Hinter dem scheinbar Statischen der von stabilen harmonischen Kraftzentren dominierten, zumeist bewusst karg instrumentierten Kompositionen verbirgt sich eine bemerkenswerte Vielfalt musikalischer Emotionen. Vieles blitzt hier nur kurz auf, bleibt aber als Subtext bestehen und gibt der äußerlich entwicklungsarmen Musik einen innendynamischen Spannungsgehalt, der das Hören zum Abenteuer macht.
Stephan Schwarz, Fono Forum
Zwei CD-Seiten lang experimentiert er mit den Kontrasten von Opulenz und Reduktion, lässt seine feinziselierte Musik vorsichtig aufbranden, um Borduntöne herum kreisen, mal in Eintracht mit dem akustischen Gesamterscheinungsbild, dann wieder sanfte Kontraste bildend. […] Was letztlich improvisiert sei und was ausgeschrieben, meint der Künstler selbst, sei ab einem gewissen Punkt der Gestaltung unwichtig geworden. Die Wirkung der Kompositionen ist so oder so offen, pointiert über die gesamte Spanne der Musik zugespitzt und herausragend transparent und zugleich volltönend aufgenommen. Von daher. ‚Souvenance‘ ist ein Meisterstück.
Ralf Dombrowski, Audio
Er nimmt das eigene Oud-Spiel weitgehend zurück und überträgt seine Klangvorstellungen stattdessen auf Kammerorchester, Klavier, Bassklarinette und Elektrobass. Schöne, weiträumige, unaufdringlich romantische Stücke in audiophilem Klang sind dabei entstanden.
Werner Stiefele, Stereoplay
The marvelously empathetic strings are like active observers watching and serving the small group’s every whim and they do this expertly. ‘January’ beginning the second disc finds Couturier repeatedly marking out a small phrase, then ‘Like a Dream’ a big oud statement going deeper and more serious than before. ‘On the Road’ following is much more introspective Couturier again leading the ensemble off. ‘Kasserine’ – a city in Tunisia near Sidi Bouzid where the Tunisian revolution began – in this vein is like a lament at the beginning Brahem’s deft timbral facility a feat. Completed by ‘Nouvelle Vague,’ the strings just gorgeous in all their diffidence rising and falling tantalisingly at the beginning, a memorable album of Brahem’s music that deserves the highest praise.
Stephen Graham, Marlbank
Die auf zwei CDs verteilten mehr als anderthalb stunden Musik Bergen Wanderungen durch eine Welt, die weder abend- noch morgenländisch ist, sondern einfach menschlich, sehr individuell und zutiefst berührend.
Jens-Uwe Sommerschuh, Sächsische Zeitung
The playing is exquisite throughout, though special mention must be made of Gesing who has one of the most expressive and versatile tones on bass clarinet, and is on tremendous form. His relationship with Meyer, both of them down there in the bass clef, is so subtly handled. And, of course, the oud of Anouar Brahem is always compelling, revealing new richness and contrast when set against the strings.
Peter Bacon, The Jazz Breakfast
Está assim, em permanente enunciação esta pequena obra-prima de espírito e estilo: da vida, reùne o console e o desconsolo, a ilusão e a desilusão, mas, como é costume com Brahem, carrega a mágoa rebuçada em melancholia…
[…This small masterpiece of style and spirit: the life, that brings together the consolation and desolation, the illusion and disillusion, but, as is usual with Brahem, carries the sweet sorrow of melancholy…]
Joao Santos, Espresso
Eine magische, mystische, in vielen Farben schimmernde Musik. Sie oszilliert zwischen schamanenartigen Beschwörungen und romantischen Balladen, freien Ton-Poemen und keltischen Blues-Adaptionen, flottem Gypsy-Swing und schwebenden Rubato-Hymnen.
Georg Spindler, Mannheimer Morgen
Econome en otes mais fort en themes […] envoûte et cultive le mystère.
Anne Berthod, Télérama
At the end of the day, that's what ‘Souvenance’ truly represents: a spiritual narrative that explores the depths of emotion and the furthest reaches of the human condition...in the most understated yet clarified way possible. Brahem may take more time between recordings these days, but when the result is as moving as ‘Souvenance’, it's clearly worth the wait as the years melt away and the music makes all other concerns irrelevant.
John Kelman, All About Jazz
Indirectly inspired by the sociopolitical upheavals in his country over the last five years, the album assumes a muted cinematic sweep, with scant harmonic movement, but a wealth of shifting texture. […] The oud playing is infallibly strong, but some of the album’s more striking moments belong to Mr. Gesing, who knows how to suggest the strain of a human voice. Spread across two CDs, this is a work of tensile beauty, by turns hopeful and foreboding.
Nate Chinen, The New York Times
The music has no explicit political content, but expresses some of Brahem’s feelings during the intense political upheavals in his native Tunisia between 2010 and 2011. It’s unsurprising, then, that in this music you will hear hints of optimism, regret, fear, nostalgia, and hope, all of it expressed with Brahem’s typical virtuosity and grace. This album marks Brahem’s first attempt to write for strings, and it’s a great success on every level.
Rick Anderson, CD-Hotlist
Meaning ‘remembrance’, ‘Souvenance’, is the Tunisian oud master’s new album after a five year gap following quartet recording ‘The Astounding Eyes of Rita’ also on ECM that also featured Gesing and Meyer. In reuniting his former colleagues, Brahem has written a commanding and all embracing set that seamlessly captures and portrays emotions ranging from despair to joy, and pessimism to optimism that shows a real depth of vision. […] This is a wonderful album and Brahem should be congratulated for bringing together such passion and emotion in a set that for all its serenity speaks volumes.
Nick Lea, Jazz Views