The Algerian Jewish Soundscape

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.”

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.

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!

Happy Hannouka from Jewish Algeria and Blond Blond

Albert Rouimi aka Blond Blond

I know it looks misspelled but El Bonco – Hannouka is one of the greatest Hanukkah songs that you’ve never heard – courtesy, of course, of the master Algerian Jewish singer Blond Blond. Albert Rouimi, who was given the moniker Blond Blond due to his Albinism, was born in 1919 in Oran, Algeria. From a young age he frequented the cafes that featured legendary Orani musicians like Saoud L’Oranais, Maurice El Medioni’s father, and Reinette L’Oranaise. His influences ran across both sides of the Mediterranean, he was deeply affected by the music of Charles Trenet and Maurice Chevalier for example, and he found himself going back and forth between France and Algeria for much of his career. In 1937, he left for Paris only to return to Oran two years later. It’s unclear how the rise of Vichy France played into this but needless to say Blond Blond left Paris in 1939 and returned only after end of World War II.

Back in Oran, he became known as l’Ambianceur for his unique style of singing and his staccato-like spoken word that interspersed his music. While Blond Blond could make an audience laugh there was also no doubt that he was truly a master musician with significant technical knowledge. He was fluent in the Andalusian repertoire, nailed it in French, commanded chaabi (especially the musical styling of Lili L’abassi) and pioneered the Francarabe style, a mixture of French chansons and Arabic chaabi.

Blond Blond. Kouftanek Mahloul et El Bonco Hannouka. Dounia. #1278. 1970s

He released dozens of records throughout his career, including many on 78 rpm, and recorded for everyone from Pathe to Samyphone to Dounia. He not only performed from his own work and with his own orchestra but also collaborated with some of the finest musicians of his day like Reinette L’Oranaise, Samy Elmaghribi and Line Monty.

Thanks to Phocéephone for this great digitization of Blond Blond’s El Bonco – Hannouka below. Looks like the original Phocéephone link is dead but luckily I found a mislabeled Youtube video of the same tune. Notice that Blond Blond quickly switches languages at the beginning of the track and will do so throughout including when he sings about Hanukkah. Listen carefully at the beginning when he sings, “le mazal c’est la chance.” Mazal is Hebrew for luck.

Ignore the "Ghir Ajini Ajini" - this is indeed El Bonco-Hannouka

Blond Blond was one of the few Jewish Algerian musicians that performed in Algeria post-independence and gave two memorable performances at the Koutoubia music hall in Algiers in 1970 and 1974. Blond Blond, l’Ambianceur, died in 1999 at the age of 80.

Happy Hanukkah to everyone and please make sure to spread this around.