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
jazz à vienne, chronique
Jazz Is Dead 011, 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= »{} »] ADRIAN YOUNGE &ALI SHAHEED MUHAMMAD,Jazz Is Dead 011 [/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 29 Avril 2022 sur Jazz Is Dead 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/2022/05/JID-011-digital-V4.jpg » alt= »Jazz Is Dead 011″ title_text= »Jazz Is Dead 011″ _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= »{} »][/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS It’s hard to know exactly with how many pieces will finish the Jazz Is Dead puzzle. But you can be sure that Adrian Younge and Ali Shaheed Muhammad will continue their back and forth in the jazz game. These two mint players, inseparable for the past few years under the alias The Midnight Hour, will play the All In. Once again. An eleventh record and a second season, always with one only goal. Arrange new puzzles to rework the jazz heritage and reassemble different forms and concepts. Smart. As usual, Younge & Muhammad have selected a fine team. This time it consists of Tony Allen aka %22the man who plays like five drummers%22 on Ebun, Lonnie Liston Smith, the jazz-funk advocate on Love Brings Happiness or Jean Carne on Come as You Are. Henry Franklin, Phil Ranelin, Wendell Harrison, Katalyst and Garett Saracho complete the captivating line-up of JID11. It’s 8 artists who embrace traditional jazz with the currents of today’s music. 8 musicians with the common concern of preserving creativity and taking it to the infinite and beyond. JID11 dives into history but remains super fresh. A simple example ? Katalyst on The Avenues, on vibes from the 70’s jazz-funk band Catalyst offering a beast of electric post-bop jazz. The Funkiest Band You Never Heard. With a 50 years gap, to boot. Well done gentlemen. » content_phone= » ENGLISH / FRANÇAIS It’s hard to know exactly with how many pieces will finish the Jazz Is Dead puzzle. But you can be sure that Adrian Younge and Ali Shaheed Muhammad will continue their back and forth in the jazz game. These two mint players, inseparable for the past few years under the alias The Midnight Hour, will play the All In. Once again. An eleventh record and a second season, always with one only goal. Arrange new puzzles to rework the jazz heritage and reassemble different forms and concepts. Smart. As usual, Younge & Muhammad have selected a fine team. This time it consists of Tony Allen aka %22the man who plays like five drummers%22 on Ebun, Lonnie Liston Smith, the jazz-funk advocate on Love Brings Happiness or Jean Carne on Come as You Are. Henry Franklin, Phil Ranelin, Wendell Harrison, Katalyst and Garett Saracho complete the captivating line-up of JID11. It’s 8 artists who embrace traditional jazz with the currents of today’s music. 8 musicians with the common concern of preserving creativity and taking it to the infinite and beyond. JID11 dives into history but remains super fresh. A simple example ? Katalyst on The Avenues, on vibes from the 70’s jazz-funk band Catalyst offering a beast of electric post-bop jazz. The Funkiest Band You Never Heard. With a 50 years gap, to boot. Well done gentlemen. » 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 It’s hard to know exactly with how many pieces will finish the Jazz Is Dead puzzle. But you can be sure that Adrian Younge and Ali Shaheed Muhammad will continue their back and forth in the jazz game. These two mint players, inseparable for the past few years under the alias The Midnight Hour, will play the All In. Once again. An eleventh record and a second season, always with one only goal. Arrange new puzzles to rework the jazz heritage and reassemble different forms and concepts. Smart. As usual, Younge & Muhammad have selected a fine team. This time it consists of Tony Allen aka « the man who plays like five drummers » on Ebun, Lonnie Liston Smith, the jazz-funk advocate on Love Brings Happiness or Jean Carne on Come as You Are. Henry Franklin, Phil Ranelin, Wendell Harrison, Katalyst and Garett Saracho complete the captivating line-up of JID11. It’s 8 artists who embrace traditional jazz with the currents of today’s music. 8 musicians with the common concern of preserving creativity and taking it to the infinite and beyond. JID11 dives into history but remains super fresh. A simple example ? Katalyst on The Avenues, on vibes from the 70’s jazz-funk band Catalyst offering a beast of electric post-bop jazz. The Funkiest Band You Never Heard. With a 50 years gap, to boot. Well done gentlemen. [/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″] Difficile de savoir exactement combien de pièces formeront au final le puzzle de Jazz Is Dead. Une chose est sûre, Adrian Younge et Ali Shaheed Muhammad prolonge leurs allers-retours dans le game. Les deux pivots inséparables depuis quelques années sous le pseudo The Midnight Hour ne se refusent rien. Once again. Un onzième disque et une deuxième saison, avec toujours un seul but. Agencer de nouveaux casse-têtes pour remanier le jazz en héritage et assembler différentes formes et concepts. Smart. Comme d’hab, Younge & Muhammad ont sélectionné une fine équipe. Cette fois-ci elle est constituée de Tony Allen aka « l’homme qui joue comme cinq batteur » sur Ebun, Lonnie Liston Smith, le défenseur du jazz-funk sur Love Brings Happiness ou encore Jean Carne sur Come as You Are. Henry Franklin, Phil Ranelin, Wendell Harrison, Katalyst et Garett Saracho complètent le line-up captivant de JID11. C’est 8 artistes qui greffent le jazz aventureux des 70’s aux courants de la musique actuelle. 8 musiciens avec une préoccupation commune : garder vivante la
Could We Be More, 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= »{} »] KOKOROKO, Could We Be More [/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 5 août 2022 chez Brownswood Recordings. [/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/2022/05/a1461574303_10.jpg » alt= »Could We Be More de Kokoroko » title_text= »Could We Be More de Kokoroko » _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= »{} »]Could We Be More by Kokoroko[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Kokoroko is many things. A nugget on the Brownswood Recordings label, a collective from the Nigerian diaspora, an octet combining its afrobeat and highlife influences with the jazz heritage of the last decades. But above all, Kokoroko is a band that wants to make you dance until you get excited. Something’s Going On. And something is going on in the London jazz scene. In full synergy with the African lands, Could We Be More is a testament to Kokoroko’s strength, its natural and ambitious force that imposes collective immunity. No worries about hanging out in a Nigerian delta infected with highly infectious jazz, funk or afrobeat. The fighting artists are more dedicated than ever. They explore everything that can be explored in their War Dance and turn away from it in favour of new challenges. Like We Give Thanks, %22Don’t you know I love you? Each and every one of you.%22 To love and make others love. Classy. Even if some are better at seduction than others, Kokoroko clearly seems to stand out. Challenge accepted, challenge successful. Sheila Maurice-Grey and Korokoko’s crew, we give you thanks » content_phone= » ENGLISH / FRANÇAIS Kokoroko is many things. A nugget on the Brownswood Recordings label, a collective from the Nigerian diaspora, an octet combining its afrobeat and highlife influences with the jazz heritage of the last decades. But above all, Kokoroko is a band that wants to make you dance until you get excited. Something’s Going On. And something is going on in the London jazz scene. In full synergy with the African lands, Could We Be More is a testament to Kokoroko’s strength, its natural and ambitious force that imposes collective immunity. No worries about hanging out in a Nigerian delta infected with highly infectious jazz, funk or afrobeat. The fighting artists are more dedicated than ever. They explore everything that can be explored in their War Dance and turn away from it in favour of new challenges. Like We Give Thanks, %22Don’t you know I love you? Each and every one of you.%22 To love and make others love. Classy. Even if some are better at seduction than others, Kokoroko clearly seems to stand out. Challenge accepted, challenge successful. Sheila Maurice-Grey and Korokoko’s crew, we give you thanks » 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 Kokoroko is many things. A nugget on the Brownswood Recordings label, a collective from the Nigerian diaspora, an octet combining its afrobeat and highlife influences with the jazz heritage of the last decades. But above all, Kokoroko is a band that wants to make you dance until you get excited. Something’s Going On. And something is going on in the London jazz scene. In full synergy with the African lands, Could We Be More is a testament to Kokoroko’s strength, its natural and ambitious force that imposes collective immunity. No worries about hanging out in a Nigerian delta infected with highly infectious jazz, funk or afrobeat. The fighting artists are more dedicated than ever. They explore everything that can be explored in their War Dance and turn away from it in favour of new challenges. Like We Give Thanks, « Don’t you know I love you? Each and every one of you. » To love and make others love. Classy. Even if some are better at seduction than others, Kokoroko clearly seems to stand out. Challenge accepted, challenge successful. Sheila Maurice-Grey and Korokoko’s crew, we give you thanks [/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″] Kokoroko est beaucoup de choses. Une pépite du label Brownswood Recordings, un collectif issus de la diaspora nigérienne, un octet combinant ses influences afrobeat et highlife avec l’héritage du jazz des dernières décennies. Mais avant tout, Kokoroko c’est un groupe qui veut faire danser jusqu’à l’effervescence. Something’s Going On. Et il y a bien quelque chose qui se passe sur la scène jazz londonienne. En pleine synergie avec les terres Africaines, Could We Be More vient témoigner de la force de Kokoroko, de sa force naturelle et ambitieuse qui impose l’immunité collective. Pas de soucis pour traîner dans un delta du Nigéria infecté de jazz, funk ou afrobeat hautement contagieux. Les artistes combattants s’y consacrent plus que jamais. Ils explorent tout ce qui peut l’être dans leur War Dance et s’en détournent au profit de nouveaux défis. Comme We Give Thank, « Don’t you know I love you? Each and every one of you. » Aimer et faire aimer. Classe. Même si certains sont meilleurs que les autres dans la séduction, Kokoroko semble clairement se distinguer. Challenge accepté, challenge réussi. Sheila Maurice-Grey et Korokoko’s crew, we give you thanks. [/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″] —Kokoroko : BandcampBrownswood Recordings : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Thanatos Of Funk, 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″] MINORU FUSHIMI, Thanatos Of Funk [/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″] réédité le 6 mai 2022 par 180g [/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/2022/05/a0526216698_16.jpg » alt= »Thanatos of Funk de Minoru Fushimi » title_text= »Thanatos of Funk de Minoru Fushimi » _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″]Thanatos Of Funk by Minoru "Hoodoo" Fushimi[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS High on the hype return. Eighties, synths and sharp shoulders. On the Hype crest and down in the music depths too. From this genius gap thus caused, this reissue of Minoru Fushimi’s Thanatos Of Funk. First released in Tokyo streets in 1985 (MFX Records), the funk of Thanatos is coiled in the Japanese counter-culture. Tight, but slyly sensual. Mixing a thousand sound inventions and only one modus operandi, the DIY way. High school teacher by day, acid synth player by night, %22Hoodoo%22 Fushimi tinkers with his electro-groove by hand, soldering small naughty patterns on stiff bass lines, screwing shamisen, percussion and guitar on the very same axis. With this shrewdness mode, Fushimi San does everything himself. The crazy blues of Gal’s Blues, the light dark side of In Praise Of Mitochondria, the proto-rap of Panda Steak and the reverb growls of the Hendrixian cover, Foxy Lady. %22You make me wanna get up and-a scream%22, rather moans, moans rather. In the bazaar of the rhythm boxes, in these unstoppable things that the Japanese know how to make with a brilliant and careful delay. Raging also, therefore essential. » content_phone= » ENGLISH / FRANÇAIS High on the hype return. Eighties, synths and sharp shoulders. On the Hype crest and down in the music depths too. From this genius gap thus caused, this reissue of Minoru Fushimi’s Thanatos Of Funk. First released in Tokyo streets in 1985 (MFX Records), the funk of Thanatos is coiled in the Japanese counter-culture. Tight, but slyly sensual. Mixing a thousand sound inventions and only one modus operandi, the DIY way. High school teacher by day, acid synth player by night, %22Hoodoo%22 Fushimi tinkers with his electro-groove by hand, soldering small naughty patterns on stiff bass lines, screwing shamisen, percussion and guitar on the very same axis. With this shrewdness mode, Fushimi San does everything himself. The crazy blues of Gal’s Blues, the light dark side of In Praise Of Mitochondria, the proto-rap of Panda Steak and the reverb growls of the Hendrixian cover, Foxy Lady. %22You make me wanna get up and-a scream%22, rather moans, moans rather. In the bazaar of the rhythm boxes, in these unstoppable things that the Japanese know how to make with a brilliant and careful delay. Raging also, therefore essential. » 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 High on the hype return. Eighties, synths and sharp shoulders. On the Hype crest and down in the music depths too. From this genius gap thus caused, this reissue of Minoru Fushimi’s Thanatos Of Funk. First released in Tokyo streets in 1985 (MFX Records), the funk of Thanatos is coiled in the Japanese counter-culture. Tight, but slyly sensual. Mixing a thousand sound inventions and only one modus operandi, the DIY way. High school teacher by day, acid synth player by night, « Hoodoo » Fushimi tinkers with his electro-groove by hand, soldering small naughty patterns on stiff bass lines, screwing shamisen, percussion and guitar on the very same axis. With this shrewdness mode, Fushimi San does everything himself. The crazy blues of Gal’s Blues, the light dark side of In Praise Of Mitochondria, the proto-rap of Panda Steak and the reverb growls of the Hendrixian cover, Foxy Lady. « You make me wanna get up and-a scream », rather moans, moans rather. In the bazaar of the rhythm boxes, in these unstoppable things that the Japanese know how to make with a brilliant and careful delay. Raging also, therefore essential. [/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″] Sur la crête du retour de hype. Les 80’s, les synthés, les épaules pointues. Et dans les profondeurs aussi. Issue du gap génial ainsi provoqué, cette réédition de Thanatos Of Funk de Minoru Fushimi. Sortie d’abord en loucedé dans les rues tokyoïtes de 1985 (MFX Records), le funk de Thanatos se love-love dans la contre-culture nippone. Serré, mais sournoisement sensuel. Brassant mille inventions sonores et un modus operandi, le DIY. Professeur de lycée le jour, joueur de synthés acides la nuit, « Hoodoo » Fushimi bricole son electro-groove à la main, soudant de petits motifs coquins sur des lignes de basses raides comme des baguettes, vissant shamisen, percus et guitare sur le même axe. En mode système D, Fushimi San fait tout lui-même. Le blues barré de Gal’s Blues, la dark side allégée de In Praise Of Mitochondria, le proto-rap de Panda Steak et les feulements sous reverb de la reprise hendrixienne, Foxy Lady. « You make me wanna get up and-a scream », plutôt gémir, gémir plutôt. Dans le bazar des boîtes à rythmes, dans ces choses imparables que savent faire les Japonais avec un retard génial et soigneux. Enervé aussi, donc indispensable. [/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″] —Minoru Fushimi : Bandcamp180g : Site Web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Mr. Morale & The Big Steppers, chronique
