Anouar Brahem - Khomsa
Recorded September 1994
ECM 1561

Anouar Brahem

Khomsa

  • Anouar Brahem : oud
  • Richard Gálliano : accordion
  • François Couturier : piano, synthesizer
  • Jean Marc Larché : soprano saxophone
  • Béchir Selmi : violin
  • Palle Danielsson : double-bass
  • Jon Christensen : drums
  • Comme un départ
  • L'infini jour
  • Souffle un vent de sable
  • Regard de mouette
  • Sur l'infini bleu
  • Claquent les voiles
  • Vague
  • E la nave va
  • AÏn ghazel
  • Khomsa
  • Seule
  • Nouvelle vague
  • En robe d'olivier
  • Des rayons et des ombres
  • Un sentier d'alliance

“Choc” Le Monde De La Musique / Jazzman

**** Down Beat (USA)

**** The Guardian (United Kingdom)

On stage or screen, music often plays a subordinate role to the visual drama before us. Taken alone many sound­track recordings are not really that in­teresting. Our reviewer T.W suggests the work of one Tunisian artist, maybe an exception, Anouar Brahem has created original scores that T.W thinks work well all on their own.(...) He draws on both European and Arab musical traditions in songs that elude to the long complicated history of colonial ties between the two continents. The tender melody of "E la nave va" recalls the sweet simple works of French composer Eric Satie (...) Brahem evo­cative compositions make this album more compelling than the soundtrack of mere incidental music. In Brahem theatre of the mind there is no need for actors or projectors to light the mind's eye.
National Public radio "All things considered”

His fourth album for Manfred Eicher's German label, it's a strong follow-up to last year's Jan garbarek / Shaukat Hussain "Madar" collaboration. Brahem uses his cast in different combinations, orchestrating alluring and confounding pieces that leave his listener wondering: is this old, new or other world music?(...) The composi­tions regulary offer room for improvi­sation and with rhythms that take ad­vantage of the jazz potential here(...) In Brahem's hand, the oud is a magical instrument, played with delicacy and great proficiency.
Ephland, Down Beat

I'm sure to say that it is one of the great records of the year. In its unique deployment of influences and instrumentation it is also unobtrusively ground-breaking(...) Brahem is at the forefront of jazz because he is far beyond it.
GB, The Guardian

Après "Conte d'un incroyable, un album exceptionnel par sa délicatesse, Anouar Brahem, subtil joueur de de luth, scelle aujourd'hui les noces des cordes et du souffle, avec l'accordéoniste de jazz, Richard galliano(...). Musique savante, travaillée à l'extrême, musclée par la virtuosité badine de galliano, Franco-italien prolixe que l'art du silence à l'oriental fascine.(...) Cet insolite "Khomsa" prolonge, en l'intégrant au jazz, la tradition savante et cosmopolite de la musique d'Afrique du Nord.
Véronique Mortaigne, Le Monde

Divine Surprise!(...) On se laisse progressivement envahir, hypnotiser, par une grâce mélodique, un lyrisme d'horizon tremblé.(...) Impression dominante et délicieuse de voyage immobile, tout en passages secrets, en timbres inédits, en fins suspendues.
Alex Dutilh, Le Monde de la Musique - Jazzman

Il peint en poète des paysages aux fines harmonies, et dont les improvisations révèlent des décors insoupçonnés, aux résonances andalouses, jazz , ouest-africaines...Anouar Brahem communique à son art sa sensibilité exacerbée, pour engendrer une beauté vulnérable et troublante.
Fara C., L'humanité

Après un duo avec le saxophoniste Jan Garbarek l'an dernier -une réussite commerciale et surtout un bijou de fusion transculturelle- Anouar Brahem revient avec un nouveau CD. "Khomsa" rassemble de magnifiques musiques de films ou de pièces de théâtre tunisiens, composées ces dix dernières années.
Pierre-Yves Borgeaud, 24 Heures

Once again Brahem proves himself to be a proficient storyteller, not to mention of course his mastery of the Arab lute. Brahem, who in his first ECM recordings had opened up new possibilities, today appears to be The cinema Musician, whose work bears some similarities to Elena Karaindrou's work for Angelopoulos's films. A North/South dialogue, under Tunisian chairmanship, conducted with delicacy.
Karl Lippegaus, Stéréo

"E la nave va" trio for bass, accordion and piano and "Nouvelle vague" duo for accordion and piano, constitue sensitive tributes to Fellini and Godard's legendary films. As for "En robe d'olivier" with its calimba accents, it exhales West Africa (...) The ever-changing multiplicity is the leitmotiv of this magical recording
.
Sven Thielmann, Stéréoplay