مدي 1 تي في : مع عثمان خلوفي - 10/10/2024
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00:00Hello and welcome to a new episode of your daily and artistic show, Patchwork Saeed.
00:20I'm happy to be here with you as always to share with you the latest news and updates about the art scene.
00:27Without further ado, let's get started.
00:33Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
00:57Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
01:27Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
01:32Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
01:37Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
01:42Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
01:47Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
01:52Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
01:57Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:02Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:07Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:12Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:17Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:22Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:27Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:32Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:37Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:42Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:46Hello again, I'm going to explain to you what I'm doing and what I'm doing in this episode.
02:51Happy Palestine
02:55Hola
03:02Welcome in today's episode with the cast.
03:05Hello and welcome.
03:06Welcome, Mr. Osama
03:07How are you?
03:08Fine, what about you?
03:09Fine.
03:10Dar Dark, my brother.
03:12Yes, I'm the founder.
03:14Dar Dark.
03:16I'm the new host.
03:18Before we watch the show,
03:20before we watch the program,
03:22I would like to ask the audience
03:24what is the secret of our country's jazz?
03:26The most important thing.
03:28Let's start with that.
03:30Why our country's jazz?
03:32I've known more about
03:34our country's jazz
03:36since I started playing music.
03:38Indeed,
03:40when someone
03:42tries to put you
03:44in a music box
03:46and forces you to enter
03:48the box of jazz,
03:50for the first time,
03:52my friends ask me
03:54what is jazz?
03:56If you want to know what jazz is,
03:58you have to know that
04:00this jazz is our country.
04:02It's not like American jazz
04:04or European jazz.
04:06Jazz is our culture.
04:08We are Moroccans.
04:10We don't glorify
04:12American music.
04:14So, you respect
04:16the West, the Americans
04:18and Europe,
04:20but you glorify
04:22jazz.
04:24In fact, jazz opens up
04:26the world, musically and artistically.
04:28We don't close our heads.
04:30On the contrary, we open up the world
04:32and the cultures and the aesthetics
04:34that we have,
04:36but we see it from our point of view.
04:38From the point of view of a person
04:40who lives in Rabat,
04:42goes to SLA,
04:44comes back to Qissas.
04:46We see the world
04:48from our point of view,
04:50not from the point of view of others.
04:52How do you adapt
04:54Moroccan music to jazz?
04:56Thank God,
04:58the beauty of Moroccan music
05:00is that it is
05:02very rich.
05:04There are a lot of things
05:06that you can't discover or use.
05:08If you go to a music field
05:10like jazz,
05:12you have a lot of freedom
05:14to mix whatever you want.
05:16In the Moroccan music market,
05:18you can find
05:20a lot of famous people.
05:22It's like cooking.
05:24It's like cooking tagine.
05:26If you have nice ingredients
05:28and a lot of ingredients,
05:30you can make
05:32oriental jazz,
05:34rock jazz,
05:36reggaeton jazz,
05:38rai jazz,
05:40shabby jazz.
05:42Of course,
05:44you can make jazz
05:46with different aesthetics.
05:48We have Ethiopian jazz,
05:50Nigerian jazz,
05:52Afrobeat jazz,
05:54Afrobeat jazz,
05:56klezmer jazz in Eastern Europe,
05:58and European jazz.
06:00They even discovered
06:02European jazz.
06:04Today,
06:06we can play
06:08Moroccan jazz,
06:10shabby jazz,
06:12reggaeton jazz.
06:14What surprises
06:16do you have for your audience?
06:18On Saturday and Wednesday,
06:20we have a music festival
06:22where we play
06:24the whole orchestra
06:26that needs the album
06:28in order to play.
06:308 musicians per night.
06:328 musicians per night.
06:34We don't have a trio.
06:36No, we have a group.
06:38We have a group
06:40to get paid.
06:42A lot of people
06:44to launch
06:46the cassette.
06:48We release the album
06:50in CD format.
06:52We release a limited series
06:54of cassettes.
06:56A limited series of cassettes.
06:58Show the cassette to the camera.
07:00We have a camera.
07:02We have a camera.
07:04This album is already released.
07:06But you are releasing
07:08a new cassette,
07:10a limited series.
07:12There are a lot of songs,
07:14but there is something specific
07:16about this cassette.
07:18Actually, this cassette
07:20will be released in 50 years.
07:22It's a limited series.
07:26It's something for collectors.
07:28It's important that it's not 49 years old.
07:30You have a cassette with the number 00.
07:32I don't understand.
07:36The specificity of this cassette
07:38is that it's a cassette
07:40with a QR code.
07:42If you open it,
07:44you know that it's not a normal cassette.
07:46It's a cassette of today.
07:48It's a cassette of today.
07:50You can scan the QR code
07:52and listen to it directly
07:54on the digital platforms.
07:56Today, everything you hear on the digital
07:58is not what you hear on the CD,
08:00cassette or vinyl.
08:02It's a cassette that recognizes
08:04and assumes that the music
08:06is mostly heard on the digital.
08:08But it also assumes
08:10its value as a cassette.
08:12You have the cassette.
08:14You can directly listen to it
08:16on Spotify
08:18or any other platform.
08:20Or you can listen to it on your Walkman
08:22or on the TV.
08:24You can listen to the sound of the tape.
08:26It's a cassette.
08:28Let's take a short break
08:30regarding the sound quality.
08:32When someone says cassette,
08:34they think it's an old sound.
08:36It's an old sound.
08:38But if you have
08:40your own equipment
08:42and your own amplifier
08:44and you want to understand
08:46how much the music you're listening
08:48to is different
08:50from the sound
08:52you're hearing on the disc
08:54on Spotify or any other platform,
08:56you can listen to it
08:58on Spotify or MP3.
09:00It's always about
09:02the equipment.
09:04Whether it is the vinyl
09:06or the cassette,
09:08they are different textures.
09:10It's the same with the equipment.
09:12As you said,
09:14If the sound engineer improves the sound,
09:18or if he adds a different sound, or if he adds a different sound support,
09:22the sound you're going to hear is not going to be the same
09:26as the sound you're going to hear on a computer.
09:29It's like buying a jet ski to stay in the bathroom.
09:33That's exactly it.
09:35You'll never have the freedom or the possibility to really listen
09:38to what's going on in the sound in terms of frequency.
09:41If you don't have a good executor, a good amplifier,
09:45a good acoustic guitar...
09:47And it's not necessary to have a brand new one.
09:49You can buy a second hand one.
09:51Yes, from Bab El Hadd.
09:53Yes, I like that brand.
09:55Bab El Hadd, Dakshi.
09:57Yes, Dakshi. There's an opportunity for that.
09:59I've seen you have one. It's called Fouad.
10:01Yes, I've seen you have one.
10:03We have the sound engineer's equipment.
10:05And he does everything with you.
10:07Listen to the sound engineers and they'll give you tips.
10:09We'll start with the program.
10:11We'll start with the program.
10:13The program will be based on Zid Zid's songs.
10:17A bit of improvisation
10:19and complete training.
10:21I know you as a musician.
10:23What is the most important thing for musicians?
10:27When you have musicians,
10:29as you say,
10:31with a very high level of knowledge,
10:33when you work with them,
10:35you don't have to talk about
10:37the composition or the notes.
10:39You have another level.
10:41Then you can work with them
10:43on the dramaturgical value of each song.
10:45On the evolution of each song.
10:47As you know,
10:49I'm originally from the theater.
10:51I like to work with musicians
10:53like a director.
10:55So, the fact that you work
10:57with musicians of a high level,
10:59you manage to exceed
11:01the level of the score
11:03or anything else.
11:05You manage the dynamics of the song,
11:07the dynamics of the concert.
11:09You manage the text.
11:11How this part of the text
11:13has to be played
11:15and how this part of the text
11:17has to be played.
11:19This is why it's important
11:21to have good musicians.
11:23I'm lucky to have
11:25a very good team
11:27here in Morocco
11:29or abroad.
11:31The album
11:33was recorded
11:35in the studio
11:37with Karim Ziad,
11:39Michel Halibaut,
11:41David Obey.
11:43I was 18 years old
11:45when I first listened to them
11:47and I dreamed of meeting them.
11:49Now, they recorded my album.
11:51Here in Morocco,
11:53I have Hassan Swissi
11:55and we are the founders of
11:57the Moroccan jazz.
11:59He plays with my father
12:01and I learn from him.
12:03I also have
12:05Mohamed Boufassi,
12:07Ftah El Housseini.
12:09I used to watch him on TV
12:11when I was young.
12:13I also have other people,
12:15young people like
12:17Hakim Ayashi on guitar.
12:19He is one of the best guitarists
12:21in Morocco.
12:23Mahdi Maouch on bass.
12:25I have Martin Bouhidar
12:27on trumpet.
12:29He plays with a lot of great musicians.
12:31Do you speak French or Arabic?
12:33I speak French and Arabic.
12:35Do you understand the music?
12:37Yes, I understand the music.
12:39It's time to discover
12:41and get closer to this world
12:43of jazz.
12:45We will watch some pictures
12:47that will explain
12:49and bring us closer
12:51to the universe
12:53that we will discover
12:55this Saturday.
12:59Bye!
13:29Can you tell us about
13:31these rehearsals?
13:33This is the kitchen.
13:35Here we prepare
13:37what you will hear
13:39or what you will eat
13:41or what you will drink
13:43on Saturday.
13:45As you can see,
13:47there is a fireplace.
13:49This is the first rehearsal
13:51that we did yesterday.
13:53It was very good.
13:55It was very good.
13:57Yesterday,
13:59everything was great.
14:01We were very excited.
14:03We were very excited.
14:05Can you tell us
14:07about your mental preparation
14:09before going on stage?
14:11The truth is
14:13that
14:15I have to laugh
14:17and play.
14:19I have to laugh
14:21and play.
14:23I don't know
14:25if I should laugh or not.
14:27Laughter is a very important thing.
14:29It's like
14:31going to a concert.
14:33It's like going to a party.
14:35It's like going from one house
14:37to another.
14:39You enjoy it.
14:41I am a very strict person
14:43during the rehearsals.
14:45I am a military person.
14:47Time is time.
14:49Here,
14:51there are no rules.
14:53I am very strict.
14:55I am very strict.
14:57But during the concert,
14:59I have to laugh.
15:01We worked before.
15:03Now, it's time to have fun.
15:05I have to laugh.
15:07Now, I can't laugh.
15:09Now, I can't laugh.
15:11It's true that
15:13you have to be at the concert
15:15at 11 or 2 o'clock.
15:17I saw that.
15:19So, the improvisation
15:21is very important.
15:23You are a fan of improvisation.
15:25What is the ratio
15:27of the artisans
15:29in your show?
15:31In my show,
15:33I have to be very structured.
15:35There are bubbles inside.
15:37It's like a parenthesis.
15:39It's like a parenthesis.
15:41For example,
15:43I have a solo part.
15:45It's an improvised solo.
15:47But,
15:49I have to be very structured.
15:51For example,
15:53the guitarist has a phase
15:55where he has to close his arms.
15:57He has to improvise
15:59from the structure.
16:01There is improvisation
16:03inside the composition.
16:05It's like Charles Mingus.
16:07At the same time,
16:09you feel chaotic.
16:11But, at the same time,
16:13you feel good.
16:15The artists
16:17have a manager,
16:19a booker,
16:21a team.
16:23Does it help?
16:25Artists can never function
16:27on their own.
16:29They function with an entire ecosystem.
16:31For example,
16:33I have a manager
16:35who does the booking.
16:37He tries to do everything,
16:39but he can't do everything well.
16:41In fact,
16:43when I started my career,
16:45I was able to do everything.
16:47Now, I can do everything
16:49for several years.
16:51But, my career
16:53didn't evolve.
16:55I didn't grow.
16:57The possibilities I had
16:59didn't allow me
17:01to have a team.
17:03For example,
17:05I have a team
17:07that works with me.
17:09I also developed
17:11a great proximity
17:13between me
17:15and my audience,
17:17which is a very special audience.
17:19This audience
17:21consists of Chinese people
17:23who offer themselves as volunteers.
17:25I have a group,
17:27an organization of volunteers,
17:29hyper-structured,
17:31with a volunteer manager.
17:33A volunteer manager?
17:35Yes.
17:37I have a team
17:39with a general coordinator.
17:41This team consists of fans
17:43who offered themselves
17:45as volunteers.
17:47So, these are your friends
17:49and fans of your music?
17:51No, they are not my friends.
17:53They are fans.
17:55But, since I am close to my fans,
17:57and I communicate with my fans,
17:59they offered themselves.
18:01I asked one of them
18:03to organize them.
18:05We found a great team
18:07of fans
18:09who are volunteers.
18:11They have their own jobs.
18:13But, for culture,
18:15they come and work
18:17in a serious way.
18:19They are very efficient
18:21compared to the usual team.
18:23I remember that you mentioned
18:25that an artist
18:27can earn
18:2930,000 dirhams per month
18:31and
18:33only 3,000 dirhams per month.
18:35What is your relationship with money?
18:37Brother, I feel sad.
18:43My relationship with money
18:45is like any other relationship.
18:47We all need money
18:49to live.
18:51But, honestly,
18:53I don't look at
18:55the artistic value
18:57of what I want to do
18:59on the question of money.
19:01We can choose
19:03not to make money.
19:05But, if I had artistic choices
19:07like the ones we have now,
19:09I wouldn't have
19:11made money in my life.
19:13I wouldn't have made money
19:15in the first place.
19:17Do you think that
19:19you can't make money
19:21in this field?
19:23I don't think that I can make money.
19:25My goal is to play music
19:27and make money.
19:29I don't want anything else.
19:31Why don't you buy a house
19:33for example?
19:35I can't buy a house
19:37like the one I have now.
19:39I have to buy it for 500 million dirhams.
19:41If I want to buy a house for 500 million dirhams
19:43or 400 million dirhams,
19:45I have to ask for a loan from the bank.
19:47Is it difficult for an artist to get a loan?
19:49No, an artist can't get a loan.
19:51Why would he get a loan
19:53when he already has connections?
19:55What is the value
19:57of foreign festivals
19:59that are necessarily
20:01hidden in Morocco?
20:03No, Morocco is well hidden.
20:07Europeans come and
20:09finish well.
20:11For example,
20:13if you tour in France
20:15for 2,000 euros,
20:17you come to Morocco for 7,000 euros.
20:19If you tour in France
20:21for 7,000 euros,
20:23you come to Morocco for 15,000 euros.
20:25The musicians in Morocco
20:27finish well because they are few.
20:29For example,
20:31a musician in Europe
20:33finishes less than a musician in Morocco
20:35because there is a lot of competition.
20:37If you say that the artists in Morocco
20:39finish well,
20:41you can play in Europe,
20:43Sweden, Germany, Denmark,
20:45Spain.
20:47Can you imagine
20:49that they are hidden,
20:51but not necessarily?
20:53No, not necessarily.
20:55For example,
20:57we have a lot of festivals
20:59that finish well.
21:01In Morocco,
21:03there are festivals
21:05that have a large budget
21:07and finish well.
21:09But I don't know
21:11how many of them finish well.
21:13Each one has his own business.
21:17I don't understand.
21:19I don't understand.
21:21You don't understand.
21:23You don't understand.
21:25The question is not whether Morocco
21:27finishes well or not.
21:29It is a difficult question.
21:31Yes, it is.
21:33We can achieve
21:35to a point
21:37where
21:39we can reach
21:41a group of cultural actors
21:43from the officials to the artists
21:45to create
21:47an economic system
21:49of culture
21:51that allows us not only to sell culture in Morocco,
21:53but also to export it
21:55to the outside world
21:57so that the Moroccan people
21:59can export it
22:01and bring it to Morocco.
22:03This is what we need to achieve.
22:05Morocco needs our culture
22:07to export the money
22:09to Europe and to Morocco.
22:11Our culture
22:13should export the money to Morocco
22:15rather than import it to Morocco.
22:17We need to be federated
22:19so that we can export our culture
22:21to the international markets
22:23so that we can export our culture to Morocco.
22:25You can do this,
22:27in all fields
22:29in all musical genres.
22:31We don't have enough time.
22:33Next time
22:35we can bring instruments
22:37and do a jam
22:39in Block Party.
22:41See you on Saturday
22:43at Rabat.
22:45We will have a surprise
22:47with our local jazz.
22:49There are a lot of great musicians and artists in China.
22:55Any last words?
22:57Thank you for the invitation.
22:59Thank you also for the great service you provide.
23:02Thanks to you, we are able to enter the cultural environment of Morocco.
23:09We are all moving forward.
23:11We hope to see the audience on Saturday.
23:15We are here to celebrate.
23:17As we say in our history.
23:19Good luck.
23:21Thank you for inviting us.
23:23This is the end of today's episode.
23:27See you next time.