Titled Live in Saint Louis, Senegal, the album was released on 7 November through Miguel Zenón’s Miel Music label. It features Pannier’s quartet – Cuban saxophonist Yosvany Terry, pianist Thomas Enhco, and bassist François Moutin – performing alongside Niang and an ensemble of eight Senegalese percussionists. The recording was mixed by engineer Dominique Borde at the personal studio of French composer Éric Serra.
The project was developed during a seven-day residency in Senegal, where the musicians explored ways to merge two distinct musical traditions. The collaboration marks a first for both jazz and sabar music, bringing together piano, saxophone, and double bass with the layered polyrhythms of Senegalese percussion.
According to Pannier, the experience deepened his understanding of sabar as more than a drumming technique. “Sabar is a much deeper and richer concept,” he said. “It refers to a family of drums, a dance form, and a language used for communication, celebration, and spiritual connection.”
Sabar, traditionally practised by Griots – Senegalese oral historians and storytellers – plays a central role in community events, ranging from ceremonies to wrestling matches. It is also considered a means of healing and spiritual expression.
Pannier’s interest in Senegalese rhythm dates back to childhood, when he first encountered the work of the late Doudou N’Diaye Rose, one of Senegal’s most renowned drummers and a UNESCO-recognised “living human treasure.” Inspired by Rose’s music, Pannier pursued a career in drumming, later studying at Berklee College of Music and the Manhattan School of Music before performing with artists such as Miguel Zenón, Aaron Goldberg, and Bob James.
His long-held ambition to collaborate with sabar musicians came to fruition after meeting organisers of the Saint-Louis International Jazz Festival, Africa’s largest jazz event. Pannier travelled to Senegal in May 2023, where he met Niang, a former member of N’Diaye Rose’s ensemble. The partnership culminated in a joint performance at the 2024 edition of the festival.
Over the following year, the two musicians worked remotely, exchanging rhythmic and harmonic ideas that later formed the album’s repertoire. Tracks include ‘Xalat Bou Set (“The Holy Spirit”)’, a joint composition; Sine Saloum, inspired by a Yoruba melody; and Hommage à Doudou N’Diaye Rose, written by Niang as a tribute to his mentor.
The album also features reinterpreted jazz standards such as Ornette Coleman’s ‘Lonely Woman’, John Coltrane’s ‘Naima’, and Dave Brubeck’s ‘Take Five’, the latter chosen at Niang’s request to introduce his drummers to complex time signatures.
Reflecting on the collaboration, Pannier said the experience had reshaped his musical outlook. “They don’t separate art from life,” he said. “This project changed my vision and made me think about music in a much more complete way.”
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source www.musicinafrica.net ’
