loving Highsmith, 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= »{} »] NOEL AKCHOTE,Loving Highsmith [/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 4 mars 2022 chez Ayler Records [/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/cover.jpg » alt= »Loving Highsmith de Noel Akchote » title_text= »Loving Highsmith de Noel Akchote » _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= »{} »]#Loving_Highsmith (Teaser) by Noël Akchoté[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Stronger than the ‘Messiah’. Expected was this record, ‘Loving Highsmith’, expected after the baroque and renaissance covers by Noël Akchoté skimmed on Bandcamp. And the epiphany came from a detective story. Well, almost, the truth is always better to be more complex than appearances. And behind the shimmering, it is the director Eva Vitija who holds the thread.‘Loving Highsmith’, the film, based on the personal writings of Patricia Highsmith and on some testimonies, seeks the truth about the lovers, the loves and the life of the author of thrillers. Akchoté composes the music for the film. Collects Cole Porter, Sinatra or Mancini, among others, winks at Sarah Murcia and embarks two other guitars held by Mary Halvorson and Bill Frisell on several tracks. The result is complex but limpid. Of a reassuring limpidity, almost naive, not seeking to maltreat nor to assert but to reveal. It is the foundation of Noël Akchoté’s game for a couple of years now, to clarify the music he plays. To take detours, to ‘detune’ the songs towards another light, a brilliant otherness where the spirit, far from warming up, lights up. Durably. » content_phone= » ENGLISH / FRANÇAIS Stronger than the ‘Messiah’. Expected was this record, ‘Loving Highsmith’, expected after the baroque and renaissance covers by Noël Akchoté skimmed on Bandcamp. And the epiphany came from a detective story. Well, almost, the truth is always better to be more complex than appearances. And behind the shimmering, it is the director Eva Vitija who holds the thread.‘Loving Highsmith’, the film, based on the personal writings of Patricia Highsmith and on some testimonies, seeks the truth about the lovers, the loves and the life of the author of thrillers. Akchoté composes the music for the film. Collects Cole Porter, Sinatra or Mancini, among others, winks at Sarah Murcia and embarks two other guitars held by Mary Halvorson and Bill Frisell on several tracks. The result is complex but limpid. Of a reassuring limpidity, almost naive, not seeking to maltreat nor to assert but to reveal. It is the foundation of Noël Akchoté’s game for a couple of years now, to clarify the music he plays. To take detours, to ‘detune’ the songs towards another light, a brilliant otherness where the spirit, far from warming up, lights up. Durably. » 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 Stronger than the ‘Messiah’. Expected was this record, ‘Loving Highsmith’, expected after the baroque and renaissance covers by Noël Akchoté skimmed on Bandcamp. And the epiphany came from a detective story. Well, almost, the truth is always better to be more complex than appearances. And behind the shimmering, it is the director Eva Vitija who holds the thread.‘Loving Highsmith’, the film, based on the personal writings of Patricia Highsmith and on some testimonies, seeks the truth about the lovers, the loves and the life of the author of thrillers. Akchoté composes the music for the film. Collects Cole Porter, Sinatra or Mancini, among others, winks at Sarah Murcia and embarks two other guitars held by Mary Halvorson and Bill Frisell on several tracks. The result is complex but limpid. Of a reassuring limpidity, almost naive, not seeking to maltreat nor to assert but to reveal. It is the foundation of Noël Akchoté’s game for a couple of years now, to clarify the music he plays. To take detours, to ‘detune’ the songs towards another light, a brilliant otherness where the spirit, far from warming up, lights up. Durably. [/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= »{} »] Plus fort que le Messie. Attendu il l’était ce disque, Loving Highsmith, attendu après les reprises baroques et renaissance écumées par Noël Akchoté sur Bandcamp. Et l’épiphanie vint d’un smoking gun, d’un McGuffin, d’un polar. Enfin, presque, la vérité a toujours intérêt à être plus complexe que les apparences. Et derrière les miroitements, c’est la réalisatrice Eva Vitija qui tient le fil. Le film. Loving Highsmith, calé sur les écrits persos de Patricia Highsmith et sur quelques témoignages cherche la vérité des amantes, des amours et de la vie de l’auteure de thrillers. Akchoté compose la musique du film. Collecte chez Cole Porter, Sinatra ou Mancini, entre autres, cligne de l’œil à Sarah Murcia et embarque deux autres guitares, tenues par Mary Halvorson et Bill Frisell sur plusieurs titres. Le résultat est complexe mais limpide. D’une limpidité rassérénante, presque naïve, ne cherchant ni à malmener ni à asséner mais à révéler. C’est le fondement du jeu de Noël Akchoté depuis une paire d’année maintenant, d’éclaircir la musique qu’il joue. De prendre des détours, de ‘détuner’ les songs vers une autre lumière, une altérité géniale où l’esprit loin de s’échauffer, s’illumine. Durablement. [/et_pb_text][et_pb_text _builder_version= »4.14.8″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] —Ayler Records : Bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Back To heaven, 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= »{} »] Orchestre FRANCK TORTILLER,Back To Heaven [/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 11 mars 2022 chez MCO [/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/led-zeppelin-en-version-jazz-rock-avec-franck-tortiller-d-r-1644170145.jpg » alt= »Back To Heaven de Orchestre Franck Tortiller » title_text= »Back To Heaven de Orchestre Franck Tortiller » _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_video src= »https://youtu.be/a2hQVcIPG1M » _builder_version= »4.14.8″ _module_preset= »default » global_colors_info= »{} »][/et_pb_video][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Back To Heaven. One way ticket to pleasure. Some slaps leave true traces. The one that Franck Tortiller received while listening to Led Zeppelin must have been quite a blow. The pain seems still vivid enough to go back, with full orchestra in the stairway to the Zep’. Same commitment, same line-up as the first album, refreshed here by the presence of Olga Amelchenko on alto/soprano and Gabrielle Rachel on trombone. Enough to green up the hunt for the rockin’ sperm whale. Enough to acidify it. Enough to renew it, no repetitions at all. Moby finds a reduced format and ballads as ‘The Battle Of Evermore’ or ‘Nobody’s Fault’ take some saving vernacular in the wing. It is beautiful, simple and unstoppable. The trap of clichés was however wide open but Tortiller’s melodic obsession is strong enough to straddle it by avoiding the holes of the kitsch, by retracting the pothole of the deference. Here remains the music and the space inhabited by the orchestra, not its joyful forgeries on ‘Emigrant’, its escalations on ‘Dazed And Confused’. Perfectly clear, this says the objective of this like back. The pleasure immediate enough to want to go back. 10 times, 20 times, 100 times. » content_phone= » ENGLISH / FRANÇAIS Back To Heaven. One way ticket to pleasure. Some slaps leave true traces. The one that Franck Tortiller received while listening to Led Zeppelin must have been quite a blow. The pain seems still vivid enough to go back, with full orchestra in the stairway to the Zep’. Same commitment, same line-up as the first album, refreshed here by the presence of Olga Amelchenko on alto/soprano and Gabrielle Rachel on trombone. Enough to green up the hunt for the rockin’ sperm whale. Enough to acidify it. Enough to renew it, no repetitions at all. Moby finds a reduced format and ballads as ‘The Battle Of Evermore’ or ‘Nobody’s Fault’ take some saving vernacular in the wing. It is beautiful, simple and unstoppable. The trap of clichés was however wide open but Tortiller’s melodic obsession is strong enough to straddle it by avoiding the holes of the kitsch, by retracting the pothole of the deference. Here remains the music and the space inhabited by the orchestra, not its joyful forgeries on ‘Emigrant’, its escalations on ‘Dazed And Confused’. Perfectly clear, this says the objective of this like back. The pleasure immediate enough to want to go back. 10 times, 20 times, 100 times. » 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 Back To Heaven. One way ticket to pleasure. Some slaps leave true traces. The one that Franck Tortiller received while listening to Led Zeppelin must have been quite a blow. The pain seems still vivid enough to go back, with full orchestra in the stairway to the Zep’. Same commitment, same line-up as the first album, refreshed here by the presence of Olga Amelchenko on alto/soprano and Gabrielle Rachel on trombone. Enough to green up the hunt for the rockin’ sperm whale. Enough to acidify it. Enough to renew it, no repetitions at all. Moby finds a reduced format and ballads as ‘The Battle Of Evermore’ or ‘Nobody’s Fault’ take some saving vernacular in the wing. It is beautiful, simple and unstoppable. The trap of clichés was however wide open but Tortiller’s melodic obsession is strong enough to straddle it by avoiding the holes of the kitsch, by retracting the pothole of the deference. Here remains the music and the space inhabited by the orchestra, not its joyful forgeries on ‘Emigrant’, its escalations on ‘Dazed And Confused’. Perfectly clear, this says the objective of this like back. The pleasure immediate enough to want to go back. 10 times, 20 times, 100 times. [/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″] Back To Heaven. Sans ticket de retour de réservé. Aller simple vers le plaisir. Il y a des baffes qui laissent plus de traces que d’autres. Celle qu’a reçu Franck Tortiller à l’écoute de Led zeppelin a dû être hénaurme. Les traces de doigts sont encore suffisamment fraîches pour il retourne, de plein orchestre, dans la cage d’escalier du Zep’. Même engagement, même line-up que le premier disque, rafraîchi de la présence d’Olga Amelchenko à l’alto/soprano et de Gabrielle Rachel au trombone. De quoi reverdir la chasse au cachalot du rock. De quoi l’acidifier suffisamment pour la renouveler, exit les redites. Moby trouve un format réduit et des ballades comme The Battle Of Evermore ou Nobody’s Fault prennent du vernaculaire salvateur dans l’aile. C’est beau, simple et imparable. Le piège à clichés était pourtant large ouvert mais l’obsession mélodique de Tortiller suffit à l’enjamber en évitant l’ornière du kitsch, en escamotant le nid-de-poule de la déférence. Subsistent la musique et l’espace habité par l’orchestre, pas ses forfanteries joyeuses sur Emigrant, ses escalades sur Dazed And Confused. Parfaitement clair, ceci dit l’objectif de ce comme back. Le plaisir suffisamment immédiat pour avoir envie d’y retourner. 10 fois, 20 fois, 100 fois. [/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= »{} »] —Franck Tortiller : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
23, chronique
Texas Moon, 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= »{} »] KHRUANGBIN & LEON BRIDGES,Texas Moon [/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 février 2022 chez Dead Oceans [/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/2022/02/a1676501094_10_1_4f3a52cb-70d8-459f-a136-5d1fe6e4749d_1024x.jpg » alt= »Texas Moon de Khruangbin et Leon Bridges » title_text= »Texas Moon de Khruangbin et Leon Bridges » _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 » custom_margin= »4em||||false|false » global_colors_info= »{} »]Texas Moon by Khruangbin[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS What the heck is Texas ? Country? Rodeo ? A Scottish pop-rock band? Yes, but not only. It’s also the homeland of Khruangbin and Leon Bridges. Here we have a trio that was kicking ass in 2020 with ‘Mordechai’ and his Spanish, Thai funk and zouk influences. Here we have a neo-soul voice with a gospel background, too. Stylish. Both join forces and release 2 EPs. In 2020, it was ‘Texas Sun’ to listen to on a road trip under the burning sun, completely funk and deliciously groovy. In 2022, let’s go into night mode with ‘Texas Moon’. Here, it’s 5 sounds to listen to at dusk around a campfire. Less groovy than ‘Sun’ but pretty chillful. ‘Doris’, the first track, sounds fabulously melancholic. Bridges’ voice dives into his memories with sweetness: %22Don’t you leave, don’t you go, Doris%22, delicately dedicated to his granny. Laura Lee’s bass crackles lightens up some sparkles on ‘Chocolate Hills’. Smooth and totally hot before Donald Johnson sets the mood on ‘Mariella’. His drums shimmer and light up the sound. Real pleasure, extended pleasure with Mark Speer’s guitar. It quivered under his fingers to marry the words of Leon Bridges on ‘Father Father’. Tender and wonderfully sweet. It makes you want to drive away and build some campfire. In Texas. » content_phone= » ENGLISH / FRANÇAIS What the heck is Texas ? Country? Rodeo ? A Scottish pop-rock band? Yes, but not only. It’s also the homeland of Khruangbin and Leon Bridges. Here we have a trio that was kicking ass in 2020 with ‘Mordechai’ and his Spanish, Thai funk and zouk influences. Here we have a neo-soul voice with a gospel background, too. Stylish. Both join forces and release 2 EPs. In 2020, it was ‘Texas Sun’ to listen to on a road trip under the burning sun, completely funk and deliciously groovy. In 2022, let’s go into night mode with ‘Texas Moon’. Here, it’s 5 sounds to listen to at dusk around a campfire. Less groovy than ‘Sun’ but pretty chillful. ‘Doris’, the first track, sounds fabulously melancholic. Bridges’ voice dives into his memories with sweetness: %22Don’t you leave, don’t you go, Doris%22, delicately dedicated to his granny. Laura Lee’s bass crackles lightens up some sparkles on ‘Chocolate Hills’. Smooth and totally hot before Donald Johnson sets the mood on ‘Mariella’. His drums shimmer and light up the sound. Real pleasure, extended pleasure with Mark Speer’s guitar. It quivered under his fingers to marry the words of Leon Bridges on ‘Father Father’. Tender and wonderfully sweet. It makes you want to drive away and build some campfire. In Texas. » 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 » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] ENGLISH What the heck is Texas ? Country? Rodeo ? A Scottish pop-rock band? Yes, but not only. It’s also the homeland of Khruangbin and Leon Bridges. Here we have a trio that was kicking ass in 2020 with ‘Mordechai’ and his Spanish, Thai funk and zouk influences. Here we have a neo-soul voice with a gospel background, too. Stylish. Both join forces and release 2 EPs. In 2020, it was ‘Texas Sun’ to listen to on a road trip under the burning sun, completely funk and deliciously groovy. In 2022, let’s go into night mode with ‘Texas Moon’. Here, it’s 5 sounds to listen to at dusk around a campfire. Less groovy than ‘Sun’ but pretty chillful. ‘Doris’, the first track, sounds fabulously melancholic. Bridges’ voice dives into his memories with sweetness: « Don’t you leave, don’t you go, Doris », delicately dedicated to his granny. Laura Lee’s bass crackles lightens up some sparkles on ‘Chocolate Hills’. Smooth and totally hot before Donald Johnson sets the mood on ‘Mariella’. His drums shimmer and light up the sound. Real pleasure, extended pleasure with Mark Speer’s guitar. It quivered under his fingers to marry the words of Leon Bridges on ‘Father Father’. Tender and wonderfully sweet. It makes you want to drive away and build some campfire. In Texas. [/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= »{} »] —Texas Sun : BandcampKhruangbin : site internetLeon Bridges : site internet [/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″] What the heck is Texas ? Country ? Rodéo ? Un groupe écossais pop-rock ? Oui, mais pas que. C’est aussi la homeland de Khruangbin et Leon Bridges. Soit un trio qui défonçait tout en 2020 avec Mordechai et ses inspis espagnoles, thaï funk et zouk. Soit une voix de la néo-soul fan de gospel. Stylé. Les deux réunissent leurs forces sudistes et sortent 2 EP. En 2020, c’était Texas Sun. 4 sons à écouter en road trip sous le soleil brûlant, complètement funk et délicieusement groove. En 2022, on passe en mode nuit avec Texas Moon. Là, c’est 5 sons à écouter au crépuscule autour d’un feu. Beaucoup moins groove que le Sun mais totalement chill. Doris, premier track, sonne fabuleusement mélancolique. La voix de Bridges plonge dans ses souvenirs avec douceur : « Don’t you leave, don’t you go, Doris », délicatement prononcé pour sa granny. La basse de Laura Lee crépite comme la braise sur Chocolate Hills. Smooth et complètement hot avant que Donald Johnson pose le mood sur Mariella. Sa batterie scintille et illumine le son. Plaisir réel, plaisir
Logique Part.3, chronique
Klinkhamer records, chronique
At the room 427, 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= »4.14.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] KOICHI MATSUKAZE trio,At The Room 427 [/et_pb_text][et_pb_text _builder_version= »4.14.7″ 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 21 janvier 2022 chez BBE Records [/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/2022/02/BBE588_cover.jpg » alt= »At The Room 427 du Koichi Matsukaze trio » title_text= »At The Room 427 du Koichi Matsukaze trio » _builder_version= »4.14.7″ _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= »4.14.7″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]At The Room 427 by Koichi Matsukaze Trio feat Ryojiro Furusawa[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Since the 80’s, there has been a lot of wrinting on the power of copying made in Japan. At first it was a laughing matter, then it was a bit of a freak-out in the globalized economy. Flip Flip. But that was without taking into account the respect for the heritage and history of the Japanese. Jazz has always been happy about it. Proof again with ‘At the Room 427’ by Koichi Matsukaze Trio. For the label, let’s arrange something like power-postbop-modalo-free. That will keep two or three of them busy. For the others, the sound of the trio, joined by Ryojiro Furusawa, remains an example of fleshy pleasure. Check out the sound of the double bass that opens ‘Acoustic Chicken’. Monstrous, deep and enchanting. Improv, Coltrane and Dolphy as figureheads but above all a verve already declined in quite a few releases of the J Jazz Masterclass series from BBE. This shot comes directly from 1976. At a time when the world was floating on disco and jazz-funk, the sun was rising on the Japanese avant-garde and the antics of saxophonist Koichi Yamazaki. Free ones and unleashed, too. Everything is perfect in this record. Right up to the energetic cover of ‘Lover Man’, cuddled between other places and other times by Billie Holiday. The lover with the silhouette of Archie Shepp, broken and blinkin’. Otherwise, the Room 427, it is the place where Matsukaze recorded this raw and powerful burn. Without copy, without equal. » content_phone= » ENGLISH / FRANÇAIS Since the 80’s, there has been a lot of wrinting on the power of copying made in Japan. At first it was a laughing matter, then it was a bit of a freak-out in the globalized economy. Flip Flip. But that was without taking into account the respect for the heritage and history of the Japanese. Jazz has always been happy about it. Proof again with ‘At the Room 427’ by Koichi Matsukaze Trio. For the label, let’s arrange something like power-postbop-modalo-free. That will keep two or three of them busy. For the others, the sound of the trio, joined by Ryojiro Furusawa, remains an example of fleshy pleasure. Check out the sound of the double bass that opens ‘Acoustic Chicken’. Monstrous, deep and enchanting. Improv, Coltrane and Dolphy as figureheads but above all a verve already declined in quite a few releases of the J Jazz Masterclass series from BBE. This shot comes directly from 1976. At a time when the world was floating on disco and jazz-funk, the sun was rising on the Japanese avant-garde and the antics of saxophonist Koichi Yamazaki. Free ones and unleashed, too. Everything is perfect in this record. Right up to the energetic cover of ‘Lover Man’, cuddled between other places and other times by Billie Holiday. The lover with the silhouette of Archie Shepp, broken and blinkin’. Otherwise, the Room 427, it is the place where Matsukaze recorded this raw and powerful burn. Without copy, without equal. » content_last_edited= »on|phone » _builder_version= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Since the 80’s, there has been a lot of wrinting on the power of copying made in Japan. At first it was a laughing matter, then it was a bit of a freak-out in the globalized economy. Flip Flip. But that was without taking into account the respect for the heritage and history of the Japanese. Jazz has always been happy about it. Proof again with ‘At the Room 427’ by Koichi Matsukaze Trio. For the label, let’s arrange something like power-postbop-modalo-free. That will keep two or three of them busy. For the others, the sound of the trio, joined by Ryojiro Furusawa, remains an example of fleshy pleasure. Check out the sound of the double bass that opens ‘Acoustic Chicken’. Monstrous, deep and enchanting. Improv, Coltrane and Dolphy as figureheads but above all a verve already declined in quite a few releases of the J Jazz Masterclass series from BBE. This shot comes directly from 1976. At a time when the world was floating on disco and jazz-funk, the sun was rising on the Japanese avant-garde and the antics of saxophonist Koichi Yamazaki. Free ones and unleashed, too. Everything is perfect in this record. Right up to the energetic cover of ‘Lover Man’, cuddled between other places and other times by Billie Holiday. The lover with the silhouette of Archie Shepp, broken and blinkin’. Otherwise, the Room 427, it is the place where Matsukaze recorded this raw and powerful burn. Without copy, without equal. [/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= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Depuis les années 80, il y a eu un paquet de littérature sur le pouvoir de copie made in Japan. Ça ricanait au début, puis ça flippait un peu sur les marchés de l’éco globalisée. Flip Flip. C’était sans compter le respect de l’héritage et l’histoire chez les nippons. Le jazz s’en est toujours trouvé heureux. Preuve encore avec At the Room 427 du Koichi Matsukaze Trio. Pour l’étiquette, arrangeons un truc du genre power-postbop-modalo-free. Ça en occupera deux ou trois. Pour les autres, le son du trio, rejoint par Ryojiro Furusawa, reste un exemple de plaisir charnu.
Dyskusja, chronique
Mentors, chronique
The Biggest Steps, 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= »4.14.7″ 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″] GAUTHIER TOUX,The Biggest Steps [/et_pb_text][et_pb_text _builder_version= »4.14.7″ 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″] sortie le 17 mars 2022 chez Kyudo Records [/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/2022/02/Gauthier-Toux-Trio_The-Biggest-Steps-cover.jpg » alt= »The Biggest Steps de Gauthier Toux Trio » title_text= »The Biggest Steps de Gauthier Toux Trio » _builder_version= »4.14.7″ _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= »4.14.7″ _module_preset= »default » custom_margin= »4em||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″]The Biggest Steps by Gauthier Toux[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Yellower Vol.1. More color et more noise for Emma-Jean Thackray and her new EP featuring three live versions of her latest album, Yellow. It’s spiritual. Transporting. And as usual beautifully orchestrated with Lyle Barton, Matt Gedrych, Ben Kelly and Dougal Taylor. Orchestrated is the right word. First radiation on Say Something with its ascending spiral based on a pop structure and chunks of disco house. This mix of instrumental fusion and melodic chorus makes both body and mind palpitate. Did you say something? Well now Show us your mind. Open your mind and find your voice in a free register above all and resplendent. Without nuance for Emma-Jean? And this palette is not only composed of yellow. The landscape is bright and green, especially on Golden Green, with its hip-hop atmosphere and 70’s synths. This green and gold tinted world plunges directly into the cosmic depths of Our People and brings to the surface a unifying message: it is good to exist and to share. As naive and utopian as it may sound, this breath of hope is damn right useful. We are all our people. » content_phone= » ENGLISH / FRANÇAIS Yellower Vol.1. More color et more noise for Emma-Jean Thackray and her new EP featuring three live versions of her latest album, Yellow. It’s spiritual. Transporting. And as usual beautifully orchestrated with Lyle Barton, Matt Gedrych, Ben Kelly and Dougal Taylor. Orchestrated is the right word. First radiation on Say Something with its ascending spiral based on a pop structure and chunks of disco house. This mix of instrumental fusion and melodic chorus makes both body and mind palpitate. Did you say something? Well now Show us your mind. Open your mind and find your voice in a free register above all and resplendent. Without nuance for Emma-Jean? And this palette is not only composed of yellow. The landscape is bright and green, especially on Golden Green, with its hip-hop atmosphere and 70’s synths. This green and gold tinted world plunges directly into the cosmic depths of Our People and brings to the surface a unifying message: it is good to exist and to share. As naive and utopian as it may sound, this breath of hope is damn right useful. We are all our people. » content_last_edited= »on|phone » _builder_version= »4.14.7″ _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 Classic shit. Piano, drum’n’bass. Classic shit. Muscular left hand and finesse on the right one. Here is The Biggest Steps. Here is the Gauthier Toux trio. Ascensions and ancestry, reunited with a prodigious care. Classic. But vivid. Devilishly and divinely. You can see that on the glances of influences, one sees easily an E.S.T. floating on A Secret Place or on Twelve, or on the intimate confessions, pointillist introspection, always on Twelve. Here Precise intranquillity is master on board. In the final pounding of the eponymous track, full of an explosion of phases and colors. In the curves of Roads, where dust and poppy wiggles fly. And also, in the classy recovery of McCartney’s Jenny Wren, a deferential and friendly cover. Simon Tailleu debates there in incredible power of refining, and Maxence Sibille plays the sticks as others play the serp. Precision there too. And Gauthier Toux, point of a triangle, in the end squarely equilateral, advances with a musicality – rejoicing Turning Around – which should be able to sounds in clubs as in stadiums, as some kinda shoegazing jazz. This is open and curious. Ready to throw out secrets and pleasure. Classic shit. [/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= »4.14.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Classic shit. Piano, basse, batt’. Classic shit. Main gauche musculeuse et finesse à droite. Voilà The Biggest Steps. Voici le Gauthier Toux trio. Ascensions et ascendance, réunies dans un soin prodigieux. Classique. Mais revivifié. Diablement et divinement. Que ce soit sur les œillades d’influences, on aperçoit facile un E.S.T. flotter sur A Secret Place ou sur Twelve, ou que ce soit sur les confessions intimes, introspection pointilliste, toujours sur Twelve, l’intranquillité précise est maitresse à bord de ce disque. Dans les martèlements finaux du titre éponyme, plein d’une explosion de phases et de couleurs. Dans les sillons de Roads, où volent poussière et déhanchés poppy. Et aussi, dans la récup’ classe du Jenny Wren de McCartney, reprise déférente et amicale. Simon Tailleu, largement apprécié dans le Mélusine de Vincent Girard, y débat en puissance d’affinage incroyable, et Maxence Sibille joue des balais comme d’autres jouent de la serpe. Précision là aussi. Et Gauthier Toux, pointe d’un triangle, au final carrément équilatéral, avance avec une musicalité — ô joie de Turning Around — qui devrait pouvoir se frotter aux clubs comme aux stadiums. Ce trio invente une forme de jazz shoegaze. Un jazz ouvert et curieux. Prêt à balancer du son, des secrets et du plaisir. Classic shit. [/et_pb_text][et_pb_text _builder_version= »4.14.7″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] —Gauthier Toux : Interview PointBreakKyudo Records :Bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]