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

Nimbaya! beats the odds — and the drums

Boston Globe, February 10, 2012

The tremendous swirl of color and rhythm; the rich layering of djembe drums with the kora lute and marimba-like balafon; storytelling theater that starts as gentle conversation and escalates into a dance party that pulls the audience out of their seats: Nimbaya!, the dance and drumming troupe from Guinea, delivers all you expect from a top-notch African dance event.

Plus something more.

In an unusual departure from tradition, Nimbaya! consists of only women – not just the dancers, but also the musicians. The troupe’s very existence stands as a rebuke to the ancient custom that reserves drumming for men, and regards a woman on djembe as nearly taboo.

Founded in 1998, the troupe takes its name from the Nimba mask of Guinea’s Baga people – a symbol of fertility, beauty, and female power. The troupe’s own power is manifest in the school it runs in Conakry, Guinea’s capital, where around 50 young women at a time are training as professional dancers and musicians.

Sunny Jain and Red Baraat make bangers from bhangra

Boston Globe, January 29, 2012

NEW YORK – The drummer Sunny Jain tells the story of a time when he auditioned before Wynton Marsalis, the great trumpeter and consummate arbiter of all things jazz in general, and particularly New Orleans.

In lieu of a bass drum, Jain had substituted a dhol – the two-sided drum from India’s Punjab region that typically hangs from a strap slung over the drummer’s shoulder, and is played with bamboo sticks.

Using the dhol, Jain beat out a series of Punjabi rhythms, the kind that are played in the region’s energetic (and increasingly exported) folk music called bhangra. Hearing this, Jain says, Marsalis felt something quite familiar.

“And Wynton said, ‘Man, this sounds like New Orleans!’ And there is that cross-relation of those rhythms, that feel, that buoyancy, that swing that Punjabi music has, that the dhol has.’’

Gregorio Uribe brings intoxicating variety to “Pluma y Vino”

Boston Globe, January 20, 2012

NEW YORK – It happened one evening last March during an acoustic set at a Spanish tavern in Greenwich Village, one of those restaurant gigs that are the bread-and-butter for many striving Latin musicians in this town. It was one of those small moments of audience connection that make all the effort feel worthwhile.

Looking up from his guitar, Gregorio Uribe noticed a gentleman intently scribbling some kind of sketch at the bar. At the set break, the man approached Uribe and offered him the picture. He had taken a cloth napkin and produced a charming portrait of the musician, drawn in pen with carefully applied splotches of red wine.

The picture would become the cover art, and “Pluma y Vino’’ – pen and wine – the title, of Uribe’s debut album, which the Colombian singer and multi-instrumentalist was recording at the time.

Continue reading

Best of 2011: Siddhartha Mitter

Soundcheck, WNYC Radio, December 22, 2011

This week’s year-in-review special continues with Siddhartha Mitter, a music journalist who contributes to the Boston Globe, MTV Iggy, MTV Desi and other outlets.

Siddhartha Mitter’s list:

Three Great Songs:

  • Frank Ocean, “Novacane”
  • Musiq Soulchild, “Yes”
  • SBTRKT featuring Sampha, “Hold On”

World Music that Isn’t “World Music”:

  • Chamber Music (album) – Ballake Sissoko & Vincent Segal
  • Tirtha (album) – Vijay Iyer, Prasanna, Nitin Mitta
  • Zuciya Daya (song) – Bez
  • Karibu Ya Bintou (song) – Baloji

Music for Upheaval:

  • Rayes Le Bled (song) – El Général
  • Into the Fire (song) – The Bant Singh Project
  • Obama Nation Pt 2 (song) – Lowkey ft. Lupe Fiasco, M-1, Black the Ripper

Rest in Peace:

  • Pandit Bhimsen Joshi
  • Cesaria Evora
  • Gil Scott-Heron

World music top albums of 2011

Boston Globe, December 18, 2011

1. SUSANA BACA

“Afrodiaspora’’ Soulful pedagogy from the sublime-voiced Baca, who this year was named Peru’s culture minister, and here leads a grand tour of Africa-rooted music from Latin America and the Caribbean, including New Orleans, with her customary grace and serene mastery.

2. MAMANI KEITA

“Gagner l’argent français’’ A shimmering, just-right set from a Malian woman singer who deserves broader recognition. Also very much a producer’s album, as French arranger Nicolas Repac develops intricate layers of rock and electronic elements, but it’s Keita’s voice that does the transporting.

3. BEZ

“Super Sun’’ A superb alternative-soul singer who happens to come from Nigeria – and a male counterpart to that country’s new songstresses such as Asa, Nneka and Ayo. Watch for Bez to emerge in the United States in 2012, starting with a visit to SXSW in March.

4. BALLAKÉ SISSOKO + VINCENT SEGAL

“Chamber Music’’ Recorded deep in the night in Bamako, this exceptional Franco-Malian meeting of cello and kora, mostly duets with a few occasional guests, is austere yet never forbidding; rather, quietly joyous and entirely unexpected.

Continue reading

Amália Hoje brings new life to fado’s strongest voice

Boston Globe, December 2, 2011

From the start, it doesn’t feel like fado. Nor does the players’ entrance fit the norm for Lisbon’s hallowed style of melancholy song. It is not the genteel Portuguese guitar but a sharp synthesizer beat that ushers the artists on stage. There are not one but three singers – a woman and two men, sporting tattoos in lieu of the customary black shawl. Behind them, a full rock band, and behind that, a string orchestra.

But the song that launches this show, held in 2009 at the Coliseu in Lisbon and captured on a live DVD, is one the crowd recognizes. It is “Com Que Voz,” the title piece from a great 1969 album by fado’s empress, Amalia Rodrigues. And this band, Amalia Hoje (meaning “Amalia Today”) is a special project commissioned to honor Rodrigues, who died in 1999.

Now, behind the runaway success in Portugal of their studio album, live recording, and concerts, the Hoje team (minus strings, but plus a video art component) are bringing their pop approach to the Rodrigues songbook for two concerts in the United States. They visit the Berklee Performance Center on Sunday.

Continue reading

She puts the world into her music

Boston Globe, November 19, 2011

NEW YORK – In the course of five albums, the singer Kiran Ahluwalia has blended the Indian classical and folk forms that are her specialty into collaborations with Portuguese fado musicians, the Celtic fiddle of Natalie MacMaster, the Inuit throat singing of Tanya Tagaq, and more. For Ahluwalia, such partnerships across genre and culture aren’t an experiment, or a social commentary on our times, or a producer’s cute idea, or a pitch to gain new listeners.

They are a personal necessity.

“The needing of collaboration comes because we ourselves are collaborations of culture,” says Ahluwalia. “We’re not pure. I collaborate in the kitchen: I make Japanese soy bean curry, Indian style. I think in English, or in Hindi – or French. Our lives are collaboration, because we don’t belong to one culture.”

Continue reading

Just A Kenyan Band of Superheroes

MTV Iggy, November 15, 2011

It took a superhero to bring Just A Band back from the future.

His name: Makmende. His look: Blaxploitation chic—sharp tan jacket, flared trousers, broad-rimmed shades, Afro pick. His modus operandi: Appears in the streets of Nairobi to beat down miscreants, send robbers fleeing, fight off masked kidnappers, rescue a lady in distress and leave her swooning as he coolly walks away.

These heroics—complete with fabulous comedic touches, like when Makmende swipes his opponent’s necktie and refashions it into a bandanna—unfold to the beat of “Ha He,” a catchy electro-pop delight off 82, the second album by Just A Band. The Nairobi trio are filmmakers, animators and comic-book buffs as well as musicians, and when they gathered some friends to perform in a video for the song, they looked for a fun storyline and came up with Makmende. The name was inspired by an old street-slang term, of obscure origin, to describe foolhardy or adventurous behavior.

What they didn’t expect was that Makmende the superhero would become a cult figure days after the video’s March 2010 YouTube posting. And in so doing, turn Just A Band from an ironically-named, arty purveyor of avant-garde sounds to Nairobi hipsters into something like a national pop sensation.

Continue reading

Palestinian hip-hop inspires a different kind of political party

Boston Globe, November 13, 2011

So a woman and a man enter an elevator. She is Israeli, he is Palestinian; she is going up, he is going down. But as it turns out, no one is going anywhere. The elevator is stuck. While they wait for something to happen, they talk.

That’s the premise of a new song in English that the pioneering Palestinian hip-hop trio DAM, who usually rap in Arabic and occasionally in Hebrew, are trying out on their current US visit. The tour brings them, together with British-Palestinian MC Shadia Mansour and American guests including M-1 of the activist duo Dead Prez, to the Middle East in Cambridge tonight.

“It’s a funny song, a sarcastic song about the struggle in Palestine,” says Tamer Nafar, who makes up DAM with his brother Suhell and Mahmoud Jreri. “It’s me and this beautiful woman, and we get to talk. It’s a love story; the delivery is not political at all.”

Continue reading

Follow

Get every new post delivered to your Inbox.