Anouar Brahem - Souvenance '2014

Tracks list

Tracklist:

[12:41] 01. Anouar Brahem - Improbable Day
[07:37] 02. Anouar Brahem - Ashen Sky
[05:08] 03. Anouar Brahem - Deliverance
[09:17] 04. Anouar Brahem - Souvenance
[06:42] 05. Anouar Brahem - Tunis At Dawn
[10:24] 06. Anouar Brahem - Youssefs Song
[07:20] 07. Anouar Brahem - January
[09:40] 08. Anouar Brahem - Like A Dream
[07:59] 09. Anouar Brahem - On The Road
[09:36] 10. Anouar Brahem - Kasserine
[02:40] 11. Anouar Brahem - Nouvelle Vague

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ABOUT THE ALBUM 
Album-Release: 2014
HRA-Release: 28.11.2014
Label: ECM
Genre: Jazz
Subgenre: Crossover Jazz
Album Including: Album Cover, Booklet (PDF)

Info for Souvenance
The music of Souvenance, by turns graceful, hypnotic, austere, and starkly
dramatic, follows Tunisian oud-master Anouar Brahem’s last ECM album, The
Astounding Eyes of Rita after a five-year gap. “It took a long time to
write this music,” he acknowledges. Early plans to document the progress
of the “Rita” quartet, which had grown to become a compellingly
dynamic group in concert, were set aside. “I was feeling a need to attempt
something new.” Then, at the end of 2010 and the beginning of 2011, came
the great political upheavals – accompanied by “immense fears, joys
and hopes” – which began in Tunisia and swept like wildfire through
the region. Fully absorbed by daily news of popular uprisings, collapsing
dictatorships, insurgencies and counter-insurgencies, Brahem found his emotional
world “monopolized by the political”. It was not the right moment to
be writing music: “I had to wait for the pressure to fall, before I could
resume work.”

Souvenance translates as “remembrance”, but the album – like
the individual track titles – was named retrospectively. Right up until
the mix, the new pieces were identified only by the dates of their composition.
“I don’t claim a direct link between my compositions and the events
that have taken place in Tunisia,” says Anouar Brahem, “but I was
deeply affected by them.”

As a composer, Brahem has always followed his intuition, sometimes finding
himself surprised by the musical directions that arise: “It seemed likely
that piano would have a role in the new pieces, since several of them were
written at the piano. But as I worked on the drafts the idea of a chamber
orchestra kept coming to my mind. In October 2013 I went to Paris to start some
first rehearsals with François Couturier and then the idea of the project
became more concrete. I met with Manfred [Eicher] and brought him some demos and
he convinced me to continue along this path.”

Since then, the Anouar Brahem group has been restructured, with Couturier, a
long-term collaborator on earlier projects (see Pas de chat noir and Le voyage
de Sahar) returning, his piano frequently supported by subtle string
orchestration. The strings have a glowing transparency and fragility in these
pieces, often providing shimmering texture and colour against which the
contributions of the quartet members – above all, Anouar Brahem’s
unique oud-playing – stand out in bold relief. “With this project I
feel I’m improvising differently. It’s a response to the identity
of the pieces. Sometimes a few notes are enough. All the instruments had to wait
to find their place in this music.” This can be challenging for musicians
coming from jazz, where claiming the space to make a personal statement belongs
to the territory. “That space still exists in Souvenance but it’s
become more subtle, more directed. As the writing and arranging developed, the
role of Björn’s bass became quite strong and central. The
responsibility of Klaus’s bass clarinet this time is harder to define,
but it’s an important element, and it’s not easy, as a listener,
to know which parts are improvised and which are written.”

Souvenance marks the first time Brahem has written for strings. Austrian
composer Johannes Berauer, an associate of Klaus Gesing’s, came to
Tunisia to work with him on the orchestration. “It was essential to work
closely together to stay true to the spirit of the compositions, page by
page.” (The sole exception is the orchestral version of “Nouvelle
vague”, which closes the album, an arrangement of a Brahem tune first
heard on Khomsa, made by Estonian composer Tõnu Kõrvits.) “It was
very important for me that the strings should have an organic function in the
music. All of this work was new discovery; my musical studies had been devoted
to our traditional music only. So I had no compositional role models in mind.
And obviously I wasn’t drawn to the power and volume that an orchestra
can supply. For me, it’s most exciting to improvise against the strings
when they are very piano – the detail in the sound and texture, the
delicacy and the chamber music quality of it, can be very touching.”

The album was recorded in Lugano’s Auditorio Stelo Mori in May 2014 with
the Orchestra della Svizzera Italiana. The orchestra has a distinguished
history. Richard Strauss wrote for it, and composers from Stravinsky to Berio
have conducted the orchestra in programmes of their work. Recent recordings by
the orchestra have included a series of albums with Martha Argerich.

Anouar Brahem, oud
François Couturier, piano
Klaus Gesing, bass clarinet, soprano saxophone
Björn Meyer, bass
Orchestra della Svizzera italiana
Pietro Mianiti, conductor



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