Speaking to Aziz Sahmaoui, you feel you are in the presence of a wanderer or philosopher as opposed to a musician. Then again, the Moroccan singer-songwriter doesn’t see the distinction.
Listening to his large body of work, the words “fusion” and “world music” seem too flimsy a description. Sahmaoui, through his adept playing of the three-stringed n’gouni, the mandolin, acoustic and electric guitars, manages to seamlessly blend his native mystical blues tones of Gnawa with rock and jazz – not to mention classical Arabic poetry – to create a sound both rhythmic and deeply evocative.
Sahmaoui's latest release, Mazal, recorded with his band, University of Gnawa, continues in that vein. It's an album equally suitable for a fun drive down the motorway or for a spot of reflection. Sahmaoui says he is not concerned how the songs are digested – as long as they connect with someone, he feels he has done his job.
Mazal is a tender record with a more Oriental feel this time around. What were you aiming for with this project?
This album is a way for me to get closer to my Arab brothers and sisters. I am talking about the people from the UAE, Lebanon and Egypt, and anyone who speaks Arabic. The album is really about respecting and loving each other, particularly in these tense times. What I am trying to say is that we have to keep doing that and keep replenishing those bonds.
Your lyrics can be read as stand-alone pieces of poetry. It raises the question whether you write them first before the melodies?
I have always been writing, whether it’s songs, poetry or other things, from my time as child. My creativity really comes from curiosity, of asking questions, such as why does the sun shine in this particular way? Or, how can I remember certain things so clearly years later? I was a very curious child.
You were also an accomplished performer of traditional Moroccan folk music, including Gnawa, from a young age. When did you begin discovering western sounds?
Well, the traditional music of Gnawa was there first. It is part of our culture and the best way to describe it is that it was always in us as Moroccans, so I didn’t have to look far to learn about it. At the same time, there was a thirst that a lot of our generation had for new sounds. I remember when I was young, you would see these people coming from America with these records of new music. When I would hear these songs, it was a form of travel, of exploring new cultures and new ways of melody. I was very fond of The Beatles and the way they created these majestic melodies, listening to them was almost like nourishing my ears.
Then there was country music, which also found a big audience here in Morocco at the time – groups such as Crosby, Stills, Nash & Young and the singer Emmylou Harris.
How did you get the idea that you can blend Gnawa with genres from the West?
It started from me travelling, particularly across Europe, when I was in my 20s. I wanted to explore and see new things and I realised that it only took a few days for me to stay in one place before feeling a sense of loss when it comes to leaving again. I remember that I kept on travelling and, subconsciously, I was collecting all these little bits of inspiration and they just stayed there inside me, simmering, until the right moment came.
Was there a defining moment?
It came gradually through patience. I was playing with and learning from people who were these great rock and blues players. From them I really dug deep and studied these genres until I found the gap where I could incorporate my own talent.
Your notion of finding that space within the music is interesting, especially as some view fusion as the process of adding a new layer of music on top of another.
I find that way not genuine. You shouldn’t just slap your style on top of another just like that. There needs to be a good balance, that way it becomes something more powerful, such as you paying tribute to the genre, the culture and the country. This, to me, is what happens when you get a good groove going; it’s the sound of everything taking its rightful place.
• Mazal by Aziz Sahmaoui is out now
