The world wants Zaz

MTV Iggy, February 21, 2012

“Je veux.” I want. In this song, which became a huge summer hit in France in 2010, Zaz shares a wishlist that’s anything but materialistic. All she wants is “some love, some joy, some good cheer/It’s not your money that will make me happy,” she sings in French, after turning down jewels, mansions and limousines. “What would I do with all that stuff?” she asks, sauntering in the video through a flea market. That image only underscores the cute-retro Parisian feel that can’t help but attach to the 31-year-old singer. It’s inevitable: Zaz covers Edith Piaf and Serge Gainsbourg along with singing originals, and she even used to busk in the Metro and Montmartre, plus she’s kind of bubbly, so the whole gamine thing comes pretty much built in.

But there’s plenty more to Zaz, born Isabelle Geffroy, than that cliché’d image. She’s a thoughtful and energetic woman from a Paris scene where traditional chanson is just one in a brew of influences that includes African, Gypsy, electronica and jazz elements, among others, swirling around in the clubs and taverns of the Latin Quarter or the Halles district. In her own pathway to an entirely unexpected stardom she picked up a lot of those strands, layered them atop a provincial upbringing and came out with this sassy but lucid artistic persona, a little wide-eyed maybe, but far from naïve.

Recently Zaz came through New York City for a few shows, including one at the Globalfest international music showcase, attended by an industry crowd of concert promoters, managers, media and the like. The next day, in her hotel’s lobby lounge, Zaz chatted in French with MTV Iggy’s Siddhartha Mitter about her sudden burst to fame, her troubled early years, and making classic-sounding French songs in 2012.

READ THE INTERVIEW AT MTVIGGY.COM

French ensemble makes old new again

Boston Globe, October 3, 2008

The notion of reviving an obscure linguistic tradition by means of six-part vocal polyphony might sound like an austere and dreary exercise. But one glance at the cover art of “Tant Deman,” the recent album by the Marseille-based vocal group Lo Cor de la Plana, should be enough to dissipate that impression.

It shows a red chair that looks comfortable enough until you realize that it has only two legs. Like a painting by Magritte or Dali, it contains an optical illusion and a playful acknowledgment of absurdity.

This is fitting because even though Lo Cor de la Plana, which appears tonight at the Somerville Theatre, has made it its mission to present both traditional chants and new compositions in Occitan – the medieval language of the southern half of France, relegated under the modern republic to rural isolation – the group does so in a way that is just as likely to alienate the purists of cultural survival as it is to satisfy them.

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Quirky, daring Mina Agossi turns jazz into adventure

Boston Globe, October 24, 2006

Purists, beware. You might not like Mina Agossi.

The 34-year-old French singer is that beautiful, dangerous thing, a jazz heretic. Based in Paris, and recording on the London label Candid, she has turned heads and befuddled ears in both cities with daring reinventions of supposedly locked-in-time standards and styles.

Agossi is a shouter and a purrer who works with just bass and drums, forgoing the piano. She’s a fan of America who sings in English and hangs out with unorthodox expatriates. She’s lived in France, in several African countries, and once, as a child, in rural Iowa.

Tomorrow, Agossi visits Scullers behind her latest album, “Well You Needn’t.” It’s a portfolio of standards and originals that includes a reworking of Jimi Hendrix’s “Voodoo Chile” – suitable for a woman with family roots in Benin, voodoo’s cradle, and who gladly haunts the margins of the classically minded European jazz world.

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Raging at injustice, he rocks the Casbah and beyond

Boston Globe, July 3, 2005

“Tekitoi?”

Couched in the truncated urban French of text messages, police stops, and ghetto posturing, the title of singer Rachid Taha’s barnstorming new album poses an urgent existential challenge: “Who the hell are you?”

In-your-face exhortation comes naturally to the Paris-based Taha, who brings his six-piece Arabic rock band to the Paradise on Thursday. In true punk-rock tradition, he has always believed in the power of provocation and is a veteran practitioner of riling up an audience for its own good.

This is, after all, the man who in 1986 loosed a vituperative Arabic remake of the patriotic “Douce France” (“Sweet France”) by crooner Charles Trenet on a French culture tone-deaf to the hardships of immigrant life and unready for multicultural irony. Think Jimi Hendrix deconstructing “The Star-Spangled Banner” or the Sex Pistols vandalizing “God Save the Queen.” The name of his group at the time, Carte de Sejour (“resident permit”) was itself a political statement. expanded his range of targets. He’s taking on racism, repression, and war, along with corrupt Arab governments and the knee-jerk propensity of some activists to blame Third World ills on the West alone.

[Read more...]

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