Anouar Brahem oud
Dave Holland double bass
Jack DeJohnette drums
Django Bates piano
Recorded May 2017 at Avatar Studios, New York
Engineer: James A. Farber
Assistant: Nate Odden
Produced by Manfred Eicher
U.S. release date: October 13, 2017
If you’ve ever awoken from a dream with enchanting music on the brain, only to have it fade as the day wears on, Anouar Brahem’s Blue Maqamsmay just recapture the feeling of preserving it. The album is at once a return to form and a new direction for the Tunisian oudist, reuniting him with bassist Dave Holland (cf. 1998’s Thimar) and recording for the first time with drummer Jack DeJohnette and pianist Django Bates.
The introductory oud of “Opening Day,” solo but never alone, is a voice of pale light out of darkness, a careful witness of things just visible enough to understand. Holland listens from the periphery before locking step. DeJohnette feathers the edges, while Bates offers his gentle inclusions with the felicity of a poet. Thus complete, the quartet’s sound embarks as one body, lucid and self-aware.
Patience is the blood of Blue Maqams, as proven in “La Nuit.” Arpeggios from the keyboard are the nerves to Brahem’s soft impulses as deep notes flow duskily beneath. Only after six and a half minutes do bass and drums make their anchorage known, a formula replicated in “The Recovered Road to Al-Sham.” Such meticulously rooted stems produce ample flowers, and none so supple as the title track. Here Brahem and DeJohnette engage dialectically before a snaking theme works its way into the ventricles. Brahem’s cadenza—a thread of mournfulness in an otherwise peaceful weave—is the album’s conscience.
Bates delights in the duet “La Passante,” a tender segue into “Bom Dia Rio.” The latter is, along with “Bahia,” the smoothest joint of the set. A seamless ride through ocean waves and playful nights, it builds passion out of thin air and contrasts with “Persepolis’s Mirage,” in which we encounter something convoluted, emotional, emigrational. “Unexpected Outcome” closes the door by opening another. A steady rhythm section gives Brahem and Bates plenty of room to glide as the bandleader’s voice carries winged messages. Everything funnels into a final shimmer, making for one of the most stunning assemblages to ever graze its hands across ECM waters.