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Le Pas Du Chat Noir
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The Tunisian oud master Anouar Brahem has chosen to work in a trio setting this time out, accompanied by Francois Couturier on piano and Jean-Louis Matinier on accordion. Brahem states in the liner notes that these pieces were actually composed on the piano, emerging while he was taking a much-needed short break from his primary instrument. While Pas de Chat Noir ("The Black Cat's Footsteps") is a change of pace, it is a not a terribly remote detour. Brahem is still in his favorite space, exploring the power of implication, and the other players are in synch with his vision. All three participants sound muted, relating to one another in parallels rather than in a heated dialogue. The result is a spacious, romantic pastiche of Farid El-Atrache, Astor Piazzolla, Keith Jarrett, 19th- and 20th-century French impressionists (especially Eric Satie), plus shades of every strung-out, enervated, after-hours nightclub jam that ever was. --Christina Roden
Top Customer Reviews
The pieces having been written on the piano, that instrument takes the lead - but the oud and the accordion have a lot to say as well, and their voices blend effortlessly with that of the keyboard. Brahem is a master not only at composition and performing, but, in his arrangements, and in the very choosing of his accompanying musicians, shows a brilliance that is breathtaking. Through the various groupings that he has assembled on his recordings, he endows his music with a strength and scope that is stunning - it takes on a life of its own, and grows far beyond whatever boundaries smaller minds might employ to contain it by definition.
This is 'world music' in the deepest, spiritual sense of the phrase - political frontiers are vanquished and erased, while cultures are honored, respected and mingled. Few other contemporary artists come to mind who continually create on this level - Stephan Micus is one.Read more ›
Anouar Brahem's melodies are beyond poignant, he elicits astoundingly empathetic contributions from his two colleagues on piano and accordion, respectively, and his own playing is always in the service of his overall conception. I repeat, do not let others demean this great work by insinuating it is relaxing, or good for meditation, or otherwise exists as musical wallpaper. As a famous classical pianist once remarked when asked what was harder to play, the fast pieces or the slow ones, he said (and I am paraphrasing) the fast tempos are easy; it is the slow ones that cause me difficulty. Miles Davis said much the same thing about ballads-he felt them so deeply that he could no longer play them. Thanks to ECM for giving Anouar Brahem a global audience, and to the man himself for incomparable music. I can't wait for his next project............
Most recent customer reviews
Wow, the best music for relaxing.
This is the best from Anour Brahem.
He explore new combinations with all these instrument.
Excellent product. Anouar Brahem is in his prime as a an oud olayer.
NGIRY SUPPLIED THE CD AND DID A GOOD JOB.
Se fusiona la música de aquí y de allá, la de ahora y la de siempre. ECM edita un disco soberbio, en el que el tunecino Brahem, desliza con elegancia y... Read morePublished on June 3 2004 by Rodrigo Reyes Sangermani
Teaming with the melodic and minimalist pianist Francis Couturier and the accordionist Jean-Louis Matinier, Brahem has made an album of oud music which charters new territory yet... Read morePublished on July 21 2003 by Cazmo John Lukrich Jr.
After a few not totally satisfactory releases ("Thimar" I thought was too jazzy and the sax did not work too well in all pieces in combination with Brahem's music) Anouar... Read morePublished on June 11 2003 by pit
slow, poignant, wandering music, very beautiful
a little fun
but as if in the shadow of a funeral
it sounds almost how the cover looks -- people in snow with the sun
I was intrigued by this album after noticing it among the New Releases and reading the Editorial review so I ordered it from Amazon, and since the day I received it I have listened... Read morePublished on Jan. 4 2003