"This is world fusion's true sound. A young, hip Gnawa sintir player here combines his expertise with a multi-national percussionist, a European ney player, and veteran free jazzer Don Cherry's pocket trumpet to create a soundscape that one cannot escape from. The ney work here is perhaps the greatest contribution. The light tones wrap around all other features of the music when Richard Horowitz is playing to envelope the listener. Hakmoun's sintir playing is, of course, outstanding as well. At times, the ethereal echoing of the music can become a bit cumbersome, but still not to the point of frustration. One of the real treats here could quite likely be Don Cherry's venerable trumpet. The chops and snippets he can emit fit perfectly into the whole. For someone looking into the true nature of Gnawa ritual, this is not the place to go. For someone already familiar with the Gnawa brotherhood's music, this is an extremely enjoyable excursion into more groundbreaking forms." (Allmusic)
Bevat: Mai Nozipo : Dumisani Maraire ; Saade : Hassan Hakmoun ; Tilliboyo : Foday Musa Suso ; Ekitundu Ekisooka : Justinian Tamusuza ; Escalay : Hamza El Din ; Wawshishijay : Obo Addy ; White man sleeps : Kevin Volans ; Kutambarara : Dumisani Maraire. Nonesuch 7559-79275-2\n\nHet Amerikaanse strijkkwartet speelt voor strijkers gearrangeerde stukken van musici/componisten uit diverse Afrikaanse landen, bijgestaan door die musici zelf op traditioneel-Afrikaanse instrumenten.
"From the Hendrix-in-a-fez riff of "Bania" to the fuzz-box nirvana of "Challaban," Trance asserts psychedelic sovereignty over Moroccan sensibilities that hippie hash-heads once claimed as their own music base. Twenty-five years ago, Hakmoun's high-amplification drone would have blown Cream out of the stadium, but its thrills-per-wattage ratio today depends on whether or not you're willing to let bygone eras be bygones -- or how ardent you are about wanting to hear Gnawa music done boggle style on two cuts. One experiment that reaps great dividends is an a cappella duet between Hakmoun and Carole Rowley on "The Sun is Gone," where the two baptize one another in mutually unreachable longing until Hakmoun finally falls below the horizon, his amazing voice narrowed to a rhaita-like rasp -- the one great idea on this disc that isn't clogged with electronics." (AllMusic)
"Hassan Hakmoun has made a name for himself embracing Moroccan "gnawa" -- a form that is similar to the music of Saudi Arabia, Egypt, Turkey and other Middle Eastern and African countries, yet has its own personality. On Life Around the World, Hakmoun shows that his singing can be simultaneously passionate and hypnotic and consistently demonstrates his mastery of the sintir (a long-necked lute that is prominent in Mococcan culture). Hakmoun obviously loves improvisation and spontaneity, which is one of the main reasons he's attracted the attention of jazz artists like singer Dee Dee Bridgewater and the late Don Cherry (who is heard on the opener "Live" playing the melodica instead of his usual trumpet). Though some western elements asserts themselves on Hakmoun's songs, his overall approach is rootsy instead of poppish on this absorbing CD." (Allmusic)
"Unlike his more accessible debut for Peter Gabriel's Real World label, The Fire Within abandons the Moroccan funk-rock fusion of Hassan Hakmoun's experimental group, Zahar, in favor of more traditional Gnawa sounds. With sparse, crystalline production by Bob Haddad, the album focuses on the healing powers of Moroccan music, which is often used in rituals to produce a magical, trance-like state in the participants. On most of the songs, Hakmoun's rumbling sintir-- a three-string bass lute with limited range but a remarkably diverse sound in skilled hands like these -- drives the beat forward with intricate rhythmic syncopation, as his impassioned vocals elevate the listener's consciousness to a more heavenly plane. This is remarkably stirring stuff, even for those who don't Jajouka (the site of Morocco's annual rites of Pan) from jujubes."(Allmusic).
Marokkaans zanger/muzikant/producer. Uit zich zowel in traditionele Marokkaanse gnawa als poppy crossovers, veelal leidend tot rijke arrangementen. Daarbij maakt hij op intrigerende wijze gebruik van z'n fraaie zangstem. Op Crosslinx 2003.
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