Anouar Brahem

来自北非突尼斯的Anouar Brahem是当代最杰出的奥德琴演奏家之一，曾师从突尼斯奥德琴泰斗Ali Sriti多年，长期浸淫阿拉伯民间音乐，从事奥德琴演奏已有20多年的历史，足迹遍及中东及欧洲诸国，并于1990年加盟ECM，与旗下着名艺人Jan Garbarek、John Surman、Dave Holland 等有过广泛合作。这张唱片是由Anouar Brahem 领衔的，包括手风琴家Jean-Louis Matinier 和钢琴家Francois Couturier在内的一支三重奏组演奏Brahem创作的 'Le pas du chat noir' – 这是融合了阿拉伯传统音乐、西方古典音乐和爵士乐元素等的一组音乐乐曲，被当地的艺术评论家形容成"一部非常热情的美丽的音乐乐曲"。这张专辑体现了Anouar Brahem作为一个作曲者的才华。音乐动人、疏淡而控制得宜，正如Anouar Brahem自己所说，“一半的魔力在于那些空白的时刻。”音乐中清冽的钢琴音色凌空而起，与在手风琴的呼吸中，与奥德琴的温暖琴声交织。
The role of the Arabic, lute-like, stringed instrument, the oud, has been revolutionalized through the playing of Anouar Brahem. While used in the past to accompany vocalists, the oud is used by Brahem as an imaginative solo instrument. In 1988, Tunisian newspaper, Tunis-Hebdo, wrote, If we had to elect the musician of the 80s, we would have, without the least hesitation, chosen Anouar Brahem. The British daily newspaper, The Guardian, that Brahem was at the forefront of jazz because he is far beyond it.
Encouraged by his music-loving father, Brahem began studying the oud, at the age of ten, when he enrolled at the National Conservatory of Music. For nearly a decade, he studied with influential oud player Ali Sitri. By the age of fifteen, he was playing well enough to perform regularly with local orchestras. Although he initially focused on Arabic music, Brahem increasingly incorporated elements of jazz. This was enhanced during the six years that he spent in Paris (1981 — 1987), performing at festivals and collaborating with choreographer Maurice Bejart on a production, A Return To Carthage that received the prestigous National Award Of Excellence In Music.
Returning to Tunis in 1987, Brahem performed at the Carthage Festival in the multi-artist production, Ligua 85. Shortly afterwards, Braham agreed to become director of the Ensemble Musical De In Ville De Tunis. During the two years that he oversaw the ensemble, Brahem divided the group into smaller of various sizes. Among the productions that he directed were Leilatou Tayu and El Hizam El Dhahbi.
In 1990, Brahem resigned to focus on his own career. After touring in the United States and Canada, he met and was signed by Manfred Eicher, producer and founder of German record label, ECM. His debut album, Barzakh, released in 1991, was recorded with Turkish musicians, Bechir Selmi and Lassad Hosni. In a review of the album, German music magazine, Stereo, wrote, (Brahem) is an exceptional musician and improviser. Brahems second album, Conte De Lincroyable Amour, released in 1992, was recorded with clarinet player Barbaros Erkose. In 1994, Brahem recorded Madar, with Norwegian saxophonist Jan Garbarek and Pakistani tabla player Shaukat Hussain. Brahems fourth album, Khomas, released in 1995, featured improvised interpretations of his compositions for Tunisian film and theater productions and was recorded with accordion player Richard Galliano and violinist Bechir Selmi. With his fifth effort, Thimar, released in 1998, Brahem collaborated with soprano saxophone and bass clarinet player Jo n Surman and double bass player Dave Holland. Astrakan Cafe was issued three years later.
Brahem has composed numerous pieces for such films and musical theater productions as Sabots En Or, Bezness, Halfaouine, Les Silences Du Palais, Lachou Shakespeare, Wannas El Kloub, El Amel, Borj El Hammam and Bosten Jamalek. He collaborated with Maurice Bejart on the ballet, Thalassa Mare Nostrum and with Gabriel Yared on the Costa Gravas film, Hanna K.