Zap Mama, 7 - 60m 14s - Music Database

Tracks & Durations

1. Belgo Zaïroise	5:22
2. Nostalgie Amoureuse	5:12
3. Africa Sunset	4:52
4. Poetry Man	5:33
5. Téléphone	3:47
6. New World	3:15
7. Baba Hooker	5:25
8. Illioï	5:34
9. Jogging À Tombouctou	5:01
10. Timidity	3:05
11. Eie Buma	3:20
12. Warmth	5:32
13. Damn Your Eyes	4:06

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Review

Zap Mama's third album moves a long way from the group's 1993 self-titled debut and 1994 Sabsylma follow-up, a cappella records in which five mostly European women tweaked Central African pygmy songs into sounds the rest of us could understand. This set--featuring a new lineup except for founder-leader Marie Daulne--insinuates into Mama's trademark choral yin the yang of male voices and drum & bass-anchored instrumentations (blues, jazz, reggae, Zairean soukous, rap, R&B, Zulu-based mbaqanga, jungle, P-funk, and minor-key wails from North Africa's nomadic Turaqs). Highlights include Fatima Wallett's trippy desert ululations in "Jogging a Tombouctou," as well as Daulne's own newly minted muzzein's call to the faithful (alternating with her French rap) in "Baba Hooker," a praise song both to the blues savant and to the African roots she and John Lee share. There are the requisite pygmy-influenced tracks, "Illioi," featuring 4-year-old Kesia Daulne's baby French dissolving into melodic gurglings, and "Eie Buma," based on those tropical forest sounds that Kesia's mom learned at her own mother's knee; the sounds were adapted as Zap Mama's starting point, and the group has taken them into deeper and deeper musical explorations. --Elena OumanoMarie Daulne is Zap Mama. She's gone on an exploratory odyssey on Seven. The rhythms are just as compelling and the vocals are just as inventive, but generally not quite as complex as those to which we are accustomed, for this recording features a variety of band arrangements to complement the vocals. For example, the driving rhythm and guitar work of the very first tune could be from King Sunny Ade, at least up until the last when the tune segues to a bit of the reggae "No Man No Cry." The next song starts with a bass and vocal section entirely reminiscent of the a cappella Zap Mama. Then the sultry saxophone comes in and you realize that there will be no predicting what's to come, except that it will be one fascinating album, which truly deserves the 'world' categorization. Though there are no a cappella tracks there is no mistaking the unique vocal arrangements of Zap Mama.

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