Jilala ☆ Gnaoua ~ Moroccan Trance Music [Sub Rosa, 1990]

1 Jilala Wedding Procession (4:05)
2 Jilala De Tanger* Ouled Khalifa (8:40)
3 Jilala De Tanger* Darba Del Hameni (8:54)
4 Jilala De Tanger* Gnaoui (15:17)
5 Ghaitta And Drums (Part 1)

• Blind Musician, Jemaa El Fna (Part 2) (2:27)

6 Gnaoua De Abdenbi Binizi Jellaba Titara (7:43)
7 Gnaoua De Abdenbi Binizi Yumala (6:53)
8 Gnaoua De Abdenbi Binizi Neksma (11:05)
9 Gnaoua De Abdenbi Binizi Baba Larabi (9:09)

track 1 & 5 [part 1] recorded by Paul Bowles, 1978
the remainder recorded by Randall Barnwell, 1990



this marvelous publication was initially of interest to me because of Paul Bolles. the recordings he made in Morocco in the 70's & namely 'The Music of Morocco' 2xLP he curated for the Library of Congress, bear the reputation of being exceedingly evocative. regrettably i have never heard that release, but one listen to the first cut on this set, a street procession recorded by Paul from a rooftop in Tangiers in 1978, only furthers my interest in tracing the 2xLP. kindly keep your ears to the ground & let me know if you can help :) the remainder of the recordings herein are equally interesting & resonate deep down. weeks will pass when i don't hear this record, but then a tune randomly pops on & i am reminded how head swirling the proceedings can get. 320 entranced exaltations to Janas

Inedit - Moroccan-Andalusi Music - Anthology Al-Ala - Nuba Ramal Al-Maya

Moroccan-Andalusi Music - Anthology Al-Ala - Nuba Ramal Al-Maya
Recorded 1991, 8CD box released by Inedit 1998

The largest work ever undertaken for the protection of musical inheritage: the complete recording of Al-Âla repertory, the classical Arabo-andalusian tradition from Morocco which is composed of 11 vocal and instrumental suites, the Nûba. Vocals, rbab, violins, violas, lutes, cello and percussion instruments.

The Nûba Ramal al-Mâya is recorded here by the Tetuan Conservatory Orchestra, conducted by Mohamed Larbi Temsamani. Total time: 9 hours.
Ramal al-Mâya is not only one of the main nûbâ in the Moroccan classical repertory, but also the hugest worldwide religious work. This majestic version, recorded for the first time in its integrality, is given by one of the four last Morrocan masters.

VA - Dances and Trances: Sufi Rites and Berber Music from Taroudannt, Morocco [field recordings from 1994 - 95]

Dances and Trances
Sufi Rites and Berber Music
Taroudannt, Morocco, 1994-1995
Sufi Brotherhoods and Street Musicians
Recording & liner notes by James Irsay [i tink]
World Arbiter [2000]

1. Adhan for Early-Morning Prayer
2. First Guerrera
3. Second Guerrera
4. Guerrera Performed by Men
5. Combined Adhans for Salat as-Soubh
6. Egyptian Style Song With Oud
7. 1st Berber Song
8. 2nd Berber Song
9. Hadra

Recordings from Taroudannt, Morocco, 1994-1995; a series of Moroccan Sufis practicing trance rites which outsiders are rarely able to witness. The city of Taroudannt, Morocco, is surrounded by perfectly-preserved red-ochre mud walls dating back, in part, to the 16th century Saadien dynasty, which chose Taroudannt as its capital before moving to the larger and more accessible Marrakesh. While the walls and their ramparts are impressive, the real attraction of Taroudannt lies in its purely Moroccan character, which has remained essentially unchanged for centuries. Situated in the Souss River valley and cut off by the snow-capped peaks of the Haut-Atlas mountains to the North, and the semi-desert Anti-Atlas range to the South, the French occupiers never created a modern ville-nouvelle here, with the typical unimaginative grid of streets one finds in many cities, large and small, throughout Morocco. The feeling of Taroudannt is timeless and traditional. A note about the recordings: the Guerreras and the Hadra were recorded with a hand-held stereo microphone, allowing free movement through the musicians and capturing the performances from a variety of vantage points. Sometimes particular instruments or voices were targeted, allowing the listener to hear the role they played. As a result, the sound is not static, the balance of elements shifting with the motion of the microphone. The performances were not the result of prearranged sessions. All were "encounters," recorded at public events held during the course of daily life in Morocco. Particularly in the large Guerrera, you will hear a throng of participants, surrounded by their expressions of enthusiasm and excitement, along with their casual socializing. Vocal drones, hypnotic percussion, chants, stringed instrumental accompaniment and winds, all captured live and in the moment for a sonic travelogue experience.

by far some of the most intense & evocative recordings, ethnomusicological or otherwise, in the last coupla decades. no artist names unfortunately. the egyptian oud song is particularly fabulous & yude be wise to excavate other oud recordings posted previously in this very treehaus. liner notes thoughtfully enclosed for the literate