Asmaa Hamzaoui is the leading female performer of Gnawa music. Together with her band Bnat Timbouktou, she performs Gnawa music that goes back in time when this community was held as slaves and the music revolved around storytelling about their suffering.
Asmaa Hamzaoui and Bnat Timbouktou sing in the native Gnawan language. They advocate for equal rights and for the preservation of traditions and spiritual practices in modern-day Morocco and throughout the world.
In the fall of 2019, Asmaa released her first album Oulad Lghaba, focused on Gnawa spirituality.
The lineup in 2019 included Asmaa Hamzaoui on guembri and vocals; Aicha Hamzaoui on karkabas and vocals; Soukaina Elmeliji on karkabas and vocals; and Lamgammah Hind on karkabas and vocals.
Moroccan artist Karima Skalli is one of the leading classical Arabic music vocalists, inspired by the great voices of classical Egyptian music. At the age of 9 she sang one of Umm Khaltum’s songs in its entirety for her family. Her influences include Umm Khaltum, Suad Mohammed, Leila Morad, Mohamed Abdelwahab, and especially Asmahane.
She has collaborated with top composers and poets, specifically the great Moroccan ud player and composer, Saïd Chraïbi, who discovered her, and the eminent poet Abderrafie Jwahri. Both masters have composed elegant songs for her.
When she was invited to the Festival de la Goulette in Tunis, Karima skalli sang compositions by Nasser Shemma, the Iraqi ud master.
In November 1999, Karima was invited to perform at the Cairo Opera accompanied by the Egyptian Philharmonic Orchestra, a high point of her career. There, she dedicated the evening’s performance to the Egyptian diva Asmahane, who remains Karima’s model and inspiration.
Karima released one album, Wasla, for French label Institut du Monde Arabe.
Mehdi Nassouli was born in Tarudant, southern Morocco, engaged
in Gnawa culture. A phenomenal musical talent, he learned to play various
musical instruments at an early age, becoming especially passionate about the
three-stringed Gnawa bass lute, the guembri (also known as sentir and hajjuj).
Before launching his international career, Mehdi Nassouli spent
a decade traveling throughout Morocco, studying the diverse regional musical traditions
under some of the leading musicians in the area. In southern morocco, Mehdi
learned Malhoune poetic arts and Deqqa folkloric percussion.
Introduced to the international world music scene by
festival director Brahim El Mazned, Mehdi now has many projects and
international collaborations, and also leads many different types of bands.
Receptive to the fusion of musical genres, he has collaborated with many leading international artists. He worked together with French guitarist Titi Robin for five years, including the 2012 Les Rives project and their joint 2015 album Taziri. Nassouli has performed with Fatoumata Diawara, Benjamin Taubkin, Justin Adams, Herbie Hancock and Alpha Blondy, mixing traditional African, Amazigh (Berber) and Gnawa music with sounds of the wider world.
In 2016, Mehdi showcased at the World Music Expo held in Santiago de Compostela, Spain.
With their roots in traditional Berber music and alternative theater, Nass El Ghiwane concocted an uncompromisingly radical new music with driving beats and a barely concealed political edge in the early 1970s and went onto revolutionize music and attitudes throughout the Arabic world.
Five friends from the same district, Hay Mohammadi, in Casablanca, got together to form one of Morocco’s most legendary rock bands. Original members included Omar Sayed, Boujemaa Brahim, Allal Yaala, and Larbi Batma.
Soon the group became popular in Morocco and beyond. Nass El Ghiwane influenced some of the early Rai musicians in Algeria and other bands in Tunisia and Libya. The group suffered several crisis. Boujemaa died in 1974. Then there was the illness and death of Batma in 1997. Abderrahman Kirouj (also spelled Kiruch and Kirouche), alias Paco, left the band and returned to his roots, which is Gnawa music of his hometown Essawira.
The group is still active, but only two original members remain, Omar Sayed and Allal Yaala.
Nass El Ghiwane (Polydor, 1973) Hommage A Boudjemaa (Cléopatre, 1975)
A Paris (Cléopatre, 1975)
Wannadi Ana / Erraghaya (Disques Espérance, 1975)
Nass El Ghiwane (Cléopatre, 1976)
Instrumental (Disques Espérance, 1976)
Narjak Ana La M’Chite / Echams Ettalâa / Daïyne Cléopatre (Plein Soleil, 1977)
Taghounja / Lebtana (Cléopatre, 1979
Zad El Hame Edition Hassania 1981 Transes (Musique Originale Du Film De Ahmed El Maanouni) (Spalax, 1981)
El Maana (Le Sens Du Mot) Azwaw (Edition Hassania, 1983)
El Gharib / Oulad El Aalam / El Oumma / Ya Sayil (Triomphe Musique, 1985) Salama (Blue Silver, 1997)
Transe Musique Du Maroc (Night & Day, 1998)
Aalli Ou Khalli Aladin (Le Musicien, 2004)
La Légende – Volume 3 (Platinium Music, 2006)
Ghir Khoudouni (AMD, 2006) Best of: Nass El Ghiwane (EMI France, 2008) Double Best, remastered (Rue Stendhal, 2013)
Said Guissi’s Aissawa ensemble are from the holy city of Fes. It is Morocco’s most famous and accomplished group of the many such ensembles to emerge from the centuries-old Aissawa brotherhood. The group uses trumpets and pipes to pierce through a barrage of polyphonic drumming and thus create a trance-inducing wall of sound. Healing Sufi music of the highest order. Morocco Africa
Lala Rkeya – Art Aissawa (Tarab Productions, 2007)
The project Orquesta de Mujeres de Tanger was conceived by Jamal Ouassini with the aim of promoting and introducing to the European continent one of the most fascinating and at the same time least known aspects of Moroccan culture.
The show proposes a symbolic reconstruction of a tradition peculiar to the cities of Tanger (also known as Tangier) and Tetuan. There, in accordance with a tradition dating back thousands of years, during the three days in which a wedding is celebrated, at the house of the bride’s family the music is entrusted to a musical ensemble made up exclusively of women.
The first day of the ceremony, called ‘El Henna’, involves just the closest relations and friends of the bride. Here the performance of an instrumental and sung repertoire follows in a continuous crescendo and reaches its peak with the ‘Zagharid’, the typical cries of the Maghreb’s women, in this way accompanying the complex and refined decoration of the bride’s hands and feet with a pigment (called ‘El henna’) derived from the leaves of a plant that grows along the Atlantic and Mediterranean coasts of Morocco.
This tradition dates back to very early times, to the 7th millennium B.C., a fact confirmed by the archaeologists, who associate it with the fertility rites at Cathal Hayak, considered to be one of the earliest villages of the Neolithic period. ‘El henna’ is therefore a day of preparation for the actual ceremony itself: In this case the invitation is extended to all the acquaintances. And the music played during this second long day of celebrations includes both pieces of the Arab-Andalusian repertoire to accompany the bride’s frequent ‘changes of dress’.
The climax of the event occurs in the late evening when the percussion and dancing unite in a continuous crescendo that announces the arrival of the bridegroom and his relations, who ‘abduct’ the bride at the end of the day. During the third, conclusive day of this ancient ceremony, ‘ESbah’ (The Morning), the orchestra moves to the bride’s new abode and accompanies her awakening.
Omar Metioui was born in Tanger (Tangier), Morocco, in 1962. He studied Pharmaceutical Sciences at the University of Brussels. In 1973 he studied Western European musical notation, Andalusian chant and lute at the Conservatory of Music and Dance of Tanger. Between 1976 and 1980 he was the lute player and singer at the Andalusian Music Main Orchestra of Tanger.
In the year 1987 he became become First Lute player of the Orchestra of the Conservatory of Tanger under the direction of the Professor Zaitouni, carrying out up to 1.993 several tours for different European countries and of the Arab world.
In those years he also recorded three nubas under the direction of the Ministry of Cultural Matters of Morocco and the Maison des Cultures du Monde of Paris.
Through the Ministry of Culture he played several concerts in 1995, together with the Renaissance choir Juan of Triana.
He has received important awards along his career, as that of Arab Andalusian Music of Rabat. In the year 1994 he began to transcribe Nubas for the center of Musical Documentation of Andalusia.
His recordings include several albums with the group Ibn Baya and a few more with his ensemble or as a soloist (“Masterpieces of Arab-Andalusian Chant”, “Omar Metioui”, “Andalusi Lute and Ritual Sufi Andalusian”, all with Sony).
Omar Metioui has an ensemble. It’s group of Arab musicians group specialized in the interpretation of Arab-Andalusian Music (Hispano-Arab Music from Centuries IX to the XIV), directed by the Master Omar Metioui. It is without a doubt the best group from Morocco that visits regularly the Iberian Peninsula to perform the exotic musical result of combining medieval compositions of Al-Andalus and North African influences.
Musicians: Omar Metioui – Arab Lute and voice; Ahmed Al-Gazi – Rebab and Viola; Said Belcadi – Darbuka and voice’ Abderraja Hassani – Kemanja; Sidi Abdeslam Amrani – Tar, voice.
Abdeljalil Kodssi, Moulay M’Hamed Ennaji (a.k.a. “Sheriff”), Abdelkebir Bensaloum and Mohamed Bechar formed Nass Marrakech in 1991. All are members of Gnawa families or have intimate ties with the Gnawa community, and Abdelkebir is considered the youngest Gnawa maestro in Morocco.
Although they strived to preserve the traditions of their ancestors, Nass Marrakech were also modern Moroccan musicians, open and receptive to new musical experiences. Abdeljalil, for example, had toured with Don Cherry, and various other members of Nass Marrakech had worked with the Casablanca School of Jazz. They were all equally knowledgeable about Gnawa music and popular Moroccan sounds.
On “Sabil ‘a ‘Salaam,” Nass Marrakech skillfully blended traditional pieces with new songs that connected with contemporary audiences. “An a, An ta” (“You and me”) spoke about equality of rights. “Salaam Aleikum” addressed the need for peace, while “Allah” reflected an ecological idea of God. Traditional songs included “Yo Mala,” a song which has existed for over 900 years and is performed in the ancient bambara language.
Nass Marrakech’s sound mixed West African drums (jembes, sabar) with mandolin, Indian tabla, sentir (3-stringed bass lute) and the omnipresent karkabas (metallic castanets) to create a solid musical landscape over which the voices perform the traditional “call and response.”
Majid Bekkas was born and still lives in Sale, Morocco. He learned Gnawa music through the teachings of the master Ba Houmane.
Bekkas includes elements of contemporary western music in Gnawa music and has worked jazz musicians such as Peter Brotzmann, Archie Shepp, Flavio Boltro, Louis Sclavis, Joachim Kühn, and Ramon Lopez.
His song “Daymallah” represents Morocco on the award-winning CD compilation Desert Blues 2.
In his Afro-Oriental Jazz Trio he plays with reed player Manuel Hermia and percussionist Khalid Kouhen.
Soudaniyé (1991) African Gnaoua Blues (Igloo Records, 2002)
La Cité Invisible – Rencontre À Casablanca (Nord Sud, 2003) Mogador (Igloo Records, 2004)
Kalimba (Act Records, 2007) Out of The Desert (Act Records, 2009)
Passport to Morocco, avec Klaus Doldinger (Wea, 2009)
The Art of Baroque, Jazz, Dance & World Music (Keytone Records, 2009) African Jazz ‘n Bar (Hippo Records, 2009)
Makenba (Igloo Records, 2010)
Les Amants De Juliette & Majid Bekkas (Quoi de Neuf Docteur, 2010) Makenba (Igloo Records, 2010)
In All, Marula (Morgenland Records, 2010) Chalaba (Act Records) Mabrouk (Bee Jazz, 2011)
Vodoo Sense (Act Records, 2014) Al qantara (Igloo Records, 2013)
M’alem Abdellah Boulkhair El Gourd is a Master healer Gnawa musician born in 1947 in the Kasbah of Tanger, Morocco. The Gnawa are a group of Black healer musicians of Morocco who are well-known for their purification ceremonies, their abilities to treat psychic disorders and other maladies, just by using the sheer, magnificent spiritual power of Gnawa music and rhythms. M’alem Abdellah has been playing this music since he was a very young boy and has perfected this skill until he became qualified to be a Master or M’alem. To be M’alem is considered a very honorable calling. M’alem Abdellah has played with Randy Weston, a U.S. jazz artist, and his African rhythms musicians in England, in Montreal, Canada and in Montreux, Switzerland.
M’alem Abdellah formed his own group in 1980 and called it Dar Gnawa “because it was an old dream for me.” The group has toured Portugal, Spain and all of Morocco. This is a very big honor to Dar Gnawa because there are many more groups of Gnawa in Morocco. Dar Gnawa also participates annually in “Moros y Cristianos,” parade in Concetaina, eastern Spain. In 1994, M’alem Abdellah and two other members of Dar Gnawa participated in the “Spirit of Africa” tour with Randy Weston & African Rhythms and with blues man, Johnny Copeland and other Gnawa musicians from Marrakesh, Morocco.
The connection between Randy and M’alem Abdellah began in 1967. Abdellah recalls, “With him I played a lot of his and our music. We performed in his ‘African Rhythms Club’ in Tanger (Morocco) with many jazz musicians from all over the planet. This wonderful experience came to its summit in 1972 when we played together in the First “Festival du Jazz in Tangier“. In 1992 Randy and Abdellah had the opportunity to realize an old dream, starting the search for the eldest masters “Malems” of various Moroccan cities.