Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: Razia – Zebu Nation

Malagasy songwriter/chanteuse Razia Said is on a mission: to raise consciousness worldwide about global warming, specifically the devastation it’s brought to her native land. The zebu of the album title – a member of the horse family – is only one of thousands of species in Madagascar who are in danger of extinction. An extraordinarily successful blend of polemic and music, this is a lush, hypnotic, frequently beautiful album, grounded in reality but at the same time transcending it. Said sings in several dialects, as well as one song in English, with a compellingly world-weary, highly nuanced voice that’s been compared to Sade but gentler and airier. On several of the tracks here, the somewhat more energetic but less subtle singer Abena Koomson handles the vocals, along with the rest of a first-rate band: noted jazz drummer Obed Calvaire, bassist Michael Oletuja, Malagasy guitarist Dozzy Njava and accordionist Rabesiaka Jean Medicis. Said’s songwriting mixes traditional tsapiky and salegy music along with elements of American soul and Mediterranean balladry.

Said’s story is something of a triumph: growing up in the Comores Islands with her grandmother, she never knew who her real mother was until she was already in grade school. Her first exposure to music was the salegy songs of the Comores; while still a gradeschooler, she began singing French pop hits and then rock. She moved to Gabon and then France, earned a doctorate in pharmacology and eventually landed in New York where she flirted with several pop styles, unsatisfyingly. This is a return to her roots. The album kicks off with the clip-clop Babonao, a love song (available for free download from Cumbancha), followed by the absolutely gorgeous, wary minor-key ballad Omama, a tribute to motherhood. The band follows that with a lickety-split antiwar song and then the celebratory Salamalama Aby. The best song on the album is the understatedly magnificent epic NY Alantsika (Nature Laments), the first of the numbers sung by Said herself: with its stately 6/8 rhythm and lush atmospherics, it’s a call to action, a gently, compellingly persuasive one.

The hypnotic Slash and Burn takes on a south Indian feel with its circular rhythms and sitar, another gentle but insistent broadside, this one about deforestation: “I heard that the hills were burned away,” muses Said. Koomson and Njava join voices on the distantly melancholy Tsy Tara: “It’s not a malediction, but an urgent call; let’s react now so we won’t regret,” is the translation in the album’s meticulously detailed liner notes. The album winds up with a gentle acoustic guitar ballad, a requiem for an area that once was not a desert; the most Sade-esque number here, Tiaka Ro, a plea to the earth not to unleash disasters on us, and the slinky, West African-inflected wah-guitar anthem Mifohaza (Wake Up). The Clash used to make relevant, topical albums like this: Zebu Nation is considerably quieter but no less timely and important.

July 12, 2010 - Posted by | Music, music, concert, review, Reviews, world music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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