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Konsertrecension: Anouar Brahem leads his supertrio at the lowest volume

I believe that much of the secret lies in that the oud is such a quiet instrument. Sure, you can play harder than what Anouar Brahem do, and you can, of course, raise the noise level at the console.

But when the tunisian mästarmusikanten Brahem plays with his current band of English and american jazzadel, with Miles Davis bassist Dave Holland, who is most renowned, then the balance is such that the three other musicians as the need to hold back to be able to follow the discrete lutklangen. Meet up behind, tassa around, unfold sophisticated jazzharmonier. But not overpower.

when he sometimes quiets down inside a song, and release the tape free in a fast, flexible, wonderfully soft pianojazz for classic triosättning with Django Bates at the keyboard. That still all sounds just a classic, a familiar genremusik without a very clear profile.

When Anouar Brahem for the word it is something else. Whether he's playing solo, in a duet with one of the other or as part of a musikväv that expands so large that it feels like the real draw, despite the fact that everything is so soft and controlled.

He does not play solos in any jazzbemärkelse, rarely plays very fast and never extravagant. Rather meditative, as if he is not on the way somewhere, but instead devotes all attention to explore the place he is at.

On some occasions, humming he, too, wordlessly and silently, as well as for himself.

just place or position, except that it is the name of a whole ecosystem of Arabic music genres. And the disc Anouar Brahem gave out in the autumn of 2017, with almost this band (the drummer Jack DeJohnette is exchanged against thirty years younger Nasheet Waits) called ”Blue maqams”, as well as the short european Tour, which now had its premiere in Uppsala.

signaling the right what sort of meeting between the worlds that are taking place. Where the arab puts much of the allocation, but the actual interaction can be said to be jazz in its noblest form, intensive listening that flow back and forth, noticeably in the smallest of nuances.

In Uppsala, they play the whole album, in any song once, and get it to grow further both in length and width. As gracefully as serious, with a sort of playfulness and responsibility that might never have been able to occur with a more powerful instrument in the center of the city.

Read more music reviews of Nils Hansson , for example, of how Nils Frahm is best when he just sits down at the piano and play .

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