Khomsa

チュニジアのウード奏者、Anouar Brahemの1995年リリース作品が品番を新たに再リリース。

Khomsaはチュニジアの古い女性の名前で、「手の5本の指」を意味し、チュニジアのベドウィンの伝統では幸運の象徴とされている。また、ヌーリ・ブジッド監督の映画『ベズネス』のヒロインの名前でもあり、この映画の音楽をAnouar Brahemが作曲した。
ブラヘムは、チュニジアと汎イスラム音楽の伝統を見事に解釈し、その伝統の上に立つ卓越した即興演奏家として認められている。しかし、Anouarは母国チュニジアで映画や演劇に携わってきた長い歴史があり、Khomsaは過去10年間に彼が書いた素材をこれらの文脈のために再訪し、かなり自由に再作曲している。「これらの作品は、振動する感覚の集まりのイメージとして私の中に残っている」と彼は述べている。この曲は、ブラエムの作曲家としての才能と、ソロとしての才能を強調している。
曲のタイトルには、映画的な引用が多い。「ヌーヴェル・ヴァーグ」(アコーディオンとピアノのための)と「エ・ラ・ナーヴ・ヴァ」(ベース、ピアノ、アコーディオンのための)は、それぞれゴダールとフェリーニの作品にちなんで名づけられた。"Regard de Mouette" (ここではソロヴァイオリン版) は、Kalthoum Bornaz の映画のタイトル音楽である。"Ain Ghazel"(「ガゼルの目」の意、ベシール・セルミを除くアンサンブルで演奏)は、1924年に制作され、このアルバムの少し前に再発見・修復されたチュニジア映画史上初の映画の名前にちなんでいる。

【パーソネル】Anouar Brahem (Oud) Richard Galliano (accordion) Francois Couturier (p,synth)
Jean Marc Larche (ss) Bechir Selmi (vln) Palle Danielsson(double-b) Jon Christensen(ds)

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 Francois Couturier, violinist Bechir Selmi, and on rare occasion soprano saxophonist Jean Marc Larche. 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 Larche, 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