Beguen Band

Orchestre Beguen Band (also known simply as Beguen Band) was a Congolese rumba ensemble active during the 1950s and early 1960s. Formed as one of the house bands of the Ngoma record label, the band played a significant role in shaping and popularizing Congolese rumba in both the former Belgian Congo and the former French Equatorial Africa.^[1][2][3] It featured a roster of highly influential musicians, including vocalists André João (Depiano), Tuka Floriant (Tchadé), Franck Lassan, Léon Bukasa, N6, and Kiyika Masamba (Flamy), as well as instrumentalists such as guitarists Pierre "De La France" Bazeta, Emmanuel Antoine Tshilumba wa Baloji (Tino Baroza), Charles Déchaud Mwamba, and Augustin Moniania (Roitelet), bassist Magnol, saxophonist and clarinetist Albino Kalombo, trumpeter Etari Henri, and drummer Julio.^[4][1][3][5]

In 1960, following a tour in Conakry, Guinea, the orchestra split into two new formations: Beguen Jazz, led by Depiano, Tchadé, Flamy, and De La France; and Milo Jazz, formed by Damoiseau, Roitelet, Tino Baroza, Depuissant, Maproco, and Menga André—many of whom later joined Joseph Kabasele's renowned African Jazz.^[5][3]

The exact date of Orchestre Beguen Band's formation remains uncertain, but it emerged in the mid-1950s as one of the house bands of the Ngoma record label under the patronage of its president, Manuel d'Oliveira.^[1][2][6] Composed mainly of musicians in their early thirties, the band brought together a number of vocalists and instrumentalists who would go on to become central figures in Congolese rumba. Its core lineup included vocalists such as André João (Depiano), Tuka Floriant (Tchadé), Franck Lassan, Léon Bukasa, N6, and Kiyika Masamba (Flamy); guitarists Pierre "De La France" Bazeta (solo), Emmanuel Antoine Tshilumba wa Baloji (Tino Baroza), Charles Déchaud Mwamba, and Augustin Moniania (Roitelet); as well as Magnol (double bass), Albino Kalombo (saxophone and clarinet), Etari Henri (trumpet), and Julio (drums).^[1][3][5]

However, some sources suggest that certain prominent musicians, including Depiano, members of the Trio BOW (Bukasa, Emmanuel Mayungu d'Oliveira—better known as Manuel d'Oliveira—and Antoine Wendo Kolosoy), Etari Henri, Degauche, Katembo Ignace, Léon Bukasa, and Tino Baroza, may have only been associated with or accompanied the band rather than being full-time members.^[6][2]

The band rapidly gained popularity, receiving invitations to perform across the Malebo Pool in both the former Belgian Congo and the former French Equatorial Africa. Its growing reputation allowed it to rival major contemporary orchestras such as OK Jazz, African Jazz, and Rock-a-Mambo.^[3] According to Congolese music journalist Antoine Manda Tchebwa, a significant milestone in the professionalization of Congolese music occurred in 1959, when Greek producer Jeronimidis of Ngoma Editions (Tam-Tam) established what he described as the first "nursery of professional musicians".^[2] Through the support of Ngoma, Beguen Band was provided with modern musical instruments—including banjo, bass, horns, and a complete drum set—and access to radio broadcasting, while its members were also placed on fixed monthly salaries, a notable innovation in the Congolese music industry at the time.^[2][7]

In September 1960, Beguen Band embarked on a highly successful tour across several West African countries, including Ghana, Côte d'Ivoire, and Guinea.^[3][5] Their performances were well received, enhancing both the band's prestige and the reputation of Ngoma records.^[3] One highlight of the tour was a recording session at Radio Côte d'Ivoire featuring Flamy, Maproko (saxophone), Depiano, Tchadé, and Magnol.^[3] Following their return from Conakry, Guinea that year, the band underwent a major split. This led to the creation of two separate groups: Beguen Jazz, composed of Depiano, Tchadé, Flamy, and De La France; and Milo Jazz, formed by Damoiseau, Roitelet, Tino Baroza, Depuissant, Maproko, and Menga André—several of whom later joined Joseph Kabasele's renowned Africa Jazz.^[5][3]