Over Fields And Mountains, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.15″ 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= »4.15″ 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= »4.15″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.15.1″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] BRANKO MATAJA,Over Fields And Mountains [/et_pb_text][et_pb_text _builder_version= »4.15.1″ 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= »{} »] compilation sortie le 25 mars 2022 par Numero Group [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.15″ 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= »4.15″ _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= »4.15″ 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= »4.15″ 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= »4.15″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/03/BrankoMataja.jpg » alt= »Over Fields And Mountains de Branko Mataja » title_text= »Over Fields And Mountains de Branko Mataja » _builder_version= »4.15.1″ _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= »4.15.1″ _module_preset= »default » global_colors_info= »{} »]Over Fields And Mountains by Branko Mataja[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Nostalgia and depth. Better than ‘War and Peace’. ‘Over Fields And Mountains’, a heartfelt compilation of songs played by Branko Mataja, owes nothing to Tolstoy’s Russia but everything to everlasting Serbia. Well, almost. This Serbia is fantasized, repatriated in a way on the lands of North Hollywood where Mataja was exiled in 1964, far from the mess of a reconstructing Europe after WWII. After cutting hair, he began to split hair of the lutherie, in his own workshop, wedged at home. Repairing guitars, plugging in experiments. Leslie cab amps, trad songs, guitars and other instruments. Mataja starts to sound meditative (Tesko Mi Je Zaboravit Tebe), psychedelic, summons the popular tamed by Shostakovich (Tamo Daleko), evokes the spaces invented by Morricone and the melodies magnified by Kosma. It’s full of hymns, songs to drink and then to cry. On this record, Numero Group remastered the only two albums of Mataja. albums. ‘Traditional And Folk Songs Of Yugoslavia’ was released in 1973, while ‘Folk Songs of Serbja’ followed in the mid-80s. When a small anonymous guitarist, expat-Serbian, reinvented in depth his folklore, tinkered with songs and guitars without being distracted by anything else, except the World Cup of soccer. Nostalgia into the top corner. » content_phone= » ENGLISH / FRANÇAIS Nostalgia and depth. Better than ‘War and Peace’. ‘Over Fields And Mountains’, a heartfelt compilation of songs played by Branko Mataja, owes nothing to Tolstoy’s Russia but everything to everlasting Serbia. Well, almost. This Serbia is fantasized, repatriated in a way on the lands of North Hollywood where Mataja was exiled in 1964, far from the mess of a reconstructing Europe after WWII. After cutting hair, he began to split hair of the lutherie, in his own workshop, wedged at home. Repairing guitars, plugging in experiments. Leslie cab amps, trad songs, guitars and other instruments. Mataja starts to sound meditative (Tesko Mi Je Zaboravit Tebe), psychedelic, summons the popular tamed by Shostakovich (Tamo Daleko), evokes the spaces invented by Morricone and the melodies magnified by Kosma. It’s full of hymns, songs to drink and then to cry. On this record, Numero Group remastered the only two albums of Mataja. albums. ‘Traditional And Folk Songs Of Yugoslavia’ was released in 1973, while ‘Folk Songs of Serbja’ followed in the mid-80s. When a small anonymous guitarist, expat-Serbian, reinvented in depth his folklore, tinkered with songs and guitars without being distracted by anything else, except the World Cup of soccer. Nostalgia into the top corner. » content_last_edited= »on|phone » _builder_version= »4.15.1″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Nostalgia and depth. Better than ‘War and Peace’. ‘Over Fields And Mountains’, a heartfelt compilation of songs played by Branko Mataja, owes nothing to Tolstoy’s Russia but everything to everlasting Serbia. Well, almost. This Serbia is fantasized, repatriated in a way on the lands of North Hollywood where Mataja was exiled in 1964, far from the mess of a reconstructing Europe after WWII. After cutting hair, he began to split hair of the lutherie, in his own workshop, wedged at home. Repairing guitars, plugging in experiments. Leslie cab amps, trad songs, guitars and other instruments. Mataja starts to sound meditative (Tesko Mi Je Zaboravit Tebe), psychedelic, summons the popular tamed by Shostakovich (Tamo Daleko), evokes the spaces invented by Morricone and the melodies magnified by Kosma. It’s full of hymns, songs to drink and then to cry. On this record, Numero Group remastered the only two albums of Mataja. albums. ‘Traditional And Folk Songs Of Yugoslavia’ was released in 1973, while ‘Folk Songs of Serbja’ followed in the mid-80s. When a small anonymous guitarist, expat-Serbian, reinvented in depth his folklore, tinkered with songs and guitars without being distracted by anything else, except the World Cup of soccer. Nostalgia into the top corner. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.15″ global_colors_info= »{} »][et_pb_text _builder_version= »4.15.1″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Nostalgie et profondeur. Mieux que Guerre et Paix. Over Fields And Mountains, compile fend-le-cœur de chansons jouées par Branko Mataja, ne doit rien à la Russie de Tolstoï mais tout à la Serbie immortelle. Enfin presque. Cette Serbie-là est fantasmée, rapatriée en quelque sorte sur les terres du North Hollywood où Mataja s’est exilé en 1964, loin des dingueries d’une Europe en reconstruction après la WWII. Après avoir coupé de vrais tifs, il commence à couper les cheveux de la lutherie en quatre, dans son propre atelier, calé à domicile. Réparation de guitares, branchement expérimentaux, ampli sur cabine Leslie, chansons tradis. Mataja se met à sonner méditatif (Tesko Mi Je Zaboravit Tebe), convoque le populaire apprivoisé par Shostakovitch (Tamo Daleko), évoque les espaces inventés par Morricone (Kafu Mi Draga Ispeci) et les mélodies magnifiées par Kosma. C’est bourré d’hymnes, de chansons à boire puis à pleurer. Sur ce disque, Numero Group remastérise les deux seuls albums de Mataja. albums. Traditional And Folk Songs Of Yugoslavia sort en 1973, tandis que Folk Songs of Serbja suit au milieu des années 80. Quand un petit guitariste anonyme, expat-serbe, réinventait en profondeur son folklore, bricolait des chansons et des guitares sans être distrait par autre chose que la Coupe du Monde de foot. Nostalgie en pleine lucarne. [/et_pb_text][et_pb_text _builder_version= »4.15.1″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Numero Group : bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Frank, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.15″ 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= »4.15″ 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= »4.15″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.15.1″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] FLY ANAKIN, Frank [/et_pb_text][et_pb_text _builder_version= »4.15.1″ 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= »{} »] sortie le 11 mars 2022 chez Lex Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.15″ 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= »4.15″ _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= »4.15″ 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= »4.15″ 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= »4.15″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/03/flyanakin.jpg » alt= »Frank de Fly Anakin » title_text= »Frank de Fly Anakin » _builder_version= »4.15.1″ _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/2022/03/yt1s.com-ROSALIA-SAKURA-Lyric-Video.mp3″ title= »Black Be The Source » artist_name= »Fly Anakin (feat Pink Siifu, Billz Egypt) » album_name= »Frank (2022) » _builder_version= »4.15.1″ _module_preset= »default » custom_margin= »7%||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Frank Sinatra? No. Frank Ocean? Neither. Frank Walton? Yep, it’s him. It’s the real name of Fly Anakin. And optionally, the title of his first album ‘Frank’. First one? Not really. Officially, this is his fourth, but the rapper wants ‘Frank’ to be his debut album. Thus, in this false first record, the American from Virginia surrounds himself with a great lil’ team. Prod by Madlib on ‘No Dough’. Genius. Pink Siifu on ‘Black Be The Source’. In 2020, both had released ‘FlySiifu’s’ in collaboration. In 2021, it was ‘$mokebreak’. Clever. His buddy, Big Kahuna Og, from Mutant Academy’s rap collective on ‘Telepathic’. Great. Let’s stop because the line-up is still long. What is also consistent is the track list. 17 songs. Each one lays on the other with fluidity. Skits come in between the pieces to give a few minutes of break. And a few seconds of smile. Perfectly balanced between old school R&B and rap in all its aspects. On one side, prods at the limit of the lo-fi. On the other, at the border of soul. The beat is always deeply calm. Nice contrast with the fundamentally aggressive flow of the rapper. Dissimilarity completely mastered. And signed Frank, Frank Walton aka Fly Anakin. » content_phone= » ENGLISH / FRANÇAIS Frank Sinatra? No. Frank Ocean? Neither. Frank Walton? Yep, it’s him. It’s the real name of Fly Anakin. And optionally, the title of his first album ‘Frank’. First one? Not really. Officially, this is his fourth, but the rapper wants ‘Frank’ to be his debut album. Thus, in this false first record, the American from Virginia surrounds himself with a great lil’ team. Prod by Madlib on ‘No Dough’. Genius. Pink Siifu on ‘Black Be The Source’. In 2020, both had released ‘FlySiifu’s’ in collaboration. In 2021, it was ‘$mokebreak’. Clever. His buddy, Big Kahuna Og, from Mutant Academy’s rap collective on ‘Telepathic’. Great. Let’s stop because the line-up is still long. What is also consistent is the track list. 17 songs. Each one lays on the other with fluidity. Skits come in between the pieces to give a few minutes of break. And a few seconds of smile. Perfectly balanced between old school R&B and rap in all its aspects. On one side, prods at the limit of the lo-fi. On the other, at the border of soul. The beat is always deeply calm. Nice contrast with the fundamentally aggressive flow of the rapper. Dissimilarity completely mastered. And signed Frank, Frank Walton aka Fly Anakin. » content_last_edited= »on|phone » _builder_version= »4.15.1″ _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 Frank Sinatra? No. Frank Ocean? Neither. Frank Walton? Yep, it’s him. It’s the real name of Fly Anakin. And optionally, the title of his first album ‘Frank’. First one? Not really. Officially, this is his fourth, but the rapper wants ‘Frank’ to be his debut album. Thus, in this false first record, the American from Virginia surrounds himself with a great lil’ team. Prod by Madlib on ‘No Dough’. Genius. Pink Siifu on ‘Black Be The Source’. In 2020, both had released ‘FlySiifu’s’ in collaboration. In 2021, it was ‘$mokebreak’. Clever. His buddy, Big Kahuna Og, from Mutant Academy’s rap collective on ‘Telepathic’. Great. Let’s stop because the line-up is still long. What is also consistent is the track list. 17 songs. Each one lays on the other with fluidity. Skits come in between the pieces to give a few minutes of break. And a few seconds of smile. Perfectly balanced between old school R&B and rap in all its aspects. On one side, prods at the limit of the lo-fi. On the other, at the border of soul. The beat is always deeply calm. Nice contrast with the fundamentally aggressive flow of the rapper. Dissimilarity completely mastered. And signed Frank, Frank Walton aka Fly Anakin. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.15″ global_colors_info= »{} »][et_pb_text _builder_version= »4.15.1″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Frank Sinatra ? Non. Frank Ocean ? Non plus. Frank Walton ? Oui, c’est bien lui. C’est le vrai nom de Fly Anakin. Et accessoirement le titre de son first album, Frank. Premier album ? Pas vraiment. Officiellement, c’est son quatrième mais le rappeur veut que Frank, soit son debut album. Soit. Dans ce faux premier disque, donc, l’Américain from Virginia s’entoure d’une belle petite team. Prod de Madlib sur No Dough. Genius. Pink Siifu sur Black Be The Source. En 2020, les deux avaient sorti FlySiifu’s en collab. En 2021, c’était $mokebreak. Clever. Son pote, Big Kahuna Og, du collectif de rappeurs Mutant Academy sur Telepathic. Great. Stop parce que la liste est encore longue. Ce qui est conséquent aussi c’est la track list. 17 sons. Chacun se pose sur l’autre avec fluidité. Des skits viennent se glisser entre les morceaux pour donner quelques minutes de pause. Et quelques secondes de sourire. Parfaitement dosé entre R&B old school et rap dans tous les sens. D’un côté, des prods à la limite du lo-fi. De l’autre, à la frontière de la soul. L’instru est toujours profondément calme. Joli contraste avec le flow foncièrement agressif du rappeur. Dissemblance complètement maîtrisée. Et signée Frank, Frank Walton aka Fly Anakin. [/et_pb_text][et_pb_text _builder_version= »4.15.1″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Fly Anakin : site webLex Records
Motomami, chronique
Japanese Jazz Spectacle, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.15″ 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= »4.15″ 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= »4.15″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.15.1″ 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″] Japanese Jazz Spectacle vol.1 [/et_pb_text][et_pb_text _builder_version= »4.15.1″ 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″] compilé le 1er avril 2022 par 180g, Universounds et HMV Music [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.15″ 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= »4.15″ _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= »4.15″ 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= »4.15″ 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= »4.15″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/03/180GHMVLP01-x3000-draft-scaled.jpg » alt= »Japanese Jazz Spectacle » title_text= »Japanese Jazz Spectacle » _builder_version= »4.15.1″ _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= »4.15.1″ _module_preset= »default » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]WaJazz: Japanese Jazz Spectacle Vol.I – Deep, Heavy and Beautiful Jazz from Japan 1968-1984 – The Nippon Columbia masters – Selected by Yusuke Ogawa (Universounds) by Wajazz series[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Happy Nipponophiles. The others must be too. The 14 heterogeneous tracks collected by Yusuke Ogawa for ‘WaJazz: Japanese Jazz Spectacle vol. 1’ reset the counters. This is Japanese jazz, but also combat jazz. One of them is to definitively silence the idea that in Japan we only copy to improve and sell cheaper than in the West. Tell me, what’s your car? In jazz, the beauty is that this language has taken root, multi-spun in clubs and bars – oh splendid idea of audiophile bars – to acclimatise and collide with what Japan of cultural traditions. That’s a lot of possible and masterful openings. Anime OST, games or simply music. Yusuke Ogawa sums up the mystery without revealing anything: %22When Japanese musicians play, there is something uniquely Japanese that circulates and creates a kind of synergy. It can be melody, rhythm, or even something deeper, like an inexpressible flicker%22. From this unspeakable flicker, Hiroshi Suzuki‘s Nippon Columbia ‘Romance’, the New Jazz Players’ ‘Muraiki’ or Soul Media’s ‘Breeze’ come out of the trunks. In other words, the alpha, the omega and the jazzWa. Blessed nipponophiles. » content_phone= » ENGLISH / FRANÇAIS Happy Nipponophiles. The others must be too. The 14 heterogeneous tracks collected by Yusuke Ogawa for ‘WaJazz: Japanese Jazz Spectacle vol. 1’ reset the counters. This is Japanese jazz, but also combat jazz. One of them is to definitively silence the idea that in Japan we only copy to improve and sell cheaper than in the West. Tell me, what’s your car? In jazz, the beauty is that this language has taken root, multi-spun in clubs and bars – oh splendid idea of audiophile bars – to acclimatise and collide with what Japan of cultural traditions. That’s a lot of possible and masterful openings. Anime OST, games or simply music. Yusuke Ogawa sums up the mystery without revealing anything: %22When Japanese musicians play, there is something uniquely Japanese that circulates and creates a kind of synergy. It can be melody, rhythm, or even something deeper, like an inexpressible flicker%22. From this unspeakable flicker, Hiroshi Suzuki‘s Nippon Columbia ‘Romance’, the New Jazz Players’ ‘Muraiki’ or Soul Media’s ‘Breeze’ come out of the trunks. In other words, the alpha, the omega and the jazzWa. Blessed nipponophiles. » content_last_edited= »on|phone » _builder_version= »4.15.1″ _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 Happy Nipponophiles. The others must be too. The 14 heterogeneous tracks collected by Yusuke Ogawa for ‘WaJazz: Japanese Jazz Spectacle vol. 1’ reset the counters. This is Japanese jazz, but also combat jazz. One of them is to definitively silence the idea that in Japan we only copy to improve and sell cheaper than in the West. Tell me, what’s your car? In jazz, the beauty is that this language has taken root, multi-spun in clubs and bars – oh splendid idea of audiophile bars – to acclimatise and collide with what Japan of cultural traditions. That’s a lot of possible and masterful openings. Anime OST, games or simply music. Yusuke Ogawa sums up the mystery without revealing anything: « When Japanese musicians play, there is something uniquely Japanese that circulates and creates a kind of synergy. It can be melody, rhythm, or even something deeper, like an inexpressible flicker ». From this unspeakable flicker, Hiroshi Suzuki‘s Nippon Columbia ‘Romance’, the New Jazz Players’ ‘Muraiki’ or Soul Media’s ‘Breeze’ come out of the trunks. In other words, the alpha, the omega and the jazzWa. Blessed nipponophiles. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.15″ global_colors_info= »{} »][et_pb_text _builder_version= »4.15.1″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Nipponophiles heureux. Les autres aussi. Les 14 titres hétérogènes collectés par Yusuke Ogawa pour WaJazz : Japanese Jazz Spectacle vol. 1, remettent le tatami au milieu du dojo. C’est du jazz nippon, mais aussi du jazz de combat. Dont celui pour faire taire définitivement cette foutue idée qu’au Japon on ne fait qu’à copier pour améliorer et vendre moins cher qu’en Occident. C’est quoi votre voiture, à vous ? En jazz, la beauté c’est que ce langage s’est ancré, multi-faufilé dans les clubs et les bars — ô splendide idée des bars audiophiles — pour s’acclimater et percuter ce que le Japon connait de traditions culturelles. Soit un bon paquet d’ouverture possibles et magistrales. OST d’animé, de jeux ou plus simplement, de la musique. Jazz, funk, noisey-free. Yusuke Ogawa résume le mystère sans rien dévoiler : « Lorsque des musiciens japonais jouent, il y a quelque chose d’uniquement japonais qui circule et qui crée une sorte de synergie. Il peut s’agir de la mélodie, du rythme, ou même de quelque chose de plus profond, comme un scintillement inexprimable ». De ce scintillement indicible, s’échappent des malles de la Nippon Columbia Romance d’Hiroshi Suzuki, Muraiki des New Jazz Players ou Breeze de Soul Media. Soit l’alpha, l’omega et le jazzWa. Bienheureux nipponophiles. [/et_pb_text][et_pb_text _builder_version= »4.15.1″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] —180g : bandcampUniversounds : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Sunrise From West Sea, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ 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= »4.9.4″ 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= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.14.9″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] YAMASH’TA & THE HORIZON, Sunrise From West Sea [/et_pb_text][et_pb_text _builder_version= »4.14.9″ 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= »{} »] réédition le 22 avril 2022 par WeWantSounds [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ 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= »4.9.4″ _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= »4.9.4″ 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= »4.9.4″ 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= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/03/yamashta23.jpg » alt= »Sunrise From West Sea de Yamash ta and The Horizon » title_text= »Sunrise From West Sea de Yamash ta and The Horizon » _builder_version= »4.14.9″ _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/2022/03/1A_SunriseFromWestSea_Part_1.mp3″ title= »Sunrise from West Sea part. 1″ artist_name= »Yamash’ta & The Horizon » album_name= »Sunrise from West Sea (1971) » _builder_version= »4.14.9″ _module_preset= »default » custom_margin= »7%||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Two faces and a dawn. Stomu Yamash’ta doesn’t need much to be happy. ‘Sunrise From West Sea is laconic’. A unique performance with multiple influences. Noh theatre, European free music, improvisation, traditional music, amongst others. Yamash’ta and The Horizon mix the Shamisen with the violin, while electrifying them, mix tempered piano with the rawest percussion. On the two improvisation tracks of the record, the Japanese percussionist, a beloved student of John Cage, drills his material and his style into the silence. The four instruments put together and in common play with the codes of jazz interplay and those of ‘in situ’ creations. Everything fits here, for these two live recordings of a set recorded live at the Yamaha Hall in Tokyo in April 1971.A magical but incomplete doc, the concert lasted all night, ‘Sunrise From West Sea’ plays with patience, the unspeakable and the unknown. Very free Stomu Yamash’ta, who will later go on to the more commercial field of OST, aims here at the purest creativity. Without noticing the passing of time. Without submitting to the expectations of those who listen. Taking them on board for a trying, strange and ultimately meditative set. Cosmic trip. » content_phone= » ENGLISH / FRANÇAIS Two faces and a dawn. Stomu Yamash’ta doesn’t need much to be happy. ‘Sunrise From West Sea is laconic’. A unique performance with multiple influences. Noh theatre, European free music, improvisation, traditional music, amongst others. Yamash’ta and The Horizon mix the Shamisen with the violin, while electrifying them, mix tempered piano with the rawest percussion. On the two improvisation tracks of the record, the Japanese percussionist, a beloved student of John Cage, drills his material and his style into the silence. The four instruments put together and in common play with the codes of jazz interplay and those of ‘in situ’ creations. Everything fits here, for these two live recordings of a set recorded live at the Yamaha Hall in Tokyo in April 1971.A magical but incomplete doc, the concert lasted all night, ‘Sunrise From West Sea’ plays with patience, the unspeakable and the unknown. Very free Stomu Yamash’ta, who will later go on to the more commercial field of OST, aims here at the purest creativity. Without noticing the passing of time. Without submitting to the expectations of those who listen. Taking them on board for a trying, strange and ultimately meditative set. Cosmic trip. » content_last_edited= »on|phone » _builder_version= »4.14.9″ _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 Two faces and a dawn. Stomu Yamash’ta doesn’t need much to be happy. ‘Sunrise From West Sea is laconic’. A unique performance with multiple influences. Noh theatre, European free music, improvisation, traditional music, amongst others. Yamash’ta and The Horizon mix the Shamisen with the violin, while electrifying them, mix tempered piano with the rawest percussion. On the two improvisation tracks of the record, the Japanese percussionist, a beloved student of John Cage, drills his material and his style into the silence. The four instruments put together and in common play with the codes of jazz interplay and those of ‘in situ’ creations. Everything fits here, for these two live recordings of a set recorded live at the Yamaha Hall in Tokyo in April 1971.A magical but incomplete doc, the concert lasted all night, ‘Sunrise From West Sea’ plays with patience, the unspeakable and the unknown. Very free Stomu Yamash’ta, who will later go on to the more commercial field of OST, aims here at the purest creativity. Without noticing the passing of time. Without submitting to the expectations of those who listen. Taking them on board for a trying, strange and ultimately meditative set. Cosmic trip. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.14.9″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Deux faces et une aurore. Il en faut peu à Stomu Yamash’ta pour être heureux. Sunrise From West Sea fait dans le laconique. Performance unique mais influences multiples. Théâtre Nô, Impro libre européenne, musique traditionnelle, par exemple. Yamash’ta et The Horizon mixe le Shamisen au violon, les électrifiant au passage, mêle le piano tempéré aux percus les plus brutes. Sur les deux plages d’impro du disque, le percussionniste japonais, rejeton adoré de John Cage fore dans le silence sa matière et sa manière. Les quatre instrus mis en présence et en commun se jouent des codes de l’interplay jazz et de ceux de la création in situ. Tout concorde ici, pour ces deux prises, sur le vif, d’un set enregistré en direct au Yamaha Hall de Tokyo en avril 1971.Doc magique mais incomplet, le concert a duré toute la nuit, Sunrise From West Sea joue avec la patience, l’indicible et l’inconnu. Très libre Stomu Yamash’ta, qui ira ensuite sur le terrain plus vendeur de l’OST, vise ici la créativité la plus pure. Sans remarquer le temps qui passe. Sans se soumettre aux attentes de ceux qui écoutent. Les embarquant pour un set éprouvant, étrange et in fine méditatif. Cosmic trip. [/et_pb_text][et_pb_text _builder_version= »4.14.9″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Yamash’ta & The Horizon : discogsWeWantSounds : site web. [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Wide Eye Culture, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ 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= »4.9.4″ 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= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.14.9″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] DAVID WERTMAN & SUN ENSEMBLE, Wide Eye Culture [/et_pb_text][et_pb_text _builder_version= »4.14.9″ 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= »{} »] réédition le 18 mars 2022 par BBE Music [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ 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= »4.9.4″ _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= »4.9.4″ 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= »4.9.4″ 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= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/03/David-Wertman.jpg » alt= »Wide Eye Culture de David Wertman » title_text= »Wide Eye Culture de David Wertman » _builder_version= »4.14.9″ _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= »4.14.9″ _module_preset= »default » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]Wide Eye Culture by David Wertman[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Double standards. David Wertman, raised by free jazz and street culture, and Lynne Meryl, a neat scat-lady. ‘Wide Eye Culture’, recorded in 1983, reissued and expanded with sound treasures here, plays with unstable balances. On the one hand, the unstoppable spirit of a double bass player, companion of Arthur Blythe and Steve Reid. On the other hand, the free singing of a no less free voice. Listen at her onomatopoeia flights as well as her love to death lyrics. The result is this wobbly but actually quite coherent record. ‘Up To The Sky’, in its forward fugue, bridges the gap between the New York Loft scene and hard-bop prowess, putting the song back on the footprints left by a Jeanne Lee, for example. ‘Flute Song’ goes for the Latino in rhythm to shake up Tim Atherton’s trombone. Trombone/double bass is David Wertman’s brilliant feat on this record. Two bass intruders to throw cosmic lyricism over land of 10.000 dances that seem to never end. It’s New York, it’s 1983, and the world is just going crazy. ‘Wide Eye Culture’ is steeped in that. Eyes wide open. Nice shot not shut. » content_phone= » ENGLISH / FRANÇAIS Double standards. David Wertman, raised by free jazz and street culture, and Lynne Meryl, a neat scat-lady. ‘Wide Eye Culture’, recorded in 1983, reissued and expanded with sound treasures here, plays with unstable balances. On the one hand, the unstoppable spirit of a double bass player, companion of Arthur Blythe and Steve Reid. On the other hand, the free singing of a no less free voice. Listen at her onomatopoeia flights as well as her love to death lyrics. The result is this wobbly but actually quite coherent record. ‘Up To The Sky’, in its forward fugue, bridges the gap between the New York Loft scene and hard-bop prowess, putting the song back on the footprints left by a Jeanne Lee, for example. ‘Flute Song’ goes for the Latino in rhythm to shake up Tim Atherton’s trombone. Trombone/double bass is David Wertman’s brilliant feat on this record. Two bass intruders to throw cosmic lyricism over land of 10.000 dances that seem to never end. It’s New York, it’s 1983, and the world is just going crazy. ‘Wide Eye Culture’ is steeped in that. Eyes wide open. Nice shot not shut. » content_last_edited= »on|phone » _builder_version= »4.14.9″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Double standards. David Wertman, raised by free jazz and street culture, and Lynne Meryl, a neat scat-lady. ‘Wide Eye Culture’, recorded in 1983, reissued and expanded with sound treasures here, plays with unstable balances. On the one hand, the unstoppable spirit of a double bass player, companion of Arthur Blythe and Steve Reid. On the other hand, the free singing of a no less free voice. Listen at her onomatopoeia flights as well as her love to death lyrics. The result is this wobbly but actually quite coherent record. ‘Up To The Sky’, in its forward fugue, bridges the gap between the New York Loft scene and hard-bop prowess, putting the song back on the footprints left by a Jeanne Lee, for example. ‘Flute Song’ goes for the Latino in rhythm to shake up Tim Atherton’s trombone. Trombone/double bass is David Wertman’s brilliant feat on this record. Two bass intruders to throw cosmic lyricism over land of 10.000 dances that seem to never end. It’s New York, it’s 1983, and the world is just going crazy. ‘Wide Eye Culture’ is steeped in that. Eyes wide open. Nice shot not shut. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.14.9″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Deux poids, deux mesures. David Wertman, élevé au free jazz et à la street culture en face de Lynne Meryl, lady scateuse au scalpel. Wide Eye Culture, gravé en 1983, réédité et augmenté de trésors sonores ici, joue avec les équilibres instables. D’un côté le spirit imparable d’un contrebassiste, compagnon d’Arthur Blythe et de Steve Reid. De l’autre, le chant libre d’une voix qui ne l’est pas moins. À l’aise avec les envolées d’onomatopées comme avec les lyrics d’amour à mort. En résulte, un disque apparemment bancal mais carrément cohérent. Up To The Sky, dans sa fugue en avant fait le lien entre la scène Loft de New-York et les prouesses hard-bop, remet le chant sur les traces de pas laissée par une Jeanne Lee, par exemple. Flute Song va chercher le latino de la rythme pour bousculer le trombone de Tim Atherton. Trombone/contrebasse, c’est la prouesse géniale de David Wertman dans ce disque. Deux intrus basses pour balancer du lyrisme cosmique sur des danses qui semblent ne jamais pouvoir finir. C’est New York, c’est 1983 et le monde s’affole tout juste. Wide Eye Culture est imprégné de cela. Les yeux ouverts. Nice shot not shut. [/et_pb_text][et_pb_text _builder_version= »4.14.9″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —David Wertman : discogsBBE Music : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
GOLD, 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= »4.18.0″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] ALABASTER DEPLUME, GOLDGo Forward in the Courage of Your Love [/et_pb_text][et_pb_text _builder_version= »4.16″ 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= »{} »] sortie le 1er avril 2022 chez 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/2022/03/Alabaster-dePlume-ALBUM-COVER.jpg » alt= »Gold de Alabaster DePlume » title_text= »Gold de Alabaster DePlume » _builder_version= »4.16″ _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= »4.16″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]GOLD – Go Forward in the Courage of Your Love by Alabaster dePlume[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Acid test. This is the sound of Albaster DePlume on ‘Gold’. Sour and pampering sax. Identical to his first record, ‘To Cy & Lee: Instrumentals Vol. 1’, also recorded at London’s Total Refreshment, ‘Gold’ has the same heady, unprecedented sweetness. We’re back for more insane advice, ‘Don’t Forget You’re Precious’, for contemporary flights of fancy in Ligeti 2.0, ‘Visitors YT15’, and Afro-miniature epics, the very SonsOfKemetien ‘Visitors XT8B’ featuring Tom Skinner or the beautiful ‘Again’. Yet again, it is magnificent. On the tightrope, with an impressive attention to detail. It’s full of explorers’ tracks, pop songs and diagonal folk ballads, intimate hymns that twist your eardrums. %22I am brazen like a baby / Like the stupid sun / And I go forward / in the courage of my Love. Courageous, certainly, bold yes, also, a lot. This is an immediate record, stubborn and prodigious in its capacity to renew itself each time you play it. LP can be left to rotate in a room or listened with attention. Alabaster DePlume will never be far away, ready to sheath his imaginary weapons. Not lethal, but no less dangerous in the long run. Sour and divinely addictive. » content_phone= » ENGLISH / FRANÇAIS Acid test. This is the sound of Albaster DePlume on ‘Gold’. Sour and pampering sax. Identical to his first record, ‘To Cy & Lee: Instrumentals Vol. 1’, also recorded at London’s Total Refreshment, ‘Gold’ has the same heady, unprecedented sweetness. We’re back for more insane advice, ‘Don’t Forget You’re Precious’, for contemporary flights of fancy in Ligeti 2.0, ‘Visitors YT15’, and Afro-miniature epics, the very SonsOfKemetien ‘Visitors XT8B’ featuring Tom Skinner or the beautiful ‘Again’. Yet again, it is magnificent. On the tightrope, with an impressive attention to detail. It’s full of explorers’ tracks, pop songs and diagonal folk ballads, intimate hymns that twist your eardrums. %22I am brazen like a baby / Like the stupid sun / And I go forward / in the courage of my Love. Courageous, certainly, bold yes, also, a lot. This is an immediate record, stubborn and prodigious in its capacity to renew itself each time you play it. LP can be left to rotate in a room or listened with attention. Alabaster DePlume will never be far away, ready to sheath his imaginary weapons. Not lethal, but no less dangerous in the long run. Sour and divinely addictive. » content_last_edited= »on|phone » _builder_version= »4.16″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Acid test. This is the sound of Albaster DePlume on ‘Gold’. Sour and pampering sax. Identical to his first record, ‘To Cy & Lee: Instrumentals Vol. 1’, also recorded at London’s Total Refreshment, ‘Gold’ has the same heady, unprecedented sweetness. We’re back for more insane advice, ‘Don’t Forget You’re Precious’, for contemporary flights of fancy in Ligeti 2.0, ‘Visitors YT15’, and Afro-miniature epics, the very SonsOfKemetien ‘Visitors XT8B’ featuring Tom Skinner or the beautiful ‘Again’. Yet again, it is magnificent. On the tightrope, with an impressive attention to detail. It’s full of explorers’ tracks, pop songs and diagonal folk ballads, intimate hymns that twist your eardrums. « I am brazen like a baby / Like the stupid sun / And I go forward / in the courage of my Love. Courageous, certainly, bold yes, also, a lot. This is an immediate record, stubborn and prodigious in its capacity to renew itself each time you play it. LP can be left to rotate in a room or listened with attention. Alabaster DePlume will never be far away, ready to sheath his imaginary weapons. Not lethal, but no less dangerous in the long run. Sour and divinely addictive. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.16″ global_colors_info= »{} »][et_pb_text _builder_version= »4.18.0″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Acid test. C’est l’épreuve que pose d’emblée le son d’Albaster DePlume sur Gold. Des tips pour le test ? Oui : sax acide et dorlotant. Formule identique à son prédécesseur, To Cy & Lee: Instrumentals Vol. 1, Gold a été enregistré lui aussi au Total Refreshment de Londres. Ce deuxième disque montre la même façon de douceur inédite et entêtante. On rempile sans peine pour une litanie de conseils insensés. Be Nice To People, tu parles… Le sous-titre est avant tout un appel magnifique et péremptoire au courage et à la sédition amoureuse : Go forward in the courage of your love. Doublé plus loin d’un Fuckin’ Let Them très précieux quant aux avis extérieurs. Précieux, ça aussi, ce Don’t Forget You’re Precious, pour des envolées contemporaines à la Ligeti 2.0. Incontournable également Visitors YT15, et des épopées afro-miniatures, ou encore Visitors XT8B, en présence de Tom Skinner, fils de Kemet, puis le très beau Again. Encore une fois, c’est magnifique. Sur la corde raide, avec un soin du détail impressionnant. Fourmillant de pistes musicales pour explorateurs, de chansons pop et de ballades folk posées en diagonales, de cantiques intimistes qui vous vrille le tympan. « I am brazen like a baby / Like the stupid sun. / And I go forward / in the courage of my Love. » Courageux, certes, audacieux oui, aussi. Beaucoup. Ce disque est immédiat, fort en tête et prodigieux dans sa capacité à se renouveler à chaque écoute. On peut le laisser tourner dans
Targala, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ 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= »4.9.4″ 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= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.14.8″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] EMMANUELLE PARRENIN,Targala une maison qui n’en est pas une [/et_pb_text][et_pb_text _builder_version= »4.14.8″ 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= »{} »] sortie le 18 mars 2022 chez Johnkôôl Records [/et_pb_text][et_pb_divider color= »#ffffff » divider_style= »dotted » divider_position= »center » _builder_version= »4.14.8″ 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= »4.9.4″ _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= »4.9.4″ 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= »4.9.4″ 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= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/03/Parrenin.jpg » alt= »Targala d’Emmanuelle Parrenin » title_text= »Targala d’Emmanuelle Parrenin » _builder_version= »4.14.8″ _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= »4.14.8″ _module_preset= »default » global_colors_info= »{} »] Johnkôôl records · EMMANUELLE PARRENIN – La Rêvelinière [/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Shelter. In the last few weeks, privatised by Raging Vlad, shelter is an as prudent as it is reassuring thing. But in ‘Targala’, Emmanuelle Parrenin shelters us elsewhere. And, joyful paradox, in open air. The musician has been free since 1978 and her cult album ‘Maison Rose’, adored by listeners then and diggers now. Parrenin is free to let the psyche penetrate the ether of her compositions/improvisations, to let her voice float in the open seas of her invented landscapes. With ‘Targala’, the small musical real estate company is cleaning up its facades. It is a %22house that is not a house%22. The walls move forward, thought irrigates each room. This new album has a triple price. Now you know that one can be rare without forgetting the course of time, that a One-Woman-Band is not just a cheesy version of a One-Man-Band and that you will have missed Emmanuelle Parrenin, probably without knowing it. ‘Targala’ delivers its legends and epics with the necessary freshness, with the useful slowness. The detours made in the company of Quentin Rollet, lover of Rectangle and Bisou, are a perfect example. Everything before, everything floats, everything fits together. And it all works together to hit the cerebellum with an infinite and terribly lucid tenderness. A strong beauty. » content_phone= » ENGLISH / FRANÇAIS Shelter. In the last few weeks, privatised by Raging Vlad, shelter is an as prudent as it is reassuring thing. But in ‘Targala’, Emmanuelle Parrenin shelters us elsewhere. And, joyful paradox, in open air. The musician has been free since 1978 and her cult album ‘Maison Rose’, adored by listeners then and diggers now. Parrenin is free to let the psyche penetrate the ether of her compositions/improvisations, to let her voice float in the open seas of her invented landscapes. With ‘Targala’, the small musical real estate company is cleaning up its facades. It is a %22house that is not a house%22. The walls move forward, thought irrigates each room. This new album has a triple price. Now you know that one can be rare without forgetting the course of time, that a One-Woman-Band is not just a cheesy version of a One-Man-Band and that you will have missed Emmanuelle Parrenin, probably without knowing it. ‘Targala’ delivers its legends and epics with the necessary freshness, with the useful slowness. The detours made in the company of Quentin Rollet, lover of Rectangle and Bisou, are a perfect example. Everything before, everything floats, everything fits together. And it all works together to hit the cerebellum with an infinite and terribly lucid tenderness. A strong beauty. » content_last_edited= »on|phone » _builder_version= »4.14.8″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Shelter. In the last few weeks, privatised by Raging Vlad, shelter is an as prudent as it is reassuring thing. But in ‘Targala’, Emmanuelle Parrenin shelters us elsewhere. And, joyful paradox, in open air. The musician has been free since 1978 and her cult album ‘Maison Rose’, adored by listeners then and diggers now. Parrenin is free to let the psyche penetrate the ether of her compositions/improvisations, to let her voice float in the open seas of her invented landscapes. With ‘Targala’, the small musical real estate company is cleaning up its facades. It is a « house that is not a house ». The walls move forward, thought irrigates each room. This new album has a triple price. Now you know that one can be rare without forgetting the course of time, that a One-Woman-Band is not just a cheesy version of a One-Man-Band and that you will have missed Emmanuelle Parrenin, probably without knowing it. ‘Targala’ delivers its legends and epics with the necessary freshness, with the useful slowness. The detours made in the company of Quentin Rollet, lover of Rectangle and Bisou, are a perfect example. Everything before, everything floats, everything fits together. And it all works together to hit the cerebellum with an infinite and terribly lucid tenderness. A strong beauty. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.14.8″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] À l’abri. Au fil des dernières semaines, privatisées par Vlad la Rage, c’est aussi prudent que rassérénant, un abri. Mais dans Targala, Emmanuelle Parrenin nous abrite encore ailleurs. Et, joyeux paradoxe, à l’air libre. Libre, la musicienne l’est depuis 1978 et le culte Maison Rose, prisé des auditeurs d’alors et des diggers d’aujourd’hui. Libre de laisser pénétrer le psyché dans l’éther de ses compositions et improvisations, de laisser flotter sa voix au large de ses paysages inventés. Avec Targala, la petite entreprise immobilo-musicale ravale ses façades. C’est une « maison qui n’en est pas une ». Les murs avancent avec vous, la pensée irrigue chacune des pièces. Ces retrouvailles ont un triple prix. Elles montrent qu’on peut être rare sans oublier le cours du temps, qu’un One-Woman-Band n’est pas qu’une version meuf du One-Man-Band et qu’Emmanuelle Parrenin, sans doute sans le savoir, nous aura beaucoup manqué. Targala livre ses légendes et ses épopées avec la fraîcheur nécessaire, avec la lenteur utile. Les détours faits en compagnie de Quentin Rollet, amateur de Rectangle et de Bisou, en sont un exemple parfait. Tout avance, tout flotte, tout concorde. Et concourt à percuter le cervelet avec une tendresse infinie et terriblement lucide. Magnifique disque. [/et_pb_text][et_pb_text _builder_version= »4.14.8″
Step Down, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ 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= »4.9.4″ 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= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.14.8″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] SURE FIRE SOUL ENSEMBLE,Step Down [/et_pb_text][et_pb_text _builder_version= »4.14.8″ 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= »{} »] sortie le 1er avril 2022 chez Colemine Records [/et_pb_text][et_pb_divider color= »#ffffff » divider_style= »dotted » divider_position= »center » _builder_version= »4.14.8″ 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= »4.9.4″ _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= »4.9.4″ 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= »4.9.4″ 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= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2022/03/Surefire-Soul-Ensemble.jpg » alt= »Sure Fire Soul Ensemble » title_text= »Sure Fire Soul Ensemble » _builder_version= »4.14.8″ _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/2022/03/The-Sure-Fire-Soul-Ensemble-The-Other-Side-OFFICIAL-AUDIO.mp3″ title= »The Other Side » artist_name= »The Sure Fire Soul Ensemble » album_name= »Step Down (2022) » _builder_version= »4.14.8″ _module_preset= »default » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Step Down, heads up! Times are accelerating full steam but it is urgent to know how to slow down. These 10 tracks from the Californian Sure Fire Soul Ensemble show one way. Palm trees, elbow to the door, shimmin’ into the 6th speed. Full horizon. Yep, but that horizon could be sneaky. The SFSE carries a bunch of the world’s woes that should be best kept in a box at Pandora’s. Covid, Trump, the assassination of George Floyd and the invasion of the Capitol, there’s more sunshine for inspiration. Yes, but you’d have to go dreaming on Mars. This is Earth and SFSE is rooted in a soulful funk that tugs at the edges between El Michels Affair and Getatchew Mekurya’s ethiojazz. It’s smart and well done. The sound is collective, clean and clear. But not transparent. No anxiety claimed here. ‘Omnificent’ does the job with its quiet little groove and ‘Love Age’ will barely shake the ice in your Spritz. This record acts elsewhere. In the pleasure of listening, of breathing away from the world’s business. No reason to deny what is happening. But no reason to wallow in the darkness. ‘Step Down’ is a little corner of blue sky, quite exquisite one. » content_phone= » ENGLISH / FRANÇAIS Step Down, heads up! Times are accelerating full steam but it is urgent to know how to slow down. These 10 tracks from the Californian Sure Fire Soul Ensemble show one way. Palm trees, elbow to the door, shimmin’ into the 6th speed. Full horizon. Yep, but that horizon could be sneaky. The SFSE carries a bunch of the world’s woes that should be best kept in a box at Pandora’s. Covid, Trump, the assassination of George Floyd and the invasion of the Capitol, there’s more sunshine for inspiration. Yes, but you’d have to go dreaming on Mars. This is Earth and SFSE is rooted in a soulful funk that tugs at the edges between El Michels Affair and Getatchew Mekurya’s ethiojazz. It’s smart and well done. The sound is collective, clean and clear. But not transparent. No anxiety claimed here. ‘Omnificent’ does the job with its quiet little groove and ‘Love Age’ will barely shake the ice in your Spritz. This record acts elsewhere. In the pleasure of listening, of breathing away from the world’s business. No reason to deny what is happening. But no reason to wallow in the darkness. ‘Step Down’ is a little corner of blue sky, quite exquisite one. » content_last_edited= »on|phone » _builder_version= »4.14.8″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Step Down, heads up! Times are accelerating full steam but it is urgent to know how to slow down. These 10 tracks from the Californian Sure Fire Soul Ensemble show one way. Palm trees, elbow to the door, shimmin’ into the 6th speed. Full horizon. Yep, but that horizon could be sneaky. The SFSE carries a bunch of the world’s woes that should be best kept in a box at Pandora’s. Covid, Trump, the assassination of George Floyd and the invasion of the Capitol, there’s more sunshine for inspiration. Yes, but you’d have to go dreaming on Mars. This is Earth and SFSE is rooted in a soulful funk that tugs at the edges between El Michels Affair and Getatchew Mekurya’s ethiojazz. It’s smart and well done. The sound is collective, clean and clear. But not transparent. No anxiety claimed here. ‘Omnificent’ does the job with its quiet little groove and ‘Love Age’ will barely shake the ice in your Spritz. This record acts elsewhere. In the pleasure of listening, of breathing away from the world’s business. No reason to deny what is happening. But no reason to wallow in the darkness. ‘Step Down’ is a little corner of blue sky, quite exquisite one. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.14.8″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Step Down, heads up! L’époque accélère plein gaz et il est urgent de savoir ralentir. Ces 10 titres des californiens du Sure Fire Soul Ensemble montrent la voie. Palmiers, coude à la portière, calés sur la 6ème auto. Plein horizon. Yep, mais cet horizon est trompeur. Le SFSE embarque sous son capot un paquet de malheurs du monde qui seraient mieux enfermés dans une boîte chez Pandore. Covid, Trump, assassinat de George Floyd et invasion du Capitole, y’a plus solaires comme inspis. Oui mais il faudrait aller rêver sur Mars. Ici, c’est la Terre et le SFSE s’enracine dans une funk soul qui tire des bords entre El Michels Affair et l’éthiojazz de Getatchew Mekurya. C’est smart et bien foutu. Le son est collectif, propre et clair. Mais pas transparent. Aucune inquiétude revendiquée ici. Omnificent fait le taff de son petit groove tranquille et Love Age fera à peine trembler les glaçon de votre Spritz. Ce disque agit ailleurs. Dans le plaisir d’une écoute, d’une respiration à l’abri des sales affaires du monde. Aucune raison de nier ce qui se passe. Mais aucune raison de se complaire dans la noirceur. Step Down est un petit coin de ciel bleu, tout à fait canon. [/et_pb_text][et_pb_text _builder_version= »4.14.8″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Colemine Records : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
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