Anouar Brahem

Total Page：16

File Type：pdf, Size：1020Kb

Jazz Collection: Anouar Brahem Dienstag, 26. Dezember 2017, 21.00 - 22.00 Uhr Samstag, 30. Dezember 2017, 17.06 - 18.30 Uhr (Zweitsendung mit Bonustracks) Sanft aber bestimmt: Anouar Brahem macht die Oud zum Solo-Instrument Viele in Tunesien hielten ihn verückt, Anouar Brahem, als er in den 80er Jahren damit begann, die Oud als Solo-Instrument in den Mittelpunkt zu stellen. Und mit Jazz zu kombinieren. Im arabischen Raum galt der Gesang seit jeher als das Mass aller Dinge – eine Kurzhalslaute hatte den traditionellen Gesang zu begleiten, und Schluss. Aber für Anouar Brahem war der Entscheid, die Oud zu emanzipieren, erst der Anfang. Im Label-Chef von ECM Manfred Eicher findet er 1990 einen «partner in crime» – und komponiert und realisiert seit dann für ECM ein Projekt nach dem anderen. Wobei immer ein Instrument im Zentrum steht: die Oud. Der schwedische Wahl-Berner und Bassist Björn Meyer spielt seit fast zehn Jahren mit Anouar Brahem zusammen. Er ist Gast in der Jazz Collection von Jodok Hess. Gast: Anouar Brahem Redaktion: Jodok Hess Anouar Brahem: Barzakh Label: ECM Track 07: Raf raf Jan Garbarek / Anouar Brahem: Madar Label: ECM Track 05: Ramy Anouar Brahem: Astrakan Café Label: ECM Track 14: Astrakan Café Anouar Brahem: Le Pas Du Chat Noir Label: ECM Track 09: Les ailes du bourka Anouar Brahem: The Astounding Eyes of Rita Label: ECM Track 03: Stopover at Djibouti Anouar Brahem: Blue Maqams Label: ECM Track 01: Opening Day Bonustracks – nur in der Samstagsausgabe Anouar Brahem / Orchestra Svizzera Italiana: Souvenance Label: ECM Track 01: January Anouar Brahem: Thimar Label: ECM Track 08: Qurb Track 09: Mazad Nik Bärtsch's Ronin Live Label: Tonus Track 02: Modul 17 .

Copy Link

Recommended publications

20H the Astounding Eyes of Rita Anouar Brahem, Oud Bjorn Meyer
mercredi 9 dÉcembre – 20H The Astounding Eyes of Rita Anouar Brahem, oud Bjorn Meyer, guitare basse Klaus Gesing, clarinette basse Khaled Yassine, percussion Fin du concert (sans entracte) vers 21h25. Anouar Brahem, le luth enchanteur Né en 1957 dans un quartier de la médina de Tunis, popularisé par le filmHalfaouine, l’enfant des terrasses de Ferid Boughedir, Anouar Brahem possède plusieurs cordes à son oud. Après avoir été initié aux musiques savantes aux côtés d’excellents maîtres comme Ali Sriti, il a tendu son oreille vers d’autres sonorités comme le jazz ou les arts iraniens, ottomans et indiens. Également auteur de nombreuses musiques de films et de quelques succès populaires, Anouar se produit parfois en solo, mais sa préférence va à la fraternisation entre le jazz et la musique orientale, en compagnie de musiciens issus de divers horizons. Son terrain de prédilection est celui de ses propres créations, composées sur oud ou sur piano dans son atelier carthaginois, fraternisant avec d’autres instruments tels la contrebasse ou le saxophone. Au fil des albums enregistrés en trio, Thimar, Astrakan Café, Le voyage de Sahar ou Le Pas du chat noir, il tisse sa toile en variant les climats, en bouleversant les formes ou en redessinant les paysages. Pour cette soirée exceptionnelle à la salle Pleyel, il présente, en exclusivité, son nouveau travail, gravé à Udine (Italie) sous la direction très éclairée de Manfred Eicher, patron du fameux label classico-jazz ECM. L’opus s’intitule The Astounding Eyes of Rita (les yeux renversants de Rita), un titre qui fait référence à un poème du regretté poète palestinien Mahmoud Darwish.
[Show full text]
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
[Show full text]
Cultural Cosmopolitanism and Hybridity in the Practices of Contemporary Jazz Double Bass Players
Cultural Cosmopolitanism and Hybridity in the Practices of Contemporary Jazz Double Bass Players Benjamin Robert Phipps A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy in Music. School of Arts and Media Faculty of Arts and Social Sciences December 2017 COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed ……………………………………………........................... Date ……………………………………………........................... AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed ……………………………………………........................... Date ……………………………………………........................... PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Phipps First name: Benjamin Other name/s: Robert Abbreviation for degree as given in the University calendar: Ph.D.
[Show full text]
Integrating Elements of Persian Classical Music with Jazz
Edith Cowan University Research Online Theses : Honours Theses 2013 A transcultural journey : integrating elements of Persian classical music with jazz Kate Pass Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Commons Recommended Citation Pass, K. (2013). A transcultural journey : integrating elements of Persian classical music with jazz. https://ro.ecu.edu.au/theses_hons/116 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/116 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work. If the user desires to publish a paper or written work containing passages copied or closely paraphrased from this thesis, which passages would in total constitute and infringing copy for the purpose of the Copyright Act, he or she must first obtain the written permission of the author to do so.
[Show full text]
Anouar Brahem »Blue Maqams«
Anouar Brahem »Blue Maqams« Samstag 23. März 2019 20:00 Bitte beachten Sie: Ihr Husten stört Besucher und Künstler. Wir halten daher für Sie an den Garderoben Ricola-Kräuterbonbons bereit. Sollten Sie elektronische Geräte, insbesondere Mobiltelefone, bei sich haben: Bitte schalten Sie diese unbedingt zur Vermeidung akustischer Störungen aus. Wir bitten um Ihr Verständnis, dass Bild- und Tonaufnahmen aus urheberrechtlichen Gründen nicht gestattet sind. Wenn Sie einmal zu spät zum Konzert kommen sollten, bitten wir Sie um Verständnis, dass wir Sie nicht sofort einlassen können. Wir bemühen uns, Ihnen so schnell wie möglich Zugang zum Konzertsaal zu gewähren. Ihre Plätze können Sie spätestens in der Pause einnehmen. Bitte warten Sie den Schlussapplaus ab, bevor Sie den Konzertsaal verlassen. Es ist eine schöne und respektvolle Geste gegenüber den Künstlern und den anderen Gästen. Mit dem Kauf der Eintrittskarte erklären Sie sich damit einverstanden, dass Ihr Bild möglicherweise im Fernsehen oder in anderen Medien ausgestrahlt oder veröffentlicht wird. Vordruck/Lackform_2017.indd 2-3 14.07.17 12:44 Anouar Brahem »Blue Maqams« Anouar Brahem ūd Dave Holland doublebass Django Bates piano Nasheet Waits drums Samstag 23. März 2019 20:00 Keine Pause Ende gegen 21:30 AUS DEM PROGRAMM Anouar Brahem »Blue Maqams« Opening Day La Nuit Blue Maqams Bahia Persepolis’ Mirage Unexpected outcome The recovered road to Al-Sham Bom Dia Rio 2 ZUM KONZERT Wenn der Mond aufgeht… Anouar Brahems »Blue Maqams«-Quartet An das Jahr 1993 erinnert sich Anouar Brahem mit leuchtenden Augen. Immerhin kam es da für ihn und sein musikalisches Leben zu zwei wichtigen Begegnungen. Zum einen war es ihm da gelun- gen, endlich das musikalische Schweigen von Ali Sriti zu brechen.
[Show full text]
Spring 2018 Vinyl
Vinyl Spring 2018 V I N Y L E 18 / I CM Vinyl Spring 2018 4 New Albums on Vinyl 56 From Analog Masters 76 Also Available 84 ECM New Series ECM I New Albums on Vinyl Nik Bärtsch’s Ronin Awase ECM 2603 Nik Bärtsch piano Sha bass clarinet, alto saxophone Thomy Jordi bass Kaspar Rast drums NIK BÄRTSCH’S RONIN AWASE ECM 4 2-LP 180g Vinyl 673 5869 May 2018 5 Marcin Wasilewski Trio Live ECM 2592 Marcin Wasilewski piano Slawomir Kurkiewicz double bass Michal Miskiewicz drums Marcin Wasilewski Trio Live ECM 6 2-LP 180g Vinyl 673 9916 Autumn 2018 7 ECM 2584 Mathias Eick Ravensburg One of the pleasures of Mathias Eick’s Midwest album was hearing his vaulting trumpet supported by violin, an instrumental combination further developed on Ravensburg. The new violinist in Eick’s ensemble is Håkon Aase, one of the up-and-coming players of the new Norwegian scene, whom attentive ECM listeners will already know from his work with Thomas MATHIAS EICK Strønen’s group. The core Eick road band is further shored up by the addition of Helge Andreas Norbakken, who interacts excitingly with fellow drummer Torstein Lofthus. Eick is in great form as a writer on this show- RAVENSBURG ing, deploying driving rhythm at the bottom end of his music and soaring melody at the top in this series of pieces which add up to a kind of collective family portrait. ECM Mathias Eick trumpet, voice Håkon Aase violin Andreas Ulvo piano Audun Erlien electric bass Torstein Lofthus drums Helge Andreas Norbakken drums, percussion 8 LP 180g Vinyl 672 4656 9 Vijay Iyer Far From Over ECM 2581 “As the arc of history lurches forward and backward, the fact remains: local and global struggles for equality, justice, and basic human rights are far from over.
[Show full text]
Anouar Brahem Trio “Astrakan Café”
Casa Árabe Presenta: VOCES Anouar Brahem Trío “Astrakan café” y Amal Murkus Teatro de la Zarzuela (Madrid) Jueves 18 de enero de 2007, 20:00 h اﻟﺒﻴﺖ اﻟﻌﺮﺑﻲ ﻳﻘﺪم: أﻧﻮر اﺑﺮاهﻴﻢ ﺛﻼﺛﻲ " ﻣﻘﻬﻰ أﺳﺘﺮاﺧﺎن" و أﻣﻞ ﻣﺮﻗﺲ ﻣﺴﺮح ﻻ ﺛﺎرﺛﻮﻳﻼ ( ﻣﺪرﻳﺪ) اﻟﺨﻤﻴﺲ 18 ﻳﻨﺎﻳﺮ/ آﺎﻧﻮن اﻟﺜﺎﻧﻲ 2007 اﻟﺴﺎﻋﺔ اﻟﺜﺎﻣﻨﺔ ﻣ ﺴ ﺎ ءً I PARTE ANOUAR BRAHEM TRIO “ASTRAKAN CAFÉ” PROGRAMA Blue jewels Astrakan café The mozdok's train Astara Khotan Bahia Conte de l'incroyable amour Claquent les voilent Lunga chahnaz Todos los temas han sido compuestos por Anouar Brahem, excepto “Lunga Chahnaz” (tradicional) Duración del concierto: 65 minutos اﻟﻘﺴﻢ اﻷول أﻧﻮر اﺑﺮاهﻴﻢ ﺛﻼﺛﻲ " ﻣﻘﻬﻰ أﺳﺘﺮاﺧﺎن" اﻟﺒﺮﻧﺎﻣﺞ ﺟﻮاهﺮ زرﻗﺎء ﻣﻘﻬﻰ أﺳﺘﺮاﺧﺎن ﻗﻄﺎر ﻣﺰدك أﺳﺘﺎرا ﺧﻮﺗﺎن ﺑﺎهﻴﺔ ﻗﺼﺔ اﻟﺤﺐ اﻟﺬي ﻻﻳُﺼﺪق اﻧﺸﺮوا اﻟﻘﻠﻮع ﻟﻮﻧﻐﺔ ﺷﺎهﻨﺎز ﺟﻤﻴﻊ اﻟﻤﻌﺰوﻓﺎت ﻣﻦ ﺗﻠﺤﻴﻦ أﻧﻮر إﺑﺮاهﻴﻢ ﺑﺎﺳﺘﺜﻨﺎء ﻟﻮﻧﻐﺔ ﺷﺎهﻨﺎز ﻣﻦ اﻟﺘﺮاث ﻣﺪة اﻟﻌﺮض اﻟﻤﻮﺳﻴﻘﻲ 65: دﻗﻴﻘﺔ Entre ambos conciertos habrá un descanso de 15 minutos. Está prohibido hacer fotografías y cualquier otro tipo de grabación o filmación, así como acceder a la sala con teléfonos móviles conectados. Se ruega asimismo desconectar las alarmas de los relojes. ﺳﺘﻜﻮن هﻨﺎك ﻓﺘﺮة اﺳﺘﺮاﺣﺔ ﺑﻴﻦ اﻟﻌﺮﺿﻴﻦ اﻟﻤﻮﺳﻴﻘﻴﻴﻦ ﻟﻤﺪة 15 دﻗﻴﻘﺔ. ﻳﻤﻨﻊ اﻟﺘﻘﺎط اﻟﺼﻮر أو اﻟﻘﻴﺎم ﺑﺄي ﻧﻮع ﻣﻦ أﻧﻮاع اﻟﺘﺴﺠﻴﻞ أو اﻟﺘﺼﻮﻳﺮ اﻟﺴﻴﻨﻤﺎﺋﻲ، آﻤﺎ وﻳﻤﻨﻊ دﺧﻮل اﻟﻘﺎﻋﺔ دون إﻏﻼق أﺟﻬﺰة اﻟﻬﺎﺗﻒ اﻟﻤﺤﻤﻮل. ﻳﺮﺟﻰ أ ﻳ ﻀ ﺎً ﻋﺪم ﺗﺸﻐﻴﻞ ﻣﻨﺒﻪ اﻟﺴﺎﻋﺎت . II PARTE AMAL MURKUS PROGRAMA Un cuento Tiempo de amor No necesitamos recordar Sueños Extraño en una ciudad lejana Nadie lo sabe La antorcha del mago Diario de una herida palestina Esperando una niña Abuela La belleza torturó mi corazón Alouf mashaal Oh, morena! Yaba la la Letras de Marzuq Halabi, Nizar Zreiq, Mahmud Darwish.
[Show full text]
Views, and Discography 88
!"!!"#$%&'!()!!*&+%"&$,$&'-!! —!"#$%& .*/$,/!!"0!&*"$/$!"!$ 0%"&$&'1! ! ! 2'!3!,+%4!3(/%!,(45%44! ! +("(3/!&+%/$/!'()!.*/$,!4!/&*0$%/!! *+,-!.!'(/01!+2!%&+"(.*/$,(4(6'! ! 7898!:!(2%34$"!,(44%6% ACKNOWLEDGEMENTS I would like to thank Jennifer Fraser for her mentorship, encouragement, and support; Mounir Khelifa, for re-filling my glass and poetic wisdom when we were weary; Hatem Bourial, for invaluable research guidance, translation assistance, and for khobs zitoun; Jihed, Miriam, and Emina for humoring me with so many questions; Kalthoum, Lamia, and Skander for caring for me like family; Rob and Robin, my parents, for teaching by example and for taking me along all these years. ii — Chapter 1, Article 5 “The Republic of Tunisia shall be founded upon the principles of the rule of law and pluralism and shall strive to promote human dignity and to develop the human personality. The state and society shall strive to entrench the values of solidarity, mutual assistance and tolerance among individuals, social categories and generations…” — Constitution of the Republic of Tunisia iii CONTENTS Preface vi Chapter 1. A Selective Introduction to Tunisian Music History 1 An Immigrant’s Music becomes the “Local” 3 Today’s Ma’luf 8 A Case Study in the Interpretation of Ma’luf 11 Art Music and Popular Music in Tunisia 14 Difficulties in Definition: Ma’luf and Tunisian Fusion 17 Chapter 2. Interpreting Tunisian Musical Hybridity 20 Problematizing Cultural “Hybridity” 20 Hybridity: Post Eugenics, Postcolonial 23 Working definitions 31 Useful Definitions and their Relation to Tunisian Music 34 Intentional and Organic Hybridity 40 A Working Definition of “Hybridity” for Tunisian fusion Musics (1980 – 2009) 43 Chapter 3.
[Show full text]
John Surman Selected Discography
John Surman Selected Discography Richard Galliano’s La Strada Quintet: Tribute to Nino Rota (Deutsche Grammophon, 2011) - forthcoming Brewster’s Rooster (ECM, 2009) Rain on the Window (ECM, 2008) The Spaces in Between (ECM, 2007) John Surman Selected Recordings: ECM Rarum XIII (ECM, 2005) Free & Equal, John Surman/Jack DeJohnette (ECM, 2003) Apartment #5C (Soundtrack CD/mk2/Melodie, 2002) Invisible Nature, John Surman/Jack DeJohnette (ECM, 2002) Coruscating (ECM, 2000) Bluesand, Karin Krog/John Surman (Meantime Records, 1999) Thimar, Anouar Brahem/John Surman/Dave Holland (ECM, 1997) Proverbs & Songs (ECM, 1996) Nordic Quartet, Surman/Krog/Rypdal/Storaas (ECM, 1994) A Biography of the Rev. Absalom Dawe (ECM, 1994) Stranger than Fiction (ECM, 1993) The Brass Project, John Surman / John Warren (ECM, 1992) In the Evenings Out There, Bley/Peacock/Oxley/Surman (ECM, 1991) Adventure Playground (ECM, 1991) Road to St Ives (ECM, 1990) Private City (ECM, 1987) Withholding Pattern (ECM, 1984) Such Winters of Memory (ECM, 1982) The Amazing Adventures of Simon Simon (ECM, 1981) Upon Reflection (ECM, 1979) Live at Moers (Moers Music, 1975) Live at Woodstock Town Hall, John Surman/Stu Martin (BGO Records, 1975) S.O.S (Ogun Records, 1975) Morning Glory (Island, 1973) Westering Home (Island, 1972) The Trio: By contact (Nippon Columbia, 1971) Tales of the Algonquin, John Surman /John Warren (Deram, 1971) The Trio: Conflagration (BGO Records, 1970) Where Fortune Smiles, John Surman/John McLaughlin (BGO Records, 1970) The Trio: Dawn & Vogue (2 LP set, BGO Records, 1970) John Surman Trio: Live in Altena (JG Records, 1970) Way Back When (recorded in 1969, released by Cuneiform Records, 2005) How many clouds can you see? (Deram, 1969) John Surman (Deram, 1968) Plus countless other recordings with a host of collaborators.
[Show full text]
Anouar Brahem Quartet
2017 20:00 20.01.Grand Auditorium Vendredi / Freitag / Friday Autour du monde «The Astounding Eyes of Rita» Anouar Brahem Quartet Anouar Brahem oud Klaus Gesing bass clarinet Björn Meyer electric bass Khaled Yassine percussion 90’ sans pause Anouar Brahem Loïc Picaud L’oud, cet instrument riche d’une tradition ancestrale, s’est offert une seconde jeunesse lorsqu’il a croisé les doigts du virtuose tunisien Anouar Brahem. Depuis les années 1990, le musicien reconnu à travers le monde n’a cessé de réinventer son art et de créer des dialogues aussi inédits que riches et permanents au contact du jazz européen le plus exigeant. C’est dans la médina de Tunis, la vieille ville de la capitale tuni- sienne, que naît le 20 octobre 1957 et grandit Anouar Brahem. Tel le gamin malicieux de Halfaouine, l’enfant des terrasses, le film de Férid Boughedir qui fut un succès retentissant en 1990, ce fils d’artisan graveur et imprimeur a passé son enfance entre le souk et les rues étroites avant de signer la musique de ce film, en musicien accompli qu’il est devenu, et d’être reconnu dans le monde entier pour ses créations ambitieuses. Entré au Conservatoire national de musique de Tunis à l’âge de dix ans, il a pour professeur le compositeur et pédagogue Ali Sriti (1919–2007) pour qui l’oud, de la fabrication à la technique de jeu, n’a aucun secret. L’histoire de l’instrument à cordes pincées se confond avec les développements de la musique arabe à travers les siècles et les civilisations.
[Show full text]
Spring 2018 Vinyl
Vinyl Spring 2018 V I N Y L E 18 / I CM Vinyl Spring 2018 4 New Albums on Vinyl 56 From Analog Masters 76 Also Available 84 ECM New Series ECM I New Albums on Vinyl Nik Bärtsch’s Ronin Awase ECM 2603 Nik Bärtsch piano Sha bass clarinet, alto saxophone Thomy Jordi bass Kaspar Rast drums NIK BÄRTSCH’S RONIN AWASE ECM 4 2-LP 180g Vinyl 673 5869 May 2018 5 Marcin Wasilewski Trio Live ECM 2592 Marcin Wasilewski piano Slawomir Kurkiewicz double bass Michal Miskiewicz drums Marcin Wasilewski Trio Live ECM 6 2-LP 180g Vinyl 673 9916 Autumn 2018 7 ECM 2584 Mathias Eick Ravensburg One of the pleasures of Mathias Eick’s Midwest album was hearing his vaulting trumpet supported by violin, an instrumental combination further developed on Ravensburg. The new violinist in Eick’s ensemble is Håkon Aase, one of the up-and-coming players of the new Norwegian scene, whom attentive ECM listeners will already know from his work with Thomas MATHIAS EICK Strønen’s group. The core Eick road band is further shored up by the addition of Helge Andreas Norbakken, who interacts excitingly with fellow drummer Torstein Lofthus. Eick is in great form as a writer on this show- RAVENSBURG ing, deploying driving rhythm at the bottom end of his music and soaring melody at the top in this series of pieces which add up to a kind of collective family portrait. ECM Mathias Eick trumpet, voice Håkon Aase violin Andreas Ulvo piano Audun Erlien electric bass Torstein Lofthus drums Helge Andreas Norbakken drums, percussion 8 LP 180g Vinyl 672 4656 9 Vijay Iyer Far From Over ECM 2581 “As the arc of history lurches forward and backward, the fact remains: local and global struggles for equality, justice, and basic human rights are far from over.
[Show full text]
Anouar Brahem Blue Maqams
JAZZ ANOUAR BRAHEM BLUE MAQAMS 9 avril / Grande Salle Anouar Brahem Blue Maqams Dave Holland Jack Dejohnette Django Bates Anouar Brahem: oud Dave Holland contrebasse, Jack Dejohnette batterie, Django Bates: piano Engagé depuis ses débuts dans la patiente élaboration d'un univers poétique éminemment personnel célébrant les noces entre la sophistication formelle de la musique de chambre occidentale, la liberté expressive du jazz et la richesse d'une tradition musicale arabe ancestrale dont il est aujourd'hui l'un des plus créatifs représentants, le grand maître de l'oud Anouar Brahem poursuit sa quête universaliste d'harmonie avec un nouveau projet résolument tourné vers le jazz et ses valeurs d'ouverture. Plus que jamais “passeur” entre les hommes, les cultures, les genres et les époques, Anouar Brahem, reprenant en quelque sorte les choses là où il les avaient laissées il y a 20 ans avec l'album ECM “Thimar” enregistré déjà en compagnie du contrebassiste anglais Dave Holland (et de son compatriote John Surman), a mis sur pied à cette occasion une petite formation virtuose en greffant autour de ces retrouvailles réjouissantes l'allégresse et la sophistication harmonique du piano de Django Bates et la subtilité rythmique de la légende de la batterie Jack DeJohnette. A partir de compositions originales alliant un grand raffinement mélodique à des structures formelles volontairement simples permettant de laisser toute sa place et sa puissance créative au geste de l'improvisateur, Anouar Brahem développe avec ce nouveau groupe un univers lyrique à la fois d'une totale cohérence esthétique et d'une grande diversité d'humeurs.
[Show full text]