In 1991, Anouar Brahem, Bechir Selmi and Lassad Hosni created the world's most powerful folklore album: Barzakh. A year later, Anouar Brahem would release Conte de l'Incroyable Amour with Lassad Hosni, Barbaros Erkose and nai flutist Kudsi Erguner. He favored a trio formation for Barzakh, a 4-man formation for Conte de l'Incroyable Amour. In 1995, Brahem would release Khomsa with a total of 5 other musicians. Khomsa would be an epic 6-man formation.
Khomsa marks a slight change in the Brahem repertoire. Barzakh and C.D.L.A were both very traditional and geographical in their approach. That being said, these featured influences from all over the world and were groundbreaking pieces of work. Khomsa brings together 13 compositions by Anouar Brahem and 3 by Galliano, Danielsson and Christensen; all these compositions played a part in Tunisian cinema and theater.
Anouar Brahem delivers a jaw-dropping Oud performance, as always. Then we get Richard Galliano on the accordion, Francois Couturier of the piano and synthesizer, Jean Marc Larché on the soprano saxophone, Bechir Selmi (from Barzakh) on the violin, Palle Danielsson on the double-bass and finally Jon Christensen delivers a graceful free-jazz druming.
The album is extremely long: 74 minutes approx. But these 74 mins. will seem ephemeral, believe me.
Comme un départ, the 1st track, was originally composed by Richard Galliano. A 3-and-a-half-minute accordion solo, it is unbound and breezy, evocative of some remote sealine, or a dreamlike balade along a sun-bleached harbour. Brahem's deep Oud strums into L'infini Jour, contemplative and reminiscent of Conte de L'incroyable Amour.
Souffle un Vent de Sable is a perfect example of how the musicians work together. The introductive sprinkling of Christensen's cymbals and Galliano's flowing in-and-out waves of muted accordion give the impression of a fine breeze blowing on a sandy landscape (as the title suggests). Regard de Mouette is a uniquely Brahem-esque vision; a romantic but heartbreaking tune, conjured through Bechir Selmi's violin.
Sur l'Infini Bleu conveys the feeling of endless space and sorrow; similar to what Brahem does on Barzakh (ECM Records, 1991). Claquent les Voiles, Vague and E La Nave Va are like paintings of shores and detailed water kinks hammering the wooden bellies of boats. They are tracks that instantly propel you in a specific place. Anouar Brahem has a romantic vision of the small details in life and these tracks certainly prove it. Even the titles suggest this.
Ain Ghazel and Khomsa feel like Jan Garbarek pieces; meticulous time signatures, elegant waves of Galliano's violon. Infinite beauty. Khomsa is very in sync. with what Anouar would do 3 years later, on Thimar.
Seule and Nouvelle Vague are beautiful piano-oud collaborations. Ali Louati, profoundly touched by the splendour of Nouvelle Vague, was inspired into creating a poem called Images, based on the sheer power of this track. En Robe d'Olivier is a very simple balade from Anouar Brahem; again, recreating that romantic and overpowering energy. He would reproduce this feeling in the very recent Le Voyage de Sahar (ECM Records, 2006) with his 6th track, Nuba.
Des Rayons et des Ombres is a mystical free-form jazz, composed by Galliano, Danielsson and Christensen. Un sentier d'Alliance and Comme une Absence, the last tracks, are magical. Selmi's weeping violin, Christensen's collapsing drum rolls, Brahem's ability to use his oud to link all the sounds together, Galliano's gliding accordion, Larché's soft breezy sax, Danielsson's erotic double-bass and Couturier's astute background piecing... It is beyond words.
Khomsa is a beautiful piece of folklore. Any release by Anouar Brahem should be considered a masterpiece and this is no exception. If you are familiar with Barzakh and Conte de l'Incroyable Amour or any other Brahem oeuvre, then you will love Khomsa. If you are not, then you probably will love it anyway.
*
(Written by myself - no violation, no lifting, no breach of copyright)
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Outstanding
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Outstanding
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Good
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