Zap Mama Albums (7)
What The Critics Say
Among longtime followers of Zap Mama, there has been considerable debate over the artistic merits of the group's evolution. Some die-hard fans of Zap Mama's early work miss the days when they were strictly an a cappella group and functioned as somewhat of a female equivalent of Ladysmith Black Mambazo. Others, however, like what Marie Daulne's outfit evolved into, which is a group that uses instruments most of the time and favors a sound that inspires comparisons to Erykah Badu but with more of a strong Afro-pop element, some lyrics in French, and the influence of European pop. But if ReCreation exemplifies a sleeker, more commercial direction for Zap Mama, it is a long way from generic -- and Daulne is still taking her share of chances. ReCreation is fairly diverse, ranging from the salsa-flavored "Hello to Mama" to "Paroles Paroles" (Words Words), a French-language version of Mina and Alberto Lupo's early-'70s Italian pop hit "Parole Parole." Zap Mama's version (which features French actor Vincent Cassell) is somewhere between chanson and chillout/downtempo, and it reminds listeners that Daulne can sing as convincingly in French as she sings in English. Meanwhile, "Singing Sisters" (which reunites Daulne with Sylvie Nawasadio and Sabine Kabongo, two members of Zap Mama's a cappella lineup of the early '90s) is the closest this 2009 release comes to the group's early sound. But that track is atypical of ReCreation on the whole, and enjoyable, Badu-ish offerings like "Togetherness," "Drifting" (which features G. Love), and "Non, Non, Non" clearly aren't going for the type of rawness that Zap Mama had in the beginning. Although slightly inconsistent, ReCreation is a generally respectable effort that has a lot more ups than downs -- at least if one accepts the fact that Zap Mama didn't quit making worthwhile albums in the 1990s. ~ Alex Henderson, All Music Guide
What The Critics Say
Zap Mama has always effortlessly created a unique bridge between African music and R&B, and they've done it again on their new album, although the very slick production cuts down on the rawer elements that were such a joy on their earlier work. Although an African heart beats under it all, much of the time it's well-hidden under layers of vocals and arrangements. It starts off hopefully enough with "1000 Ways," a gorgeous piece of work before going into "Hey Brotha." But the title cut is a bit of a disappointment, perhaps a bit too airy for the lyrical matter. And by the time you reach "Princess Kesia," with its almost choral vocals, you have to wonder if Zap Mama, which is really Marie Daulne these days, really know where they're going. "Toma Taboo," which drafts in Belgian singer Arno, might be based on an African song, but it appears to have drifted far from home in this incarnation. There are plenty of musical guests, but if anything that works against any cohesive quality on the disc; the tracks stand individually, rather than as a whole. Musically, it's fine, an easy listen, but it's impossible to shake the feeling that there's something lacking. ~ Chris Nickson, All Music Guide
'Ancestry in Progress'
Release Date 1/1/2004
Tracks 15
Label V2 Records
See Album Tracklist and Review
What The Critics Say
On its first full-length in four years, Marie Daulne's Zap Mama project returns to Luaka Bop from a brief encounter with Narada and resumes its quest to wind African melody and vocal harmony around hip- hop, jazzy breaks, soul and Afro Cuban rhythms first explored on 7 and continued with mixed success on A Ma Zone. Produced by Daulne and Anthony Tidd, the music production was supervised by the Roots' Richard Nichols. As such, this exotic blend is earthy, steamy, full of souled-out slips and shimmers in "Bandy Bandy" with special guest Erykah Baud, and the laid-back funk of "Show Me the Way," with guests Air Thompson Bahamadia and Lady Alma. This is far more an urban recording, where urban pop and nu-soul are informed by worldbeat esthetics rather than the other way around. Take "Miss Q'N" with its late-night groove and stacked harmonies (all performed by Daulne) coming from out of the ether and weaving a tapestry of soft seductive lullaby around the lyric. "Yak," with its male chorus intoning the pronunciation ("Yah Yoa") is an intro against the whispering hi hat loop, before a huge chorus of alto and contralto voices re-frame it and Daulne's solo voice. As the hypnotic effect becomes the M.O., M.C. Intense begins rapping from his urban reality perch and throws the whole thing into overdrive. And so it goes, drifting, cutting, edging, and willowing toward some otherworldly collage that is all held together in the sheer vocal magic of Daulne's vision. ~ Thom Jurek, All Music Guide
What The Critics Say
Zap Mama's last album was the first one to incorporate instrumental sounds into the group's six-voice a cappella mix; it was also the first to include male voices. On A Ma Zone, group leader Marie Daulne has expanded the exploration of American R&B and hip-hop that she began with Seven. Breakbeats, jazzy upright bass, and turntable manipulation are now a part of the mix -- a mix that was already rich with European and West African influences. "Gissie" draws most deeply on Daulne's Central African Pygmy roots, with its call-and-response structure and her unearthly yodeling; "Rafiki," which opens the album, is a collaboration with Black Thought (of the Roots) that segues beautifully into "W'Happy Mama," on which Daulne shows off her own speed-rap flow (in French, of course). "'Allo 'Allo" and "Call Waiting" both hint at her ongoing obsession with the telephone, an instrument that she seems to find mildly repellent but can't seem to ignore. Everything on this album is both complex and immediately accessible, simultaneously deeply funky and sweetly gentle. Very highly recommended. ~ Rick Anderson, All Music Guide
What The Critics Say
7 is Zap Mama's attempt to reach a wider, mainstream audience. Working with a full band, Zap Mama make a number of concessions to R&B and pop conventions, including covering Phoebe Snow ("Poetry Man") and recording with guest vocalists like U-Roy and Michael Franti (Spearhead, Disposable Heroes of Hiphoprisy). While the changes might be initially disconcerting, the record works surprisingly well, demonstrating Zap Mama's exceptional vocal skills and making the group's music more accessible. ~ Leo Stanley, All Music Guide
What The Critics Say
On their second release, Sabsylma, the all-female band Zap Mama offers more of their original sound -- a cappella vocals joined by exotic and worldly rhythms. Although they've been compared to Bobby McFerrin in the past, there is really no one out there today who sounds the way Zap Mama does. By bridging the tribal sounds of Africa with more conventional music, Zap Mama is ideal for music fans curious about giving world music a listen. The album kicks off with "Furahi," a group chant/singalong, which eventually leads into gentle music and perfectly blended vocalizations. The title track shows how the quintet can (amazingly) use their voices as rhythmic/percussive instruments, with almost all the beats being sung rather than played. But the best and most interesting track has to be "India." The group follows a male Indian singer at the beginning in a call-and-chant setup, but it's not long before the group takes over the song themselves, proving that they can masterfully handle just about any style of foreign music. Recommended to fans of great vocal work, regardless of genre. ~ Greg Prato, All Music Guide
'Adventures in Afropea, Vol. 1'
Release Date 1/1/1993
Tracks 15
Label Luaka Bop
See Album Tracklist and Review
What The Critics Say
Warner Brothers presents this exciting, innovative, dynamic group of five women from Brussels. They are new to the States, but already extremely well-received in Europe. Led by Marie Daulne, they weave their polyphonic, polyrhythmic harmonies displaying the strength and brilliance of unaccompanied voices. The songs, inspired by traditional African and European melodies, celebrate the richness and diversity of these cultures. The album incorporates Central African Pygmy chants and their unique yodels and clicks, the ululating sounds of a Syrian harem, anti-apartheid chants, as well as songs from Zaire, Tanzania, France and Spain... ~ MusD, All Music Guide
