Total download size: Total play length: 1:29:04. Cover art and liner notes included. The music of Souvenance, by turns graceful, hypnotic, and taut and starkly dramatic, was recorded in 2014 six years after oud-master Anouar Brahem s last ECM album, The Astounding Eyes of Rita.It took a long time to write this music, he acknowledges, noting that his emotional world had been usurped by the.
Anouar Brahem – Le voyage de sahar (2006)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:03:51 minutes | 594 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Q0buz | Artwork: Digital booklet | © ECM Records
Recorded: February 2005, Auditorio Radio Svizzera, Lugano
Over the past 15 years, Tunisian oud master Anouar Brahem has assembled a relatively small but profound body of work. A skilled improviser who refuses to be part of the historical authenticity argument, Brahem works from the same trio setting that performed on Le Pas du Chat Noir in 2002, with pianist François Couturier and accordionist Jean-Louis Matinier. The dialogue between these players is, despite the sparseness of the music and the considerable space employed, intense. The deep listening necessary in the improvised sections allows for a natural flow of ideas to emerge from silence. The compositions themselves are skeletal, with repeating, slowly evolving vamps and lyric lines. They offer, on the surface, a contemplative approach, and indeed can be heard that way. However, when dynamics, timbre, and chromatics are listened for, what takes place is rather astonishing. Each player walks to the middle of a composition, steps back and reenters after ideas by the others are introduced, producing a kind of organic improvisation seldom heard. This is not to say that the most structured works here, such as “Vague/E la Nave Va,” aren’t full of meditative delight as well. They are, and there are vast spaces into which the listener can enter and disappear for a while — not so much to drift and dream as to be absorbed in their hypnotic and repetitive beauty. “Les Jardins de Ziryab” begins with Matinier’s accordion, which is answered by the oud and Brahem’s voice, accompanying them both. It unfolds from the center out. “Le Chambre, Var.” begins, for this ensemble, at a trot. Couturier’s chord voicing and Brahem’s percussive approach create a winding musical narrative that Matinier’s accordion underscores rhythmically. The keyboard and air pulse create a terrain where intricate melodic lines come out of modal and chromatic tensions. Ultimately, Brahem has given listeners another of his wondrous offerings, full of deceptively simple compositions that open into a secret world, one where beauty is so present that it is nearly unapproachable, and it is up to the listener to fill in the spaces offered them by this remarkable trio. -AllMusic Review by Thom Jurek
Tracklist:
1. Sur le fleuve 06:33
2. Le voyage de Sahar 06:58
3. L’aube 05:48
4. Vague – E la nave va 06:20
5. Les jardins de Ziryab 04:35
6. Nuba 03:13
7. La chambre 05:01
8. Cordoba 05:31
9. Halfaouine 02:08
10. La chambre, var. 03:47
11. Zarabanda 04:27
12. Eté andalous 07:06
13. Vague, var. 02:31
1. Sur le fleuve 06:33
2. Le voyage de Sahar 06:58
3. L’aube 05:48
4. Vague – E la nave va 06:20
5. Les jardins de Ziryab 04:35
6. Nuba 03:13
7. La chambre 05:01
8. Cordoba 05:31
9. Halfaouine 02:08
10. La chambre, var. 03:47
11. Zarabanda 04:27
12. Eté andalous 07:06
13. Vague, var. 02:31
Personnel:
Anouar Brahem, oud
François Couturier, piano
Jean Louis Matinier, accordion
Anouar Brahem, oud
François Couturier, piano
Jean Louis Matinier, accordion
Download:
Anouar Brahem – Souvenance (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 89:04 minutes | 1,52 GB Genre: Jazz
Studio Master, Official Digital Download | Artwork: Digital booklet
The music of Souvenance, by turns graceful, hypnotic, austere, and starkly dramatic, follows Tunisian oud-master Anouar Brahem’s last ECM album, The Astounding Eyes of Rita after a five-year gap. “It took a long time to write this music,” he acknowledges. Early plans to document the progress of the “Rita” quartet, which had grown to become a compellingly dynamic group in concert, were set aside. “I was feeling a need to attempt something new.” Then, at the end of 2010 and the beginning of 2011, came the great political upheavals – accompanied by “immense fears, joys and hopes” – which began in Tunisia and swept like wildfire through the region. Fully absorbed by daily news of popular uprisings, collapsing dictatorships, insurgencies and counter-insurgencies, Brahem found his emotional world “monopolized by the political”. It was not the right moment to be writing music: “I had to wait for the pressure to fall, before I could resume work”.
Souvenance translates as “remembrance”, but the album – like the individual track titles – was named retrospectively. Right up until the mix, the new pieces were identified only by the dates of their composition. “I don’t claim a direct link between my compositions and the events that have taken place in Tunisia,” says Anouar Brahem, “but I was deeply affected by them.”
As a composer, Brahem has always followed his intuition, sometimes finding himself surprised by the musical directions that arise: “It seemed likely that piano would have a role in the new pieces, since several of them were written at the piano. But as I worked on the drafts the idea of a chamber orchestra kept coming to my mind. In October 2013 I went to Paris to start some first rehearsals with François Couturier and then the idea of the project became more concrete. I met with Manfred [Eicher] and brought him some demos and he convinced me to continue along this path.”
Since then, the Anouar Brahem group has been restructured, with Couturier, a long-term collaborator on earlier projects (see Pas de chat noir and Le voyage de Sahar) returning, his piano frequently supported by subtle string orchestration. The strings have a glowing transparency and fragility in these pieces, often providing shimmering texture and colour against which the contributions of the quartet members – above all, Anouar Brahem’s unique oud-playing – stand out in bold relief. “With this project I feel I’m improvising differently. It’s a response to the identity of the pieces. Sometimes a few notes are enough. All the instruments had to wait to find their place in this music.” This can be challenging for musicians coming from jazz, where claiming the space to make a personal statement belongs to the territory. “That space still exists in Souvenance but it’s become more subtle, more directed. As the writing and arranging developed, the role of Björn’s bass became quite strong and central. The responsibility of Klaus’s bass clarinet this time is harder to define, but it’s an important element, and it’s not easy, as a listener, to know which parts are improvised and which are written.”
Souvenance marks the first time Brahem has written for strings. Austrian composer Johannes Berauer, an associate of Klaus Gesing’s, came to Tunisia to work with him on the orchestration. “It was essential to work closely together to stay true to the spirit of the compositions, page by page.” (The sole exception is the orchestral version of “Nouvelle vague”, which closes the album, an arrangement of a Brahem tune first heard on Khomsa, made by Estonian composer Tõnu Kõrvits.) “It was very important for me that the strings should have an organic function in the music. All of this work was new discovery; my musical studies had been devoted to our traditional music only. So I had no compositional role models in mind. And obviously I wasn’t drawn to the power and volume that an orchestra can supply. For me, it’s most exciting to improvise against the strings when they are very piano – the detail in the sound and texture, the delicacy and the chamber music quality of it, can be very touching.”
The album was recorded in Lugano’s Auditorio Stelo Mori in May 2014 with the Orchestra della Svizzera Italiana. The orchestra has a distinguished history. Richard Strauss wrote for it, and composers from Stravinsky to Berio have conducted the orchestra in programmes of their work. Recent recordings by the orchestra have included a series of albums with Martha Argerich.
Tracklist:
CD1 #01 – Improbable Day
CD1 #02 – Ashen Sky
CD1 #03 – Deliverance
CD1 #04 – Souvenance
CD1 #05 – Tunis At Dawn
CD1 #06 – Youssef’s Song
CD2 #01 – January
CD2 #02 – Like a Dream
CD2 #03 – On the Road
CD2 #04 – Kasserine
CD2 #05 – Nouvelle vague
CD1 #01 – Improbable Day
CD1 #02 – Ashen Sky
CD1 #03 – Deliverance
CD1 #04 – Souvenance
CD1 #05 – Tunis At Dawn
CD1 #06 – Youssef’s Song
CD2 #01 – January
CD2 #02 – Like a Dream
CD2 #03 – On the Road
CD2 #04 – Kasserine
CD2 #05 – Nouvelle vague
Musicians:
Anouar Brahem – oud
François Couturier – piano
Klaus Gesing – bass clarinet, soprano saxophone
Björn Meyer – bass
Orchestra della Svizzera italiana, Conducted by Pietro Mianiti.
Anouar Brahem – oud
François Couturier – piano
Klaus Gesing – bass clarinet, soprano saxophone
Björn Meyer – bass
Orchestra della Svizzera italiana, Conducted by Pietro Mianiti.
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