Photo by Tatiana McCabe

In recent years, the Jewish music tradition has been augmented and updated by a number of disparate musical genres. From klezmer revivalists like The Klezmatics to the avant-garde jazz of John Zorn to the bluegrass of David Grisman to the hip-hop of Balkan Beat Box, different artists have drawn from Judaic music’s melodies, themes and rhythms.

Inspired by his grandfather who was a cantor, singer/songwriter and guitarist Jeremiah Lockwood was raised by a traditional Jewish family in Queens, N.Y. With his band The Sway Machinery, Lockwood melds Hebrew cantorial singing with elements of indie rock, Piedmont blues and funky Afro-beat style horns.

During the course of two albums, Lockwood assembled a notable group which includes full time members Jordan McLean and Stuart Bogie (both of Antibalas), drummer John Bollinger and bass saxophonist Colin Stetson (who has toured with Arcade Fire). Past members include drummers Brian Chase (Yeah Yeah Yeahs) and Tomer Tzur (Balkan Beat Box). The band transcended its star-studded résumé and became good enough to gain a following based on its own merits.

Now, Lockwood and company return for their third album, The House of Friendly Ghosts, Vol. 1. The band recorded the album during its trip to play the legendary Festival in the Desert in Mali. As the leader of the first Jewish band invited to the festival, which typically features Tuareg groups like Tinariwen as well as other neo-African bands’ spin on centuries old traditions, one of Lockwood’s fondest memories of the trip was playing a song from his own tradition and how well the audience responded to it.

“The family tradition in my music is one of the things that actually helped them relate to it more,” he says of the audience, which is used to griots whose families go back many generations. “At our concert, I introduced one piece that was written by my grandfather in French so everyone could understand and they cheered. It’s part of the human experience for music to be passed down from generation to generation.”

While Lockwood’s singing in English for the first time on record is a highlight, it’s the guests that truly elevate Ghosts. While the highest profile guest is Tuareg singer Khaira Arby – something of a national treasure in Mali – other Malian stars such as Vieux Farka Toure, Djelimady Tounkara of Afrocubism and Super Rail Band also contribute.

“I tried to have no preconceptions going in,” Lockwood explains of his first visit to Mali. “I found the people to be warm and receptive – this wasn’t surprising but it was affirming to see the great power of music to bring people together. The other musicians were really cool people who were open to sharing their knowledge. They were also open to listening to music that was different from their own.”

Recorded at Ali Farka Toure’s Studio Bogolan in Bamako, the album opens with “Serigou,” which is one of the many songs written and/or sung by Arby in the Tuareg tradition. Lockwood’s “Skin to Skin” follows and the Afro-beat horns provide a counterpoint to “Serigou” before Saharan sounds creep into the background as the song builds momentum. While some tunes lean firmly toward one genre, the various traditions are fully fused on “Pilgrimage,” “Golden Wings” (where the two singers both shine) and the uplifting “All the People.” Snippets of field recordings from during the band’s travels appear in between songs, adding poignant bits of detail that color the album’s picture more fully.

“This is something I feel like we’ve been working toward for our entire life,” Lockwood says. “It was our intention to discover new music and discover something new in ourselves by working with artists there. While I had a little bit of a plan about who I wanted to work with, it didn’t go as expected – it went much better.”