Touching Bass presents: Soon Come, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] Touching Bass presents: Soon Come [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 1er Juillet 2022 chez Touching Bass [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/a2469503410_16.jpg » alt= »Touching Bass presents Soon Come » title_text= »Touching Bass presents Soon Come » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.17.4″ _module_preset= »default » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Touching Bass presents: Soon Come by keiyaA[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS What is a compilation? A blending ? Yes Sir. As anyone can talk about blending with wine pleasure. Not a fancy mounting, not any compromise for those who have an open mouth for every liquid. We talking here ‘bout a blend of colors and grains. Touching Bass has just released a new compilation. Soon Come, with its promising paradox title, is a perfect example of what compile means. Spread over two 12 inches, two day sides and two night sides, the tracks go from the living room floor to the dancefloor. And back and forth, and back and forth, since this compilation is neither for single use, nor for compartment. Nala Sinephro & Lyle Barton swing Ada in the stars when Camille’s Daughter according to keiyaA languishes on sofa longe. Further on, it is clear and limpid. Ben Hauke turns It On. That’s it. That’s what a compilation is. As effective as an open fridge door to get the last can of RedB. No need for speeches, it’s all in the assembled products. Here, it’s Errol Anderson and Alex Rita who have organized the 22 tracks from the Touching Bass catalog, among which swims the ‘crème brûlée’ (read with french accent, pls) represented by Ego Ella May, Wu-Lu, Clever Austin or Molinaro. The TB commu has now its introduction. With sound and feeling. Neat, indeed. » content_phone= » ENGLISH / FRANÇAIS What is a compilation? A blending ? Yes Sir. As anyone can talk about blending with wine pleasure. Not a fancy mounting, not any compromise for those who have an open mouth for every liquid. We talking here ‘bout a blend of colors and grains. Touching Bass has just released a new compilation. Soon Come, with its promising paradox title, is a perfect example of what compile means. Spread over two 12 inches, two day sides and two night sides, the tracks go from the living room floor to the dancefloor. And back and forth, and back and forth, since this compilation is neither for single use, nor for compartment. Nala Sinephro & Lyle Barton swing Ada in the stars when Camille’s Daughter according to keiyaA languishes on sofa longe. Further on, it is clear and limpid. Ben Hauke turns It On. That’s it. That’s what a compilation is. As effective as an open fridge door to get the last can of RedB. No need for speeches, it’s all in the assembled products. Here, it’s Errol Anderson and Alex Rita who have organized the 22 tracks from the Touching Bass catalog, among which swims the ‘crème brûlée’ (read with french accent, pls) represented by Ego Ella May, Wu-Lu, Clever Austin or Molinaro. The TB commu has now its introduction. With sound and feeling. Neat, indeed. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH What is a compilation? A blending ? Yes Sir. As anyone can talk about blending with wine pleasure. Not a fancy mounting, not any compromise for those who have an open mouth for every liquid. We talking here ‘bout a blend of colors and grains. Touching Bass has just released a new compilation. Soon Come, with its promising paradox title, is a perfect example of what compile means. Spread over two 12 inches, two day sides and two night sides, the tracks go from the living room floor to the dancefloor. And back and forth, and back and forth, since this compilation is neither for single use, nor for compartment. Nala Sinephro & Lyle Barton swing Ada in the stars when Camille’s Daughter according to keiyaA languishes on sofa longe. Further on, it is clear and limpid. Ben Hauke turns It On. That’s it. That’s what a compilation is. As effective as an open fridge door to get the last can of RedB. No need for speeches, it’s all in the assembled products. Here, it’s Errol Anderson and Alex Rita who have organized the 22 tracks from the Touching Bass catalog, among which swims the ‘crème brûlée’ (read with french accent, pls) represented by Ego Ella May, Wu-Lu, Clever Austin or Molinaro. The TB commu has now its introduction. With sound and feeling. Neat, indeed. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] C’est quoi une compile ? Un assemblage ? Alors oui. Comme on parle d’assemblage en plaisir du vin. Pas un savant mélange, pas un compromis pour ceux qui ont la gueule à tout. Un assemblage de teintes et de grains. Touching Bass sort justement une nouvelle compile. Soon Come, au titre de paradoxe prometteur, est un exemple parfait de ce que compile veut dire. Répartis sur deux 12 pouces, deux faces de jour et deux faces de nuit, les tracks s’enchainent de la piste de salon à la piste du dancefloor. Et allers-retours, et retours-allers, puisque cette compile n’est ni à usage unique, ni à compartiment. Nala Sinephro & Lyle Barton balance Ada dans les étoiles quand la Camille’s Daughter selon keiyaA s’alanguit sur sofa lounge. Plus loin, c’est clair et limpide. Ben Hauke turns It On. Voilà. C’est ça une compile. Aussi efficace qu’une porte de frigo ouverte pour récup la der canette de RedB. Pas besoin de discours, tout est dans les
Kofū, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] MEITEI, Kofū [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] repress le 1er juillet 2022 sur Kitchen. Label [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/meitei2.jpg » alt= »Kofū de Meitei » title_text= »Kofū de Meitei » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.17.4″ _module_preset= »default » global_colors_info= »{} »]Kofū / 古風 by Meitei / 冥丁[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Wavering and stubborn. So goes Meitei’s music. On Kofū, the last part of his Japanese trilogy as on the previous ones, Kwaidan and then Komachi. These first two records explored ghost stories in Japan and then the earthly winds and static electricity in their consoling force. Kofū digs deeper. Into the atmosphere and the bygone aesthetic of old Japan. With assertive humility and humour, Meitei patiently builds his arch of delicacy crossing the line between absolute modernity, as in Oiran I, and quasi-documentary sounds, as in Shōnen. With his art of opposites and his desire for musical shocks, Meitei doesn’t, however, force things. Instead, they blur them, with looping, melodic glitch and sonic obsession. The memory which acts, thus, in this disc, is that of spectres floating superbly in the hollow of the eardrum. The past and the imaginary dance together on the piano phases, detached and shimmering, on the electronics whose modesty aims at meditation and a form of perfect sacredness. Sobering and turbulent, peaceful and fiercely social. Almost a definition of what all music can or have to be. Fragile and boiling. » content_phone= » ENGLISH / FRANÇAIS Wavering and stubborn. So goes Meitei’s music. On Kofū, the last part of his Japanese trilogy as on the previous ones, Kwaidan and then Komachi. These first two records explored ghost stories in Japan and then the earthly winds and static electricity in their consoling force. Kofū digs deeper. Into the atmosphere and the bygone aesthetic of old Japan. With assertive humility and humour, Meitei patiently builds his arch of delicacy crossing the line between absolute modernity, as in Oiran I, and quasi-documentary sounds, as in Shōnen. With his art of opposites and his desire for musical shocks, Meitei doesn’t, however, force things. Instead, they blur them, with looping, melodic glitch and sonic obsession. The memory which acts, thus, in this disc, is that of spectres floating superbly in the hollow of the eardrum. The past and the imaginary dance together on the piano phases, detached and shimmering, on the electronics whose modesty aims at meditation and a form of perfect sacredness. Sobering and turbulent, peaceful and fiercely social. Almost a definition of what all music can or have to be. Fragile and boiling. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Wavering and stubborn. So goes Meitei’s music. On Kofū, the last part of his Japanese trilogy as on the previous ones, Kwaidan and then Komachi. These first two records explored ghost stories in Japan and then the earthly winds and static electricity in their consoling force. Kofū digs deeper. Into the atmosphere and the bygone aesthetic of old Japan. With assertive humility and humour, Meitei patiently builds his arch of delicacy crossing the line between absolute modernity, as in Oiran I, and quasi-documentary sounds, as in Shōnen. With his art of opposites and his desire for musical shocks, Meitei doesn’t, however, force things. Instead, they blur them, with looping, melodic glitch and sonic obsession. The memory which acts, thus, in this disc, is that of spectres floating superbly in the hollow of the eardrum. The past and the imaginary dance together on the piano phases, detached and shimmering, on the electronics whose modesty aims at meditation and a form of perfect sacredness. Sobering and turbulent, peaceful and fiercely social. Almost a definition of what all music can or have to be. Fragile and boiling. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Vacillante et têtue. Ainsi va la musique de Meitei. Sur Kofū, dernier volet de sa trilogie japonaise comme sur les précédents, Kwaidan puis Komachi. Ces deux premiers disques explorait les histoires de fantômes au Japon puis les vents terrestres et l’électricité statique dans leur force consolatrice. Kofū creuse encore un peu plus. Dans l’ambiance et l’esthétique révolue du vieux Japon. Avec une humilité et une drôlerie affirmées, Meitei construit patiemment son arche de délicatesse, arche franchissant le pas entre une modernité absolue, Oiran I, et des sons quasi documentaires, Shōnen. Art des contraires, volonté de choc musical, Meitei ne force cependant pas les choses. Mails ils les brouillent, à renforts de bouclages, de glitch mélodiques et d’obsession sonores. La mémoire qui agit, ainsi, dans ce disque, est celle de spectres flottants superbement dans le creux du tympan. Le passé et l’imaginaire dansent ensemble sur les phases de piano, détachées et perlées, sur l’électronique dont la modestie vise la méditation et une forme de sacré parfait. Ebréché et turbulent, apaisé et férocement social. Presque une définition de ce que peut ou doit être toute musique. Ténue et frémissante. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Meitei : BandcampKitchen. Label : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Symphonic Tone Poem for Brother Yusef, chronique
Loco Burn Ad, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] NCY Milky Band, Loco Burn Ad [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] sorti du single le 29 Juin 2022 chez BMM Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/ncymilkyband.jpg » alt= »Loco Burn Ad de Ncy Milky Band » title_text= »Loco Burn Ad de Ncy Milky Band » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » hover_enabled= »0″ border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} » sticky_enabled= »0″][/et_pb_image][et_pb_audio title= »Loco Burn Ad (feat. Sr. Tumbao & Cotchei) » artist_name= »NCY Milky Band » _builder_version= »4.17.4″ _module_preset= »default » title_text= »Loco Burn Ad (feat. Sr. Tumbao & Cotchei) » audio= »https://pointbreak.fr/wp-content/uploads/2022/06/NCY-Milky-Band-Loco-Burn-Ad-01-Loco-Burn-Ad-feat.-Sr.-Tumbao-Cotchei.mp3″ hover_enabled= »0″ sticky_enabled= »0″][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Smile, it’s summer. We’ve seen it over and over again, this promotional gimmick. But still, a cliché will never prevent anyone from smiling at the first tremors of the thermometer. And it’s not this next tiny thing that will fix the deal. The NCY Milky Band releases Loco Burn Ad as an addendum to their album ‘Burn’In‘, as an addendum to the last single, ‘Le Cascadeur Fleuriste, pt.1’. This last one floated in the petals of an elegant and cottony nostalgia, ‘Loco Burn Ad’ gets 180° and leaves on the sunny roads, bare arms and rosy cheeks. It probably fell out of the ‘Burn’In’ sessions’ boxes. It burns gently the same, it’s heady the same, it’s very good the same. Flute as the one Bobbi Humphrey knew how to play, snare drum beat quite lounge, chillin’ bass. And to increase the summer vibe of this Loco, the vocals and chorus of Sr. Tumbao & Cotchei. The doors of the cabriolet are closed and the highway is just facing us baby. But this track is only 2’20. We’ll have to choose : loop to Liguria or stop in next fuckin’ town. Damn. » content_phone= » ENGLISH / FRANÇAIS Smile, it’s summer. We’ve seen it over and over again, this promotional gimmick. But still, a cliché will never prevent anyone from smiling at the first tremors of the thermometer. And it’s not this next tiny thing that will fix the deal. The NCY Milky Band releases Loco Burn Ad as an addendum to their album ‘Burn’In‘, as an addendum to the last single, ‘Le Cascadeur Fleuriste, pt.1’. This last one floated in the petals of an elegant and cottony nostalgia, ‘Loco Burn Ad’ gets 180° and leaves on the sunny roads, bare arms and rosy cheeks. It probably fell out of the ‘Burn’In’ sessions’ boxes. It burns gently the same, it’s heady the same, it’s very good the same. Flute as the one Bobbi Humphrey knew how to play, snare drum beat quite lounge, chillin’ bass. And to increase the summer vibe of this Loco, the vocals and chorus of Sr. Tumbao & Cotchei. The doors of the cabriolet are closed and the highway is just facing us baby. But this track is only 2’20. We’ll have to choose : loop to Liguria or stop in next fuckin’ town. Damn. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH Smile, it’s summer. We’ve seen it over and over again, this promotional gimmick. But still, a cliché will never prevent anyone from smiling at the first tremors of the thermometer. And it’s not this next tiny thing that will fix the deal. The NCY Milky Band releases Loco Burn Ad as an addendum to their album ‘Burn’In‘, as an addendum to the last single, ‘Le Cascadeur Fleuriste, pt.1’. This last one floated in the petals of an elegant and cottony nostalgia, ‘Loco Burn Ad’ gets 180° and leaves on the sunny roads, bare arms and rosy cheeks. It probably fell out of the ‘Burn’In’ sessions’ boxes. It burns gently the same, it’s heady the same, it’s very good the same. Flute as the one Bobbi Humphrey knew how to play, snare drum beat quite lounge, chillin’ bass. And to increase the summer vibe of this Loco, the vocals and chorus of Sr. Tumbao & Cotchei. The doors of the cabriolet are closed and the highway is just facing us baby. But this track is only 2’20. We’ll have to choose : loop to Liguria or stop in next fuckin’ town. Damn. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Souriez, c’est l’été. On l’aura vu, vu et revu, ce gimmick de promo-vente. Mais pourtant un cliché, ça n’empêchera jamais personne de sourire aux premiers tremblements de thermomètre. Et ce n’est pas cette next tiny thing qui arrangera la donne. Le NCY Milky Band sort Loco Burn Ad comme un additif à leur album Burn’In, comme un addendum au dernier simple, Le Cascadeur Fleuriste, pt.1. Ce dernier flottait dans les pétales d’une nostalgie élégante et cotonneuse, Loco Burn Ad prend un 180 et part sur les routes ensoleillées, bras nus et les joues rosies. C’est sans doute tombé des cartons des sessions de Burn’In. Ça brûle doucement pareil, c’est entêtant pareil, c’est très bon pareil. Flûte pointilleuse comme Bobbi Humphrey savait l’être, battue de caisse claire tout à fait lounge, basse en goguette. Et pour appuyer la summer vibe de ce Loco, les chants et chœurs de Sr. Tumbao & Cotchei. Les portières de la decap’ sont fermées et l’autoroute est devant nous, bébé. Reste que cette petite pépite n’aligne que 2’20. Va falloir choisir : en boucle jusqu’en Ligurie ou stopper en Plaine de Sâone. Chaud. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] —NCY Milky Band : PlaylistBMM Records : Les Tutos de PBK [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Remember Your North Star, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] YAYA BEY, Remember Your North Star [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] sorti le 17 Juin 2022 chez Big Dada [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/a1660335418_10.jpg » alt= »Remember Your North Star de Yaya Bey » title_text= »Remember Your North Star de Yaya Bey » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » hover_enabled= »0″ border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} » sticky_enabled= »0″][/et_pb_image][et_pb_code _builder_version= »4.17.4″ _module_preset= »default » hover_enabled= »0″ sticky_enabled= »0″]Remember Your North Star by yaya bey[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Sometimes music inflames pleasure. Other times, it allows you to let off steam. Completely cathartic. As much for those who make it as for those who listen to it. Aristotle could not say otherwise. ‘Remember Your North Star’ by Yaya Bey has this cleansing effect. The storyteller’s new album is a therapy. Much more effective than a personal development book by Lise Bourbeau. 18 tracks sprinkled with poetic skits. In 30 seconds, ‘libation’ manifests the tears secretly shed by women. Women and more specifically black women. In addition to being a disturbing storyteller, Yaya Bey places misogynoir’s consequences in her songs. She exposes facts. Facts stated with humbleness. Without revolt, without judgments. Just reality. A reality underlined with optimism on ‘big daddy ya’ and ‘keisha’. The RnB singer doesn’t play with guilt using dark and solemn prods. Quite the reverse. The whole thing is joyful and soothed. Yaya Bey brings her flow on the chill and lo-fi instru of ‘nobody knows’. ‘alright’ warms up the atmosphere with its catchy jazz. Completely exciting. Sometimes music secretes endorphins. Other times, it goes into your thoughts and relieves you forever. » content_phone= » ENGLISH / FRANÇAIS Sometimes music inflames pleasure. Other times, it allows you to let off steam. Completely cathartic. As much for those who make it as for those who listen to it. Aristotle could not say otherwise. ‘Remember Your North Star’ by Yaya Bey has this cleansing effect. The storyteller’s new album is a therapy. Much more effective than a personal development book by Lise Bourbeau. 18 tracks sprinkled with poetic skits. In 30 seconds, ‘libation’ manifests the tears secretly shed by women. Women and more specifically black women. In addition to being a disturbing storyteller, Yaya Bey places misogynoir’s consequences in her songs. She exposes facts. Facts stated with humbleness. Without revolt, without judgments. Just reality. A reality underlined with optimism on ‘big daddy ya’ and ‘keisha’. The RnB singer doesn’t play with guilt using dark and solemn prods. Quite the reverse. The whole thing is joyful and soothed. Yaya Bey brings her flow on the chill and lo-fi instru of ‘nobody knows’. ‘alright’ warms up the atmosphere with its catchy jazz. Completely exciting. Sometimes music secretes endorphins. Other times, it goes into your thoughts and relieves you forever. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH Sometimes music inflames pleasure. Other times, it allows you to let off steam. Completely cathartic. As much for those who make it as for those who listen to it. Aristotle could not say otherwise. ‘Remember Your North Star’ by Yaya Bey has this cleansing effect. The storyteller’s new album is a therapy. Much more effective than a personal development book by Lise Bourbeau. 18 tracks sprinkled with poetic skits. In 30 seconds, ‘libation’ manifests the tears secretly shed by women. Women and more specifically black women. In addition to being a disturbing storyteller, Yaya Bey places misogynoir’s consequences in her songs. She exposes facts. Facts stated with humbleness. Without revolt, without judgments. Just reality. A reality underlined with optimism on ‘big daddy ya’ and ‘keisha’. The RnB singer doesn’t play with guilt using dark and solemn prods. Quite the reverse. The whole thing is joyful and soothed. Yaya Bey brings her flow on the chill and lo-fi instru of ‘nobody knows’. ‘alright’ warms up the atmosphere with its catchy jazz. Completely exciting. Sometimes music secretes endorphins. Other times, it goes into your thoughts and relieves you forever. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Parfois la musique provoque juste du plaisir. D’autres fois, elle permet de se défouler. Complètement cathartique. Autant pour ceux qui la font que ceux qui l’écoutent. Aristote ne pourrait pas dire le contraire. Remember Your North Star de Yaya Bey a cet effet purificateur. Le nouvel album de la storytelleuse est une thérapie. Beaucoup plus efficace qu’un livre de développement personnel de Lise Bourbeau. 18 titres parsemés de skits poétiques. En 30 secondes, libation manifeste les larmes écoulées en secret par les femmes. Les femmes et plus précisément les femmes noires. En plus d’être une conteuse troublante, Yaya Bey pose en chanson les conséquences de la misogynoir. Elle expose les faits. Des faits énoncés en toute humilité. Sans révolte, sans jugements. Juste une réalité. Une réalité soulignée avec optimisme sur big daddy ya et keisha. La chanteuse de RnB ne s’amuse pas à faire culpabiliser avec des prods sombres et solennelles. Au contraire, le tout est joyeux et apaisé. Yaya Bey cale son flow sur l’instru chill et lo-fi de nobody knows. alright réchauffe l’ambiance avec son jazz entraînant. Complètement excitant. Parfois la musique secrète de l’endorphine. D’autres fois, elle rentre dans les pensées et soulage pour toujours. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] —Yaya Bey : Site WebBig Dada : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Qonicho Ah!, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.6″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Qonicho Ah! [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 25 mai 2022 chez Kaczynski Editions [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/qonichoah2.jpg » alt= »Qonicho Ah! » title_text= »Qonicho Ah! » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.17.4″ _module_preset= »default » global_colors_info= »{} »]Qonicho Ah! by Qonicho Ah![/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS A nice face for the Covid crisis? Maybe. If you look at the archives, projects and delayed recordings that finally came out. Including this session of Qonicho Ah! canned for Banlieues Bleues 2020. Of course, on the musicians’ side, the nerve of patience was put to the test, probably some even discouraged or given up. But for us, the followers of the jazz&free peloton, hindsight has a certain virtue. That of joyful rediscovery. To hear Qonicho with cold heart is cool. The duo Morgane Carnet/Blanche Lafuente is listened clearly and loudly. A distraught lyricism for the saxophonist, an unstoppable beat for the drive of the second. The 4 titles which compose this live testify before that. Of a music based on friendship and the absolute lack of concession. But careful, no misplaced statement here, but the care to take what it is necessary where it is required. Leaving space to the listener to wedge his own stories, to other music makers as Susana Santos Silva whose sharp trumpet comes perfectly to shake the ending title. ‘HU !’ say the three girls here. ‘OH!’ and ‘AH!’ will say anyone who hears this damn pulsating EP. » content_phone= » ENGLISH / FRANÇAIS A nice face for the Covid crisis? Maybe. If you look at the archives, projects and delayed recordings that finally came out. Including this session of Qonicho Ah! canned for Banlieues Bleues 2020. Of course, on the musicians’ side, the nerve of patience was put to the test, probably some even discouraged or given up. But for us, the followers of the jazz&free peloton, hindsight has a certain virtue. That of joyful rediscovery. To hear Qonicho with cold heart is cool. The duo Morgane Carnet/Blanche Lafuente is listened clearly and loudly. A distraught lyricism for the saxophonist, an unstoppable beat for the drive of the second. The 4 titles which compose this live testify before that. Of a music based on friendship and the absolute lack of concession. But careful, no misplaced statement here, but the care to take what it is necessary where it is required. Leaving space to the listener to wedge his own stories, to other music makers as Susana Santos Silva whose sharp trumpet comes perfectly to shake the ending title. ‘HU !’ say the three girls here. ‘OH!’ and ‘AH!’ will say anyone who hears this damn pulsating EP. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH A nice face for the Covid crisis? Maybe. If you look at the archives, projects and delayed recordings that finally came out. Including this session of Qonicho Ah! canned for Banlieues Bleues 2020. Of course, on the musicians’ side, the nerve of patience was put to the test, probably some even discouraged or given up. But for us, the followers of the jazz&free peloton, hindsight has a certain virtue. That of joyful rediscovery. To hear Qonicho with cold heart is cool. The duo Morgane Carnet/Blanche Lafuente is listened clearly and loudly. A distraught lyricism for the saxophonist, an unstoppable beat for the drive of the second. The 4 titles which compose this live testify before that. Of a music based on friendship and the absolute lack of concession. But careful, no misplaced statement here, but the care to take what it is necessary where it is required. Leaving space to the listener to wedge his own stories, to other music makers as Susana Santos Silva whose sharp trumpet comes perfectly to shake the ending title. ‘HU !’ say the three girls here. ‘OH!’ and ‘AH!’ will say anyone who hears this damn pulsating EP. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Une face cool pour la crise Covid ? Possible. À bien regarder ce qu’il sort d’archives, de projets et d’enregistrements retardés. Dont cette session de Qonicho Ah! mise en boîte pour Banlieues Bleues 2020. Bien entendu, du côté musiciennes et musiciens, le nerf de la patience a été mis à rude épreuve, sans doute même on a pu se décourager voire abandonner. Mais pour nous, les suiveurs du peloton jazz&free, le recul a une certaine vertu. Celle de la redécouverte joyeuse. Entendre à froid Qonicho, c’est cool. Le duo Morgane Carnet/Blanche Lafuente s’écoute clair et fort. Lyrisme éperdu pour la saxophoniste, battue à tout rompre pour le drive de la seconde. Les 4 titres qui composent ce live témoigne d’abord de cela. D’une musique fondée sur l’amitié et le manque absolu de concessions. Pas d’exigence inapropriée, attention, non, mais le soin de savoir placer ce qu’il faut là où il le faut. En laissant l’espace nécessaire à l’auditeur pour caler ses propres histoires, à d’autres faiseuses de musique comme Susana Santos Silva dont la trompette acérée et percussive vient parfaitement bousculer le track de fin, HU! Disent les trois filles qui ferraillent. OH! et AH! dira qui entendra cet EP foutrement pulsatile. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Qonicho Ah! : BandcampKaczynski Editions : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ _builder_version= »4.16″ _module_preset= »default » background_color= »#005951″ min_height= »199.2px » custom_margin= »||||false|false » custom_padding= »0em||0em||true|false » locked= »on » global_colors_info= »{} »][et_pb_row column_structure= »1_4,1_4,1_4,1_4″ use_custom_gutter= »on » gutter_width= »1″ custom_padding_last_edited= »on|tablet » _builder_version= »4.16″ _module_preset= »default » width= »50% » width_tablet= »90% » width_phone= »95% » width_last_edited= »on|phone » custom_padding= »1em||1em||true|false » custom_padding_tablet= »1em||1em||false|false » custom_padding_phone= »||1em||false|false » custom_css_main_element= »display:flex;||flex-wrap:nowrap; » global_colors_info= »{} » custom_css_main_element_last_edited= »on|phone » custom_css_main_element_phone= »display:block; » custom_css_main_element_tablet= »display:flex;||flex-wrap:nowrap; »][et_pb_column type= »1_4″ _builder_version= »4.16″ _module_preset= »default » global_colors_info= »{} »][et_pb_text _builder_version= »4.16″ _dynamic_attributes= »link_option_url » _module_preset= »default » text_text_color= »#FFFFFF » text_font_size= »14px » text_orientation= »right » width_tablet= »25% » width_last_edited= »off|tablet » module_alignment= »center » custom_margin= »0px||0px||true|false » custom_padding= »0px||0px||true|false » custom_padding_tablet= » » custom_padding_phone= »|0px||0px|true|true » custom_padding_last_edited= »on|phone » link_option_url= »@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjEzNzgifX0=@ » text_font_size_tablet= »12px » text_font_size_phone= » » text_font_size_last_edited= »on|tablet » text_orientation_tablet= »right » text_orientation_phone= »center » text_orientation_last_edited= »on|tablet » global_colors_info= »{} » text_text_color__hover_enabled= »on|hover » text_text_color__hover= »#ffff00″] Contactez-nous
Music Is Here, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] FREDDIE HUBBARD, Music Is Here(Maison de la Radio, Paris 1973) [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] réédité le 18 Juin 2022 par WeWantSounds pour le Record Store Day [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/freddiehubbard2.jpg » alt= »Music Is Here de Freddie Hubbard » title_text= »Music Is Here de Freddie Hubbard » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2022/06/2B-The-intrepid-fox.mp3″ title= »The Intrepid Fox » artist_name= »Freddie Hubbard » album_name= »Music Is Here ( Maison de la Radio, 1973) » _builder_version= »4.17.4″ _module_preset= »default » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS You can count some pillars, you can notice some chameleons. Freddie Hubbard is one of the seconds. For every label he signed, he redefined his very own style. First Blue Note and the hard-bop, then the explora-fusions on Atlantic and then on CTI, where sweet tangs met the hardest groove. Kind of mixes that some would judge too quickly hazardous. This live recording belongs to that era, taken out of the nothingness and the legend by WeWantSounds for the Record Store Day. 2 discs and 4 tracks. It’s jazz, baby. You must extend pleasure to listen over and over again. 22’49 » for ‘The Intrepide Fox’ in this Parisian version made in Maison de la Radio (ORTF). We hear Hubbard backed by a combo of young musicians with still soft but yet well-designed teeth. Yes, but above all we hear Hubbard remembering. Of what he played on Ornette Coleman’s ‘Free Jazz’, of the hard knocks mounted with Art Blakey’s Messengers, of the proto-Bop, of the quasi-groovy. And it is beautiful. It is even magnificent, this master of messy beauty. Not only because we can hear that jazz stylistics have no well-established limits, not only because we can finally hear what others experienced live in Paris one evening in the spring of 1973. But mostly because there is a musician there, alive in the bosom of his art, well-shaped on the promontory of his superb class. Not bad for that chameleon, isn’t it ? » content_phone= » ENGLISH / FRANÇAIS You can count some pillars, you can notice some chameleons. Freddie Hubbard is one of the seconds. For every label he signed, he redefined his very own style. First Blue Note and the hard-bop, then the explora-fusions on Atlantic and then on CTI, where sweet tangs met the hardest groove. Kind of mixes that some would judge too quickly hazardous. This live recording belongs to that era, taken out of the nothingness and the legend by WeWantSounds for the Record Store Day. 2 discs and 4 tracks. It’s jazz, baby. You must extend pleasure to listen over and over again. 22’49 » for ‘The Intrepide Fox’ in this Parisian version made in Maison de la Radio (ORTF). We hear Hubbard backed by a combo of young musicians with still soft but yet well-designed teeth. Yes, but above all we hear Hubbard remembering. Of what he played on Ornette Coleman’s ‘Free Jazz’, of the hard knocks mounted with Art Blakey’s Messengers, of the proto-Bop, of the quasi-groovy. And it is beautiful. It is even magnificent, this master of messy beauty. Not only because we can hear that jazz stylistics have no well-established limits, not only because we can finally hear what others experienced live in Paris one evening in the spring of 1973. But mostly because there is a musician there, alive in the bosom of his art, well-shaped on the promontory of his superb class. Not bad for that chameleon, isn’t it ? » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH You can count some pillars, you can notice some chameleons. Freddie Hubbard is one of the seconds. For every label he signed, he redefined his very own style. First Blue Note and the hard-bop, then the explora-fusions on Atlantic and then on CTI, where sweet tangs met the hardest groove. Kind of mixes that some would judge too quickly hazardous. This live recording belongs to that era, taken out of the nothingness and the legend by WeWantSounds for the Record Store Day. 2 discs and 4 tracks. It’s jazz, baby. You must extend pleasure to listen over and over again. 22’49 » for ‘The Intrepide Fox’ in this Parisian version made in Maison de la Radio (ORTF). We hear Hubbard backed by a combo of young musicians with still soft but yet well-designed teeth. Yes, but above all we hear Hubbard remembering. Of what he played on Ornette Coleman’s ‘Free Jazz’, of the hard knocks mounted with Art Blakey’s Messengers, of the proto-Bop, of the quasi-groovy. And it is beautiful. It is even magnificent, this master of messy beauty. Not only because we can hear that jazz stylistics have no well-established limits, not only because we can finally hear what others experienced live in Paris one evening in the spring of 1973. But mostly because there is a musician there, alive in the bosom of his art, well-shaped on the promontory of his superb class. Not bad for that chameleon, isn’t it ? [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Il y a les piliers, il y a les caméléons. Freddie Hubbard est de la deuxième catégorie. Un label, un style. D’abord Blue Note et le hard-bop, puis les explora-fusions sur Atlantic puis sur CTI, label où le sweet rencontra le groove le plus mâtiné. C’est à cette époque de mix que d’aucun jugeraient trop vite hasardeux, qu’appartient cette pépite d’enregistrement live, sortie du néant et de la légende par WeWantSounds pour le Record Store Day. 2 disques et 4 morceaux. C’est du jazz, baby. On tire le plaisir sur la longueur. 22’49’’ pour The Intrepide Fox dans cette
Ctrl Deluxe, chronique
Ôtrium, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] QUENTIN GHOMARI, Ôtrium [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 17 Juin 2022 sur Neuklang Future [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/NCD4260_rgb.jpg » alt= »Ôtrium de Quentin Ghomari » title_text= »Ôtrium de Quentin Ghomari » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Watch out, windy edge. Always hard in cycling, when the wind beats the peloton on the side of the road, in the open. You lose your sweat, your legs and your Latin. With Ôtrium, Quentin Ghomari proves that in jazz, the wind on the side of the road has put the Latin, the legs and the sweat on the right road. This trio, in charge of exploring all that the trumpeter of Papanosh, the genius freelancer of the Healing Orchestra will have put aside, lights up the edges. Jazz edge, first of all. The interplay that links Yoni Zelnik, double bass, to the lead trumpeter and Antoine Paganotti, drums, is lively and tense, imposing a cursive form for the dialogues of music. This sorting is endless, played almost in apnea like this almost dyslexic Striptype of title but squarely in its structure. Elsewhere, it’s freer but no less fast or voluble. Scratched Disk scratches the surface and Joe Linvisible knows how to make himself seen. Not a bit of humor that comes to pierce the precise and indatable compositions. If it was necessary to escape from something, this disc is a good escape. » content_phone= » ENGLISH / FRANÇAIS Watch out, windy edge. Always hard in cycling, when the wind beats the peloton on the side of the road, in the open. You lose your sweat, your legs and your Latin. With Ôtrium, Quentin Ghomari proves that in jazz, the wind on the side of the road has put the Latin, the legs and the sweat on the right road. This trio, in charge of exploring all that the trumpeter of Papanosh, the genius freelancer of the Healing Orchestra will have put aside, lights up the edges. Jazz edge, first of all. The interplay that links Yoni Zelnik, double bass, to the lead trumpeter and Antoine Paganotti, drums, is lively and tense, imposing a cursive form for the dialogues of music. This sorting is endless, played almost in apnea like this almost dyslexic Striptype of title but squarely in its structure. Elsewhere, it’s freer but no less fast or voluble. Scratched Disk scratches the surface and Joe Linvisible knows how to make himself seen. Not a bit of humor that comes to pierce the precise and indatable compositions. If it was necessary to escape from something, this disc is a good escape. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Watch out, windy edge. Always hard in cycling, when the wind beats the peloton on the side of the road, in the open. You lose your sweat, your legs and your Latin. With Ôtrium, Quentin Ghomari proves that in jazz, the wind on the side of the road has put the Latin, the legs and the sweat on the right road. This trio, in charge of exploring all that the trumpeter of Papanosh, the genius freelancer of the Healing Orchestra will have put aside, lights up the edges. Jazz edge, first of all. The interplay that links Yoni Zelnik, double bass, to the lead trumpeter and Antoine Paganotti, drums, is lively and tense, imposing a cursive form for the dialogues of music. This sorting is endless, played almost in apnea like this almost dyslexic Striptype of title but squarely in its structure. Elsewhere, it’s freer but no less fast or voluble. Scratched Disk scratches the surface and Joe Linvisible knows how to make himself seen. Not a bit of humor that comes to pierce the precise and indatable compositions. If it was necessary to escape from something, this disc is a good escape. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Attention, bordure. Toujours chaud en cyclisme, ça, quand le vent tabasse le peloton sur le bas-côté de la route, à découvert. On y perd sa sueur, ses jambes et son latin. Avec Ôtrium, Quentin Ghomari prouve qu’en jazz, le vent de côté recalé le latin, les jambes et les suées sur le bonne route. Ce trio, chargé d’explorer tout ce que le trompettiste de Papanosh, le pigiste génial du Healing Orchestra aura mis de côté, allume les bordures. Bordure jazz, d’abord. L’interplay qui relie Yoni Zelnik, contrebasse, au trompettiste leader et à Antoine Paganotti, batterie, est vif et tendu, impose une forme cursive pour les dialogues de musiques. Ce tri est sans fin, joué presque en apnée comme ce Striptyque presque dyslexique de titre mais carrément carré dans sa structure. Ailleurs, c’est plus libre mais pas moins rapide ni volubile. Scratched Disk gratte à coups de growl ce qu’il faut de surface et Joe Linvisible sait aller se faire voir. Pas un brin d’humour qui viennent percuter les compositions précises et indatables. S’il fallait échapper à quelque chose, ce disque est un bon échappatoire. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Quentin Ghomari : BioÔtrium Projet : Bio [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
All Indians, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.16″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.17.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] IMPERIAL QUARTET, All Indians ? [/et_pb_text][et_pb_text _builder_version= »4.17.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 10 Juin 2022 sur Compagnie Impérial [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.16″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.16″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.16″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.16″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/06/all-indians-imperial-quartet.jpg » alt= »All Indians de Imperial Quartet » title_text= »all-indians-imperial-quartet » _builder_version= »4.17.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_video src= »https://youtu.be/7rLg6dMrKnM » _builder_version= »4.17.4″ _module_preset= »default » hover_enabled= »0″ sticky_enabled= »0″ image_src= »//i.ytimg.com/vi/7rLg6dMrKnM/hqdefault.jpg » height= »100% »][/et_pb_video][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Gumbo Ya Ya. Yes, an Imperial recipe. Imperial, indeed. That one the Quartet generously delivers in its quarters and its old squares on this All Indians?. All Indians? Wild bunch for the less. With big horns and small feathers. Nothing to give in to the neo-Orleans exoticism seen from France. We speech here of a vision from the bottom of the heart. And that can be heard, from the inaugural Procession, to the Chant du Matin, a perfect but irresolute conclusion. This All Indians? undoubtedly responds a little to Albert Ayler’s Universal Indians, in its more restrained, more subtle violence. But pretty lively, even when subterranean as in Bayuk, with a brilliant and unvarnished sweetness, as in the party of four of Rouge Bâton. Dance is in the DNA of this Apache quartet, a kind of brotherhood too. Native. This is the word that also designates the Indians on American soil before the landing of the future federates. Native, naive. These Indians hold a very universal narrative. Ya Ya. » content_phone= » ENGLISH / FRANÇAIS Gumbo Ya Ya. Yes, an Imperial recipe. Imperial, indeed. That one the Quartet generously delivers in its quarters and its old squares on this All Indians?. All Indians? Wild bunch for the less. With big horns and small feathers. Nothing to give in to the neo-Orleans exoticism seen from France. We speech here of a vision from the bottom of the heart. And that can be heard, from the inaugural Procession, to the Chant du Matin, a perfect but irresolute conclusion. This All Indians? undoubtedly responds a little to Albert Ayler’s Universal Indians, in its more restrained, more subtle violence. But pretty lively, even when subterranean as in Bayuk, with a brilliant and unvarnished sweetness, as in the party of four of Rouge Bâton. Dance is in the DNA of this Apache quartet, a kind of brotherhood too. Native. This is the word that also designates the Indians on American soil before the landing of the future federates. Native, naive. These Indians hold a very universal narrative. Ya Ya. » content_last_edited= »on|phone » _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH Gumbo Ya Ya. Yes, an Imperial recipe. Imperial, indeed. That one the Quartet generously delivers in its quarters and its old squares on this All Indians?. All Indians? Wild bunch for the less. With big horns and small feathers. Nothing to give in to the neo-Orleans exoticism seen from France. We speech here of a vision from the bottom of the heart. And that can be heard, from the inaugural Procession, to the Chant du Matin, a perfect but irresolute conclusion. This All Indians? undoubtedly responds a little to Albert Ayler’s Universal Indians, in its more restrained, more subtle violence. But pretty lively, even when subterranean as in Bayuk, with a brilliant and unvarnished sweetness, as in the party of four of Rouge Bâton. Dance is in the DNA of this Apache quartet, a kind of brotherhood too. Native. This is the word that also designates the Indians on American soil before the landing of the future federates. Native, naive. These Indians hold a very universal narrative. Ya Ya. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.17.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Gumbo Ya Ya. Oui, et recette impériale. À l’Imperial, même. Celle du Quartet franchie pas avare dans ses quarters et ses vieux carrés sur All Indians?. Tous indiens ? Tous sauvages en tout cas, avec grosses cornes et petites plumes. Rien à céder à l’exotisme néo-orléanais vue de France. Ici, c’est d’une d’une vision du cœur dont on parle. Et qui s’entend, dès la Procession inaugurale, jusqu’au Chant du Matin, parfaite conclusion irrésolue. Ce All Indians? répond sans doute un peu au Universal Indians d’Albert Ayler, dans sa violence plus retenue, plus feutrée. Mais pas moins vivace, même souterraine comme dans Bayuk, à la douceur brillante et sans fard, comme dans la fête à quatre de Rouge Bâton. La danse tape dans l’ADN du quartet apache, une forme de fraternité aussi. Native. C’est le mot qui désigne aussi les indiens sur les terres américaines avant le débarquement des futurs fédérés. Native, naïve. Ces indiens-ci tiennent, avec ce quatrième disque, un récit universel. Ya Ya. [/et_pb_text][et_pb_text _builder_version= »4.17.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Impérial Quartet : Site WebCompagnie Impérial : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]