Tag Archives: tuareg

Mdou Moctar & the Band Go America

This Spring 2018, Mdou Moctar is back on Tour across the USA. You can check out full dates here. It’s a long tour with around 30 shows. We’ll be back in the studio working on a new album. And if all goes well, they’ll be a new film at the end.

On our last tour, Mdou and I talked about shooting a film, a sequel of sorts to our Purple Rain Redux Akounak Tedalat Taha Tazoughai. But the 2017 tour proved simply too much (I was tour managing, driving, and shooting). We managed a fair amount of footage, which was edited together for the tour trailer above.

We’ve got a much better plan this time around. The film is not far from reality. Mdou calls it “both a fiction and a documentary,” of a band traveling abroad for the first time, recounting the experience to the village. The framing device recalls “Petit á Petit,” and although we did screen this film in Agadez in 2013, any similarity speaks to the overall absence of films in this genre. The stranger abroad narrative is dominated by “Westerner in X,” wherein X is any “exotic” local: the tourist video, documentary, and arguably the foundation of anthropology. (I would be remiss here to mention the amazing “Darkest Austria”, an Austrian mockumentary playing with this trope.)

The lack of narrative inversion (or really the need to invoke “inversion”) is arguably due to transnational movement, media creation and popular distribution networks. “Tuareg Facebook” is innuadated with DIY media that provides commentary on Western social phenomena. But this analysis is relegated to imagined realities, commentary on perceptions without movement. Travel with the intention of discovery and creation is privilege. Touring musicians are in a perculiar position: artists and storytellers, they are presented with opportunities to travel as cultural ambassadors, literally presented on stage to be seen.

While this project began through field recordings and attempts to minimize my role as documentarian, I’ve recognized this as a futile pursuit (and ethically troubling, reducing documentarian to voyeur, microphones as hidden recording devices, cinema as security camera). This is a deep well and explored (in the West at least) in the annals of visual anthropology. But as the project remains focused on music, it is becoming increasingly impossible to conceptualize Tuareg guitar without addressing the Western infastructure of record labels, managers, and touring.

When I first traveled to Niger in 2012, Mdou served as a cultural translator, helping me navigate the terrain. In 2014 I returned the favor when we embarked on our first European tour. It is this exchange that we want to address through this process. We’ll be shooting on iPhones with gimbals, an exercise in technological democratization. We are writing the script via a back and forth of vocal messages over WhatsApp. We’re also looking at ways of crowd sourcing footage from concerts, inviting participants to tag videos on Instagram (#mdoufilm), invoking a contrast between ways of seeing and being seen.

As all of this collaborative work, the film is an experiment, but we invite you all to participate. Hope to see you out there!

Takamba WhatsApp on March 28th, 2018

Takamba WhatsApp

Takamba music is played on traditional guitar (tamashek: teheredent), with a remarkable distinctive rhythm tapped out on a calabash. It’s always accompanied by a beautiful ghostly dance. I’ve written about the music previously and released a few records. The origin of the music remains somewhat shrouded in mystery. Suffice to say that it’s a hugely popular music that ruled the festivals and weddings in the North of Mali and Niger, before it was bumped out of fashion by the electric guitar teshumara that now dominates the scene.

I first met Agali while searching for griots in Timbouctou, and he warmly invited me back to his home later that evening. I proposed to make him a recording, which he could sell on CD (later formed the basis of our 2012 release “Takamba”). The recording was punctuated with shout outs throughout – “Christoph! New York! Mali!”. Although I’ve not returned to Timbouctou in years, I once ran into the recording again. A tense moment, in rural Niger, fleeing from potential Salafists, it came on the car’s radio – a surreally comforting Agali kept sending me his thoughts as we barrelled through the countryside.

It’s almost impossible to get a takamba recording minus the shout-outs. Takamba musicians usually do not play to release music in commercial form, and recordings are organized by someone. These sessions were recorded to cassette in the past. Takamba musicians played directly into a boombox and onto tape. The tapes circulated, resold and dubbed at markets across the Sahel. The format on the recordings is always the same. After a sort introduction (something shared with “teshumara” tuareg guitar recordings) the musicians launch into song, yet keep a constant narration about the songs, the musicians, the people present, and the person commisioning the recording. The songs become self referential, constantly reminding where, when, and why they were made.

Takamba 2011

I’ve haven’t made it back to Timbouctou for years, due to security concerns. And it’s very difficult to organize a new recording with our channels of communication. Agali, for example, speaks very little French, and any phone call requires him to walk through town to find his brother to translate. Even then, the connection to Timbouctou is fickle. And neither of them can use a computer, record songs, or have a monthly subscription to Google Drive. A few days ago I had an idea. “Do any of the younger kids at your house have Whatsapp?” Soon I was connected with his nephew, who not only has a smartphone with Whatsapp, but also speaks English. We had actually met before, he told me: in 2011, we couldn’t find a mic stand, and he had been tasked with holding the microphone. With this new line of communication, we began planning a new album.

Today, Agali sent over a recording. It was recorded today, played directly into the cellphone, and sent to me via WhatsApp. It’s recorded in the classic “cassette” format, with an introduction, explanation (in French!), shout-outs, and name drops. The new media form of takamba is evocative of the cassette (Agali even refers to it as such on the recording). The new Takamba just has the added benefit that it can just move a lot quicker, if you know where to look.

Agali Ag Amoumine’s Takamba WhatsApp EP 2018 is available on bandcamp now. It’s unmastered, not eq’ed, and preserves the format. It was recorded, sent, and uploaded today. It’s definitely the quickest we ever released a recording. It’s probably best listened to on a cellphone.

It’s a free download, but if you pay 100% of proceeds go to Agali. I think that’s called World Music 2.0.

We’ll have a new album soon, and hopefully a tour to follow in 2019!

Troupe Ecole Tudu

Tudu

I first came upon this cassette at Djadje’s market stall at the Grand Marché in Niamey in 2014. The tapes were not for sale (Djadje sells dubbed copies) so I spent the good part of a day sitting on a wooden bench in the crowded market, digitizing with a cheap walkman and ZOOM. The results weren’t pretty. Someone’s cellphone, probably my own, was sending radio interference, and the tape was distorted with staccato noise. When I heard it, I was already thousands of miles away. A few months ago, while back in Niamey, I did like any good video store patron in 1993 and left a friend’s driving license and a hefy non-refundable deposit. We brought the tape to France, digitized it, and returned it to Djadje in a months’ time.

 

Djadje was surprised to see the tape again. And for good reason. The tape is rare, the only copy I’ve ever seen. The recording comes from a school group from the village of Tudu, in the region of Agadez, led by a guitarist and professor Barmo. The style that would become a popular in Niger throughout the 1980s and 90s, with many similar schoolgirl groups, like the one in Tchirou (and what would go on to form the basis and genre of Sogha Niger). The guitar playing is minimal, recalling early Ali Farka Touré, answering and mimicking the lilt of the song.

The cassette also stands out with the mysterious logo and catalog number – “HASADA” – maybe something only I would obsess over. But the only other cassette from the label I’ve found was Mamman Sani’s first and signature recording that went on to become the re-release La Musique Electronique du Niger. Rumour has it that Hasada was from Nigeria, and made a few of these tapes to distribute around Niamey. He had a good ear, whoever he was.

The track here “Owiya” refers to the Tuareg greeting “O-wi-yan.” It’s an old song, from the colonial years, and implores parents to send their children to school. The performance on this tape is some 30 years later, somtimes in the 1980s, but the message is the same. And it makes a convincing argument for education, if it can turn out music like this.

I’ve reached out to Barmo and some of the surving members of the Troupe and will share more as I find out.

Mdou Moctar – Sousoume Tamachek

sousoume tamachek

Mdou Moctar’s new album, Sousoume Tamachek, is now available! In the past years, Tuareg rock music, particularly that of Niger, has gotten faster. There is a preference for this new sound – both in the raucous weddings of Agadez and in Berlin rock clubs. The wavering guitar solos, rapid fire drums and heavy distortion has become characteristic of the contemporary sound.

For Mdou, this was not always the case. Self taught in a religious region that eschewed the guitar, Mdou was forced to learn music in secret. And when he did begin to play, there were no weddings or festivities. His early oeuvre was developed to play at informal private sessions with his friends. In these “takits” or picnics, Mdou and his friends would pass the lazy days together sitting under a tree, drinking tea, laughing, and singing songs.

For his new record, Mdou revisits this “music for desert picnics,” taking his compositions from his youth, and bringing them to the studio (his repertoire of “takit” songs were never recorded and only exist on warbly cassette recordings compressed into low quality mp3s). From love ballads (“Nikali Talit”), religious praise (“Ilmouloud”), to life counsel (“Amidini”), the songs are intensely personal, both in content and in structure.

Constructed around the guitar, Mdou plays everything on the album in lush layered overdubs, singing both call and response vocals, playing rhythm guitar, and drumming on the calabash. Produced in collaboration with Christopher Kirkley (Sahel Sounds) and longtime associate Jesse Johnson (Boomarm Nation), the light touch pays respect to the origin of these ballads. The result is a very different side of Mdou Moctar, that of quiet introspection, lifted out of memory for one last time.

Get the vinyl from Bandcamp and our shop.

Mdou Moctar USA Tour 2017

MDOU TOUR 2017

After many years, we’re proud to announce the Mdou Moctar USA tour! Mdou & the band will be starting off on the EU/UK, then headed across the USA, with shows on the West Coast, Midwest, East Coast, down to the South.

I first heard Mdou’s music in 2010, and finally met him in person two years later. During the first meeting we recorded his debut album Afelan. At the time, Sahel Sounds was a nascent label taking its first stumbling steps in a tumultuous and confusing music industry, so when Mdou asked “How can I tour in America?” I responded disparagingly: “We can work together, I can help your music to travel, but I have no idea how to make a tour happen, above all in the USA.”

At select screenings, we’ll be screening our film, the Purple Rain inspired Akounak Tedalat Taha Tazoughai. But we also are talking about making a sequel of sorts, an ethnographic film from Mdou & the band as they cross America and explore what it means to tour in 2017. Maybe with a little bit of Spinal Tap thrown in. It is rock music, after all.