ETRAN FINATAWA - World Music Network

ETRAN FINATAWA
THE SAHARA SESSIONS
This album was recorded deep in the Sahara
desert. Sheltered only by an animal-skin tent
and the immense canopy of stars that dance
nightly above Niger, late evening campfire
sessions carved the creative backbone of The
Sahara Sessions. Crowding under the stretching
Sahel sky, Etran Finatawa and friends discussed
the very real concerns that currently edge in
on their daily lives. Simmering political troubles
and excruciating economic hardship pose a
dangerous threat to the nomadic way of life and
the rich cultures of Niger. Divining their solution
to these issues, Etran Finatawa celebrate their
diverse heritage and call for its preservation
to be a priority for Nigeriens and listeners the
world over.
The Sahara Sessions opens with ‘Matinfa’,
a gently rippling introduction peppered with
traditional percussion; tendé, calabash and
azakalabó (a calabash drum that floats in water)
drums are all heard. The song title translates as
‘What Is This For?’ and is the first signifier of the
album’s intent to comment on the tumultuous
status of the Sahel region today. 2012 saw a
heightening of tension in Mali between insurgent
rebel forces seeking independence and the
implementation of sharia law. Niger shares 821
kilometers of border with Mali. Although Niger
has displayed a firm opposition to separatism,
the troubles have inevitably caused insecurity in
the Sahel region and the threat to the countries
rich and varied cultures is a very real concern.
Etran Finatawa’s members are of Tuareg and
Wodaabe heritages – neighbouring tribes that
both live as nomads. Water shortages and
land disputes have led to deep-set economic
issues that cause conflict and misunderstanding
across communities. The work Etran Finatawa
do to promote unity and understanding is
invaluable.
The album presents a collection of tracks:
some fixed compositions developed and
created by the band and others spontaneous
improvisations that capture the spirit of the
tent recordings. Songs such as ‘An Mataf
Germanawen’ (Union) and ‘Issuad’ (Let’s Come
Together) patiently call for attention to be paid
to the political situation – Etran Finatawa’s
recording process itself was an example of
peaceful living in motion. First the musicians
chose their spot in the desert; next they set
about constructing a shelter from a stretched
animal-skin and long wooden sticks. Producer
Colin Bass, who flew in from the UK especially,
was then tasked with setting up a studio that
could simultaneously record crystalline cuts
and cope with the very real issues that could
potentially be caused by the thousands of
specks of sand floating through the air at any
given moment. Once set-up was complete,
the musicians crowded in making themselves
comfortable on the decorative rugs lining the
tent. As the sessions unfolded new improvised
patterns and pre-composed motifs were joined
together, sewn instinctively with unforced grace.
Guest appearances were organic and
spontaneously initiated. Groups of giggling
children stopped by the tent to observe the
recording process. On the second day band
member Bammo Angola decided to involve the
young visitors and the musicians took time to
interact with the young participants, clapping
and singing traditional Fula songs throughout
the afternoon. Another camp visitor was a
Tuareg percussionist by the name of Ayouba.
He arrived at the camp one night, revving out
of the darkness on his motorbike. Before long
Ayouba had set up his calabash drum and was
spreading his contagious high-energy vibe like
wildfire. His articulations can be heard on the
three tracks ‘Matinfa’, ‘Icheraid Azaman’ and
‘Toumast’.
On the third day the band picked up three
Tuareg women in Niamey and took them back
to the desert recording tent. The visiting trio
were desert inhabitants until about twenty
years ago when the double threat of political
insecurity and poverty forced them to seek
some static security in the city. Like many in
their situation they tell how they long to return
to their nomadic habits – a way of life which
they find so full of liberty and so close to nature.
The group sat in the sand and freely began to
sing along to the strumming of the tehardant, a
Musicians:
Alhousseini Mohamed Anivolla: guitar, vocals, tekedebena
Bammo Agonla: vocals, hand-claps, guitar
Goumar Abdoul Jamil: guitar, tendé drum, backing vocal
Mamane Tankari: azakalabó, backing vocal
Ayouba Muslim: calabash
Colin Bass: bass on tracks 1, 3, 7 and 10
All songs published by Riverboat UK Music (MCPS)
Produced by Colin Bass
Recorded by Colin Bass, Tent In The Desert, Korey Gourou,
Niger
Mixed by Colin Bass, Wild End Studio, Wales
Mastered by Ben Turner, Finesplice, London
kind of traditional guitar. The ladies play tendé
on ‘In De Hallad’.
‘Wa Oyan A Wa Imouss I Bastila’ is an excerpt
from an improvisation with Abdourahaman Ag
Ibrahim, a well-known local griot (praise-singer
and oral historian), who came to visit the tent.
The words intone how important the Tuareg
culture is, and how it must be kept alive by
singing and spreading music and arts. The
message is in a poignant one, sung stubbornly
under the shadow of looming political and
economic troubles for the Tuareg.
The Sahara Sessions presents a delicately
balanced collection of recordings made during
Etran Finatawa’s time in the tent. Impulsive
improvisations nestle alongside tightly arranged
songs with hooking riffs. Like the desert they
inhabit, Etran Finatawa’s music stretches out
across the sands of time and culture.
www.worldmusic.net/saharasessions
Sleeve notes by Rachel Jackson
Coordinated by Brad Haynes
Etran Finatawa would like to thank: Phil Stanton, Brad
Haynes, Sandra van Edig, Mohamed Hakib, Thomas et
Kaltoumi Büttner, Thomas and Anke, Abdourahamane Ag
Ibrahim, Bintou Wallet Abouba, Bintou Wallet Albachir,
Aminatou, Ingadou, Ayouba Ag Muslim, Omar Agholes,
Lemu, Mariama, Manfred Weule, Ingeborg Poerschke,
Michel and Ramlatou Tranchet and the community of Korey
Gourou, Niger.
Photographs courtesy of Manfred Weule, Sandra van Edig,
Colin Bass.
Design by Brad Haynes
The Sahara Sessions was
recorded deep in the desert.
Sheltered only by an animalskin tent and the vast
canopy of midnight stars,
Etran Finatawa played their
guitars and sang straight
from the heart. Each
poignant song and every
slap of the calabash drum
articulating the deep-set
divisions in the Sahel region
that are threatening their
Nomad way of life.
01 Matinfa 05:52
09 Atherkal 03:42
02 Gonga Timouhar 05:40
10 Djojaréré 4:24
03 Icheraid Azaman 05:32
11 Issuad 02:14
04 Wa Oyan A Wa Imouss I
Bastila 01:42
12 Is Ler Is Salan 04:49
(Alhousseini Mohamed Anivolla)
(music Goumar Abdoul Jamil, words
Goumar Abdoul Jamil/Bammo Agonla)
(Alhousseini Mohamed Anivolla)
(Alhousseini Mohamed Anivolla/
Abdourahaman Ag Ibrahim)
05 An Mataf Germanawen 04:00
(Alhousseini Mohamed Anivolla)
06 Eldam 06:13
(trad, arr Bammo Agonla/Mamane
Tankari)
(trad)
(Alhousseini Mohamed Anivolla)
13 In De Hallad 04:03
(Alhousseini Mohamed Anivolla)
14 Im Raharan 04:58
(Goumar Abdoul Jamil)
15 Taborilit 01:23
(Bammo Agonla)
07 Ahewalan 04:35
(Goumar Abdoul Jamil)
08 Bakuba 04:38
(trad, arr Alhousseini Mohamed Anivolla)
16 Toumast 05:10
(Alhousseini Mohamed Anivolla)
Total Playing Time: 69:18
(Bammo Agonla)
TUGCD1071 Made in EU
Riverboat Records/World Music Network
® & © World Music Network 2013
T. 020 7498 5252 F. 020 7498 5353
E. post@worldmusic.net W. www.worldmusic.net
(Alhousseini Mohamed Anivolla)
LC 11068
For Promotional
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