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Written in fRoots issue 197, 1999
VARIOUS ARTISTS
Big Red 
Nascente NSCD 053 (1999)
RAKOTO FRAH
Flute Master Of Madagascar 
Globestyle CDORBD 027 (1999)
On the big red-earthed island of Madagascar CD players are a rare rich person’s 
commodity, so the radio and cassette remain the main electronic media, but CDs 
released by foreign labels and touring abroad have made some Malagasy musicians 
and bands well known on the world music circuit. 
      International success for the more rooted 
aspects, rather than for the bland global-pop derivativeness toward which 
Malagasy radio and cassette music was drifting, has over the past few years 
aided a re-energising of the island’s commercial pop by some degree of 
reconnection with the unusually varied and characteristically lively, jubilant 
music most Malagasy have known and participated in all their lives, at home and 
at social events such as the famadihana re-burial ceremony or the remarkable, 
crowd-stirring performances by hira gasy troupes.
      Big Red, compiled for the mid-price 
Nascente label by Ian Anderson, is an attractive, timely introduction to the 
varied riches of Malagasy music already available on the world market, drawing 
on eighteen of the hundred or so extant CD releases. It’s not label-tied; the 
tracks are from a number of foreign labels (though, as usual with compilations, 
the occasional transnational wouldn’t release a desired track) and from 
Madagascar’s Mars label. 
      Here are many of the most creative performers, 
commercial bands to brilliant soloists and legendary players, international 
tourers or not, from around the island, with key instruments such as valiha, 
marovany, guitar, kabosy, accordion, harmonica, sodina, fiddle, snickety hand 
percussion and drums, and intricately syncopated dance rhythms such as salegy 
and tsapika. Throughout there’s the exuberantly melodious, tightly harmonising 
Malagasy singing.
      The distinctive playing styles are often personal 
rather than simply regional or tribal; the most talented musicians evolve new 
approaches, such as accordionist Regis Gizavo with his dazzling right-hand 
syncopation over big, rolling left-hand chordal grooves, or Solomiral’s Haja, 
who has installed extra transducers in his electric guitar to give it an unusual 
dry plucked sound which connects with the music of valiha and marovany (the 
Madagascan tube and box zithers, heard here in the hands, among others, of 
Justin Vali, Rakotozafy and Madame Masy).
      Of course, there are fine musicians and bands who 
haven’t recorded, even for cassette. Way back in 1985, when the outside world 
was fairly familiar with televised lemurs and chameleons but very little was 
heard of the Malagasy people or their music, Ben Mandelson and Roger Armstrong 
went in search, and recorded material for Globestyle’s Madagasikara 
series of LPs. 
      Volume 3, now released on CD with an extra track 
and new booklet notes, is devoted to Rakoto Frah, the most famous player of the 
breathy, end-blown flute, the sodina, with a dancing, syncopating style. He’s 
been a prolific maker of tunes and songs, leading both hira gasy and famadihana 
groups, with their different requirements and musical styles, and both aspects 
are featured on Flute Master Of Madagascar, in which he plays with a 
group comprising two other sodina players, thrumming kabosy, ambio (claves), 
military-style rope-tensioned snare and bass drums, and the voices of two of his 
young grand-daughters. For a taste, there’s a track on Big Red.
© 1999 Andrew Cronshaw
 
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