Review: Anouar Brahem - Thimar

On ‘Thimar’, Manfred Eicher’s ECM expands its umbrella of sound even further with a true east-meets-west. Anouar Brahem, the oud master, joins seasoned jazz-men John Surman, who here plays bass clarinet as well as his trademark saxes, and bassist Dave Holland, which instantly will lure many American purists to cite this as being not jazz (no blues, no swing, no standards…). Regardless there are distinctive elements of the genre here, with an abundance of originality and improvisation, both group and solo, on offer.

In truth though, it’s genuinely difficult to work out where the composition and arrangement ends, and where the improvisation starts, such is the skill and subtle spontaneity that each of trio plays with, despite the frequently complex and varied pieces. ‘Badhra’ opens with Surman’s beautifully delicate soprano, before Brahem and Holland introduce themselves slowly, showing a number of paths the record might take from there.

While for the most part uncategorizable, some of the pieces lean more toward the middle-eastern, with Brahem and Holland forming a strong unity, as Surmans sometimes mystical-sounding horns play over the top, while others have a distinctly night-time cityscape sound to them. Brahem’s native Tunisia is referenced enough without totally overwhelming the album, and each of the trio is able to solo comfortably and meditatively while the other two lock into some decidedly strong yet different rhythm, with Holland’s distinctive and richly deep sound perfectly placed everywhere on this album.

It’s remarkable that for three so unusually matched instruments, that the entire recording manages to remain so good, so welcoming, and so thoroughly absorbing throughout. Captivating in both a spiritual and musical sense, there’s a lot going on that is sure to reveal itself over repeated listens. You can’t put this in a genre, unless you want to use the catch-all phrase of ‘world’, but it is both beautiful and fresh, with a wide range and as usual brought out to their fullest by Manfred Eicher’s always pitch-perfect production.

‘Thimar’ is an impressive, and genuinely three-way, collaboration that superbly mixes the pieces of the jazz world, classical, and Arabian all into one melting point, without falling into the easy clichés that those descriptions might conjure up. Full of care, subtlety and originality, there is much to enjoy here in both the exotic and lyrical qualities that these three extraordinary performers create together. This really is a minor gem of world-fusion and is very possibly Anouar Brahem’s best work so far.

****

Review: Anouar Brahem - The Astounding Eyes Of Rita

Broadening my scope for jazz reviews, I give you a fine example of oud master Anouar Brahem and my personal favourite of his, the 2009 'The Astounding Eyes Of Rita'.

Since first playing on the ECM label in 1991 with his ‘Barzakh’ album, Tunisian oud master Anouar Brahem has tread two very different paths. On one hand he showcases his more traditional sounding ‘classical’ works, while on the other he chooses more varied projects which attempt to meld his Middle Eastern sensibilities with that of equally strong and compelling western jazz players, highlighting a unique fusion of Brahem’s Tunisian heritage, contemporary classical and subtle European romanticism.

The exquisitely titled ‘The Astounding Eyes Of Rita’ showcases a new and decidedly international group for Brahem, one that brings in both new and old musical elements. The bass clarinet, heard best on his musical benchmark ‘Thimar’ with John Surman, is here again courtesy of the rich toned German player Klaus Gesing, while electric bass is supplied by Swede Bjorn Meyer, usually recognised more for his heavy groove-laden funk, and completing the line-up is Lebanese percussionist Khaled Yassine who brings some pulsing rhythms to the mix. Together they create an intriguing blend of tranquil, landscape-like chamber music full of the typical introspection that has made the Munich record label what it is today.

The group takes a traditional Middle Eastern approach against its strong and defined modern rhythm, with Meyer laying down an utterly pulsating groove on the brooding yet almost spiritual sounding ‘The Lover Of Beirut’, while he rises to a springier step for some almost transcendent joy on ‘For No Apparent Reason’. All this while Gesing plays surprisingly the most western element here, with the woodwind providing a darkly-coloured yet ethereal pairing with the similarly low sound of Brahem’s oud, making you wonder why it doesn’t appear in any of the worlds musical genres more often. The title-tracks melody in particular works a treat when channelled through this often-neglected instrument.

Yassine and his darbouka provide a thrilling drive to the whole album, that both infuses the world flavour just that bit extra, but also expands and increases the sound of the group to something much fuller and richer. His work on ‘Dances With Waves’ in particular is a subtle and understated highlight, and it’s this particularly successful grouping of electric bassist and eastern percussionist that makes this stellar recording what it is.

The music throughout is all about strong melody, with the three guest players all strong and creative foils to Brahems numerous and multi-faceted ideas. And after a period of sparer, more open music, it’s incredibly rewarding to see him back playing with stronger rhythms and, in Meyer, a pulsing and throbbing beat. Not that his music has lost that mysterious air that made Brahems such a unique talent before. The eight pieces that make up ‘The Astounding Eyes Of Rita’ are beautiful in just about every way, and grow with each subsequent listen. Possessing the high yet equal qualities of an ethereal atmosphere and a definite and beating rhythmic heart, with these three perfectly hand-picked musicians, this is Anouar Brahem’s most complete and fully-realised album to date, and ultimately his best.

****