Raï is not Dead

Fanfaraï Big Band have been known as just Fanfaraï since their inception in 2005, but have now renamed owing to the increased number of multi-instrumentalists for this, their third album, which succeeds in fusing diverse musical genres. Comprising a typical rai framework, there is melhoun, a melismatic Andalucía-derived poetic song, and Gnawa, a North African ceremonial incantation and dance, both well-integrated into a jazz or Latin-jazz background with an occasional reggae admixture. Admittedly, their live performances, grounded in their background as a groupe de rue (street band) and enhanced by audience enthusiasm, is more spontaneous and visceral.

Genres like Gnawa and jazz may sound distant to each other, but they are skilfully interwoven. ‘Fet Elli Fet’ (What's Past is Past) is a poignant instrumental reworking of a famous Ahmed Wahby song. ‘Waliye’ starts with an enigmatic piano solo and intriguingly intertwines Gnawa and jazz to culminate in an ecstatic electric guitar solo. Similarly, in ‘Jilalija’, a feverish saxophone solo cuts against the rapturous jazz underlay. ‘Manity’ is an upbeat reggae call to fraternity that closes this creative and entertaining journey along distinct but blended musical domains.