Klaus Doldinger & Passport
(on request with Majid Bekkas)
- Passport to Morocco-
Media Downloads:
Morocco
is a source of inspiration. For example: Taking a taxi during their latest
visit to Marrakech Klaus Doldinger and his wife were not driven to their
hotel as requested, but were brought to the Djemaa de Fna (Place of the
Beheaded) in the city centre - where they were informed that they would
soon be picked up. In a few minutes a young man with a handcart showed
up and loaded the luggage and then lead the couple for a good 15 minutes
through the crowded alleys of the Medina until the little procession finally
reached the Riyad el Cadi via an inconspicuous side door. And as so often
happens in this country, the guest from faraway was astounded. For amidst
the impassable confines
of the old city a wonderful Oriental courtyard opened up, a dreamlike
space that had
grown historically and that made one forget that this was actually "only"
a hotel. Klaus Doldinger was so overcome by this magical place that he
dedicated a song to it. One of ten to be found on his new album "Passport
To Morocco".
However, the history of this production began much earlier, to be precise
in 1964, as Doldinger explains: "At that time I undertook a big tour
of the Near East with my quartet, Ingfried Hoffmann, Klaus Weiss and Helmut
Kandelberger, sponsered by the Goethe Institute. The main part of the
trip was in Morocco, which deeply impresssed me because it seemed to be
the most liberal country that we visited. The people were very friendly
and so open for us and our music that it has remained in my memory."
He continues to rave and tells about his impressions of this first trip
that took place when it
was an unusual experience to stroll across an Oriental bazar, eat couscous
with lamb and to listen in the background to musicians who cultivated
a completely different sort of entertainment than one was familiar with
in Europe. "I was fascinated by these
impressions and looking back I think that this trip also made a mark on
me musically. In any case strong memories remained and I came up with
the idea of returning after so many years to see if my positive impression
would be confimed. And that is exactly what happened". A concrete
musical project quickly developed from the trip. Klaus Doldinger contacted
one of the best experts on the world of contemporary Moroccan music: Majid
Bekkas from Sale, a virtuoso of the camelhair bass, the Guembri, singer
and lecturer for string instruments at the Conservatory in Rabat, and
an absolute insider on the local scene.Equally familiar with local styles
and with European jazz, Bekkas has already worked with Louis Sclavis and
Archie Shepp.
The
cultural traveler from Germany joined him on his tour last year, once
again supported by the Goethe Institute. Bekkas was to become Doldinger's
link to the country and appears on both live recordings on the album,
as well as on one of the studio tracks, the traditionally inspired "Merhba".
Also joining the production were two Moroccan musicians who live in Germany:
the percussionist, singer and Guembrist Rhani Krija, as well as the percussionist,
singer and mandole player Momo Djender. Both decisively participated in
turning the original plan of a creative post-production project into an
extraordinary album that is easily one of the most exciting Passport recordings
in the more than 30-year history of the group.
Except for two traditionals, "Merhba" and "Barma Sussandi",
and a co-compositon with Momo Djender and Rhani Krija, "Zidane",
all of the pieces were written by Klaus Doldinger. Besides saxophones
and clarinet he also plays a bamboo flute (on "Riyad el Cadi"
- the flute had reposed in his collection of instruments until finding
use to enhance the Oriental flair.) The live sound of the production,
that was recorded in a Munich studio, is reminiscent of the acoustic sound
of Passport's creative fusion years. Klaus Doldinger even allowed himself
a bit of nostalgia by integrating "Sahara Sketches" in the album,
a track that he wrote in the mid-Sixties while under the impression of
his first trip to the Near East.
At first glance it is remarkable that the Moroccan and jazz styles complement
each other so well. In the artist's perspective, this was a homogenous
and simple combination, as Doldinger explains: "It is mainly Gnawa
music in which I see a strong connection with jazz, as well as to Irish
folk music, by the way. It is melodic music, that for example in the piece
"Merhba" has an obvious connection to our own notion of sound.
And one shouldn't forget that there were always close cultural ties to
Europe due to the proximity of Spain. If we take the mediaeval Gregorian
structure and its sound we recognise a
connection to the music that exists today in Morocco." Doldinger
and his band try out these points of contact and overlapping with as much
pleasure as they ocassionally ignite a volcano of fusion. None of which
disturbs the flow of the album.
"Passport to Morocco" is a dynamic and unusual album, not only
in Klaus Doldinger's discography, but also in the international jazz scene.
And it comes at a special time. On the one hand, Germany's most successful
jazz musician celebrates his 70th birthday on May 12 and on the other
Passport celebrates its 35th anniversary on stage.The fact that this album
comes at just this time is something that Doldinger sees as a signal:
From the very beginning his music has brought different cultures together.
In times when the differences between the Orient and Occident are being
emphasized around the world, it is significant to show these can also
be so carefee and entertaining.