The American magazine considers you "the spiritual daughter of Django Reinhardt and Billie Holiday." Do you recognize yourself in this comparison?
Yes and no, because I don't think I have the same voice as Billie Holiday, but I do come from a jazz background. I was very drawn to Ella Fitzgerald's voice, and Gypsy music also greatly influenced me.
Yet your roots are firmly planted on our side of the Atlantic.
The history of music, and especially the history of humankind, shows that what happened on the other side of the Atlantic takes root in Africa. I come from the far south of Morocco, and I'm simply reclaiming what is already culturally African, what is culturally from my homeland. In Morocco, it's sung in Berber or Malian, but the notes are already the pentatonic scales of the blues. And the rhythms too. I drew from these different origins, from different cultures, to create my own unique sound.
Is that how you conceived your album "Hand Made"?
Handmade means handmade, it's craftsmanship. For me, music is craftsmanship, it always will be. Even when working with machines, electronic music is still craftsmanship because you work with your hands. For me, it's essential to have this kind of practice, to create for others. Like a cabinetmaker who puts concentration and energy into their creative work. It's a gift to others. And it's the same on stage. You have to give to others. Music is meant to create movement. For me, that's so important. That's how I share my mixed heritage with others.
So you're fully embracing the "Mixed Jazz" spirit of this week at Le Parvis!
That's great. We're seeing different kinds of music again at jazz festivals; we're seeing African music incorporated into jazz. That's what jazz is all about: a great fusion of Black and White cultures. It's a blend that creates new possibilities. Jazz has shed that rigid, embarrassing label that threatened to become synonymous with classical music, which was considered static and elitist. Jazz is popular music and it must remain so!
