Album Booklet

Lala Njava
Malagasy Blues Song
If Lala Njava’s music was a colour, it would
be indigo – a dark, pensive hue that rings
with a deep, almost bluesy, edge. Listening
to Malagasy Blues Song, we hear bending
guitar lines, Lala’s silvery wandering voice
and rippling percussion winding together
in harmony. Like the flora and fauna of
her Malagasy homeland, Lala’s music is
distinctive and wholly unique.
Unlike many musicians, Lala didn’t learn her
style from chewed-up cassettes, vintage
vinyl or from shiny silver CDs. She was
inspired to sing by a woman called Mama
Sana, the resident shaman in the village
where she grew up. Lala describes visiting
Mama Sana’s house and hearing her sing
her emotional music ‘Malagasy style’, as
if she were yelling or crying out in anguish.
Reflecting this influence, for Lala singing isn’t
purely a learned skill, but a natural form of
expression – a realization of pain expressed
out loud, or something as uninhibited as a
scream or gasp. This organic approach can
be heard in the groove and gutsy groan of her
textured vocal performances on tracks such
as ‘Blues Song’ and ‘Kabary Seza’.
Alongside these early musical experiences
with Mama Sana, the young Lala travelled
across Madagascar performing with her
family band, Njava. In conversation, Lala
explains the organic and free-flowing way in
which their familial music-making occurred.
Upon moving to Europe during the 1990s,
the band became professionally established
and smoothly scaled the ladder of success,
recording two albums for EMI, embarking
on a world tour and laying down some
vocals for renowned ‘ethnic-electronica’
group Deep Forest. ‘Sweet Lullaby’ is a rerecording of a track that Lala performed live
with Deep Forest many times during this era
of her career. Lala’s version is very different
from the 1990s recorded pop original, and
is deliciously reworked with her languorous
bluesy swing. Stripped back to an acoustic
setting, the lilting melody sparkles in its
simplicity.
The looping riff that opens the album sounds
bare, almost desolate, but soon Lala’s warm,
enveloping voice swoops in to add a bright
positive edge.
Lala’s lyrics express the deep sense of
responsibility she feels towards her Malagasy
homeland. Many of the songs heard here
declare her intent to, and experiences upon,
returning to Madagascar in the hope of
solving some of the social issues that pervade
village life there. ‘Dinako’ means ‘promise’ in
English, and is a soulful track that explores
Lala’s desire to give something back to the
community from which she came.
The guitar that undulates underneath Lala’s
striking vocal throughout the album is played
in a style reminiscent of the various stringed
percussion instruments that dominate
traditional Malagasy music. The rippling
guitar strings roll out like a lush valiha, a tube
zither considered the national instrument
of Madagascar. The melodious mix is then
punctuated with thick bass hits and shapeshifting drums.
‘Pardon à l’Afrika’ is a tight funky number
complete with bass stabs, close harmony
backing vocals and perfectly timed guitar
interjections. Lala’s voice here is straightahead and unornamented, conveying the
direct message of her lyrics. The song is a
staunch protest song, calling for political
leaders to act upon some of the endemic
political and social problems that are, in
Lala’s eyes, shaking the very foundations of
the African continent.
The opening track on the album, ‘Soa
Gnanay’ is a rich nostalgic tune, recalling the
beauty of Lala’s homeland and inviting people
to visit it regardless of the bad portrayal it is
sometimes given in the international media.
Alongside curating her musical career,
Lala and her sisters have set up their own
non-governmental
organization
(NGO),
Dames d’Amour, which aims to improve the
living conditions of women and children in
Madagascar. Their projects include funding
the rebuilding and renovation of villages,
working on providing free-trade projects
with the United Nations and using theatre
to explain the importance of contraception
in avoiding illnesses or unwanted marriages.
Many of Lala’s songs on Malagasy Blues Song
connect to her passion for women’s rights.
‘Hasosora’ highlights the problem of illegal
polygamy in Madagascar and is a lament for
Lala’s sister, Pascale, who was married to a
man with several wives. As the song unfolds,
Lala informs us of Pascale’s descent into
depression and ensuing tragic death from
heartbreak and anguish over the situation.
‘Mosera’ is a loaded protest song against
the rising tide of child sex tourism facing
Madagascar. Stepping out bravely in the
face of the establishment, Lala hopes those
responsible for facilitating such horrendous
crimes will hear the song, even though it may
endanger her safety.
Malagasy Blues Song is an album of deep
and sonorous songs penned with purposeful
lyrics. Melt into Lala’s expressive sound-world
as she threads together the rich tapestry of
the sounds, experiences and desires that
have stitched her colourful life so far.
For further information, please visit
www.worldmusic.net/lalanjava
MUSICIANS:
Lala Njava: vocals
Dozzy Njava: guitars, backing vocal
Pata Njava: drums and percussion
Maximin Njava: bass, backing vocal
participation of Zaza Misa, Orkestre local
de Mangily Tulear Madagascar
Mastered by Ben Turner, Finesplice,
London
Additional musicians:
Sleeve notes by Rachel Jackson and
Raquel Campos Valverde
Régis Gizavo: accordion on ‘Dinako’,
‘Hasosora’ and ‘Baovola’
Soumaya Bakkaikou: backing vocal
Quentin Dujardin: guitar and banjo on
‘Soa Gnanay’, guitar on ‘Hasosora’
Lala Njava would like to thank: my
family and friends, who supported me in
realizing this project, the Dames d’Amour
NGO in Belgium and Madagascar and the
Fédération Wallonie-Bruxelles.
Tracks 1, 4, 5, 7, 8, 9, 10 published by
Riverboat UK Music (MCPS)
Track 2 published by Blue Line
Track 3 published by Uncle Dan’s
Track 6 published by Randriamapionina
Theogène
Thanks to Phil Stanton, Sandra AlayónStanton and all at World Music Network
Executive Producer: MYSP Production
Co-produced by Lala Njava
Recorded and mixed at MSYP Studio by
Maximin Njava
Photographs courtesy of Pierrot Men,
www.pierrotmen.com
Design by Brad Haynes
Coordinated by Brad Haynes
Listen to sound samples of all World
Music Network and Riverboat Records
releases at www.worldmusic.net
Tracks 2, 5 and 10 recorded by MSYP
Mobile Studio, Madagascar with the
Tracks 01, 04, 05, 07, 08 and 10 (Randriamanjava Maximin/Randriamapionina Theogène/Randriamanjava Patrick Nestor/
Raharimalala Gabrielle) / Track 02 (Randriamanjava Maximin/Randriamanjava Patrick Nestor/Raharimalala Gabrielle) /
Track 03 (Eric Mouquet/Michel Sanchez) / Track 06 (Randriamapionina Theogène) / Track 09 (Randriamapionina
Theogène/Raharimalala Gabrielle, arr Randriamanjava Maximin/Randriamapionina Theogène/Randriamanjava Patrick
Nestor/Raharimalala Gabrielle)
Like the flora and fauna of her Madagascar
homeland, Lala Njava’s music is distinctive
and unique. Listen out for her silvery
wandering voice, lush rolling guitars and
rippling percussion on this, her striking debut
album – her Malagasy Blues Song.
Featuring
Régis Gizavo
Lala Njava, originaire de Madagascar, signe
avec Malagasy Blues Song un premier album
étonnant. Comme la flore et la faune de
ce pays, la musique de Lala est unique et
reconnaissable entre toutes. Ecoutez sa voix
d’argent, qui vogue au-dessus de guitares
luxuriantes et de percussions ondulantes.
01 Soa Gnanay 04:23
02 Dinako 04:17
03 Sweet Lullaby 04:01
04 Pardon à l’Afrika 03:45
05 Voatse 04:36
06 Kabary Seza 05:32
07 Hasosora 04:34
08 Baovola 05:41
09 Blues Song 05:41
10 Mosera 02:50
Total Playing Time: 45:52
TUGCD1069 Made in EU
Riverboat Records/World Music Network
® & © World Music Network 2013
T. 020 7498 5252 F. 020 7498 5353
E. [email protected] W. www.worldmusic.net
LC 11068
For Promotional
Use Only