Maleem Mahmoud Ghania with Pharoah Sanders: The Trance of Seven Colors

This was my first album of Gnawa trance music, and what led me to pick it up in the first place was the mere fact that Pharoah Sanders was on it, and during the late 1990s I was on a Pharoah Sanders binge (much to my wife's chagrin). Once the first few seconds of the first track unfolded, I was hooked, and there was no looking back.

The mid-1990s marked something of a renaissance for Pharoah Sanders, who rediscovered the fierceness of his early years on Sonny Sharrock's last proper studio album Ask the Ages, and subsequently became a highly sought-after sideman on numerous projects (e.g., Franklin Kiermyer's album Solomon's Daughter in which Sanders is part of the quartet, a couple tracks on Jah Wobble's Heaven and Earth, an appearance on a remake of the Last Poets' classic "This is Madness" for the Stolen Moments: Red Hot + Cool compilation CD). Sanders would shortly thereafter record the album Message From Home. Whether it was drawing on the legacy of Trane's classic quartet era, or pushing the envelop with some fierce playing in hip-hop, alternative rock, or world music genres, Pharoah Sanders was proving a force to be reckoned with once more.

In some respects, this album recalls some of the more world music moments from such Pharoah Sanders albums as Thembi, and his playing is consistently fiery throughout. Not to worry: Sanders does not steal the show, laying out for a couple tracks and ever mindful that the music is the Gnawans' vision. He does get a moment all to himself though - see "Peace in Essaouira (For Sonny Sharrock)" - and his tone is rich and warm as he pays homage to a deceased friend. Bill Laswell produces, but unlike a lot of Laswell joints, this time around Laswell hangs back and simply documents the action. The album feels like some master Gnawa musicians and a jazzer (and friends & family) getting together to party. Somehow I feel physically better whenever I play this recording - that may be merely psychosomatic, but I'd like to believe that this is truly healing music.

Note, I believe this album does tend to circulate around blogtopia. Hopefully I won't be stepping on too many toes, and hopefully the perspective I offer is unique enough to make it worth your while.

Performers:
Maleem Mahmoud Ghania - Guimbri, Lead Vocal, Tbel
Pharoah Sanders - Tenor Saxophone
Maleem Boubker Ghania - Second Guimbri (track 6), Tbel
Maleem Mahmoud Ahkaraz - Tbel (track 8)
Maleem Abdellah Ghania - Krkaba, Vocal Chorus, Handclaps
Abdellah Ahkaraz - Krkaba, Vocal Chorus, Handclaps
El Moktar Ghania - Krkaba, Vocal Chorus, Handclaps
Mohamed Abdellaoui - Krkaba, Vocal Chorus, Handclaps
Mohamad Outanine - Krkaba, Vocal Chorus, Handclaps
Abdellatif Abdellaoui - Krkaba, Vocal Chorus, Handclaps
Hassan Machoure - Krkaba, Vocal Chorus, Handclaps
Mohamed Boujmia - Krkaba, Vocal Chorus, Handclaps
Abdellah Lamsuiger - Handclaps

On "Handouchi" only
Hamadcha of Essaouira:
Maleem Abdelkabir Addabachi - Lead Ghaita
Abdelmalak Ben Hamou - Ghaita
Abderrahman Nimini - Tbel
Abdelmoula Hnikkich - Harrz
Mustapha Bouson - Harraz

Female Vocal Chorus
Zaida Ghania - Leader
Mina Ahkaraz, Saida Battach, Fatna Ifis, Fatima Labied, Hafida Ghania, J'mia Ghania, Khadija Ghania, Malika Ghania

Tracks:
1. La Allah Dayim Moulenah (Ghania, Sanders) 11:10
2. Bala Moussaka (Traditional) 3:54
3. Hamdouchi (Traditional) 9:07
4. Peace in Essaouira [For Sonny Sharrock] (Sanders) 7:23
5. Boulandi Samawi (Traditional) 13:56
6. Moussa Berkiyo/Koubaliy Beriah La'foh (Traditional) 4:34
7. Salat Anbi (Traditional) 8:17
8. Casa Casa Atougra (Traditional) 5:05
9. Mahraba (Traditional) 7:48

All tracks are traditional and arranged by Maleem Mahmoud Ghania except:
Track 1: written by Maleem Mahmoud Ghania & Pharoah Sanders
Track 3: Traditional, arranged by Maleem Abdelkabir Addabachi
Track 4: written by Pharoah Sanders

Recorded in the House of the Caid Khoubane in the Medina of Essaouira, District Chbanat, Morocco on June 1, 1994 - June 3, 1994. Released on Axiom, catalogue # 524047.

Download The Trance of Seven Colors

The Splendid Master Gnawa Musicians of Morocco featuring Randy Weston

I first heard Gnawa trance music around a decade ago, and was immediately hooked. I remember telling a younger friend about the genre, but made the mistake of including the term "trance music" in the description. It became clear in a hurry that each of us held a radically different definition of "trance" - Gnawa trance music is performed exclusively on acoustic instruments. Whether or not my younger friend ever checked into the music of the Gnawa I do not know - I lost touch with him probably six or seven years ago.

This particular album was actually the second Gnawa trance CD that I picked up (the first was The Trance of Seven Colors), and part of the appeal was Randy Weston's involvement in the project. Weston mainly takes a back seat, save for some brief piano accompaniment on the final track, "Chalabati" and handling the production chores. In the wrong hands, this could have been an exercise in exotica for the sake of exotica. Not so here. Weston's interest in the music is quite genuine and deep-seated - going back a few decades (his first stint residing in Morocco was from 1968-1973), and a Gnawa influence can be found in much of his recorded jazz output since the 1970s. Since about the late 1990s (if not before), Weston has been performing in concert with master Gnawa musicians - occasionally dropping a live CD every now and then. A great deal of care went into the production and packaging of this particular album - including a fair amount of material in the liner notes regarding the context of the Gnawa tribe, their history, and some information about the selections included on the finished product. Needless to say, since a traditional Gnawa healing ceremony would last for hours, we're merely being treated to a portion of what would be experienced. If I ever get the opportunity to travel to Morocco, the music of the Gnawa is definitely on the list of experiences to savor. The music and the information on the CD are themselves to be savored as both a sensuous and educational experience.

Performers:
Hag'houge, clapping, vocals
The M'Alems (The Masters):
Ali El Mansoum
Molay Abdelaziz
Mohamed Zourhba
Boubker Gania
Mohamed El Ghorfi
Ahmed Boussou
Abdelouahid Berrady
Mahmoud Gania

Karkaba, backing vocals, clapping
M'Barek Ben Outman
Abdemebi Oubella

Hag'houge, clapping, vocals
Abdellah El Gourd

Piano
Randy Weston

Tracks:
1. La Voix Errrante: Sorie/Folinho Rejale/Ahayana Wayi/Bokarli Ana (18:58)
2. Sound Playing: Bermaryo/Fanyro/Merkadi/Yobady/Ya la la/Concoba/Tembara (43:26)
3.Chalabati (8:31)

Recorded September 17, 1992 in the ballroom of the La Mamounia Hotel, Marrakech, Morocco. Released on Verve-Antilles in 1994 (catalogue # 314 521 587-2).

Download The Splendid Master Gnawa Musicians of Morocco

Gnawa trance music: Maleem Mahmoud Ghania

I noticed that Orang Aural had posted the album The Trance of Seven Colors, credited to Maleem Mahmoud Ghania & Pharoah Sanders recently. What I've had the privilege to hear of the Gnawa has blown me away, so I was happy to see that someone else had uploaded this particular out-of-print session. Some details of the album:

"To call this outing 'authentic' would be an understatement, given that Bill Laswell and Pharoah Sanders took only some digital recording equipment and Sanders' saxophone to Morocco to record it. The CD sleeve photos show the informal nature of the proceedings, revealing that the recording took place in someone's home with a large cast of musicians, many of whom are Ghania's family members.

The recording did not suffer at all from the mobile equipment, and The Trance of Seven Colors lives up to its title, giving the listener first-hand access to Gnawa healing ceremonial music. Ghania's Guimbri (an African instrument) unravels masterful, off-kilter, bass-like lines over chanting and various percussion instruments. Pharoah Sanders sounds inspired in the setting also, making this a worthwhile recording for Sanders fans who heard intimations of world music in his '60s dates."

Wilson McCloy, All Music Guide

Personnel:
Maleem Mahmoud Ghania: guimbri, lead vocal, tbel
Pharoah Sanders: tenor saxophone
Maleem Boubker Ghania: second guimbri (6)
Maleem Mahmoud Ahkaraz: tbel (8)
Maleem Abdellah Ghania, Abdellah Ahkaraz, El Moktar Ghania, Mohhamed Abdellaoui, Mohamed Outanine, Abdellatif Abdellaoui, Hassan Machoure, Mohamed Boujmia: krkaba, vocal chorus, handclaps
Abdellah Lamsouger: handclaps
Maleem Addabachi Abdelkabir: lead ghaita (3)
Adelmalak Ben Hamou: ghaita (3)
Abderrahman Nimini: tbel (3)
Adelmoula Hnikkich & Mustapha Bousan: harraz (3)
FEMALE VOCAL CHORUS: Zaida Ghania (leader), Mina Ahkaraz,Saida Battach, Fatna Ifis, Fatima Labied, Hafida Ghania, J'mia Ghania, Kadija Ghania, Malika Ghania.

1. La Allah Dayim Moulenah (11:10) by P. Sanders / M. Ghania
2. Bela Moussaka (3:54)
3. Hamdouchi (9:07) arr. by Maleem Addabachi Abdelkabir
4. Peace In Essaouira (for Sonny Sharrock) (7:23) by P. Sanders
5. Boulandi Samawi (13:56)
6. Moussa Berkiyo/Koubaliy Beriah La'Foh (4:34)
7. Salat Anbi (8:17)
8. Casa Casa Atougra (5:05)
9. Mahraba (7:48)

All songs traditional and arranged by Maleem Mahmoud Ghania except where noted
Produced by Bill Laswell
Co-production and organization in Morocco: Eric Rosenzweig
Recorded by Robert Musso in the House of the Caid Khoubane in the Medina of Essaouira, District Chbanat, Morocco on June 1,2 & 3, 1994
Released by Axiom/Island in 1994

You can download The Trance of Seven Colors here, courtesy of Orang Aural.

Apparently Orang Aural is quite a fan of Gnawa healing music, and has also uploaded mp3s from three cassettes by the same artist (under the name Mahmoud Guinia). I'm listening to one of them now as I am blogging. Additionally, in August Orang Aural posted The Splendid Master Gnawa Musicians of Morocco (jointly credited to jazz pianist Randy Weston). I've had that album for a while - something I snagged on ebay once upon a time - and highly recommend tracking it down. Weston plays some Gnawa-inspired piano on one track, but otherwise this is strictly a Gnawa recording. The music definitely hits on some sort of emotional level that defies words - I became an instant fan of Mahmoud Ghania when I first heard a track off of The Trance of Seven Colors. As Orang puts it:

I can't describe Gnawa music here, and just to call it Moroccan Blues is way too simple - I'll give the interested listener a list of site and text links, where you can read and learn about the music and its context in Moroccan culture:

• Marcus Boon "Global Ear: Marrakech" [short info, originally from The Wire]
• Timothy D. Fuson "The Gnawa and their Lila: An Afro-Maghrebi Ritual Tradition" [essay about the ritual Lila, which Gnawa music accompanies originally]
• Deborah Kapchan "Possessing Gnawa Culture: Displaying Sound, Creating History in an Unofficial Museum" [essay in many chapters]
• Georges Lapassade "The Gnawa, an alternative therapy" [interview]
• Chouki El Hamel Duke University "Gnawa, Moroccan Blues: A Historical Background"

and two more "fancy" Gnaoua websites:

• Cyber Gnawas [links and some information]
• Hassouna website [links for free mp3s + more]

Mad props to Orang Aural for upping some of those cassettes - I hope this blogger will upload some more. Gnawa music is quite addictive. I also hear Gnawa musical influences in some of the coolest contexts (not only jazz) - e.g., the song "Who's to Blame" by Ozomatli is a Gnawa-tinged rap tune.