Having listened closely to the three selections I had got from this singer; I decided to find him again and have him give me some more of his repertory. This second session was well worth-while, since I managed to seat him so as to get more voice. At least, that was the case until I inadvertently complimented him on his gogo technique. This was a bad idea, since he considered himself an instrumentalist and not a singer anyway. As soon as I had passed this bit of ill-considered praise, he began to withhold the volume of his voice so that his accompaniment would be more audible. During playbacks he proudly drew my attention to passages where under a vocal line which was too weak in volume the deftness of his finger work could be heard. The most completely Sudanese piece in the group (Chabacro) is also the most pleasing to me personally, because of the free treatment of the vocal line.
The Paul Bowles Moroccan Music Collection (AFC 1960/001), American Folklife Center, Library of Congress, Washington, D.C., Courtesy of the Paul Bowles Estate and Irene Hermann / Tangier American Legation Institute for Moroccan Studies.