Anouar Brahem - Thimar (ECM, 1997)

Anouar Brahem, oud
John Surman, bass clarinet, soprano sax
Dave Holland, bass

Recorded March 13-15, 1997
Rainbow Studios, Oslo
Engineer: Jan Erik Kongshaug

Anour Brahem is a Tunisian oudist, known to jazz audiences mainly through a series of ECM albums commencing in 1991. His North African roots expanded over the years through study in Paris and later tours in North America. Thimar was recorded when he was 39 years old; it was his fifth CD for ECM.

I cannot compare Thimar to Brahem's other works because it's the only one of his albums I've heard. I was drawn to it by positive reviews plus my admiration for Dave Holland and John Surman, both ECM regulars. For Thimar, Surman leaves his baritone sax in its case and alternates between soprano sax and bass clarinet. 

The oud is an important ancestor of the European lute, which in turn preceded the modern guitar. It produces a warm, midrange‑rich tone and is traditionally played with a long, flexible pick called a risha. The oud's sound may be described as enchanting. In Brahem's hands, it affords subtle dynamics and evocative phrasing.

Both Brahem and Surman can be emotionally mournful, as on the brief "Waqi." Although the sonic textures are mostly dark, they are fascinating. On soprano, Surman sounds like a snake charmer; on bass clarinet, his woody sound augments Brahem's soft strings. I don't find many such textures in jazz recordings, and that helps to make Thimar exceptional. 

 

Brahem composed 10 of the 11 pieces, with Holland contributing one original, "Mazad," which also appears later on his Good Hope album (Edition, 2019). Brahem tends to write tunes with dark minor scales that contain few obvious chord changes. Most of the drama comes from rhythms and counterpoints rather from singable melodies over chord progressions. For me, "Mazad" enlivens the session with its novel changes and bouncy beat. Of the other tunes, only "Al Hizam Al Dhahbi" has noticeable chord shifts.  

"Qurb" features a delightful section that begins with a free bass solo. When Brahem joins in, he plays a countermelody instead of playing harmony or unison with Holland's line. I always find countermelodies to be fascinating. It is difficult for two musicians to play different melodic sequences at the same time, but it draws my attention whenever I hear it. "Qurb" also features a brief vocal by Brahem that adds to its mystical vibe.

Brahem honors his bandmates by laying out on the final cut; "Hulmu Rabia" is a mournfully poignant 2-minute bass clarinet figure played over arco bass.