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| Bootleg Salim Halali LP found in Algiers. |
Algeria’s Jewish past is often framed as one of contemporary
invisibility. Jews are gone, synagogues have been converted into mosques, and
still other visual markers of Jewish life all but effaced. Indeed, all of this
is true. But since arriving in Algeria two weeks ago to do research on the
North African music industry of the first half of the twentieth century I have
wondered the following: What happens when we shift our focus to that of the
aural? In other words, are Algerian Jews more present in the present if we
replace vision for sound and the landscape for the soundscape? The answer, in
short, is a resounding, “yes.”
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| Discussing the Algerian 78 era over coffee. |
If one listens close enough, Jewish voices are everywhere in
Algeria. One must only enter one of the myriad CD shops to catch the sounds of
popular Jewish recording artists from more than half a century ago like Lili
Boniche. Peek your head into a bric-a-brac shop in Oued Kniss and you will find
a dust covered pile of records including the likes of Salim Halali and Lili
Labassi. Catch an Andalusian performance at the National Theater (named for
Mahieddine Bachetarzi, himself closely identified with Algerian Jewish musical
impresarios of the past like Edmond Nathan Yafil) and you will hear a piece of the
classical suite - and now an inextricable part of Algerian patrimony - once
closely associated with Jewish legends like Mouzino and Sassi. Meet with an
octogenarian musician and wait just seconds before he regales you with tales of
Alice Fitoussi and la belle époque of Algerian music. Tell just about any
Algerian, young or old, about your research subject in the broadest of terms
and wait for them to interject with, “Ah! Then you must study the Jews.”
There is much more to say but I am still very much
processing it all. My daily strolls through the casbah, that shockingly compact
musical incubator which once nurtured the high point of Jewish-Muslim music
making, helps tremendously. So too does listening to the music again and again.
Shortly before leaving for Algeria, I put together an all-45 rpm mix for
Afropop Worldwide which serves as both a primer and a testament to the outsized role
played by the country’s Jewish musicians in the first two-thirds of the
twentieth century.
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| Disco Maghreb. What else? |
Here is what I wrote for their website: “In an era
immediately before chaabi and preceding raï by some decades, multi-talented
artists like Lili Labassi pushed the boundaries of Algerian Arabic music in
new, exciting directions while laying down 78 rpm record after 78 rpm record
for Columbia, Polydor, and even RCA. Later, Lili Boniche and Luc Cherki, the
so-called “crooners of the casbah,” blended Western and North African rhythms
to produce hits like the former’s “Ya Samira,” included here. Over the next
hour you will hear a sampling of all of this and more. We start with Salim
Halali and his iconic cover of the Moroccan Sidi Hbibi before moving on to a
Luc Cherki istikhbar and disco number and eventually to a trio of pieces
performed by Blond Blond, Lili Labassi, and the Algéroise diva Line Monty
dedicated to a love of city (Oran and Algiers) and nation (Djazaïr). René Perez
and Lili Boniche round out this mix before we arrive at the rarest piece in
this collection: the Andalusian piano stylings of the one and only Sariza Cohen.”
Playlist
Salim Halali - Layali Maghrib / Salim Halali - Sidi H’bibi / Luc Cherki - Stekhbar Sahli / Luc Cherki - Oumparéré / Blond Blond - El Porompompero / Blond Blond - Wahran El Behya / Lili Labassi - Ouaharan El Bhya / Lili Labassi - Edzayer Zint Elbouldan / Leïla Fateh (Line Monty) - Alger Alger / René Perez - Elli Mektoub Mektoub / Lili Boniche - Elli Mektoub Mektoub / Lili Boniche - Ya Samira / Sariza Cohen - Variations sur Touchia Dhil
More to come when I return but in the meantime pour yourself
a Phénix or an Orangina (both of Algerian origin) and enjoy the music. Saha!
