AU REVOIR CARLITO

September 03, 2026 - 11:23 PM

Eugene Magina, an Italy-based, award-winning dancer, is perhaps one of the biggest fans of the deceased Congolese singer Carlito Lassa.

“I haven’t been able to sleep even for a wink, or settle at work, since I read the sad news of the demise of Carlito through the Jabulani page on social media,” Eugene Magina, popularly known as Wuod Okil, told this writer.

To him, a musician with few peers had breathed his last, and it can’t be business as usual. Carlito’s singing was unique, and that perhaps was the magnet that got him hooked. He sang with ease, in a style that’s almost akin to that of the founding father of Congolese music, Grand Kalle, but again, Carlito’s was more refined. This is an excerpt from the song “Maya,” which was composed by Simaro and sung by Carlito Lassa. “Oki bomoneli ngai Maya Boyebisa ye epai akei, Soki mobali atungisi ye azonga Azonga mpo na nini akominyokola Esika na ye ezali awa natandi maboko Nazali kozela. Nazali se na esika atikaki ngai Na nse ya nzete ya madame”

Translation:

If you see Maya, tell her to come back to me. If her new husband mistreats her, let her come back. Why should she suffer? Her place is here, with my arms open, waiting for her. I am still where she left me, under Madame’s tree.

Given the manner in which Carlito sang it, you’d almost see Simaro seated under a tree, with his arms open, waiting for Maya. The ability to bring life into a song is a rare talent with which only a few singers are endowed. Possibly, these are some of the reasons Eugene Magina got addicted to Carlito’s music. In this, we are certain Eugene is not alone. This musician has been mourned far and wide.

“The rumba fraternity worldwide is in tears following the death of Carlito, the man with a velvet voice,” Fred Obachi Machoka, veteran radio presenter, posted on his Facebook page while mourning the fallen icon. Machoka is a revered figure when it comes to matters Congolese and has also had many promotional engagements with these musicians over the decades. London-based Jeannot Bell posted a photo of himself and the late Carlito in the studio during a recording session to mourn him. When this writer reached him for a word, his response was: “Unbelievable.”

Jabulani Radio CEO Dixon Mulwa mourned the singer, stating that many music fans are indeed orphaned by his death. Speaking on the phone from the USA, the founder of the media house that specialises in African music stated that it is such abilities as Carlito’s rich vocals that help define the depth of talent in African music. Although pundits opine that his magnum opus was either Maya or Makolo ya Masiya, a keen and detailed tracking of his music career points to a different story. There may never be a consensus on the matter, but his songs with Choc Stars are in a class of their own.

“The singing style at Choc Stars was more accommodating of his vocal prowess,” Eugene Magina points out. And indeed, Choc Stars brought out his very best. It also happens that the adjudication may be biased because OKJ was definitely far more popular than Choc Stars. As such, there could be fans who may not have had an opportunity to listen to all his works with Choc Stars, one of the Zaiko family bands.

At Choc Stars, the songs mostly featured a solo singing style, also known as lolaka in rumba music circles, as opposed to the choir-like styles in which OKJ excelled. Carlito did well in this style. A perfect example is the song Mponini Eza Mpasi. Carlito was born in January 1961 in Matadi. He trained as a tailor, but fate had other ideas. It wasn’t long before the music bug bit him while he was still in his teenage years, and the scout who first noted his talent and offered him a platform was Gérard Madiata, the famed Orchestra singer of Congo Jazz. Carlito also had a stint in Isiro town before returning to Kinshasa, where he joined Choc Stars.

This band comprised, among others, Ben Nyamabo (founder, singer and bandleader), Bozi Boziana (singer), Général Defao (singer and songwriter), Roxy Tshimpaka (solo guitarist), Djuna Djanana (singer), Adoli Bamweniko (singer), Koffi Alibaba (singer), Sedjo Ka Tshomba (guitarist), Teddy (guitarist), Carrol Makamba (guitarist), Otis Edjudju (drummer), and Ditutala Kwama Makengo (atalaku). The band became very popular in the early 1980s and won several awards.

Carlito’s other remarkable engagements birthed one of the most sought-after albums, Bon Samaritain by Papa Noël. In this album, Papa Noël, who by then was the dependable solo guitarist of the faction of OKJ that had remained behind in Kinshasa to entertain revelers at Franco’s Club Un-Deux-Trois, as Franco toured Europe with the other team, had recruited and rehearsed with several musicians who later pulled out, after allegedly developing cold feet over fears of how Franco would react. Among them were guitarist Gerry Dialungana, singer Lukoki Diatho, and bassist Celi Bitshou. This prompted Papa Noël to play both solo and rhythm guitars himself, with assistance only from Flavien Makabi on bass. The others were Carlito on vocals, Rikki on drums, and Félix Mpouela, aka Du Pool, on percussion. The album became an instant hit, which many attribute to Carlito’s infectious voice. To date, the album remains very popular in clubs and on the radio.

The songs on the album are “Bon Samaritain,” “Kisungu-Zungu,” “Sisi,” “Selia Zozo,” “Madiabuana,” and “Messager.”

Carlito, who composed the song “Ekoti Ya Nzube,” which appeared on the Mario album while he was a member of OKJ, also sang with Mayaula Mayoni, among other Congolese superstars. Carlito converted to Christianity in 2001 and switched from secular to gospel music. He has since released several gospel albums.

Carlito undoubtedly ranks among the very best Congolese singers, alongside Vicky Longomba, Grand Kalle, Josky Kiambukuta, Tabu Ley, Chantal Kazadi, Nyboma Mwandido, Aimé Kiwakana and others. His contribution to the music world was immense, and his death has left a huge void.

BY JEROME OGOLA