Pensées Rotatives, 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= »4.11.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] THÉO GIRARD, Pensées Rotatives [/et_pb_text][et_pb_text _builder_version= »4.11.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sortie le 5 novembre 2021 par Discobole 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/2021/10/TheoGirardPenseeRotatives.jpg » alt= »Pensées Rotatives de Théo Girard » title_text= »Pensées Rotatives de Théo Girard » _builder_version= »4.11.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.11.4″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]Pensées Rotatives by Théo Girard[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Seven times ya tongue, let it swirl in ya mouth. And the thoughts that go with it, too. Better, wiser, more reasonable. But the reason, Théo Girard seems to have any care if we judge with the tympanum. 12 blowers to encircle his nuclear trio, where Seb Rochford and Antoine Berjeaut play the pillars. All escaped from collective indociles, soloists used to the microton and faithful of the incendiary salvos of the big families of the sax-trumpet duo. That is to say 15 lads to encircle the assembly gathered in Coutances for this 2019 edition of Jazz Sous les Pommiers. 15 musicians to propel the Pensées Rotatives imagined by the double bass player. And the idea of machinery underpinned by the title of the project, moves forward, animated by a playful and confident internal movement. Nothing goes round, nothing goes in circles. These thoughts are inventive when it comes to diverting the principles set. Even the Rollercoaster doesn’t follow the tracks it has set. The principles are here to play. And to play together, with a French Jazz Squad who would have understood the usefulness of collective game and incessant passing. The tutti sono disarming of effectiveness and the individualities eat the ground when the implicit claims them. Le Chameau crosses his bridge sinuously with a jungle trumpet in its ear, Tom & Jerry worship a little on the flames of a tenor. And in the welcome rotation of these circles of thought in action, The Bosphorus embraces Ethiopia, Oliver Nelson stands on the shoulder of a carioca Mingus. A perfect concert document. Fiery and yet very clear. » content_phone= » ENGLISH / FRANÇAIS Seven times ya tongue, let it swirl in ya mouth. And the thoughts that go with it, too. Better, wiser, more reasonable. But the reason, Théo Girard seems to have any care if we judge with the tympanum. 12 blowers to encircle his nuclear trio, where Seb Rochford and Antoine Berjeaut play the pillars. All escaped from collective indociles, soloists used to the microton and faithful of the incendiary salvos of the big families of the sax-trumpet duo. That is to say 15 lads to encircle the assembly gathered in Coutances for this 2019 edition of Jazz Sous les Pommiers. 15 musicians to propel the Pensées Rotatives imagined by the double bass player. And the idea of machinery underpinned by the title of the project, moves forward, animated by a playful and confident internal movement. Nothing goes round, nothing goes in circles. These thoughts are inventive when it comes to diverting the principles set. Even the Rollercoaster doesn’t follow the tracks it has set. The principles are here to play. And to play together, with a French Jazz Squad who would have understood the usefulness of collective game and incessant passing. The tutti sono disarming of effectiveness and the individualities eat the ground when the implicit claims them. Le Chameau crosses his bridge sinuously with a jungle trumpet in its ear, Tom & Jerry worship a little on the flames of a tenor. And in the welcome rotation of these circles of thought in action, The Bosphorus embraces Ethiopia, Oliver Nelson stands on the shoulder of a carioca Mingus. A perfect concert document. Fiery and yet very clear. » content_last_edited= »on|phone » _builder_version= »4.11.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Seven times ya tongue, let it swirl in ya mouth. And the thoughts that go with it, too. Better, wiser, more reasonable. But the reason, Théo Girard seems to have any care if we judge with the tympanum. 12 blowers to encircle his nuclear trio, where Seb Rochford and Antoine Berjeaut play the pillars. All escaped from collective indociles, soloists used to the microton and faithful of the incendiary salvos of the big families of the sax-trumpet duo. That is to say 15 lads to encircle the assembly gathered in Coutances for this 2019 edition of Jazz Sous les Pommiers. 15 musicians to propel the Pensées Rotatives imagined by the double bass player. And the idea of machinery underpinned by the title of the project, moves forward, animated by a playful and confident internal movement. Nothing goes round, nothing goes in circles. These thoughts are inventive when it comes to diverting the principles set. Even the Rollercoaster doesn’t follow the tracks it has set. The principles are here to play. And to play together, with a French Jazz Squad who would have understood the usefulness of collective game and incessant passing. The tutti sono disarming of effectiveness and the individualities eat the ground when the implicit claims them. Le Chameau crosses his bridge sinuously with a jungle trumpet in its ear, Tom & Jerry worship a little on the flames of a tenor. And in the welcome rotation of these circles of thought in action, The Bosphorus embraces Ethiopia, Oliver Nelson stands on the shoulder of a carioca Mingus. A perfect concert document. Fiery and yet very clear. [/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= »4.11.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Sept fois sa langue. À laisser tourner dans sa bouche. Et les pensées qui vont avec, aussi. Mieux, plus sage. Mais la sagesse, Théo Girard n’en a cure à en juger au tympan. 12 soufflants pour encercler son trio nucléaire, où
Nuages, 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= »4.11.3″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] SOPICO, Nuages [/et_pb_text][et_pb_text _builder_version= »4.11.3″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 14 octobre 2021 chez Polydor [/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/2021/10/SOPICO_SLIDE-800X800.jpg » alt= »Nuages de Sopico » title_text= »Nuages de Sopico » _builder_version= »4.11.3″ _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/2021/10/Sopico-Slide-Clip-Officiel.mp3″ title= »Slide » artist_name= »Sopico » album_name= »Nuages » _builder_version= »4.11.3″ _module_preset= »default » custom_margin= »7%||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS High pressure, weak coverage. Sopico releases his first album, Nuages. After several projects, notably with the 75ème session, here between rock and rap, So’ talks about %22the fusion of Nirvana and Wu-Tang%22. Not bad indeed. 10 tracks, 3 interludes, 0 feats. As hot to strum lyrics as his guitar, Sopico raps, sings, kicks on his own compositions. A full guitar-vocal project. The touching texts are tinged with melancholy without ever falling into sadness. Acoustic guitar, calm melody on Le Papier. Or a storm of electric guitar in Slide. In echo to his roots, it is the track Hier where we find his Kabyle origins. His dad plays the mandolin, his mom invites herself, a little later, on the interlude .appel manqué. Further on, the delicate voice that one would recognize between thousand comes to caress on Nuage. Sopico plays with the tonalities, the piano accompanies softly, the voice sings in the background. Everything goes well for the Parisian rapper. He approaches the simple things, the typical life of a young artist, a guy well surrounded, a guy who tells his life. A life halfway between the Seine-Saint-Denis and the 18th in Paname. Without artifice, naked, it is full of emotions. Nuages is also a lot of love. There is always a moment when the question of relationships arises. As much the torments as the joys induced. Nuage floats like a complete and well put together project, a project that confirms that Sopico has his place in the game of Rap FR. Well done. » content_phone= » ENGLISH / FRANÇAIS High pressure, weak coverage. Sopico releases his first album, Nuages. After several projects, notably with the 75ème session, here between rock and rap, So’ talks about %22the fusion of Nirvana and Wu-Tang%22. Not bad indeed. 10 tracks, 3 interludes, 0 feats. As hot to strum lyrics as his guitar, Sopico raps, sings, kicks on his own compositions. A full guitar-vocal project. The touching texts are tinged with melancholy without ever falling into sadness. Acoustic guitar, calm melody on Le Papier. Or a storm of electric guitar in Slide. In echo to his roots, it is the track Hier where we find his Kabyle origins. His dad plays the mandolin, his mom invites herself, a little later, on the interlude .appel manqué. Further on, the delicate voice that one would recognize between thousand comes to caress on Nuage. Sopico plays with the tonalities, the piano accompanies softly, the voice sings in the background. Everything goes well for the Parisian rapper. He approaches the simple things, the typical life of a young artist, a guy well surrounded, a guy who tells his life. A life halfway between the Seine-Saint-Denis and the 18th in Paname. Without artifice, naked, it is full of emotions. Nuages is also a lot of love. There is always a moment when the question of relationships arises. As much the torments as the joys induced. Nuage floats like a complete and well put together project, a project that confirms that Sopico has his place in the game of Rap FR. Well done. » content_last_edited= »on|phone » _builder_version= »4.11.3″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH High pressure, weak coverage. Sopico releases his first album, Nuages. After several projects, notably with the 75ème session, here between rock and rap, So’ talks about « the fusion of Nirvana and Wu-Tang ». Not bad indeed. 10 tracks, 3 interludes, 0 feats. As hot to strum lyrics as his guitar, Sopico raps, sings, kicks on his own compositions. A full guitar-vocal project. The touching texts are tinged with melancholy without ever falling into sadness. Acoustic guitar, calm melody on Le Papier. Or a storm of electric guitar in Slide. In echo to his roots, it is the track Hier where we find his Kabyle origins. His dad plays the mandolin, his mom invites herself, a little later, on the interlude .appel manqué. Further on, the delicate voice that one would recognize between thousand comes to caress on Nuage. Sopico plays with the tonalities, the piano accompanies softly, the voice sings in the background. Everything goes well for the Parisian rapper. He approaches the simple things, the typical life of a young artist, a guy well surrounded, a guy who tells his life. A life halfway between the Seine-Saint-Denis and the 18th in Paname. Without artifice, naked, it is full of emotions. Nuages is also a lot of love. There is always a moment when the question of relationships arises. As much the torments as the joys induced. Nuage floats like a complete and well put together project, a project that confirms that Sopico has his place in the game of Rap FR. Well done. [/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= »4.11.3″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Anticyclone annoncé. Faible couverture. Sopico déboule avec un premier album, Nuages. Après plusieurs projets, notamment avec la 75e session, entre rock et rap, ça parle de « la fusion d’Nirvana et Wu-Tang ». Pas mal. 10 morceaux, 3 interludes, 0 feats. Mais le gars Yodelice en co-prod’. Jain et Johnny, sur le CV, pas pas rap, mais carré du son. Aussi chaud pour gratter des textes que sa guitare, Sopico rappe, chante, kicke sur ses propres compositions. Un projet full guitare-voix. Les textes touchants sont teintés de mélancolie sans jamais tomber dans la tristesse. Guitare acoustique, mélodie
Skin, 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= »4.11.3″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] JOY CROOKES, Skin [/et_pb_text][et_pb_text _builder_version= »4.11.3″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 15 octobre 2021 chez Insanity 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/2021/10/JOYCROOKES_SKIN-800X800.jpg » alt= »Skin de Joy Crookes » title_text= »Skin de Joy Crookes » _builder_version= »4.11.3″ _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= »{} » admin_label= »Image »][/et_pb_image][et_pb_code _builder_version= »4.11.3″ _module_preset= »default » custom_margin= »4em||||false|false » hover_enabled= »0″ global_colors_info= »{} » admin_label= »Code » sticky_enabled= »0″]Skin by Joy Crookes[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Okay, let’s see. An album. A really nice cover. A Londoner of Irish and Bangladeshi origin, author and composer. A crazy voice. Some catchy instrus and others much softer. That’s it, Skin. First album of Joy Crookes. Several EPs were released before that, but here that’s different. 13 tracks. 13 nuggets that penetrate the skin like an exquisite poison. The most amazing thing is that each sound has its own particularity. Its own way to shine. But gathered, quite a different story. No joke, right here. A union as perfect as the links of a chain. The most fascinating thing about Joy Crookes is her voice. A voice that sounds like Winehouse or Billie Holiday, like in Poison. Mind-blowing. The track is soft and has a completely heady chorus. Unlearn You is something else. The notes sound like whispers. Nostalgic and cleverly sad. It gives you goosebumps. Really. Wild jasmine is the sound that devours and hypnotizes with a repetitive chorus. Power, released in 2017 has all its place in this album of 2021. A committed sound. In every way. Intersectional feminism. Black lives matter. Right lyrics. Hard-hitting. And damn, it’s chilling. A true ode to taking back your power as a woman. It feels good. Just one more thing, %22Show some fucking respect%22. » content_phone= » ENGLISH / FRANÇAIS Okay, let’s see. An album. A really nice cover. A Londoner of Irish and Bangladeshi origin, author and composer. A crazy voice. Some catchy instrus and others much softer. That’s it, Skin. First album of Joy Crookes. Several EPs were released before that, but here that’s different. 13 tracks. 13 nuggets that penetrate the skin like an exquisite poison. The most amazing thing is that each sound has its own particularity. Its own way to shine. But gathered, quite a different story. No joke, right here. A union as perfect as the links of a chain. The most fascinating thing about Joy Crookes is her voice. A voice that sounds like Winehouse or Billie Holiday, like in Poison. Mind-blowing. The track is soft and has a completely heady chorus. Unlearn You is something else. The notes sound like whispers. Nostalgic and cleverly sad. It gives you goosebumps. Really. Wild jasmine is the sound that devours and hypnotizes with a repetitive chorus. Power, released in 2017 has all its place in this album of 2021. A committed sound. In every way. Intersectional feminism. Black lives matter. Right lyrics. Hard-hitting. And damn, it’s chilling. A true ode to taking back your power as a woman. It feels good. Just one more thing, %22Show some fucking respect%22. » content_last_edited= »on|phone » _builder_version= »4.11.3″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Okay, let’s see. An album. A really nice cover. A Londoner of Irish and Bangladeshi origin, author and composer. A crazy voice. Some catchy instrus and others much softer. That’s it, Skin. First album of Joy Crookes. Several EPs were released before that, but here that’s different. 13 tracks. 13 nuggets that penetrate the skin like an exquisite poison. The most amazing thing is that each sound has its own particularity. Its own way to shine. But gathered, quite a different story. No joke, right here. A union as perfect as the links of a chain. The most fascinating thing about Joy Crookes is her voice. A voice that sounds like Winehouse or Billie Holiday, like in Poison. Mind-blowing. The track is soft and has a completely heady chorus. Unlearn You is something else. The notes sound like whispers. Nostalgic and cleverly sad. It gives you goosebumps. Really. Wild jasmine is the sound that devours and hypnotizes with a repetitive chorus. Power, released in 2017 has all its place in this album of 2021. A committed sound. In every way. Intersectional feminism. Black lives matter. Right lyrics. Hard-hitting. And damn, it’s chilling. A true ode to taking back your power as a woman. It feels good. Just one more thing, « Show some fucking respect ». [/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= »4.11.3″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Okay, let’s see. Un album. Une pochette vraiment pas dégueu. Une londonienne d’origine irlandaise et bangladeshie, autrice et compositrice. Une voix de tarée. Des instrus entraînantes et d’autres beaucoup plus soft. C’est ça, Skin. Premier album de Joy Crookes. Plusieurs EP avaient vu le jour avant ça, mais là. It’s different. 13 morceaux. 13 pépites qui pénètrent dans la peau comme un poison exquis. Le plus étonnant, c’est que chaque son à sa particularité. Sa propre façon de briller. Mais ensemble, c’est un autre délire. No joke, right here. Une union aussi parfaite que les maillons d’une chaîne. Le plus fascinant avec Joy Crookes, c’est sa voix. Une voix qui a des sonorités à la Winehouse ou à la Billie Holiday, comme dans Poison. Hallucinant. La track est douce et possède un refrain complètement entêtant. Unlearn You, c’est autre chose. Les notes sonnent comme des chuchotements. Nostalgique et ingénieusement triste. Ça donne la chair de poule. Vraiment. Wild jasmine c’est le son qui dévore et qui hypnotise avec un refrain répétitif. Power, sortie en 2017 a toute sa place dans cet album de 2021. Un son engagé. En tout point. Féminisme intersectionnel. Black lives matter. Des lyrics justes. Percutantes. Et merde, ça donne des frissons.
Minirose, 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= »4.11.3″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] CHLORINE FREE, Minirose [/et_pb_text][et_pb_text _builder_version= »4.11.3″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| » global_colors_info= »{} »] sorti le 15 octobre 2021 chez Seventy Three [/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/2021/10/CHLORINEFREE_MINIROSE-800X800.jpg » alt= »Chlorine Free / Minirose » title_text= »Chlorine Free / Minirose » _builder_version= »4.11.3″ _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= »4.11.3″ _module_preset= »default » hover_enabled= »0″ sticky_enabled= »0″ custom_margin= »4em||||false|false »]Minirose by Chlorine Free[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Simple. What to do after Free Speech‘s vocal shots, then revived in the window of the Hip Hop Boutique? Simple. Speech is fried, let the Minirose sauce heat up. Burn, baby, burn. And here, between the absence of voice and the eclipse of political imprecations, Chlorine Free, finds another way. Back to a music record. Minirose sounds more jazz in its developments, remains squarely screwed to the groove in its foundations and always plays the basin with the scratch and the naughty basses. Or more if affinities. The one of Alexander Slavinov imposes itself as a stakhano of the body to body, the one of Dr Fitzer as a slouching and serpentine Venus. It is pretty. But not only. The gassers know how to suckle the skunk juice. Minicocotte, beyond being an efficient funk nugget, puts in the ear from the start a jazz like the flutist Harold Alexander practiced. Harsh, frisky and a bit violent. This Minicocotte sounds like the French cousin of his Mama Soul. The singing mixed with Yann Cléry’s playing brings the exciting roughness of a beginning of a not less electrifying record. This Minirose takes its time to grow and create its internal network. The roundness of Drum Jaune or the light bluesy concern of Max’s Idea complete the small pleasures of chic geeks that are the tracks in rupture, Brutal RX or Je t’attendrai. For a long time? The time it will take to go around a damn rich record. » content_phone= » ENGLISH / FRANÇAIS Simple. What to do after Free Speech‘s vocal shots, then revived in the window of the Hip Hop Boutique? Simple. Speech is fried, let the Minirose sauce heat up. Burn, baby, burn. And here, between the absence of voice and the eclipse of political imprecations, Chlorine Free, finds another way. Back to a music record. Minirose sounds more jazz in its developments, remains squarely screwed to the groove in its foundations and always plays the basin with the scratch and the naughty basses. Or more if affinities. The one of Alexander Slavinov imposes itself as a stakhano of the body to body, the one of Dr Fitzer as a slouching and serpentine Venus. It is pretty. But not only. The gassers know how to suckle the skunk juice. Minicocotte, beyond being an efficient funk nugget, puts in the ear from the start a jazz like the flutist Harold Alexander practiced. Harsh, frisky and a bit violent. This Minicocotte sounds like the French cousin of his Mama Soul. The singing mixed with Yann Cléry’s playing brings the exciting roughness of a beginning of a not less electrifying record. This Minirose takes its time to grow and create its internal network. The roundness of Drum Jaune or the light bluesy concern of Max’s Idea complete the small pleasures of chic geeks that are the tracks in rupture, Brutal RX or Je t’attendrai. For a long time? The time it will take to go around a damn rich record. » content_last_edited= »on|phone » _builder_version= »4.11.3″ _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 Simple. What to do after Free Speech‘s vocal shots, then revived in the window of the Hip Hop Boutique? Simple. Speech is fried, let the Minirose sauce heat up. Burn, baby, burn. And here, between the absence of voice and the eclipse of political imprecations, Chlorine Free, finds another way. Back to a music record. Minirose sounds more jazz in its developments, remains squarely screwed to the groove in its foundations and always plays the basin with the scratch and the naughty basses. Or more if affinities. The one of Alexander Slavinov imposes itself as a stakhano of the body to body, the one of Dr Fitzer as a slouching and serpentine Venus. It is pretty. But not only. The gassers know how to suckle the skunk juice. Minicocotte, beyond being an efficient funk nugget, puts in the ear from the start a jazz like the flutist Harold Alexander practiced. Harsh, frisky and a bit violent. This Minicocotte sounds like the French cousin of his Mama Soul. The singing mixed with Yann Cléry’s playing brings the exciting roughness of a beginning of a not less electrifying record. This Minirose takes its time to grow and create its internal network. The roundness of Drum Jaune or the light bluesy concern of Max’s Idea complete the small pleasures of chic geeks that are the tracks in rupture, Brutal RX or Je t’attendrai. For a long time? The time it will take to go around a damn rich record. [/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= »4.11.3″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Simple. Que faire après les shots vocaux de Free Speech, puis ranimés en vitrine de la Hip Hop Boutique ? Simple. Le speech est frit, laisse chauffer la sauce de Minirose. Burn, baby, burn. Et ici, entre l’absence de voix et l’éclipse des imprécations politiques, Chlorine Free, se fraie encore un autre chemin. Retour à un disque de musique. Minirose sonne plus jazz dans ses développements, reste carrément vissé au groove dans ses fondations et joue toujours du bassin avec le scratch et les basses coquines. Ou plus si affinités. Celle d’Alexander Slavinov s’impose comme une stakhano du corps à corps, celle du Dr Fitzer comme une Vénus
Egyptian Jazz, 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= »4.11.2″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] SALAH RAGAB and THE CAIRO JAZZ BAND, Egyptian Jazz [/et_pb_text][et_pb_text _builder_version= »4.11.2″ 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 RSD le 12 juin 2021 par Strut 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/2021/10/a1813547020_10.jpg » alt= »Salah Ragab / Egyptian Jazz » title_text= »Salah Ragab / Egyptian Jazz » _builder_version= »4.11.2″ _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= »4.11.2″ _module_preset= »default » global_colors_info= »{} »]Egyptian Jazz by Salah Ragab and The Cairo Jazz Band[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS We know the Cassius Clay who became Muhammad Ali, we heard the Dollar Brand who became Abdullah Ibrahim. The African-American culture of the sixties, in its reconquest of rights, thoughts and unity, plunged both hands into the earth of Mother Africa, rediscovered the nations, the philosophies, the music. We have heard the Art Ensemble of Chicago and Sun Ra, among other black powers. But we are not used to the opposite movement. How the regions of North Africa and the Arab world received the black-American finds. At the end of the sixties, Yusef Lateef recorded in New York, and in Cairo, Salah Ragab led the Cairo Jazz Band. Perfect time. Ragab is the initiator of jazz in Egypt, confronting traditional instruments and jazz blowers, Western piano and North African percussion. This record, a sort of complete collection of works by Salah Ragab and the Cairo Jazz Band, shows that Chicago could have spoken Arabic and that Cairo knew nothing of the frenzy planted on the ground by Duke. Neveen jolts like the artists of Prestige, Egypt Strut, the hit of this album, does not return anything to the disco of Sun Ra, with whom Salah Ragab was able to tour in Europe in 1984. The rest of the two discs only accept an oxymoron. Splendid secret. » content_phone= » ENGLISH / FRANÇAIS We know the Cassius Clay who became Muhammad Ali, we heard the Dollar Brand who became Abdullah Ibrahim. The African-American culture of the sixties, in its reconquest of rights, thoughts and unity, plunged both hands into the earth of Mother Africa, rediscovered the nations, the philosophies, the music. We have heard the Art Ensemble of Chicago and Sun Ra, among other black powers. But we are not used to the opposite movement. How the regions of North Africa and the Arab world received the black-American finds. At the end of the sixties, Yusef Lateef recorded in New York, and in Cairo, Salah Ragab led the Cairo Jazz Band. Perfect time. Ragab is the initiator of jazz in Egypt, confronting traditional instruments and jazz blowers, Western piano and North African percussion. This record, a sort of complete collection of works by Salah Ragab and the Cairo Jazz Band, shows that Chicago could have spoken Arabic and that Cairo knew nothing of the frenzy planted on the ground by Duke. Neveen jolts like the artists of Prestige, Egypt Strut, the hit of this album, does not return anything to the disco of Sun Ra, with whom Salah Ragab was able to tour in Europe in 1984. The rest of the two discs only accept an oxymoron. Splendid secret. » content_last_edited= »on|phone » _builder_version= »4.11.2″ _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 We know the Cassius Clay who became Muhammad Ali, we heard the Dollar Brand who became Abdullah Ibrahim. The African-American culture of the sixties, in its reconquest of rights, thoughts and unity, plunged both hands into the earth of Mother Africa, rediscovered the nations, the philosophies, the music. We have heard the Art Ensemble of Chicago and Sun Ra, among other black powers. But we are not used to the opposite movement. How the regions of North Africa and the Arab world received the black-American finds. At the end of the sixties, Yusef Lateef recorded in New York, and in Cairo, Salah Ragab led the Cairo Jazz Band. Perfect time. Ragab is the initiator of jazz in Egypt, confronting traditional instruments and jazz blowers, Western piano and North African percussion. This record, a sort of complete collection of works by Salah Ragab and the Cairo Jazz Band, shows that Chicago could have spoken Arabic and that Cairo knew nothing of the frenzy planted on the ground by Duke. Neveen jolts like the artists of Prestige, Egypt Strut, the hit of this album, does not return anything to the disco of Sun Ra, with whom Salah Ragab was able to tour in Europe in 1984. The rest of the two discs only accept an oxymoron. Splendid secret. [/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= »4.11.2″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] On connaît les Cassius Clay devenu Muhammad Ali, on a croisé les Dollar Brand devenu Abdullah Ibrahim. La culture Africaine-américaine des sixties, dans sa reconquête de droits, de pensées et d’une unité a replonger les deux mains dans la terre de la Mother Africa, redécouvert les nations, les philos, les musiques. On a entendu l’Art Ensemble Of Chicago et Sun Ra, entre autres puissances noires. Mais on a peu l’habitude du mouvement inverse. Comment les régions d’Afrique du Nord et du monde arabe ont reçu les trouvailles noires-américaines. Fin des années soixante, Yusef Lateef enregistre à New York, et au Caire, Salah Ragab pilote le Cairo Jazz Band. Parfaite époque. Ragab est l’initiateur du jazz en Egypte, confronte instrus traditionnels et soufflants jazz, piano occidental et percussions nord-africaines. Ce disque, sorte de collec’ complète des œuvres de Salah Ragab et du Cairo Jazz Band, montre que Chicago aurait pu parler arabe et que Le Caire n’ignorait rien de la frénésie plantée sur le sol par Duke. Neveen soubresaute comme les artiste de chez Prestige, Egypte Strut, tube de l’album, ne rend rien à la disco de Sun
Dixie Fever, 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= »4.11.2″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] MAKOTO KUBOTA, Dixie Fever [/et_pb_text][et_pb_text _builder_version= »4.11.2″ 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 22 octobre 2021 chez 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/2021/10/a0241073428_16.jpg » alt= »Kubota / Dixie Fever » title_text= »Kubota / Dixie Fever » _builder_version= »4.11.2″ _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= »4.11.2″ _module_preset= »default » custom_margin= »4em||||false|false » global_colors_info= »{} »]Dixie Fever by Makoto Kubota & The Sunset Gang [/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS We could have glued a %22Live From The Bayou%22 sticker on that record as a marketing argument to attract people in cowboy boots, however our ears would have been surprised by the language used. Not Uncle Sam’s English but Japanese boiled with the devil’s music. Led by Makoto Kubota, co-produced with Haruomi Hosono and surrounded by the Sunset gang (a band of studio mercenaries), the fine team met in Honolulu to produce this Dixie Fever. Accompanied by 12-string folk guitars, Hawaiian lap-steel guitars and other ragtime pianos, the gang composes a record with drawers inspired by American clichés (Crosby Stills, Nash and especially Young). You will say to me: %22Ok the Japanese copied the Americans, what’s new? But here we are in 77 and we speak about a time that the less than 30 years cannot know: the life without the Internet! Horror, misfortune! We put ourselves in the context and we realize that there’s no easy exercise of style here. Yet everything is there. One has the nasty impression that the disc was recorded in Texas. Nevertheless, by examining under the layer of dust brought back by the Buffalos (Springfield), we find ourselves confronted with a hybrid thing, an imperfect copy of Japanese fan boys which has this je-ne-sais-quoi of the greatest. A bit like if Neil Young had stuck his Cadillac On The Beach of Okinawa waiting for the Sunset gang to borrow it for a ride in the rising sun. » content_phone= » ENGLISH / FRANÇAIS We could have glued a %22Live From The Bayou%22 sticker on that record as a marketing argument to attract people in cowboy boots, however our ears would have been surprised by the language used. Not Uncle Sam’s English but Japanese boiled with the devil’s music. Led by Makoto Kubota, co-produced with Haruomi Hosono and surrounded by the Sunset gang (a band of studio mercenaries), the fine team met in Honolulu to produce this Dixie Fever. Accompanied by 12-string folk guitars, Hawaiian lap-steel guitars and other ragtime pianos, the gang composes a record with drawers inspired by American clichés (Crosby Stills, Nash and especially Young). You will say to me: %22Ok the Japanese copied the Americans, what’s new? But here we are in 77 and we speak about a time that the less than 30 years cannot know: the life without the Internet! Horror, misfortune! We put ourselves in the context and we realize that there’s no easy exercise of style here. Yet everything is there. One has the nasty impression that the disc was recorded in Texas. Nevertheless, by examining under the layer of dust brought back by the Buffalos (Springfield), we find ourselves confronted with a hybrid thing, an imperfect copy of Japanese fan boys which has this je-ne-sais-quoi of the greatest. A bit like if Neil Young had stuck his Cadillac On The Beach of Okinawa waiting for the Sunset gang to borrow it for a ride in the rising sun. » content_last_edited= »on|phone » _builder_version= »4.11.2″ _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 We could have glued a « Live From The Bayou » sticker on that record as a marketing argument to attract people in cowboy boots, however our ears would have been surprised by the language used. Not Uncle Sam’s English but Japanese boiled with the devil’s music. Led by Makoto Kubota, co-produced with Haruomi Hosono and surrounded by the Sunset gang (a band of studio mercenaries), the fine team met in Honolulu to produce this Dixie Fever. Accompanied by 12-string folk guitars, Hawaiian lap-steel guitars and other ragtime pianos, the gang composes a record with drawers inspired by American clichés (Crosby Stills, Nash and especially Young). You will say to me: « Ok the Japanese copied the Americans, what’s new? But here we are in 77 and we speak about a time that the less than 30 years cannot know: the life without the Internet! Horror, misfortune! We put ourselves in the context and we realize that there’s no easy exercise of style here. Yet everything is there. One has the nasty impression that the disc was recorded in Texas. Nevertheless, by examining under the layer of dust brought back by the Buffalos (Springfield), we find ourselves confronted with a hybrid thing, an imperfect copy of Japanese fan boys which has this je-ne-sais-quoi of the greatest. A bit like if Neil Young had stuck his Cadillac On The Beach of Okinawa waiting for the Sunset gang to borrow it for a ride in the rising sun. [/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= »4.11.2″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] On aurait pu flanquer le disque d’un sticker « Live From The Bayou » comme argument marketing pour attirer le chaland en santiags, si toutefois nos oreilles n’avaient pas été surprises par le dialecte employé. Pas l’english de l’oncle Sam mais du japonais bercé à la musique du diable. Emmené par Makoto Kubota, coproduit avec Haruomi Hosono et entouré du Sunset gang (une bande de mercenaires de studio), la fine équipe se retrouve à Honolulu pour produire ce Dixie Fever. Accompagné de guitares 12 cordes folk, de lap-steel guitares hawaïennes et autres pianos ragtimes, le gang compose un disque à tiroirs inspiré des poncifs américains (On citera Crosby Stills, Nash et surtout Young). Vous allez me
Flatten The Curve, 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= »4.11.2″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] TIMOTHEE QUOST, Flatten The Curve [/et_pb_text][et_pb_text _builder_version= »4.11.2″ 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 9 octobre 2021 sur Carton 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/2021/10/a2300475702_10.jpg » alt= »Timothée Quost / Flatten The Curve » title_text= »Timothée Quost / Flatten The Curve » _builder_version= »4.11.2″ _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= »4.11.2″ _module_preset= »default » global_colors_info= »{} »]Flatten The Curve by Timothée Quost[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS What the cost ? Don’t worry, Timothée Quost knows the price of things. Whether alone or accompanied, within Horns for example, the trumpet player never stops trying to raise the stakes. Without any concern to please, aiming even less that to seduce, Flatten The Curve prolongs the explorations of compositions and joint play dear to the noisemaker. In this last disc, Quost gathers former faithful, Victor Aubert or Gabriel Boyaut for example, and some of his compositions/improvisation in solo to challenge himself. This disc takes the crazy bet to question the comfort zones of its author. Fragility of the sound recordings in situ against the roughness of the sound materials, cash outlets of what is said and intimate reflection of what is played. We go up one more degree with this guy, whose work and career path has fascinated us for a while. Here, Timothée went to collect the word of old, their glance on the life, nature and progress, Quost rubs it and pricks himself there. We hear in Lame that %22we must not evolve too much%22. We agree. And this disc marks a masterly pause in the improviser’s progress, a pause of intimate, risky, harsh and in fine splendid excavation. Gosh. » content_phone= » ENGLISH / FRANÇAIS What the cost ? Don’t worry, Timothée Quost knows the price of things. Whether alone or accompanied, within Horns for example, the trumpet player never stops trying to raise the stakes. Without any concern to please, aiming even less that to seduce, Flatten The Curve prolongs the explorations of compositions and joint play dear to the noisemaker. In this last disc, Quost gathers former faithful, Victor Aubert or Gabriel Boyaut for example, and some of his compositions/improvisation in solo to challenge himself. This disc takes the crazy bet to question the comfort zones of its author. Fragility of the sound recordings in situ against the roughness of the sound materials, cash outlets of what is said and intimate reflection of what is played. We go up one more degree with this guy, whose work and career path has fascinated us for a while. Here, Timothée went to collect the word of old, their glance on the life, nature and progress, Quost rubs it and pricks himself there. We hear in Lame that %22we must not evolve too much%22. We agree. And this disc marks a masterly pause in the improviser’s progress, a pause of intimate, risky, harsh and in fine splendid excavation. Gosh. » content_last_edited= »on|phone » _builder_version= »4.11.2″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH What the cost ? Don’t worry, Timothée Quost knows the price of things. Whether alone or accompanied, within Horns for example, the trumpet player never stops trying to raise the stakes. Without any concern to please, aiming even less that to seduce, Flatten The Curve prolongs the explorations of compositions and joint play dear to the noisemaker. In this last disc, Quost gathers former faithful, Victor Aubert or Gabriel Boyaut for example, and some of his compositions/improvisation in solo to challenge himself. This disc takes the crazy bet to question the comfort zones of its author. Fragility of the sound recordings in situ against the roughness of the sound materials, cash outlets of what is said and intimate reflection of what is played. We go up one more degree with this guy, whose work and career path has fascinated us for a while. Here, Timothée went to collect the word of old, their glance on the life, nature and progress, Quost rubs it and pricks himself there. We hear in Lame that « we must not evolve too much ». We agree. And this disc marks a masterly pause in the improviser’s progress, a pause of intimate, risky, harsh and in fine splendid excavation. Gosh. [/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= »4.11.2″ _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 cost ? Don’t worry, Timothée Quost sait le prix des choses. Que ce soit Seul ou accompagné, au sein de Horns par exemple, le trompettiste n’a de cesse d’éviter de faire monter les enchères. Sans aucun souci de plaire, visant encore moins celui de séduire, Flatten The Curve prolonge les explorations de compositions et de jeu en commun cher au soufflant bruiteur. Dans ce dernier disque, Quost réunit des anciens fidèles, Victor Aubert ou Gabriel Boyaut par exemple, et des compositions/improvisation en solo pour se challenger. Ce disque prend le pari fou de remettre en cause les zones de confort de son auteur. Fragilité des prises de sons in situ contre le rugueux des matières sonores, sorties cash de ce qui est dit et réflexion intime de ce qui est joué. On monte encore d’un degré chez ce type, dont le boulot et le parcours nous fascine depuis un moment. Ici, Timothée est allé collecter la parole d’anciens, leur regard sur la vie, nature et le progrès, Quost s’y frotte et s’y pique. « faut pas trop évoluer quand même », entend-on dans Lame. On est d’accord. Et ce disque marque une pause magistrale dans l’avancée de l’improvisateur, une pause d’excavation intime, risquée, âpre et in fine splendide. Sah. [/et_pb_text][et_pb_text _builder_version= »4.11.2″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Carton Records : site webFlatten The Curve : Bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Ai Ga Nakucha Ne, 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= »4.11.1″ 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″] AKIKO YANO, Ai Ga Nakucha Ne [/et_pb_text][et_pb_text _builder_version= »4.11.1″ 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″] réédition le 8 octobre 2021 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/2021/10/akikoyanoalbum.jpg » alt= »Akiko Yano – Ai GA Nakucha Ne » title_text= »Akiko Yano – Ai GA Nakucha Ne » _builder_version= »4.11.1″ _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_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/10/08B-Sleep-on-my-baby.wav » title= »Sleep On Me Baby » artist_name= »Akiko Yano » album_name= »Ai Ga Nakucha Ne » _builder_version= »4.11.1″ _module_preset= »default » custom_margin= »7%||||false|false » hover_enabled= »0″ global_colors_info= »{} » title_text= »08B Sleep on my baby » sticky_enabled= »0″][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Shōjo is love but in manga. In music, it would be Akiko Yano’s Ai Ga Nakucha Ne album, %22There must be love%22, in english. Adorable, isn’t it? It was released in 1982. The same year she got married with Ryuichi Sakamoto, the co-producer of the album. As if it wasn’t already romantic. Akiko Yano makes her comeback in 2021 for a reissue by WeWantSounds. On this album Akiko Yano leaves the Land of the Rising Sun to make a feat with the country of Elizabeth II. Her backing band is called Japan. British people, who are called Japan, okay, it can be confusing. It’s 100% Fish and Chips, Mick Karn, Steve Jansen and David Sylvian. All the work is done at AIR Studios in London. The English touch can be felt and heard. Of the 11 sounds, 4 are in English and the Japanese accent of Akiko Yano has its own charm. Sweet, indeed. To summarize the album, it’s a mix between the soundtrack of Perfect Blue and AKB48. The return in the 80s is immediate with What’s Got In Your Eyes ? Very, very pop on the chorus. Soft and calm on the verses. Oishii Seikatsu and Michi De Battari are very traditional sounds. A real little taste of Japan before American pop brings back its ass and changes the codes. Sleep On My Baby, it’s synth and the voices of Japan in the background. The refrain Sleep on my baby, dream on my baby remains in loop in the head. And this, until the end of the day. At the same time, the softly whispered baby is really quite addictive. Like a good shōjo. » content_phone= » ENGLISH / FRANÇAIS Shōjo is love but in manga. In music, it would be Akiko Yano’s Ai Ga Nakucha Ne album, %22There must be love%22, in english. Adorable, isn’t it? It was released in 1982. The same year she got married with Ryuichi Sakamoto, the co-producer of the album. As if it wasn’t already romantic. Akiko Yano makes her comeback in 2021 for a reissue by WeWantSounds. On this album Akiko Yano leaves the Land of the Rising Sun to make a feat with the country of Elizabeth II. Her backing band is called Japan. British people, who are called Japan, okay, it can be confusing. It’s 100% Fish and Chips, Mick Karn, Steve Jansen and David Sylvian. All the work is done at AIR Studios in London. The English touch can be felt and heard. Of the 11 sounds, 4 are in English and the Japanese accent of Akiko Yano has its own charm. Sweet, indeed. To summarize the album, it’s a mix between the soundtrack of Perfect Blue and AKB48. The return in the 80s is immediate with What’s Got In Your Eyes ? Very, very pop on the chorus. Soft and calm on the verses. Oishii Seikatsu and Michi De Battari are very traditional sounds. A real little taste of Japan before American pop brings back its ass and changes the codes. Sleep On My Baby, it’s synth and the voices of Japan in the background. The refrain Sleep on my baby, dream on my baby remains in loop in the head. And this, until the end of the day. At the same time, the softly whispered baby is really quite addictive. Like a good shōjo. » content_last_edited= »on|phone » _builder_version= »4.11.1″ _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 Shōjo is love but in manga. In music, it would be Akiko Yano’s Ai Ga Nakucha Ne album, « There must be love », in english. Adorable, isn’t it? It was released in 1982. The same year she got married with Ryuichi Sakamoto, the co-producer of the album. As if it wasn’t already romantic. Akiko Yano makes her comeback in 2021 for a reissue by WeWantSounds. On this album Akiko Yano leaves the Land of the Rising Sun to make a feat with the country of Elizabeth II. Her backing band is called Japan. British people, who are called Japan, okay, it can be confusing. It’s 100% Fish and Chips, Mick Karn, Steve Jansen and David Sylvian. All the work is done at AIR Studios in London. The English touch can be felt and heard. Of the 11 sounds, 4 are in English and the Japanese accent of Akiko Yano has its own charm. Sweet, indeed. To summarize the album, it’s a mix between the soundtrack of Perfect Blue and AKB48. The return in the 80s is immediate with What’s Got In Your Eyes ? Very, very pop on the chorus. Soft and calm on the verses. Oishii Seikatsu and Michi De Battari are very traditional sounds. A real little taste of Japan before American pop brings back its ass and changes the codes. Sleep On My Baby, it’s synth and the voices of Japan in the background. The refrain Sleep on my baby, dream on my baby remains in loop in the head. And this, until the end of the day. At the same time, the softly whispered baby is really quite addictive. Like a good shōjo. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″
NOUT, chronique
Live!, 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= »4.11.1″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] FELA KUTI and AFRICA ’70w/ GINGER BAKER, Live! [/et_pb_text][et_pb_text _builder_version= »4.11.1″ 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= »{} »] réédition le 17 novembre 2021 par Partisan 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/2021/10/cover.jpg » alt= »Live! de Fela Kuti & Ginger Baker » title_text= »Live! de Fela Kuti & Ginger Baker » _builder_version= »4.11.1″ _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/2021/10/Ye-Ye-De-Smell.mp3″ title= »Ye Ye De Smell » artist_name= »Fela Kuti w/ Ginger Baker » album_name= »Live! (1971) » _builder_version= »4.11.1″ _module_preset= »default » custom_margin= »7%||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Connection. %22Guys who have balls%22 said a French ad in 1985. Years before, in 1971, the connection was less a matter of zipper than of drumsticks. After the kick of the Cream and Blind Faith supergroups, Ginger Baker was exhausted. He took off in a Range Rover, departed from Algeria, crossed the Sahara and put the handbrake on in Lagos. There, Baker met up with Fela Kuti, who had become a legend of the infernal Afrobeat pulse. Millimetered by his regular drummer, Tony Allen, the pulse enlists jazz, a political screamer, the softness of soul and some local devilry. Creolité pyromaniac, Afrobeat explodes under the weight of the two cadrons involved in Live! concert taken on the spot in 1971, released in Nigeria the same year and reissued on November 17 by Partisans Records. 4 tracks, just one under 10 minutes, hypnotic beats, the magic of Ye Ye De Smell, and the raw sound dressing each of the solos. Artisan of Fela’s reissues, the label celebrates the 50th anniversary of the record, and adds a bonus of fencers where Tony Allen and Baker skin each other in Germany in 1978. The first said of the second that the little drummer Oyinbo, the little white hitter, could play if he wanted, could play rock with the supreme cream, and that if he wanted Afrobeat, he would come to Nigeria. At ease Baker, with his crazy redheaded pirate nose, his drug addicted bastard reputations and his ability to make deep and impressive musical connections, as here in the realm of raw power. » content_phone= » ENGLISH / FRANÇAIS Connection. %22Guys who have balls%22 said a French ad in 1985. Years before, in 1971, the connection was less a matter of zipper than of drumsticks. After the kick of the Cream and Blind Faith supergroups, Ginger Baker was exhausted. He took off in a Range Rover, departed from Algeria, crossed the Sahara and put the handbrake on in Lagos. There, Baker met up with Fela Kuti, who had become a legend of the infernal Afrobeat pulse. Millimetered by his regular drummer, Tony Allen, the pulse enlists jazz, a political screamer, the softness of soul and some local devilry. Creolité pyromaniac, Afrobeat explodes under the weight of the two cadrons involved in Live! concert taken on the spot in 1971, released in Nigeria the same year and reissued on November 17 by Partisans Records. 4 tracks, just one under 10 minutes, hypnotic beats, the magic of Ye Ye De Smell, and the raw sound dressing each of the solos. Artisan of Fela’s reissues, the label celebrates the 50th anniversary of the record, and adds a bonus of fencers where Tony Allen and Baker skin each other in Germany in 1978. The first said of the second that the little drummer Oyinbo, the little white hitter, could play if he wanted, could play rock with the supreme cream, and that if he wanted Afrobeat, he would come to Nigeria. At ease Baker, with his crazy redheaded pirate nose, his drug addicted bastard reputations and his ability to make deep and impressive musical connections, as here in the realm of raw power. » content_last_edited= »on|phone » _builder_version= »4.11.1″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Connection. « Guys who have balls » said a French ad in 1985. Years before, in 1971, the connection was less a matter of zipper than of drumsticks. After the kick of the Cream and Blind Faith supergroups, Ginger Baker was exhausted. He took off in a Range Rover, departed from Algeria, crossed the Sahara and put the handbrake on in Lagos. There, Baker met up with Fela Kuti, who had become a legend of the infernal Afrobeat pulse. Millimetered by his regular drummer, Tony Allen, the pulse enlists jazz, a political screamer, the softness of soul and some local devilry. Creolité pyromaniac, Afrobeat explodes under the weight of the two cadrons involved in Live! concert taken on the spot in 1971, released in Nigeria the same year and reissued on November 17 by Partisans Records. 4 tracks, just one under 10 minutes, hypnotic beats, the magic of Ye Ye De Smell, and the raw sound dressing each of the solos. Artisan of Fela’s reissues, the label celebrates the 50th anniversary of the record, and adds a bonus of fencers where Tony Allen and Baker skin each other in Germany in 1978. The first said of the second that the little drummer Oyinbo, the little white hitter, could play if he wanted, could play rock with the supreme cream, and that if he wanted Afrobeat, he would come to Nigeria. At ease Baker, with his crazy redheaded pirate nose, his drug addicted bastard reputations and his ability to make deep and impressive musical connections, as here in the realm of raw power. [/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= »4.11.1″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Connexion. « Des mecs qui en ont » disait Gainsbourg à la France de 1985. Encore avant, en 1971, la connexion était moins une histoire de braguette que de baguettes. Après le kick des supergroups Cream et Blind Faith, Ginger Baker est épuisé. Il décampe au volant d’une Range Rover, part