Lucie Eyenga
Lucie Eyenga | |
|---|---|
 Lucie in 1984 | |
| Background information | |
| Born | Lucie Eyenga Moseka c. 1934 |
| Origin |  Congolese |
| Died | 12 December 1987 (aged 53) |
| Genres | African rumba |
| Occupations |
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| Instrument | Vocals |
| Years active | 1950s–1987 |
Lucie Eyenga Moseka (1934 – 12 December 1987) was a Congolese singer-songwriter and one of the earliest female figures in the male-dominated African rumba music. Born in Mbandaka (then Coquilhatville), she was discovered in 1954 by guitarist Zacharie Elenga and subsequently signed to the Opika label, where her recordings accentuated intricate vocal harmonies and produced hits such as "Ohé Suka ya Rhumba" and "Mokili Makalamba".[1][2][3]
She gained further prominence as a member of Le Grand Kallé's African Jazz between 1954 and 1956. Following the closure of Opika, Eyenga joined the Editions Esengo label and achieved notable success with the band Rock-a-Mambo between 1957 and 1958, contributing to smash hits "Brigitte", "Mabe Na Yo Moko", "Dit Moninga", "Nasepeli Mingi", and "Zozo Moke".[4][4] After a brief hiatus due to the closure of Editions Esengo and the breakup of Rock-a-Mambo, she returned to the music scene in 1962 with Brazzaville's Negro Band, where she recorded hits such as "Adoula" and "Georgette". In 1983, she again resurfaced to play with Nico Kasanda's African Fiesta Sukisa. Eyenga died in Kinshasa on 12 December 1987.[4]
Early life and career
Lucie Eyenga Moseka was born in 1934 in Coquilhatville (now Mbandaka) in what was then the Belgian Congo (now Democratic Republic of the Congo). She was raised in a Mongo family rooted in the musical rhythms of Zebola and Odemba, as well as in a strong tradition of singing and dancing.[4] Her breakthrough came in 1954 when she was noticed in Léopoldville (now Kinshasa) by Zacharie Elenga, who was then accompanied by his protégé Emmanuel Antoine Tshilumba wa Baloji "Tino Baroza". Together, they brought her to the Opika publishing house, which at the time lacked a standout female singer, in contrast to Loningisa, which was known for its star, Marie Kitoto.[4] Kitoto, supported by guitarist Henri Bowane, had gained prominence with her hit songs "Yo Kolo Ye Kele" and "Ya Bissu Se Malembe", released in September 1951.[4] Musicologist Clément Ossinondé notes that Eyenga quickly gained recognition as a uniquely gifted and expressive singer, shaping each line with the improvisational ease of a seasoned musician and a natural spontaneity distinguished by poise and balance. She soon drew the admiration of Le Grand Kallé and Opika's top arrangers and instrumentalists, while critics accentuated her ability to compose songs that emphasized intricate vocal harmonies.[4]
That same year, she gained widespread fame with her debut recording, "Bolingo Ya La Joie", which was dedicated to the Léopoldville-based women's association La Joie, a devoted fan group comparable to modern fan clubs.[4] On the record, she was backed by guitarists Tino Baroza and Charles Mwamba "Dechaud", bassist Albert Tawumani, and saxophonist Isaac Musekiwa. Ossinondé later remarked that the song "marked the emergence of the genuine Eyenga within African Jazz".[4]
Beyond her period with African Jazz, where she built her strongest national and international reputation between 1954 and 1956, some of her notable work came with Rock-a-Mambo from 1957 to 1958. There, she made an impact through hit songs such as "Brigitte", "Mabe Na Yo Moko", "Dit Moninga", "Nasepeli Mingi", and "Zozo Moke", establishing herself as one of the most influential singers of her generation one of the few who "didn't get bogged down in the concessions to fashion at the time".[4] The closure of Editions Esengo in 1960 and the subsequent dissolution of Rock-a-Mambo in 1961 gradually led to her withdrawal from the music scene. However, she returned to Brazzaville in 1962 with Negro Band, recording the successful titles "Adoula" and "Georgette", which revived her prominence and boosted the band's reputation.[4]
In 1973, she was selected to join Bakolo Miziki, an ensemble that brought together leading figures of 1950s Congolese music, for the Anthologie de la Musique Zaïroise Moderne, commissioned by President Mobutu Sese Seko. Under the artistic supervision of Papa Noël Nedule, she revisited her greatest successes in the Opika release.[4] She then stepped away from music again until 1983, when she resurfaced with Nico Kasanda's African Fiesta Sukisa, and in 1984 collaborated with Abeti Masikini. The two recorded two albums at IAD (Industrie Africaine du Disque) in Brazzaville, which revisited Eyenga's classics from her African Jazz and Rock-a-Mambo years (1954–1959).[4]
Death
Eyenga died in Kinshasa on 12 December 1987 at the age of 53.[4]
References
- ^ Seck, Nago (June 15, 2007). "Anthologie de la musique zaïroise moderne Vol. 2". Afrisson (in French). Retrieved February 27, 2026.
- ^ "Online journal Starducongo.com article on Lucie Eyenga". Archived from the original on March 9, 2014. Retrieved March 9, 2014.
- ^ Stewart, Gary (2000). Rumba on the River: A History of the Popular Music. Verso. p. 68. ISBN 1859843689.
- ^ a b c d e f g h i j k l m n Ossinondé, Clément (July 18, 2012). "Eyenga Moseka Lucie alias Lucie Eyenga 1934 - 1987" [Eyenga Moseka Lucie alias Lucie Eyenga 1934 – 1987]. Universrumbacongolaise.com (in French). Univers Rumba Congolaise. Retrieved February 27, 2026.
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