Aliza Azikri – possessing an exotic look and a unique voice, was already considered a quite famous singer, who had released a record with four songs that were played repeatedly on the radio.
Her career had been struggling, oscillating between musical ensembles she joined and musicals in the theater. To supplement her income, she performed in Jaffa's nightclubs, which began to flourish in the mid-1960s.
Azikri, a native of Morocco who immigrated with her family to Israel before the establishment of the state, was one more in a long list of female singers of Mizrahi origin who did not hide their ethnic background, and gave it expression in their singing voice and pronunciation of words. In some of her songs, she even added prominent Mizrahi embellishments and nuances, and no one saw this as a matter worthy of special attention.
When she arrived one night for an outing at Aris San's club, a romance began between them, and their lives changed forever.
She found a warm home in the club, left her job at the competing club, and came to sing for him.
He found a professional singer, equipped with a captivating appearance, a unique voice, and a resume with authentic Israeli milestones: she grew up in a kibbutz, served in the IDF in a military ensemble, acted at Habima Theater, performed at the Israel Song Festival, sang songs by Nachum Heiman and Naomi Shemer, and was involved in the world of the Tel Aviv bohemians – celebrities of elite culture, the trailblazers of the new Israeli entertainment.
For him – the non-Jew, the foreigner – this was a romance with practical advantages. One that could connect him a bit more with Israeli society.
From the moment she entered Aris San's territory, she became his reinforcement in breaking through Israel's cultural strongholds.
Although both he and she were married to other spouses, a forbidden and tormented love blossomed between them. The stormy romance, which was covered in the Hebrew press, brought a shared daughter into the world, as well as an exceptionally fruitful musical partnership. She became the resident singer at his club, attracting more and more club-goers who enjoyed the combination of Israeli and Greek music.
In 1967, they both launched an LP (Long Play) record with 12 songs – almost all in excellent Hebrew language. Songs written for him by his creative partner, Yehuda Ofen.
Three of the songs became real hits. The most prominent among them was: "Na'ara Mamash Otzar" (A Girl Who's Truly a Treasure), which played daily on various radio programs and reached every Israeli ear listening – at home, on the bus, at market stalls.
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The joint record was a groundbreaking achievement for three people:
For Aris San, who composed the songs, arranged them, and also participated in vocal accompaniment. For Aliza Azikri, who stood at the forefront and sang in a new style that would accompany her for many years to come. For the lyricist, Yehuda Ofen, an anonymous and unknown poet in the realm of commercial Israeli music. The lyrics of the songs matched the accepted standard in the field of songwriting: excellent Hebrew language, rhyme and meter, and their adaptation to the melody.
This was a unique combination that marked a turning point in Israeli music, which since then has embraced the style to be called: Mediterranean music – a Greek, Balkan style, accompanied by an exhilarating electric guitar, which pushed aside the bouzouki, the popular, old-fashioned instrument that was a central instrument in the music played in the Balkan countries.
In June 1967, a few months after the record's release, the Six-Day War broke out.
During the days of fighting, the state radio channel, "Kol Israel," canceled its regular broadcast schedule, and opened the channel for direct reports from the fighting fronts, throughout the day. Between the reports, the music editors interspersed mainly Israeli songs, in Hebrew, and on the playlist, one could hear again and again the big hits from Aliza Azikri and Aris San's record.
A few weeks after its conclusion, in July, Aris San and his music received the highest institutional endorsement they could have received in those days.
Moshe Dayan, Israel's beloved Minister of Defense, the man with the eye-patch, who was considered the commander who led the victory in the Six-Day War – married off two of his children on one evening: his son Assi Dayan and his daughter, Yael Dayan. The double wedding took place in the courtyard of the Dayan family home, in the prestigious Tzahala neighborhood in Tel Aviv, with the participation of over 1,000 guests, among them all the most important people: government ministers and Knesset members, senior IDF officers from the war's heroes, business people and intellectuals, journalists and television photographers. The most important guest was David Ben-Gurion, "the sole one of his generation," who honored his friend on the security path with his presence.
A Greek atmosphere was prepared for the guests – throughout the evening, Aris San's orchestra played in his special style, and the menu served to the guests was laden with Greek dishes and drinks.
Those who knew the Dayan family knew about the "Greek connection" in the family – Dayan the father, greatly favored Aris San, his music, and even visited his clubs. His daughter, the bride Yael, was active in the photography team for the film "Zorba the Greek," which was filmed on the island of Crete in Greece.
This was a particularly fruitful year for Aris San.
He was already sought after not only for performances but also as a composer and arranger. That same year he received an invitation to work with Gila Almagor, a budding actress who was paving her way between films and theater plays and was already a respected celebrity among the Tel Aviv bohemians. He composed 4 songs for her that were released on a record, all in a Greek atmosphere, in his familiar style.
The record was simply called: "Gila Almagor Sings Aris San".
Gila Almagor sings Aris San
To listen on YouTube click on the image or click here
Aris San's winning formula could have led a new wave that would sweep Israeli music, and unite elite culture with underground culture... But the war shuffled the cards in Israeli society and its music.
On this, and more, in the next chapter at the following link:
This is Chapter Five out of six chapters in A Musical Biography of Aris San. Aris San was a singer, composer, and original creator, who developed and promoted Mediterranean music in Israel, and paved the way for the breakthrough of "Mizrahi music" in Israel.
For reading all chapters of the series - in the table of contents at the following link:
