Magical Moroccan Music Masters Make History This March 16 at Lincoln Center
One of the most important musical events in recent history, with global significance akin to Peter Tosh and Bob Marley sharing the same stage – or Robert Johnson jamming with Howlin’ Wolf – will take place on Thursday, March 16 at 7:30 PM at the David Rubenstein Atrium at Lincoln Center. It’s the first-ever performance by three of the world’s greatest masters of Moroccan music. Two of the great maalems (masters) of explosively hypnotic Moroccan gnawa trance music – Maalem Hamid El Kasri and Maalem Abdeslam Alikkane – will share the stage with Maalem Hassan Ben Jaafer, the only gnawa master this side of the Atlantic, who leads Brooklyn-based ensemble Innov Gnawa. This first performance on this year’s inaugural Gnaoua et des Musiques du Monde Festival Tour marks the debut of a new partnership between the Festival and Lincoln Center.
Taking a brief pause in between rehearsals and the innumerable demands of scheduling an event of this magnitude, Maalem Ben Jaafer, his Innov Gnawa protege and bandmate Samir LanGus, and David Rubenstein Atrium Programming Manager Meera Dugal got together Sunday night to share some intimate details about the event over snacks and a delicious vegan Moroccan stew in the comfortable, lowlit confines of Tagine on 38th Street.
It turns out that this show will be a very heartwarming reunion. Ben Jaafer and El Kasri knew each other as young stars of the lila party circuit, Ben Jaafer from Fez and El Kasri making his home base in Rabat. They haven’t seen each other or even talked on the phone in seventeen years
LanGus was immersed in the music in his native Morocco before moving to North Carolina and then New York to play under Ben Jaafer’s tutelage. Growing up in South Carolina, Dugal didn’t encounter gnawa until moving to New York, where she first met LanGus at a wild Lincoln Center concert by Hoba Hoba Spirit – the Moroccan Clash – in 2014.
“Samir and I dreamed up this partnership between the two institutions while at the gnawa festival in Essaouira last summer, and this collaboration marks the next step in our mission to share gnawa with a larger audience here in the US. At Lincoln Center, we’ve been listening to our enthusiastic Moroccan community, and they’ve been crucial to our focus on this music, as well as our decision to reach out to the Gnaoua Festival to work together.”
“If this is someone’s first exposure to gnawa music, it doesn’t get any better than this,” LanGus enthused. “For Moroccans in America, it’s a chance to see something here that wouldn’t even happen in Morocco. For people who know the music, it’s a chance to go really deeply into it and and watch three of the greatest musicians alive. And if you haven’t seen gnawa before, this is as good as it gets.”
”The Gnaoua Festival also plays a significant role in elevating the status of gnawa music and gnawa people in Morocco,” Dugal explained. Just like Argentine tango, Puerto Rican salsa and American blues, gnawa was marginalized for decades. Gnawa musicians were held in low esteem before a recent resurgence. These days, it’s essentially become the national music of Morocco.
Gnawa’s roots date back to pre-Islamic sub-Saharan Africa. First brought north by slaves and Moorish soldiers, the music slowly gained popularity through lilas, the marathon all-night gnawa celebrations which are part block party and part mystical trance ceremony. There are thousands of songs in the gnawa repertoire; Ben Jaafer and Innov Gnawa have a repertoire of about two hundred. In live performance, improvisation factors in about eighty to ninety percent of the music: the chorus of qraqab castanet players has to be able to follow a skilled maalem’s sudden rhythmic changes on a moment’s notice.
Ben Jaafer is revered as an innovator just like his mentor, Maalem Sidi Mouhamed Sam, widely considered the greatest gnawa pioneer of the 1960s and 70s. Ben Jaafer made a name for himself on the lila circuit as being one of the most innovative gnawa singers and virtuosos of the sintir, the Moroccan low-register lute. Eclecticism became his signature sound. He incorporates elements of Sufi hammadcha, in addition to the two primary branches of gnawa, marsaoui and chamali, into his phrasing. He quickly made a name for himself as one of the very few maalems adept at each of the various regional styles of gnawa, which differ widely from north to south and points in between.
Alternating between Arabic, French and English, he shared some colorful stories of life on the road as one of Morocco’s most sought-after musicians (he now lives in Brooklyn, leading Innov Gnawa in concerts across the city and as faraway as big festivals like Coachella). He recalled a time in Morocco going from a low-key afternoon lila in a fancy neighborhood, then taking a break for a snack before moving on to an all-night gig in an adjoining city. There were times when he’d get home early in the afternoon, thinking he’d finally get some sleep, only to be woken a couple of hours later by a client looking to book him. Then there was the time when he was called in the middle of the night to replace another maalem who’d unexpectedly quit a lila at three in the morning. “We were expected to go til eight or nine,” Ben Jaafer explained with a wry grin.
For those of you new to gnawa, there are other related upcoming events to help you out. On Monday, March 20 Langus and Dugal are convening a panel at The New School Jazz with journalist Tom Pryor, ethnomusicologist and political scientist Hisham Aidi, and jazz pianist and Juilliard Jazz Chair of Improvisation Marc Cary. The event is free and will feature Moroccan refreshments and a performance by Innov Gnawa, who will also be special guests on March 22, as NEA Jazz Master and piano icon Randy Weston wraps up his residency at Medgar Evers College with a discussion about his history with gnawa. Ben Jaafer and LanGus will join him onstage.
After the Lincoln Center event, the maalems make a stop on March 17 at 7 PM at the New School, where the performance will be more intimate and akin to a lila as practiced in Morocco. Then they’re at the Kennedy Center in Washington, DC on March 18 before returning to New York for a 7 PM gig at Pioneer Works in Red Hook on March 19, where they’ll jam with New York jazz artists including Cary, Marcus Strickland, Jamaaladeen Tacuma and Will Calhoun; advance tix are $30.