Tchad | Arabe Dékakiré :: Arabe Salamat :: Barma :: Kanembou (Prophet 19)

This seems to be a partial reissue of Charles Duvelle’s recordings from the 1960s, some of which were released as a 3 LP set by Ocora/Radio France ("Anthologie de la musique du Tchad"), which I also have in my collection. I don't have the booklet, but from what I understand the music here is that of several Islamized ethnic groups. The most memorable track for me was the first one, Aba Guirmi. Since I don't have the booklet to the CD, I have to rely on the liner notes from the aforementioned LP set, where a somewhat similar piece is described simply as a Kanembu "music of praise" (praise of what? or of whom?). It's a piece performed on a couple of brass instruments and a few drums; it's incredibly infectious and catchy. I'm almost tempted to use the word "groovy" here. It sounds like an obscure yet fully developed offshoot of big band jazz, or like an exceptional post rock piece which leans towards pop music in its strong beat and a certain minimalistic approach. The music speeds up as it goes along, propelled by a variety of ostinato patterns emerging here and there in the brass. The LP notes mention that one of the brass instruments may include some "speaking" melodic lines, in the sense that actual words and/or meanings are encoded into the sequences of pitches.

The other standout track for me was Bardé, an intense polyphonic piece for woodwind ensemble performed by an orchestra from the Salamat region of Chad. Sections of pure polyphony contrast with heterophonic ones. The instruments’ timbres include such a generous amount of noise, I couldn’t help thinking of Saharan winds (and feel ashamed). It's very exciting music, and, for a composer such as myself, very inspiring.

The other tracks included three very different pieces from Baguirmi (Barma) repertoire, one of which sounded very similar to some Tuareg music I've heard, a song/conversation/artistic performance by Issa Chauffeur (Arabe Dékakiré; included cowry shell ornaments' noises, breathing, and telling jokes to the listeners), and another energetic piece with wind ensemble in call and response pattern with vocals, accompanied by fast drumming (apparently also by the Salamat ensemble).