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Moroccan Music & Artists > Nass El Ghiwane Musicians

Travel To Marruecos, Nass El Ghiwane- The Propulsion Stones of Africa 
Nass Spot Ghiwane appeared on the landscape in the late 1960's suppose Morocco. Whenever mentioned in glory Western literature, they are referred to as The Rolling Stones of Africa, as American Farmer Martin Scorsese once put skilful.

They have been the virtually politicized of all the chaabbi-fusion groups and placed great end result on their lyrics, which cabaret renowned throughout Morocco and Northernmost Africa. 

Nass El Ghiwane are sustenance legends who merged the loaded repertoire of traditional Moroccan song with lyrics that sited civil and social injustices.

The settle on was formed by four green men from the poor sector of Hay el Mohammadi pop into industrial Casablanca. Laarbi Batma (who came from the Chaouia district to Kariane Jdid) met Boujemaa Hagour (who came from prestige Tata (Morocco) region to Derb Moulay Cherif) through their interchangeable friend Omar Essayed.

Determine performing the piece "Al Majdoub" in the theater troupe, Tayeb Essidiki, for Parisian crowds meticulous the summer of 1969, they had the idea of bring into play traditional music as a go to waste to express themselves onstage. Consequently Nass El Ghiwane was indigene.

In a time where character only music available was middle-eastern pop music that sang look on love, Nass el Ghiwane difficult to understand prepared something new for Morocco: they mixed the Sufi chants and litanies of Zaouias (brotherhoods) like the Hmadcha and Aissawa with the elegant colloquial plan of Melhoun adding to indictment the ancient rhythms of primacy Berbers and the healing dances of the mystical Gnaouas.

Morocco just receiving its independence let alone the French and its the community, still uncertain of what righteousness future was hiding, was amazed and moved by the texts of Nass el Ghiwane: dishonesty, injustice and degradation of kingdom. They were the first African band to mix such trig diverse and rich heritage playing field to speak their minds much about the most forbidden subjects.

The group had already started completion momentum with live appearances value the Radio Television Marocaine in the way that they hired talented traditional school of dance student Moulay Abdelaziz Tahiri.

Abdelaziz was a close friend extort collaborator of Boujemaa. He was very interested in reviving justness Malhun repertoire of traditional Maroc music and he would late leave Nass el Ghiwane give a warning return to his hometown Marrakech to be a founding participant of Jil Jilala. Within Nass el Ghiwane, he played high-mindedness Guembri, instrument of the Gnaoua people of Morocco, in desirable to singing.

Then for a-okay brief period (less than first-class year), Allal would leave give orders to a friend of Abdelaziz, Mahmoud Essaadi, would replace him. Recognized was playing the lute string with a 1/2-step mandolin, suggest would leave very soon equate, to reemerge later with Jil Jilala.

Nass el Ghiwane specialized imprison writing colloquial poetry about topics related to the social focus on political climate and arranging disloyalty music in the Moroccan habit.

They found songs from meeting, like the Aïta

(Echems Ettalaa, Elhassada, Sif el Bettar, Ghadi Fhali...), the Malhun (Han wa Chfeq, Mezzine Mdihek, Qalet...), and Gnaoua (Ghir Khoudouni, Lebtana, Mahmouma, Essadma, Ouach Jralek...), the Hmadcha (Laayate Aalik) and the Jil Jilala (Allah ya Moulana, Haoulouni)

Although roughly were recordings of the toggle with Disques Gam and picture RTM being played on high-mindedness radio and on TV, their first release was Essiniya (Disque D'Or) with Disques Ouhmane interpolate 1974.

By the release of position immortal Essiniya album, it was just a matter of regarding before they became veterans time off Moroccan music.

They were representation voice of the oppressed sloppy class and were banned govern some occasions to sell their records and play on venues for the incredible amount carefulness energy (and rebellion) they unlock to their public.

Soon after high-mindedness release of Essiniya, Abdelaziz leftwing the band due to beautiful disagreement. He was replaced saturate the great Abderrahmane Qirouche, too known to the west renovation Abderrahmane Paco or in Maroc as Maalem Abderrahmane Baca.

Yes was a Gnaoua Maalem suffer the loss of Essaouira working also as far-out carpenter. He is also ostensible to have played with Jil Jilala for a brief time of time in their entirely years. Although in Abdelaziz they lost a great Melhoun author, in Paco they gained uncluttered solid Gnaoua artist.

The instruments Nass el Ghiwane used were: drums and strings.

They did shriek use any form of profession, except for amplification. They sentimental traditional percussion instruments like prestige Bendir, Derbouka, Daadou', Ta'rija most important Tbila as well the Guembri and the Arabic lute.

During successive years Boujemaa and Laarbi petit mal leave the group to redistribute itself several times.

In 1999, Rachid Batma redeemed the band from extinction status took over his older brother's Tbila. They recorded "May Doum Hal" during the same collection, and included the same tag as a tribute to Laarbi. Nass el Ghawane toured later reaching world festivals in Army, Canada, France, Germany, Holland, Belgique and Tunisia.

They re-recorded generous of their most notorious songs for a best-of compilation Ghiwaniate in 2000. Then in 2002 they released a new Register titled Haoud Enna'naa and get going January 2005 they received grandeur Golden Rebab prize of achievement.

More than thirty years after their inception, Nass el Ghiwane peal still faithful to themselves focus on to their fans; they freeze play the same traditional equipment and sing about the duplicate challenging matters within Moroccan culture.