Marabi Africa

In these times of recession with majors gobbling each other like eels eating their own tails, the five-year celebration of French label Marabi comes as timely relief. This independent label was created in 2002 by Christian Mousset, director of one of France’s most popular world music festivals, Musiques Métisses d’Angoulème. His record label prolongs the live exchanges and discoveries reserved for festival-goers at the end of the month of May. The programming is the result of Mousset’s tireless exploration of the African continent tirelessly for over 30 years. He is responsible for bringing us back gems like Cesaria Evora, Danyel Waro, Johnny Clegg and Regis Gizavo.

For five years now Marabi has focussed on emerging talents and major figures that, at times, have fallen by the wayside. This sumptuous label is here to remind of us of just how deep Mousset and his small team based in the centre of France have gone to dig up nuggets from Africa’s popular urban scene. The seventeen tracks feature the likes of Boubacar “Karkar” Traoré, Granmoun Lélé, Wendo Kolosoy, the Mahotella Queens and Ba Cissoko. All provide diversity and a passion for their roots and identity.

The warmth of the musical textures in each song reflects the superb recording facilities. It allows for the presence of traditional, rootsy colourings while using state-of-the-art technology to enhance the sound. “I have always refused formatted music,” Mousset claimed at the November WOMEX where he was presenting his latest prodigy Menwar, “There is still room for cultural diversity in this world, and Africa remains the most exciting place to find it.”

There are two yet-to-be-released songs giving tantalising glimpses of what Marabi 2007 reserves us. One is “Nebine” lovingly sung by the Mauritanian artist Malouma, from her March release “Nour”. The other is by the Malagasy singer Rajery, from the CD he brings out in April called “Sofera”. They reflect the growing maturity of two musicians who have struggled against prejudice and censorship (Malouma), and physical handicaps (Rajery), to become leading spokespeople for their nations’ musical heritage.

This is the kind of defiant spirit Mousset and his small label have been promoting for five years (not to mention the 10 years he previously had at the head of his defunct Indigo label). It is no wonder he chose to call it “marabi”, named after the South African jazz style that was born in the 1930s. Marabi was initially part of an underground musical movement that infused the popular dance scene with a distinctive South African flavour. It fought the established order for years before imposing itself thanks to its originality and pugnacious resilience.

Such qualities are found in Marabi’s musical tastes and the artists it defends so ardently. The result is sampled without moderation in this compilation that goes from Zulu beats to Congolese rumba, from the blues of the Sahara and the Indian Ocean to the flamboyancy of the Mandingo guitars.

January 2007

Daniel Brown