Moroccan Tape Stash

I know the guinbti is not the most important thing to focus on when considering the work of the venerable Moroccan band Jil Jilala. But we're pretty mgennwi here at Moroccan Tape Stash, addicted to the guinbri. So here are some notes on the use of the guinbri in Jil Jilala before Mustapha Baqbou joined the group.

Jil Jilala has had a guinbri player from its very inception in 1972. Founding member Hamid Zoughi relates that when the group was first coming together in Casablanca, they wanted to have a guinbri player join the group. So they drove to Marrakech looking for Mustapha Baqbou. Finding that he was in Essaouira, they then drove to Essaouira. But their friends in Essaouira told them to check out a different, local guinbri player, Abderrahmane Paco. They hit it off with Paco, and Paco hit the road with them to Casablanca.


I assume the earliest recordings of the group feature Paco - he's pictured on the sleeve for the single of "Lklam Lmrassa3" above - but I don't hear any guinbri on the recording. I've heard a couple times the story that Paco left Jil Jilala in the middle of a recording session, after getting into an argument about the rhythm of the song they were recording.

Of course, Paco's story continues when he joins Nass el Ghiwane. I don't know why Moulay Abdelaziz Tahiri, the left-haded guinbri player who was in the initial lineup of Nass el Ghiwane, decided to leave that group for Jil Jilala, but it seemed to work out well for all. Here's a very early Nass el Ghiwane concert featuring Tahiri:



One huge difference between Nass el Ghiwane and Jil Jilala is the instrumentation and texture they used. Nass el Ghiwane tended to use the same instrumentation on most songs: bendir, tam-tam, snitra (banjo) and guinbri (plus the gwal, while Boujmiî was still with the group). Jil Jilala, on the other hand, used many different combinations of stringed instruments and percussion in their many recordings and performances. Not to mention the presence of a female singer, Sakina Safadi, in many of their 1970s recordings.

So when Moulay Abdelaziz Tahiri joined Jil Jilala, he was not a full-time guinbri player. In videos from his tenure in the group, he is usually featured playing ta'rija or bendir, as in the clip below - a live performance from Kuwait. Tahiri is the one in the light blue vest, singing the solo verses in this version of "Allah ya Moulana", a song made famous by Nass el Ghiwane.



The typical Jil Jilala song from this period features one stringed instrument (a banjo or bouzouki), and some combination of percussion instruments (bendir, ta'rija, tam-tam, or congas). Now and then, Tahiri plays the guinbri, but not very often on the recordings I've heard.

The last album to feature Tahiri (prior to the 1996 reunion album), according to Smagal is from 1984, entitled "Dawiweh". I haven't found the album, but I did come across an amazing video clip of the title song. The instrumentation is an unusual, shimmery combination of 3 stringed instruments - Tahiri on guinbri, Miftah on bouzouki, and Asbahani on gnibri (something I'd never seen him play before) - plus Derhem on congas and Elkasbaji on bendir. It's a lovely piece:



Tahiri's playing is great, and very different somehow from Paco's and Mustapha Baqbou's. I suppose it's because he wasn't brought up (as far as I've heard) in the Gnawa tradition. I wonder how he learned to play guinbri back in the days before it was widely heard outside of Gnawa circles - it sometimes sounds like he's translating techniques from other stringed instruments (oud, perhaps) to the guinbri.

The only tape I have from Tahiri's tenure in Jil Jilala (whose tracks aren't up on Amazon) is this album on Edition Hassania. The catalog number suggest that it dates from the early 1980s, but many of these songs are from much earlier. (I believe that Nass el Ghiwane similarly "re-recorded their old hits" for an album on Edition Hassania around this time.) The song "Al-âr A Bouya" dates from the group's earliest days (B-side of the 45 pictured above), but is re-recorded here featuring a prominent guinbri.

Jil Jilala - Rih L-Bareh (Edition Hassania EH 1274)
01 Baba Mektoubi
02 Al-âr A Bouya

03 Goulou Lkhlili
04 Rih L-Bareh
05 Errifia
06 Jilala

Get it here.

 
I've been revisiting the Jil Jilala albums featuring the Gnawi mâalem Mustapha Baqbou. It's an interesting group of recording.

Baqbou joined the group in the mid-1980s following the departure of Moulay Abdelaziz Tahiri (who was originally with Nass el Ghiwane in the early '70s before Paco joined that group). Despite playing guinbri in Nass el Ghiwane, Tahiri was not a specialist in Gnawa music but rather in melhun, a stately old Moroccan sung poetry tradition. With Jil Jilala, Tahiri brought brought a modern, youthful exuberance to old melhun classics like "Chamâa" and "Lotfya", endearing these songs to a new, young audience.

After Tahiri's departure, the group, naturally, took a different direction, with the addition of Mustapha Baqbou. Baqbou had performed in the Netherlands-based folk-revival band Tiq Maya, but was also deeply rooted in the Gnawa ritual tradition. In the 1980s-90s, Mustapha appeared on at least the following albums:

• Hada Wa'dek ya Meskine (Disques Gam GB.85.86) Moroccan Tape Stash or Yala
• Lqalb Lmeskun (Disques Gam GB.87.88) pictured above/see below
• Nour al Anwar (Sawt Errbi' cassette) Awesome Tapes
• Kouna wa Kentou (Edition Sonya Disque E.S.D. 303) [c. 1993] Yala
• La Taiesse (Edition Sonya Disque E.S.D. 500) [c. 1994] Yala or Amazon

I featured "Hada Wa'dek ya Meskine" in a recent post and I called it "the most Gnawa-influenced" Jil Jilala album. Today's offering, "Lqalb Lmeskun", is perhaps the most Ghiwani of their albums. That is, it comes closest (to my ear) to the sound and feel of Nass el Ghiwane. That ain't necessarily a bad thing - it's a great sound. But it does seem an odd direction for Jil Jilala to take so many years into the its history, and at a time when Nass el Ghiwane's style was going out of fashion. On the other hand, when you have a great Gnawi guinbri player in the group, why wouldn't you use that to its greatest effect and play up the Gnawa influence as Nass el Ghiwane did.

Apparently, these albums were not very successful commercially, and the group changed their approach for the final 3 albums listed above. The most comprehensive and concise biography I could find on the group (in English) was in a post by Smangal at rateyourmusic.com. Regarding this period, he writes:

"In a desperate move to salvage their name, they tried to modernize their sound a little bit by introducing a drum machine to play all their percussive sounds. As a consequence, albums La Tayess and Nour el Anouar sounded processed and mechanical, even if they had good song writing. They tried to follow the trends but failed to gain any noticeable attention, and this made Mohamed Derhem amicably leave the band in 1995."

The use of the drum machine is pretty weird. And even weirder that they would use a synthesized bass to play lines clearly designed for the guinbri, as here, in "Dib el Ghaba", a track from "La Taiesse":



Weird, but it does have a certain charm, and it clearly represents a (perhaps jarring) break from the folky/Ghiwani sound. You can hear it on the latter 3 albums listed above, as well as on Mohamed Derhem's solo album. The album Nour al Anwar in particular features some great songs.

While their albums featured these mechanical sounds, I believe their live performances always featured the organic, acoustic instruments of the ensemble. Check out this live version of Dib el Ghaba - BAQBOU'S GUINBRI RIFFING IS UNBELIEVABLY GROOVY:



My copy of Lqalb Lmeskun is a cassette dub of someone else's cassette. I don't have the album art, so am using Yala's copy of the art from the CD.

Jil Jilala - Lqalb Lmeskun (Disques Gam GB.87.88)
01 Lqalb Lmeskun
02 El Laymin (excerpt below)

03 Massab
04 Qallat Zadi
 

256 | FLAC

And again, if you want more pristine (though at lower bitrate) digital versions of these tunes, Yala's got 'em here. 

This is a gorgeous album by Jil Jilala, dating, I believe, from the mid 1980s.

Jil Jilala have featured a guinbri player at various times in their history. Paco Abderrahmane and Moulay Abdelaziz Tahiri were group members in the early days of the 1970s, and Mustapha Baqbou has been a member at various times since the 1980s. Despite this fact, Jil Jilala have, to my ear, have rarely drawn overt inspiration from Gnawa melodies, songs, riffs or rhythms. This is quite different from the approach of Nass el Ghiwane in their Paco years, when they drew liberally from the Gnawa repertoire.

This album seems to the be exception. I call it their most Gnawa-influenced tape, though even here the influence is mostly subtle. The title track, "Hada Wa'dek Ya Meskine" opens with some solo guinbri riffing. The song's title translates as something like "That's your lot, poor guy", and refers to the Gnawa song "Hada Wa'do Meskine" (That's his lot, poor guy), versions of which we've featured here and here. And when the rhythm shifts at 8:18, the melody also echoes that of the Gnawa original. "Ya Men Narjak" features Gnawa-styled guinbri riffing and rhythm. And the tracks on side 2 feature guinbri lines more Gnawa-ish than on other Jil Jilala albums featuring Mustapha (such as this and this at Yala.fm, and this at Awesome Tapes.

For some great vintage Jil Jilala, check out the posts at Snap, Crackle & Pop. And for some detailed history of the group, check Hammer's megapost at The Audiotopia.

Actually, I just found another Jil Jilala album at Yala, which does feature some very Gnawa moments.

Mastering note: I grafted the first couple measures of "Sfina", which were missing from my tape, from Yala's version.

Jil Jilala - Hada Wa'dek Ya Meskin (Disques Gam GB.85.86)
01 Hada Wa'dek Ya Meskin

02 Ya Men Narjak
03 Sfina
04 Koun m3a Allah

Get it all here.

Sad to report the passing of the incomparable Abderrahmane "Paco" Kirouche this past weekend. First musician to explore the resonances between the Gnawa arts and contemporary social issues in a musical way. Others have done so since, none have done it better.

I have written about and shared some of his music - both solo and with Nass el Ghiwane. The tapes in this post are the last 2 commercial solo cassettes of his that I own. The 1995 cassette pictured below was his first solo album after leaving Nass el Ghiwane in 1993. It's an odd piece of work. His guinbri playing and singing are strong, and all the tunes are right out of the lila repertoire, but the musical setting is rather bizarre. There is a synth marimba that works nicely (as it did a few years later for Gnawa Diffusion). The ambient and jungle noises are just strange, and the synth guitar, synth drum and synth horn punches seem designed to jar. This tape really rubbed me the wrong way back in the day. Listening to it now, it definitely has a "feel" to it (though not as transcendently trippy as this masterpiece of Gnawa psychedelica.) Was Paco trying to make an album as different-sounding as possible from his always-acoustic ex-band?


The cassette pictured at top dates from around 2001, and it's a straight-ahead, solid Gnawa tape, though the mix is a little weird to my ear. All songs are from the Ghabawyin (the black "Sons of the Forest") suite which is performed late in the Gnawa lila ceremony. This tape also seems to be late in Paco's recorded work. I've not come across any other cassettes of his, and for most of the past decade I heard that he was sick. Please, if anyone has other commercial recordings of Paco, let me know - I'd love to hear them!

Though neither of these tapes are as earth-shattering as his best work with Nass el Ghiwane, they still brim with the character and intensity that made Paco such an unforgettable presence on stage and in memory. Saha, Mâalem!

Paco Abderrahmane (1995)
1)  Moulay Brahim

2)  Laghmami
3)  Mimouna
4)  Sidi Bu Derbala

Les Meilleures Chansons Spirituelles de GNAWA (2001)
1)  Allal Ya Allal - Fulani
2)  Sandi
3)  Balini
4)  Allah Ya Rebbi Ya Moulay

5)  Sellem Âla Muhammad Sidi

Nass el Ghiwane - what can I say. Like trying to introduce rock and roll in one blog post. They set the world of Maghrebi music on fire in the early '70s. Fierce, driving rhythm. Trenchant resonant lyrics. Fiery group singing, heartbreaking solo singing. Archaic and modern, subversive and traditional. And, to the best of my knowledge, the first time the now ubiquitious Gnawa guinbri (or sintir or hajhouj or whatever name your prefer) was used in a popular music context.

The most long-lived incarnation of the group was from '74 to '95, as a quartet with Larbi Batma (tam-tam & vocal), Omar Sayed (bendir & vocal), Allal Yaala (snitra & vocal) and Abderrahmane "Paco" Kirouche (Gnawa guinbri & vocal). Most of the available classic recordings of the group (like this and this) feature this lineup.

The original, mythic lineup thru '73 was a 5-piece featuring Larbi, Omar and Allal plus Moulay Abdelaziz Tahiri on guinbri and Boujemâa H'gour on da'du' and vocal. Boujemâa is remembered as the fire and spirit of the group in these early days. The group's first recordings feature this lineup. They are often hard to find, but have recently been reissued as the first 7 tracks of this collection.

After Tahiri's departure in '73 to join Jil Jilala, Paco joined the group, which remained a 5-piece until Boujemâa's untimely death in '74. This lineup is pictured above. Some of the classic songs of the group's repertoire date from this period but can be found only in re-recordings by the later quartet (or, worse, by the group after Paco's departure in '95 and/or Batma's death in '97). I have never once seen a release of the recordings of this quintet on cassette or CD.

Yet several singles and an LP were released by the '73-'74 quintet. I've run across this single a couple of times:


And on one occasion I saw a full LP featuring this line-up. The design of the album cover looked similar to the single shown here. The LP was in a shop in Marrakech in Riad Zitoun. If you've ever looked for vinyl in Morocco, you know that most stores that own vinyl will not sell it to you, but are happy to record it onto cassette for you.

Here's a digital transfer of my cassette copy of the Marrakchi shop owner's vinyl copy of the 2nd Nass el Ghiwane album. All of these songs were re-recorded by the quartet after Boujemâa's death, and some of them were released on an album called "Hommage à Boujemâa". It was particularly moving for me to hear this version of "Ghir Khoudouni", with Boujemâa singing the final verse:

Good luck doesn't die
Love doesn't die
Goodness doesn't die
Justice doesn't die
Peace doesn't die

In later recordings and performances, Omar would sing that verse and add the line "Boujemâa doesn't die".

I'm not convinced that Paco is on all of these tracks.  He's definitely on "Ghir Khoudouni" (both singing and playing. Some tracks feature no guinbri at all, and the guinbri playing (and tuning) on "Youm Malkak" sounds like Moulay Abdelaziz Tahiri.  But Boujemâa's great singing can definitely be heard singing on all tracks. (He's the one that sings the solo portions at the opening of "Lahmami")

Tracks:
1) Al Hessada
2) Ghir Khoudouni
3) Lahmami
4) Mzine Mdihek
5) Youm Malkak (Ah Ya Ouine)
6) Ya Sah

I have no idea why these tracks have never been reissued.  Luckily, you can get them here.
And there's more Paco here and here.

UPDATE 3/24/2013:
I just ran across these images online - someone was selling a vinyl copy of the album in France, and uploaded the following images:


This is not the cover I remember seeing in the Marrakech shop, but perhaps my memory is hazy. Or perhaps this is an alternate cover - I could have sworn the album looked like the Polydor 45 pictured above.

At any rate, it looks like the running order of tracks is as follows:

1 Lahmami
2 Mzine Mdihek
3 Youm Malqak
4 Al Hessada
5 Ghir Khoudouni

Which means "Ya Sah" was a bonus track that the Marrakchi shop owner added to the tape. Indeed, it does sound like it comes from a different slab of vinyl than the other tracks. A non-LP 45 then?

Twinge-of-nostalgia-for-bygone-audio-technology-days note: For those of you who used to copy LPs onto cassettes for friends (or receive such dubs from friends), remember when you'd have a 45 minute side of a tape and the album would only be 37 minutes long and you would search for 2 or 3 perfect bonus songs to fill up the blank space at the end of the tape? Such were the joys...