In a bold move the oud player opts for an all string ensemble and backs up his decision with some incredibly powerful and moving compositions that have a unique sound world and beauty of their own.
ECM 2838
Anouar Brahem (oud); Anja Lechner (violoncello); Django Bates (piano); Dave Holland (double bass)
Recorded May 2024
Often when there is a significant period of time between recordings, in this case it is eight years since the release of Blue Maqams, one can become captivated and surprised once again at the chemistry and magic of the music made by the participants.
For this latest offering from Brahem there is however one significant change, with Anja Lechner on cello replacing drummer Jack DeJohnette which immediately brings a different sonority to the ensemble. In a bold move the oud player opts for an all string ensemble and backs up his decision with some incredibly powerful and moving compositions that have a unique sound world and beauty of their own.
The combination seems to provide an almost infinite variety of sound and textures, and the ensemble of oud, cello and double bass create an intoxicating blend of strings that are bowed, plucked or strummed. This leaves Django Bates with a rather ambiguous role, with the strings of the piano being hit with hammers, and the pianist’s function moves from accompanist to soloist, and on occasion occupying a space where Bates appears to be inhabiting a space of his own. In doing so, he is somewhat distant from proceedings as if commenting from another perspective outside of the main event.
Brahem continues his exploration of Arabic maqams, but with his three colleagues for this journey also delves deeper into Western classical music and jazz improvisation. If the music is in danger of falling into a chamber ensemble, this is cleverly avoided by use of powerful rhythmic motifs, often provided by bassist, Dave Holland. The lower register string instruments of the cello and double bass are beautifully utilised, with Lechner and Holland both displaying virtuoso techniques with strong and vibrant voices.
In writing for this new ensemble, Brahem has not sought to dominate, and instead has created pieces that allow all four musicians to create freely within the confines of his written compositions. Partnerships are frequently created and flourish briefly before moving on to form new dialogues.
The quartet express themselves in a multitude of ways as heard on the beautiful ‘Awake’ with wonderful playing from Braham and Lechner before Bates’s gentle and lyrical solo. This is matched by the beautiful ballad ‘Never Forget’ which is in direct contrast to the joyous ‘Dancing Under the Meteorites’ with its propulsive bassline from Holland.
Aware of the relationships within the ensemble, Brahem also composes three duet pieces in ‘The Eternal Olive Tree’ for oud and double bass in a lyrical yet rhythmically driven dialogue, and two duets for cello and piano in ‘Remembering Hind’ that opens the album, and the very lovely ‘Edward Said’s Reverie’.
A new group and sound to explore for Brahem, as this is the first time he has featured the cello in one of his ensembles, and most agreeable it is too. It is also arguable that After The Last Sky is also the more satisfying and complete set, as fine as Blue Maqams is.
