d`Elf`s Moroccan EPK – 3.9MB

Club d’Elf and
the Moroccan influence...
The trance-inducing music of North Africa, most notably Gnawa and Berber music from Morocco, is a fundamental component to the
Mike
Rivard
been
listening
to North African
music
before
inception
of Club d’Elf.
soundFounder
of Club d'Elf,
adding
spicehad
to the
tagine
of jazz, electronica,
hip hop and
otherlong
flavors
which the
the band
incorporates.
The trance-inducing musics of Morocco, Mauritania and Mali are fundamental to the concept of the band,
The addition
of spice
Moroccan
musician
Brahim
Fribgane
(on oud,
bendir,
late 1999
this influence to take
adding
to the
tagine
of jazz,
electronica,
hipdumbek,
hop and
otherqaraqab)
flavors in
which
the allowed
band incorporates.
on even greater dimensions. Gradually the band began including traditional Moroccan folk music in its repertoire, featuring renditions
The addition of Moroccan musician Brahim Fribgane (on oud, dumbek, bendir, qaraqab) in late 1999 allowed this influence to take
of Berber songs from the High & Mid Atlas Mountains. Songs from the popular Moroccan band Nass El Ghiwane (which hails from
on even greater dimensions. Gradually the band began including traditional Moroccan folk music in its repertoire, featuring renditions
the same quarter of Casablanca as Fribgane), such as "Ah Ya Win A Win" and "Ghir Khudoune", also began to appear in sets.
of Berber songs from the High & Mid Atlas Mountains. Songs from the popular Moroccan band Nass El Ghiwane (which hails from
the same quarter of Casablanca as Fribgane), such as Ah Ya Win A Win and Ghewane, also began to appear in sets. In 2002, a
InMoroccan
2002, a Moroccan
friend
gave
Rivard
a sintir
calledorguimbri
or ahejhouj),
a three-stringed
with
a camel
skin top.
Soon
friend gave
Rivard
a sintir
(also
called(also
Guembri
Hejhouj),
three-stringed
bass with abass
camel
skin
top. Soon,
the sintir
after
thisappearing
the sintir in
began
appearing
in the
band's liveThe
setsinstrument
and studio
recordings.
Themusic
instrument
gave
Clubdrawing
d’Elf’s music
deeper
began
live sets
and studio
recordings.
gave
Club d’Elf’s
a deeper
sound
directlya from
sound
drawing
directly
from Gnawa
music.hasThe
musicWestern
of the Gnawa
has for
attracted
Western
musicians
for decades,
including
such
Gnawa
music.
The music
of the Gnawa
attracted
musicians
decades,
including
such luminaries
as Bill
Laswell,
luminaries
as Bill Laswell,
Pharoah
Sanders,
Randy the
Weston,
Ornette
the Rolling
Stones
and
Jimi came
Hendrix.
The Gnawa
Pharoah Sanders,
Randy Weston,
Ornette
Coleman,
Rolling
StonesColeman,
and Jimi Hendrix.
The
Gnawa
people
to Morocco
from
sub-Saharan
500 from
yearssub-Saharan
ago, and holdAfrica
lila derdeba
(all-night
healing
ceremonies)
led by
mastertrance
Sufi musicians.
Hassan
people
came toAfrica
Morocco
500 years
ago, and
hold trance
lila derdeba
(all-night
healing
ceremonies)
led by
Hakmoun,
perhaps
the
most
internationally
recognized
Gnawa
musician,
has
played
with
Club
d’Elf
on
numerous
occasions,
master Sufi musicians. Hassan Hakmoun, perhaps the most internationally recognized Gnawa musician, has performed with Club
as have other
Gnawans
such assoon-to-be-released
Said Hakmoun, Mohamed
Tbizi
& Hassan
d’Elf on numerous occasions
(andillustrious
is featured
on the band's
new cd),
as have
other Bouhmid.
illustrious musicians such as
Said
Hakmoun,
& Hassan
Bouhmid. sets in which original songs by Fribgane & Rivard, which derive from traditional
D’Elf
has beenMohamed
known toTbizi
perform
mostly-acoustic
sources such as Gnawa, Berber and Howara music, mix with the band’s renditions of such Gnawa “standards” as Challaban, and
D’Elf
been known
perform
mostly-acoustic
sets
in which
Fribganerecognize
& Rivardinmix
freely of
with
theAfrica
band’s
theirhas
decidedly
Gnawato
take
on Cream’s
“Sunshine Of
Your
Love.”original
Rivard songs
and hisby
musicians
the music
North
renditions
of such
Gnawaof
"standards"
"Challaban",
and their
reworking
of Cream’s
"Sunshine
Of Your
Love"Brown,
with a the
Moroccan
familiar
elements
trance andasecstatic
involvement
in the
groove that
they find
in the funk
of James
jazz of 12/8
Coltrane,
themusicians
open-string
guitar
groove.John
Rivard
and his
recognize
blues
of
Mississippi
Fred
McDowell
and
in the music of North Africa familiar
the
relentless
driving
pulse
of
electronica
elements of trance and ecstatic involvement
and
modern
in the groove
that
they dance
find inmusic.
the funk of
James Brown, the jazz of John Coltrane, the
For the guitar
musicians
d’Elf, playing
open-string
bluesofofClub
Mississippi
Fred
Moroccan
music
does
not
seempulse
foreign,
McDowell and the relentless driving
of
butand
feels
as natural
as music.
the array of
electronica
modern
dance
clubdelf.com
American
stylesofthey’ve
with.
For the
musicians
Club grown
d’Elf, up
playing
Club
d’Elf
never
fails
to
bring
Moroccan music does not seem foreign, but
audience
feeling
feels asthe
natural
as into
the their
arraydeep
of American
for this
styles they! ve grown
upmusic.
with. Club d’Elf
never fails to bring the audience into their
deep feeling for this music.
myspace.com/clubdelf info@clubdelf.com
booking: Erik Selz: redryderent@aol.com; 773 384-0050
www.clubdelf.com www.myspace.com/clubdelf info@clubdelf.com
Booking: booking@clubdelf.com
617.513.7976
"[Club d’Elf
“[Club
d’Elfcreates
createsa]a]sound
soundenvironment
environmentwhere
whereturntables
turntablesand
andtriggered
triggered
samples flit
samples
flit around
around the
the natural
natural acoustics
acoustics of
ofclarinet,
clarinet,violin,
violin,oud,
oud,and
and
accordion; where timeless Indian and Moroccan polyrhythms nest inside
accordion;
where
timeless
Indian
and Moroccan
inside
slinky, hip-hop
groove;
where
the next
turn mightpolyrhythms
find the bandnest
sewn
deeply
in the pocket,
just as easily,
some
bizarre
curiosity."
slinky,
hip-hoporgroove;
whereteasing
the nextout
turn
might
find atonal
the band
sewn deeply
–Pete
Gershon,
Signal
to Noise
Magazine
in
the pocket,
or just
as easily,
teasing
out some bizarre atonal curiosity.”
–Pete Gershon, Signal to Noise Magazine
Brahim Fribgane and oud
"An intoxicating, mad-chemist mix of the organic and electronic: dub-dosed
acidintoxicating,
jazz spikedmad-chemist
with elements
traditional
Moroccan
“An
mix ofof
thetrance-inducing
organic and electronic:
dub-dosed
acid jazz spiked
Gnawa
andof
Berber
music." traditional
–Jonathan
Perry,
Boston
Globe
with
elements
trance-inducing
Moroccan
Gnawa
and Berber
music.”
–Jonathan Perry, Boston Globe“
"The music is inspired by Rivard’s study of Moroccan music, particularly the
“The
music
is inspired
study of
Moroccan
particularly
original
trance
musicby
of Rivard’s
the Gnawa...
[The
use of]music,
repetitive
rhythmthe
as original
a
foundation
the music[The
veryuse
accessible
for participation."
trance
musicmakes
of the Gnawa...
of] repetitive
rhythm as a foundation makes
–Julie
OnlineforAthens
the
musicPowell,
very accessible
participation.” –Julie Powell, Online Athens
“A
Fribgane
is well
versed
in world
music,
and has
only
"A gifted
gifted percussion
percussionplayer,
player,
Fribgane
is well
versed
in world
music,
andnot
has
added
his added
own styles
and cultural
experiences
the band but
the but
boundaries
not only
his own
styles and
cultural to
experiences
topushed
the band
pushed
thecreate
boundaries
createsound.
an even
broader
sound.
eagerly
talks ofhas
thehad
to
an even to
broader
Rivard
eagerly
talksRivard
of the impact
Fribgane
impact
Fribgane
has had
his own
playing
the band’s.
on
both his
own playing
andon
theboth
band’s.
“Through
himand
we started
going‘Through
more overtly
him we started going more overtly in a North African direction...he taught us
in
a North
African
direction...he
taught usWe
howstarted
to playlearning
it... He’saalot
great
teacher. We
how
to play
it... He’s
a great teacher.
of traditional
started
lot of
traditional Gnawa
music,
and of
incorporating
that with
Gnawalearning
music, aand
incorporating
that with
some
the other things
we some
were of
into,
likethings
drum’n’
andn it
just
seemed
natural
fit.’a
the
other
we bass
were and
into,trance,
like drum
bass
and
trance,like
andaitreally
just seemed
like
The discovery
of The
Moroccan
music
led Rivard
to add
sintir
[to his
really
natural fit.’
discovery
of Moroccan
music
ledthe
Rivard
to add
the arsenal],
Sintir [to
a three
string
Moroccan
instrument
used in traditional
GnawaGnawa
music."
his
arsenal],
a three
string Moroccan
instrument
used in traditional
music.”
–Eric Ward, Glide Magazine
–Eric Ward, Glide Magazine
"Two Fribgane
Fribganetitles,
titles,wrapping
wrapping
ancient
violin
melodies
in
“Two
ancient
oud,oud,
violin
and and
vocalvocal
melodies
in circular
circular rhythms,
[Club
d’Elf’s]
Vassar
Chapel its
[recording]
its flavor...”
unique
rhythms,
give [Clubgive
d’Elf’s]
Vassar
Chapel
[recording]
unique sonic
sonic flavor..." –Chris M. Slawecki, allaboutjazz.com
–Chris M. Slawecki, allaboutjazz.com
“[A]
of of
interwoven
sounds
is the
Moroccan
flair
"[A] constant
constantininthe
themesh
mesh
interwoven
sounds
is percussive
the percussive
Moroccan
flair based
on Rivard’s
study
and Fribgane’s
native tongue...
musical tongue...
Mid-set,
based
on Rivard’s
study and
Fribgane’s
native musical
Mid-set, Rivard
Rivard
picksintir,
up the
sintir, a three-stringed
bass
lute with a 500-year-old
will
pickwill
up the
a three-stringed
bass lute with
a 500-year-old
history, whose
history, whose hollowed wooden body acts as drum and bass combined. He
hollowed
wooden
body
acts
as
drum
and
bass
combined.
He
and
Fribgane,
a a lineand Fribgane, a Moroccan native, invoke ancient Arabic sounds through
Moroccan
native, invoke
ancient including
Arabic sounds
throughframe
a line-up
of percussion
up of percussion
instruments,
the bendir
drum,
lined withinsnare strings,
and the
shaped
dumbek,
withsnare
its deep
lowand
andthe
crystal
struments,
including
the gobletbendir frame
drum,
lined with
strings,
goblethigh extremes.
is static
or unrefined.
As Rivard
‘It'sisnot
like
shaped
dumbek, But
withnothing
its deep low
and crystal
high extremes.
But says,
nothing
static
or
one of those
things
where
drawgimmicky
upon a culture
by using
some
unrefined.
As lame
Rivard"world"
says, ‘It’s
not like
oneyou
of those
world music
things
gimmicky aspect of it. Our performance of Arabic and North African music is
where
you draw
upon adeep
culture
by using the sound
it. The Arabic
and dialect
North Afrigrounded
in a pretty
understanding,
and itofbecomes
another
in
can
stuff
is
grounded
in
a
deep
understanding,
but
it
also
becomes
another
language.”
the musical language we speak.’ Every traditional sound is infused with
the
new. Every
songsound
is a flight
that follows
musicians
nightly
whims.”
Every
traditional
is infused
with thethe
new.
Every song
is a flight
that follows
–Brita
Brundage,
Fairfield
County
Weekly
the
musicians’
nightly whims.”
–Brita
Brundage,
Fairfield County Weekly
Mike Rivard and
Hassan Hakmoun
Rivard, Erik Kerr John Medeski and Fribgane
Mat Maneri, Rivard, Erik Kerr, Brahim Fribgane
Rivard and
sintir
Brahim Fribgane
Brahim Fribgane
Born and raised in Morocco, a country rich in musical traditions, Brahim
grew up surrounded by North African, Gnawa, Berber, Arabic and
Born and raised
in Morocco,
a country
in musical
Brahim
Andulusian
music.
By sixteen
he wasrich
playing
guitartraditions,
at weddings
and
grewparties
up surrounded
by
North
African,
Gnawa,
Berber,
Arabic
and
Andulusian
in Casablanca, becoming a significant contributor to the
music.
By sixteen
was style
playing
at weddings
and
parties
development
of he
a new
of guitar
Moroccan
pop that
took
holdininCasablanca,
the early
becoming
a significant
to the development
of aBrahim
new style
of
" 80s.
Influenced
by thecontributor
Iraqi musician,
Munir Bechir,
began
Moroccan oud
pop style,
that took
hold inhe’s
the playing
early ‘80s.
playing oud. Brahim’s
whether
folkloric Berber
songs, beautifully complex and soulful Arabic music, or a fusion of jazz,
samba,byreggae
or Indian,
openness
all music
andoud.
Influenced
the Iraqi
musician,reveals
Munir his
Bechir,
Brahimtobegan
playing
appreciation
of allwhether
people he’s
and playing
cultures.
Since Brahim's
arrival
in New
Brahim’s
oud style,
folkloric
Berber songs,
beautifully
York
in the
late music,
80s heor
has
andsamba,
recorded
withoran
complex
andCity
soulful
Arabic
theperformed
fusion of jazz,
reggae
Indian,
impressive
of artists,
Hakmoun
(in whose
he is
reveals hislist
openness
to allincluding
music andHassan
appreciation
of all people
and band
cultures.
a regular member), Morphine, Medeski Martin & Wood, DJ Logic, Paula
Cole, producer Don Was, Larry Coryell, Dr. L. Subramaniam, Leni Stern
in New
York City
in the
latehe80s
he added
dumbek
andWhen
manyBrahim
others.arrived
Besides
his playing
of the
oud
is also
sought
after for
(a traditional
North
African/Middle
Eastern
drum),
to
his
arsenal.
A
remarkably
his expert percussion skills, which cover a wide array of Moroccan
creative and
diverse musician,
Brahim
takes
the dumbekastowell
newaslevels,
instruments
including
the bendir,
taarija
& qaraqab,
dumbek
the rhythmic creative
complexities
a drummusician,
set with this
one instrument.
&expressing
cajon. A remarkably
and of
diverse
Brahim
takes these
Heinstruments
alternately blends
andlevels,
contrasts
rhythms the
while
at the same
time keeping
to new
expressing
rhythmic
complexities
of ahis
set with
each instrument.
listeners drum
and fellow
musicians
rhythmically secure.
Brahim Fribgane on oud
www.clubdelf.com
www.myspace.com/clubdelf
info@clubdelf.com
Booking:
booking@clubdelf.com
617.513.7976
clubdelf.com myspace.com/clubdelf
info@clubdelf.com
booking: Erik
Selz: redryderent@aol.com;
773 384-0050