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Simple though they are, however, they contain beguiling Arabesques. Based on original compositions combining superb melodic refinement with a deliberately simple formal organization to allow space and total freedom for the powerful creative talent of whoever is improvising, Anouar Brahem develops a lyrical universe here that is both utterly coherent in aesthetic terms, whilst offering a wide range of varying moods. Présenté au Calife de Bagdad, il réussit si bien son audition que son maitre, qui l'avait pourtant préparé à cette fin, en devint fou de jalousie. As if to further emphasize the hybrid nature of his universe, here Brahem plunges his quartet for the first time into the sound-fabric of arrangements that are both sumptuous and minimalist, orchestrating a string-ensemble where the soloists beginning with the melodic enchantments of the oud are presented in an organic, voluptuous setting which is particularly stimulating. The accordion lays down sustained chords like lengthening shadows in a forest.

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He had established a firm reputation with his peers and the public alike.

In , Anouar Brahem experienced another decisive turn in his career when he met producer Manfred Eicher, who gave him the opportunity to record Barzakh for his highly prestigious ECM label. This first album was to mark the beginning of a particularly fruitful association which, in the space of almost thirty years, has seen Anouar Brahem in the company of some of the world's most talented musicians, whatever the genre or tradition: Barbarose Erköse, Jan Garbarek, Dave Holland, John Surman, Jack DeJohnette, and Richard Galliano, to name only a few.

To date, Brahem has recorded no fewer than 11 albums, all of which have been acclaimed by the public and the international critics.

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This eclectic but coherent discography includes: Conte de L'Incroyable Amour , Madar , Thimar , Le Pas Du Chat Noir , The Astounding Eyes Of Rita , Souvenance and today Blue Maqams - all innovatory and timeless albums, allowing Anouar Brahem to confirm over and over again his role as one of the rare composers and musicians able to create music both rooted in a highly sophisticated but ancestral culture and eminently contemporary in its global ambition.

Particularly interested in art in all its forms, Anouar Brahem composed parallel to his own works a great deal of music for cinema, theatre and dance in Tunisia during the 80s and 90s; then, in , his love for films became tangible when he directed and coproduced his first documentary film Mots d'après la Guerre, made in the Lebanon following the war between Israel and the Hezbollah.

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The film was selected for the Locarno Film Festival. In , shortly after the revolution in Tunisia, he was named a Life Member of the "Beit El Hikma", the Tunisian Academy for Science, the Arts and Literature, and two years later, the CD Souvenance was released - an ambitious double album that is both a luxury aesthetic synthesis of 15 years of experiment in quest of an authentic "meeting ground for reciprocal understanding" between Orient and Occident, and his offbeat response, highly personal and reflective, to the events in Tunisia early in An audience of no less than 7, gave him and his demanding music a standing ovation at its first public performance during the 50th anniversary of the Carthage Festival.

Today, more than ever, Anouar Brahem continues to make regular appearances on the most prestigious stages all over the world, as well as recording more enchanting albums, to the delight of an ever-increasing public as well as his many loyal "fans". Despite his formidable knowledge of the maqarnat, an ornate system of modes that anchors Arabic music, he seldom bases his improvisations directly on the maqams.

His phrasing is pure and uncluttered, expressing itself through silence nearly as often as sound. Composed of elegantly flowing lines and somber, breathlike silences, the music shimmers with the overtones of the piano. Brahem bases several of the tunes on spare, broken chords, repeated in the childlike manner of Satie. Simple though they are, however, they contain beguiling Arabesques. The three musicians rarely appear at once, performing as a trio on only seven of the album's 12 tracks.

For the most part, you hear duets - piano and oud, oud and accordion, accordion and oud. The musicians often double each other's lines, but seldom in unison, which enhances the music's intimacy while producing a floating, echo effect.

If every band projects "an image of coummunity," as the critic Greil Marcus once suggested, then Mr. Brahem's trio - part takht, part jazz trio, part chamber ensemble - evokes a kind of 21st century Andalusia, in which European and Arab sensibilities have merged so profoundly that the borders between them have dissolved.

Anouar Brahem | site officiel flsma.info

The image may be utopian, but its beauty is undeniable. Adam Shatz, The New York Times Throughout the record, the musicians maintain an exquisite balance and make only subtle changes in tempo or tone. Their sense of melancholy is so natural and comfortable it's childlike.

On this tune, "Leila and the Land of the Carousel" a waltzing rhythm and revolving melody suggest a girl on that classic joyride When he quit the oud for a while and played the piano instead, Anouar Brahem recovered his powers of musical myth-making.

On this record, he creates a fairy tale setting and ultimately a storybook ending. L'Oud, l'ancêtre du luth, dont la légende dit qu'il fut porté aux nues par un jeune musicien Kurde, Zyriab, au 8ème siècle.

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Présenté au Calife de Bagdad, il réussit si bien son audition que son maitre, qui l'avait pourtant préparé à cette fin, en devint fou de jalousie. Zyriab se réfugie alors dans le sud de l'espagne, à Cordoue, et pour éviter de tomber à son tour dans le despostisme d'un enseignement exclusif, il a l'idée d'enseigner à plusieurs en même temps, inventant de ce fait le premier conservatoire d'Europe.

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Extrait de Bahia L'Oud, l'instrument du Tarab. Le Tarab est un mot arabe intraduisible qui définit l'extase que procure la musique. Le mot Tarab remonte jusqu'aux Pyrénées.

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Les Occitans lui accolent le sufixe dour, signifiant celui qui fait. Celui qui provoque l'extase musicale est nommé le Tarab dour, mot qui peut être à l'origine de troubadour En tout cas, Anouar Brahem est ce troubadour-là, tant son art provoque l'extase que l'on ne trouve qu'en Orient, parce que la passion est un maitre mot la bas, et c'est passionément qu'on aime, qu'on déteste, qu'on joue ou qu'on se donne.

Les sentiments ne s'expriment pas par la parole, encore moins lorsqu'il s'agit de déclarer sa flamme amoureuse. Alors heureusement, il y a les maqams