Continuing from my series of posts about the group Muluk el Hwa from Marrakech (see here, etc.), this begins a series of posts that follows the careers of group members after their association with the group.
Although several members of the group seem fluent in the Gnawa repertoire, Hassan Larfaoui Baska is the only one that I can verify has worked in Gnawa ritual ceremonies, with his brothers Abbas, Ahmed, and Abdelkader.
I know of only two releases by Hassan under his name, both released on Safi Disque (a Marrakech imprint) around the year 2000. We shared Volume 2 here many years back (now reupped in FLAC here). Sharing Volume 1 today from a CD copy. This is a straight-up solid Gnawa album - guinbri, 2 or 3 qarqabas and choral responders, songs from the ritual repertoire. Like Volume 2, I think this may feature Ahmed Baska on lead vocals.
As far as I know, Hassan continues to work in Gnawa music in Marrakech but has not worked in other folkloric or fusion projects since Muluk el Hwa. However, do check out his Volume 2 on Safi Disque, which includes a sweet Gnawa blues piece.
Hassan Baska حسن باسكا Festivale Marrakech فستفال مراكش Volume 1 Safi Disque CD صافي ديسك
Âita, Moroccan deep Arabic folk song, doesn't need modernization - it's perfectly fine and powerful in its own right as performed by traditional ensembles. At the same time, it doesn't necessarily suffer when musicians put it into conversation with other genres and styles. Sure, this CAN be done in a simple way that doesn't add anything interesting and just waters down the hard-hitting time-tested acoustic textures of aita with modern instruments or vocal styles. In the best cases, though, something interesting emerges.
Last week I digitized a 1990's tape that Gary from Bodega Pop sent me by the group Toulati El Farah Lamnawar. It's a chaâbi album of the era but it's based in the âita repertoire, and pushes the right buttons for me. I also found out this week that the debut album of the group Aïta Mon Amour came out in January of this year. Their initial singles caught my attention last year with their clever settings of âita songs to modern electro beats and the powerful vocals of singer Widad Mjama.
Toulati El Farah Lamnawar
The cassette comes to us courtesy of Gary of Bodega Pop whose weekly program on WFMU's Give The Drummer Radio stream is eclectic, educational, and always entertaining.
The group Toulati el Farah Lamnawar [1] was led by the late producer, songwriter, and musician Abdeltif Lamnawar (1968-2022), who I believe is from Casablanca. I was not familiar with the group previously, but they seem to have produced a lot of music over the years in a number of formations. The presence of the name Lamnawar after Toulati el Farah suggest that this is Lamnawar's version of the group, which reached its initial successes as simply Toulati el Farah. You can find a couple of these early albums on the streaming platforms under the names "Dami" and "Ana Melit". I believe the initial formation of the group included Lamnawar as well as the vocalist Hassan Lougato. Later albums are attributed to "Orchestre Toulati el Farah" (Trio el Farah Orchestra). And I see some recordings and videoclips that mention the participation of the well known chaabi singer/violinist/arranger Mustapha Bourgogne. At any rate, as Lamnawar relates in this interview, the group formed around the idea of doing the old bendir-and-kamanja (violin) songs with drum set, guitar, and keyboard.
Followers of this blog know that I'm a sucker for electric guitar and drum set, so yes I did enjoy the early 1980s version of Toulati El Farah linked above. This cassette, however, dates from sometime in the 1990s, and chaâbi styles, like all popular music styles, can change substantially in a few years' time. How different is this? Well, it's smoother - seems like there is some drum programming that keeps the beat very steady, as opposed to the raucous drum set of the earlier recordings. However, the darbuka is high in the mix, keeping the music punchy and live. As a bass player, I tend to disdain the use of programmed keyboard bass, but I gotta say, this one here is pretty enjoyable - its syncopated runs provide some of the rhythmic variety that was previously provided by fills on the drum set. And the electric rhythm guitar is still there, buried a bit in the smooth mix, but prominent enough to provide that strummy goodness. Best of all, the 2 fine singers trade off verses, retaining the interactive excitement of shikhat groups. My assessment is of course a completely subjective one, based on my own personal tastes and experiences dancing to this sort of band years ago. For others, this may just sound old-fashioned, or may not work at all. But hey, you can be your own judge:
Toulati El Farah Lamnawar الثلاثي الفرح لمنور Rddou Ouarana Âacha ردو ورانا عاش Disco-Disc cassette ALBUM 19 ديسكو ديسك
[1] Depending on which words you want to translate and how, the group's name can be translated something like:
Lamnawar's Trio El Farah
Lamnawar's Trio of Joy
Lamnawar's Happiness Trio
Aïta Mon Amour
The group Aïta Mon Amour released their debut album Abda in January 2025. I'd been greatly anticipating the album after hearing the group's initial singles in 2024. The group is a powerhouse duo: Widad Mjama on vocals (and occasional drum pounding) and Khalil Epi on multiple instruments.
Like Toulati el Farah, the group was conceived as a vehicle for presenting the old songs in a new format. Here, the venue is not the chaâbi dance/wedding floor, but concert and festival stages, and the beats are contemporary and electronic. Normally I like my âita with a group of singers and musicians to provide that interactive texture that is such a vital part of this music. What Aïta Mon Amour lacks in that regard is made up by the power and expression of Widad's singing and the complex, suprising textures of Khalil's arrangements.
You can hear their album on all of the streaming platforms, but why not support the band and purchase a copy on Bandcamp.
How will these beats sound to ears 30 years from now? Who can say? But I have no doubt that the deep well of âita will still be a source of inspiriation for generations to come.
An article entitled “Odes of Solidarity”: Moroccan Artists Amplify Palestinewas published in December 2024 in the recently resurrected journal Souffles. Written by Aomar Boum and Brahim El Guabli, it discusses the topic of Palestine in Moroccan popular song. The article is worth checking out, as is the entire issue, Morocco's Palestine, dedicated to the history of Moroccan people’s engagement with Palestine since the 1920s.
The article lists more than 30 songs, most of them from artists working in the Ghiwani style (the acoustic folk-based style pioneered by the group Nass el Ghiwane). I found a few additional songs mentioned in articles on Megazine and Al-Quds Al-Arabi, plus I knew that Nass el Ghiwane's "Sobhane Allah" contained a Palestine reference as well. And I went hunting on YouTube to find them. Here's the playlist I put together, limiting the list to songs/styles from the vinyl and cassette era:
Below is a list of the individual songs and links to each one on YouTube. The titles and images found in YouTube videos are wildly inconsistent, so I've searched for the "correct" spellings and names of songs as best as I could, linking to Discogs where possible for info on the original releases. Additionally Aomar has translated the lyrics to several songs into English at Souffles, so I've linked to those as well. I do urge you to have a look at the article - it's quite short but makes some important points that situate this era of Moroccan musicking within the larger context of postcolonial nationhood and identities. Props to the team at Souffles for their great work and to the artists who continue to bring attention to the injustices suffered by the Palestinian people.
Artist: Jil Jilala جيل جيلالة
Song: Palestine فلسطين
Date: 1973
Notes: not sure if this is the 1973 Cléopatre album version or the 1974 Polydor album version ("Kouds")
Note: Undoubtedly there are additional Moroccan songs from this era that touch on the theme of Palestine. Boum and El Guabli identify the following Nass el Ghiwane songs as mentioning the issue:
M'zine M'dihek مزّين مديحك
Ya Sah يا صاح
Ghir Khoudouni غير خدوني
and Metwally identifies these as doing the same:
Daïyne (aka "Ya Ahli Lhal") ضايعين
Narjak Ana La M'Chite نرجاك انا لامشيت
Echams Ettalâa الشمس الطالعة
El Oumma الامّة
but I haven't scrutinized the lyrics deeply enough to find the references, and there's plenty of Nass el Ghiwane in the playlist already. 🎵 بَحْرَ الْغِيوَانْ مَا دْخْلْتُ بَلْعَانِي 🎵
