I wish I could say that I unearthed this 7″ buried in the stacks of mold eaten records in the backroom of some crumbling record store in Nouakchott. It almost happened like that — and indeed the only surviving copies are at the backroom of some crumbling record store. But it was while searching the internet, albeit in Mauritania, for recordings by a musician and friend, Yaseen Ould Nana, that I came across a purplish tinged clip on Youtube. It was mis-attributed to Yaseen, and the spurious comments over the years provided no insight to the mysterious origins. A short taxi ride to Yaseen’s house revealed what the internet had failed. The clip in question was from the film “Terjit” and was one of the rare recorded performances of L’Orchestre Nationale de Mauritanie. The singer was Hadrami Ould Meidah, the leader of the group, a well known griot from a famous family, and the first musician to attempt a modern Mauritanian sound.
L’Orchestre Nationale was the first modern Mauritanian musical troupe. In 1967, the young president Moktar Ould Daddah sent Hadrami along with 14 other musicians to Guinea Conakry for musical training in what would be the first experiment in modernization — incorporating a brass section and electric guitars — but retaining the Hoddu and finding a particularly important place for the Mauritanian flute, the Neyfara, featured prominently on a number of tracks. Returning to Nouakchott, a town of no more 20,000 in pre-drought Mauritania, the L’Orchestre National was the band of the new country, playing in official capacity for the president in all social events, and providing a soundtrack of post-colonial aspirations.
“La Mone”, Terjit, 1973
After some searching around town, a few recordings surfaced — notably the 45. But the Orchestre National isn’t some forgotten band, and the musicians aren’t either, and the songs still circulate through the collective consciousness, immediately recognizable to anyone over a certain age. But in a story too common the analog recordings never made a jump to digital, shuffled aside into the odd corner, remembered, but misplaced and extremely difficult to find.
The said 7″ was produced in 1973 in Beirut, Lebanon. The recording was taken from a live performance at Nouakchott’s Maison de Jeune. The 500 copies were pressed and brought back to Nouakchott, completely distributed gratis within a week to the musicians and their friends. There was some talk of producing another run, a commercial product — but shortly after, war broke out in Lebanon, and the project was lost.
“La Mone” was written to inaugurate the new currency, the Ouguiya, which was unveiled in 1973. It was a bold move by the country, an independent step apart from the trend of Francophone Africa in their choice of a united currency.
“Kamlat” (“all of them” in Arabic) uses the lyrics from an ancient poem written for one of the Emirs of Mauritania — a “grand warrior” as Hadrami explains — who’s hand had been badly wounded in battle. His doctor advised him that he must amputate but the Emir refused, and the wound worsened to a critical stage where he risked infection and death. The family, the friends, and the doctors had no recourse to persuade him, and went to the Emir’s griot, imploring him to do something. The griot composed a poem, “Kamlat,” a praise to his greatness (and the general consensus of this fact, hence, “all of them”). So content was the Emir that he conceded to his griot’s advice, and his hand was cut off.
* Reissue now available here at Mississippi Records! (note the spelling: “Hadrami Ould Meidah”)