JIL JILALA

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JIL JILALA Les éternels rivaux, Si les Ghiwane sont nos Stones, les Jilala sont nos Beatles. Malgré une histoire tumultueuse et de nombreuses séparations, ils restent présents… et ne cessent d’innover. Nous sommes à Paris, à l’Olympia, en 1973. Devant une salle aussi comble Qu’électrisée, Jil Jilala entonne l’une de ses chansons devenues cultes liyam tnadi. Le refrain "l’aâchab nabta fibladi" ("les mauvaises herbes ont envahi mon pays") résonne au tréfonds de l’âme du public. Quelques mois plus tôt, Nass El Ghiwane, animés du même souffle, étaient portés en triomphe dans la même salle, par le même public. Leurs deux légendes croîtront en même temps, des thèses universitaires et des films seront consacrés aux deux formations, créées à deux ans à peine d’intervalle à (70 à Casa pour les Ghiwane, 72 à Marrakech pour les Jilala qui ont pioché et récupérer les membres du groupe nouass el hamra, dont viennent hamadi, my abdelkrim et my el hassan). Deux groupes cultes se réclamant du même esprit, c’est un de trop. Et L’origine de la rivalité déclarée qui les a opposés pendant de longues années. Le fait que certains membres fassent le va et vient entre les deux n’était évidemment pas fait pour arranger les choses. Ainsi du départ de Paco pour les Ghiwane et du "transfuge" du ghiwanien Moulay Abdelaziz Tahiri.. Cette dernière arrivée, en 1976, est à l’origine d’un glissement artistique des Jil Jilala, de la chanson clairement engagée à la modernisation d’un patrimoine musical tombé en désuétude : le malhoun, dont Tahiri est un spécialiste. L’énorme succès de chemâa lui donnera raison, au point qu’aujourd’hui, nombreux sont ceux qui croient que cette "qsida" impérissable est une pure création jilalienne. Et bien non. Contrairement à Nass El Ghiwane, Jil Jilala ne cesseront de faire évoluer leur musique, de l’adapter puis de la réadapter au fil du temps. Les années 80 voient l’introduction de sons reggae et raï, les années 90 de résonances électriques… Mais le drame de Jil Jilala aura toujours été leurs dissensions. Sakina Safadi partira, puis reviendra, le prodige gnaoui Baqbou les rejoindra, repartira, reviendra à nouveau. Même Tahiri quittera le groupe, puis le retrouvera 10 ans plus tard — quelques mois avant un nouveau départ… C’est en 1995 que Mohamed Derham, âme du groupe, mais aussi organisateur et homme de logistique, jettera l’éponge, fatigué. Jil Jilala existent toujours, mais leur dernier album est passé plutôt inaperçu. Derham, aujourd’hui, travaille comme cadre dans une agence de communication, et s’est lancé dans une carrière solo. Son premier album, sobrement intitulé Mohammed Derham a suscité les critiques les plus élogieuses. En attente de nouveaux rebondissements….......................................... ................................................. ............................................................ .......................................................... ------------------------------------------------------------ ---------------------------------- ____________________________________________________________ _______ ............................................................ .......................................................... ............................................................ .......................................................... ------------------------------------------------------------ ----------------------------------If Nass el Ghiwane are to be called The Rolling Stones of Africa, then Jil Jilala should be The Beatles of Africa! Not just for the fact that they were just as good but also because of different parallelisms that exist between the bands. El Ghiwane's wild delivery onstage, and their explicit lyrics remind of the rawness of the Stones, while Jilala's polite manners and assorted costumes remind of the subtlety of the Beatles. Since they first appeared, Jil Jilala were eternally plagued to be Nass el Ghiwane's imitators. But in reality Jil Jilala added to the momentum that Nass el Ghiwane generated, and instead of following them, they went a route of their own. Jil Jilala got their name from a famous Sufi brotherhood in Morocco: the Jilala, which pay homage to The Saint of Baghdad, Abdelqader al Jilani. Jil Jilala was founded in Marrakech in 1973 by performing arts students Mohamed Derhem, Moulay Tahar Asbahani, Sakina Safadi, Mahmoud Essaadi, Hamid Zoughi. and Moulay Abdelaziz Tahiri (who had just left Nass el Ghiwane). In 1974, they released their first set of records. It was only a matter of time before Leklam Lemrassaa, Baba Maktoubi, Ha L'ar a Bouya, Al Qods, Lyam Tnadi and Dada Mi became popular classics. Zoughi left while other enthusiastic artists like Abdelkrim el Kasbiji, and Hassan Miftah joined the band. The next record in 1976 was a pivotal album for Jil Jilala: Tahiri takes control over the band's direction, and they write a song (Laayoune Ayniya) about the Green March. The song becomes almost a national anthem that is chanted every year to commemorate the day when Moroccans from all over the country, marched as one towards the Moroccan Sahara, then occupied by Spain. Jil Jilala was founded in Marrakech in 1973 by performing arts students Mohamed Derhem, Moulay Tahar Asbahani, Sakina Safadi, Mahmoud Essaadi, Hamid Zoughi. and Moulay Abdelaziz Tahiri (who had just left Nass el Ghiwane). In 1974, they released their first set of records. It was only a matter of time before Leklam Lemrassaa, Baba Maktoubi, Ha L'ar a Bouya, Al Qods, Lyam Tnadi and Dada Mi became popular classics. Zoughi left while other enthusiastic artists like Abdelkrim el Kasbiji, and Hassan Miftah joined the band. The next record in 1976 was a pivotal album for Jil Jilala: Tahiri takes control over the band's direction, and they write a song (Laayoune Ayniya) about the Green March. The song becomes almost a national anthem that is chanted every year to commemorate the day when Moroccans from all over the country, marched as one towards the Moroccan Sahara, then occupied by Spain. Jil Jilala was founded in Marrakech in 1973 by performing arts students Mohamed Derhem, Moulay Tahar Asbahani, Sakina Safadi, Mahmoud Essaadi, Hamid Zoughi. and Moulay Abdelaziz Tahiri (who had just left Nass el Ghiwane). In 1974, they released their first set of records. It was only a matter of time before Leklam Lemrassaa, Baba Maktoubi, Ha L'ar a Bouya, Al Qods, Lyam Tnadi and Dada Mi became popular classics. Zoughi left while other enthusiastic artists like Abdelkrim el Kasbiji, and Hassan Miftah joined the band. The next record in 1976 was a pivotal album for Jil Jilala: Tahiri takes control over the band's direction, and they write a song (Laayoune Ayniya) about the Green March. The song becomes almost a national anthem that is chanted every year to commemorate the day when Moroccans from all over the country, marched as one towards the Moroccan Sahara, then occupied by Spain. Jil Jilala continue climbing the stairway to stardom and release the album that finally established them along with Nass el Ghiwane. The album, called Chemaa (the candle), is a smart update to four classic Melhoun qassida's (poems) first made popular by Haj Houcine Toulali: Chemaa, Naker Lehssane, Raad and Lotf Allah al Khafi. These songs were so nicely done that most people unfamiliar with Melhoun thought they were Jil Jilala's! Jil Jilala was founded in Marrakech in 1973 by performing arts students Mohamed Derhem, Moulay Tahar Asbahani, Sakina Safadi, Mahmoud Essaadi, Hamid Zoughi. and Moulay Abdelaziz Tahiri (who had just left Nass el Ghiwane). In 1974, they released their first set of records. It was only a matter of time before Leklam Lemrassaa, Baba Maktoubi, Ha L'ar a Bouya, Al Qods, Lyam Tnadi and Dada Mi became popular classics. Zoughi left while other enthusiastic artists like Abdelkrim el Kasbiji, and Hassan Miftah joined the band. The next record in 1976 was a pivotal album for Jil Jilala: Tahiri takes control over the band's direction, and they write a song (Laayoune Ayniya) about the Green March. The song becomes almost a national anthem that is chanted every year to commemorate the day when Moroccans from all over the country, marched as one towards the Moroccan Sahara, then occupied by Spain. Jil Jilala continue climbing the stairway to stardom and release the album that finally established them along with Nass el Ghiwane. The album, called Chemaa (the candle), is a smart update to four classic Melhoun qassida's (poems) first made popular by Haj Houcine Toulali: Chemaa, Naker Lehssane, Raad and Lotf Allah al Khafi. These songs were so nicely done that most people unfamiliar with Melhoun thought they were Jil Jilala's!Under Tahiri's supervision, they release other great songs such as Ya Assafa Aalik, Ach Bik Daret Leqdar, Tahia Li Jnoud Essahra, Daret Eddaoura, and Jlatni Ryahek. During this period, Mahmoud Essaadi would leave and rejoin the band many times. However, Miftah seemed to be a more stable string player, and he delivered many memorable melodies.