Moroccan Maestros ; Maghrebika's Music Is an Education: Not Just in Its African Origins but in Its Lyrical Focus on Muslims, Writes PHIL MEADLEY
Meadley, Phil, The Independent (London, England)
Some people approach the idea of tampering with traditional music with caution, but Pat Jabbar - producer, musician and owner of the Swiss-based label Barraka El Farnatshi - prefers the all-or-nothing philosophy. For 16 years, his label has consistently chipped away at the boundaries, juxtaposing traditional Moroccan music with Jamaican dub, funk, electro, house, trance and trip-hop styles. And for a large part of his label's existence he's collaborated with bass player extraordinaire, and famed producer, Bill Laswell. Like Jabbar, Laswell is a man noted for shredding the rule book, most notably as producer of Herbie Hancock's seminal album Future Shock, seen as a precursor of the hip-hop movement, as well as his recent production duties on Hasidic reggae star Matisyahu's breakthrough album Youth.
Their most recent collaboration is on the album Neftakhir by Maghrebika, a name that Jabbar describes as "a derivation of Maghreb [a region of North Africa taking in Morocco, Algeria, Tunisia, Libya and sometimes Mauritania] and a little word play on Metallica". Unlike the majority of the label's output, the bulk of this one was recorded in Jabbar 's hometown of Basel, with the help of Algerian singers Abdelkader Belkacem and Abdelaziz Lamari, both of whom he met at the local mosque. Other parts were added later in Morocco.
Although Jabbar was brought up a Swiss Protestant, he converted to Islam many years ago, but stresses that he only became serious about it three and a half years ago. "Before, I didn't practise," he says. "I was drinking, smoking weed, doing ecstasy, etc. But this life became really boring, so I started saying prayers five times a day, going to mosques and doing Ramadan."
Musically, Neftakhir (which translates roughly as "to be proud") mixes ra, shaabi (popular Moroccan music), and gnawa, through electronic filters and various trancelike beats, mostly aided by Laswell's sonorous, hypnotic bass. Lyrically, there seems to be a recurring theme, that of Islam and how its teachings have helped people gain a deeper meaning to their life, and also the misconceptions abounding after September 11. "It's not really that interesting to hear about how someone is having a problem with his girlfriend," says Jab-bar. "So, given that most of the people in Maghrebika are practising Muslims, we thought that we would concentrate on that. It's one of the biggest things in our lives, so the lyrics talk about educating people, telling them what is true about Islam, and trying to get them to forget the misrepresentations and propaganda that's been propagated by the media, especially about terrorism and Muslims."
A good example is the title track, which implores young …
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Publication information: Article title: Moroccan Maestros ; Maghrebika's Music Is an Education: Not Just in Its African Origins but in Its Lyrical Focus on Muslims, Writes PHIL MEADLEY. Contributors: Meadley, Phil - Author. Newspaper title: The Independent (London, England). Publication date: January 5, 2007. Page number: 16. © 2009 The Independent - London. Provided by ProQuest LLC. All Rights Reserved.
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