I’m behind with this review as this new, anticipated jazz entry album of classics has been out a couple of weeks. On the other hand, I am still covering reviews for Stevie, who is home enjoying time with her new baby, so there we go! I’m going to turn to the press release for the information on the artist, then I’m delivering my review, track by track, as always here!

Moving from the southern African republic of Malawi to London at the age of fourteen, the singer spent her teenage years in the Big Smoke, soon setting her sights on a career in music. After finishing school, she worked as a waitress while organizing a band to accompany her, singing ballads and jazz standards in bars and clubs around London. Her singing style flirted with styles from the 1960s and 1970s. As you may hear, her role models include Billie Holiday, Sarah Vaughan and Nina Simone.  She experienced a breakthrough during a visit to New York City: At a New York café, she heard a pop-jazz track sung in French by vocalist Liane Foly that had been produced by Berklee School of Music graduate Andre Manoukian. Malia was entranced by the enticing mix of pop and jazz sensibilities, and she contacted Manoukian to solicit his help. The pair admired each other’s musical ideas and potential, and they set to work on Malia’s album, “Yellow Daffodils,” released in 2002.

One Grass Skirt To London was out on January 10th, 2025.

One Grass Skirt to London is an 8,200-kilometer journey from Malawi to London, where the singer emigrated to as a teenager. Not only was it a geographical and temporal journey but also a musical one. Though most of all, it was a sentimental one, since the 14 songs carefully chosen for this album are so precious to her because of the memories they contain. Almost all are taken from film soundtracks; from “Everybody’s Talkin'” from Midnight Cowboy to “Take My Breath Away” from Top Gun, you find “Pure Imagination” from Charlie and the Chocolate Factory as well as “Here On My Own” from Fame. All of them possess a unique power to evoke an emotion through their music that has shaped her identity, helped overcome trials, and bloomed as an artist. Thus, it’s no surprise to hear, in the voice of Malia, sometimes even within the same song, the little girl, the teenager, the woman, and also, as if through a fascinating act of vocal transmigration, the soul of those who are no longer with us. Her first three albums were recorded with Andre Manoukian in his Paris studio and started her career and chart success. Several albums later, including a collaboration with Boris Blank (Yello) and an Echo Jazz Award for her Nina Simone tribute Black Orchid, Malia continues to be an established force in the jazz world while her new album One Grass Skirt To London manifests her status even further. 

My review, 14 songs, running to an hour.

“The Way We Were” opens with the piano transporting me into a dimly lit corner of the jazz club. I call the barman and enjoy a drink and the club begins to gently sway to the melody of the singer; tonight that’s Malia and I am ready for some stripped-down, low-key jazz.

“Pure Imagination,” you may remember in a different form, forming part of the Willy Wonka & the Chocolate Factory (1971) soundtrack. Malia slows things down almost too much here, but I enjoyed some of the random sounds she introduces as she feels her way through the lyrics.

“Suicide Is Painless” is a song a few artists have played with, famous from M*A*S*H and Johnny Mandel. Lyrically, for various reasons, it is not a song I have ever liked. Malia again slows the delivery right down and vocally she is close by as the production raises the vocals to an intimate level.

“I Have Nothing” dips us into The Bodyguard soundtrack. This one shows that Malia can hit the chorus with a punch and I liked the drum sound for this one, giving a little shuffle and providing the heartbeat.

“I Follow Rivers” provides the listener with a deeper sound and a modern jazz vibe. I was okay with it; it drifted over me.

“Take My Breath Away” is delivered to begin with A Capella by Malia, the piano and drums only joining in after the opening. This song is one I always loved, the Berlin track from ‘Top Gun’ forming a moment of my youth. In this one, I heard the wonderful vocals Malia has when she drives the track. In that jazz club where I sit, she has really grabbed my attention with this one.

“Everybody’s Talkin” continues the run of songs I enjoy. The album has come into its own in these last tracks; giving this song a jazz makeover means it breathes anew. Very enjoyable.

“Love Me Tender” remains quite true to Elvis, and when it plays, it makes me think of my much-missed father, who I raise a glass to and have a tear in my eye. Songs carry memories, don’t they?

“Maniac” was part of the Flashdance soundtrack and it is one of the faster numbers here. The piano and vocal joining point meet to create a powerful reworking with a slightly menacing undertone that I liked.

“Les Yeux Sans Visage” (Eyes Without A Face) is interesting. It is a slight change in direction and has a music beat that I was a little unsure of.

“When I’m Cleaning Windows” was one I did not expect to find here. It is not the George Formby track of the same name; rather, it is an amusing 1.38 minutes of pop jazz.

“Wand’rin’ Star” takes me toward country and those open plains. Malia enjoys this track and those rolls definitely keep rolling with her version. The latter part of this album is a lot more uplifting than the opening tracks.

“Out Here On My Own” comes from the soundtrack to Fame and it is a song about striking out on your own and proving who you are. It is a good version with all the emotion contained in that vocal delivery.

“Dambala” at 6.25 is easily the longest song on the album. It is an experimental track that moves through the emotions and forms a gritty end to the album.

In summary: I appreciated how Malia’s stripped-down, low-key jazz transported me into an intimate club setting, with standout moments where her vocals and arrangements truly captivated me—particularly on tracks like Take My Breath Away and Everybody’s Talkin.’ However, I had some reservations about certain slowed-down interpretations, such as Pure Imagination, which I felt was almost too slow, and Les Yeux Sans Visage, where the beat left me uncertain. The latter half of the album resonated with me more, bringing an uplifting energy that contrasted with the softer, more melancholic opening. I also connected emotionally with Love Me Tender, which evoked personal memories, and I appreciated the album’s ability to breathe new life into familiar songs. Overall, I found it an intriguing and at times deeply engaging jazz reinterpretation of classic tracks, with a few moments that didn’t fully land for me but many that did.

Standout tracks: “Take My Breath Away,” “Everybody’s Talkin,” and “Maniac.”

And we hope you liked the review, dear reader! If you did, please check out the other pages of the magazine; we have many great features, merchandise pages, shops, editorials and even a poetry page. Content is free here, but we work hard for you and to support the magazine. Please show your appreciation on the support button below and buy me a coffee! 

By Lorraine Foley

Malia – Vocals

Alexandre Saada – Piano

Jean Daniel Botta – Bass

Laurent Sériès – Drums

You can stream the album here

One Reply to “Malia’s new album, “One Grass Skirt To London,” reviewed.”

  1. Really liked this review. There is a lack of quality coverage of jazz today and I wish there was more in your magazine tbh. Malia is very good and this album I rated higher than your reviewer did, although I did like the review for its depth and detail.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.