In the latest of our series where musicians consider their idols or formative influences, composer Philip Clemo picks music by Anouar Brahem that has left its mark on him:
Anouar Brahem was born in the Medina of Tunis, Tunisia in 1957. He studied the oud (a Middle Eastern short-necked lute) at the National Conservatory and went on to be an apprentice of master Ali Sriti. The oud had traditionally been an instrument of accompaniment but Brahem revived its status as a solo instrument. However collaboration has been central to his work.
Brahem’s work with ECM goes back to 1989 and he has recorded ten albums with the label, working with players such as Jan Garbarek, Dave Holland, John Surman and Jack DeJohnette. In his meticulously crafted and spacious music the unplayed notes can play as important a role as the played ones, with the musicians listening as much as playing. He creates room for musicians to echo each other and weave around each other’s performances. His pieces are never cluttered.
I was first introduced to Anouar Brahem by my friend composer, visual artist and perfumer Paul Schütze. The album was 2002’s ‘Le pas du chat noir’ and I couldn’t get enough of it. It even became the soundtrack to my second daughter’s birth and helped settle her at bedtime for several years. It’s been an important soundtrack in my life since becoming a father.
I’m captivated by the delicate phrasing and elegant fluidity of Brahem’s work, as well as the overtones and silences that give his pieces room to breathe. He seamlessly brings the maqams—Arabic modes and phrasings—into the realms of chamber jazz and ambient minimalism, evoking the spirit of Debussy, Satie, and Mompou with some of his piano pieces. I find his music both beguiling and beautifully calming.
These 10 tracks come from a handful of Brahem’s albums – they are some of my favourites but there are many others that I have not covered here. Hopefully this will give a worthwhile introduction to his work.
- Le pas du chat noir – from 2002’s album of the same name.
This is where it all started for me with the work of Anouar Brahem. The delicate Satie-esq piano opening played by Francis Couturier creates a beautiful meditative space for Brahem’s oud, held by the breathy accordion of Jean-Louis Matinier. Exquisite.
- Bahia – from 2017’s Blue Maqams
I love hearing Brahem sing the maqam (Arabic mode) while he plays the oud intro with Dave Holland and Jack DeJohnette entering so delicately as Brahem settles on a motif. Holland and DeJohnette then echo and riff around each other. The playing is understated and the energy ebbs and flows within
this sublime trio.
- Astara – from 2000’s Astrakan Cafe.
This work may sound more traditional with Brahem’s trio of clarinetist Barbados Erköse’s and the darbouka of Lassad Hosni Bendir but Brahem is pushing the boundaries of the form and performs a beautiful oud solo in the piece.
- On The Road – from 2014’s Souvenance.
A hypnotic piano motif opens the piece with the gentle floating lines from the oud and the bass clarinet of Klaus Gesing. I love this hypnotic lullaby that becomes energised and riff-based when Bjorn Meyer’s bass enters. The original piano motif then returns and the moods combine.
5. The Outstanding Eyes of Rita – from the 2009 album of the same name.
This piece opens with Brahem’s oud and understated voice and then Bjorn Meyer enters with a
bass riff that propels the piece forward with the hypnotic interlocking lines of Klaus
Gesing’s bass clarinet and Brahem’s oud
6. Unexpected Outcome – another piece from Blue Maqams.
This track begins spaciously but the piece is then driven along by a great Dave Holland bass line, joined
by the shimmering piano of Django Bates. This track is hypnotic and darts around and
tumbles over itself
7. Toi qui sais – a second piece from the Le pas du chat noir album.
Another beautiful Satie-esq piano opening from Francis Couturier with Brahem’s exquisite oud melodies floating above. Jean-Louis Martinier’s accordion then enters and duets with Couturier. This piece really shows the importance of space in Brahem’s compositions.
8. Halfaourine from the Astrakan Cafe album.
A beautiful and fluid track with an intro from the oud with Lassad Hosni Bendir’s darbouka. We then hear a mournful clarinet solo from Barbados Erköse followed by a solo from Brahem,
9. Kasserine – a second from the Souvenance album
A beautiful sparse opening with really understated playing. For me the pianissimo strings in the latter part of this track have an Arvo Pärt breathy quality which is gorgeous. A beautiful and spacious track.
10. Vague from 2006’s Le Voyage De Sahar
This piece reminds me of some of Philip Glass’ solo piano pieces. Beautiful playing by Francois Couturier with the understated accordion of Jean-Louis Matinier.
