$15

Mdou Moctar

Presented by The Rialto Theatre
21+

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191 Toole

191 East Toole Ave

Tucson, AZ 85701

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7PM Doors | 8 PM Show | 21 and Over

About this Event

Mdou Moctar immediately stands out as one of the most innovative artists in contemporary Saharan music. His unconventional interpretations of Tuareg guitar have pushed him to the forefront of a crowded scene. Back home, he’s celebrated for his original compositions and verbose poetry, an original creator in a genre defined by cover bands. In the exterior, where Saharan rock has become one of the continents biggest musical exports, he’s earned a name for himself with his guitar moves. Mdou shreds with a relentless and frenetic energy that utterly sets him apart.

Mdou Moctar hails from a small village in central Niger in a remote region steeped in religious tradition. Growing up in an area where secular music was all but prohibited, he taught himself to play on a homemade guitar cobbled together out of wood. It was years before he found a “real” guitar and taught himself to play in secret. His immediately became a star amongst the village youth.

In 2008, Mdou traveled to Nigeria to record his debut album of spacey autotune, drum machine, and synthesizer. The album became a viral hit on the mp3 networks of West Africa, and was later released on the compilation Music from Saharan Cellphones. In 2013, he released Afelan, compiled from field recordings of his performances recorded in his village. Then he shifted gears, producing and starring in the first Tuareg language film, a remake of Prince’s Purple Rain (Rain the Color Blue with a Little Red in It). Finally, in 2017, he created a solo folk album, Sousoume Tamachek, a mellow blissed out recording evoking the calm desert soundscape. Without a band present, he played every instrument on the record. “I am a very curious person and I want to push Tuareg music far,” he says.

2019 brings his first recorded in a proper studio - Ilana (The Creator), out Mar. 29th on Sahel Sounds. He has shared the first single, “Kamane Tarhanin,” and has announced spring tour dates in support of the new record. A long time coming, Ilana is Mdou’s first true studio album with a live band. Recorded in Detroit at the tail end of a US tour by engineer Chris Koltay (the two met after bonding over ZZ Top’s Tres Hombres), the band lived in the studio for a week, playing into the early hours. Mdou was accompanied by an all-star band: Ahmoudou Madassane’s (Les Filles de Illighadad) lighting fast rhythm guitar, Aboubacar Mazawadje’s machine gun drums, and Michael Coltun’s structured low-end bass. The album was driven by lots of spontaneity – Mdou’s preferred method of creation – jumping into action whenever inspiration struck. The resulting tracks were brought back to Niger to add final production: additional guitar solos, overdubs of traditional percussion, and a general ambiance of Agadez wedding vibes.

The result is Mdou’s most ambitious record to date. Ilana takes the tradition laid out by the founders into hyperdrive, pushing Tuareg guitar into an ever louder and blistering direction. For Mdou, his style is to draw on both modern and traditional sources and combine elements into new forms. In “Ilana” Mdou reaches back into Tuareg folklore for inspiration, riffing on the hypnotic loops of takamba griots, or borrowing vocal patterns from polyphonic nomad songs, and combining them with his signature guitar. You can hear the effect in tracks like “Kamane Tarhanin,” where a call and response lyric lifts up over a traditional vocal hum before breaking into a wailing solo with tapping techniques learned from watching Youtube videos of Eddie Van Halen.

As Mdou travels the world, he divides his time between two places, alternating from lavish weddings in Agadez to sold out concerts in Berlin nightclubs. It offers a unique perspective, but also means that he needs to address different audiences. At home, his compositions send a message to his people. Abroad, his music is an opportunity to be heard and represent his people on a world stage.

With Support From...

Marisa Anderson

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Marisa Anderson is a wanderer at heart, creatively as curious as she is proficient. On Cloud Corner, Anderson’s music is boundless. Rooted in American folk music, her pieces are inspired by 20th century classical and West African guitar techniques. The results are revelatory. Written and recorded in a period of political and personal upheaval, the album was created as a refuge, an ode to stillness in an era of ceaseless noise. Marisa Anderson’s Cloud Corner is an album of remarkably intimate beauty, tranquility in times of turmoil.

Anderson’s composing is indelibly tied to her process of recording. As her own engineer, Anderson is able to develop her pieces while recording, shifting from song to song as inspiration strikes. After at times months of ruminating on musical and conceptual ideas, she improvises hours of material which then is often whittled into the concise, richly textured compositions. As the pieces of Cloud Corner developed, a distinct mood began to settle over the album, with long reverb tails, cleaner tones, and lightly bouncing rhythms evoking air, wind, breath, and the sky. Themes continued evolving as she recorded, as Anderson began embellishing pieces with varied instrumentation, from the warble of her Wurtlitzer keyboard to the staccato plucks of the requinto jarocho.

Anderson is able to evoke vivid visuals through her music, and Cloud Corner draws on personal experience for those images. A great example is the sorrowful “Angel’s Rest,” a eulogy to one of Anderson’s favorite trails near her Portland home, which was devastated in 2017 by fire. “Sant Feliu de Guíxols” elicits the beauty of the coastal Spanish town. It is a quietly and consciously happy song triggered by a conversation with a fan who accused Anderson of only playing sad songs. Anderson uses a slide and incorporates microtonal elements on “Lament,” a song inspired by images of the Syrian refugee crisis. The palpable emotional weight of these pieces are all invariably tied to Anderson’s capacity to create such vivid imagery with her composition, timbre and tonal choices.

Marisa Anderson’s experience in a myriad playing styles and keen abilities as an improviser are perfect skills to satiate her appetite for new approaches to composing. The backbone for her music is her undeniable mastery of North American traditions of country, folk, and blues. Cloud Corner sees Anderson using those skills in new forms from the Classical canon such as the fugue and ostinato. Traversing further still, guitar phrases on tracks like “Slow Ascent” and “Surfacing” owe a debt to the Tuareg style of guitar playing. Anderson was influenced by artists she played or recorded with such as Mdou Moctar, Kildjate Moussa Albadé, and Ahmoudou Madassane. Inspiration was also drawn from unique stringed instruments Anderson utilized such as the requinto jarocho and charango, which helped flesh out the riff of “Lift.”

The solo guitar work of Marisa Anderson owes its familiar tones to her awareness of history and her mastering of her instrument, yet it is completely new. Marisa Anderson filters musical history through her own personal experiences, as a traveler in life and in music. A curious and gifted player, Anderson has spent over 35 years of playing forging her singular, instantly recognizable voice. Marisa Anderson’s Cloud Corner is hopeful in the face of any discord, a resplendent diverse sound sanctuary that shines, a mirror of the horizon it looks towards.

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191 Toole

191 East Toole Ave

Tucson, AZ 85701

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No Refunds

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