It is with great sadness that we confirm the death of Mustapha El Attar, 43, drummer with the Master Musicians Of Joujouka.
Master Musicians Of Joujouka Manager Frank Rynne said: “It is with great sadness that we announce that the body of Mustapha El Attar drummer with Master Musicians of Joujouka was found today (25th December). Mustapha had been missing for three months. All my thoughts and prayers are with his family. He was a master drummer and father of three young children. Beloved of his wife and family he will be missed by all in the community.”
Listen to the Zafraan Caravan special broadcast feature on the Master Musicians Of Joujouka – The Joujouka International on Cashmere Radio.
Aired on Berlin-based Cashmere Radio, the episode documents show producers Aladin Ilou and Matteo Spanò visit to Joujouka for the Master Musicians Of Joujouka festival and the group’s concert at Villa Janna in Marrakech for Atlas Electronic in the summer.
The one-hour programme was originally broadcast on 9th December and features live recordings of music recorded at the festival and in Marrakech presented in the form of an experimental Brion Gysin/William S. Burroughs-style cut-up sound collage.
Also included are interviews with Master Musicians Of Joujouka manager Frank Rynne and Rikki Stein, who has worked with the group since the 1970s, organised a three-month tour of Europe in 1980 and returned to the village for the first time in 38 years in June, and group members Ahmed El Attar, Abdeslam Rrtoubi and Mohamed El Hatmi, with translations by Laila Hida and additional narration by Rosie Peraza-Bragg.
The Joujouka International is the fifth in Zafraan Caravan’s ongoing series reporting on Morocco’s musical heritage.
Listen to Zafraan Caravan #5 – The Joujouka International on Cashmere Radio here
Notes from Zafraan Caravan:
The Joujouka International
The Joujouka International tells the story of a musical tradition of The Master Musicians of Joujouka dating back more than six centuries. It explores the current state of this ritualistic Sufi music consisting of percussion and traditional pipe instruments by looking and listening to the people continuing to practice it in its spiritual birthplace – the village of Joujouka, in the Rif mountain region in Northern Morocco. The story of Joujouka has many unexpected twists and turns throughout their long history. From explicits reference in the cut-up novels by William Burroughs, through tales of Islamic mysticism and even featuring on the Pyramid Stage of Glastonbury Festival, the unique sound of The Master Musicians of Joujouka’s pipes and drums have resonated far and wide. This radio piece attempts to retrace some of these key steps, and to understand why people — as distinct as Brian Jones and Ornette Coleman — have flocked to the mountains of Northern Morocco to experience this utterly singular music.
What is, precisely, the Joujouka sound and what makes it one of the most radical musical forms living today, and which has attracted the ears of intrepid sound explorers from all over the world? Sufi, trance and drone might be the recurring tropes that capture the spirit of this music most concretely.
The connection to Sufism, the mystical branch of Islam, dates back to the coming of the Sufi saint Sidi Ahmed Schiech. Sidi Ahmed Schiech brought Islam to Joujouka in the 15th century and passed on a form of music with the specific function of healing disturbed minds and hearts. This music was passed on to The Master Musicians of Joujouka’s ancestors. The shrine of Sidi Ahmed Schiech is still to be found in Joujouka, and so is his blessing (Baraka) that is carried on through each generation of the Master musicians to this day.
As a music that is played continuously for several hours without any breaks or pauses, and with tight repetitive rhythmical structures, it possesses without doubt the trademarks of transcendental music (trance). Furthermore it relies strongly on the connection between the musicians and a dancing crowd, culminating in the Boujeloud suite, a potent piece of music, with dense ritualistic symbolism, where a half-goat halfman creature raves around a bonfire and provocatively engages the crowd in a frenzy dance-chase.
The harmonies play a key role, insofar they create a call-and-response game, as well as dense unison drones that result in oto-acustic emissions and aural overdrives in the ears of the listener. Extended (three to four hours, sometimes more) exposure to these psychoacoustic phenomena, as well as to engaged dancing and rhythmical movements to the point of physical exhaustion create a heightened and somewhat altered perception of the self and of the environment around the self – as well as giving an ecstatic sense of presence and awareness once the music has turned to silence (while the ears keep on ringing and pulsating).
This reportage has a dual focus: on the one hand, it deals with The Master Musicians of Joujouka sound in a somewhat unorthodox way. Instead of showcasing the music as it is, it employs sonic treatments of the original material to expose the intrinsically experimental and radical potency that this music has as a subjective listening experience. It retraces this sonic experimentation back to Rolling Stones co-founder Brian Jones, who in 1968 first recorded and subsequently produced the Master Musicians. Rather than strictly musicological in intent, Jones produced the now cult album ‘Brian Jones presents the Pipes of Pan at Joujouka’ in London, an act that explicitly connected The Master Musicians of Joujouka to his own ethos of psychedelic music currently developing in the UK at the time.
On the other hand, the piece is structured in such a way that the organisation of both sound and word material doesn’t create a linear narrative but is instead structured in an open and fragmentary manner. Textual and sonic elements are repeated and superimposed to produce in a circular network; a reference to William Burroughs’ own method during his cut-up period, itself heavily influenced by the Music of Joujouka (‘the panic pipes from the blue mountain’, as read in The Ticket That Exploded, 1962).
Recorded throughout Morocco, June-July 2018
Produced in Berlin and Palermo, Fall 2018
Conversation excerpts recorded at Le18, Marrakech
Music by The Master Musicians of Joujouka
Music excerpts of The Master Musicians of Joujouka recorded in Joujouka for the celebration of the 50th anniversary of the recording of ‘Brian Jones presents the Pipes of Pan at Joujouka’ and at Villa Janna, Marrakech, at a concert presented by Atlas Electronic
Music copyright The Master Musicians of Joujouka 2018
Voices: Ahmed El Attar, Abdeslam Rrtoubi, Mohamed El Hatmi, Laila Hida, Frank Rynne, Rikki Stein
Narration: Rosie Peraza-Bragg
Written & Produced by Aladin Ilou & Matteo Spanò
Text and images reproduced courtesy of Cashmere Radio / HCM
The Joujouka International follows last years’s Zafraan Caravan episode on the Master Musicians Of Joujouka featuring music and an interview with manager Frank Rynne. Listen back to the showhere
Tune in to Cashmere Radio on Sunday, 9th December for a special broadcast feature on the Master Musicians Of Joujouka.
The Joujouka International will be aired on the Zafraan Caravan show for the Berlin-based Cashmere Radio station.
The programme documents presenters Aladin Ilou and Matteo Spanò’s trip to Morocco in summer 2018 including the Master Musicians Of Joujouka festival and the group’s concert at Villa Janna in Marrakech for Atlas Electronic.
This episode is the fifth in Zafraan Caravan’s ongoing series reporting on Morocco’s musical heritage.
Listen to Zafraan Caravan’s The Joujouka International on Cashmere Radio on Sunday, 9th December at 2100 (CET) / 2000 (GMT) here
The Joujouka International follows last years’s Zafraan Caravan episode on the Master Musicians Of Joujouka featuring music and an interview with manager Frank Rynne. Listen back to the show here