Written by Michael Polychronis
In April 2024, an album was released that, in a remarkable way, connects Greece, Belgium, and the Democratic Republic of Congo, taking us 60 years back in time. The release of The Belgicains transports us to the early years of independence of Africa’s largest country, the Congo, in the early 1960s.
Although Congo gained independence from Belgium, the ties with the European metropolis remained strong, as Congolese students were invited to study at Belgian universities. These students were expected to become the backbone of Congo’s new society, becoming the entrepreneurs, politicians, and prominent artists of tomorrow. However, in student communities, as in many similar groups, nostalgia for home grew. Soon, gatherings started, accompanied by the few records (mostly 45s) they had brought from home. It quickly became clear that these were not enough. The solution came from within the community, or at least from those with hidden artistic talents. The first student bands soon appeared, aiming to breathe life into and strengthen the cohesion of the Congolese student diaspora in Belgium. Their themes were heavily influenced by their life in Belgium, and their sound naturally incorporated many Western musical trends, skillfully blending them with familiar African rhythms like Congolese rumba, dynamic jazz (known in Congo since the 1950s), and Latin jazz, which was making waves worldwide.
Around the same time, a highly influential publisher and producer from Congo with Greek roots arrived in Belgium. Nikiforos Kavvadias had successfully run Ngoma Records in Kinshasa, Congo’s capital, but due to political instability, he decided to move to Belgium with his wife and two children. In Congo, Ngoma had supported many successful artists, such as Leon Bukasa and Wendo Kolosoy, among others.
In Belgium, Nikiforos encountered and enjoyed the new student groups Los Nickelos and Yeye National. He had already founded a brand-new record label, Covadia, and was on the lookout for talented musicians. With so many fresh groups, it was the perfect time to spot talent, as many of these musicians were not merely amateurs but would go on to collaborate with big names in the future, as happened with Jean Pierre Nimy Nzonga of Yeye.
The sound of the 60 or more recordings (only 30 of which were released at the time) sounded fresh to the ears of the Congolese community in Belgium, and success among them was guaranteed. However, we must remember that for the rest of Europe, this was music reminiscent of English, American, and groups from Central and Latin America. Terms like “ethnic” or “world music” had not yet emerged, and the two main “exotic” poles were Latin America and, to the east, India and the Near East. Between 1964 and 1968, these 60 songs were recorded, circulated, and became memories for those who worked on them and enjoyed them.
Steve Van Acker, a DJ, programmer, and vinyl collector, stumbled upon one of Covadia’s forgotten 45s during one of his excursions a few years ago and was thrilled. Curious to learn the story behind it, he tracked down Paul Cavvadias, Nikiforos’s son, who is also a composer. Paul had carefully preserved his father’s archive. Now, 60 years later, a second chance arises with the collection Les Belgicains (a name derived from the nickname given to students from Congo studying in Belgium). Hopefully, this is just the first collection from this invaluable treasure trove of bright, joyful, and extroverted songs, which will be adored by fans of the sounds of Vis A Vis and the legendary Orchestra Baobab!
