 |
|
|
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
sudani
deep
dish dd-104 |