the album. Instead he had to go to the hospital, where he died on October 27, 1982 after about a month. For many, the death of Papillon symbolized the end of poly-rhythm . But two more albums for Albarika Store followed.

Apparent failure (1982-2007)

A financial fiasco arose in 1982 through participation in the 2nd Festival des Arts Negres in Tripoli ( Libya ). The Libyan Customs suspected Poly-Rythmo of smuggling alcohol into the country and in their search and frustration of not finding anyone, almost completely destroyed the band's equipment. Muammar al-Gaddafi paid back a small part, but not nearly as much to make up for the damage. The band then had to borrow their equipment. In addition, the economic and political situation under Mathieu Kérékou's Marxist regime deteriorated. Many Cotonou clubs closed as curfews were imposed, shows had to be paused twice a night for state news, and police abuse increased. As a result, Poly-Rythmo received fewer and fewer engagements until they only appeared occasionally at weddings and military parades. So it seemed, even in Benin, that the band no longer existed.

Nothing is known of recordings after the above-mentioned album "Nouvelle Formule ...", which was released around 2000/2001. This includes new recordings of old pieces. The line-up for this album was Clément Melome, Eskil Lohento and Cosme Anago (vocals), Maximus Adjanohoun (solo guitar), Gustave Bentho (bass guitar), Philibert Agbahoungba (rhythm guitar), Cosme Cakpo (trumpet), Loko Pierre (vocals and saxophone), Danialou Sagbohan, Mathurin D'Almeida, Bayo Agonglu and Léopold Yehouessi (percussion and drums), Samuel Gnonlonfoun (brass leader) and Moïse Loko and Léon Hounnonkpe (piano).

Léopold Yehouessi died in 2001. In 2002 Eskill Lohento left the band. He passed away in 2006.

Cotonou Club (2007-2011)

In 2007, the French radio reporter Elodie Maillot interviewed Poly-Rythmo after appearing at the Benin Independence Festival. In conversations after the interview, the idea came up to allow Poly-Rythmo a concert outside of Africa. This resulted in a collaboration between Maillot and Poly-Rythmo , which led to a tour through Europe (2009), West Africa (2010) and a concert in Brazil (2010). These were the band's first appearances outside of Africa.

In 2011, Cotonou Club was released , a new album by the band that, in addition to new recordings of old pieces, also contains new pieces and songs by the late Benin artists Gnonnas Pedro and William Amoussou . The band has worked with both artists in the past. The cast on this album were Mélomé Clément (band leader and saxophone), Vincent Ahéhéhinnou (vocals), Gustave Bentho (bass guitar), Pierre Loko (tenor saxophone and percussion), Anago Cosme (vocals), Maximus-Unitas Adjanohun (guitar), Fifi LePrince (Guitar), Vital Assaba (keyboard), Moïse Loko (keyboard), Bonaventure Didolanvi (drums) and Célestin Honfo (percussion). Vincent Ahéhéhinnou joined the band again in 2009. Maximus-Unitas Adjanohun already played with FESTAC 77 with Poly-Rythmo . Moïse Loko joined the band over 15 years ago while touring Niger. Bonaventure Didolanvi was previously active in Cotonou's Afro-Jazz scene and has been part of the band since 2009. Guest musicians on the album include the Benin singer Angélique Kidjo , the Malian singer Fatoumata Diawara and Paul Thomson and Nick McCarthy from the Scottish band Franz Ferdinand .

After 2011

On December 17, 2012, the band leader Mélomé Clément died of a heart attack at the age of 68. Vincent Ahehehinnou, Gustave Bentho and Loko Pierre decided to continue the band, which resulted in the 2016 album Madjafalao .

Discography

The Orchester Poly-Rythmo de Cotonou released several dozen LPs and singles in its heyday.

The following discography only refers to the publications of the last few years.

title Label year annotation
Nouvelle Formule ... ACP Production approx. 2000/2001 current recordings without a stylistic focus
Reminiscin 'in Tempo - African Dancefloor Classis [sic] Popular African Music 2003 Compilation with soukous and salsa pieces
The Kings of Benin Urban Groove 1972-80 Soundway Records 2004 Compilation without a stylistic focus
The Vodoun Effect - Funk & Sato from Benin's Obscure Labels 1972-1975 Analog Africa 2008 Compilation with Afrobeat, Funk and Vodun pieces that originally appeared on small Benin labels. Many of the songs are based on the vodun rhythms Sato and Sakpata.
Echos Hypnotiques - From the Vaults of Albarika Store 1969–1979 Analog Africa 2009 Compilation with Afrobeat, Funk and Vodun pieces that were originally released on the Benin label Albarika Store .
Cotonou Club Strut Records 2011 current recordings, primarily Afrobeat, Funk and Vodun
Cotonou Club / Radio Poly-Rythmo Sound d'Ailleurs 2011 Limited edition of Cotonou Club with the bonus CD Radio Poly-Rythmo , which contains live recordings, radio reports and videos
The 1st album Analog Africa 2011 Re-release of the first album from 1973. Two of the four tracks are, however, in different versions than on the original album.
The Skeletal Essences of Afro Funk Analog Africa 2013 Compilation 1969–1980
Madjafalao Because Music 2016 current recordings

Web links

Individual evidence

  1. ↑ a b Booklet for the CD "reminiscin 'in tempo - african dancefloor classis [sic]" on Popular African Music
  2. ↑ a b c d e f g h i j k l m n o p q r Booklet for the CD "Echos Hypnotiques - From the Vaults of Albarika Store 1969-1979" on Analog Africa
  3. ↑ a b c d e f g Booklet for the CD "The Vodoun Effect - Funk & Sato from Benin's Obscure Labels 1972-1975" on Analog Africa
  4. ↑ Jam Magica: Discography of Poly-Rythmo
  5. ↑ a b c Booklet for the CD "The Kings of Benin Urban Groove 1972 - 80" on Soundway Records
  6. ↑ In the booklet for the CD "Echos Hypnotiques - From the Vaults of Albarika Store 1969-1979" you can no longer find Vignon Martin in later lineups. A withdrawal is not mentioned explicitly.
  7. ↑ Belgian interview with Poly-Rythmo
  8. ^ Pop Matters: Orchester Poly-Rythmo: Cotonou Club
  9. ↑ news.scotsman.com: Interview by Sue Wilson , published June 28, 2011
  10. ↑ a b The article “Nouvelle Formule…” in the “Oro” blog states the early 2000s as the recording date. Since Léopold Yehouessi, who died in 2001, still played on the album, it could have been created this year at the latest.
  11. ↑ Booklet for the CD “Nouvelle Formule…” on ACP Production
  12. ↑ a b c Booklet for the CD "Cotonou Club" on Strut Records
  13. ^ TP Orchester Poly-Rythmo, Gnonnas Pedro & Vivi L'Internationale
  14. ^ Publications by William Amoussou and Poly-Rythmo
  15. ↑ jeuneafrique.com: Report on the death of Melome Clement , published January 9, 2013
  16. ↑ worldmusic.co.uk: ORCHESTRE POLY-RYTHMO DE COTONOU - VOL 3 - THE SKELETAL ESSENCES OF AFRO FUNK (CD REVIEW)
  17. ↑ www.africaexpress.co.uk: ORCHESTRA POLY-RYTHMO ALBUM GIVEAWAY