In
the most intense moments of trance during Gnawa nights, a reciprocal
relationship is forged between the m'allim playing the guinbri and
the person dancing in trance. While it is the guinbri whose riffs
draw in the trancer and propel him or her deeper into the groove,
the dancer in turn makes demands and gives directions to the guinbri,
which responds in turn. This type of transcendent reciprocity, in
which one wonders who is the player and who is being played, is
a highlight of the best jazz performances as well.
Najib Sudani, Patrick Brennan, Nirankar Khalsa and company build
upon the commonalties of African-American and African-Maghribi music
not only at the level of melody and rhythm, but also at a deeper
level of interactive structure, each one giving and taking in turn.
Nirankar surrenders the role of primary timekeeper to the qarqaba
and lets his trap drumming follow the guinbri; Najib surrenders
lead vocals to Patrick's alto; the Gnawa chorus responds to Patrick
as the m'allim's voice; Patrick in turn surrenders that role to
become the trance dancer, submitting his alto to the propulsion
of Najib's guinbri; and Nirankar extemporizes his own song suite
among the Children of the Forest, at the bidding of the m'allim.
Sensitive listening on the part of each musician and a willingness
to follow each other without being bound by typical genre constraints
makes this recording one of the most satisfying and genuinely collaborative
Gnawa explorations to date.
-
Tim Fuson
Marrakesh
/ U.C. Berkeley
sudani was
recorded in May '99 in the villages of Sidi Kaouki & Tlata Henchene
near Essaouira, Morocco.
Marhaba
ya Marhaba / in the Tagine... / Timarmalia blues
...Greasin
/ t'bal'n'tumble/ aroundSidi Hammu
the
Wind and Najib / ...with M'abud Allah
-
PATRICK
BRENNAN - Alto Saxophone
-
NAJIB
SUDANI - Guinbri, Vocals, Tabal
-
NIRANKAR
KHALSA - Drums, Bamboo Flute, Vocals
-
BUJMAA
SUDANI - Vocals, Qaraqeb, Tabal
-
M'BAREK
SUDANI - Vocals, Qaraqeb
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