Blue Maqams
"Blue Maqams" by Anouar Brahem
Recorded at Avatar Studios, New York on May 2017
ECM Records (2017)
Musicians:
Anouar Brahem -- oud
Dave Holland -- acoustic double-bass
Jack DeJohnette -- drums
Django Bates -- acoustic piano
Track List:
1. Opening Day / 2. La Nuit / 3. Blue Maqams / 4. Bahia / 5. La Passante / 6. Bom Dia Rio / 7. Persepolis' Mirage / 8. The Recovered Road to Al-Sham / 9. Unexpected Outcome
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* This is an album that exemplifies what ECM Records is all about: exploration of jazz, spirit of collaboration, excellent compositions with rooms for improvisation, unique sound, glorious album cover, and pristine recording quality. It is so good that if someone asks about ECM Records, one can simply pick this album and indulge every second of it.
We can start dissecting the album by knowing the background of the players. Anouar Brahem is a respected maestro of oud (Tunisian string instrument) which in turn has revered the jazz heritage. The beauty of Mr Brahem is that he never cheaply jumps to an over-used 'world music' genre. He may play a very traditional and exotic instrument, but his music is always jazz with a tinge of Arabic musical notation. Prior to the making of this album, he wanted to forge a quartet. The choice for the bassist and drummer was quite straight-forward in the form of two legends Dave Holland and Jack DeJohnette, respectively. Selecting the pianist was tricky, until the well-known ECM owner/producer Manfred Eicher put forward the name of English pianist Django Bates.
The resulting music is beautiful. Mr Brahem's composition is generally profound, yet we can find a deeper meaning with a super band like this. Ocassionally, the short duets between Mr Brahem and each of his band-member was very meaningful. I have never imagined the marriage between oud and piano, two contrasting instruments with vastly different heritage and background, can be so natural (in the track La Nuit). The oud and drum intro in the title-track Blue Maqams is so exciting.
The first few minutes of the opening track, Opening Day, present Mr Brahem in the trio setting with Mr Holland and Mr DeJohnette presents the most solid foundation you can ever hope for in jazz setting. In this moment, listeners can be happy if the rest of the album goes on as a trio format. However, when Mr Bates' trickling piano enters the scene, listeners immediately can appreciate that the unit becomes even more intimate. The band complements each other, giving room for improvisation, and yet in every corner of the note we can still appreciate Mr Brahem's compositions.
The highest point of the album can perhaps be heard in the Bom Dia Rio. It is gloriously executed from start to finish. The start is Mr Brahem's solemn solo intro with the oud, which then enters Mr Holland's precise and melodic bass lines to preclude the entrance of other band members. The whole band just enjoys this moment, plucking every note from the tree of music. The composition is both tight and free simultaneously.
Mr Brahem's composition, his playing, and the solid band members rightly get the credits. Mr Holland is in imperious form, receptively providing foundation for other band members. Mr DeJohnette is a master in this art, in which he brings subtletly and sensitivity. I cannot imagine any other drummer in this world which is able to fill the role in this album other than Mr DeJohnette. For Mr Bates, it is a delightful wildcard, with his pianism is that is so elegant and reserved. Although the album credits only with four musicians, I wish to acknowledge another member of the band: Manfred Eicher, the producer. He is the man with the ears, which arguably the most important instrument in this business. Mr Brahem himself thanks Mr Eicher for encouraging the music to speak for itself, without too much control or takes.
Blue Maqams is one of the greatest albums that I have ever listened to, and the best recording in the past year.