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Bellemou Messaoud – Wahran · Live At Extrafesta (1996) – مسعود بلمو

22-07-2014, 09:23
Music | World | Ethnic | FLAC / APE

Bellemou Messaoud – Wahran · Live At Extrafesta (1996) مسعود بلمو

Artist: Bellemou Messaoud · مسعود بلمو
Title Of Album: Wahran · Live At Extrafesta Milan, Italy
Year Of Release: 1996
Label: Radio Popolare / Sensible SSB 005
Genre: Raï
Quality: MP3 | FLAC
Bitrate: VBR 0 | 16Bit/44kHz
Total Size: 108 MB | 360 MB
Total Time: 59:14
Website: Discogs

01. Wahran 04:33
02. Shah Fiya 08:44
03. Bedala 08:09
04. Huaria 08:20
05. Adieu l’amour 07:29
06. Zahri 08:45
07. Zina 04:27
08. Shira 04:40
09. Por Ya Por 04:13
Total Time: 59:14

Mohamed Mazouzi (1–4), Bentata Said (5–8): Vocals
Bellemou Messaoud, Bellemou Miloud: Trumpet
Boussig Benchiha: Keyboards
Mekhlouf Mohamed: Bass
Messaoudi Lakhdar: Castanets
Benaffane Hamdan: Tambora
Laib Mohamed: Goblet Drum

Info from Wikipedia:
Messaoud Bellemou is an Algerian musician and one of the most influential performers of modern Raï music. Known as the father of Raï, Messaoud began his career playing the trumpet but soon became known for adding foreign instruments like the saxophone, violin, and accordion to the genre. In 1974 he coined the term pop-Raï to describe the new generation of chebs and chebats (from the Arabic for "young") introducing new instruments, and together with Belkacem Bouteldja released one of the first records of the new genre.

A lesson in music history from the booklet:
"I also play the saxophone", explained Bellemou to El Watan's Joumalist Amel Hamidou, in an interview published by the Algerian daily paper in 1992, "and at any rate it is with the sax that I got myself a name. I use sax and trumpet in different ways: I take solos with the trumpet, not only because the Algerian public wants to hear that instrument, but also because it replaces the human voice".
Yet even when there is a singer on stage, Raï is a different thing if there is also a trumpet. Even when the interpreter is a first-rate singer like Khaled, with his extraordinary vocal charisma which alone is enough to force anybody to stop and listen, the trumpet makes the difference. And just imagine if the trumpets are two. Take for example the beginning of Cheb Khaled a Riadh El Feth, the videotape of the spectacular concert that the "King of Raï" gave in Algiers in 1987. Preparing for Khaled's entrance on stage, the trumpets of Bellemou Messaoud and Diaffar Bensetti (the most renowned trumpet player of Raï's younger generation and Khaled's faithful partner) strike-up the combative instrumental piece that also opens the present record: It's as if two great singers are already on stage before Khaled, and then make themselves heard and give breadth to the music even when Khaled begins singing. Because after the human voice, the trumpet is the instrument that – with its unique timbre mixing vitality and melancholy, exhuberance and longing – embodies the spirit of Raï more than any other.
And yet, the trumpet wasn't there from the beginning. It was Bellemou himself, born in 1947 in Temouchent – a small agricultural town 80 kilometers south of Oran – that introduced it in Raï, thus helping this music become the "Pop-Raï" we know today.
In Oran's music something had begun to change since the sixties. Young musicians started to be influenced by Egyptian and Indian movies' soundtracks and by Anglo-American Beat, while Blaoui Houari and Ahmed Wahbi (who were able to blend very successfully local Bedouin music with the oriental Egyptian sound of mythical figures such as Farid El Atrache and Mohamed Abdel-Wahab) introduced new instruments in their music such as the violin, accordion, lute and guitar.
As a boy Bellemou was already captivated by "Oranian folklore" and also sensitive to the Spanish, Italian and French music that had spread as far as his region at the time. At thirteen he enrolled in his hometown's music school and shortly after became a member of the city's brass band. His repertoire featured Slow, Chachacha, Mambo, Flamenco and Paso Doble.
In 1962 the country's newly acquired independence brought to the forefront the importance of national heritage and culture. To Bellemou it was imperative to bring his region's musical style – the cheikhs and cheikhas' traditional Raï – abreast with the times, so as to guarantee a future to this music. The key for updating the Raï sound was the substitution of the gasba – a hard rosewood desert flute which confers to the music an archaic tone – with saxophone and trumpet; Bellemou translated this solution in a totally new group featuring two large tbal drums, castanets and trumpet or sax. Bellemou then added a second trumpet, and continued experimenting until 1965. With its ringing sound, the trumpet introduces an unprecedented luminosity in Raï, and Bellemou's Spanish and Jazz-like accents open new perspectives of syncretistic modernity; finally, the presence of two interweaving trumpets confers a highly dynamic effect to the music.
Though Bellemou achieved local fame through the wedding feast circuit of the region of Oranie, the widespread diffusion of his music took place mainly thanks to the soccer stadiums. Music is a very important feature of Algerian soccer. The Spanish influence in Oranie, for example, is testified by the fact that the teams' entrance on the field is accompanied by a Paso Doble played through the loudspeakers. La Jeunesse Sportive – Temouchent's local team – was very strong at the regional level, and Bellemou brought his group to the stadium to support it. Soon there were people that came to the stadium from nearby villages only to hear Bellemou play. And so his notoriety spread beyond Temouchent, and the group started to play in the night clubs along the coast.
Many singers that along with Bellemou contributed to the making of Raï's modern history, owe part of their success to Bouteldja Belkacem. When Bellemou met him, Bouteldja was already a star of Oranian music. And he was not just an interpreter: he too played a role in innovating Raï music through the introduction of new instruments. In 1974 Bellemou and Bouteldja decided to set up a group together, and as a result Bellemou's basic group was enriched with accordion, saxophone, darbouka, bongos and voice: it was the first Raï orchestra. The orchestra somehow synthesizes centuries of Afro-Arab-Turkish-Spanish-French culture:
Africa is represented by the drums and castanets, the Orient by violin, lute and darbouka, Spain by the trumpet, and France by the accordion; Bellemou also frequently uses the tbal, a drum of African origin often used in Maghreb but extraneous to Raï's heritage.
"Do you have a Bellemou tape?": in the second-half of the seventies, while the "Algerian miracle" and the oil boom were going strong, new Raï music had become so identified with the figure of Bellemou that it was simply called with his name.
Starting from the eighties, in spite of the regime's hostility and the censorship applied to radio and television, Raï slowly spread in the entire country, thanks to stadium choirs, to long-distance train rides and especially to military service, which brought people from different regions together: the young men from Oranie – with the unfailing tape of Bellemou in their suitcase – became bearers of Raï music.
Meanwhile, at the end of the seventies, Bellemou witnessed the birth of Raï's modern era, when Chaba Fadela – first figure to reach true stardom among young Algerians – made her debut as vocalist in Boutaiba Seghir's group, where Bellemou had been regularly engaged.
Often working as guest musician in the groups of Raï's most famous singers, Bellemou has only rarely appeared in Europe as bandleader. The concert at Extrafesta 10 was his first concert in Italy at the head of his own group. In these last tragic years for Algeria, Bellemou continued to live in his country and – as far as it is possible – has gone on making music. Useless to say, coming to Milan wasn't the easiest thing to do for him and his musicians, but Bellemou confronted the risks and complications without rethoric. It is to his personal style – not only in music – that this record wants to pay homage.
Marcello Lorrai and Chawki Senouci

More info here:
Libèration Culture



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chantme   User offline   22 July 2014 10:06

Saha Kho ! 9

Thank You

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