Jazz music in Madagascar was shaped by a small, passionate circle of amateur musicians who became pros. These early artists drew inspiration from the Bebop jazz movement rampant in the 1940s, adopting its fast tempo and heavy emphasis on improvisation. Over time, they built a community that passed down their knowledge from one generation to the next, keeping jazz alive in a uniquely Malagasy kind of way.

Jeanot Rabeson, one of the early Malagasy jazz greats, passed on his musical legacy to his son Tony Rabeson, who also went on to have an outstanding career. Similarly, Georges Rahoerson handed the torch to his son Serge Rahoerson, who would become a key figure in the evolution of jazz on the island.

Malagasy jazz fuses classic jazz rhythms with the 6/8 rhythm pattern of the accordion-based music, Salegy, a traditional genre from Madagascar. This unique blend gave the local jazz scene a distinct identity, rooted in both global and indigenous musical languages.

Jazz started to take shape in Madagascar around the 1950s, driven by a wave of passionate musicians like the Rabeson brothers, Georges Rahoerson, Famille, Arnaud Razafy, and Ramboatina Étienne. These pioneers built the foundation for a respected and evolving jazz culture.

A milestone came in 1960, ten years after the first jazz concert at the landmark Fumarolli Hotel. The Rabeson brothers, Arnaud Razafy, and the French Institute of Antananarivo established the Jazz Club de Tananarive, a center for teaching jazz, holding jam sessions, and organizing masterclasses for the next generation of jazz musicians.

That same year, Jeanot Rabeson was invited to perform for King Mohammed V of Morocco—a significant moment that showed the regional genre’s growing recognition. A year later, in 1961, the Rabeson brothers and a 14-year-old Serge Rahoerson represented Madagascar at the second edition of Europe’s first jazz festival as part of the Group of Young Independent Artists of Madagascar.

One cannot tell the story of Malagasy jazz without mentioning Jef Gilson’s visit to Madagascar in 1968. Thrilled by the massive local talent, Gilson returned the following year and invited a group of musicians—Arnaud Razafy, Georges, Alain and Serge Rahoerson, Alain Razafinohatra, Joël Rakotomamonjy, and Roland de Comarmond—to collaborate on a ground-breaking jazz album.

The result was Malagasy (on Lumen) and Jef Gilson & Malagasy (on Palm Records), originally released in 1972. This album, recorded on Jef Gilson's travels on three occasions, featured the first Malagasy jazz compositions recorded on vinyl, with Serge Rahoerson’s piece Avaradoha—named after his neighborhood—gaining significant radio play. It was also the first jazz recording to incorporate the salegy rhythm, making it the first ethno-jazz from Madagascar.

Sadly, the political events of May 1972 forced many jazz musicians to look for opportunities abroad. Serge Rahoerson moved to Réunion, then Martinique, and eventually settled in France. Jeanot Rabeson also relocated to France, while Arnaud Razafy moved to the United States.

Despite the challenges, these artists built successful international careers and continued to represent Malagasy jazz on the world stage.

By the late 1980s, a revival began. Three jazz enthusiasts—Dr. Allain Razakatiana, Dr. Bruno Razafindrakoto, and Dr. Henri Rakotondrabe founded the Jazz Club of the Alliance Françoise de Tananarive (JC AFT). They played a crucial role in revitalizing the genre by inviting international jazz artists, organizing workshops, and mentoring young musicians.

This new wave of activity on the jazz culture helped a new generation of jazz musicians emerge. These artists began exploring ways to blend jazz with untapped elements of traditional Malagasy music, creating exciting and innovative styles of improvised music.

Recently, have helped revive the genre and bring it new audiences. Also, the return of professional musicians who had spent years abroad has strengthened the local scene, bringing fresh and masterful innovations and renewed energy.

Today, events like the Madajazzcar Festival and the growing number of jazz clubs, particularly in Antananarivo, highlight Malagasy jazz as a testament to cultural resilience and artistic innovation. What began as a small circle of passionate musicians in the 1950s has developed into a distinctive musical tradition that continues to captivate audiences both locally and internationally.

As new generations of Malagasy musicians, along with professionals who have spent years abroad, return to the local scene, there is an increasing embrace of and reinterpretation of this legacy. They carry forward a unique musical identity—one that honors their jazz predecessors while incorporating deeper elements of Madagascar's rich musical heritage.

Through political upheavals, geographic displacement, and changing musical landscapes, the irrepressible spirit of Malagasy jazz persists. It offers the world a powerful reminder that when diverse musical traditions converge in the hands of dedicated artists, something truly extraordinary can emerge. The journey of Malagasy jazz is far from over; it continues to evolve, inspire, and bridge worlds through its captivating rhythms and melodies, speaking both to its roots and to its boundless future.

Jazz music in Madagascar was shaped by a small, passionate circle of amateur musicians who became pros.

Malagasy Jazz

Jazz music in Madagascar was shaped by a small, passionate circle of amateur musicians who became pros.

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