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Rating: 6/10
Sound Quality: 320 kb/s
Format: Mp3
Record Label: ECM
Year Released: 2009
Album Covers: Included
Pass: radiodada
Links: rapidshareNote From Dada!
Όσο εύκολα μπορώ να πω, πως δεν πρόκειται για την καλύτερη δισκογραφική δουλειά του Τυνήσιου ουτίστα Anouar Brahem (είμαι λάτρης των "Thimar", "Kohmsa", "Le Voyage de Sahar"), άλλο τόσο δύσκολα μπορώ να μην εκφράσω, πως πρόκειται για ένα πραγματικά πολύ όμορφο album. Ο τελευταίος και αρκετά πρόσφατος δίσκος του Brahem είναι αφιερωμένος στον Παλαιστίνιο ποιητή Mahmoud Darwish, από ποίημα του οποίου είναι "εμπνευσμένος" και ο τίτλος του.
Όπως και στο παρελθόν, έτσι και εδώ, o Brahem "ντύνει" αριστοτεχνικά τις ρίζες της μουσικής του καταγωγής, με μια "δυτική" προσέγγιση (συνήθως ενορχηστρωτική και όχι τόσο συνθετική) που επ' ουδενί δε θα τη χαρακτήριζα World ή Ethnic καθώς οι συγκεκριμένοι όροι μάλλον τείνουν να αποκτήσουν ένα νόημα Easy Listening.
Εξαιρετικά τα "Stopover At Djibouti", "The Astounding Eyes Of Rita", πολύ καλά τα "Al Birwa" και "Galilee Mon Amour".
Σύνθεση:
Anour Brahem: Ούτι
Klaus Gessing: Μπάσο Κλαρινέτο
Bjorn Meyer: Ηλεκτρικό Μπάσο
Khaled Yassine: Νταρμπούκα, Μπεντίρ
About Anouar Brahem
Anouar Brahem (transliteration of the Arabic أنور ابراهم) was born on October 20, 1957 in the town of Halfouine in the Medina of Tunis, Tunisia. He is an oud player and composer, who is widely acclaimed as an innovator in his field. Performing primarily for a jazz audience, he fuses Arab classical music, folk music and jazz and has been recording since at least 1991, after becoming prominent in his own country in the late 1980s.
Encouraged by his father, an engraver and printer, but also a music lover, Brahem began his studies of the oud at the age of 10, at the Tunis National Conservatory of Music, where his principal teacher was the oud master, Ali Sriti. An exceptional student, by the age of 15 Brahem was playing regularly with local orchestras. At 18 he decided to devote himself entirely to music. For four consecutive years Ali Sriti received him at home every day and continued to convey to him the modes, subtleties and secrets of Arab classical music through the traditional master / disciple relationship, particularly in the intricacies of the Maqam system, and taqsim.
Little by little, Brahem began to broaden his field of listening to include other musical expressions from around the Mediterranean, Iran and India, before jazz began to command his attention. According to Brahem, "I enjoyed the change of environment, and discovered the close links that exist between all these musics".
Brahem increasingly distanced himself from an environment largely dominated by entertainment music. He sought to do more than simply perform at weddings, and did not want to join one of the many existing ensembles, in which the oud was little more than an accompanying instrument for singers. Passion for his vocation as an oudist led him to give first place to his preferred instrument of Arab music, and to offer the Tunisian public ensemble and solo concerts. He began writing his own compositions and gave a series of solo concerts in various cultural venues. He also issued a self-produced cassette, on which he was accompanied by percussionist Lassaad Hosni.
A loyal public of connoisseurs gradually rallied around him and the Tunisian press gave enthusiastic support. Reviewing one of Brahem's first performances, critic Hatem Touil wrote: "this talented young player has succeeded not only in overwhelming the audience but also in giving non-vocal music in Tunisia its claim to nobility while at the same time restoring the fortunes of the lute. Indeed, has a lutenist produced such pure sounds or concretised with such power and conviction, the universality of musical experience."
In 1981, he left for Paris in search of new vistas. This enabled him to meet musicians from a variety of genres. He remained there as a composer for four years, notably for Tunisian cinema and theatre. He collaborated with Maurice Béjart for his ballet Thalassa Mare Nostrum and with Gabriel Yared as lutist for Costa Gavras’ film Hanna K.
In 1985 he returned to Tunis, where an invitation to perform at the Carthage festival provided him with the opportunity to bring together for Liqua 85, outstanding figures of Tunisian and Turkish music, and French jazz. These included Abdelwaheb Berbech, the Erköse brothers, François Jeanneau, Jean-Paul Celea, François Couturier and others. The success of the project earned Brahem Tunisia's Grand National Prize for Music.
In 1987, he was appointed director of the Musical Ensemble of the City of Tunis (EMVT). Instead of keeping the large existing orchestra, he broke it up into formations of variable size, giving it new orientations: one year in the direction of new creations, and the next more towards traditional music. The main productions were "Leïlatou Tayer" (1988) and "El Hizam El Dhahbi" (1989) in line with his early instrumental works and following the main axis of his research. In these compositions, he remained essentially within the traditional modal space, although he transformed its references and upset its hierarchy. Following a natural disposition towards osmosis, which has absorbed the Mediterranean, African and Far-Eastern heritages, he also touched from time to time upon other musical expressions: European music, jazz and other forms.
With "Ennaoura el achiqua" (1987), Brahem presented a performance of songs, a result of his association with the poet Ali Louati. In this exploration of vocal music, he showed a connection with its elaborate classical forms, such as the "Quassid", in the footsteps of Khemais Tarnane, Saied Derwich, Riadh Sombati and Mohamed Abdelwahab. "Ennaoura el achiqua", a marginal work, going against the grain, nevertheless had considerable impact on both press and public.
"Ennaoura el achiqua" was not to be his only excursion into the field of song. He returned to it from time to time, for film music or in association with a singer and often with the complicity of Ali Louati. For instance, he collaborated with Nabiha Karaouli - whom he revealed to the public, Sonia M’barek, Saber Rebaï, Teresa de Sio, Franco Battiato and Lotfi Bouchnak, who sang "Ritek ma naaref ouin", composed in the spirit of an "imaginary folklore".
In 1988, before an audience of 10,000 people, he opened the Carthage festival with "Leilatou tayer". The newspaper Tunis-Hebdo wrote: "if we had to elect the musician of the '80s, we would without the least hesitation, choose Anouar Brahem".
With "Rabeb" (1989) and "Andalousiat" (1990), Anouar Brahem returned to classical Arab music. Despite the rich heritage transmitted by Ali Sriti and the fact that this music constituted the core of his training, he had in fact, never performed it in public. With this "return" he wished to contribute to the urgent rehabilitation of this music. He put together a small ensemble, a "takht". Brahem believes this is the only means of restoring the spirit, the subtlety of the variations and the intimacy of this chamber music. He called upon the well-known Tunisian musicians, such as Béchir Selmi and Taoufik Zghonda, and undertook thorough research work on ancient manuscripts, with strict attention to transparency, nuances and detail.
In 1990, he decided to leave the EMVT and embarked on a tour to the USA and Canada. On his return he met with Manfred Eicher, the producer/founder of the German label ECM Records. From this meeting spawned a fruitful collaboration, that marked an important evolution in his work. So far, ten albums have resulted from this association, which have been received extremely well by the international press and the public.
The same year he released his first record, Barzakh, in collaboration with two prominent Tunisian musicians, with whom he had already established a close artistic relationship - Béchir Selmi and Lassaad Hosni. Considered by the German magazine Stereo as "a major musical event", this record confirmed his position as "an exceptional musician and improviser". In Conte de l’incroyable Amour, recorded in 1991, improvisation was central, and the tone was quite different, due in particular to the presence of Barbarose Erkose and the expressive power of his clarinet, and the Sufi inspiration of Kudsi Erguner’s nai. According to Le Monde, "the album unfurls around the poetic talent of Anouar Brahem’s lute. One follows him with delight around the subtle arrangement of the melody, the silences of the musical phrasing, across the unspoken into oriental paths, in a poetry of light and delicate beats". The same paper selected "Conte de l’Incroyable Amour" as one of the best records of 1992.
The same year, he was called upon to conceive and participate actively in the creation of the Centre for Arab and Mediterranean music in the palace of the Baron d’Erlanger at Sidi Bou Saïd. In November 1993, he fulfilled his dream of paying a worthy tribute to his master, Ali Sriti, who for the occasion, agreed to return to the stage after nearly thirty years. Brahem organised "Awdet Tarab", a concert of traditional instrumental and sung music, at the Erlanger Palace. The Tunisian public retain the indelible memory of the duos of the master and his pupil, accompanied by the voice of Sonia M’barek. In 1994 he recorded Madar with the Norwegian saxophonist, Jan Garbarek and the Pakistani master of the tabla, Shaukat Hussain. Jan Garbarek had been impressed by Brahem’s first two albums and had expressed the wish to work with him. Brahem, for his part, had admired the musician for years and shared the same wish. The meeting therefore came quite naturally, encouraged by Manfred Eicher. Brahem and Garbarek were united in a common quest: for a universal tradition. Madar mingles these of traditions, without harming the essence of each.
Anouar Brahem has composed the original scores for many films and plays, amongst which, Sabots en Or and Bezness by Nouri Bouzid, Ferid Boughedir’s Halfaouine, Moufida Tlatli’s Les Silences du Palais and La saison des hommes as well as for Iachou Shakespeare and Wannas el kloub by Mohamed Driss, El Amel, Borj El hammam and Bosten Jamalek by the Theatre Phou. In Khomsa (1995), he picked up a few of these pieces which he had always dreamed of performing in a free, airy and purely musical manner "freed from the chains of images and texts", as he put it. He assembled an eclectic ensemble to perform this music, including Richard Galliano (accordion), Palle Danielsson (double bass), Jon Christensen (drums), François Couturier (piano), Jean-Marc Larché (saxophone) and Béchir Selmi (violin). The sextet brought together by the composer, also featuring on oud, is constantly being divided into solos, duos, and trios - "hence the dominant and delicious impression of being on a motionless voyage full of secret passages, of novel tones, of suspended endings", as Alex Dutilh put it on France Musique. The Guardian declared that "Khomsa is one of the great records of the year. Brahem is at the forefront of jazz because he is far beyond it".
Three years later, Anouar Brahem was back in the studio to pick up where he had left off with Madar, passionately exploring the orchestral form of the trio, but this time in a context wide open to the great variety of the “worlds” of jazz. Flanked by two eminent musicians, pillars of the ECM label for the last thirty years, John Surman, the saxophonist and Dave Holland, the double bass player, heralds of British free music in the late '60s and since pursuing each his own highly particular and artistically coherent universe, Anouar Brahem ventured with infinite delicacy the refined poetry of his instrument at the "risk" of conceptions of improvisation far removed from his own universe. The result is in keeping with the challenge: Thimar is an outstanding success, a meditative and supremely musical work, permeated with poetry, where each piece is played in a contemplative atmosphere of extreme concentration. In this recording, without deviating from his personal aesthetic line, Anouar Brahem explores the “mysteries of jazz” to an extent he had never reached before. In Germany, Thimar received the “Preis der deutschen Schallplattenkritik". It was named “Best jazz album of the year” by the English magazine Jazz Wise.
Astrakan Café, his sixth album in 10 years for the Munich company, came out in September 2000. Although the oud player undoubtedly revisits his oriental and Mediterranean roots, it also built on his preceding albums. Playing once again for the occasion with his two faithful partners, the clarinetist of Romany origin, Barbaros Erköse, and the Tunisian percussionist, Lassad Hosni, Brahem drifts away on an intimate and eminently personal line, celebrating the syncretistic spirit of Arab music, while enhancing his approach to improvisation and collective sound with the ambitious works, Madar and Thimar.
In 2002, Brahem returned with a surprising and highly personal album. In a trio, again, with the pianist François Couturier, longstanding partner and, more unexpectedly, with the accordionist Jean-Louis Matinier, Anouar Brahem gives us with Le pas du chat noir, a soothing, melancholy music, with a tone of exquisite refinement and whose formal balance is unusual for a piece of popular music.
Anouar Brahem is an artist who, while profoundly imbued with his Arab heritage, is unequivocably modern, well anchored in his times and headed towards the future. He is furthermore, an artist unperturbed by the clash of cultures. He has always enjoyed initiating meetings with musicians of different horizons, finding in each the means of renewing himself while retaining his own identity. When questioned as to his inspiration, Brahem refers to the tree which, while rising above the ground and taking up more space, continues to develop and dig its roots deeper into the ground", an image which quite obviously has references to Tunis, a multi-faceted city, rooted in its Arab-Moslem culture and nourished on its African and Mediterranean influences, its traces always present in the artist’s work. In fact, he believes that a tradition which is unable to change and adapt is doomed to die. This is why he takes up challenges and opens his music to new forms of expression. "It would seem," wrote Wolfgang Sandner in the Frankfurter Allgemeine Magazin, "that the man from Tunisia has gone much further than many jazz musicians busily seeking out new music".
In playing style, Anouar Brahem is often compared to Rabih Abou-Khalil, though his compositions tend to be more mellow and spare. Most often he utilizes an ensemble of three or four musicians. He has collaborated throughout his career and on several albums with other musicians: Tunisian percussionist Lassad Hosni and violinist Bechir Selmi and Turkish clarinetist Barbaros Erköse. He has also performed live concerts with these same ensembles.
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