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]
Pink Dolphins, 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= »{} »] ANTELOPER, Pink Dolphins [/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 International Anthem [/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/a3941937252_16.jpg » alt= »Pink Dolphins de Anteloper » title_text= »Pink Dolphins de Anteloper » _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= »{} »]Pink Dolphins by Anteloper[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Pink Dolphins ? Why not. Much cooler than panthers, much more real than elephants and just as rare as an Anteloper album. Jaimie Branch and Jason Nazary’s new creative machine, which coordinates, from its Brooklyn headquarters, electronic and rhythmic abstraction with the pulse of the metropolis. Sometimes a driving trance, sometimes a quiet hum, other times both. The kind of lease that can take you over 130 BPM and back down to 40 immediately. For this second project, no predefined pattern. The geniuses of International Anthem improvise with a Jeff Parker in the white coat of a cyborg biologist. Cotton or polycotton? Who cares ? It’s total freewheel for the trio. Unedited and hybrid, from the cosmic post-punk of Inia to the expansive science-fi banger Earthlings, Anteloper passes the fifth and offers itself a new way. Probably the road less traveled but certainly the one that makes all the difference. It’s ingenious and incredibly good. Last step aboard the Nautilus with One Living Genus that pushes the limits of avant-garde momentum. A futuristic track to light up the present. Completely soft of protection. The Pink Dolphins can rest easy. No endangerment on the horizon. » content_phone= » ENGLISH / FRANÇAIS Pink Dolphins ? Why not. Much cooler than panthers, much more real than elephants and just as rare as an Anteloper album. Jaimie Branch and Jason Nazary’s new creative machine, which coordinates, from its Brooklyn headquarters, electronic and rhythmic abstraction with the pulse of the metropolis. Sometimes a driving trance, sometimes a quiet hum, other times both. The kind of lease that can take you over 130 BPM and back down to 40 immediately. For this second project, no predefined pattern. The geniuses of International Anthem improvise with a Jeff Parker in the white coat of a cyborg biologist. Cotton or polycotton? Who cares ? It’s total freewheel for the trio. Unedited and hybrid, from the cosmic post-punk of Inia to the expansive science-fi banger Earthlings, Anteloper passes the fifth and offers itself a new way. Probably the road less traveled but certainly the one that makes all the difference. It’s ingenious and incredibly good. Last step aboard the Nautilus with One Living Genus that pushes the limits of avant-garde momentum. A futuristic track to light up the present. Completely soft of protection. The Pink Dolphins can rest easy. No endangerment on the horizon. » 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 Pink Dolphins ? Why not. Much cooler than panthers, much more real than elephants and just as rare as an Anteloper album. Jaimie Branch and Jason Nazary’s new creative machine, which coordinates, from its Brooklyn headquarters, electronic and rhythmic abstraction with the pulse of the metropolis. Sometimes a driving trance, sometimes a quiet hum, other times both. The kind of lease that can take you over 130 BPM and back down to 40 immediately. For this second project, no predefined pattern. The geniuses of International Anthem improvise with a Jeff Parker in the white coat of a cyborg biologist. Cotton or polycotton? Who cares ? It’s total freewheel for the trio. Unedited and hybrid, from the cosmic post-punk of Inia to the expansive science-fi banger Earthlings, Anteloper passes the fifth and offers itself a new way. Probably the road less traveled but certainly the one that makes all the difference. It’s ingenious and incredibly good. Last step aboard the Nautilus with One Living Genus that pushes the limits of avant-garde momentum. A futuristic track to light up the present. Completely soft of protection. The Pink Dolphins can rest easy. No endangerment on the horizon. [/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″] Pink Dolphins ? Why not. Bien plus cooloss que les panthères, bien plus réels que les éléphants et tout aussi rares qu’un album d’Anteloper. Nouvel engin créatif de Jaimie Branch et Jason Nazary, qui coordonne, depuis son siège de Brooklyn, l’abstraction électronique et rythmique avec le pouls de la métropole. Parfois une transe motrice, parfois un bourdonnement silencieux, d’autres fois les deux. Le genre de bail qui peut faire dépasser les 130 BPM et redescendre à 40 illico. Pour ce deuxième projet, aucun modèle prédéfini. Les génies d’International Anthem improvisent avec un Jeff Parker à la blouse blanche de biologiste cyborg. Coton ou polycoton ? Who cares ? C’est totale roue libre pour le trio. Inédit et hybride, du post-punk cosmique d’Inia à l’expansif banger science-fi Earthlings, Anteloper passe la cinquième et s’offre une nouvelle conduite. Sûrement la voie la moins fréquentée mais assurément celle qui fait toute la différence. C’est ingénieux et incroyablement bon. Dernière step à bord du Nautilus avec One Living Genus qui pousse les limites de l’élan avant-gardiste. Une track futuriste pour éclairer le présent. Complètement doux de protection. Les Pink Dolphins peuvent être tranquilles. Aucune voie de disparition à l’horizon. [/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= »{} »] —Kudu : ChroniqueInternational Anthem : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Enja Records, chronique
Dream Like A Dogwood Wild Boy, chronique
2061, 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″] EABS, 2061 [/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 27 Mai 2022 sur Astigmatic 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/a3833513536_16.jpg » alt= »2061 de EABS » title_text= »2061 de EABS » _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″ global_colors_info= »{} » sticky_enabled= »0″]2061 by EABS[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Vet Polish, AfroSpace and brotherhood. EABS reinvents its motto a little more, a little better. ‘2061’ comes out of the tail of the previous comet, ‘Discipline Of Sun Ra’ dedicated to the interstellar God. The urgency is more persistent, Sir Coco has crossed the world since. Less floating, less suspended on the threads of the Milky Way, then. But no less strong in breath. The jazz takes its rights, ‘The Mystery Of Monolith’, a darkness lets itself go and appears, ‘Global Warning’ or ‘Lucifer’. 1986, Comet Halley gave marbles to Arthur C. Clarke to write ‘Odyssey Three’. Then there was Kubrick and Zaratoustrinou. We know the monolith, the monkeys. We all fell asleep after the first 15 minutes of the movie. Here, the Polish cosmics of EABS, together with vet’ Jan Ptaszyn Wróblewski on tenor, take over the handle and fly straight to 2061, the year of the next passing of Halley. Climatico-spatial fiction, yes, but 2061 is also a music album. Rap, trap, little drill moves, tight angry trumpet solos, loud echoing keyboards. Everything is in its place, in this new record. Released 40 years before the year of its title, you never know, it might be wise. » content_phone= » ENGLISH / FRANÇAIS Vet Polish, AfroSpace and brotherhood. EABS reinvents its motto a little more, a little better. ‘2061’ comes out of the tail of the previous comet, ‘Discipline Of Sun Ra’ dedicated to the interstellar God. The urgency is more persistent, Sir Coco has crossed the world since. Less floating, less suspended on the threads of the Milky Way, then. But no less strong in breath. The jazz takes its rights, ‘The Mystery Of Monolith’, a darkness lets itself go and appears, ‘Global Warning’ or ‘Lucifer’. 1986, Comet Halley gave marbles to Arthur C. Clarke to write ‘Odyssey Three’. Then there was Kubrick and Zaratoustrinou. We know the monolith, the monkeys. We all fell asleep after the first 15 minutes of the movie. Here, the Polish cosmics of EABS, together with vet’ Jan Ptaszyn Wróblewski on tenor, take over the handle and fly straight to 2061, the year of the next passing of Halley. Climatico-spatial fiction, yes, but 2061 is also a music album. Rap, trap, little drill moves, tight angry trumpet solos, loud echoing keyboards. Everything is in its place, in this new record. Released 40 years before the year of its title, you never know, it might be wise. » 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 Vet Polish, AfroSpace and brotherhood. EABS reinvents its motto a little more, a little better. ‘2061’ comes out of the tail of the previous comet, ‘Discipline Of Sun Ra’ dedicated to the interstellar God. The urgency is more persistent, Sir Coco has crossed the world since. Less floating, less suspended on the threads of the Milky Way, then. But no less strong in breath. The jazz takes its rights, ‘The Mystery Of Monolith’, a darkness lets itself go and appears, ‘Global Warning’ or ‘Lucifer’. 1986, Comet Halley gave marbles to Arthur C. Clarke to write ‘Odyssey Three’. Then there was Kubrick and Zaratoustrinou. We know the monolith, the monkeys. We all fell asleep after the first 15 minutes of the movie. Here, the Polish cosmics of EABS, together with vet’ Jan Ptaszyn Wróblewski on tenor, take over the handle and fly straight to 2061, the year of the next passing of Halley. Climatico-spatial fiction, yes, but 2061 is also a music album. Rap, trap, little drill moves, tight angry trumpet solos, loud echoing keyboards. Everything is in its place, in this new record. Released 40 years before the year of its title, you never know, it might be wise. [/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″] Polish vétéran, AfroSpace et fraternité. EABS réinvente encore un peu plus, un peu mieux sa devise. 2061 sort de la queue de la comète précédente, Discipline Of Sun Ra, dédiée au Dieu interstellaire. L’urgence est plus vivace, Sir Coco a traversé le monde depuis. Moins flottant, moins suspendu aux fils de la Milky Way, donc. Mais pas moins costaud en souffle. Le jazz reprend ses droits, The Mystery Of Monolith, une noirceur se laisse aller et poindre, Global Warning ou Lucifer. 1986, la Comète de Halley filait des billes à Arthur C. Clarke à écrire le troisième volet de L’Odyssée de l’espace. Puis il y a eu Kubrick et Zaratoustrinou. On connaît le monolithe, les singes. On s’est tous endormis au bout du premier quart d’heure de film. Ici les Polonais cosmiques d’EABS, en compagnie du vet’ Jan Ptaszyn Wróblewski au ténor, reprennent le manche et filent direct en 2061, année du prochain passage de Halley. Fiction climatico-spatiale, oui, mais 2061 est aussi un album de musique. Rap, trap, petits moves de drill, solos de trompettes énervés serrés, claviers à fort écho. Tout est à sa place, dans ce nouveau disque. Sorti 40 ans avant l’année de son titre, on sait jamais, ça pourrait être prudent. [/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″] —EABS : BandcampAstigmatic Records : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
gros canard, chronique
