Transcending Traditions The Art of Anouar Brahem
Kevin Le Gendre
“Blue Maqams” is an intriguing combination of words. It is the title of the latest album and live program by the Tunisian oud virtuoso Anouar Brahem, and it is also a fascinating encounter between English and Arabic—an idea that stems from the artist’s desire to say something specific without giving away anything in particular. “I wanted an Arabic word in the title, that’s why maqam is there, and I just had the color blue in mind, with no special meaning,” Brahem says. “I came up with it before making the album. But when we were recording I found myself playing in the maqam.” The term refers to the age-old patterns of notes—or modes—at the heart of the deeply expressive classical music made in North Africa and the Middle East. This is the culture in which Brahem is steeped, yet he has also embraced many Western art forms in the course of a highly adventurous career spanning more than three decades. Among these, most of all, there is African-American music. “I’ve never tried to be a jazz musician and I don’t consider myself to be one,” Brahem says. “But I feel as if I have the mindset of a jazz musician, or that I’m still very connected to the music.” In any case, Blue Maqams is a resounding confirmation of his composing and improvising skills in the company of American and European players working at the highest creative level: double bassist Dave Holland, pianist Django Bates, and (on the recording) drummer Jack DeJohnette, who for tonight’s concert is replaced by Nasheet Waits. These musicians are leaders in their own right as well as in-demand accompanists who have backed a number of iconic artists including Dudu Pukwana, Miles Davis, Evan Parker, Sidsel Endresen, and Jason Moran. Brahem himself has been winning plaudits since his 1991 debut Barzakh. He has consistently represented an entirely 10
