Safy Boutella: Interview with the Music, Film Composer, and Artist

Safy Boutella, an Algerian musician and composer, has carved a distinctive niche in the world of music through his innovative fusion of traditional Algerian styles with modern jazz and electronic elements. Born on January 6, 1950, in Pirmasens, Germany, Boutella grew up in a time of significant cultural change, which greatly influenced his musical journey.

From an early age, Boutella showed a keen interest in music, learning the piano and eventually gravitating towards jazz. His early exposure to a blend of Algerian folk music and the vibrant jazz scene laid the foundation for his unique musical style. Boutella’s journey into music was not just a pursuit of a passion but also a quest to explore and connect with his Algerian roots.

Boutella’s professional career began in earnest when he moved to Paris in the 1970s. In Paris, he immersed himself in the jazz scene, studying at the National Conservatory of Music and performing with various jazz ensembles. His work during this period was marked by an experimental approach, as he sought to integrate the rhythms and melodies of Algerian music with the improvisational nature of jazz.

The 1980s marked a significant turning point in Boutella’s career with the release of his album “Kutché,” a collaboration with Algerian singer Cheb Khaled. This album was groundbreaking in its fusion of raï—a popular genre of Algerian folk music—with jazz and electronic music. “Kutché” not only popularized raï genre internationally but was also ranked among the 100 best albums in 20th-century music history. It showcased Boutella’s skill in blending diverse musical styles.

Boutella’s influence extended beyond his recordings. As a composer, he scored music for several films, most notably for Rachid Bouchareb’s “Dust of Life” and “Little Senegal.” His work in film music allowed him to further experiment with blending different musical traditions, earning him critical acclaim and several awards.

Beyond his musical achievements, Boutella is also known for being the father of dancer and actor Sofia Boutella, whose career in the entertainment industry has brought additional attention to the Boutella family’s artistic contributions.

Throughout his career, Safy Boutella has remained a pivotal figure in the fusion of traditional and modern music, demonstrating the power of music to bridge cultures and histories. His work not only enriches the Algerian musical heritage but also contributes to the global tapestry of world music, making him a key figure in the evolution of cross-cultural musical expressions.

How did your early life influence your musical style?

In fact I grew up in a family of music lovers, my late father, while a high-ranking soldier was capable of singing from memory Beethoven’s 7th, Verdi’s Traviata as a traditional Algerian song or great composers of the middle orient like Mohamed Abdelwahab or Farid El Atrache… then, with all this baggage, I meet English rock and American jazz!!!

What inspired you to blend Algerian folk with jazz and electronic music?

All this will have been a slow and natural process. Inevitably all my references and all my inspirations came together in my head and I ended up with a fairly harmonious mixture of everything that constituted my musical universe.

Can you describe the creative process behind your album “Kutché” with Cheb Khaled?

Raï didn’t interest me much at the time. But one day, when I was deeply into jazz and film music, I was invited to a Cheb Khaled concert. That day, I was doubly impressed: by the quality of the singer and by the reaction of the young audience, which made me feel that something significant was happening. I immediately wrote an article and sent it to the most important weekly newspaper in Algeria, expressing my immense feelings.

Subsequently, with the famous Colonel Senoussi who did a lot for culture in our country, we made the decision to make this album in which he believed as much as I did. I called Khaled and we recorded a number of songs with which I then found myself, alone, but terribly inspired because not an hour or a day went by without ideas appearing and which I immediately recorded on a Tascam 8-track tape recorder…

I called Khaled once a week or every two weeks and let him listen to the progress I had made. Then I went back to working alone until, once the 9 or 10 songs were fully arranged, we decided that, yes, we were going to start the bulk of the work in a large Parisian studio and then also in London, where we could access the famous Fairlight synthesizer (there were only 4 in the world at that time).

What challenges have you faced while fusing traditional and modern musical elements?

It was just fun for me. I had it all in my head: enlarging and powering the beat, enriching the arrangement lines, making them sing, creating intros and endings. The only real challenge for me was to elevate a genre that was not mine without taking away its soul. I think I succeeded. In any case, this album was the turning point for Raï, which went from the depths of Orania to the world sound system, and all the other singers followed the path.

How has the evolution of music technology influenced your work?

You know, I come from the old school where we wrote music and, to be able to hear it outside of our heads, we had to summon an orchestra, whether modern or classical. Everything was recorded in one go or part by part. Then you had to correct it on site or at home, then come back with the changes, etc.

Later, I started recording at home on a Revox 2-track tape recorder, practicing the “re re” technique. Then came the 4-track Tascam, which already gave more comfort, then the 8-track Tascam, and so on. I also worked on the Linn 9000 sequencer for the rhythms. Then followed the Atari 1040, the Mac, and all its developments, etc.

In fact, I always felt a certain reluctance towards progress, but then I started embracing it because I had no choice. I still continue to do so.

How does your approach to composing for film differ from creating music for albums?

Well, let’s put it like this: composing for an album means that I am the master of my creation and, according to this, I am totally free from any rules or critics. When I compose for a film, I do keep, of course, a certain freedom in my own style, but the master is no longer myself but rather the director, and above all, the film itself.

Who are some of your biggest inspirations as a music composer?

Wowww ! So many composers I adore !!! From Beethoven to Malher, from Rachmaninov to Debussy, Ravel ! And so many others Satie, Ives, Gershwin, Berg, Schoenberg, !!! It’s absolutely endless.

And for a challenging question, if you had to choose 4 pieces of music from films to add to your playlist, which would they be ?

How do you see the role of music in storytelling within cinema?

Music in cinema plays a leading role. It enhances emotions and can anticipate upcoming situations. Through certain themes, it can help the film’s cohesion and sometimes signal to the viewer that a character is about to arrive, whether as a savior or, on the contrary, a threat. Everything is possible in the composition of film music, but everything must be deeply analyzed.

Are there specific film genres you find more challenging or rewarding to compose for?

Well, any film is a new and more than welcome experience. Especially if the narration and editing of the film are relevant, if you get along well with the director, and if the kind of music he imagines corresponds to your feelings too.

How do you balance maintaining your unique musical style while adapting to the diverse needs of different film projects?

I think the main key is to be able to adapt yourself to any kind of film genre, especially if you like it and have accepted the collaboration!

What advice would you give to composers starting in the film industry to make their music stand out?

First of all to love cinema. Then, watch as many films as possible. Listen to music 360 degrees. Work deeply on your emotion skills, interpretation.

Are there any upcoming projects or collaborations you’re particularly excited about?

Oh yes! A film called “Eclipsed”! And also a concert called “Safy Boutella Symphonic”, on which I’m working and where I’ll be directing a lot of my film scores.

How do you see the future of music fusion evolving in the next decade?

I think, as well as I’m sure that fusion has always existed and will always exist… It’s a natural human reflex. It goes with progress and evolution. Each culture needs to be revisited by another and give birth to a brand new one.

How do you view the artistic legacy of the Boutella family, especially with Sofia’s achievements in the international arena?

Me and a big part of my family have and always have been oriented to progress and development. We do love art. And particularly in music.

As well as Sofia’s achievement, all the family is definitely looking towards the future and especially the idea of ​​developing concepts, a living force and who wants to have their say.