Here's a beautiful album by a trio of great artists from Khenifra (Magni and Cherifa) and Khemisset (Boutmazought). I love the sparse texture of this recording - just the lotar, a single bendir, and verses sung in rotating fashion by each of the three distinctive singers. In the clip below, the first singer is Maghni, followed by Cherifa and then by Omar:
We wrote about Maghni in our previous post. The fiery Cherifa Kersit is among the most celebrated singers of the Middle Atlas region. You can find her biographical sketch and more of her music at the Arab Tunes blog. The deep-voiced Omar Boutmazought is a singer and lotar player whose career dates back to the 1990s. You can find more of his music at the Moroccan Tapes site.
This album comes not from my physical media stash but from my hard drive (aka my file stash). It was shared 11 years ago by AbdelSMB at his long dormant site
The Silence Has a Voice, and the Real Music Teach You the Silence. Shout out and well wishes to Abdel, wherever he may be - he has disappeared from Facebook and Twitter. I've uploaded his audio and image files and retagged the songs to include their titles. The CD appears to have been issued in 2007, but an image of the cassette issue of the album indicates a 2003 release date (https://www.youtube.com/watch?v=7ZPy1D_kImg).
Cherifa (Kersit), (Mohamed) Maghni, and Omar Boutmazought الشريفة و مغني و عمر بوتمزوغت Edition Wislane CD 09/01/07 2003
Back to Khenifra this week for a tape by the renowned Amazigh singer, songwriter, and lotar player Mohamed Maghni. Born in 1950, Maghni comes from the same generation and milieu as Rouicha. Though he is less well known than Roucha, Maghni's songs are considered by aficionados of Amazigh song to be of higher artistic stature.
I'm not able to find many sources of information about Maghni's career and music, though all sources note the sensitivity and deep feeling of Maghni's poetry and melody. Two articles ([1] and [2]) state that Maghni's songs directly address social issues related to the experience of Imazighen, and that his uncompromising artistic stance led to his marginalization for many years outside of the mainstream of Moroccan music. (His Arabic Wikipedia entry states that worse things happened to him as well.)
Maghni has worked with other great singers of the region such as Hadda Ouakki and Cherifa Kersit. I don't know who is singing with him on this particular tape.
Maghni appears to be alive, well, and celebrated today. He was honored at the 2014 National Festival of the Lotar [3], and was even fêted in an episode of the Moroccan celebrity tv program Masar in 2016 (https://www.youtube.com/watch?v=ezPGoN0Ffqo).
Here's another viola driven Middle Atlas Amazigh album for ya. Said Akchmir is a viola player and singer, I believe from Khenifra. I don't know who is the female singer on this tape, but her opening autotuned solo vocal passage blew my socks off. I also love the syncopated pattern the bendir is holding down.
As with Ouaboud Mohamed, whose tape was featured here last week, Said Akchmir appears to use studio synth instruments in his albums, but not in live performances. Here is a video clip of him, doing the live thing with the typical ensemble of several bendirs and male singers, one viola, and a female singer (plus a quartet of dancing ladies):
Ouaboud Mohamed is a singer and bendir player from the region of Khenifra. Most recordings of Middle Atlas Amazigh music seem to be published under the name of the viola or lotar player (who is often the male lead singer) or that of the lead female singer. Thesinging male bendir player is typically anonymous in these recordings, being more of a support role than a star role. I love that Ouaboud plays this support role but also can be the lead singer and release his own recordings. (Full disclosure: I am a singing bendir player who likes the spotlight once in a while but also loves to play a support role in an ensemble. Maybe it comes from also being a bass player.)
I picked up this tape in Beni Mellal in 2012. I couldn't find info online about Ouaboud, but he does maintain a Facebook page and a YouTube channel. He appears to remain quite active performing at private events (weddings and other parties, and private music salons) in the Khenifra area in formations with various viola players like Moha Amzyan and Mustapha Sghir, and female singers such as Fatima Talgadit and Naima Kouda. The ensembles typically consist of several bendirs, one violist, and one or more female singers. In the clip below, Ouaboud is playing the white high-pitched bendir, and he throws in some great syncopated accents in the 2nd half of the clip.
In addition to live performances, Ouaboud has made several studio recordings under his name, but I don't find any of them on the typical streaming platforms like Ournia or even on Izlanzik, which specializes in Middle Atlas Amazigh music. There a number of clips, however, on YouTube. Unlike in live performances like the one above, most of the studio recordings take place with an ensemble augmented by other instruments including, you guessed it, a keyboard bass.
On this tape, the studio has "chaâbified" the songs not only by using additional instruments, but also by adding instrumental "refrains" to the arrangements. The first 4 tracks of this tape each begin with a short instrumental section that features a melody played by synth strings and synth banjo (track 1) or flute (tracks 2-4). This melody is, in each case, unrelated to the sung melody of the song (other than being in the same melodic mode). Once the melody is played once or twice, the synth strings drop out and the live, scratchy Amazigh viola enters, playing the actual sung melody. After a couple iterations of this melody, Ouaboud enters, singing, followed by the female lead after a couple of verses. After a few back-and-forth verses between the two singers, the synth strings and banjo or flute return, playing the instrumental refrain from the opening of the song:
Even with these chaâbi tropes, the album still highlights the timbres of the scratchy viola and the buzzy bendir. In contrast to the first 4 tracks, the album closes with a short track that recalls the excitement of the live setting by losing the synth strings, ramping up the tempo, and letting the bendir come to the front of the mix in all of its syncopated glory! (Stream Track 5 below.)
Ouaboud Mohamed أعبود محمد Tasjilat Igly cassette 5/08/2010 تسجيلات اگلي
Here's some late '90s Middle Atlas Amazigh viola-driven pop music. On the spectrum between the two Amazigh viola tapes I shared on this post last year, this falls closer to the earlier, folkier, acoustic end.
I couldn't find out much online about Houssa Ahbar (or Ahbbar, not to be confused with the prolific Houssa 46). This tape predates anything of his I found online. The j-card bills him as "The Star of Khenifra", implying that he comes from the same city as Rouicha.
Houssa appears to remain active via recordings and live performances. You can find some recent albums of his over at izlanzik.org. Interesting to compare the sound of these newer albums to the one offered here. Production values for Middle Atlas popular music have sure changed since the late '90s. No autotune, no keyboard, no lotar. Just the viola, bendir, men's and women's voices, and what sounds like a darbuka added to the percussion section.
Iconographic query: Here is the logo for the label Ain Asserdoun Disque. "Ain Asserdoun" is the name of the lovely spring up the mountain above Beni Mellal. The word "Asserdoun" means "mule" in Tamazight, and "Ain" means "spring" or, literally, "eye". So Ain Asserdoun could be translated as The Mule Spring or the Mule's Eye. So can anyone explain to me what is depicted in this logo?
Houssa Ahbar - New 97 (Ain Asserdoun Disque cassette 51)