Producer Manfred Eicher helped bring Brahem together with German bass clarinettist Klaus Gesing and Swedish bassist Björn Meyer, players heard on ECM in, respectively, the groups of Norma Winstone and Nik Bärtsch. “Manfred knew, from our experiences with John Surman [see the “Thimar” album of 1997] that I liked very much the combination of bass clarinet with the oud: the instruments just seem to belong together. In Klaus’s playing on Norma’s album (“Distances”), I thought I could hear ways in which we might work together. Manfred helped to set up rehearsals, with just Klaus and myself, in Udine. The potential was there, I felt. But we really came together as a band during the record production – until that point, I’d played only separately with each of the musicians.”
Björn Meyer and Klaus Gesing share Brahem’s interest in a broad range of musical expression. The classically-trained Gesing has been extensively involved also with East European musics and with jazz, while Meyer grew up listening to Cuban music, and played flamenco before diving deep into Swedish folk. He also plays music influenced by Persian tradition in groups with harpist Asita Hamidi and his bass often serves as a lyrical lead voice in the throbbing cellular music of Nik Bärtsch’s Ronin (ECM albums: “Stoa”, “Holon”).
The band’s fourth member, Lebanese percussionist Khaled Yassine, was brought to Brahem’s attention by his sister-in-law, choreographer Nawel Skandrani.
Khaled’s experience of working with dancers helps to give this music its gently insinuating, swaying pulses. “Khaled’s a very interesting player. He is deeply grounded in the traditional music, but also very open-minded: he plays in a lot of different contexts, is very informed. There is a new generation of musicians emerging in countries like Lebanon.” Anouar suggests that these are players of broader vision.