This is a guest post from ‘Israelinurse‘
Some stories could only be Israeli, and this is one of them.
This wonderful tale begins in Kuwait just over a century ago with the birth of two brothers – Salah and Daoud al Kuwaiti – who, from the ages of 10 and 8, were recognized as musical child prodigies and went on to become the most influential musical duo in the Arab world in the first half of the 20th century. Their popularity and success prompted the family to move back to the country of their origin – Iraq -and in the 1930s they were at the pinnacle of their career, playing for King Faisal (Salah even composed a piece especially for the king’s coronation ceremony) and composing songs commissioned by the great Egyptian diva Umm Kultum and other superstars of the Arab music scene.
But the al Kuwaiti brothers were Jewish and, despite their phenomenal success and connections to the ruling classes, they too fled Baghdad at the beginning of the 1950s, along with some 120,000 other Iraqi Jews in the wake of the Farhud and the growing restrictions placed upon Jews.
With their arrival in the emerging Jewish state struggling to absorb hundreds of thousands of refugees from post-war Europe and the Arab world, the al Kuwaiti brothers’ fortunes took a severe down-turn. Relatively unknown in their new homeland, they did manage to get work playing on the Arab channel of the state radio station and with its Arab orchestra, but were forced to seek additional sources of income too and ran a hardware store in one of south Tel Aviv’s poorer neighbourhoods. Their disenchantment even led them to forbid their children from entering the world of music.
In stark contrast to their relative anonymity in Israel, the al Kuwaiti brothers’ music was – and is still – broadcast on radio stations throughout the Arab world, but with any reference to their names and nationalities carefully deleted. In Iraq itself, the mention of their name was forbidden by a special committee established by Saddam Husain to sift out “cultural impurities” and their compositions were – and are – often described as being of ‘folk origin’.
The saga of the al Kuwaiti brothers is little known outside the small circles of the Iraqi Jewish community and aficionados of Arab music, but the latest chapter in the story has received even less exposure outside of Israel itself.
Just months after Daoud al Kuwaiti passed away in 1976 his grandson was born and named in his honour. From a very early age Dudu Tassa displayed the same musical abilities as his prodigious ancestors and fortunately did not heed the family ban on developing his talents.
After many years as a successful musician on the largely Western-influenced Israeli popular music scene, Tassa returned to the musical roots of his grandfather and great uncle and began experimenting with their music. Earlier this year he produced an album which is exceptional from several points of view and not only for its beauty.
Blending old recordings of Salah and Daoud’s music with his own, (and one cannot but marvel at the technical aspects of that project in itself), Dudu Tassa has revitalized many of their popular songs by combining his own rock and roll style with their classics. Tassa’s electric guitar – an instrument unheard of in Arab music – joins Salah’s violin and Daoud’s oud with sensitivity and respect, creating a truly innovative work.
The album is sung entirely in Arabic and includes guest appearances by such stalwarts of the Israeli popular music scene as Yehudit Ravitz and Barry Sakharov: hardly names one would, until now, have associated with the genre. The co-operation of such local pop icons with Dudu Tassa on this project offers a glimpse – for those still unaware – into both the eclectic nature of the ever-maturing and developing Israeli culture and the rich tapestry of the bridge between East and West, past and present, which so characterizes Israel.

















