Monday, September 29, 2014

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Gnaoua

" And their music is definitely used for magical purposes. For example, the Gnaoua music is to drive out evil spirits and Joujouka music is invoking the God Pan. Musicians there are all magicians, quite consciously." William S. Burroughs

Gnawa music

From Wikipedia, the free encyclopedia

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Gnawa musicians performing in a street in Morocco

Gnawa music is a rich repertoire of ancient African Islamic spiritual religious songs and rhythms. Its well preserved heritage combines ritual poetry with traditional music and dancing. The music is performed at 'Lila's', entire communal nights of celebration, dedicated to prayer and healing, guided by the Gnawa Maalem and his group of musicians and dancers. Though many of the influences that formed this music can be traced to sub-Saharan West-Africa, its traditional practice is concentrated in Morocco and the Béchar Province in South-western Algeria.
The word 'Gnawa', plur. of Gnawi, is taken to be derived from the Hausa-Fulani word "Kanawa" for the residents of Kano, the capital of the Hausa-Fulani Emirate, which was a close ally of Morocco for centuries, religiously, economically, and in matters of defence. (Opinion of Essaouira Gnawa Maalems, Maalem Sadiq, Abdallah Guinia, and many others). Moroccan language often replaces "K" with "G", which is how the Kanawa, or Hausa people, were called Gnawa in Morocco. The Gnawa's history is closely related to the famous Moroccan royal "Black Guard", which became today the Royal Guard of Morocco.
A short browsing of the Moroccan and Hausa contexts will suffice to show the connections between both cultures, religiously -as both are Malikite Moslems, with many Moroccan spiritual schools active in Hausaland- and artistically, with Gnawa music being the prime example of Hausa-sounding and typical Hausa articulation of music within Morocco, its local language, and traditions.
Gnawa music is one of the major musical currents in Morocco. Moroccans overwhelmingly love Gnawa music and Gnawas 'Maalems' are highly respected, and enjoy an aura of musical stardom.

Music

In a Gnawa song, one phrase or a few lines are repeated over and over, so the song may last a long time. In fact, a song may last several hours non-stop. However, what seems to the uninitiated to be one long song is actually a series of chants, to do with describing the various spirits (in Arabic mlouk (sing. melk)), so what seems to be a 20-minute piece may be a whole series of pieces - a suite for Sidi Moussa, Sidi Hamou, Sidi Mimoun or the others. But because they are suited for adepts in a state of trance, they go on and on, and have the effect of provoking trance from different angles.
The melodic language of the stringed instrument is closely related to their vocal music and to their speech patterns, as is the case in much African music. It is a language that emphasizes on the tonic and fifth, with quavering pitch-play, especially pitch-flattening, around the third, the fifth, and sometimes the seventh. This is the language of the blues.

krakebs or Qraqab

Gnawa music is characterized by instrumentation. The large heavy iron castanets known as qraqab (or krakebs large iron castanets; Ar. قراقب) and a three -string lute known commonly as a hajhuj (or gimbri) are central to Gnawa music.^[1] The rhythms of the Gnawa, like their instrumentations are distinctive. Particularly Gnawa is characterized by interplay between triple and duple meters. The "big bass drums" mentioned by Schuyler are not typically featured in a more traditional setting.^[2]
Gnawa have venerable stringed-instrument traditions involving both bowed lutes like the gogo and plucked lutes like the gimbri (Ar. چنبري; also called hajhuj, Ar. هجهوج or "sentir" Ar. سنتير), a three-stringed bass instrument. The Gnawa also use large drums called tbel (Ar. طبل ) in their ritual music. The Gnawa hajhuj has strong historical and musical links to West African lutes like the Hausa halam, a direct ancestor of the banjo.
Gnawa hajhuj players use a technique which 19th century American minstrel banjo instruction manuals identify as "brushless drop-thumb frailing". The "brushless" part means the fingers do not brush several strings at once to make chords. Instead, the thumb drops repeatedly in a hypnotically rhythmic pattern against the freely-vibrating bass string producing a throbbing drone, while the first two or three fingers of the same (right) hand pick out, percussive patterns in a drum-like, almost telegraphic manner.

Rituals

Gnawas perform a complex liturgy, called lila or derdeba. The ceremony recreates the first sacrifice and the genesis of the universe by the evocation of the seven main manifestations of the divine demiurgic activity. It calls the seven saints and supernatural entities (mluk, Arabic: ملوك) represented by seven colors, as a prismatic decomposition of the original light/energy. The derdeba is jointly animated by a maâlem (master musician) at the head of his troop and by moqadma or shuwafa (clairvoyante) who is in charge of the accessories and clothing necessary to the ritual.
During the ceremony, the clairvoyante determines the accessories and clothing as it becomes ritually necessary. Meanwhile, the maâlem, using the guembri and by burning incense, calls the saints and the supernatural entities to present themselves in order to take possession of the followers, who devote themselves to ecstatic dancing.
Inside the brotherhood, each group (zriba; Arabic: زريبة) gets together with an initiatory moqadma (Arabic: مقدمة), the priestess that leads the ecstatic dance called the jedba (Arabic: جذبة), and with the maâlem, who is accompanied by several players of krakebs.
Preceded by an animal sacrifice that assures the presence of the spirits, the all-night ritual begins with an opening that consecrates the space, the aâda ("habit" or traditional norm; Arabic: عادة), during which the musicians perform a swirling acrobatic dance, playing the krakebs.
The mluk (sing. melk) are abstract entities that gather a number of similar jinn (genie spirits). The participants enter a trance state (jedba) in which they may perform spectacular dances. By means of these dances, participants negotiate their relationships with the mluk either placating them if they have been offended or strengthening an existing relationship. The mluk are evoked by seven musical patterns, seven melodic and rhythmic cells, who set up the seven suites that form the repertoire of dance and music of the Gnawa ritual. During these seven suites, seven different types of incense are burned and the dancers are covered by veils of seven different colours.
Each of the seven families of mluk is populated by many "characters" identifiable by the music and by the footsteps of the dance. Each melk is accompanied by its specific colour, incense, rhythm and dance. These entities, treated like "presences" (called hadra, Arabic: حضرة) that the consciousness meets in ecstatic space and time, are related to mental complexes, human characters, and behaviors. The aim of the ritual is to reintegrate and to balance the main powers of the human body, made by the same energy that supports the perceptible phenomena and divine creative activity.
Later, the guembri opens the treq ("path," Arabic: طريق), the strictly encoded sequence of the ritual repertoire of music, dances, colors and incenses, that guide in the ecstatic trip across the realms of the seven mluk, until the renaissance in the common world, at the first lights of dawn.
Almost all Moroccan brotherhoods, such as the Issawa or the Hamadsha, relate their spiritual authority to a saint. The ceremonies begin by reciting that saint's written works or spiritual prescriptions (hizb, Arabic: حزب) in Arabic. In this way, they assert their role as spiritual descendants of the founder, giving themselves the authority to perform the ritual. Gnawa, whose ancestors were neither literate nor native speakers of Arabic, begin the lila by recalling through song and dance their origins, the experiences of their slave ancestors, and ultimately redemption.

Gnawa music today

During the last few decades, Gnawa music has been modernizing and thus becoming more profane. However, there are still many lilas organized privately, which conserves the music's sacred, spiritual status.
Within the framework of the Gnaoua World Music Festival of Essaouira ("Gnaoua and Musics of the World"), the Gnawa play in a profane context with slight religious or therapeutic dimensions. Instead, in this musical expression of their cultural art, they share stages with other musicians coming from the four corners of the world.
As a result, Gnawa music has taken a new direction by fusing its core spiritual music with similar genres like jazz, blues, reggae, and hip-hop. Every summer for four days in June, the Festival welcomes famous musicians that come to participate, exchange and mix their own music with Gnawa music, creating one of the largest public festivals in Morocco as well as one of the best jam sessions on the planet. Since its debut in 1998, the free concerts have drawn a festival audience that has grown from 20,000 visitors to over 200,000 in 2006 including 10,000 visitors from around the world.
Past participants have included Randy Weston, Adam Rudolph, The Wailers, Pharoah Sanders, Keziah Jones, Omar Sosa, Doudou N'Diaye Rose, and the Italian trumpet player Paolo Fresu.
There are also projects such as "The Sudani Project", a jazz/gnawa dialogue in collaboration between saxophonist/composer Patrick Brennan, Gnawi maâlem Najib Sudani, and drummer/percussionist/vocalist Nirankar Khalsa. Brennan has pointed out that the metal qraqeb and gut bass strings of the guembri parallel the cymbal and bass in jazz sound.
In the 1990s young musicians from various backgrounds and nationalities started to form modern Gnawa bands. Gnawa Impulse from Germany is an example. These groups offer a rich mix of musical and cultural backgrounds, fusing their individual influences into a collective sound. They have woven elements of rap, reggae, jazz and rai into a vibrant musical patchwork.
These projects incorporating Gnawa and Western musicians are essentially Gnawa fusions.

List of Gnawa maâlems

A 19th century Gnawa musician

Mahmoud Guinia ("the King") or Gania (as spelled in passport) - He played with the likes of Pharaoh Sanders and Carlos Santana, to name but two. Contrary to popular myth, guitarist Jimi Hendrix did not spend a few months in his house to take some lessons. He is the son of the late Maâllem Boubker Gnaia, and his two brothers Abdelah and Mokhtar are also distinguished maâllemin (masters). The Gania family also includes Zaida Gania, a very popular medium and clairvoyant at the nights of trance (leelas) as well as the head of a group of female gnawas, The Haddarate of Essaouira.

Hasna el Becharia - Born and resident in the town of Béchar in southern Algeria, she is a well-known Gnawa musician, having released the albums Djazair Johara and Smaa Smaa.

Brahim Belkane ("The traditionalist") - He has played with Led Zeppelin, Robert Plant, Adam Rudolph, Randy Weston, and Jimmy Page. He says: "There are many colours on earth: red, green, blue, yellow. You have to find these when you play, to be bright like the sun."

Hamid El Kasri - He now lives in Rabat but his origins are in the northern town Ksar El Kbir, thus the nickname Kasri (i.e. the one from Ksar). He is one of the biggest stars on stage and is particularly renowned in Morocco for his great voice. In his youth Maâllem Hamid was much associated with the gnawa scene in Tangier and masters such as Abdelwahab "Stitou". He began his apprenticeship at the age of seven. He has the gift of being able to fuse the music of the north with that of the south: gharbaoui from Rabat, marsaoui from Essaouira and soussi or Berber from the south of Morocco.

H'mida Boussou ("The grand master") - As a child H'mida immersed himself in Gnawi culture as taught to him by the Maâlem Ahmed Oueld Dijja, and became a Maâlem himself at the age of 16. He also worked with Maâlem Sam from 1962 to 1968. Maalem H'mida Boussou died on 17 February 2007, but his son, Maalem Hassan Boussou continues the gnaoua tradition and played a concert in homage to his late father at the 10th Essaouira Gnaoua and World Music Festival in June 2007.

Chérif Regragui ("The communicator") - He became a Maâlem by the age of 18. He worked with Tayeb Saddiki in theatre andhe was behind the group Taghada.

Mahjoub Khalmous - His skills took him to many festivals in Europe. In 1993 he formed his own group and became a Maâlem. He has worked for several years with Professor Bertrand Hell, head of the anthropology department at Besançon University in France.

Allal Soudani ("The dreamer")- His grandparents M'Barkou and Barkatou were brought from Sudan as slaves. "When I play I no longer feel my body, I empty myself. And when I reach the state of trance I become nothing more than a leaf on a tree blowing at the mercy of the wind," he says, describing his trance moments.

Abdellah El Gourd - He learned Gnawa music as a young man, while working as a radio engineer in his hometown of Tangier. He has collaborated with jazz musicians Randy Weston and Archie Shepp and blues musician Johnny Copeland. With Weston, he co-produced The Splendid Master Gnawa Musicians of Morocco, which received a 1996 Grammy Award nomination for Best World Music Album.

Omar Hayat ("The showman") - He was taught by Mahmoud Guinea and the late Maâllem Ahmed. He formed his own group in 1991. His style is particularly influenced by reggae, but Omar Hayat nonetheless plays true gnawa and is a great source of inspiration for the young gnaoui in Essaouira. He participated recently at the festival of Avignon and has also been working and touring with the German circus Afrika! Afrika!.

Abelkebir Merchane (also known as Cheb) - He is from an Arab family, none of whom are gnawa. His style is a mixture of marsaoui (Essaouira) and Marrakchi (Marrakech). He was taught by Maâllem Layaachi Baqbou and he possibly has the greatest voice in Moroccan gnawa today. His son Hicham is also a gnawa master.

Abdeslam Alikkane and Tyour gnawa - He is a Berber from the region of Agadir. He learnt to play the krakebs at the age of nine. He is particularly interested in the healing aspect of gnawa. He has performed at many international festivals, playing with Peter Gabriel, Gilberto Gil (currently Brazil's minister of Culture) and Ray Lema fr:Ray Lema.

Abderrahman Paca - He is one of the founding members of the group Nass El Ghiwane. In 1966 he briefly joined the Living Theatre, then two years later met the legendary Jimi Hendrix.

Mohamed Kouyou - In 1984 he played at the opening of the Moroccan Pavilion at Disney World. He also plays in Essaouira's gnawa festival.

Mokhtar Gania - Son of the great Maâlem Boubker. He is the younger brother of the legendary Mahmoud. He has played at the great Roskilde Festival in Denmark in 2003 sharing the stage with Bill Laswell, Jah Wobble, Gigi, Sussan Deyhim and others. He is currently considered one of the hottest gimbri players around.

Mohamed Daoui - He teaches the younger generation of future maâlems, for which he has a widespread reputation.

Abdelkader Benthami - He owes his education to some of the greatest Maâlems, such as Zouitni. He lives in Casablanca, and showed his strength on albums such as Bill Laswell's Night Spirit Masters. His sons are both masters, and the youngest, Abderrahim, debuted in 2007 at the Festival d'Essaouira.

Si Mohamed Ould Lebbat - At the age of 18 he began to play with Maâlem Sam, whom he accompanied to festivals in France.

Ahmed Bakbou - He has worked with some of the great Maâlems: Ba Ahmed Saasaa, El Hachimi Ould Mama, Homan Ould el Ataar, Si Mohamed Ould el Fernatchi. He is the first son of Maâllem Layaachi Baqbou, and he is known as "the talking gimbri", and even though he sings, he often plays the gimbri with close friends such as Abdelkebir Merchane or his brothers Moustapha and Aziz singing.

Essaïd Bourki - His origins are in the south of Morocco. He performed with his group in Belgium in 1990. He is considered the secret master of Essaouira.

Abdellah Guinea ("The Marley")- He became a Maâlem at the age of 16. His nickname is due to his dreadlocks and fondness of reggae. He is the middle son of Maâllem Boubker Gania. Today Abdelah is by many considered one of the greatest maâllemin in Essaouira.

Mohamed Chaouki - Formerly a horse trainer once worked in the stud farms of Rabat. At the age of 19 he became a maâlem. He formed a group with his brother, sons and nephews with whom he has performed in Europe 18 times.

Saïd Boulhimas - He is the youngest Gnawi to play at the 7th (2004) gnawa festival. Saïd was taught by Abdelah Gania and is almost considered the son of the maâllem. He won the Festival de Jeunes Talents (Festival of young talents) in 2006 and is also part of the French/Moroccan Band Of Gnawa with Louis Bertignac and Loy Erlich.

Hassan Hakmoun - By the age of four, he was performing alongside snake charmers and fire-breathers on Marrakech streets. His mother is known throughout the city as a mystic healer. He worked with Peter Gabriel. He is currently based in New York.

Fath-Allah Cherquaoui (Fath-Allah Laghrizmi) - One of the youngest Masters of Gnawa music, Fath-ALLAH was born in 1984 into a well-known family in Marrakech, Morocco. His eyes were opened to the ceremonies of Gnawa music by his grandmother, lmqadma lhouaouia. As a Moqadma or Shuwafa (clairvoyant), she would organize the Gnawa ceremony, or derdeba, two or three times a year with a renowned Master named Lmansoum. Thus, the entire family, including young children, developed a deep appreciation and interest in this genre of spiritual music. By the age of 19, his elder cousin, Maallem Lahouaoui, became a Master and began to play in the ceremonies for their grandmother. At seven years old, Fath-Allah was able to sing nearly all of the ritual repertoire, and play the qraqeb (iron castanets). By the age of eleven, he decided to build his own version of the instrument known as the gembry, using a glow bin, a broom handle, and an electric cable for strings. Five years later, he and his younger brother purchased their first gembry, and he began learning and practicing finger placement, as well as how to distinguish the correct tones. Although his father advised him to spend more time on his schoolwork, and cautioned him against the dangers and hardships of the music industry, Fath-Allah remained dedicated to teaching himself the instruments and music of Gnawa. After some time, he was invited to join his cousin Maallem Lahouaoui’s band, playing the castanets, dancing and singing. But he dreamed of playing the gembry in a real derdeba. His chance finally came on a night when his cousin asked him to stand in for him and finish playing what was left of the ceremonial songs. It was the first time Fath-Allah had ever played in front of a crowd, and during an actual Gnawa ceremony. The audience was amazed at how the youngest member of the band could so easily replace the Master, and actually play as well as he and many other Masters. This was the beginning of the Maallem Fath-Allah. His favourite Masters include: Maallem Lahouaoui, Maallem Mustapha Baqbou, Maallem Hmida Boussou and Maallem Abd Elkader Amili.

Notes

Schuyler, 2008
Schaefer, 2005

References

External links

http://en.wikipedia.org/wiki/Gnawa_music

Morocco Gnawa Music Part 1

Joujouka

"And their music is definitely used for magical purposes. For example, the Gnaoua music is to drive out evil spirits and Joujouka music is invoking the God Pan. Musicians there are all magicians, quite consciously." William S. Burroughs

Master Musicians of Joujouka

From Wikipedia, the free encyclopedia

Not to be confused with The Master Musicians of Jajouka led by Bachir Attar.

Master Musicians of Joujouka
Origin	Jajouka, Morocco
Genres	Folk music, World, Sufi music of Morocco
Years active	1950 – present
Labels	Sub Rosa, Rolling Stones Records
Associated acts	Brion Gysin, Mohamed Hamri, Brian Jones, Timothy Leary, Marianne Faithfull, Scanner, Anita Pallenberg, Smashing Pumpkins
Website	Master Musicians of Joujouka official site

Members	See: Members

The Master Musicians of Joujouka are Berber Sufi trance musicians most famous for their connections with the Beat Generation and the Rolling Stones founder Brian Jones. These musicians hail from the village of Jajouka or Zahjouka near Ksar-el-Kebir in the Ahl Srif mountain range of the southern Rif Mountains in northern Morocco.

Background

The Master Musicians of Joujouka have a long history being recorded by Western artists.^[1] Their first L.P. was produced by Arnold Stahl and released in the early 1960s. This double L.P. was released by the Musical Heritage Society. It listed the musicians as the "Mallimin Ahl Shrif" or Masters of the Ahl Srif. The name Master Musicians of Joujouka was first used by Brion Gysin and William S. Burroughs in the 1950s, Timothy Leary and Rosemary Woodruff Leary in the 1960s and 1970s and on the Brian Jones L.P. released in 1971.^[2] A 1974 release utilised the title Master Musicians of Jajouka. In the 1980s the musicians were sometimes called by the names Master Musicians of Jahjouka, Master Musicians of Jajouka and Master Musicians of Joujouka in both articles and on official documents.

Schism

A schism exists between two similarly-named ensembles from the same village.^[3]^[4] Lee Ranaldo, following a 1995 visit to Morocco, wrote

[T]here are currently two groups of musicians claiming to be the 'real' Master Musicians OF Jajouka/Joujouka (they're even arguing over the spelling). One group, the 'Jajouka' faction, is led by Bachir Attar, whose father was the leader of the group in the 60s when Brian Jones and Ornette Coleman made their visits.... The 'Joujouka' faction is in the care of Mohammed Hamri, who has been involved with the village since the 50s and 60s, and who had a hand in bringing Brion Gysin and Paul Bowles there.^[4]

Inconsistent English rendering of the village's name compounds the issue. For example, RE/Search uses both spellings in an interview with Brion Gysin: "Jajouka" for the village name, and "Joujouka" for the album Brian Jones Presents the Pipes of Pan at Joujouka.^[5]

Sufism and Pan

The Master Musicians of Joujouka adhere to the traditional Sufi trance music of their patron saint passed down for 1200 years. Timothy Leary having visited the village in September 1969 wrote an essay on his time with Mohamed Hamri and the master musicians in his 1971 book Jail Notes called "The four thousand year old rock'n'roll band".^[6] Leary based his dating on Burroughs's belief that the ritual Boujeloud, performed in Joujouka, owes its origin to the Ancient Greek deity Pan.
Before the Alaouite dynasty, the masters used to play in medieval times for sultans in their courts, travelling with them and announcing their arrival to villages and cities.^{[citation needed]}

Beat Generation

Their first exposure to Western audiences came through their introduction to the Beats. Painter/folklorist Mohamed Hamri, whose mother was an Attar from the village, led artist Brion Gysin to Joujouka to meet the group. Gysin became fascinated with the group's music and led William S. Burroughs to the village. Burroughs described it as the world's oldest music and was the first person to call the musicians a "4000-year-old rock and roll band". In Tangier, Gysin and Hamri founded the 1001 Nights restaurant, in which the musicians played throughout the 1950s to a largely Western audience in what was then an international zone, the "Interzone" of Burroughs' fiction.

Brian Jones and Ornette Coleman

When Rolling Stones Brian Jones visited Morocco in 1968, Gysin and Hamri took him to the village to record the Master Musicians of Joujouka for the release Brian Jones Presents the Pipes of Pan at Joujouka, whose original release featured cover artwork by Hamri before a controversial 1990s redesign. Ornette Coleman recorded with the musicians in January 1973, some results of which featured on his LP Dancing in Your Head. A second LP, Master Musicians of Jajouka, was released in 1974.

1990s to present CD and DVD releases

The Master Musicians of Joujouka, now led by Ahmed Attar, released their third album Joujouka Black Eyes, on Sub Rosa in 1995. In 1996 Sufi: Moroccan Trance II was released, an album featuring the Sufi music of Joujouka's saint Sidi Ahmed Scheech and also Gnawa music from Marrakesh. The same year 10%: file under Burroughs featured the Master Musicians in collaboration with Marianne Faithfull on "My Only Friend," an homage to Brion Gysin, as well as a prayer giving blessings and a vocal track by the musicians. The same CD features artists such as Scanner sampling the musicians to create homages to Gysin and Burroughs. Other artists on album include Bill Laswell, Herbert Huncke, Burroughs, Bomb the Bass, Gysin, Chuck Prophet, and Stanley Booth.
Hamri continued to promote Joujouka music as President of their collectives organisation Association Srifiya Folkloric until his death in Joujouka in August 2000. Despite Hamri's death, the musicians continue to work in Joujouka and abroad. Those living in the village include Ahmed El Attar, Abdeslam Boukhzar, Mohamed El Attar, Abdeslam Errtoubi, Ahmed Bousini, Mustapha El Attar, Radi El Khalil, Abdullah Ziyat, and Mohamed Mokhchan, as well as other members of their Sufi community and their children.
The musicians travelled to perform at Casa Da Musica, Porto, Portugal in spring 2006. Their most recent CD Boujeloud recorded over a four-year period, documents the music of the Boujeloud or Pan ritual, was released in September 2006.
A DVD, Destroy all Rational Thought, featuring their 1992 performances at the Here To Go Show in Dublin, Ireland was released in 2007. The documentary also feature the music of Laswell, Material, and Shabba Ranks. It also features Gysin and Burroughs, whose works were the focus of the show.

Music and instruments

The Joujouka brotherhood play a form of reed, pipe, and percussion music that relies on drones, improvisation, and complex rhythms, much of which is unique to Joujouka.
Their flute is called the lira and is considered the oldest instrument in Joujouka. The double-reed instrument is called the rhaita; it is similar to an oboe, but possessing a louder sound and more penetrating tone. The drum is called the tebel and is made of goat skin and played with two wooden sticks. There is also another goat-skin drum called the tarija which allows for more fast-paced virtuosity.
The music itself is considered to be part of the Sufi tradition of the Rif Mountains. Prior to the colonization of Morocco by France and Spain, master musicians of the village were said to be the royal musicians of the sultans. In past centuries master musicians of the Joujouka village traditionally were excused by the country's rulers from manual labor, goat-herding, and farming to concentrate on their music because the music's powerful trance rhythms and droning woodwinds were traditionally considered to have the power to heal the sick.
The music of the region has a strong connection to Pan. According to the tale, thousands of years ago a goat-man called "Bou Jeloud" appeared to an Attar ancestor in a cave, and danced to his music. The musicians of the village re-enact this event annually.

Brian Jones 40th Anniversary Festival

The Master Musicians of Joujouka host a festival, on 29 July 2008, to celebrate the 40th anniversary of the Brian Jones recording on 29 July 1968.^[7]

Discography

Albums

Brian Jones Presents the Pipes of Pan at Joujouka (1971)
Master Musicians of Jajouka (1974)
"Apocalypse Across the Sky" (1992)
Joujouka Black Eyes (1995)
Moroccan Trance Music: Vol. 2: Sufi (featuring Gnoua Brotherhood of Marrakesh and The Master Musicians of Joujouka, 1996)
1O%: file under Burroughs own track plus separate collaborations with Marianne Faithfull, William Burroughs and Scanner.
Boujeloud (2006)

Contributing artist

The Rough Guide to the Music of Morocco (2012, World Music Network)

Books

Tales of Joujouka by Mohamed Hamri

Personnel

The following musicians performed on Boujeloud, Joujouka Black Eyes, and Sufi as well as other recordings.

Ahmed El Attar – drum and vocal; appears on Brian Jones Presents The Pipes Of Pan At Joujouka (1971), Master Musicians of Jajouka (1974), and Boujeloud
Mohamed El Attar – lira, rhaita and vocals
Mustapha El Attar – drum
Ahmed Bouhsini – rhaita, lira; appears on Brian Jones Presents The Pipes Of Pan At Joujouka, Master Musicians of Jajouka
Abdelslam Boukhzar – drum, vocal; appears on Brian Jones Presents The Pipes Of Pan At Joujouka, Master Musicians of Jajouka, Steel Wheels by The Rolling Stones, and Apocalypse across the Sky
Abdelslam Errtoubi – rhaita, lira; appears on Brian Jones Presents The Pipes Of Pan At Joujouka, Master Musicians of Jajouka
Mujehid Mujdoubi – lira; appears on Brian Jones Presents The Pipes Of Pan At Joujouka, Master Musicians of Jajouka
Muinier Mujdoubi – drum
Muckthar Jagdhal – drum, vocal; appears on Brian Jones Presents The Pipes Of Pan At Joujouka, Apocalypse across the Sky
Mohamed Mokhchan – rhaita, lira; appears on Brian Jones Presents The Pipes Of Pan At Joujouka, Master Musicians of Jajouka
Abdelslam Dahnoun – drum, rhaita, lira; appears on Brian Jones Presents The Pipes Of Pan At Joujouka
Abdellah Ziyat – rhaita, lira, vocal
El Hadj – clapping, vocal; appears on Brian Jones Presents The Pipes Of Pan At Joujouka, Master Musicians of Jajouka
Si Ahmed – violin

References

Sleeve Note Brian Jones Presents the Pipes of Pan at Joujouka, Rolling Stones Records, 1971
Timothy Leary "The Four Thousand Year Old Rock'n'Roll Band, Jail Notes, London 1972, Rosemary Woodruff Leary, "The Master Musicians" in Ed. Paul Krassner. Psychedelic Trips for the Mind reprinted 2000,
Olewnick, Brian. Joujouka Black Eyes at AllMusic. Retrieved 2013-08-21.
Ranaldo, Lee (August 1996). "Into The Mystic: Lee Ranaldo's Jajouka Journal". The Wire (150).
Wilson, Terry (1977). "Here to Go: Planet R-101", Soft Need Brion Gysin Special. Appears in V. Vale and Andrea Juno, ed. (1982). RE/Search #4/5: William S. Burroughs/Brion Gysin/Throbbing Gristle. RE/Search. pp. 46–50. ISBN 0-9650469-1-5.
Rosemary Woodruff Leary, "The Master Musicians" in Ed. Paul Krassner. Psychedelic Trips for the Mind, reprinted 2000; Leary, Timothy, Jail Notes, (New York, 1971)
http://www.joujouka.net