[Music] Maurice Louca – Elephantine

Maurice Louca is a 36-year-old composer and guitarist/pianist from Cairo, Egypt.  This work, a co-release by the labels Northern Spy and Sub Rosa Records is his masterpiece; a composition sitting on the apex of psychedelic progressive rock, modern classical, jazz and shaabi music.  Really swinging listening.  From his Bandcamp website:

On Elephantine, his new Northern Spy/Sub Rosa album, Cairo-based Maurice Louca guides a 12-piece ensemble through a panoramic 38-minute odyssey, which he describes as his most ambitious project yet.

One of the most gifted, prolific and adventurous figures on Egypt’s thriving experimental arts scene, Louca has in recent years garnered a global reputation through two previous solo albums and an expanding, evolving lineup of genre-defying collaborations. The Wire called his 2014 sophomore solo effort, Salute the Parrot, “remarkable music—dense, driven and splashed with colour.” In 2017, the self-titled debut by Lekhfa, the trio of Louca and vocalists Maryam Saleh and Tamer Abu Ghazaleh, was praised as an “edgy triumph” in The Guardian and picked by BBC Radio 3’s Late Junction as one of the very best 12 albums of 2017.

For Louca, 36, Elephantine serves as both the pinnacle of his wide-ranging experience and a bold next step in his development as a composer, arranger and bandleader. The celebrated Egyptian visual artist Maha Maamoun has created the album cover art, following her contribution to Salute the Parrot. “There was a blessed thing about the process of making this record,” Louca says of the sessions, held last year in Stockholm and featuring the leader on guitar and piano. “The dynamic between us musically but also as people …What these musicians delivered was really more than I could ask for, Everyone played their hearts out on this record.”

The music—from its pensive lulls through its stretches of hard-grooving hypnosis and moments of avant-jazz catharsis—testifies to that rapport. Best absorbed as a continuous performance, Elephantine’s six individually named tracks nonetheless present striking self-contained landscapes. “The Leper” entrances through a deft use of repetition that Louca gleaned from cosmic jazz, African and Yemeni music and other transcendental modal traditions. (Those who’ve followed Louca’s work might be reminded of the Dwarfs of East Agouza, his mesmeric unit with Shalabi and Sun City Girls’ Alan Bishop.)

“Laika” manages to evoke the minimalists, though on the combustible terms of ’60s and ’70s free jazz; “One More for the Gutter,” on which Louca ingeniously pits one half of his ensemble against the other, albeit in a synergistic way, mines similarly fiery terrain. “The Palm of a Ghost” distills the band to a Cairo-rooted core, featuring stirring spontaneous melodies from oud player Natik Awayez, violinist Ayman Asfour and vocalist Nadah El Shazly. The album’s title track follows, and it too blurs the border between composition and improvisation with gorgeously atmospheric results. “Al Khawaga,” with its colossal ensemble riffs, beautifully dirty swing and impassioned blowing, is an ideal finale.

Elephantine will be released on Vinyl (via Sub Rosa), CD & digital streaming/download (Northern Spy). It was recorded in Stockholm in August 2017 at Stureparken Studios by Ronny Lahti, mixed by Adham Zidan and mastered by Heba Kadry.

credits

released February 1, 2019

Tommaso Cappellato (Drums/Percussions)
Ozun Usta (Drums/Percussions)
Elsa Bergman (Bass)
Pasquale Mirra (Vibraphone)
Piero Bittolo (Baritone Sax/Alto Sax/Bass Flute)
Anna Högberg (Alto Sax)
Rasmus Kjærgård Lund (Tuba)
Isak Hedtjärn (Clarinet/Bass Clarinet)
Nadah El Shazly (Vocals)
Natik Awayez (Oud)
Ayman Asfour (Violin)
Maurice Louca (Guitar/Piano)

Recorded by: Ronny Lahti
(In the Palm of a Ghost) recorded by: Adham Zidan
Mixed by: Adham Zidan
Mastered by: Heba Kadry

Welcome to AMOT…

To start the blog, one could do far worse than post a picture of one of my musical heroes, the legendary ‘Satchmo’, Louis Armstrong, giving an impromptu performance in Cairo, Egypt, for a throng of fans in 1961. The photo is from the Louis Armstrong House Museum, and I wish to acknowledge Meridian.org, who originally posted this picture and others.