█▓ ▄░ ▄░ █░ ▄▒ ▄▒█▒ █▒ ▄░ █░█▓█▓█▒█▒ █▓ █▓█▓█▓█▒█▓ █▓ █▓█▓█▓ █░ █░▀▓ █▓█▓█▓ █░ █▓ ▄▒ █▓ █▒█▓█▒█░█▓█▓ █▒ ▀▓ ▄░ █▒█▓█▓█▓ █▓ █▓ █▓█▒█▓ █▓ █▓█▓ █▒ █▓█▓█▓█▓█▓ █▓█▓█▓█░█▒ ▄░ █▒█▓█▒ ▄░█▒ █▓█▒█▓█░ ▄▒█▓ ▀▓ █▓█▓█▒█▒█▒ █▓█▓█▓█▒█▓█░ █▓█▒█▓█░ █▒ █▓█▓█▒█▓█░ █▓ █▓█▒█▓ █▓█▒█▓█▒ █▒ █▓ █▒█▓█▓█▓ █▓ █▓ ▀▒█▒█▓█▒█▓█▓ ▄░ █▒ ▀░█▒█▓█▒█▓█▒ ▄▓█░ █▓ █▓█▒█░ ▄░ █▓█▒█▓ █▓█▓ █▓█▓█▓█▓█░█▒█░█░ █▓ █▓█▓█▒█▓█▓█▓ █▒ █▒█▒█░█▒ █▒█▓█▒█░█▓█▓█▒ █▓█▓ █▓█▓█▒█▓█▒█░█▓ █▓ █▒ █░█▓█▓█▓█▓█▓█▓ █░ █░█▓█░ █░ █▓█▒█▓█▒ █░ ▄▓█▓█░ █▓█▓█▓█▓█░█░█▓█▓█▒ ▄░█▓█░ █▓█▒█▓█▓█▓█▓█▒█▓█▓ ▄▓█▓ █▓█▓█▓█▓█▓█▓█▓ ▄░ █▓█▓█▓█▓█▓█▓ ▄▓ █▒█▒█▓█▓█▓█▓ ▄▓█▓ █▒ █▓█▒█▓█▓█▓ █▓ ▄▓█▓█▓ █▓ █▓█▓█▓█▓█░ █▓ █▓█▓ █▒█▓█▓█▓█░ ▄▓█▓ █▓█▓ █▓█▓█▓█▓█▒ █▓█▓ █▓█▓ █▓ ▄▓█▒█▓█░▀▓ █▓ ▀▓▀▓▀▓ ▄░█▒ ▄▓█▓█░ ▀▓ ▄▒█▓▄▒ █▓ ▄░█▓█░ █▒█░█▒ █░ █▓ █▓ █░ █▓ ▀▓ █▓ █░ █▓ █▓ ▀▓ █▓█▓█▓█▒ █▓ █▓█▒ █▒█░ █▒ █▓█░ █░█▒ █▓ █▓ █░█▓ █▓ █▓ █▓ █▓ █░ █░ ▄▓ █▓ ▀▓ █▓ █▒ █▒ █▒ ▄▓ █░ █▓ █▒ ▄▓█▓ ▀▓█▓ █▓█▒█░ ▀░ █▓ █▓ ▀░█░ █▓█▒ █▓█░ ▀▒ █▒ █░ ▀▓ █▓█▓█▓ █▒ █▒ █░ █▒ █▓ █░ █░ ▄▒█▒ █▒ █▓█▓ █░ █░ █░ Artist : Anouar Brahem █░ Album : After the Last Sky Genre : Jazz █▓ Source : CD █▓ Label : ECM █▓ Cat. Number : ECM 2838 █▓ Street Date : 2025-03-28 █▓ Rip Date : 2025-07-21 █▓ Encoder : LAME 64bits version 3.100 (http://lame.sf.net) -V0 █▓ Quality : 247kbps / 44.1KHz / Joint Stereo █▓ Tracks : 11 █▓ Playtime : 00:58:39 (109.MB) █▓ URL : http://anouarbrahem.com/en/discography/after-last-sky █▓ █▓ █▓ █▓█▓ █▓ █▓ █▓█▓ █▓ ▀▓ █▓ █▓ █▓ █▓ 01 Remembering Hind 1:52 █▓ 02 After the Last Sky 5:42 █▓ 03 Endless Wandering 8:11 █▓ 04 The Eternal Olive Tree 4:00 █▓ 05 Awake 8:49 █▓ 06 In the Shade of Your Eyes 4:27 █▓ 07 Dancing under the Meteorites 4:25 █▓ 08 The Sweet Oranges of Jaffa 7:13 █▓ 09 Never Forget 7:49 █▓ 10 Edward Said's Reverie 2:58 █▓ 11 Vague 3:13 █▓ █▓ █▓ █▓ 58:39 min █▓ █▓ █▓ █▓█▓ █▓ █▓ █▓█▓ █▓ ▀▓ █▓ █▓ 8 years after Blue Maqams, Anouar Brahem returns with a new █▓ project, and a programme of powerfully-moving pieces for oud, █▓ cello, piano and bass. █▓ Asked about the nature of his artistic journey, Brahem has drawn █▓ analogies with the growth of a tree, its branches spreading out █▓ above ground, while roots dig ever deeper. Over time and the █▓ course of a remarkable discography beginning with Barzakh, his █▓ music has become steadily more inclusive. While evoking the modes █▓ of Arab music as a primary resource, he has consistently sought in █▓ his work to engage with the wider world, finding inspiration in █▓ many idioms, including jazz improvisation, European classical music █▓ and contemporary composition, and shaping a highly personal music █▓ that could only have been created by him. █▓ Today, the sonic materials that seem particularly transformable █▓ and stimulating to me are those that combine tradition and █▓ modernity, said Brahem recently. For example, the Arabic maqams, █▓ which are at the heart of my musical identity, fascinate me with █▓ their melodic richness and their ability to integrate into █▓ contemporary musical contexts. They offer an infinite terrain for █▓ experimentation. I find it exciting to juxtapose these ancient █▓ modal structures with harmonic approaches from jazz, creating a █▓ dialogue between past and present, between cultures and styles. █▓ On After The Last Sky bassist Dave Holland and pianist Django Bates █▓ are again part of the Tunisian oud masters international quartet, █▓ joined now by cellist Anja Lechner. Brahems rapport with Holland █▓ first established on the Thimar album of 1998 is meanwhile █▓ legendary. Daves playing gives me wings, Anouar has said, an █▓ observation verified on the striking duo improvisation The Eternal █▓ Olive Tree. Throughout the album, in fact, from the exploratory █▓ edges of Endless Wandering, a piece that vibrates with emotion, █▓ to the driving propulsion of Dancing Under the Meteorites, █▓ Hollands soulful bass impulses prompt some of Anouars most █▓ outstanding playing. There is also a particular pleasure in █▓ hearing the combined sonorities of oud and bass and cello, warmly █▓ embraced in the responsive acoustics of the Lugano studio (where █▓ Brahem recorded Souvenance a decade ago). The ensemble sound is █▓ exceptional. █▓ The album marks the first time that Anouar has featured a cellist █▓ in his group music. Anja Lechner, who has the uncommon distinction █▓ of being a classical musician with much experience in █▓ improvisation, is effectively a leading voice in the recording. She █▓ has long been conversant with Anouars compositions and included █▓ some of them in her own recitals, and in work with █▓ Brahem-associated pianist Franois Couturier (see for instance the █▓ album Lontano). The cello is given the first and last statements on █▓ After The Last Sky. The album begins with Remembering Hind █▓ played here by Lechner and Bates music of mourning for a young █▓ victim of war. It ends with Vague, one of Anouars best-loved █▓ pieces (a composition he has recorded on Khomsa and Le Voyage de █▓ Sahar), its gentle buoyancy in this rendition like the lapping █▓ waters of the eastern Mediterranean. █▓ As with Blue Maqams, Django Bates piano has an important, █▓ patiently-supportive role throughout. Bates, whose work elsewhere █▓ (see for instance The Study of Touch), may often prioritize swing █▓ and quick-witted dynamic contrasts, understands that an ongoing █▓ sense of flow is crucial to the development of Anouars music. Its █▓ effect is cumulative. Yet it also offers space for individual █▓ statements, and Djangos swirling and elegant solo on Awake, is █▓ the more potent for the restraint shown hitherto. █▓ "Where should we go after the last frontiers?/Where should the █▓ birds fly after the last sky?" These lines of verse by Mahmoud █▓ Darwish provided a title, 40 years ago, for After The Last Sky, █▓ Edward Saids meditation on exile and memory. In his liner notes, █▓ Adam Shatz considers Anouar Brahems music in the contexts of this █▓ aesthetic-literary continuum as well as the ongoing struggle for █▓ Palestinian rights, a subject preoccupying Brahems mind during the █▓ preparation of material for the album. In this regard, track titles █▓ become pointers for the interested listener to consider. But, as █▓ Anouar also tells Shatz: Music, and particularly instrumental █▓ music, is by nature an abstract language that does not convey █▓ explicit ideas. It is aimed more at emotions, sensations, and how █▓ its perceived varies from one person to another. What may evoke █▓ sadness for one person may arose nostalgia for another I invite █▓ listeners to project their own emotions, memories or imaginations, █▓ without trying to direct them. █▓ After the Last Sky was recorded at Luganos Auditorio Stelio Molo █▓ RSI in May 2024, and produced by Manfred Eicher. █▓ █▓ █▓ █▓█▓ █▓ █▓ █▓█▓ █▓ ▀▓ █▓ █▓ "LOVE AND RESPECT YOUR FRIENDS AND LET YOUR ENEMIES DIE!!!" █▓ █▓ ▄▓ █▓ ▀▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓ █▓█▓█▓█▓ █▓█▓█▓ █▓█▓█▓█▓ █▓ █▓█▓█▓ █▓█▓█▓█▓█▓ █▓ █▓█▓█▓█▓ █▓█▓█▓█▓█▓█▓ █▓ ▀▓█▓█▓█▓█▓ █▓█▓█▓█▓█▓█▓ █▓ █▓█▓█▓█▓█▓ █▓█▓█▓█▓█▓█▓ █▓ █▓█▓█▓█▓█▓█▓ █▓█▓█▓█▓█▓ █▓ █▓█▓█▓█▓█▓ █▓█▓█▓█▓ █▓ █▓ █▓█▓█▓ █▓█▓█▓█▓ █▓ █▓█▓█▓█▓ █▓█▓ █▓█▓█▓ █▓█▓ █▓█▓ █▓█▓█▓ █▓ █▓ █▓█▓█▓ █▓ █▓ █▓█▓█▓█▓█▓█▓ █▓█▓ █▓█▓ █▓█▓█▓ █▓ ▀▓ █▓ █▓ ▄▓ █▓ ▄▓ █▓ ▀▓ █▓