Tunisia's musical riches are often overshadowed by those of her Maghrébin cousins, Morocco and Algeria. The Maghreb's smallest country, Tunisia, has, nonetheless, a diverse musical heritage that includes the stately Malouf, the mystical Salhi, the ritual Stambali, and the celebratory Mezoued.
The Mezoued, a style that evokes the rural origins of the urban working class, has become the sound of Tunisia's popular celebrations. The consecration of Mezoued as one Tunisia's 'national' musics was made possible by the career of Ismaël el Hattab. He was born, in 1925, in Jebiniana, a small town close to Sfax, located 250 kms south of Tunis. Ismaël el Hattab came of age in a cultural and political milieu that supported the militant resistance to French colonial rule of Tunisia. He developed a style inspired by rural folks traditions, bedouin melodies and rhythms played on percussion, flute, and, the ghaïta, the double-reed oboe typical of many North African rural musics.
By the 1960s, Ismaël el Hattab was one of the most popular performers in the cabarets of Bab Souika, the heart of Tunisia's pre-colonial medina, and the center of urban nightlife in Tunis. His songs praising heroes of the independence struggle built his reputation. [His most famous composition, 'El Hamsa illi Lahgou B'jora', praises Mohammed al-Dagbaji, an independence fighter who the French hung in 1924.] By introducing rural melodies, rhythms, and timbres, to urban Tunisian audiences, el Hattab paved the way for a new generation of artists who popularized Mezoued, a style of music named for the goat-skin bagpipe that provides the melodic thrust. The singers Hedi Hebbouba, Mohammed Ennouri and Ahmed Badous, all legends of Mezoued, started their careers in el Hattab's group.
Ismaël el Hattab's music evolved over the decades, eventually including violins and guitars, and more urbane arrangements. He also developed a style of folk-cabaret featuring stylized rural dances. The peak, at least in terms of visibility and recognition, of el Hattab's career was his participation, in July 1991, in the musical show 'Nouba', created by Fadhel Jaziri and Samir Agrebi. The show, performed at the Roman theatre in Carthage, was the first national celebration of Mezoued, a style that was censured during the Bourguiba regime.
Ismaël el Hattab died in 1994.
This recording features the stripped down songs that laid the foundation for el Hattab's career. The ensemble features percussion, ghaita, and vocals. This is a cassette I found in Tunis that unfortunately didn't come with a track listing.
Download Ismail El Hattab
Check out this video to get a sense of the live ambiance of Mezoued. If you like this video, be sure to check out this YouTube channel, which features a deep archive of VHS recordings of live Mezoued performances, most of them in courtyards and cafés.
The Mezoued, a style that evokes the rural origins of the urban working class, has become the sound of Tunisia's popular celebrations. The consecration of Mezoued as one Tunisia's 'national' musics was made possible by the career of Ismaël el Hattab. He was born, in 1925, in Jebiniana, a small town close to Sfax, located 250 kms south of Tunis. Ismaël el Hattab came of age in a cultural and political milieu that supported the militant resistance to French colonial rule of Tunisia. He developed a style inspired by rural folks traditions, bedouin melodies and rhythms played on percussion, flute, and, the ghaïta, the double-reed oboe typical of many North African rural musics.
By the 1960s, Ismaël el Hattab was one of the most popular performers in the cabarets of Bab Souika, the heart of Tunisia's pre-colonial medina, and the center of urban nightlife in Tunis. His songs praising heroes of the independence struggle built his reputation. [His most famous composition, 'El Hamsa illi Lahgou B'jora', praises Mohammed al-Dagbaji, an independence fighter who the French hung in 1924.] By introducing rural melodies, rhythms, and timbres, to urban Tunisian audiences, el Hattab paved the way for a new generation of artists who popularized Mezoued, a style of music named for the goat-skin bagpipe that provides the melodic thrust. The singers Hedi Hebbouba, Mohammed Ennouri and Ahmed Badous, all legends of Mezoued, started their careers in el Hattab's group.
A 1977 television performance
Ismaël el Hattab's music evolved over the decades, eventually including violins and guitars, and more urbane arrangements. He also developed a style of folk-cabaret featuring stylized rural dances. The peak, at least in terms of visibility and recognition, of el Hattab's career was his participation, in July 1991, in the musical show 'Nouba', created by Fadhel Jaziri and Samir Agrebi. The show, performed at the Roman theatre in Carthage, was the first national celebration of Mezoued, a style that was censured during the Bourguiba regime.
Ismaël el Hattab died in 1994.
This recording features the stripped down songs that laid the foundation for el Hattab's career. The ensemble features percussion, ghaita, and vocals. This is a cassette I found in Tunis that unfortunately didn't come with a track listing.
Download Ismail El Hattab
Check out this video to get a sense of the live ambiance of Mezoued. If you like this video, be sure to check out this YouTube channel, which features a deep archive of VHS recordings of live Mezoued performances, most of them in courtyards and cafés.
The great Samir Loussif and Al Tarhouni
Enjoy!!
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