In 1980 Abdeljalil Kodssi recorded his first album with the group Mlouk el Hawa, followed by four more in the following four years. Until that moment, despite coming from a musical family, he had worked as a barber, playing in his spare time in his hometown of Marrakech. He met a famous Spanish writer, Juan Goytisolo, at his barbershop. Goytisolo fell in love with the group’s music and took them to Spain to accompany his book presentations. Through Goytisolo, Kodssi met Spanish rock musician Miguel Rios, who became involved in the project.
Kodssi’s time in Spain led to performances in Madrid, Barcelona, Salamanca, Valencia, etc. A fortuitous meeting with the folk group Al-Tall facilitated Mlouk el Hawa’s entry into France, with a concert in Marseilles.
In 1986 Mlouk el Hawa was invited for the second time to Valencia’s Troubadour Festival. The group recorded an album with Aktal: Chirk el andalus, as well as another of their own : Goman el frek. More tours followed throughout Spain and Morocco.
Kodssi met Hassan Hakmoun in 1987. Hakmoun is a famous Moroccan Gnawa musician, who has worked with Peter Gabriel and Don Cherry. Kodssi collaborated with Hassan Hakmoun and Don Cherry until Cherry’s death in 1995.
In 1990 Kodssi joined Nass Marrakech and participated in the group’s album, with contributions from Goytisolo. The following year, Nass Marrakech performed at Barcelona’s Grec Festival and decided to make this city their permanent base. For the neat years, Kodssi worked with Nass Marrakesh, Ektal and Javier Mas.
Abdeljalil Kodssi recorded Tamiz with Javier Mas and Jordi Rallo in 2000. That same year, he met Cuban musician Omar Sosa at the WOMEX conference in Berlin.
The year 2001 saw the release of Nass Marrakesh’s Bounderbala, featuring contributions from Omar Sosa and Jorge Pardo.
Kodssi’s first solo album Mimoun, produced by Omar Sosa for Ventilador Music, was released in 2002. A new solo album titled Oulad Fulani Ganga came out in 2007.
Three nights of music (17 March – 19 March 2016) at Babel Med Music, located in the Docks des Suds of Marseille with outdoor spring-like temperatures. What more could you expect? Would we discover a lot of new bands and creations?
I think that for budgetary reasons and cost effectiveness, the organizers try to get a fair balance between emerging talents for the professional participants and established ones for the general public. My review will feature fourteen acts out of more than thirty artists spread over three nights.
On Thursday night, I noticed a lot of professionals wearing a badge, who were attending the gigs. Canadian vocalist Alejandra Ribera started the concert series at the Tent stage. She was eye catching, wearing a long sleeveless black dress. Alejandra began the song “La Boca” in English, with a deep voice in a foggy universe, then switched over into another register, singing in Spanish with sometimes a piercing voice. Her Scottish roots took us into a melancholic mood as deep as a winter depression. Fortunately, the South American rhythms that followed made us jump with joy.
Also at the Tent stage, the project La Nuit d’Antigone (France – Germany – Turkey) presented the meeting of Mediterranean female musicians: Sylvie Paz on vocals, Perrine Mansuy on piano, Naïssam Jalal on flute, Diler Özer on percussion and DJ Ipek for sound design.
The lyrics were contemporary women’s poetry set to music. It was advertised that the performance was a history of women’s resistance. The singer read the lyrics in different languages on a page in front of her. It did not make it easy to get the message of feminine resistance through.
Baba Zula is a Turkish band from Istanbul, a metropolis located at the crossroads of the East and the West. The musicians grew up in the underground music scene and forged their own identity with traditional folklore, rock and heavy metal.
At the Salle des Sucres, Baba Zula plunged us into a psychedelic experience. We listened to the musical legacy of the Ottoman Empire that lasted from 1299 to 1923, and that ruled North Africa and the Middle East.
Baba Zula’s Murat Ertel on the electric saz wandered into the public. When she returned, singer Melike invited the audience to follow her during the song “Acis, Hopçe”. She swung, dressed in a green dress with veils floating between her arms and body.
Fuelled by the energy of the band, the young ladies in the audience started to shake their bodies. They were probably members of a fitness club teaching belly dance or Turkish tsifteteli.
David Bowie used to sing “We Could Be Heroes just for one day”. We were the queens and kings of the night with Baba Zula.
Djmawi Africa is an Algerian band formed in 2004. They practice a fusion of chaabi, reggae and Gnawa rituals with essentially a rock rhythm section. We felt the band has an international stage experience.
Djmawi Africa kicked off their performance at the Salle des Sucres with the song “Lala Aicha”. First, we could hear the violinist playing Middle Eastern accents. Then followed the guembri (a Gnawa bass lute) and the guitarist who played blistering solos and deep-rooted riffs.
African bands have a tendency to produce a festive atmosphere throughout the concert time, Djmawi Africa had a different approach. At times, slower compositions allowed us to enjoy the subtlety and diversity of their musicality, and then the band offered an energy-packed set.
Djmawi Africa love to explore the sounds and added the kora, djembe, the ngoni to their list of instruments.
Djmawi Africa, a progressive and eclectic Algerian band that pleasantly surprised us with its respect of Africanness and musical colors played on modern and ethnic instruments.
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion