SAMY IZY - Tsara Madagasikara (Network)/FATAKA - Tomboarivo (Snail Records)

Samoela Andriamalalaharijaona – “Tarika Sammy” – is a multi-talented exponent of all things musically Malagasy, and a master of a bewildering array of the island’s stringed instruments. With his youthful nine-piece he has delivered an album of mostly acoustic, deliciously vibrant polyphonic roots music. He’s joined by young two lead singers whose voices dovetail to alluring melodic effect. Bosco has high, pure, emotive tones that contrast with the soulful Amizou, his throatily sensuous female counterpoint. Pacy accordeonist Médecis and Petit’s polyrhythmic percussion make up the rest of the core setup, and it’s buttressed by flute, bass, slide guitar, brass and an array of other interweaving instruments and singers as the mood dictates. Rounded off by a stirring gospel choir coda, Tsara Madagasikara is a terrific album that arrives in all its sunny splendour right in time for the summer.

www.networkmedien.de

Fataka relies less on the traditional instruments of Madagascar, although the chime of his acoustic guitar provides a decent approximation of the kabosy guitar, and his vocals root him firmly in his native traditions. This spare acoustic album (acoustic guitar, bass, occasional drums) has much to recommend it, each track being short, melodic, straight to the point and sufficiently varied in pace to hold the interest. It doesn’t quite get the foot tapping in the manner of the Samy Izy release, and nor is it blessed with any truly standout moments. But its economical expertise and bright and breezy manner make Tomboarivo a consistently enjoyable outing.

www.snailrecords.nl

KILEMA - Mena (Snail Records)

A sunny, upbeat tone is to be heard on the new album by Madagascan marovany player Kilema, who teases chiming, skittish notes from his twelve-string box-zither on fifteen busy, breezy tunes that fly by on a blend of strummed or picked acoustic guitars, kabosy (another Madagascan box guitar), and percussion. You probably won’t hear a catchier melody than that on Vali-Babe, which zips along on that familiar, chugging Madagascan 6/8 rhythm. Raha Loza also has a recognisably summery Indian Ocean vibe, with Kilema trilling over flamenco influenced guitar and a pit-a-pat rhythm. At times the delicacy of Kilema’s vocals need buttressing by stronger singers, although its soft, harmonious timbre matches the tender nature of the music, and there are pleasing diversions into samba and various Malagasy flavours to keep it all interesting. With melodica and calabash added to the mix and the occasional slower track bringing a welcome breather to what could have run the risk of being a one-paced album, you can start Mena at any point (or iPod shuffle it) and be sure of high-quality effervescent music every time.

Snail Records

Distributed by Coast to Coast

RAJERY, BALLAKE SISSOKO, DRISS EL MALOUMI - 3MA (Madagascar, Mali, Maroc) (Contre-Jour)

Let's get the dreaded 'f' word out of the way before we start – yes, this is a fusion of sounds from disparate parts of western, northern and south-eastern Africa, but the pieces on this sumptuously produced album have been carefully honed to produce a coalition rather than a clash of styles (it would have been quite something to witness the early improvisational sessions and concerts that led to these sympathetically structured arrangements).
Comparisons have been made in the past between the valiha – the tubular bamboo zither of Madagascar - and the kora, and the two instruments dovetail well here. Malian kora maestro Ballaké Sissoko largely restrains from embarking on rippling, improvisational runs, giving space to Rajery's bright, chiming phrasing on the valiha. The result is a flowing, delicately-spiced tunefulness, which by definition compromises the individuality of these two great musicians but in favour of an unforced, intuitive union between the two. Two instruments become one in the most satisfactory way, but left to their own devices they might well have lacked a weighty, deeper tone, which is where the striking oud work of Morocco's Driss El Maloumi comes in.
There's a strong virtuoso feel to his playing as he drives out a dry, fretted bass groove whilst picking out notes that flit around the melodic base provided by Rajery and Sissoko. The result is a pleasing variety of approaches - slow, reflective numbers are mixed with ringing mid-tempo tunes; subtle Arabic flavours, Manding rhythms and summery Indian Ocean melodies are given an airing; and each musician embarks on constrained, well-timed solos. They all get an occasional opportunity to stretch their vocal chords as well (Rajery's soulful falsetto is always a welcome sound), and each takes a solo piece too, which teasingly serve to underline the excellence of the individual elements deployed on this exquisitely put-together album. Three master musicians, one masterful collection of beautifully rendered harmonic interplay.

Contre Jour