SAHA GNAWA صاحا گناوة

SAHA GNAWA صاحا گناوة

Thursday, May 28, 2026
Saha Gnawa

THURSDAY MAY 28, 2026 @ THE IRON HORSE | DOORS 6PM SHOW 7PM | TIX $22 ADV $25 DOOR
MEMBER RSVP (TOKEN)

NORTH AFRICAN FUTURISM THRU ASTRAL SUFI BLUES

SAHA GNAWA unites the founders of Innov Gnawa with leading figures from New York City's jazz and contemporary music scenes to reimagine modern Gnawa music.

Often referred to as "Sufi Blues," Gnawa is rooted in Morocco's ancient history. Over centuries, infectious rhythms and polytheistic spiritual beliefs originating from West African slaves integrated with Islam and the indigenous culture of Morocco, giving birth to a hybrid spiritual sect and musical community. The lyrics of Gnawa songs are prayers invoking saints and spirits for freedom and liberation. Gnawa music is revered and treasured throughout Morocco for its soulfulness and healing power.

The ensemble is co-led by Maâlem Hassan Ben Jaafer, a master musician carrying forward generations of Gnawa tradition as the son of esteemed Maâlem Abdullah Benjaafar of Fes. Co-leader Daniel Freedman, a drummer and composer, brings decades of experience collaborating with artists like David Byrne and Angelique Kidjo, as well as deep knowledge of traditions from Africa, the Middle East, and beyond.

The ensemble also features Amino Belyamani (Innov Gnawa, Dawn of Midi) and David Lizmi (Innov Gnawa, Bombino) on qraqebs and backing vocals, and Jason Lindner (David Bowie, Now vs Now) on keys and synths, and Guilherme Monteiro (Gal Costa, Forro in the Dark) on guitar.

Refined via late-night sessions at LunÀtico in Bed-Stuy, Brooklyn, SAHA GNAWA explores trance-like states through its intuitive interplay, allowing ancestral rhythms and melodies to drift into unknown territories. What emerges is both an authentic performance of centuries-old Gnawa tradition and a bold step into new dimensions of sound—where traditional song forms dissolve into ecstatic dance tracks laced with subtle electronics.

Their self-titled debut album features guest appearances by NELS CLINE's textural brilliance on "Hamudah," ABRAHAM RODRIGUEZ's Yoruba invocations on "Tbal," and DONNY MCCASLIN's interstellar saxophone atop ROMAN DIAZ's congas on "Negshah."

Well, you can't beat a little bit of Moroccan gnawa with a little bit of New York free jazz. — Gilles peterson, bbc

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