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RECORDS: ADVENTURES IN
AFROPEA SABSYLMA 7 A MA ZONE ANCESTRY IN PROGRESS
| Language: | Lingala Swahili English French |
| Genre: | A capella song Soukous Rap Soul Afropop |
| Instrument: | Female vocals |
Articles: Interview with Marie Daulne On Marie Daulne
On the Internet Listen Homepage w/music samples
This original quintet was formed by Marie Daulne in 1990. She was born in Congo to a Congolese mother and Belgian father. Her father was killed in a rebellion in 1968, when Marie was just a baby, and the mother fled and sought refuge with the Pygmy people in the rain forest. She later took her children with her to Belgium, where Marie grew up. When, as a 20 year old, Marie heard a recording of traditional Pygmy songs, she decided to do something with her musical heritage and returned to Congo to learn more about it. After singing in bars and jazz cafes in Brussels for many years, she decided to form Zap Mama. The original members from the 1990s have now moved on; Marie Daulne is the only one still with the group.
The multi-toned Pygmy song is Zap Mama’s musical anchor and features in most of the group’s work. Zap Mama’s is “cross-over” music from the beginning: Marie builds an a capella song from a multi-toned foundation – a concept of sound - and is the driving force in the group. Elements from African songs, soukous, reggae, rap, soul and pop are found in Zap Mama’s music and this really crosses all borders.
Zap Mama is a glittering live group that perform on stage with a playful and infectious sensuality. Theirs is a song, dance and performance influenced event. After their breakthrough with the debut album “Adventures in Afropea” in 1992 the group has been sought after by the whole world.
Relevant artists: Manu Dibango Angelique Kidjo Boy Ge Mendes Tama Sally Nyolo
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Last Modified:
22 nov 2009
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ADVENTURES IN AFROPEA 
Luaka Bop Records/Crammed Discs/1992
A terribly original debut album that immediately put Zap Mama on the world music map. (In this part of the world, Norway, the album is, for one reason or another, named just “Zap Mama”.) This is a pure acoustic disk, based on a capella songs and with the particular Pygmy song technique of the Congo that resembles yodeling. This is blended with anti-apartheid songs and folksongs from Congo, Tanzania, France and Spain. Bubbly and entertaining, every track is glittering, but that it just as well for a whole album of over 50 minutes’ duration. Still, it’s an exciting sound experience.
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The same concept as on the debut album; playful and light and with even more elements included. On Sabsylma you can also hear influences from India, Morocco and Australia. There’s something here that makes this a more varied album than "Afropea-", but perhaps less sparkling.
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After a pause in her touring life – due to the birth of her daughter Kesia, among other things - in 1994 Marie Daulne decided to bring new impulses into her next album. In 1996 she again went to Africa to live among the Tuareg people in Mali. Strangely enough this led to the most pop-influenced album to date. To the disappointment of her more folk-oriented fans, Marie took in more traditional rock instruments, like bass, drums and electric guitar. “7” is a disk totally unlike the previous ones, and contains many reggae and rap elements. This is largely Marie Daulne’s album; she also appears alone on the cover. No longer so very original, perhaps, but there are many delicious arrangements here. So alltogether; recommendable indeed.
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Development in the direction of rock on “7” obviously led to thoughts of revitalising the group. Here is Zap Mama, back with new members. And such revitalising! On “A Ma Zone” (notice the play on words) Marie Daulne unites everything she has employed with an enjoyable mix of a capella vocals and several instruments. The result is a disk that is almost impossible to pigeonhole – it’s just Zap Mama. The rap group, Roots, collaborate on one track and, on another, Afro-veteran Manu Dibango’s saxophone can be heard. The playfulness and humour are in situ; this is beautiful, atmospheric, amusing and it swings!
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ANCESTRY IN PROGRESS
Luaka Bop/2004
More of the same as on "A ma zone", is what best would characterize Zap mama's new album "Ancestry in progress". Most of this is beautiful, original and professional to the fingertips. It still goes about sweet vocal harmonies, built on a carpet of sound, from all corners of the world. Although the expression becomes more and more European urban for each Zap Mama record.
Also this time people from the Roots team up. The expression is more uniform, something in direction of lyrical hip hop, if you want, with a solid beat of drums and bass on all tracks. It is difficult not to fall in love with this record, it is totally loaded with of good sound. All the songs keep a high standard, with no weak spots. Among the best is the lyrical and gripping "Yelling away" with Talib Kweli and Common joining in, and with strings in the backing, which also goes for "Bandy bandy". There's little left of the Congolese link, guitarist Dizzy Mandjeku only plays on two tracks, "Show me the way" & "Allright". I will still claim that Zap Mama delivers solidly on this album, even if the expectations are pretty high. However I feel that "A ma zone" was an even better album. The fact that "Ancestry-" is more uniform also make the songs sound more similar. "A ma zone" offered more surprises, but this will probably be a matter of taste. This is great anyway.
KJØP PLATE Editor: Bjørn-Erik Hanssen
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