Artist : Group Doueh
Title : Zayna Jumma
Genre : Ethnic
Year : 2011
Date : 06/2011
Bitrate : VBR kbps
Tracks : 08
Label : Sublime Frequencies
Source : CDDA
Encoder : Lame 3.98.4
Length : 34:09 min
Size : 56,10 MB
Tracklist:
----------
01.zayna jumma 04:31
02.ishadlak ya khey 04:12
03.zaya koum 03:25
04.met-ha 03:05
05.jagwar doueh 04:10
06.aziza 03:35
07.ana lakweri 05:07
08.wazan doueh 06:04
-------
34:09 min
More than any of the other Saharan
guitar ensembles associated with Sublime
Frequencies, Group Doueh shows different
sides of itself from record to record.
Group IneraneÆs two records sound pretty
similar to each other. Even though
Bombino came to the US to record his
recent solo effort, which is not on
Sublime Frequencies, and it sounds
significantly buffed-up compared to boom
box in a tiled room fidelity of his
volume in the Guitars From Agadez
series), he is still playing the same
repertoire in pretty much the same way.
Each of Group DouehÆs four records, on
the other hand, offers a different angle
and different material. Maybe thatÆs
partly due to having a deep songbook;
you probably donÆt get to be the best
wedding band in Dakhla, West Sahara
without one. But either guitarist Salmou
ôDouehö Bamaar or producer Hisham Mayet
seems to have conceptualized the groupÆs
albums as something more than rough
documents on their repertoire.
Zayna Jumma shows the effects of touring
outside of Western Sahara. It was
recorded after the group started touring
Europe, where they shared the stage with
the legendary Nigerian drummer Tony
Allen. ItÆs the first Group Doueh record
to feature a drum kit; one wonders if
their gigs with Allen figure in the
choice, but regardless of the reason it
was the right one. Hamdan BamaarÆs
(SalmouÆs son) drumming isnÆt flashy,
but he is a lot more intuitive sounding
than the Korg rhythm box heard on the
groupÆs first two LPs. At some points he
plays straight-up rock beats; elsewhere
his drumming brings the elastic give and
take between rhythm and vocals that
distinguished the mostly acoustic and
traditional Beatte Harab to their
electric music, enabling their most
soulful dimensions to co-exist with
their trippiest.
Zayna Jumma is the first non-cassette
recording of the band playing in its
electric glory, and their first CD
release. This is an eminently practical
move, since if theyÆre going to keep
touring in Europe and the USA theyÆll
need something to sell to people. But
these changes feel like expressions of
growth and adaptability, not
compromises.
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