Toyebi Té

Editorial Reviews

Barnes & Noble - Mark Schwartz
Composer, singer, and producer Lokua Kanza made his name in Parisian Afro-pop circles with a smooth, acoustic style that ran counter to the pummeling synthesizers and dance beats favored by most. On Toyebi Té Kanza bends the light and sweet into a compellingly stark dreamscape that's surely one of the most expressive African albums to come along in quite a while. Opening with his own multi-tracked a cappella vocals framing jazz harmonies over the barnyard sounds of an African morning, Kanza freely mixes urban and rural references, nesting sparkling vocal and instrumental lines in open-air recordings, juxtaposing contemporary R&B with African folk drumming and ...
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Editorial Reviews

Barnes & Noble - Mark Schwartz
Composer, singer, and producer Lokua Kanza made his name in Parisian Afro-pop circles with a smooth, acoustic style that ran counter to the pummeling synthesizers and dance beats favored by most. On Toyebi Té Kanza bends the light and sweet into a compellingly stark dreamscape that's surely one of the most expressive African albums to come along in quite a while. Opening with his own multi-tracked a cappella vocals framing jazz harmonies over the barnyard sounds of an African morning, Kanza freely mixes urban and rural references, nesting sparkling vocal and instrumental lines in open-air recordings, juxtaposing contemporary R&B with African folk drumming and guitar. The intimate atmosphere, bolstered by close-miked voices, deep gourd drums, and hushed strings, belies Kanza's hands-on approach -- he plays nearly all the instruments, sings lead and harmony vocals, and arranged everything, apart from the string orchestra expertly deployed on the R&B-styled "Come Back to Me." Mixing languages, from African tongues to French and English, as well as styles Western and non-, Toyebi Té has plenty of appeal for fans of albums such as Manu Chao's Clandestino -- it's a more elaborately produced cousin, telling the stories of immigrants and their struggles from the African perspective. Kanza's lyrics are full of hope, faith, and folk wisdom, but it's the slinkiness of his grooves, juxtaposed with supremely moody atmospherics, that will deservedly attract attention.
All Music Guide - Chris Nickson
Not a million miles from Geoffrey Oryema, Lokua Kanza, from the Democratic Republic of Congo, has a lilting, pan-African style. He might not show the roots of his homeland, but this is ineffably an African record -- largely acoustic, melodic, and carried by Kanza's gentle voice. The record works best, perhaps surprisingly, when he doesn't sing in English -- in large part because the English lyrics are execrable "Good Bye" being a prime example. He does veer into smooth jazz/R&B territory at times, which really doesn't serve him well; there's more to him than that, and the glibness has very little of the depth he manages elsewhere. He's really at his best when the sound is stripped-down, really allowing him to shine because his mellifluous voice is unmistakably the star of the show. Kanza has a future, that's beyond doubt. On the basis of this record, he'll never be a major name, but still one worth hearing across the years.
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Product Details

  • Release Date: 7/30/2002
  • Label: Sunny Side
  • UPC: 016728300322
  • Catalog Number: 3003
  • Sales rank: 213,595

Tracks

Disc 1
  1. 1 Tika Ngaï (2:30)
  2. 2 Ndagukunda Tshane (4:16)
  3. 3 Etre Heureux (0:30)
  4. 4 Le Bonheur (Il Suffit d'Une Phrase) (3:26)
  5. 5 Mbiffé (4:02)
  6. 6 Nkolo Akosunga (3:39)
  7. 7 Good Bye (4:10)
  8. 8 Kumbo (2:51)
  9. 9 Na Mileli (3:37)
  10. 10 Toyebi Te (1:16)
  11. 11 Mboka (3:29)
  12. 12 Come Back to Me (3:26)
  13. 13 Mbana Mboye (1:02)
  14. 14 Baselombo (3:33)
  15. 15 Je N'Ai Pas Choisi (4:08)
  16. 16 Kumisako Nkolo (3:31)
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Album Credits

Performance Credits
Lokua Kanza Primary Artist, Synthesizer, Bass, Flute, Guitar, Percussion, Piano, Electric Piano, Vocals, Choir, Chorus, Noise, Cavaquinho, Hand Clapping
Komba M. Bellow Percussion, Drums, Voices
Arabella Rodriguez Percussion
Nanko Milkov Dimitrov Violin
Didi Ekukuan Bass, Percussion, Voices, Choir, Chorus
Carla Lokua Choir, Chorus
Stéphy Lokua Choir, Chorus
Sylvain Luc Bass, Guitar, Bass Guitar
Passi Synthesizer, Vocals, Rap, Choeurs
Marcellin Yacé Flute
Bulgarian Symphony Orchestra Strings, Performing Ensemble
Richard Epesse Basse
Nicolai Gagov Violin
Iliana Selimska Harp
Vasil Kazandjiev Leader, Celli
Margarita Calceva Bass
Ognian Constantinov Viola
Dimitar Dancev Violin
Petar Ganev Violin
Adrian Gheorghiev Violin
Todor Gheorghiev Celli
Valentin Gherov Leader, Viola
Iulita Kirova Violin
Novislav Mihajlov Violin
Simeon Stajkov Celli
Ognian Stancev Viola
Marin Valcianov Bassoon
Deyan Pavlov Conductor
Nicolaj Yanakiev Violin, Leader
Kremena Atcheva Flute
Greg Bondo Percussion
Yassen Enchev French Horn
Vladislav Grigorov French Horn
Vanya Ibrishimova Violin
Ralitza Kazandjieva Viola
Aretha Lokua Vocals
Polyphonie Mongo Vocals, Voices
Negina Stoyanova Violin
Nikola Varbanov Violin
Village Tamberma Talking
Kostadin Yotzov English Horn
Technical Credits
Komba M. Bellow Arranger
Tony Cousins Mastering
Arabella Rodriguez Engineer
Lokua Kanza Arranger, Programming, Sound Effects, Producer, Engineer, Contributor
Raphaël Jonin Mastering
Passi Programming
Dominique Fillon Contributor
Stéphane Reichart Contributor
Joëlle Rouault Executive Producer
Deyan Pavlov Director, String Conductor
Hubert Decottignies Contributor
Tex Avril Contributor
Elena Chouchkova Contributor
Anne Olga DePass Arranger, String Arrangements
Arnaud Dervaux Engineer
Véronique Duval Contributor
René Lokua Contributor
Ian Manuel Engineer, Contributor
Sauf Mboka Contributor
Village Tamberma Contributor
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