lunedì 4 maggio 2015

Arab tunes mixtape # 27 Another state of mind - Morocco's Moods

Mixtape that collects pieces by some of the most interesting interpreters that the Moroccan music scene has given birth between the late '60s  and late 70s. A particular music with strong political content, hypnotic, rhythmic, meditative and spiritual, in one word: unique. The Amazigh music tradition revisited and renewed in line with the zeitgeist. A different state of mind.

Mixtape che raccoglie brani di alcuni dei piu interessanti interpreti che la scena musica marocchina ha partorito tra la fine degli anni 60 e la fine  degli anni 70 . Una musica particolare dai forti contenuti politici , ipnotica, ritmata, meditativa e spirituale, in una parola sola : unica. La tradizione musicale amazigh rivisitata e rinnovata in linea con lo spirito del tempo. Uno stato differente della mente .

Dedicato a tutti i cercatori

01 Archach  - Al 'ambar  
02 Mohamed Rouicha - Lil el-Lil
03 Izenzaren - Donit Tezri
04  Jil Jilala - Al Kouds
05 Lemchaheb  -   Tbayaa Nass
06 Imazighene -  IghousseOulinou
07  Nass El Ghiwane - Mzine Mdihek
08 Mohamed Rouicha - Lawah Ammi Lawah el-hubb i'add
09  Nouas - Kords
10 Izenzaren - Warlamane
11 Jil Jilala - Rifia
12 Jil Jdid - El Wali part 1
13 Archach  - Sidi Hammou 


sabato 2 maggio 2015

Ghazi Abdel Baki غازي عبد الباقي

Born in 1969, Ghazi Abdel Baki started playing the drums at the age of ten in war-torn Beirut. By the age of twelve, he started rigging the balconies of his childhood home with microphones and recording live sounds of gun battles and shelling on a rudimentary 4-track cassette recorder. He spent his time mixing them with his early guitar compositions and created a personal soundtrack of his early years in Lebanon. At 15, he started performing with his band “Amnesia” in Beirut’s thriving underground music scene, performing numerous concerts and getting acquainted with veterans of the local scene, including Munir Khauli, Sami Shabshab, Walid Etayem, Abboud Saadi, and Ziad Rahbani.

In 1988, Ghazi moved to New York and pursued his studies in Industrial Engineering at Rensselaer Polytechnic Institute in Troy. He continued in parallel to play music and still experimented with recording at the University’s studios. Ghazi played with psychedelic rock band “ Nobody’s Fault”, and performed in several venues in Albany and Troy, New York.

In 1992, Ghazi moved to New York City to pursue a Masters Degree in Media Studies at The New School For Social Research. In parallel, he established his first recording studio on Orchard Street and started recording his first album “Crucial”, with fellow musician Ramzi Moufarrej and with the participation of John Benitez on Bass, Bobby Franscescini on Saxes and Bassam Saba on Nay.

In 1995, Ghazi returned to Lebanon and started teaching Media Studies at the Lebanese American University in Beirut, and continued performing live. He played the drums with Ziad Rahbani for more than two years during Ziad’s comeback in 1996-1998, with the Munir Khauli Group and with fusion band “Virus”. In 1999, he went on to record the live album “Beirut Salsa” with fellow musicians Abboud Saadi, Hani Siblini, Fouad Afra and Hratch Kassis.

In 2001, Ghazi Abdel Baki created “Forward Productions” an audio recording studio that eventually became the world music label “Forward Music”. He went on to produce the works of several renowned artists, including: Charbel Rouhana, Ghada Shbeir, Ziyad Sahhab, Soumaya Baalbaki, Issa Ghandour, Mustafa Said, and Fareeq El Atrash, as well as producing his own music. Ghazi also wrote music for films and recorded his first solo album in 2004 “ Communiqué #1”.

In 2007, Ghazi released his second solo album “ Communiqué #2” and started performing live as a solo artist. During this time he produced Ghada Shbeir’s debut album, “Al Muwashahat”, that went on to win the BBC World Music Awards following the landmark performance at the Barbican Hall in London in 2007. By the end of 2009, Ghazi released his third solo album “The Final Communiqué” and continued performing live with fellow musicians: Fouad Afra, Khaled Yassine, Tarek Yamani, Raed Khazen, Jean Madani, Tom Hornig, and Amadis Dunkel.

By 2010, Ghazi Abdel Baki had already produced and published more than 30 albums and began managing the careers of many of Forward Music’s recording artists. The Label started then producing Music Festivals in Beirut, and participated in live concerts in Damascus, Cairo, Dubai, Paris, Montreal, Marseille and London, among others. In 2011, Forward Music was recognized by the industry and by the press as the leading independent Music Label for World Music in the Middle East and started distributing the music of non-label artists, including Toufic Farroukh, Oumeima El Khalil, Tania Saleh, Ziad Ahmadieh, Soap Kills, Hazem Chaheen, Nida' Abou Mrad, Kinan Adhmi, Rayess Bek, Lethal Skillz and Lena Chamamyan. .

Also in 2011, Ghazi Abdel Baki created the Beirut live concert venue “ The Democratic Republic of Music DRM”, owned and managed by Forward Music. During its three years of operations, the venue hosted around 350 concerts with performing artists, such as: Stanley Jordan, Joey De Francesco, Toni Allen, The musicians of the Nile, Henry Texier, Souad Massi, Ilham Madfai, Toufic Farroukh, Nemr Abou Nassar, and more…

In 2015, Ghazi Abdel Baki released the CD/DVD album: “Ghazi Abdel Baki LIVE”.

(Source : Wikipedia ) 

Ghazi Abdel Baki غازي عبد الباقي - Communiqué # 1 بـــلاغ رقـــم

1 Ibtassem إبتسم 

2 Vamp-Ire (Instrumental) 
3 Al Wassiya الوصية
4 Jayee Ala Bali جآي على بالي
5  Shakwa
6 One And A Half (Instrumental)
7   What For (Ridaha) ريدها
8  Laysa Be ليس ب
9 The End Of An Era (Instrumental) 
10 Ibtassem (Reprise Unplugged)  


Ghazi Abdel Baki غازي عبد الباقي - Communiqué # 2 بـــلاغ رقـــم


01 Al Aanka'
02 Recurrent Theme (Muwashah)
03 Al Guinena (Asmahan)
04 Intemai' 
05 Tagore
06 Ramleh Sunset (Instrumental)
07 Balah (Instrumental)
08 Kameen Again (Instrumental)
09 Al Wajd
10 Ya Habibi (Asmahan)
11 Under Siege (Instrumental)



Ghazi Abdel Baki غازي عبد الباقي - The Last Communiqué الــبــلاغ الاخــيـر

01 Majnoun Leyla 

02 Galouleh 
03 Summer 
04 Al Hawa 
05 Tabb 
06 Ma Illy Hak 
07 Prelude to Spring 
08 Spring 
09 To a Friend 
10 New Morning



sabato 18 aprile 2015

Arab tunes mixtape # 26 - Weird scenes inside the Middle East

New mixtape that investigates the new sounds from the Arab world.
You can call it trip hop, experimental or electronic music, in any case it's simply contemporary Arab music.

Nuovo mixtape che indaga i  suoni  moderni provenienti dal mondo arabo.
Potete chiamarlo trip hop, musica sperimentale oppure musica elettronica , in ogni caso si tratta semplicemente di musica araba contemporanea .

In culo all'ISIS e a tutte quelle persone ottuse che credono di conoscere il Medio Oriente, ed il mondo arabo in generale, sulla base delle sciocchezze, degli stereotipi e delle mezze verità divulgate dai media.

Dedicato a quello stronzo di Matteo Salvini 

01 Al Rafeeq - Clash Of A Broken Back
02 Almosstnqa3 AKA The Swamp - B'il Raghem 3na (Feat The Chikatura)
03 El 3ou - Manich Menna
04 Hello, Psychaleppo! - Tarab Dub
05 Al Rajul Al Hadidi - Qãfila
06 Maurice Louca - Maksim (Maxim)
07 Badal FaQed (Ahmad Farah & Mahmoud Radaideh) - El Ein
08 AsnamLMasrah - Esqat Najmi
09 Taysir Odeh - Egyptian Trap
10 Dijit - 1772
11 Phaylaq - Alrabi3
12 Maii and Zeid - Kalam El Leil
13 Khan el rouh - Ya Welah
14 Arab Highway - Baghdad Is Not Yours
15 Zaed Naes - 3onsor Falat Feat Muhammad Abdullah
16 Shlomo Casio - Kees

Front cover by Asma Ghanem


Or you can listen and download the mixtape on soundcloud

venerdì 10 aprile 2015

Asalah Nasri أصالة نصري‎

Assala Mostafa Hatem Nasri ( أصالة مصطفى حاتم نصري‎ aka Asala, Asalah and Assalah; born 15 May 1969) is a Syrian musical artist.

Assala was born in Damascus, Syria to a middle class couple. Mostafa Nasri, Assala's father, was a revered Syrian composer and singer. Assala began her musical career by performing patriotic, religious, and children's songs when she was four years old. She sang the theme song "Qessas Al Sho'oub" (Arabic: قصص الشعوب), of the cartoon show, Hekayat Alamiyah (Arabic: حكايات عالمية). In 1986, Mostafa Nasri died after suffering from internal bleeding caused by a car accident. Aged 17 she helped care for her siblings, Reem, Amani, Ayman and Ayham with her mother.

Assala's commercial musical career debuted in 1991 with Law Ta'rafou (Arabic: لو تعرفو). The album had 4 songs in the oriental operatic tarab style. The album was an instant hit with heartbreaking songs like "Ya Sabra Yana" and "Samehtak Ketir". She quickly cemented her presence in a growing industry brimming with new, young talent like Najwa Karam, Saber Rebaï, Angham, and Abdelmajeed Abdullah.
Assala has four children, two from her first marriage to Ayman Al Dahabi, and twins from her second marriage to a Palestinian-American director Tarek Al Eryan. She currently has custody of both their children, Sham and Khaled. She was pregnant with Tarek's child in early 2007, but suffered a miscarriage halfway through the pregnancy. Assala is a Sunni Muslim. She was granted Bahraini citizenship by Bahraini King Hamad bin Isa Al Khalifa a few days after she gave a performance in the operetta Love and Loyalty in celebration of Bahrain’s Independence Day.Assala holds two citizenships; Syrian (primary nationality) Bahraini (second nationality) .

(Source : Wikipedia)

أصالة مصطفى حاتم نصري ( 15 مايو 1969 ) مطربة وفنانة سورية لقبت بخليفه ام كلثوم وسيده الغناء العربي و ايضالها جماهيرية كبيرة و تحديدا في الخليج حيث هي و الفنانه الراحله ذكرى هم الفنانتان الاكثر الشعبيه في الخليج من الفنانات الغير خليجيات و لكن منحت السيده اصاله الجنسيه البحرينيه وذلك بعد ان بعث برقيه رسميه بطلب مقابلتها و منحها الجنسيه البحرينيه . تتميز بصوت قوي وبشخصية صريحة فازت بالكثير من الجوائز ومنحت العديد من شهادات التقدير .


ولدت أصالة في دمشق بسوريا ،في 15 مايو 1969م،وهي سورية الجنسية عاشت في سوريا , دمشق، يعفور، أبو رمانه، شارع المهدي بن بركة، مقابل أمرية للطيران (دمشق)،ولديها منزل في الأمارات العربية المتحدة في قرية النخيل، والدها هو السوري المطرب و الفنان الراحل مصطفى نصري،وعائلتها تتكون من أربعة أخوة : أماني، أيهم، ريم،أنس / ووالدتهم : عزيزه ، وتعيش الان اصالة فى القاهرة مصر .


لديها أربعة أبناء : شام وخالد وهم من زوجها الأول أيمن الذهبي.و التوأم علي وآدم من زوجها الحالي المخرج طارق العريان


اكتشف مصطفى نصري والد الفنانة أصالة والذي كان مغنيًا مشهورا، ذكاء ابنته و موهبتها في الغناء، حيث عاشت في مدرسة والدها الفنان الكبير مصطفى نصري الغنائية فتتلمذت على يديه ورعاها في ذلك المجال، وقد وجد في أصالة الصوت الجميل والقوي واكتشف ذلك عندما كان عمرها أربع سنوات، بدأت الغناء وعمرها سبع سنوات وذلك من خلال تقديم أغاني والدها،وبعدها في قصص عالمية (قصصالشعوب)، وقامت بالغناء للأطفال في المناسبات الوطنية بالإضافة إلى أنها شاركت في غناء الأناشيد القومية.

مسيرتها الفنية 

سطع نجم أصالة نصري منذ نعومة أظافرها حيث بدأت الغناء وعمرها سبع سنوات في قصص عالمية وقصص الشعوب، بالإضافة إلى أنها غنت الأناشيد وغنت للأطفال في المناسبات الوطنيةالسورية ورعاها والدها مصطفى نصري في هذا المجال. توفى والدها في عام 1986 وكان لوفاته أثر كبير على حياتها، فتوقفت عن الغناء لمدة ثلاث سنوات وكانت بمثابة الأب الروحي لإخوتها الصغار ريم وأماني وأنس وأيهم والمسؤولة عنهم.لها بنت(شام) وولد (خالد).

ذاع صيتها في العالم العربي بعد صدور ألبومها"لو تعرفوا" عام 1993، والذي غنت فيه لكبار الملحنين المصريين. من ألبوماتها: "و لاتصدق" و"إغضب"و"علي جرى" و"قلبي بيرتحلك" و"يا مجنون" و"يمين الله". شاركت في العديد من مهرجانات الأغنية العربية وحازت على العديد من الجوائز.

يمتاز صوت الفنانة أصالة بنبراته القويةولإحساسها المرهف أثر كبير في أغانيها. شاركت أصالة في العديد من المهرجانات العربية والدولية وكذلك تم استضافتها في الكثير منالبرامج التلفزيونية وكانت إطلالتها ذات تأثير كبير على الشاشة البلورية لدى المشاهدين.

جوائزها :جائزة أفضل فنانة لعام 1994م في دبي.جائزة أوسكار الشرق الأوسط (الفارس الذهبي) لعام 1995م ·جائزة الغناء العربي الأول لأفضل أغنية باللغة العربية الفصحى في أبو ظبي لعام 1996م ·جائزة مهرجان القاهرة الدولي الثاني للأغنية لعام 1996م (Arab American Artist)·جائزة استفتاء دار البيان الذي أجرته مجلة الأسرة والرياضة والشباب و(MBC) لعام 97 م كأفضل مطربة.جائزة الهيئة العامة للإذاعة والتلفزيون لعام 1997م ·جائزة استفتاء دار البيان الذي أجرته مجلة الأسرة جلة الأسرة والرياضة والشباب و(MBC) لعام 98 م كأفضل مطربة.جائزة هيئة الإذاعة والتلفزيون في الإمارات لعام 1998م·جائزة الشرق الأوسط بمصر لعام 1998م.درع شكر وتقدير من المهرجان الغنائي الوطني الأول في بيروت لعام 1999م·جائزة استفتاء دار البيان الذي أجرته مجلة الأسرة والرياضة والشباب و(MBC) لعام 1999 م كأفضل مطربة.جائزة الشرق الأوسط بمصر لعام 1999 م.جائزة من إذاعة الإمارات FM لعام 1999 م.جائزة الشرق الأوسط بمصر لعام 2000 م.جائزة استفتاء دار البيان الذي أجرته مجلة الأسرة والرياضة والشباب و(MBC) لعام 2000 م كأفضل مطربة.إهداء من إدارة الشؤون المعنوية بجمهورية مصر العربية وكذلك جائزة العطاء لعام 2000م.جائزة العطاء لعام 2000م (Arab American Music, Arts & Literature Award 2000).جائزة كأفضل فنانة عربية حسب الاستفتاء الخاص بمجلة زهرة الخليج لعام 2001 م.كثير من أغانيها نالت إعجاب الجماهير وفازت بالمرتبة الأولى لعام 2001 م.جائزة من قبل اللبنانيين عبر الإحصاءات التي أجرتها Statistcs Lebanon كأفضل مطربة عربية للعام 2001 م.كما أن كثير من أغانيها نالت إعجاب الجماهير أيضا وفازت بالمرتبة الأولى لعام 2002 م.جائزة أوسكارالجمهور من مجلة السينما والناس (Lebanese American Foundation).جائزة مهداة من إدارة الشؤون المعنوية في جمهورية مصر العربية ·جائزتين مهداتين من عمدة ولاية لاس فيغاس، وولاية نيوجيرسي الأميريكيتينجائزة أفضل مطربة لعام 2005-2006 م.جائزة الميوريكس دور كأفضل مطربة عربية 2007 م.جائزة ART كأفضل مطربة عربية 2008 م.


هذا إضافة إلى التكريم والجوائز العديدة التينالتها من خلال مشاركاتها الفنية الرسمية والعادية في المهرجانات المختلفة؛

شهادة تقدير من اتحاد شبيبة الثورة (1982م) الجمهورية العربية السورية.براءة تقدير من نقابة الفنانين (1985م) الجمهورية العربية السورية.إهداء من الفرقة الذهبية لعام1992م.شهادة تقدير من المركز الثقافي الأول للأوبرا المصرية لعام1993م بمصر.شهادة تقدير من الهيئة العامة للتلفزيون لعام1995م بسوريا.شهادة من مهرجان جرش لعام1995م بالأردن.شهادة من مهرجان القاهرة الدولي الثاني للأغنية *الجائزة الذهبية* لعام1996م بمصر.شهادة تقدير من الهيئة العامة للإذاعة والتلفزيون لعام1997م في سوريا.شهادة من مهرجان بيروت الدولي الأول لعام1997م.شهادة تكريم من خريجي الكليات العسكرية والجامعات المصرية لعام1999م بمصر.شهادة من اللجنة الوطنية لشؤون الأسرى والمفقودين لعام 1999م بالكويت.شهادة براءة وتقدير من نقابة الفنانين لعام1999م ب سوريا.شهادة تقدير من هلا فبراير لعام 1999م بدولة الكويت.شهادة تقدير من مهرجان جرش للثقافة والفنون لعام2000م بالأردن.شهادة تقدير من نقابة الصحفيين لعام2000م جمهورية مصر العربية.جائزة الموريكس دور كأفضل مطربة عربية عالم 2006جائزة الموريكس دور كأفضل مطربة عربية عام 2007

(Source :

Asalah Nasri أصالة نصري‎ - Ya Sabra Yana

01 Ya Sabra Yana
02 Law Ta'rafou
03 Hat Albi
04 Samehtak Ketir


Assala Nasri   أصالة   نصري‎  - Baynak Wa Bayny  بـيني   و  بينك

01 Banak W Beny
02 Aala Balad ElMa7bob
03 Lab3at Resala
04 Lelet El 3eed
05 Yalle Zara3t
06 Betro7lak Meshwar
07 Sedy Ya Watany
08 Hamdella Aal Salama

Asalah Nasri أصالة نصري‎ - Tawam El Roh توأم الروح

01 Alnsyan
02 Tafkerk Beid
03 Tawam Al Roh
04 Wasone Feeh


Asalah Nasri أصالة نصري‎ - Walla Tsada2 ولا تصدق

01 Bel osool
02 Ehna Benstnak
03 Ela Enta
04 Mosh Maaol
05 Wala Tsadaq
06 Wenta Maya (ood)
07 Zay Al helm


Assala Nasri أصالة نصري‎ - Eghdab أغضب


01 Eghdab
02 Ma Tes2alnish
03 Bathada Eyounak
04 Law Alf Ahebbak
05 Magrouh Sout El Saat


Assala Nasri أصالة نصري‎ - Arg3lha أرجع لها


01 Hyeah Keda
02 Shy2 Byrga3lak
03 3aly_Jara
04 Rasamtak
05 Meshwar
06 Erga3Laha


Asalah Nasri أصالة نصري‎ - Rahal رحل

01 Ma athen
02 Mestreh Al Bal
03 Rahal
04 Sehert Al Lel

Assala Nasri أصالة نصري‎ - Al Mushtaka المشتكي

01 Al Mushtaka
02 Ma Tis2alnish
03 Holm Amiq
04 Alf Leila

Assala Nasri أصالة نصري‎ - Albi Byertahlak قلبي بيرتحلك


01 Alby Beyartahlak
01 Ala Ma Inta
02 La Thany Mara
03 Lama Geeit Eineik
04 Eskot Baqa
05 Kathar Allah Kheirak
06 Alby Beyartahlak
07 Intaheina Min El Eitab
08 Ya Khalie


Asalah Nasri أصالة نصري‎ - Ya Majnun يامجنون

01 Ya Aba
02 Ya Majnun
03 Ithhamtek
04  Kul Al Nas
05 Ma Qultlish
06 Dah Qalbi Dah
07  E'tadhar
08  Hikaiah


Asalah Nasri أصالة نصري‎ - Awkat

01 Tawwak Ala Bali
02 Meta Ashoofek
03 Rooh Wu Rooh
04 Ma Tewaqqaet
05 Gemarhom Kulluhom
06 Afwan
07 La Salam
08 Terfaa Jebeenek
09 Magadar
10 Awkaat


Asalah Nasri أصالة نصري‎ - Moshtaqa مشتاقه

01 Ayeshny Thawany
02 Ya Eany
03 Mokhadee
04 Eetef Habibi
05 Mish Bemawaedy
06 Moegaba Feek
07 Foo Min Wahmak
08 Mabaash Ana


Asalah Nasri أصالة نصري‎ - Yamen Allah يمين الله

01 Yamin Allah
02 Haqeqa Wakeea
03 Ya El Nater
04 Tamn El Khyana
05 Inta W Ana
06 Saeedni
07 Ay haga


Asalah Nasri أصالة نصري‎ - Ya Akhi Asaal يا أخى اسأل

01 Leh El Ghorour
02 Samihna
03 Rajetak
04 Al Gheira
05 Ya Akhi Isal
06 Khalas
07 Asali Nafsi


Asalah Nasri أصالة نصري‎ - Qad El Heroof قد الحروف

01 Tasawar
02 Maly
03 Dameerak Sehy
04 Mesheet Seneen
05 Aataz Beek
06 Aashet El-Asamy
07 Aayez El-Haq
08 Khally El-Tabeq Mastour
09 Loan Omry
10 Qad El-Heroof


Asalah Nasri أصالة نصري‎ - 'Ady عادي

01 Kalwk shoyaa
02 Feyn habiby
03 Aoulak Bahibak
04 Shof be enaya
05 Aeyz tebed
06 Alhawa
07 Adi
08 Asfa


Asalah Nasri أصالة نصري‎ - Hayaty

01 aktar
02 ana mosh saab alek
03 arod leeh
04 alemtiny
05 hayaty
06 wehna sawa
07 been edeek
08 naseny beek
09 wallahy ma tahady


Asalah Nasri أصالة نصري‎ - Swaha Qalbi سواها قلبى

01 La Tkhaf
02 Taby Tetrekny
03 Sawaha Galbi
04 Omnia
05 Kelmet Sheker
06 Agrab Gereeb
07 Deret El Ghorba
08 Talabtek
09 Shmoukh Eezy


Asalah Nasri أصالة نصري‎ - Haly Tayeb حالى طيب

01-Easht We shoft
02- Abi tasrokh
03-Hali taieb
04-Tqdar troh
05- Aiam we hatadi (With tamer hosny)
06-Tag rasy
07-Allah ya omry maak
08-Gay thneni


Asalah Nasri أصالة نصري‎ - Khaleejiat  (Live)

01 Alwannah
02 Asalli nafsi
03 Awaat
04 Ebteed anni
05 Kathar allah
06 La salam
07 Meta ashoufek
08 Oyonek
09 Raweh w rooh
10 Yakhey esal

Asalah Nasri أصالة نصري‎ - Nos hala نص حالة


01 Wala Dary
02 Kan Wahm
03 Ah Men Aynah
04 Etfrag Ala Nafsak
05 Ba'a Tabeay
06 Awa'at
07 Yesmaholy El Kol
08 Nos Hala


Asalah Nasri أصالة نصري‎ - Aghla el bashar أغلى البشر


01 Aghla al bashar
02 Ahna benstanak
03 Baalasoul
04 Mesh maaqoul


Assala Nasri أصالة نصري‎ - Qanon Kifak قانون كيفك

01 Qanon Kifak 
02 Ela Mata 
03 Shof 3ozr 
04 Bas De2i2a 
05 Shakhs Yotaham 
06- Sharha o 3atab
07 Te3ebt Aradiek 
08 Ya Rasy El Ta3ab 
09 Sem o 3asal 


Asalah Nasri أصالة نصري‎ - Shakhsia Aanida شخصيه عنيده

01 Shaghel Baly
02 Kabartak Ala Seedak
03 Aool Bahebek
04 Ana Hobak
05 Shakhsia Aanida
06 Asasy
07 Begad teganen
08 Rohy Wa khdany
09 Bonaan Ala Raghabatak
10 Sabny


Asalah Nasri أصالة نصري‎ - 60 Deaea Hayat

01 Molhemto El Wa7eda
02 El Ward El Balady
03 So2al Baset
04 3aysha 3aly Fat
05 Mawa2ef Mo2lema
06 60 De2e2a Hayah
07 Bo3dak 3any
08 3ala Eh
09 Khanat El Zekrayat
10 Manazel

martedì 17 marzo 2015

The Master Musicians of Jajouka & The Master Musicians of Joujouka رائد موسيقي جــاجـوكــا و رائد موسيقي جهجوكة

Cave of Bou Jeloud -  Jajouka


Joujouka   (   Jajouka, Joujouka or sometimes Zahjoukah , In Neo-Tifinagh: ⵣⴰⵀⵊⵓⴽⴰ)   is a small insignificant village of 500 people on the edge of the Rif Mountains in northern Morocco: its whitewashed houses have blue painted doors and window frames. A stony path lined with luxuriantly overgrown cactuses and sheer rock leads over a hill to the village mosque and the school.
But this isn't an ordinary village. Joujouka is the home of a musical elite whose ancestors came from Persia in the ninth and tenth centuries and who are still renowned for the magic and healing effects of the sounds they make.

The Legend of Sidi Ahmed Sheikh

There are many myths and legends which surround the inhabitants of the village. Many of them are about Sidi Ahmed Sheikh, a saint who founded the village in the thirteenth century and brought Islam to Joujouka. Not only that: Sidi Ahmed Sheikh was a great philosopher and a talented poet. It was he who discovered the music, both for his poetry and for his village.
In the seventeenth century the ritual musicians of Joujouka served in the court of the sultans of the Alawi dynasty. They lived in the palaces of the Muslim rulers, played on festive occasions and performed regularly on Fridays before the sultans went to the mosque to pray.
The art of these Master Musicians is linked both to Sufi mysticism and to paganism. They play on Tebel and Tariyya (drums), Ghaita (woodwind instrument), Lira (flute) and Gimbri (stringed instrument). Over a ritual sequence of several hours, the music develops a hypnotic attraction which puts musicians and public alike into a trance-like state. Villagers and outsiders both claim that the music has magical and healing properties.
The healing effect of the music became known in the surrounding villages: the crippled, the mentally ill, the sterile—they all made the pilgrimage to Joujouka. They hoped that the mystical sounds and the "Baraka" of Sidi Ahmed Sheikh would bring them a rapid recovery.

Boujeloud—the Father of Fear

But it's not just the spiritual and healing sounds which are typical of Joujouka's music. The Master Musicians are also deeply involved in heathen, rural customs and dance spectacles.
A key figure here is the goat-god Boujeloud—also known as the Father of Fear. Boujeloud is in fact none other than the antique goat-god Pan, who acts as a kind of source of fertility for the villagers. Women are said to become pregnant when Boujeloud touches them with his stick as he dances.
Once a year, at the end of the Muslim fasting month of Ramadan, a celebratory fire is lit on the village square in honour of Boujeloud. The Master Musicians of Joujouka begin to play and everyone waits excitedly for the arrival of the goat-god.
And suddenly he's there: a terrifying creature covered in fresh goatskin, wearing a straw hat and with his face painted black. Boujeloud carries two olivewood sticks in his hands, swings them through the air as he begins to sway in time to the music.

Encounter with the Beat Generation

The music of the Master Musicians of Joujouka has influenced many western musicians, especially Americans, in past decades. The list of those who have come to Joujouka in search of musical and spiritual inspiration is a who's who of students of pop culture, writers and wanderers between the worlds: from the Tangier-based Beat poets Brion Gysin, William S. Burroughs and Paul Bowles, to the Rolling Stones guitarist Brian Jones and the free jazz pioneer Ornette Coleman.
In the forties it was the then mentor of the Master Musicians, the famous Moroccan painter Mohammed Hamri, who was the key figure in bringing the west and Joujouka together. He was the only Moroccan artist who could deal with Burroughs and Gysin as an equal.
From his childhood onwards, Hamri had spent much time in the village in which his mother was born. The magic of the music seized the boy, who worked for the whole of his life to support the musicians and the villagers of Joujouka.
During the famines which raged in Joujouka and the surrounding villages in the Rif mountains during the forties, it was Hamri's suggestion to make the fascinating music of the region available to a wider public, to play in public places in larger towns and to earn money to put an end to the poverty in the village.

1001 Nights in Tangier

Shortly afterwards Hamri met Paul Bowles and Brion Gysin in Tangier. They recognised and promoted his extraordinary talent as a painter. In 1950, he took them both for the first time to Joujouka where they experienced the Master Musicians. Brion Gysin was overwhelmed by them; he said it was the music he wanted to hear for the rest of his life. As Hamri had done earlier, Gysin took on the role of mentor to the musicians.
Now he too did whatever he could to promote the musicians and to help fight the effects of famine in the village. As part of his efforts, in 1952 he and Hamri opened a restaurant in the Tangier Kasbah called 1001 Nights.
The music journalist Joe Ambrose reports that Hamri was responsible for the kitchen and the gastronomy while Gysin was responsible for attracting high-class custom: Bohemians, embassy staff, diplomats—he made sure the ambience was right. Small groups of musicians from Joujouka rotated six at a time. They came for a week, went back with their money and sent the next group. The women of Joujouka worked in the kitchen and did the cleaning.
As well as prominent local figures and members of the demi-monde, the guests of 1001 Nights included members of the western sub-culture like Timothy Leary or the Beat writer William Burroughs, who so admired the Master Musicians that he once described them as a 4,000-year-old rock band. 

Musical experiments with western musicians

The visit of Brian Jones to the Master Musicians in the sixties marks the start of a series of pilgrimages by western musicians to Joujouka which is still continuing. The Master Musicians put on a special musical spectacle for Jones in 1968 and the recordings became the album "Brian Jones meets the Pipes of Pan at Joujouka," which was one of the first world music albums.
The free jazz pioneer Ornette Coleman followed in January 1973. He was attracted to Morocco by the reports of the music journalist Robert Palmer, who'd already visited Joujouka. While Brian Jones just recorded the music of the Master Musicians, Coleman wanted to join them in performance. But the combination of the two musical worlds turned out to be more difficult than expected.
The ritually fixed musical structures of the Master Musicians couldn't easily be mixed with Coleman's individualistic improvisation. But eventually, it's said, Coleman developed a music which was fair to both sides. The music remained unpublished—shortly before his Joujouka album was ready, Coleman was fired by his record company.
But his experience in Joujouka had a long-term influence on Ornette Coleman's music. Based on what he'd heard there he developed the sound of his guitar ensemble Prime Time, which remained typical for him for many years. And the trip to Morocco also left a deep spiritual impression on Coleman.
The transcendental powers of the ritual music were proof for him of the existence of magic. Previously he had only believed magic was possible, now he knew. And after his visit to Joujouka, Ornette Coleman found himself finally able to free himself from the restrictions of western musical culture.

Commerce and musical change

Meanwhile, over the last twenty years, the situation of the Master Musicians of Joujouka has changed dramatically. Economic pressures have made a life dedicated to music no longer feasible. Traditional ways of life are eroding in Joujouka as elsewhere. Many musicians leave the village, looking for a more modern world and for better ways of making money.
But it's not just social change which has had an influence: the death in 1982 of the former leader of the Musicians, Hadj Abdessalam Attar, was a decisive influence on the change in their traditional performance culture. On his death, his son, Bachir Attar, claimed the leadership of the group.
According to the music journalist Joe Ambrose, Bachir Attar went to the Master Musicians in the village and said that, as his father had been their leader, this was now his privilege. They should start to introduce electronic instruments into the music, to make it more commercial.
"He was very young at the time," says Ambrose. "I think he was in his early twenties. The other musicians, many of whom had played on the Brian Jones album and had been with the group since then, simply laughed at him and said: 'You can perhaps become leader when the time is right, but you're not that far yet. You don't get the leadership just because your father was leader. And anyway this stuff with the modern instruments is simply rubbish.'"

Questionable world music projects

Nevertheless Bachir Attar retained his ambition to link his name with that of the music of Joujouka and to bring it out into the world. He cooperated with top ranking western pop stars, but he made such big concessions that little was left of the original form of the music of the Master Musicians.
And, unlike Hamri, Bachir Attar never did anything for the good of the village and its inhabitants with the considerable income he gained from the commercial marketing of the Joujouka brand. He began to recruit people who had nothing to do with Joujouka – commercial musicians from the nearby town of Ksar El-Kebir or Tangier.
"The Music of Joujouka featuring Bachir Attar", recorded a few years ago together with the Indian DJ Talvin Singh is Attar's latest album. It lacks any trace of the fascinating musical content of the traditional Master Musicians.
Attar has also cooperated with the funk saxophonist Maceo Parker and with the Rolling Stones in world music crossover projects which have little to do with the musical culture of Joujouka.
But not all the musicians of Joujouka are happy with the way in which Bachir Attar has been exploiting the religious and ritual music of their village for commercial purposes. Many of them do not want to follow the self-appointed leader of the Master Musicians on his way through the international music business.
Attar's opponents make up a group which still feels itself bound up with the spirit with which Hamri made the Master Musicians famous. They play the music in a way which certainly sounds different from the sound of twenty years ago, but which doesn't compromise with the stars of the music scene or with commercial producers.
Today there are two factions, both performing as the Master Musicians, but neither wanting to have anything to do with the other. The continuous tension between the two camps is not good for the life of the village, especially since the division often runs between brothers and cousins.
The split of the Master Musicians of Joujouka is a tragic development. It's an example of what can happen when music from a developing country gets pulled into the influence of the music industry.
All the same, Joujouka still maintains a highly organised musical culture, which remains unique in many ways. It's a music which has repeatedly attracted artistic visionaries and wanderers between the cultures, looking to find experiment and liberation within its ancient magical powers.

Arian Fariborz  -


As narrated in this nice article of Arian Fariborz ,after the death of Jnuin "El Hadj" Abdesalam el Attar, the contrasts within the community grew bitter. The schism occurred gave rise to two different groups. The relations between them were not always idyllic, as you can understand, for example, by what is written about Mohammed Hamri on the site of Bachir Attar.

For a better understanding, the group led by Bachir Attar is The Master Musicians of Jajouka , while the group directly (originally) by  Mohammed Hamri along with other elements of Attar 's family is The Master Musicians of Joujouka.

I decided to bring their biographies as well as have been posted on their websites.

 The Master Musicians of Jajouka رائد موسيقي جــاجـوكــا

Jajouka is an ancient village perched above a long valley in the blue Djebala foothills of the Rif Mountains in northern Morocco. The village is home to the Master Musicians of Jajouka as well as the sanctuary of Saint Sidi Ahmed Sheikh, who came from the East around 800 AD to spread Islam to North Morocco. As founding members of the village of Jajouka, the Attar family maintains one of the oldest and most unique surviving musical traditions known on the planet. The music and secrets of Jajouka have been passed down through generations from father to son, by some accounts for as long as 1,300 years.
Brion Gysin, William S. Burroughs, Steven Davis and other writers have connected elements of Jajouka’s musical traditions to Ancient Greek and Phoenician ceremonies. Burroughs famously dubbed the Master Musicians of Jajouka “A 4000 year old rock band.” However, he was likely connecting the unique rites of Boujeloudia, performed in Jajouka during the Aïd el–Kebir, to Lupercalia, the ancient Roman celebration, rather than precisely dating the origins of the music itself. Bachir Attar, leader of the Master Musicians of Jajouka, whose father, El Hadj Abdesalam el Attar led the group until his death in 1981, says the family’s most sacred compositions originated more than 1000 years ago.

Although no one can say for certain exactly when the village was founded, all agree that Jajouka derives its baraka, or spiritual power, from the learned Saint Sidi Ahmed Sheikh, whose tomb is both the spiritual and geographic center of Jajouka. Most people who live in Jajouka are members of the Ahl Sherif tribe, which means “the saintly”. The musicians of Jajouka are taught from early childhood a complex music that is unique to Jajouka. After many years of dedicated training, the musicians may finally become Malimin or Masters. In the past, the Jajouka musicians numbered as many as fifty or more players at a time. However, not all musicians reach the level of Malim. Usually only a few great masters arise each generation to pass along the secrets to their sons and nephews.

Before the arrival of Sidi Ahmed Sheikh, legend assigns the origins of the music to a cave in the hills of Jajouka. When the first Attar arrived in the region, he fell asleep in the cave of Boujeloud where the “father of skins” appeared to him in a dream playing the most beautiful music he had ever heard. Boujeloud, for whom Boujeloudia is played, returned to teach the villagers a special form of music they could pass down through the generations. Although villagers tend not to assign a specific date to the historic meeting of Boujeloud and Attar, most attribute the birth of the music to this legendary encounter, while ascribing its healing power to Sidi Ahmed Sheikh’s baraka. Boujeloud is believed by some to be a survival of Pan or of an ancient Phoenician deity, but as devout muslims, the musicians adamantly reject the connection of Boujeloud to any pagan deities.

Some writers in the past have coupled the arrivals of the Attars in Jajouka with that of Farid ad-Din Attar, the Persian poet who may have traveled across North Africa and may have spent time in Morocco. However, little evidence exists to support this connection, as the timing of Farid ad-Din Attar’s possible visit would have been roughly 500 years later than the arrival of Sidi Ahmed Sheikh. Bachir Attar suggests, however, that the first mention of Jajouka in historical writings comes in the Muqaddimah of Ibn Khaldun, published in 1377. In this early Muslim view of universal history, Khaldun places a young Prince of Morocco in Jajouka where he built a fortified castle. That may have been the time when the Jajouka musicians became the Imperial Pipers of the Sultan, a right they held until the beginning of the European Protectorate Period in 1912. For centuries, a rotating troupe of Jajouka Masters would stay in the palace playing sacred music like Hamza oua Hamzine (55) for the Sultan and his visitors and in battle for the Moroccan army. It was also this time when some jealousy of the royal musicians began to surface amongst others outside the family in Jajouka and throughout the surrounding villages.

For centuries, the Attar family sustained themselves and preserved their traditions with the patronage of the Sultans and donations received from pilgrims who came to the village seeking the healing power and blessings of Sidi Ahmed Sheikh. For many years the Rtobi clan, another early family in Jajouka, maintained the sanctuary of the saint. The responsibilities eventually fell upon the musicians, a duty they still carry out to this day. Local farmers also donated an annual percentage of their crops to the musicians, allowing the latter to dedicate all their time to practicing the complex music of Jajouka and taking care of the sanctuary.

In 1912 when Jajouka was cut off from the Moroccan Sultan, the Imperial Pipers returned to the village with a dahir, or special decree, which was said to have been stamped by seven Sultans of Morocco and indicated how the Jajouka musicians are the original Royal Pipers and should always be respected and protected. It was this time that many outsiders moved to the village and tried to force the Attars off their lands. These people resented the loyalty the Attars’ maintained toward the Moroccan court and they eventually forced them to give up their dahir. They also took lands from the Mosque in Jajouka, which the Attar family built, as well as holy lands of the Saint. Some writers and historians have also suggested that the influx of radio in the 1930s, the fact that sanctuary of Sidi Ahmed Sheikh may not have generated as much income as some other saints in the region, and the sad reality that many Master Musicians were forced into the Spanish army also contributed to the struggle the Jajouka musicians faced to preserve their traditions in the 20th century.

In 1950, near the end of the French and Spanish occupation of Morocco, two of the great influences on the Beat Generation, Brion Gysin, the painter and inventor, and Paul Bowles, the writer and composer, heard the wild music of Jajouka at a moussem (or festival) near Sidi Kacem, Morocco. Gysin was spellbound and determined to hear this Sufi trance-like music for the rest of his life. A year later, by coincidence, Gysin’s lover, Mohamed Hamri, brought Gysin to Jajouka, his mother’s village. After meeting the musicians in their village, Brion Gysin opened the now-legendary 1001 Nights restaurant to showcase their talents to expatriate Tangier in 1954, when the city was still an International Zone rather than a part of Morocco. The fifties were the heyday of the international city, which attracted not only the jet set, but also beat writers. Paul Bowles first formally introduced Brion Gysin to William Burroughs in 1957, and Burroughs also visited the tiny village.

In 1968, Brion Gysin brought Brian Jones of The Rolling Stones, to Jajouka. Tragically, Brian Jones drowned in 1969, a month after returning from Morocco, and the album he recorded there, Brian Jones Presents The Pipes of Pan at Joujouka*, was not released until 1971 (*misspelling the name “Jajouka” for “Joujouka”; the only release by Master Musicians from Jajouka to use this spelling). The Rolling Stones reissued this album in 1995 with the correct spelling of the village – Jajouka. The original LP was very influential and led to scores of people visiting the village in the following years, including rock critic Robert Palmer, who wrote about the band and the album for Rolling Stone magazine. Palmer, in turn, invited the jazz saxophonist Ornette Coleman. Together with the Master Musicians, they recorded the track “Midnight Sunrise” in Jajouka, which eventually appeared on Coleman’s 1976 album Dancing In Your Head. In the early 1970s, Joel Rubiner, Stephen Davis, and David Silver spent several weeks in Jajouka on assignment for National Geographic. A collection of Rubiner’s recordings were eventually made into the group’s second LP, The Master Musicians of Jajouka, released in 1974 through Adelphi Records.

Despite their exposure to Western audiences and collaborations with Western artists, the musicians continued to struggle for subsistence, as income from their records was minimal. However, the musical traditions of Jajouka endured through this period of change and uncertainty due largely to the steadfastness of leader who also led the band on trips to perform at moussems, weddings, circumcisions and other local gatherings. In 1980, “El Hadj” led the group outside of Morocco for the first time on a tour of Europe.

Shortly after the tour, El Hadj Abdesalam el Attar passed away, leaving the legacy of the music with his six sons, Mohamed, Amin, Abdellah, Bachir, Mustapha, and Ahmed el Attar. All but Ahmed became Master Musicians while Ahmed, who was never a student of the music but managed the group for a short time; helped Rikki Stein organize the 1980 tour of Europe. Bachir was staying in Paris with Brion Gysin and Tony and Natalie Kent looking for work for the band when his father died. Although he’s not the eldest son, “El Hadj” told the brothers that “Bachir is the one to take care of the music” and take over as leader. Though still a teenager at the time, Bachir’s father knew his young son could remember with skilled precision every note and nuance of his family’s music and had the passion in his heart to preserve it. Bachir went on to lead the band on two more successful European tours in the mid 1980s.

Still, the 1980s were a turbulent time for the band as a few elder musicians initially resisted the leadership of young Bachir and were influenced, by local hostile forces, to form a splinter group. However, the tide began to turn in 1988 when Bachir met American photographer Cherie Nutting at the apartment of Paul Bowles. They fell in love, got married and Bachir began to divide his time between New York and Jajouka from 1988 until 1996, a prosperous period for the group during which Cherie managed the band and facilitated several tours and records. In the late 1980s, Bachir met Elliot Sharp through Rodrigo Rey Rosa and together Elliot and Bachir made Bachir Attar in New York, released by Enemy Records in 1988. The pair played at The Knitting Factory in New York and toured throughout Europe with Elliot’s ensemble “Carbon.”

In 1989 in Tangier, Bachir Attar and the Master Musicians of Jajouka recorded with Mick Jagger, Ron Wood and Keith Richards of The Rolling Stones on the song “Continental Drift” for the Stone’s album Steel Wheels. Cherie Nutting secured the Palais Ben Abbou in Tangier’s Kasbah, where the 1989 recording event was held, an event well documented by BBC Television and also featured in Pal Bowles’ Days: A Tangier Journal. Mick Jagger has described the Master Musicians of Jajouka led by Bachir Attar as “one of the most musically inspiring groups still left on the planet.” Following the collaboration with the Stones, producer Bill Laswell came to the village with engineer Oz Fritz and recorded the critically acclaimed Apocalypse Across the Sky, released under Axiom Records in 1992. A few months later, Bachir traveled back to New York to record his first solo record, The Next Dream, also produced by Bill Laswell.

Soon after the recording of Apocalypse Across the Sky, all the old members, such as the Master drummer Berdouz, whom had broken away from the band, humbly asked to return to the group under the leadership of Bachir Attar. At this point, the “Master Musicians of Jajouka” were reunited and followed up their recent recording efforts with successful tours throughout the 1990s. Highlights include performances with Ornette Coleman in the early 1990s, appearances by Bachir and Mustapha Attar at Woodstock 1994, full-scale tours of Europe and The United States through WOMAD and Eric Sanzen at the International Music Network, and a seminal performance at New York’s “Summer Stage” in 1996. While on tour in England, the band recorded their fourth full length LP, Jajouka Between the Mountains, during a live session at Peter Gabriel’s Real World Studios. This record featured the united group and was released by Real World Records in 1995 shortly after the re-release of Brian Jones presents the Pipes of Pan at Jajouka.

Although the Master Musicians of Jajouka experienced a period of growth throughout the 1990s, it was also an age of uncertainty as outsiders teamed with jealousy driven people in and around the village in attempt to rewrite the history of Jajouka, cause confusion and take advantage of the internal spit that occurred between a few elders and the rest of the group years back. In 1992, after the band was reunited and all internal conflicts were settled within the brotherhood, a Dublin, Ireland event was organized that falsely advertised Bachir Attar and The Master Musicians of Jajouka as performers. A Cherie Nutting photo of the group was used without permission and a reference to Jajouka’s recent collaboration with Bill Laswell was included in the advertisement for the show. However, Bachir Attar and the Master Musicians of Jajouka were never invited, contacted, nor did they appear at the event. Instead, an imposter group from the region was passed off as the real thing. Additionally, when two peripheral drummers were unanimously let go from the group a few years later, covetous outsiders and a few from the region sought to use the incident to confuse people into thinking the band was split. In fact, they have remained united since the return of Berdouz Sr. and the few others in 1991. Though the band continued to perform in Europe and North America throughout the 1990s, the separation of Bachir Attar and manager Cherie Nutting in 1996 led into a period of doubt in the mid to late nineties.

Due to the tenacity and dedication of Bachir Attar leading the united group, contributions of new management by David Meinert, and booking efforts by Eric Sanzen, the group continued to record and tour throughout the world leading into the new millennium. In 2000, Bachir Attar and the Master Musicians of Jajouka released a fusion record, simply entitled Bachir Attar and The Master Musicians of Jajouka, produced by Talvin Singh and released through Universal Classics. Soon after, Bachir Attar and the Master Musicians of Jajouka collaborated with Howard Shore and The London Philharmonic for the soundtrack of the 2001 film The Cell. The effort opened up the group to a whole new generation of eager listeners and helped create momentum which led to many memorable performances which included several more shows with Ornette Coleman, Bachir and his brother Mustapha touring the US with the eclectic Critters Buggin’ ensemble in 2001, and the Master Musicians first visit to Asia, where they performed in Hong Kong in 2003.

In 2004, Cherie Nutting resumed a close relationship with Bachir Attar as well as her position as manager. Augusta Palmer, daughter of the late Robert Palmer, came to Jajouka in 2005 with a small film crew and shot a documentary, The Hand of Fatima, which explores her father’s friendship with Bachir Attar and the Master Musicians of Jajouka. Additionally, French filmmakers Mark and Eric Hurtado came to Jajouka in late 2006 to shoot a narrative film called Boujeloud, which features the Master Musicians and tells the story of the mystical origins of their music. Throughout the 2000s, the group has continued to perform regularly in Spain and Portugal. In the Spring of 2007, Bachir Attar and The Master Musicians of Jajouka had the honor of performing as the headlining act of a week long tribute to the late Paul Bowles held at the Centro Cultural de Belém in Lisbon, Portugal. Highlights from this live recording turned into the group’s latest LP, Jajouka Live Vol. 1, the first release on their own label, Jajouka Records, founded in 2008 by Bachir Attar, Cherie Nutting and a new friend Michael Gassert aka “MikeSound,” a young engineer/producer who was first brought to Jajouka as part of Augusta Palmer’s film crew for The Hand of Fatima.

(Source :

Brian Jones Plays With The Pipes Of Pan At Joujouka 


Rolling Stones Records ‎– COC 49100  1971 

Recorded by Brian Jones in 1968 in Jajouka after being brought to the village by Brion Gysin and Mohammed Hamri. 

This vinyl has many years. It  Has aged well, but, inevitably, playback is not perfect. The rustle of vinyl and various crunches, in my opinion, give an added charm to listening

A Untitled
B Untitled 


The Master Musicians of Jajouka رائد موسيقي جــاجـوكــا - Recorded Live in France 1980

THE MASTER MUSICIANS OF JOUJOUKA (Staaltape documentary series)

Original bootleg recording which documents the French concerts of the 80s. Originally published by the record Staalplaat in 1989 in a wooden box containing two tapes in a limited edition of 500

 This recording was made before the schism occurred in half of the 80's


The Master Musicians of Jajouka رائد موسيقي جــاجـوكــا - Apocalypse across the sky

01 Gabahay 
02 A Habibi Ouajee T'allel Allaiya 
03 El Medahey 
04 Bujioudia “Bujioudia Dancing With Aisha Qandisha” 
05 Alalilla “About The Night” 
06 The Middle Of The Night 
07 Bujloudia 
08 Jajouka Between The Mountains 
09 Memories Of My Father 
10 Mohamed Diha Utalla Fiha (Take Care Of Her Or Leave Her) 
11 Sbar Yagelbi Sbar 
12 On Horseback  
13 Talaha L'badro Alaina


  Brian Jones Presents The Pipes Of Pan At Jajouka   بـرايـن جـونـز يـقــدم مــزامــيــر جــاجــوكــا


Reprint in CD of 1971 edition. This edition includes the tracklist
 01 55 (Hamsa Oua Hamsine) 
02 War Song / Standing + One Half (Kaim Oua Nos) 
03 Take Me With You My Darling, Take Me With You (Dinimaak A Habibi Dinimaak) 
04 Your Eyes Are Like A Cup Of Tea (Al Yunic Sharbouni Ate) 
05 I Am Calling Out (L'Afta) 
06 Your Eyes Are Like A Cup Of Tea (Reprise With Flute)



The Master Musicians of Jajouka رائد موسيقي جــاجـوكــا  Featuring Bachir Attar ‎– Jajouka Between The Mountains

01 My God My Love Has Come
02 Bughudia
03 The Real Long Night Is Jajouka

The Master Musicians of Jajouka رائد موسيقي جــاجـوكــا  Featuring Bachir Attar


01 Up To The Sky, Down To The Earth
02 The Truth Forever
03 Searching For Passion
04 Taksim
05 You Can Find The Feeling
06 The Blessing For The World From God Only
07 Jamming In London
08 The House Of Baraka
09 Above The Moon
10 The Magic Of Peace


The Master Musicians of Jajouka رائد موسيقي جــاجـوكــا  - The Road to Jajouka

01 Hand of Fatima (feat. Medeski Martin & Wood, Bachir Attar & Marc Ribot)
02 Baraka (feat. Mickey Hart & DJ Logic)
03 Djebala Hills (feat. Falu, John Zorn, Flea & Billy Martin)
04 Boujeloudia Magick (feat. Lee Ranaldo)
05 Into the Rif (feat. Marc Ribot & Shahzad Ismailey)
06 Ghaita Blues (feat. Bachir Attar, Billy Martin & Dave Dreiwitz)
07 Jnuin (feat. Ornette Coleman & Bachir Attar)
08 Sufi Hadra (feat. Falu, Aiyb Dieng & Bill Laswell)
09 Al'Aita (feat. Howard Shore & London Philharmonic)


 The Master Musicians of Joujouka رائد موسيقي 

The remarkable music played by the Master Musicians of Joujouka, a remote village in the Ahl Srif tribal area south of the Rif in Northern Morocco, is thousands of years old.

In the 15th century, when the Sufi saint Sidi Ahmed Schiech arrived in the village, he wrote music for the Masters’ ancestors which could heal disturbed minds. Today’s Masters are blessed with the Baraka or spirit of their saint and use touch and prayer to heal. 

Bou Jeloud

The Masters’ performances feature a dancer dressed as Bou Jeloud, a Pan-like figure half goat half man. Although the character of Bou Jeloud is found all over Morocco, it takes on different form in Joujouka.

In Joujouka, Bou Jeloud gave an Attar ancestor the gift of flute music and bestowed fertility on the village every spring when he danced. The music relating to this is the Masters at their most mind-blowingly powerful. 

The Masters, Beats and Hippies

In 1951, the American writer Paul Bowles and the Canadian painter Brion Gysin travelled to a Sufi music festival in Sidi Kacem, a couple of hours from where they were living in Tangier.

When he heard the Masters, Gysin said he wanted to listen to their music every day of his life. In Tangier, he met Mohamed Hamri, a would-be painter from Joujouka. When Hamri took Gysin to Joujouka, Gysin discovered to his astonishment that the music he’d fallen in love with was played by Hamri’s uncles.

Gysin and Hamri opened a restaurant in Tangier called The 1001 Nights and members of the Masters became the house band. It was here that legendary Beat figure William Burroughs first heard the music.

In the late 1950s Gysin and Burroughs lived in the Beat Hotel at 9 rue Git le Couer, Paris. Here Gysin invented the Cut-Up Method of writing and theDreamachine with Ian Somerville and worked with Burroughs, Somerville and filmmaker Antony Balch in Cut Up film experiments to a soundtrack of the Masters Musicians made by Gysin.

When the Rolling Stones were in Tangier in 1967, Hamri and Gysin met them and Hamri formed a bond with Brian Jones. Brian went to Joujouka, where he, too, fell in love with the Masters’ music, although he said ‘I don’t know if I possess the stamina to endure the incredible, constant strain of the festival’. He returned in 1968 to record the Masters.

Before he died in 1969, Brian had prepared the cover, and edited and produced the album of recordings he made of the Masters. Brian Jones Presents the Pipes of Pan at Joujouka was released in 1971, honouring Brian’s memory and exposing a wider audience to the remarkable music of the Masters for the first time.

In January 1973, jazz musician Ornette Coleman recorded with the Masters. A small part of what was recorded was released on the 1975 album Dancing In My Head album. Also in 1975, Hamri’s book Tales of Joujouka was published.

Thanks to Rikki Stein, the Masters played at Worthy Farm, the site of Glastonbury, for the first time in 1980 as part of a three-month tour which included a week’s residency at London’s Commonwealth Institute.

To 2008

After many years painting in LA, Hamri returned to Joujouka and found discord in the village. He built a new house there which became a gathering place for many of the old Masters and their apprentices. He took a large group to Italy in 1991 and in 1992 both he and the Masters took part in the Here to Go Show in Dublin, documented in the DVDDestroy all rational Thought.

In Dublin, the Masters met Frank Rynne, their current manager. Frank spent two months with Hamri in Joujouka in 1994 recording the classic CD Joujouka Black Eyes for Sub Rosa. Since then, he’s recorded Sufi: Moroccan Trance and Boujeloud. In 1998 Hamri and Masters’ drummer El Khalil Radi took part in the Festimad Poetica festival in Madrid with Lydia Lunch, Richard Hell, John Giorno, Tav Falco and John Cale. The Masters were also featured on the CD 10% File Under Burroughs, released 1998. In 2012 they appeared on the latest Rough Guide to the Music of Morocco. 

The 40th Anniversary of Pipes of Pan

In 2008 the Masters honoured the 40th Anniversary of Brian Jones’s influential recording with a festival at Joujouka. Anita Pallenberg and John Dunbar were among the people who made the pilgrimage to the village. Joujouka by Daragh McCarthy, a film of the 2008 Brian Jones Festival premiered in London in 2012 and will be released in 2013.

Since then the festival has become an annual event, attracting artists, filmmakers, musicians, writers and fans from around the world. As well as generating valuable global publicity for the music, the festival has become an important economic factor in Joujouka life

2011 saw the Masters on the Pyramid stage at Glastonbury, opening the Festival.

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The Master Musicians of Joujouka رائد موسيقي جهجوكة - Joujouka Black Eyes

01 Abduslam Hertobi - My Brother and My Love
02 Abdulah Ziat - Joujouka Black Eyes
03 Abdulah Ziat - Pull up Your Belt and Dance
04 Abduslam Hertobi - The Clapping
05 Brian Jones - Brahim Jones Joujouka Very Stoned
06 Achmed Titi Attar - Mohamed My Prophet
07 Abdulah Ziat - Make Me Happy, My Love
08 Abduslam Hertobi - The Clapping /God Is High/God My Mother
09 Abdulah Ziat Saudia - Girl of the Mountain
10 Abduslam Hertobi Go - God Must Bless You
11 Abdulah Ziat  - A Wedding in Joujouka, October 1994
12 Abdulah Ziat -  It's Hard to Leave Someone

13 Abdulah Ziat  - Leaving Makes You SadYour Eyes Make Me Want to Drink Tea
14 Abdulah Ziat  - Come Back Home My Darling
15 Abdulah Ziat  - Joujouka (Ice) Between the Mountains
16 Achmed Titi Attar -  My Country Abin Hassan


  The Master Musicians of Joujouka رائد موسيقي جهجوكة ‎– Boujeloud

01 Boujeloud Al Boudadi
02 Boujeloud (Featuring Mujehid Mujdoubi)
03 Boujeloudia/Joujouka Ei Calihoun
04 Mali Mal Hal M'Halmaz
05 Boujeloud (Solo Drums)
06 Boujeloud
07 Alla A Mohamed El Hub Tenani
08 Boujeloud
09 Joujouka Ei Calihoun/T'werkia D'Boujeloudia: Aishi H'liba Bab Dar
10 Jewash Halal/Tweka Miserisa


Painted by  Mohamed Hamri

Many projects were born during the years around the tradition of The Master Musicians of Joujouka . One of the most interesting, in my opinion, is called JOUJOUKA INTERZONE
and  re-established ties between the  beat  culture of  the 50's and 60's with the Moroccan tradition of  The Master Musicians of Joujouka.
Joujouka Interzone is a collaboration between Master Musicians of Joujouka, French sound and visual artist Joachim Montessuis and Frank Rynne. Montessuis and Rynne will live mix and project a HD digital onslaught utilizing archival and specially commissioned material while The Master Musicians of Joujouka provide an aural onslaught that maintains their completely natural sound with no additions.