Jazz Articles about Anouar Brahem

Anouar Brahem: The Astounding Eyes of Rita

by Dan McClenaghan
October 21, 2009

The Astounding Eyes of Rita rings to life on four resonant notes from Tunisian oudist Anouar Brahem, joined in short order by the deep, rich tone of Klaus Gesing's bass clarinet. The music sounds ancient, like something from an old civilization, full of past truths that still hold true. Manfred Eicher, the man in charge at ECM Records, has been known to inspire, from talented artists, consistently beautiful and sometimes eccentric (American ethno-centricity speaking) music from unusual instrumental ...

Anouar Brahem: The Astounding Eyes of Rita

by John Kelman
September 30, 2009

In the world of the oud--the fretless, Middle Eastern incarnation of the lute--there are three artists who are moving the instrument--and its centuries-old tradition--forward. Tunisian-born Dhafer Youssef has explored the integration of technology and western classicism on Divine Shadows (Jazzland, 2006), while Lebanese-born Rabih Abou-Khalil has investigated a nexus with horn-driven large ensemble on The Cactus of Knowledge (Enja, 2001). Anouar Brahem, since first emerging on ECM with Barzakh (1991), has explored more nuanced territory, between his longstanding Astrakan Café ...

Anouar Brahem: Le voyage de Sahar

by AAJ Italy Staff
July 25, 2006

Grande virtuoso dell'oud e ormai da molti anni alfiere dell'etichetta ECM, il tunisino Anouar Brahem prosegue con questo Le voyage de Sahar il suo viaggio tra i piú disparati scenari musicali, che lo ha visto collaborare con artisti del calibro di Jan Garbarek, John Surman, Barbaros Erköse, Dave Holland. Questa volta, come raramente gli accade, si tratta della replica di uno dei suoi incontri precedenti, dato che sono di scena due musicisti francesi come il pianista Francois Couturier e il ...

Anouar Brahem: Innovative Weaver of Musical Heritages

by Eyal Hareuveni
June 27, 2006

Tunisian oud player Anouar Brahem's eighth solo release, Voyage de Sahar (ECM, 2006), is another testimony to the magnificent way that he manages to weave influences and references from the rich and beautiful heritage of Arabic world with elements of Andalusian music and modern jazz, and to the innovative way in which Brahem suggests the oud as a leading instrument in Western and Arabic music. For the first time in his 15-year relationship with the prestigious German ECM label, Brahem ...

Anouar Brahem: Le Voyage de Sahar

by Budd Kopman
April 29, 2006

Tunisian oudist Anouar Brahem has recorded for ECM since 1990; Le Pas du Chat Noir (2002) achieved the most critical acclaim. The trio which made that record comes together again for Le Voyage de Sahar, creating an understated tour de force that builds on the former album. While the “ECM sound" very much helps create the feeling, the image of a spotlight on the trio, otherwise surrounded by darkness, playing to a massive, totally silent, mesmerized audience, keeps appearing. The ...

Anouar Brahem: Le Voyage de Sahar

by Nenad Georgievski
April 20, 2006

Many of ECM's standout albums are a result of rich confluences of jazz, classical and world music sensibilities. The authors of those albums have a thorough, deep knowledge and understanding of each tradition, and most of the time the intersections between the different traditions are blessed with good results.

Such is the case with Anouar Brahem. His music clearly dwells in different worlds, deeply rooted in Arabic music yet very open to influences from jazz and classical traditions, among others. ...

Anouar Brahem: Le Voyage de Sahar

by John Kelman
April 12, 2006

Anouar Brahem's last international release, Le Pas du Chat Noir (ECM, 2002), was something of a watershed for the Tunisian oudist. Earlier records like Khomsa (ECM, 1995) and Thimar (ECM, 1998) found him exploring the nexus between traditional Middle Eastern harmonies and a more open-minded improvisational approach with artists like reed player John Surman, bassists Dave Holland and Palle Danielsson, and drummer Jon Christensen. But Le Pas du Chat Noir placed a stronger emphasis on composition and influences that went ...