Khomsa is the heroine in the movie Bezness, and also inspires one of many musical themes from Tunisian films and theater documented on this CD. Oud player
Anouar Brahem has performed these pieces across a decade with different ensembles, but for the first time they were recorded in one studio setting. The instrumentation varies in size and de-emphasizes
Brahem's role as a frontman. In fact, upon listening, this could just as easily be credited under the direction of the brilliant accordionist
Richard Galliano, for his role is heard more often as the lead instrument. The musicians combine here and there with the dynamic ECM signature rhythm team of bassist
Palle Danielsson and drummer
Jon Christensen, or in certain instances pianist
François Couturier, violinist
Bechir Selmi, and on rare occasion soprano saxophonist
Jean Marc Larché. The themes are luxurious, rich, beautiful, and organic, with no wasted motion or excesses, and there is a feeling of being on a journey.
Galliano's solo "Comme un Depart," the solo oud of
Brahem in "L'Infini Jour," and
Selmi's "Regard de Mouette" get the caravan slowly started. "Claquent les Voiles" sports
Brahem's mysterious Middle Eastern lines and chords with the masterful bassist and drummer, while "Vague" is hymnal in
Galliano's ability to stretch long tied notes with his bellows.
Couturier is a delicate stylist, matching theological timbres on "Vague," and working in tandem with
Brahem during "Seule" and on the light 6/8 rhythm of "Nouvelle Vague" with
Galliano. He also plays a little synthesizer, specifically during the circular "Un Sentier d'Alliance" aside overdubbed echoed piano and soprano sax. Most of the collective play on "Ain Ghazel," a sensitive and sensual musical sketch, features contrasting soprano sax from
Larché, atypically animated drumming by
Christensen, and
Brahem's pensive oud as the period on a sentence. "Souffle un Vent de Sable" shows a group design in breathing, balanced tones led by
Galliano, and
Brahem coming in after the fact with the bass and drums. The title track displays a unified whole in the ECM spirit with
Brahem,
Galliano,
Couturier, and
Danielsson. Closest to jazz is "Des Rayons et des Ombres," a fast trio number with
Galliano and the rhythm section approaching bop. "Comme une Absence" concludes the project with two overdubbed violin tracks from
Selmi. The buyer should be aware that the personnel listed on the booklet cover does not reflect the entire combo at any one time. Otherwise, this is a beautiful contemporary statement reflecting the cinematic forms
Brahem loves, mixed with European classical and improvisational sensibilities, professionally rendered, and well within the tradition of world jazz and the clean ECM concept. ~ Michael G. Nastos