V.A. - Khardala/Beldia: Chefchaouens Holy Smokes '2019

Tracks list

Khardala/Beldia: Chefchaouens Holy Smokes, is the title of Tresno Records fourth
instalment. 
While working on the last chapter of the Sriti series (a three-hearted sound
documentary about some of Javas most representative musics) and investigating on
Sufism and its pivotal role in the preservation of ancient forms of art in
certain areas of the world, Ldgu has flown to Morocco, managing to collect
precious recordings in the old city of Chefchaouen. 
The ethnomusicological approach used here is that which marks Tresnos creed:
getting involved with unforewarned local musicians in order to witness
performances that must be as spontaneous as possible. 
This output is all about Gnawa: Moroccans true, centennial sound. 
Originated centuries ago among those slaves who, from the Sub-Saharian belt were
taken north, towards Maghreb, Gnawa is still considered nowadays to be one of
the purest, oldest and untouched forms of African music. 
Rooted in animism and usually displayed in private ceremonies called lila, its
features mirror those of many trance musics: circular, reiterated melodies and
rhythm patterns slowly become more intricate, so that the listener loses track
of time. 
The opener is usually a prayer/calling, dedicated to the close ones or to
spiritual leaders (you can hear the name of Mahmoud Guinia at the beginning of
Youbadi); a central part then follows and this is when the function of the
ritual is unfolded. 
Abrupt, sudden tempo changes, will finally indicate that the closing is about to
approach. 
Prayers, healing poetry, myths that tell how hard is to live and find
nourishment in the desert, coded formulas… This is what Gnawa has been
passing down so far, hinged on an extremely strong oral tradition. 
Back home, in Italy, I ask my Moroccan neighbour to help me with the translation
of the lyrics, so I give him a pen-drive and when he returns it to me, after a
while, he says: 
Ive asked my grandpa cause I wasnt able to understand their tongue, its ancient
and it has always sounded a bit weird to me. 
Massive is indeed the presence of the Tamazight and Bambara languages, other
aspects that make us clearly understand how much this music owns to countries
like Mali and Niger, where an uncountable number of people were made slaves. 
Only thing he could tell me was this: while these words express old stories and
tell about the past, they have the power to foresee the events. 
And so, instantly, everything was clear: I saw this infinite army of elegant,
smiling and whirling shamans playing and singing like bluesmen, slapping those
thick strings Larry Graham-style, their proud gazes pregnant with knowledge cast
into space. 
Towards a distant, but already sensed future. 
Saha koyo

Tracklist:
01. V.A. - Alwali Ya Moulay Ahmed (Live) (10:51)
02. V.A. - Youbadi (Live) (9:37)
03. V.A. - Toura Toura/La Illaha Illa Allah/Boulila (Live) (7:06)

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