Nuba Nova: the title rings out like a manifesto.
Think of it as a transgressive descendant of Algerian classical music, offspring of the Nuba form which gave birth to the famous stylistic movements of Tlemcen, Algiers and Constantine. Crucibles of the Arab-Andalusian heritage of Seville, Granada and Cordoba, established between the 8th and 15th centuries in royal courts and intellectual circles where Muslims and Jews celebrated courtly love and devotion to the divine.
It began with Mehdi Haddab, Franco-Algerian magician of the electric oud, and his ambition to compare notes and share inspiration with the master of the malouf annabi, Sheikh Hamdi Benani, raised in a rich family of artists (his father a painter, his uncle and great-grandfather both malouf masters), noble humanist of the city of Saint-Augustin, El Ghriba and Sidi Bou Merouane.
It was natural that an album would follow. A high-calibre crew is brought on board. Hamdi Benani is surrounded by musicians he trusts. Mehdi Haddab, for his part, brings accomplices who are used to taking risks. With this, the spirit of the malouf is ready to express itself. And it so happens that in this alliance it breathes easy, relaxes, takes on pop colours, treats itself to some bluesy riffs — in short, it becomes contemporary.
A terrible event followed these recordings. Hamdi Benani, the jovial and humble ambassador of Malouf who travelled the planet seducing Mao Tse Tung, Castro, Senghor and audiences at the Sorbonne, died at the age of 77, a victim of Covid. This was the writer of Bellah Ya Hamami, who had recently received a vibrant tribute from the Algerian Ministry of Culture at the Palais de la Culture and who was decorated with France’s honour of Officer of Arts and Letters. A loss which makes this recording into a cult album, recalling the youthful spirit of a musician who was always attentive to others. A record that echoes his response to those people who, in the past, had criticised his orchestral audacity: “They thought I was interfering with the Nuba, which is not the case… I subscribe to the classic rule that one is not allowed to interfere.” Adding: “I told them ‘You’re wrong, gentlemen, because one day you’ll agree with me!’” It’s as if life proved him right.
Frank Tenaille
This project is supported by l’Insitut Français d’Algérie
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