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
Pantagruel Résolu, chronique
Music For A locked In Double Bass, 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= »4.10.8″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] VLADIMIR TORRES, Music ForA locked In Double Bass [/et_pb_text][et_pb_text _builder_version= »4.10.8″ 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 8 octobre 2021 sur L’Horizon Violet [/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/2021/09/VladCover.jpg » alt= »Music For A Locked In Double Bass de Vladimir Torres » title_text= »Music For A Locked In Double Bass » _builder_version= »4.10.8″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px » global_colors_info= »{} »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/09/Vladimir-Torres-Music-for-a-Locked-in-Double-Bass-14-Billie-Jean.mp3″ title= »Billie Jean » artist_name= »Vladimir Torres » album_name= »Music For A Locked In Double Bass (2021) » _builder_version= »4.10.8″ _module_preset= »default » custom_margin= »7%||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS No retreat, fast forward. This is, in short, what seems to guide Vladimir Torres’ Music For a Locked In Double Bass. No Retreat. No retreat when played solo. In soccer, it’s always a bit hot to play it like that, in jazz it’s often very beautiful. Daring and very beautiful. You have your own space, your own time. You have to manage with that. Only. No, with other constraints too, like those damn lock-ups that have blocked a lot of instruments and parked a lot of musicians at home. Fast Forward, full speed ahead to the outside if not outside. The inner retreat made Torres lean forward, towards personal nuggets, Lonely Woman, Eleanor Rigby or Contrarriba. Towards the daring nickel grabbed, this worried Billie Jean, pop and ultra concentrated, posed like a saving outro. There is an urgency which runs through this disc, sign of the times. But undoubtedly due, also, to intimate preoccupations of the double bassist which belong to him. It irrigates the 14 titles slipped between the fingers of the musician. Impatient rereading of Blackbird, the blackbird has to make the marmolle on electric cables. Urgency again, legitimate and expected, in the Mingus greeting Lester Young with a blow of Pork Pie Hat. The power of Vladimir’s touch is the cause here, in the devil. And the sound blossoms as it does throughout this record. The sound recording is terrible, precise and gives to hear the energy of a musician who can finally move forward, out of our forced exiles. » content_phone= » ENGLISH / FRANÇAIS No retreat, fast forward. This is, in short, what seems to guide Vladimir Torres’ Music For a Locked In Double Bass. No Retreat. No retreat when played solo. In soccer, it’s always a bit hot to play it like that, in jazz it’s often very beautiful. Daring and very beautiful. You have your own space, your own time. You have to manage with that. Only. No, with other constraints too, like those damn lock-ups that have blocked a lot of instruments and parked a lot of musicians at home. Fast Forward, full speed ahead to the outside if not outside. The inner retreat made Torres lean forward, towards personal nuggets, Lonely Woman, Eleanor Rigby or Contrarriba. Towards the daring nickel grabbed, this worried Billie Jean, pop and ultra concentrated, posed like a saving outro. There is an urgency which runs through this disc, sign of the times. But undoubtedly due, also, to intimate preoccupations of the double bassist which belong to him. It irrigates the 14 titles slipped between the fingers of the musician. Impatient rereading of Blackbird, the blackbird has to make the marmolle on electric cables. Urgency again, legitimate and expected, in the Mingus greeting Lester Young with a blow of Pork Pie Hat. The power of Vladimir’s touch is the cause here, in the devil. And the sound blossoms as it does throughout this record. The sound recording is terrible, precise and gives to hear the energy of a musician who can finally move forward, out of our forced exiles. » content_last_edited= »on|phone » _builder_version= »4.10.8″ _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 No retreat, fast forward. This is, in short, what seems to guide Vladimir Torres’ Music For a Locked In Double Bass. No Retreat. No retreat when played solo. In soccer, it’s always a bit hot to play it like that, in jazz it’s often very beautiful. Daring and very beautiful. You have your own space, your own time. You have to manage with that. Only. No, with other constraints too, like those damn lock-ups that have blocked a lot of instruments and parked a lot of musicians at home. Fast Forward, full speed ahead to the outside if not outside. The inner retreat made Torres lean forward, towards personal nuggets, Lonely Woman, Eleanor Rigby or Contrarriba. Towards the daring nickel grabbed, this worried Billie Jean, pop and ultra concentrated, posed like a saving neat outro. There is an urgency which runs through this disc, sign of the times. But undoubtedly due, also, to intimate preoccupations of the double bassist which belong to him. It irrigates the 14 titles slipped between the fingers of the musician. Impatient rereading of Blackbird, the blackbird has to make the marmolle on electric cables. Urgency again, legitimate and expected, in the Mingus greeting Lester Young with a blow of Pork Pie Hat. The power of Vladimir’s touch is the cause here, in the devil. And the sound blossoms as it does throughout this record. The sound recording is nifty, precise and it gives to hear the energy of a musician who can finally move forward, out of our forced exiles. [/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= »4.10.8″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ global_colors_info= »{} »] Neo retreat, fast forward. Voilà en bref, ce qui semble guider le Music For a Locked In Double Bass de Vladimir Torres. No Retreat. Pas de refuge possible quand on la joue solo. Au foot, c’est toujours un peu chaud de la jouer ainsi, en jazz c’est souvent très beau. Osé et très beau. On a l’espace pour soi, le temps en soi. Faut
Dracula, chronique
Going Going Gone, 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= »4.10.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] MILD HIGH CLUB, Going Going Gone [/et_pb_text][et_pb_text _builder_version= »4.10.7″ 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 17 septembre 2021 chez Stones Throw 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/2021/09/Mild-High-Club-Going-Going-Gone-STH2423-scaled.jpg » alt= »Going Going Gone de Mild High Club » title_text= »Going Going Gone de Mild High Club » _builder_version= »4.10.7″ _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= »4.10.7″ _module_preset= »default » custom_margin= »3em||||false|false » global_colors_info= »{} »]Going Going Gone by Mild High Club[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Less is more. Alexander Brettin holds the right end of the precept. 3 albums since 2013, the gasman does not clutter the bins. Quantity less check, but quality in high level. His Going Going Gone plays on the same classy variations as his title. It is ultra smart, completely literate, with a complex and neat sound. From the start we sit on the pop influences, dancefloor style for laidback dancers. It bounces from the knee, nothing falls from the glass. At the second reading the album changes ear’s camp. One faces the harmonic mini-pyramids, the rhythmic breaks and an energy, certainly plunged in the summer vibe but furiously soaked in the perfect homecore. Whether you take this record by any track, in any direction, it remains magnetic and sticks to you, durably. Why? Dunno. Maybe because Alex Brettin plays as a poppy-disco salmon would do His Going is more a come back. It draws damn and nicely from his jazz background. A New High shows it perfectly, Brazil quotations in louced, ethereal voice and simple and fearsome scales. Brettin took the time to compose, to put together this success and you can hear it. No, rather it is tasted this complexity. Never posing, she spins when it is necessary, teases when it must and plays the indifferent when she can. It’s enough to run after its source. Smokey, Brettin the salmon. » content_phone= » ENGLISH / FRANÇAIS Less is more. Alexander Brettin holds the right end of the precept. 3 albums since 2013, the gasman does not clutter the bins. Quantity less check, but quality in high level. His Going Going Gone plays on the same classy variations as his title. It is ultra smart, completely literate, with a complex and neat sound. From the start we sit on the pop influences, dancefloor style for laidback dancers. It bounces from the knee, nothing falls from the glass. At the second reading the album changes ear’s camp. One faces the harmonic mini-pyramids, the rhythmic breaks and an energy, certainly plunged in the summer vibe but furiously soaked in the perfect homecore. Whether you take this record by any track, in any direction, it remains magnetic and sticks to you, durably. Why? Dunno. Maybe because Alex Brettin plays as a poppy-disco salmon would do His Going is more a come back. It draws damn and nicely from his jazz background. A New High shows it perfectly, Brazil quotations in louced, ethereal voice and simple and fearsome scales. Brettin took the time to compose, to put together this success and you can hear it. No, rather it is tasted this complexity. Never posing, she spins when it is necessary, teases when it must and plays the indifferent when she can. It’s enough to run after its source. Smokey, Brettin the salmon. » content_last_edited= »on|desktop » _builder_version= »4.10.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Less is more. Alexander Brettin holds the right end of the precept. 3 albums since 2013, the gasman does not clutter the bins. Quantity less check, but quality in high level. His Going Going Gone plays on the same classy variations as his title. It is ultra smart, completely literate, with a complex and neat sound. From the start we sit on the pop influences, dancefloor style for laidback dancers. It bounces from the knee, nothing falls from the glass. At the second reading the album changes ear’s camp. One faces the harmonic mini-pyramids, the rhythmic breaks and an energy, certainly plunged in the summer vibe but furiously soaked in the perfect homecore. Whether you take this record by any track, in any direction, it remains magnetic and sticks to you, durably. Why? Dunno. Maybe because Alex Brettin plays as a poppy-disco salmon would do His Going is more a come back. It draws damn and nicely from his jazz background. A New High shows it perfectly, Brazil quotations in louced, ethereal voice and simple and fearsome scales. Brettin took the time to compose, to put together this success and you can hear it. No, rather it is tasted this complexity. Never posing, she spins when it is necessary, teases when it must and plays the indifferent when she can. It’s enough to run after its source. Smokey, Brettin the salmon. [/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= »4.10.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Less is more. Alexander Brettin tient le bon bout du précepte. 3 albums depuis 2013, le gazier n’encombre pas les bacs. Quantité less check, mais qualité toujours en high level. Son Going Going Gone joue sur les mêmes variations classes que son titre. C’est ultra malin, complètement lettré, doté d’un son complexe et canon. D’emblée on s’assoit sur les influences pop, façon dancefloor pour danseurs laidback. Ça sautille du genou, rien ne tombe du verre. À la deuxième lecture l’album change de camp. On affronte les mini-pyramides harmoniques, les ruptures rythmiques et une énergie, plongée certes dans la summer vibe mais furieusement trempée dans le homecore parfait. Qu’on prenne ce disque par n’importe quel track, dans n’importe quel sens, il reste magnétique et vous colle aux basques, durablement. Pourquoi ? Sais pas. Peut-être parce qu’Alex Brettin joue les saumons poppy-disco. Son Going, c’est
Space 1.8, chronique
Mary’s Ideas, 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= »4.10.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] UMLAUT BIG BAND, Mary’s Ideas [/et_pb_text][et_pb_text _builder_version= »4.10.7″ 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 17 septembre 2021 chez Umlaut Records [/et_pb_text][et_pb_divider color= »rgba(255,255,255,0.51) » divider_style= »dotted » divider_position= »center » _builder_version= »4.9.4″ 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/2021/09/a1136765095_10.jpg » alt= »Mary’s Ideas du Umlaut Big Band » title_text= »Mary’s Ideas du Umlaut Big Band » _builder_version= »4.10.7″ _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= »4.10.7″ _module_preset= »default » custom_margin= »3em||||false|false » global_colors_info= »{} »]Mary's Ideas : Umlaut Big Band plays Mary Lou Williams by Umlaut Big Band[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Mary? Ideas have genius. The latest release from the Umlaut Big Band proves it if needed in 2 CDs. In fact yes. There is a fuckin’ need. Mary Lou Williams is one of the most underrated women in jazz, which might already be a sinister pleonasm. This Mary’s Ideas is therefore a good one, just by its existence revealed this month. Under the leadership of Pierre-Antoine Badaroux, the large format Umlaut remains within his codes. Those of the brilliant exegete, those of the tireless pulsator and those of the patient smuggler. The Umlaut machine is radical in its precision, frankly communicative in its realization. This Mary’s Ideas moves away without difficulty from the lands of the pompous Tribute to encroach the side of deferential revisitations. The playfulness of the arrangements (Medi n°2, for example), the carnivorous care of the rhythmics (Roll ‘Em), the weeping joy of the soloists (Stardust). It would be necessary to unroll here piece by piece the double pedagological album to seize all the range of it. The loving observation of the unpublished works entrusted by the Institute of Jazz Studies in Newark is matched by a complete thematic progression. The genius of Mary Lou Williams explodes, blues salvo after bop salvo. Until the death of a woman with ideas of genius. » content_phone= » ENGLISH / FRANÇAIS Mary? Ideas have genius. The latest release from the Umlaut Big Band proves it if needed in 2 CDs. In fact yes. There is a fuckin’ need. Mary Lou Williams is one of the most underrated women in jazz, which might already be a sinister pleonasm. This Mary’s Ideas is therefore a good one, just by its existence revealed this month. Under the leadership of Pierre-Antoine Badaroux, the large format Umlaut remains within his codes. Those of the brilliant exegete, those of the tireless pulsator and those of the patient smuggler. The Umlaut machine is radical in its precision, frankly communicative in its realization. This Mary’s Ideas moves away without difficulty from the lands of the pompous Tribute to encroach the side of deferential revisitations. The playfulness of the arrangements (Medi n°2, for example), the carnivorous care of the rhythmics (Roll ‘Em), the weeping joy of the soloists (Stardust). It would be necessary to unroll here piece by piece the double pedagological album to seize all the range of it. The loving observation of the unpublished works entrusted by the Institute of Jazz Studies in Newark is matched by a complete thematic progression. The genius of Mary Lou Williams explodes, blues salvo after bop salvo. Until the death of a woman with ideas of genius. » content_last_edited= »on|phone » _builder_version= »4.10.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » global_colors_info= »{} »] ENGLISH Mary? Ideas have genius. The latest release from the Umlaut Big Band proves it if needed in 2 CDs. In fact yes. There is a fuckin’ need. Mary Lou Williams is one of the most underrated women in jazz, which might already be a sinister pleonasm. This Mary’s Ideas is therefore a good one, just by its existence revealed this month. Under the leadership of Pierre-Antoine Badaroux, the large format Umlaut remains within his codes. Those of the brilliant exegete, those of the tireless pulsator and those of the patient smuggler. The Umlaut machine is radical in its precision, frankly communicative in its realization. This Mary’s Ideas moves away without difficulty from the lands of the pompous Tribute to encroach the side of deferential revisitations. The playfulness of the arrangements (Medi n°2, for example), the carnivorous care of the rhythmics (Roll ‘Em), the weeping joy of the soloists (Stardust). It would be necessary to unroll here piece by piece the double pedagological album to seize all the range of it. The loving observation of the unpublished works entrusted by the Institute of Jazz Studies in Newark is matched by a complete thematic progression. The genius of Mary Lou Williams explodes, blues salvo after bop salvo. Until the death of a woman with ideas of genius. [/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= »4.10.7″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#FF6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Mary, Mary ? Les idées ont du génie. La dernière sortie du Umlaut Big Band le prouve si besoin était en 2 CDs. En fait oui, il y a besoin. Mary Lou Williams est une des femmes du jazz les plus mésestimées, ce qui pourrait bien figurer déjà comme un sinistre pléonasme. Ce Mary’s Ideas est donc de bon ton, rien que par son existence révélée ce mois-ci. Sous la houlette de Pierre-Antoine Badaroux, le Umlaut grand format reste dans ses cordes. Celles de l’exégète génial, celles du pulsateur inlassable et celles du passeur patient. La machine Umlaut est radicale dans sa précision, franchement communicative dans sa réalisation. Ce Mary’s Ideas s’éloigne sans peine des terres du Tribute pompeux pour aller piétiner les plates-bandes des relectures déférentes. Ludisme des arrangements (Medi n°2, par exemple), soin carnivore des rythmiques (Roll ‘Em), joie éplorée des solistes (Stardust). Il faudrait dérouler ici pièce à pièce le double album pédagologique pour en saisir toute la portée. À l’observation amoureuse des inédits confiés par l’Institute of Jazz Studies de Newark répond une progression thématique complète. Le génie de Mary Lou Williams explose alors, salve
Dave, 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= »4.10.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] DAVE, We’re All Alone In This Together [/et_pb_text][et_pb_text _builder_version= »4.10.7″ 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 23 juillet 2021 chez Neighbourhood Recordings [/et_pb_text][et_pb_divider color= »rgba(255,255,255,0.51) » divider_style= »dotted » divider_position= »center » _builder_version= »4.9.4″ 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/2021/09/dave-WERE-ALL-ALONE-IN-THIS-TOGETHER-.jpeg » alt= »We’re All Alone In This Together de Dave » title_text= »We’re All Alone In This Together de Dave » _builder_version= »4.10.7″ _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_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/09/Verdansk.mp3″ title= »Verdansk » artist_name= »Dave » album_name= »We’re All Alone In This Together (2021) » _builder_version= »4.10.7″ _module_preset= »default » title_font= »Roboto|300||||||| » background_color= »rgba(63,42,76,0.35) » custom_margin= »7%||||false|false » global_colors_info= »{} »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS The most beautiful trophy that English had win this summer ? That Dave’s second album, We’re All Alone In This Together. Only 23 years old and David Omoregie aka Santan Dave shows a maturity at ease. Custard for a new ‘crème brûlée’ project: Stormzy, Fredo, Giggs, WizKid, Boj, Snoh Aalegra, James Blake… Quality cast for a quality album. On the side of the texts, it is striking, touching. Politically engaged, the young man of Streatham gives the cover. From the scandal of Windrush and the injustice of immigrants in Three Rivers, to the difficulties of his mother for his education in Heart Attack. From his Nigerian heritage on In The Fire, to his heart issues in Both Sides Of A Smile, this second LP sets its moods span and it’s pretty wide. Gospel, afrobeats, drill, R&B or even electro, 1 hour of polished prods, it’s WAAITT, Jae5, WizKid and Dave himself who regale. One could recognizes the UK style dropped by Roots Manuva, for example. Otherwise, it kicks without autotune, it sings choruses, it makes almost sometimes slam. It is diversified, it pleases. As pleasant as a small Battle Royal between lads on Verdansk, this small jewel is already to install in the unmissable cat. » content_phone= » ENGLISH / FRANÇAIS The most beautiful trophy that English had win this summer ? That Dave’s second album, We’re All Alone In This Together. Only 23 years old and David Omoregie aka Santan Dave shows a maturity at ease. Custard for a new ‘crème brûlée’ project: Stormzy, Fredo, Giggs, WizKid, Boj, Snoh Aalegra, James Blake… Quality cast for a quality album. On the side of the texts, it is striking, touching. Politically engaged, the young man of Streatham gives the cover. From the scandal of Windrush and the injustice of immigrants in Three Rivers, to the difficulties of his mother for his education in Heart Attack. From his Nigerian heritage on In The Fire, to his heart issues in Both Sides Of A Smile, this second LP sets its moods span and it’s pretty wide. Gospel, afrobeats, drill, R&B or even electro, 1 hour of polished prods, it’s WAAITT, Jae5, WizKid and Dave himself who regale. One could recognizes the UK style dropped by Roots Manuva, for example. Otherwise, it kicks without autotune, it sings choruses, it makes almost sometimes slam. It is diversified, it pleases. As pleasant as a small Battle Royal between lads on Verdansk, this small jewel is already to install in the unmissable cat. » content_last_edited= »on|phone » _builder_version= »4.10.7″ _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 The most beautiful trophy that English had win this summer ? That Dave’s second album, We’re All Alone In This Together. Only 23 years old and David Omoregie aka Santan Dave shows a maturity at ease. Custard for a new ‘crème brûlée’ project: Stormzy, Fredo, Giggs, WizKid, Boj, Snoh Aalegra, James Blake… Quality cast for a quality album. On the side of the texts, it is striking, touching. Politically engaged, the young man of Streatham gives the cover. From the scandal of Windrush and the injustice of immigrants in Three Rivers, to the difficulties of his mother for his education in Heart Attack. From his Nigerian heritage on In The Fire, to his heart issues in Both Sides Of A Smile, this second LP sets its moods span and it’s pretty wide. Gospel, afrobeats, drill, R&B or even electro, 1 hour of polished prods, it’s WAAITT, Jae5, WizKid and Dave himself who regale. One could recognizes the UK style dropped by Roots Manuva, for example. Otherwise, it kicks without autotune, it sings choruses, it makes almost sometimes slam. It is diversified, it pleases. As pleasant as a small Battle Royal between lads on Verdansk, this small jewel is already to install in the unmissable cat. [/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= »4.10.7″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#FF6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] What Comin’ home ? Le plus beau trophée que les Anglais aient pu gagner cet été. C’est bien le deuxième album de Dave, We’re All Alone In This Together. Nous sommes tous seuls ensemble, vous avez 4 heures… 23 ans seulement et David Omoregie aka Santan Dave fait preuve d’une maturité à l’aise. Crème anglaise pour un nouveau projet crème brûlée : Stormzy, Fredo, Giggs, WizKid, Boj, Snoh Aalegra, James Blake entre autres. Cast de qualité pour un album de qualité. Sur la side des textes, c’est percutant, touchant. Politiquement engagé, le young man of Streatham remet le couvert. Du scandale de Windrush et l’injustice des immigrants dans Three Rivers, aux difficultés de sa mère pour son éducation dans Heart Attack. De son héritage nigérian sur In The Fire, en passant par ses problèmes de cœur dans Both Sides Of A Smile, ce deuxième album pose sa palette d’ambiances et c’est plutôt large. Gospel, afrobeats, drill, R&B ou même électro, 1 heure de prods léchées, c’est WAAITT, Jae5, WizKid et Dave himself qui régalent. On reconnaît direct le style bien UK à la Roots Manuva, par exemple. Sinon, ça kick sans autotune, ça chantonne des refrains, ça fait presque parfois du slam. C’est diversifié, ça plaît. Aussi plaisant qu’une petite Battle Royale
Tropism, chronique
