Inspired, free, luminous music-making. An outernational holy grail and a stiff tonic for all citizens of nowhere.
Already the great French jazz saxophonist had made monumental records alongside all-time legends like Monk, Blakey, Bud Powell and Miles — that’s Wilen on Lift To The Scaffold — before cutting loose at the end of the sixties on a two-year journey through Morocco, Algeria, Niger, Mali, Upper Volta (now Burkina Faso) and Senegal, with a team of film-makers, technicians and musicians. 
Moshi means trance utterance — the moshi is a demon invoked by the Fulani Borogi of Niger, to chase away angst and depression — and this is a shamanistic bricolage of smoky musical spells and scraps of intimate, outdoors ambience, full of love, good vibes and gritty musical wonder, drawn from more than fifty tape reels recorded en route: desert blues, space-jazz, street-funk, acid rock, polyphonic rhythms and new-thing influences like Shepp and Sanders; buzzing, extended ensemble sessions, like alternative Bitches Brews, crossed with diverse snippets of magic grabbed on the wing, like Algerian gnawa, or solo mbira, or just people laughing together, or a Bamako griot… 
Beautifully presented, with a twenty-page booklet, and the DVD of Caroline de Bendern’s vivid, freewheeling film A L’Intention De Mlle Issoufou A Bilma, about the trip.
Fervently recommended.