Le Grand Kallé et l'African Jazz, often simply referred to as African Jazz, was one of the most influential Congolese rumba bands of the twentieth century. Founded in 1953 in Léopoldville (now Kinshasa) by Joseph Athanase Tshamala Kabasele, widely known as Le Grand Kallé, the band played a pivotal part in shaping modern Congolese popular music during the late colonial era and the early years following independence. The band's style fused Central African traditional instruments, including the Tetela tam-tam, the ngongi drum, and the lokole, with Western guitars, brass, and percussion, According to Congolese music journalist Clément Ossinondé, Kabasele was the first Congolese musician to incorporate the traditional lokole slit drum into Congolese rumba orchestral arrangements, a development that was later complemented by Marie-Isidore's introduction of the tumbas.
Although the band did not play jazz music, the term jazz was adopted because, in the Belgian Congo, it carried different connotations than in Europe or the United States. It was locally linked to ideas of elegance and liveliness rather than a specific musical style. As music journalist Vladimir Cagnolari points out, calling someone a "jazzeur" meant that the person could bring excitement to social events. He further explains that the band kept playing rumba but selected the name "jazz" because it reflected style, modern life, and the image of sharply dressed performers. Kabasele also wanted a modern-sounding name, so he anglicized Africain to form African Jazz. They achieved early commercial success with recordings released in November 1953, including "Parafifi", "Nzela mosika", and "African Jazz". Music journalist Audifax Bemba reported that the guitar parts on "Parafifi" and "African Jazz" were performed by Nico Kasanda.
Opika was acquired in 1955 by Greek businessman Dino Antonopoulos, who later launched Les Editions Esengo in January 1957. During this period, African Jazz encountered growing rivalry from OK Jazz, a band newly established in 1956 and made up of former Loningisa label musicians, including Franco Luambo, Philippe Lando Rossignol, Jean Serge Essous, Vicky Longomba, Daniel Loubelo "De La Lune", Ben Saturnin Pandi, Nicolas Bosuma Bakili "Dessoin", and Augustin Moniania "Roitelet". OK Jazz rapidly attracted a following in Léopoldville with its sound built on traditional Congolese musical foundations. Prior to this, Thomas Kanza had contacted his brother Philippe in Léopoldville to help recruit leading Congolese musicians. "Indépendance Cha Cha" quickly became celebrated as an anthem for African nations gaining independence. Other politically committed songs he produced at this time include "Lumumba", "Congo ya Sika biso", and "Bilombe ba gagné" ("the best ones have won"), featuring contributions from Roger Izeidi (maracas, vocals) and Longomba (vocals). The latter, which translates to "never defeated", was inspired by Jean Lema, a journalist for Radio Congo Belge who delivered the live broadcast of the Congo's independence ceremonies on 30 June 1960 and was a close associate of Kabasele. Lema's outspoken demeanor came to symbolize moral courage during the final years of colonial rule. The band recorded Kallé et L'African Team Vol. 1, an album blending Congolese rumba with pachanga, mambo, charanga, and merengue. Kabasele co-wrote works with Mujos ("Ma Préférée Irène", "Tozongela Dilanda", "Barubatsie", "Bebe Ilenda"), Edouard Lutula ("Cococo... Qui Est La", "Mokili Ngonga"), Gonzalo Fernandez ("Minueyo Boongalo"), Mujos ("Essous Spiritou"), Dede ("Mokili Ngonga"), and collaborated with Tino Baroza, and Dibango on "Nzela Mosika".
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- The Rough Guide to Congo Gold (2008, World Music Network)