Artist: Anouar Brahem Genre(s):
Ethnic
Soundtrack
Other
Discography:
Le Voyage de Sahar Year: 2006
Tracks: 13
Le Pas Du Chat Noir Year: 2002
Tracks: 12
Conte de L'incroyable amour Year: 1992
Tracks: 12
Thimar Year:
Tracks: 11
Astrakan Cafe Year:
Tracks: 14
The role of the Arabic, lute-like, stringed official document, the oud, has been revolutionalized through the playacting of Anouar Brahem. While used in the past to come with vocalists, the oud is secondhand by Brahem as an imaginative solo instrument. In 1988, Tunisian newspaper, "Tunis-Hebdo", wrote, "If we had to elect the musician of the 80s, we would have, without the least hesitation, elect Anouar Brahem". The British everyday newsprint, "The Guardian", that Brahem was "at the forefront of idle words because he is far beyond it".
Bucked up by his music-loving fatherhood, Brahem began poring over the oud, at the age of tenner, when he enrolled at the National Conservatory of Music. For intimately a decade, he studied with influential oud player Ali Sitri. By the eld of fifteen, he was playacting well enough to perform regularly with local orchestras. Although he initially focussed on Arabic music, Brahem progressively unified elements of jazz. This was enhanced during the six days that he dog-tired in Paris (1981 -- 1987), playacting at festivals and collaborating with choreographer Maurice Bejart on a production, "A Return To Carthage" that received the prestigous "National Award Of Excellence In Music".
Returning to Tunis in 1987, Brahem performed at the Carthage Festival in the multi-artist production, "Ligua 85". Shortly after, Braham agreed to suit film director of the Ensemble Musical De In Ville De Tunis. During the deuce geezerhood that he oversaw the ensemble, Brahem divided the grouping into smaller of versatile sizes. Among the productions that he directed were "Leilatou Tayu" and "El Hizam El Dhahbi".
In 1990, Brahem resigned to focal point on his own career. After touring in the United States and Canada, he met and was signed by Manfred Eicher, manufacturer and founder of German record tag, ECM. His debut album, "Barzakh", released in 1991, was recorded with Turkish musicians, Bechir Selmi and Lassad Hosni. In a inspection of the album, German music cartridge, "Stereo system", wrote, "(Brahem) is an exceptional instrumentalist and improviser". Brahem's second record album, "Conte De L'incroyable Amour", released in 1992, was recorded with clarinet instrumentalist Barbaros Erkose. In 1994, Brahem recorded "Madar", with Norwegian saxist Jan Garbarek and Pakistani tabla player Shaukat Hussain. Brahem's quarter record album, "Khomas", released in 1995, featured makeshift interpretations of his compositions for Tunisian celluloid and theatre of operations productions and was recorded with squeeze box player Richard Galliano and fiddler Bechir Selmi. With his twenty percent endeavor, "Thimar", released in 1998, Brahem collaborated with soprano saxophone and bass clarinet player Jo n Surman and double bass instrumentalist Dave Holland.
Astrakan Cafe was issued ternary years later.
Brahem has composed numerous pieces for such films and musical theater productions as "Sabots En Or", "Bezness", "Halfaouine", "Les Silences Du Palais", "Lachou Shakespeare", "Wannas El Kloub", El Amel", "Borj El Hammam" and "Bosten Jamalek". He collaborated with Maurice Bejart on the concert dance, "Thalassa Mare Nostrum" and with Gabriel Yared on the Costa Gravas celluloid, "Hanna K".
