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THE INTEGRATED GLOBAL CREATIVE ECONOMY
I CURATE

This is the Universe of

Name: Anouar Brahem
City/Place: Tunis
Country: Tunisia

CURATION

from this node by: Matrix

Life & Work

Bio: Anouar Brahem was born on October 20th 1957 in Halfaouine, in the Medina of Tunis. Encouraged by his father, an engraver and printer but also a great music-lover, Brahem began his studies of music and the oud at the age of ten, when he attended the Tunis National Conservatory of Music; his principal teacher was the great oud master, Ali Sriti. An exceptional student by the age of fifteen, Brahem was playing regularly with local orchestras; at the age of eighteen, he decided to devote himself entirely to music. He went back to Ali Sriti who followed the traditional master/disciple relationship by receiving Anouar at his home every day for four consecutive years, transmitting to him the subtleties of the maquamat (the complicated modal system of Arab classical music) and the taqsim.

Little by little, and in spite of the fact that his education was encouraging him to serve the tradition of Arab classical music by bringing him to such a high standard of excellence, Anouar began to broaden his field of listening to include other kinds of musical expression from around the Mediterranean Basin, even extending his curiosity further so as to include Iran and India and their music, then jazz. "I enjoyed the change of environment," he says, "and I discovered the close links that exist between all these kinds of music."

So Anouar Brahem increasingly distinguished himself from a musical environment almost exclusively devoted to vocal music and largely dominated by light music. He wanted more than to perform at weddings or join one of the many existing ensembles; he considered them anachronistic, and the oud was usually no more than an accompanying instrument for singers. Brahem was convinced that his instrument, a favourite of Arab music, should be given pride of place, and he began giving instrumental concerts and recitals to Tunisian audiences, often playing the oud solo. By now he was also interested in composition and began writing his own pieces, rooted in tradition but already integrating quite spontaneously certain elements from other oriental or Mediterranean musical traditions. He recorded his first cassette, produced at his own expense, with the percussionist Lassaad Hosni.

The Eighties: Paris/Tunis, Tunis/Paris

A loyal public of connoisseurs gradually rallied round him, and the Tunisian press gave him enthusiastic support. Reviewing one of Brahem's first performances, critic Hatem Touil wrote, "This talented young player has succeeded not only in overwhelming the audience, but also in giving non-vocal music in Tunisia its claim to nobility, while at the same time restoring the fortunes and reputation of an instrument much in need of revival: the lute. Indeed, never has a lutenist produced such pure sounds or concretized with such power and conviction the universality of musical experience".

In 1982, Brahem had a strong urge to make new encounters with musicians from other backgrounds, so he moved to Paris, that most cosmopolitan of cities. He remained there for four years, collaborating with Maurice Béjart for his ballet Thalassa Mare Nostrum, as well as with Gabriel Yared as the soloist for Costa Gavras’ film Hanna K. But the core of his work concerned composition, particularly for the Tunisian cinema and theatre, which gave him the possibility of experimental work; his orchestrations now systematically included techniques and instruments outside the traditional scope of Arab music, especially when he called on jazz musicians.

In 1985 he returned to Tunis to continue his research into compositional material. The first performance at the Carthage Festival of his ambitious work Liqua 85, brought together many outstanding figures from Tunisian and Turkish music and a smaller group from French jazz, including Abdelwaheb Berbech, the Erköse brothers, François Jeanneau, Jean-Paul Celea, François Couturier and others. Not only did this occasion bring him an appreciative audience that included young Tunisian musicians, where it was generally agreed he was one of the most innovatory and influential contemporary Arab musicians of his generation; but also, at the age of only twenty-eight, he was awarded the “National Music Award”. He remains the youngest musician and composer ever to have received this distinction.

In 1987, Brahem came back to Tunisia on a long-term basis, and was appointed Director of the Musical Ensemble of the City of Tunis (EMVT). Instead of preserving the existing large orchestra, he restructured it into formations of varying size and gave EMVT new orientations: one year the tendency was for new creations, and the next more for traditional music. The Ensemble’s main productions were Leïlatou Tayer (1988) and El Hizam El Dhahabi (1990), in line with his early instrumental works and the main axis of his research. In these compositions, he remained essentially within a traditional modal space, although he transformed its references and reordered its hierarchy. Following a natural disposition for an osmosis absorbing Mediterranean, African and Far-Eastern heritages, he also ventured from time to time onto new terrain, exploring other forms of musical expression and sensibility stemming from European music and jazz.

With Rabeb (1989) and Andalousiat (1990), Anouar Brahem returned to classical Arab music. Despite the rich heritage transmitted by Ali Sriti, and the fact that this music constituted the core of his training, he had in fact, never performed it in public. With this "comeback" he wished to contribute to the urgent rehabilitation of this music. He put together a small ensemble, a takht, the original form of the traditional orchestra, where each instrumentalist plays as both a soloist and improviser. Brahem believes this is the only means of restoring the spirit, the subtlety of the variations and the intimacy of this chamber music. He called upon the best Tunisian musicians – Béchir Selmi, Taoufik Zghonda – and thoroughly researched ancient manuscripts, taking rigorous care over transparency, nuances and details.

With Ennaoura el achiqua (1987), Brahem presented for the first time ever something that would match the eclectic and innovatory aspect of his music: a performance of song resulting from his association with the poet Ali Louati. In this exploration of vocal music, and despite its difference from the commercial trend of the time, he revealed a desire to reacquaint himself with elaborate classical forms such as the Qassid, following in the footsteps of Khemais Tarnane, Saied Derwich, Riadh Sombati and Mohamed Abdelwahab, whilst venturing onto the terrain of the “chanson à texte” of popular inspiration, sung by Brel, Ferré, and Brassens, of whom he was already a great admirer. Ennaoura el achiqua was a marginal work which went against the grain, nevertheless it had considerable impact on both press and public.

Ennaoura el achiqua was not to be his only incursion into the field of song. He would return to it occasionally, either in film music or in association with a singer, and often with the complicity of Ali Louati. For instance, he collaborated with Nabiha Karaouli, whom he revealed to the public, and also Sonia M’barek, Saber Rebaï, Teresa de Sio, Franco Battiato and Lotfi Bouchnak, who sang ‘Ritek ma naaref ouin’, composed in the spirit of an "imaginary folksong", and which, in an ironic twist of fate, became extremely popular, a must at wedding celebrations in Tunisia…

In 1988, playing in front of an audience numbering 10,000, he opened the Carthage Festival in the Roman theatre with Leilatou Tayer. The newspaper Tunis-Hebdo wrote: "If we had to elect the musician of the 80's, we would immediately choose Anouar Brahem".

The ECM Years

In 1990 he decided to leave the EMVT and embarked on a tour of the USA and Canada. It was on his return that he met Manfred Eicher, the producer/founder of the German label ECM Records in Munich, and their meeting resulted in a fruitful collaboration which undoubtedly marked a major evolution in Brahem's work (so far, eleven albums have been born of their association, all of them extremely well received by the international press and public on release); hIs discography is one of the loveliest in the ECM catalogue. To inaugurate this collaboration, Anouar made his first record in Oslo – Barzakh – that same year, together with two outstanding Tunisian musicians, Béchir Selmi and Lassaad Hosni, with whom he had already established a close artistic relationship. Considered by the German magazine Stereo as “a major musical event”, this record not only allowed Anouar Brahem to reach a larger international audience, it also guaranteed his status as “an exceptional musician and improviser”.

The following year, the heart of Conte de l’Incroyable Amour was improvisation. Recorded in 1991, its tone was quite different, due notably to the remarkable presence of Barbarose Erköse, whose clarinet displayed its expressive powers, and the Sufi inspiration of the ney played by Kudsi Erguner. According to the French paper Le Monde, "The album unfurls around the poetic talent of Anouar Brahem’s lute. One follows him with delight, around subtle arrangements of melody, through silences in musical phrases, and across the unspoken into oriental paths lit by the poetry of delicate beats." The same paper selected Conte de l’Incroyable Amour as one of 1992's best releases. That same year, he was solicited to help conceive and take an active part in the creation of the Centre for Arab and Mediterranean Music at the palace of Baron d’Erlanger in Sidi Bou Saïd.

In November 1993, he fulfilled a dream that had long been dear to him: that of paying a worthy tribute to his master Ali Sriti who, for the occasion, agreed to return to the stage after an absence of nearly thirty years… Brahem set up Awdet Tarab, a concert of traditional instrumental and vocal music, at the Erlanger Palace. The Tunisian public would retain an indelible memory of those duets played by master and pupil, accompanied by the voice of Sonia M’barek.

In 1994 he recorded Madar with Norwegian saxophonist Jan Garbarek, and the master of the tabla Shaukat Hussain, from Pakistan. The story of this record is simply told: Jan Garbarek was impressed by Brahem’s first two albums, and had expressed a desire to work with him. Brahem had admired Garbarek for years, and shared the same wish. So their encounter happened quite naturally, warmly encouraged by Manfred Eicher: Brahem and Garbarek were united in a common quest, the search for a universal tradition. Madar was a strong statement on how to achieve the mingling of traditions without harming the essence of each.

Parallel to his personal work, Anouar Brahem pursued occasional collaborations, notably composing original scores for many films and plays, among them Sabots en Or and Bezness by Nouri Bouzid; Ferid Boughedir’s Halfaouine; Moufida Tlatli’s Les Silences du Palais and La Saison des Hommes; Iachou Shakespeare and Wannas El Kloub by Mohamed Driss; and El Amel, Borj El Hammam and Bosten Jamalek by the Phou Theatre.

With Khomsa in 1995, his fourth album for ECM, Brahem returned to some of the pieces he had always dreamed of performing, by offering inspired versions, free, airy and purely musical, in a manner "freed from the chains of images," as he put it. He assembled an eclectic formation to perform this music, including Richard Galliano (accordion), Palle Danielsson (double-bass), Jon Christensen (drums), François Couturier (piano), Jean-Marc Larché (saxophone) and Béchir Selmi (violin). The sextet put together by the composer was constantly divided into solos, duos and trios, "hence the dominant and delicious impression of being on a motionless voyage full of secret passages, novel tones, suspended endings," observed critic Alex Dutilh on the French radio-station France Musique. As for the British daily The Guardian, it declared “Khomsa is one of the great records of the year. Brahem is at the forefront of jazz because he is far beyond it." The first performance of Khomsa was given at the opening of the CIté de la musique in Paris in January 1995.

Three years later Anouar Brahem was back in the studios. He picked up where he had left off with Madar, passionately exploring the orchestral form of the trio much further, but this time in a context that was wide open to the infinite variety of the “worlds” of jazz. Brahem was flanked by two monumental musicians, both of them stalwarts of the ECM label for the last thirty years: saxophonist John Surman and double-bass player Dave Holland. They were the heralds of British free music in the late 60’s, and both have since continued in their own universe with great coherence, individualism and artistic perfection. With infinite delicacy, Anouar Brahem exposed the refined poetry of his instrument to the “risk” of improvisational concepts far removed from his own universe. The result was in keeping with the challenge: the album Thimar was an outstanding success, a meditative and supremely musical work permeated with intense poetry, where each piece was played in a contemplative atmosphere of extreme concentration, as if in a waking dream. On this record, without deviating from his personal aesthetic, Anouar Brahem explored the “mysteries of jazz” to an extent he had never reached before. In Germany, Thimar received the “Preis der Deutschen Schallplattenkritik", an award which was followed by “Best Jazz Album of the Year” in the British magazine Jazz Wise.

Astrakan Café, his sixth album in ten years for ECM, was recorded this time in St. Gerold in Austria. for release in September 2000. To the inattentive listener it appeared to be, if not a work of transition, then at least an introspective pause in Anouar Brahem’s career. This would be a misreading of this music of maturity, for although the oud player undoubtedly revisited the Oriental and Mediterranean roots of his universe, he did so, undeniably, with the benefit of the wealth of imaginary aesthetic journeys contained in his preceding albums. Playing once again with his two most faithful partners – the clarinettist of Romany origin Barbaros Erköse, and Lassaad Hosni, the Tunisian percussionist – Brahem drifted away on a wonderfully intimate, eminently personal line, celebrating the syncretic spirit of Arab music while enhancing the approach to improvisation and collective sound which had been a feature of his two great, all-embracing works Madar and Thimar.

2002 undeniably marked a turning-point in the career of Anouar Brahem: his album Le Pas du Chat Noir was a totally atypical, extremely personal and quite ambitious work, not only in its aesthetic choices but also in its risk-taking orchestration, which caused a sensation while considerably renewing the components of Brahem's poetic universe. The album was another trio recording, recorded in Zurich, but this time Brahem was accompanied by an old accomplice, pianist François Couturier, and, even more surprisingly, by the accordionist Jean-Louis Matinier. Anouar Brahem produced an extremely refined work of contemplative music whose richness of timbre – especially its miraculous, formal balance – referred listeners as much to the elegiac impressionism of French music from the beginning of the 20th century as to the meditative, sensualist traditions present in Arab music. In The New York Times, Adam Shatz echoed the general enthusiasm of the international media in an article where he stated, "If you consider that each orchestra collectively projects in its music a singular manner of being in the world, then the trio of Anouar Brahem, at once a jazz ensemble, a chamber orchestra and a traditional group, evokes a kind of 21st century Andalusia, where Arab and European sensibilities will have fused together so intimately that no frontier can any longer exist between them. All that might seem Utopian, but the beauty of this project is indisputable." The release of the record was followed by a long tour on both sides of the Atlantic, during which the group gained enormously in collective cohesion, while Anouar, every night, left a little more freedom to his companions in performing the repertoire.

In 2005, for the first time in his career, Anouar Brahem decided to take the same group into the studios in Lugano, Switzerland, for a second recording. Following an aesthetic line similar to Le Pas du Chat Noir – and perhaps delving further into the expressive outline by founding its essential discourse on nuances of timbre and increasingly sophisticated orchestral dynamics – the album Le Voyage de Sahar diffused its hypnotic poetry in subliminal fashion, with a repertoire of new compositions filled with emotions, lyricism and elegance, accompanied by a reprise of three of the composer's most famous pieces – ‘Vague’, ‘E la nave va’ and ‘Halfaouine’ — which became totally transfigured. It was a work of maturity, and it earned the musician an Edison Award in The Netherlands while providing the group with material to take on a new tour in Europe. It was a triumph.

The following year (2006), Anouar directed and coproduced his first documentary film, entitled “Mots d'après la Guerre”. It was a strong work of political commitment, set in Lebanon and articulated around interviews with Lebanese artists and intellectuals just after the cease-fire introduced that summer in the war between Israel and the Hezbollah. The film was selected for the 2007 Locarno Film Festival and met with great critical esteem. Brahem's increasing personal commitment to the world of films opened doors for him: in 2010 he was appointed to the Jury for the official feature-film selection shown at the Carthage Festival in Tunis.

That year, in a break with the "chamber-music" aesthetic of his two previous albums, Anouar Brahem released The Astounding Eyes of Rita, a record which proposed other bridges, other types of balance between modernism and the Arab tradition: it renewed with the tone of some of his previous works, like Barzakh and Conte de l’Incroyable Amour. Fronting a new group whose instrumentation was decidedly hybrid – a carpet of percussion laid down by Khaled Yassine, the misty bass clarinet of German reed-player Klaus Gesing, and the supple electric bass of Björn Meyer from Sweden –, Anouar Brahem, as if playing his oud in zero gravity, invented a fleecy, dreamlike universe which derived its poetic refinement and immensely dilated sense of space as much from Scandinavian jazz as from Oriental meditative traditions. Dedicated to the great Palestinian writer Mahmoud Darwish (1941-2008), this magnificent intimist journey into the heart of sound marked a new phase in the constantly renewed marriage of Arab music and Western traditions to which Brahem tirelessly continues to devote himself. The Astounding Eyes of Rita, recorded in Udine (Italy), went on to receive one of Germany's most prestigious awards, the 2010 "Echo Deutscher Musikpreis" which, like the American Grammy Award, is attributed every year to the greatest national and international artists.

On December 9th 2009, Anouar Brahem gave his new quartet's first Parisian concert in the Salle Pleyel. Writing in La Pensée de Midi, critic Hugues Blondet was very enthusiastic in his review: “Pleyel, December 2009… The concert by Tunisian artist Anouar Brahem has just ended with a standing ovation, a rarity in this legendary venue… Three encores and the whole audience on their feet, overjoyed with happiness of a rare intensity”. Following this triumphant success, Anouar Brahem was decorated Chevalier des Arts et des Lettres by the French Minister for Culture and Communication, Frédéric Mitterrand.

In 2011 Tunisia was in revolt as it set out on the fiery and difficult path of emancipation. It was the beginning of the Arab Spring. Anouar Brahem “…profoundly marked by what has happened” was named a Life Member of the Beit El Hikma, Tunisian Academy for Science, Literature and the Arts. Then in 2014, he finally broke his silence after five years without any new release, and published Souvenance, an ambitious work mixing hypnotic and austere moments with great dramatic intensity. It is a work that can be interpreted as a personal, off-beat and meditative response to the political events that had so dramatically altered his homeland. The album, recorded in Lugano with the Orchestra della Svizzera Italiana and blending the melodic enchantments of Anouar Brahem's oud, combined with the solo contributions of the members of his brand-new quartet – François Couturier on piano, Björn Meyer on electric bass and Klaus Gesing on bass clarinet – plunges us into the drapes of sound furnished by arrangements fora string-ensemble which are at once sumptuous and minimalist, resulting in music which has become even more refined in its melodic lines and orchestral textures, revealing both contemplation and narrative subtleties in developments whose inspiration shows great purity. In All About Jazz, John Kelman wrote, “In the end, this is what Souvenance really represents: a spiritual tale that explores the depths of feeling and the limits of the human condition.” This album has dared to bring a political obsession into the intimacy of music and individual reactions; it produced both unusually strong feelings and the desire for some serious thinking in those who heard it. It was given its first performance with the Tallinn Chamber Orchestra at the Carthage Festival’s 50th anniversary celebrations, where at least 7,500 people were ready to give this demanding music a standing ovation at the end of the concert.

In 2017, Anouar Brahem continued his universalist quest for harmony when he signed Blue Maqams, a new album recorded in New York and axed entirely around his deep love of jazz. As though taking up things where he had left them 20 years before with the album Thimar, already recorded with the British double-bass player Dave Holland and his compatriot John Surman, Brahem set up another small group where, this time, he added new ingredients to the happy reunion that was to come with Blue Maqams: Django Bates and the sheer joy and refinement of his harmonics on piano and the subtle rhythms of the legendary Jack DeJohnette on drums. Starting from original compositions blending great melodic sophistication with some deliberately simple formal structures, Brahem worked simultaneously on the finesse of timbre, the delicacy of the dynamics and the balance between instruments; the rich contributions arising from the continual interaction between these great improvisers highlighted the force of his personal poetics, clearly wholly integrated into his profoundly humanist musical vision. In his review of the CD for Jazz Magazine, Stéphane Ollivier has this to say: “Anouar Brahem, for his part, has never seemed so much master of his idiom, constantly finding as he does, the right balance between sensuality and abstraction. A total success.”

Blue Maqams was given its first public performance in July 2017 at Hammamet, where Nasheet Waits took the place of Jack de Johnette on drums. In April 2018, a few months after the date of release, the original quartet began a European tour, appearing in such prestigious concert halls as the Paris Philharmonie, as well as the one in Hamburg and that in Munich.

Deeply permeated with his Arab music legacy, yet also resolutely modern in his tastes and aesthetic orientations, Anouar Brahem is the very definition of “an artist of his time“, in other words, a musician turned towards the future and open to the great mutations of the world. This is no doubt the reason why he has no fear of "culture-shock". Better than that, Brahem has always delighted in provoking encounters with musicians of different horizons: Jan Garbarek, Richard Galliano, Dave Holland and John Surman of course, but also Manu Dibango, Manu Katché, Taralagati, Fareed Haque, Pierre Favre — all of them musicians who have at one time or another crossed paths with this adventurer in the world of Arab music. From every one of these encounters, Anouar Brahem has drawn the means to renew his universe while preserving his own identity. When asked about his inspiration, Anouar freely evokes the image of a tree which, "while rising above the ground and taking up more space, continues to develop and dig its roots deeper into the ground", an image which quite obviously has references to Tunis, his native city, a multi-faceted city rooted in its Arab-Muslim culture and nourished on its African and Mediterranean influences: a solar universe, as it were, one whose traces are always present in the work of this artist. Anouar Brahem believes that a tradition which is incapable of change and adaptation is doomed to die, which is why he has never hesitated to take up a challenge and open his music to new forms of expression. "He is so calm, so supreme that it would seem," wrote Wolfgang Sandner in the Frankfurter Allgemeine Zeitung, "that the man from Tunisia has gone much further than many jazz musicians so busily seeking out new music." There is no better way to put it.

Authentique "maître enchanteur" de l'oud, ce luth traditionnel oriental millénaire qui trimballe dans sa calebasse tout l'héritage musical du monde arabe et islamique, Anouar Brahem est un phénomène, un véritable concentré de paradoxes féconds : un classique suprêmement subversif ; un solitaire résolument ouvert sur le monde ; un "passeur de cultures" d'autant plus enclin à s'aventurer aux limites les plus extrêmes de lui-même, qu'il entend bien ne jamais céder d'un pouce sur des exigences esthétiques forgées au fil du temps sur un profond respect de la tradition.

Et c'est sans doute parce qu'il a su reconnaître d'emblée cette complexité qui le fonde comme une force, parce qu'il a toujours cherché à faire de ce fourmillement d'influences et de passions disparates la matière même de son travail et de sa création, qu'Anouar Brahem, depuis près de quarante ans maintenant, invente une musique à son image, libre de toute "assignation à résidence".

Qu'il fasse ainsi résonner la poésie envoûtante de son oud dans les contextes les plus variés, du jazz dans tous ses états (des musiciens aussi prestigieux que John Surman, Dave Holland, Jan Garbarek ou encore Jack DeJohnette ont succombé aux charmes de ses mélopées), aux différentes traditions musicales orientales et méditerranéennes (de sa Tunisie natale aux horizons lointains de l'Inde ou de l'Iran), sa musique tendre et rigoureuse ne cesse de redéfinir un univers poétique et culturel savamment composite, oscillant sans cesse entre pudeur et sensualité, nostalgie et recueillement.

Né en 1957 à Halfaouine, au coeur de la médina de Tunis, Anouar Brahem étudie le oud dès l'âge de dix ans au conservatoire de Tunis et approfondit sa formation auprès du grand maître Ali Sriti, s’immergeant alors totalement dans l’art des “maqamat”, ce système modal ancestral et hautement complexe propre à la tradition savante arabe.
Dans un environnement musical arabe largement dominé par la chanson de variété et les orchestres pléthoriques où le oud occupe une place d'accompagnement, il affirme spontanément une personnalité complexe et protéiforme en se donnant comme mission de restaurer le oud en tant qu'instrument soliste, emblématique de la musique arabe, tout en rompant avec la tradition, dans son travail de composition, en intégrant des éléments de jazz, ainsi que d'autres traditions musicales orientales et méditerranéennes.

En 1981, poussé par l'envie de se confronter à des musiciens venus d'horizons esthétiques divers, il s'installe pour quatre ans à Paris. Durant cette période décisive, il collabore avec Maurice Béjart et, surtout, compose de nombreuses œuvres originales, notamment pour le cinéma et le théâtre tunisiens, expérimentant dans ses orchestrations l’apport de techniques de jeu et d’instruments étrangers à la tradition arabe.

De retour en Tunisie en 1985, il poursuit ses recherches en matière de composition. La création à Carthage de Liqua 85, œuvre ambitieuse réunissant des musiciens Turcs tsiganes et Tunisiens à quelques jazzmen français (Abdelwaheb Berbech, les frères Erköse, François Jeanneau, Jean-Paul Celea, François Couturier, etc.), lui vaut de recevoir le Grand Prix Tunisien de la Musique et de se voir proposer, dans la foulée, la direction de l’Ensemble Musical de la Ville de Tunis. Il restera à la tête de cette institution jusqu’en 1990, l’ouvrant à la création et à l’improvisation et engageant un travail de fond sur le répertoire classique. Reconnu comme l’un des musiciens arabes contemporains les plus novateurs de sa génération, Anouar devient une référence auprès des jeunes compositeurs et joueurs de oud et jouit alors dans son pays d’une authentique notoriété publique.

En 1989, Anouar Brahem voit sa carrière prendre un nouveau tour lorsqu’il rencontre le producteur Manfred Eicher qui lui propose d'enregistrer "Barzakh" pour son prestigieux label ECM. Ce premier album marquera le début d'une collaboration particulièrement féconde qui, en l'espace de près de trente ans, verra Anouar Brahem s'entourer des musiciens les plus talentueux, tous genres et cultures confondus (Barbarose Erköse, Jan Garbarek, Dave Holland, John Surman, Jack DeJohnette, Richard Galliano, etc.) et signer pas moins de 11 albums, tous consacrés par le public et la critique internationale. On citera dans cette discographie aussi éclectique que cohérente "Conte de l'Incroyable Amour" (1991), "Madar" (1994), "Thimar" (1998), "Le Pas Du Chat Noir" (2002), "The Astounding Eyes Of Rita" (2009), "Souvenance" (2014) et aujourd'hui "Blue Maqams" (2017) — autant d’albums novateurs et intemporels à travers lesquels Anouar Brahem n’a de cesse de s'affirmer comme l'un des rares compositeurs et musiciens capables d'inventer une musique à la fois totalement ancrée dans une culture ancestrale hautement sophistiquée et éminemment contemporaine dans son ambition universaliste.
Particulièrement intéressé par l’art sous toutes ses formes (durant les années 80 et 90, et parallèlement à ses œuvres personnelles, il compose beaucoup pour le cinéma, le théâtre et la danse en Tunisie), Anouar Brahem, en 2006, concrétise son amour du cinéma en réalisant et coproduisant son premier film documentaire : "Mots d'après la guerre". Tourné au Liban au lendemain de la guerre qui opposa Israël et le Hezbollah, le film sera sélectionné au festival de cinéma de Locarno.

En 2012, au lendemain de la révolution tunisienne, il est nommé membre permanent de "Beit El Hikma", l'Académie Tunisienne des Sciences, des Lettres et des Arts et, deux années plus tard, fait paraître avec "Souvenance" un ambitieux double album qui sonne à la fois comme la somptueuse synthèse esthétique de 15 années d’expérimentation en quête d’un authentique "terrain d’entente" entre Orient et Occident, et sa réponse décalée, personnelle et méditative aux événements survenus début 2011 en Tunisie. Pas moins de 7500 spectateurs ovationneront cette musique exigeante lors de sa création en concert dans le cadre du 50ème anniversaire du festival de Carthage.

Aujourd'hui plus que jamais, Anouar Brahem continue de se produire régulièrement sur les scènes les plus prestigieuses du monde entier tout en enregistrant des albums enchanteurs drainant un public toujours plus fidèle et nombreux.

Anouar Brahem Curated

Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach anybody in the global creative economy in just a few steps. It doesn't mean that everybody will be reached by everybody. It does mean that everybody can be reached by everybody.

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."

Português →

Sprawled across broad equatorial latitudes...

Stoked and steamed and sensual in the broadest sense of the word...

Limned in prosody & cadenced song...

Set in a conundrum wrapped in a smile inside an irony...

From Bahia, with love: All of this — based in short-range connections between vastly disparate people and entities in the (integrated) global creative economy — began among the sublimely moving people in the clip above. Music: Assis Valente of Santo Amaro, Bahia; Video: Betão Aguiar of Salvador, Bahia

You are now within the vast, virtual, arboreal canopy of a rainforest tree rising from Brazil ... concatenating, intertwining branches encircling the planet...manifesting writers and journalists, painters, filmmakers, choreographers, computer programmers, sound and set designers, fashion designers, mathematicians…from Brooklyn, Berlin, Buenos Aires, Cape Town, Mombasa, Tokyo... all inexorably tending to close-connectedness with all others.

This matrix began with a question: How is it possible to make Brazil’s most historically important musicians discoverable by people living anywhere around the Earth?

Answer: Include them in a seemingly preternaturally interaccessible curation system (the magic herein is mathematics) which would also include members of the creative economy from everywhere else.

Thus it becomes possible for anybody who knows of Quincy Jones to discover João do Boi ("John of the Ox", the vastly important Son House of Brazil) in just four (or conceivably fewer) steps (Quincy Jones > Alfredo Rodriguez > Munir Hossn > Roberto Mendes > João do Boi).

And if Herbie Hancock is inside the matrix then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.

...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers, chefs...everywhere — do also. Artificial intelligence not required (nor capable). Real intelligence, yes.

These are not isolated examples. Short pathways of few steps between widely disparate creative people are universal throughout the matrix. Such is the mathematical power of the small world phenomenon, the phenomenon responsible for “six degrees of separation”, joining most human beings to most others within some six or so steps. This is the matrix’s superpower.

Question: What's with the Hebrew letter on matrix media pages?

Answer: Web Aleph.

Question: How is this a matrix?

Answer: The original meaning of "matrix" is "source", derived from "mater", Latin for "mother" (hence our motto: We're a real mother for ya!). The Matrix Online Network is a virtual realization of Web Aleph, allowing people to actually move from members of the Global Creative Economy to other members of the GCE (thus an Integrated Global Creative Economy: IGCE) in accessible steps. The matrix opens up and unites the creative world in a way which hasn't been possible since mankind first blew through a bone flute some 40,000 years ago.

Question: Why not use Artificial Intelligence rather than human curation?

Answer: Artificial Intelligence makes personal music recommendations based upon what any given person has chosen to listen to previously (and upon what people deemed to have similarities to any given person have chosen to listen to previously). But matrix curation is general, not personal. And moreover, while AI recommendations for music can satisfy some people, such recommendations are currently impossible for the work of writers, painters, choreographers, filmmakers, actors, chefs...

The Matrix is capable of reaching deeply, per João's village of São Braz, in the Bahian Recôncavo...

Landings of Enslaved by Numbers

Endpoint of a centuries-long enforced odyssey, the region of the Bahian Recôncavo received more enslaved human beings than any other port-of-call throughout the entire history of mankind. One irony is that these people created some of the most physically & spiritually uplifting music ever sung and danced to. Another irony — true in the United States as well — is that their music would evolve to become the national music of the country which had enslaved them. A meta-irony then is that these two gargantuan ironies are almost completely unknown.

Number of Embarked/Disembarked Enslaved at Selected Landings from 1514 to 1866:

Bahia, port unspecified *

Embarked: 1,339,627

Disembarked: 1,206,934

* “Bahia” above is the archaically used name for the city of Salvador. These are the numbers for Salvador and the Recôncavo.

The numbers below are for Bahia including Taipu and Porto Seguro:

Bahia

Embarked: 1,347,121

Disembarked: 1,213,691

Rio de Janeiro

Embarked: 1,216,113

Disembarked: 1,099,908

Brazil

Embarked: 3,515,638

Disembarked: 3,165,307

Mainland North America

Embarked: 359,628

Disembarked: 301,740

Our source is the Trans-Atlantic Slave Trade Database centered at Emory University and available online at http://slavevoyages.org/

Dear friend, wherever (and whomsoever) you may be—

Have you ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? It's like a trick of the mind's light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there (the Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind's existence on this planet), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present...

Brazil is not a European nation. It is not a North American nation. It is not an East Asian nation. Brazil straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin. It was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — was almost certainly brought to Brazil by these people).

Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David. Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof. Nowhere else but here.

"Onde tem miséria, tem música!"* - Raymundo Sodré (↓)

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

The network was built in an obscure record shop evincing this cauldron (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

...it was inspired in (the kabbalah-inspired fiction of) Borges' (phenomenal short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of 7 billion or so beings are within 6 or fewer degrees of each other.

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

(0ur radio — built below — is here)

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in, music which remains a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to on pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is.

The Brazilian "aleph" doesn't hum... it dances and sings. And all is more connected than we imagine.

Welcome to the kitchen!

From Salvador with love,

- Pardal "Sparrow" Roberts

Years ago in NYC (I've lived here in Brazil for over 30 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd, Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).

But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great. In a certain sense, this rainforest tree sprouted from a streetcorner in Harlem.

Greatness and fame are too often conflated. The former should be accessible independently of the latter.

Imagine João do Boi!

Espalhados por amplas latitudes equatoriais...

Empolgante e fumegante e sensual no sentido mais amplo da palavra...

Delineado em prosódia e canção cadenciada...

Situado num enigma envolto de um sorriso dentro de uma ironia...

Da Bahia, com afeto: Tudo isso – baseado em conexões de curto alcance entre pessoas e entidades muito díspares na economia criativa global (integrada) – começou entre as pessoas sublimemente comoventes no clipe acima. Música: Assis Valente de Santo Amaro, Bahia; Vídeo: Betão Aguiar de Salvador, Bahia

Você está agora dentro do vasto, virtual, dossel arbóreo de uma árvore da floresta tropical que se ergue do Brasil... concatenando, entrelaçando galhos que circundam o planeta... manifestando escritores e jornalistas, pintores, cineastas, coreógrafos, programadores de computador, designers de som e cenografia, designers de moda, matemáticos... do Brooklyn, Berlim, Buenos Aires, Cidade do Cabo, Mombasa, Tóquio...

Este matrix começou com uma pergunta: Como é possível fazer com que os músicos historicamente mais importantes do Brasil sejam descobertos por pessoas que vivem em qualquer lugar da Terra?

Resposta: Inclua-os em um sistema de curadoria aparentemente sobrenaturalmente interacessível (a magia aqui é matemática) que também incluiria membros da economia criativa de todos os outros lugares.

Assim, torna-se possível para quem conhece Quincy Jones descobrir João do Boi (o imensamente importante músico de raizes profundíssimas) em apenas quatro (ou concebivelmente menos) passos (Quincy Jones > Alfredo Rodriguez > Munir Hossn > Roberto Mendes > João do Boi).

Este não é um exemplo isolado. Caminhos curtos de poucos passos entre pessoas criativas amplamente díspares são universais em toda a matriz. Tal é o poder matemático do fenômeno do mundo pequeno, o fenômeno responsável pelos “seis graus de separação”, unindo a maioria dos seres humanos à maioria dos outros em cerca de seis passos. Esta é a superpotência da matriz.

Pergunta: O que há com a letra hebraica nas páginas da mídia matrix?

Resposta: Web Alef.

Pergunta: Como isso é uma matrix?

Resposta: O significado original de "matrix" é "fonte". A Matrix Online Network é uma realização virtual da Web Alef, permitindo que as pessoas realmente passem de membros da Economia Criativa Global para outros membros da ECG (portanto, uma Economia Criativa Global Integrada: ECGI) em etapas acessíveis. O matrix abre e une o mundo criativo de uma forma que não era possível desde que a humanidade tocou pela primeira vez uma flauta de osso há cerca de 40.000 anos.

Pergunta: Por que não usar Inteligência Artificial em vez de curadoria humana?

Resposta: A Inteligência Artificial faz recomendações pessoais de música com base no que uma pessoa escolheu ouvir anteriormente (e no que as pessoas consideradas semelhantes a alguém escolheram ouvir anteriormente). Mas a curadoria matricial é geral, não pessoal. Além disso, embora as recomendações de IA para música possam satisfazer algumas pessoas, essas recomendações são atualmente impossíveis para o trabalho de escritores, pintores, coreógrafos, cineastas, atores, chefs...

O Matrix é capaz de atingir profundamente...

Desembarques de Escravizados por Números

Ponto final de uma odisséia forçada de séculos, a região do Recôncavo baiano recebeu mais seres humanos escravizados do que qualquer outro porto de escala em toda a história da humanidade. Uma ironia é que essas pessoas criaram algumas das músicas mais edificantes fisicamente e espiritualmente já cantadas e dançadas. Outra ironia - verdadeira também nos Estados Unidos - é que sua música evoluiria para se tornar a música nacional do país que os escravizou. Uma meta-ironia, então, é que essas duas ironias gigantescas são quase completamente desconhecidas.

Número de Escravizados Embarcados/Desembarcados em Desembarques Selecionados de 1514 a 1866:Bahia, porto não especificado *

Embarcados: 1.339.627

Desembarcados: 1.206.934

* “Bahia” acima é o nome arcaico usado para a cidade de Salvador. Esses são os números de Salvador e do Recôncavo.Os números abaixo são para a Bahia incluindo Taipu e Porto Seguro:

Bahia

Embarcados: 1.347.121

Desembarcados: 1.213.691

Rio de Janeiro

Embarcados: 1.216.113

Desembarcados: 1.099.908

Brasil

Embarcados: 3.515.638

Desembarcados: 3.165.307

América do Norte continental

Embarcados: 359.628

Desembarcado: 301.740

Nossa fonte é o Trans-Atlantic Slave Trade Database centrado na Emory University e disponível online em http://slavevoyages.org/

Caro amigo, onde (e quem quer que) você esteja—

Você já reparou como lugares diferentes espalhados pela face do globo parecem quase existir em universos diferentes? Como se estivessem permeados por algo semelhante ao éter luminífero do século XIX, único, determinado pela história daquele lugar? É como um truque de luz da mente (suponho), mas de pé na praia ou escarpa em Salvador e olhando para a Baía de Todos os Santos para o grande Recôncavo, e atento ao que aconteceu lá (o Recôncavo foi o último porto de - clamar por mais seres humanos escravizados do que qualquer outro lugar ao longo de toda a existência da humanidade neste planeta), deve-se ser levado à inevitável conclusão de que estamos em um lugar único para a história e para o presente...

O Brasil não é uma nação europeia. Não é uma nação norte-americana. Não é uma nação do leste asiático. O Brasil atravessa - selva e deserto e centros urbanos densos - tanto o equador quanto o Trópico de Capricórnio. O Brasil absorveu mais de dez vezes o número de africanos escravizados levados para os Estados Unidos da América e é um repositório de divindades africanas (e sua música) hoje amplamente esquecidas em suas terras de origem. Era uma espécie de refúgio para os sefarditas que fugiam de uma Inquisição que os seguiu através do Atlântico (aquele símbolo não oficial da música nacional do Brasil – o pandeiro – quase certamente foi trazido para o Brasil por essas pessoas).

Pelas savanas ressequidas do interior do nordeste/nordeste culturalmente fecundo do Brasil, onde o feiticeiro Hermeto Pascoal nasceu na Lagoa da Canoa e foi criado em Olho d'Águia, grande parte da população aborígene do Brasil foi absorvida por uma cultura caboclo/quilombola pontuada pela Estrela de Davi. Três culturas - de três continentes - correndo por suas vidas, sua confluência formando uma quarta sem precedentes. Pandeirista no telhado. Em nenhum outro lugar, mas aqui.

"Onde tem miséria, tem música!"* - Raymundo Sodré (↓)

* Observado durante uma conversa que ia da Bahia ao Haiti e Cuba a Nova Orleans e o lado sul de Chicago e Harlem às aldeias da Irlanda e aos acampamentos ciganos e shtetls da Europa Oriental...

A rede foi construída em uma obscura loja de discos evidenciando este caldeirão (Kareem Abdul-Jabbar o encontrou) em uma cintilante cidade portuária brasileira...

...foi inspirada na (ficção inspirada na cabala) de Borges (conto fenomenal) El Aleph, aquele no pilar da Mesquita de Amr, no Cairo, onde o universo em sua totalidade ao longo de todos os tempos é perceptível como um zumbido infinito das profundezas da pedra.

Ela "funciona" em virtude do fenômeno do "mundo pequeno"... o mesmo responsável pelo fato de que a maioria dos 7 bilhões ou mais de seres estão dentro de 6 graus ou menos uns dos outros.

Ela foi descrita (até certo ponto) e pode ser acessada através deste artigo do jornal britânico The Guardian (que elegeu nossa rádio de artistas matrix como uma das dez melhores do mundo):

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

(O nosso rádio — construído abaixo — está aqui)

Com David Dye para o Rádio Nacional dos EUA, National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

De acordo com o "espírito" acima, nosso logotipo é um cortador de cana. Foi projetado por Walter Mariano, professor de design da Universidade Federal da Bahia para refletir as origens da música em que a loja se especializou, música que continua sendo uma força potente no restante de sua terra natal, o Recôncavo propriamente dito, onde é dançada à terra batida, sob o luar quebrado por folhas de bananeira, palmeira e manga, erguendo as almas de seus participantes quase como algo religioso, o que era, e deuses à parte, é.

O "alef" brasileiro não cantarola... dança e canta. E tudo está mais conectado do que imaginamos.

Bem-vindo à cozinha!

De Salvador com amor,
- Pardal "Sparrow" Roberts

Anos atrás em NYC (vivo aqui no Brasil há mais de 30 anos) eu "resgatei" royalties não pagos (performance e mecânica) para artistas/compositores incluindo Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd, Led Zeppelin, Ray Barretto, Philip Glass e muitos outros. Aretha me ligou do nada em relação ao dinheiro devido pela Atlantic Records. Allen Klein ligou sobre o dinheiro devido ao espólio de Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) ligou apenas para ver se ele tinha algum dinheiro não pago circulando por aí (o mundo da realeza era uma selva cheia de tubarões, para destruir metáforas, e duvido que tenha mudado).

Mas o cliente (e amigo) pertinente no presente contexto é Earl "Speedo" Carroll, dos Cadillacs. Earl passou de doo-wopping nas esquinas do Harlem para o sucesso no topo das paradas para trabalhar como zelador na escola primária PS 87 no lado oeste de Manhattan. Com tudo isso, ele nunca perdeu o que o fez grande. De certa forma, esta árvore de floresta tropical brotou de uma esquina no Harlem.

A grandeza e a fama são muitas vezes confundidas. O primeiro deve ser acessível independentemente do segundo.