His voice was forged in the fire of African American Gospel style in which he has gained recognition and respect from his peers.

He was born in the mid-60′s in Dibang, in a small little village in the Cameroonian rainforest.
Emmanuel became interested in music when he was 5 years. He will be deeply influenced but Afro-American music, South African and Ghanaian high-life, all of them filled with subtle harmonies, history and struggling spirit.

Two years later, he will discover the guitar and start playing by himself as he will later do with keyboards. Singing will come into his life at the age of 12 when his parents enroll him into the choir of the church, a fantastic school of music and life. A sort of o play alone, as later keyboards. The song definitely come into his life at the age of twelve, when his parents enrolled him into the church choir, fantastic music school and life. A sort of conservatory “”on the job”” where he will learn how to sing, sing acting, interpreting, harmony, composition, choral and individual management.

Adolescence is the period for playing in small bands with friends; essentially male vocal quartets, With the college years, the meeting with Fela Kuti and Bob Marley’s music, a more precise form of political consciousnes the desire for a pan-African music starts being born in him, which also incorporates the experience and the sound of Afro- American Gospel. Meeting with other African students coming to Yaounde to study will give birth to the group Bayembi International. The voluntary exile in France for studying, reinforces the idea of a conscious and committed artistic expression. Experimentation going on, once again, as part of a vocal group that he created with Cameroonian and French singers in 1986, called Black & White Quartet which will becom later Black & White Gospel Singers, and early 21th centur Black & White Xperience.

During a trip to Brussels, Emmanuel met a trio of experienced musicians, former members of Wallace Collection, who offered him a concept album about the death penalty; a project mixing blues, soul, rythm and blues, to musical forms ranging from film music and pop-rock sounds. The “”Seven Minutes”” project gets under way between Montpellier and Brussels and ends in December 2008 with the release of a self-produced album. Meanwhile, some artists or projects use it for discographic collaborations, some world-class: Gospel Percent Voice Rinocerose, John Adams, …

Recently, Emmanuel began recording several albums, produced between France, England, Spain, and Belgium. But despite his passionate involvement in great projects like The Black & White Xperience By The Gospel River (a male quartet Gospel “”old school””) and Gospelize It! Mass Choir, Emmanuel aspire increasingly to find the drug of his childhood loneliness, but this time accompanied well.
A baritone burned by life, deep and engaging lyrics, a set of crude and subtle both guitar, a certain charisma: that could sum up the man on stage. The rest is self-discovery.
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Two years later, he discovered the guitar he learned to play alone, as later keyboards. The song definitely come into his life at the age of twelve, when his parents enrolled him in the church choir, fantastic music school and life. A sort of conservatory “”on the job”” where he learned the song, gestures, interpretation, harmony, composition, choral conducting, managing individuals.

Adolescence is the time of small bands with friends; essentially vocal quartets, male. With the college years, the meeting with the music of Fela Kuti and Bob Marley, and a more precise form of political consciousness that is born in him the desire for a pan-African music, which also incorporates the experience and the sound of African American Gospel. The meeting with other African students from continuing their studies in Yaounde will create the group Bayembi’s International. The voluntary exile in France for studies, reinforces the idea of a conscious and committed artistic expression. Experimentation going on, once again, as part of a vocal group that he created with Cameroonian and French singers in 1986, called Black & White Quartet which later became Black & White Gospel Singers, and early 21th century avant-garde Black & White Xperience.

During a trip to Brussels, Emmanuel meets a trio of experienced musicians, former members of Wallace Collection, who offered him a concept album about the death penalty; a project mixing blues, soul, rhythm and blues, to musical forms ranging from film music and pop-rock sounds. The “”Seven Minutes”” project gets under way between Montpellier and Brussels and ends in December 2008 with the release of a self-produced album. Meanwhile, some artists or projects use it for discographic collaborations, some world-class: Gospel Percent Voice Rinocerose, John Adams, …

Recently, Emmanuel began recording several albums, produced between France, England, Spain, and Belgium. But despite his passionate involvement in great projects like The Black & White Xperience By The Gospel River (a male quartet Gospel “”old school””) and Gospelize It! Mass Choir, Emmanuel aspire increasingly to find the drug of his childhood loneliness, but this time accompanied well.
A baritone burned by life, deep and engaging lyrics, a set of crude and subtle both guitar, a certain charisma: that could sum up the man on stage. The rest is self-discovery.
Google Traduction pour les entreprises :Google Kit du traducteurGadget TraductionOutil d’aide à l’export
Désactiver la traduction instantanéeÀ propos de Google TraductionMobileCommunautéConfidentialitéAideTwo years later, he discovered the guitar he learned to play alone, as later keyboards. The song definitely come into his life at the age of twelve, when his parents enrolled him in the church choir, fantastic music school and life. A sort of conservatory “”on the job”” where he learned the song, gestures, interpretation, harmony, composition, choral conducting, managing individuals.

Adolescence is the time of small bands with friends; essentially vocal quartets, male. With the college years, the meeting with the music of Fela Kuti and Bob Marley, and a more precise form of political consciousness that is born in him the desire for a pan-African music, which also incorporates the experience and the sound of African American Gospel. The meeting with other African students from continuing their studies in Yaounde will create the group Bayembi’s International. The voluntary exile in France for studies, reinforces the idea of a conscious and committed artistic expression. Experimentation going on, once again, as part of a vocal group that he created with Cameroonian and French singers in 1986, called Black & White Quartet which later became Black & White Gospel Singers, and early 21th century avant-garde Black & White Xperience.

During a trip to Brussels, Emmanuel meets a trio of experienced musicians, former members of Wallace Collection, who offered him a concept album about the death penalty; a project mixing blues, soul, rhythm and blues, to musical forms ranging from film music and pop-rock sounds. The “”Seven Minutes”” project gets under way between Montpellier and Brussels and ends in December 2008 with the release of a self-produced album. Meanwhile, some artists or projects use it for discographic collaborations, some world-class: Gospel Percent Voice Rinocerose, John Adams, …

Recently, Emmanuel began recording several albums, produced between France, England, Spain, and Belgium. But despite his passionate involvement in great projects like The Black & White Xperience By The Gospel River (a male quartet Gospel “”old school””) and Gospelize It! Mass Choir, Emmanuel aspire increasingly to find the drug of his childhood loneliness, but this time accompanied well.
A baritone burned by life, deep and engaging lyrics, a set of crude and subtle both guitar, a certain charisma: that could sum up the man on stage. The rest is self-discovery.