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
In The Place, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] SNAZZBACK, In The Place [/et_pb_text][et_pb_text _builder_version= »4.9.7″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie le 23 juillet 2021 chez Worm Discs [/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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/07/snazzbackintheplace.jpg » alt= »Snazzback In The Place » title_text= »Snazzback In The Place » _builder_version= »4.9.7″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.7″ _module_preset= »default »]In The Place by Snazzback[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS England is small but it should be big sometimes. It all depends on your point of view. In this country, there is jazz. And jazz is big here. Of course, dear. This jazz plays in Bristol. As the 9 kids from Skins. In Snazzback, they were 7 guys. No teens tricks but nice shots from the new british jazz scene. Obviously. With this second album, In The Place. 12 tracks. Each one has its own color. Warm colors, like a summer sunset. Let’s say gold. Very chic. And there’s Alice where the band’s outfit perfectly matches with China Bowls’ voice. Sensual and deep. Very groovy. Love it. With Drunq Choirs, second color is pink deep fuschia. Kinda mesmerizing and addictive. Triangle is jazz, pure jazz, with no voices. No singers. And for the color, you can pick carmine. It’s explosive. Like a volcano in eruption. An electric guitar in the background supports this atmosphere, sounding a lot like Moses Boyd’s drumming. The Hub is yellow. It’s a concentrated Afro-Latino vibe. It’s hot. Sensual and smooth as fuck, sir. Snazzy from start to finish and it’s coming right in the middle of summer on July 23rd. » content_phone= » ENGLISH / FRANÇAIS England is small but it should be big sometimes. It all depends on your point of view. In this country, there is jazz. And jazz is big here. Of course, dear. This jazz plays in Bristol. As the 9 kids from Skins. In Snazzback, they were 7 guys. No teens tricks but nice shots from the new british jazz scene. Obviously. With this second album, In The Place. 12 tracks. Each one has its own color. Warm colors, like a summer sunset. Let’s say gold. Very chic. And there’s Alice where the band’s outfit perfectly matches with China Bowls’ voice. Sensual and deep. Very groovy. Love it. With Drunq Choirs, second color is pink deep fuschia. Kinda mesmerizing and addictive. Triangle is jazz, pure jazz, with no voices. No singers. And for the color, you can pick carmine. It’s explosive. Like a volcano in eruption. An electric guitar in the background supports this atmosphere, sounding a lot like Moses Boyd’s drumming. The Hub is yellow. It’s a concentrated Afro-Latino vibe. It’s hot. Sensual and smooth as fuck, sir. Snazzy from start to finish and it’s coming right in the middle of summer on July 23rd. » content_last_edited= »on|phone » _builder_version= »4.9.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH England is small but it should be big sometimes. It all depends on your point of view. In this country, there is jazz. And jazz is big here. Of course, dear. This jazz plays in Bristol. As the 9 kids from Skins. In Snazzback, they were 7 guys. No teens tricks but nice shots from the new british jazz scene. Obviously. With this second album, In The Place. 12 tracks. Each one has its own color. Warm colors, like a summer sunset. Let’s say gold. Very chic. And there’s Alice where the band’s outfit perfectly matches with China Bowls’ voice. Sensual and deep. Very groovy. Love it. With Drunq Choirs, second color is pink deep fuschia. Kinda mesmerizing and addictive. Triangle is jazz, pure jazz, with no voices. No singers. And for the color, you can pick carmine. It’s explosive. Like a volcano in eruption. An electric guitar in the background supports this atmosphere, sounding a lot like Moses Boyd’s drumming. The Hub is yellow. It’s a concentrated Afro-Latino vibe. It’s hot. Sensual and smooth as fuck, sir. Snazzy from start to finish and it’s coming right in the middle of summer on July 23rd. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ sticky_enabled= »0″] L’Angleterre, c’est petit mais grand à la fois. Tout dépend du point de vue. Dans ce pays, il y a du jazz. Of course, dear. Ce jazz-là joue à Bristol. Comme joue les 9 kids de Skins. Snazzback, ils sont 7 gars et eux, font pas des trucs de teenager mais arrivent dans la place, de la nouvelle scène jazz british. Obviously. Avec un deuxième album à leur actif, In The Place. 12 titres. Chacun à sa couleur. Des couleurs bien chaudes, comme celles d’un summer sunset. Première couleur, gold. Chic un max. Et c’est Alice, le jeu du band se marie parfaitement avec la voix de China Bowls. Sensuelle et deep. Très groove. Love it. Deuxième couleur avec Drunq Choirs, du rose fushia bien profond. C’est hypnotisant et addictif. Triangle, c’est du jazz, du pur, là il n’y a pas de voix. Ni chanteuses. Ni chanteurs. Et pour la couleur ce sera carmin. C’est explosif. Comme un volcan en éruption. Une guitare électrique en fond qui appuie cette ambiance. Ça ressemble beaucoup au jeu de batterie de Moses Boyd, d’ailleurs. The Hub, c’est jaune. C’est un concentré de vibe afro-latino. C’est hot. Sensuel et smooth as fuck, sir. Snazzy du début à la fin. Ça arrive en plein milieu de l’été et ce sera le 23 juillet. [/et_pb_text][et_pb_text _builder_version= »4.9.7″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Snazzback : bandcampWorm Discs : bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
CALL ME IF YOU GET LOST, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] TYLER, THE CREATOR,CALL ME IF YOU GET LOST [/et_pb_text][et_pb_text _builder_version= »4.9.7″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie le 25 juin 2021 chez Columbia 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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/07/tylerthecreatorcallmeifyougetlost.jpeg » alt= »Tyler, The Creator / CALL ME IF YOU GET LOST » title_text= »Tyler, The Creator / CALL ME IF YOU GET LOST » _builder_version= »4.9.7″ _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 »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/07/yt1s.com-MANIFESTO.mp3″ title= »MANIFESTO » artist_name= »Tyler, The Creator » album_name= »CALL ME IF YOU GET LOST (2021) » _builder_version= »4.9.7″ _module_preset= »default » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS New album from The Creator! Whadattmean ? New storytelling. New creation, now characters, new guests and a lot of fuckin’ damn rap. Thanks, God. New story mixed up in 16 titles. Not very surprising coming from Tyler, The Creator a.k.a Wolf Haley, the evil alter-ego clip director. CALL ME IF YOU GET LOST can be eared as a movie. A film couloured with turquoise. As the main character, Tyler Baudelaire. A narrator, DJ Drama. In the cast of secondary characters, Brent Faiyaz, Pharrell Williams, Lil Wayne, Domo Genesis and many others. This guy is not playing anymore, dude. There are many references. You can lose your mind in a quarter of a second. A bit like in an action movie. There are breaks and times when it goes so fast that you don’t even have to blink. Like, CORSO. It roars in your eardrums. It hits, it swings, it drives you crazy. No time to breathe, LEMONHEAD comes. DJ Drama gives just the time to exhale and hardly to inhale. As for the break, we have SWEET / I THOUGHT YOU WANTED TO DANCE. Honey for the ears. Sweet, indeed. A bit like the moral of this film, WILSHIRE comes almost to the end. 8 minutes of prose. The ups and downs of a love triangle. Okay, that sounds long. But hearing Tyler put his words down in a smooth, crystal clear way. Addictive. A real eargasm. But, then, the big question, Charles Baudelaire or A Series of Unfortunate Events ? Maybe one of the two. Maybe both or maybe neither. Anyway. Call me if you get lost, bitches. » content_phone= » ENGLISH / FRANÇAIS New album from The Creator! Whadattmean ? New storytelling. New creation, now characters, new guests and a lot of fuckin’ damn rap. Thanks, God. New story mixed up in 16 titles. Not very surprising coming from Tyler, The Creator a.k.a Wolf Haley, the evil alter-ego clip director. CALL ME IF YOU GET LOST can be eared as a movie. A film couloured with turquoise. As the main character, Tyler Baudelaire. A narrator, DJ Drama. In the cast of secondary characters, Brent Faiyaz, Pharrell Williams, Lil Wayne, Domo Genesis and many others. This guy is not playing anymore, dude. There are many references. You can lose your mind in a quarter of a second. A bit like in an action movie. There are breaks and times when it goes so fast that you don’t even have to blink. Like, CORSO. It roars in your eardrums. It hits, it swings, it drives you crazy. No time to breathe, LEMONHEAD comes. DJ Drama gives just the time to exhale and hardly to inhale. As for the break, we have SWEET / I THOUGHT YOU WANTED TO DANCE. Honey for the ears. Sweet, indeed. A bit like the moral of this film, WILSHIRE comes almost to the end. 8 minutes of prose. The ups and downs of a love triangle. Okay, that sounds long. But hearing Tyler put his words down in a smooth, crystal clear way. Addictive. A real eargasm. But, then, the big question, Charles Baudelaire or A Series of Unfortunate Events ? Maybe one of the two. Maybe both or maybe neither. Anyway. Call me if you get lost, bitches. » content_last_edited= »on|phone » _builder_version= »4.9.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH New album from The Creator! Whadattmean ? New storytelling. New creation, now characters, new guests and a lot of fuckin’ damn rap. Thanks, God. New story mixed up in 16 titles. Not very surprising coming from Tyler, The Creator a.k.a Wolf Haley, the evil alter-ego clip director. CALL ME IF YOU GET LOST can be eared as a movie. A film couloured with turquoise. As the main character, Tyler Baudelaire. A narrator, DJ Drama. In the cast of secondary characters, Brent Faiyaz, Pharrell Williams, Lil Wayne, Domo Genesis and many others. This guy is not playing anymore, dude. There are many references. You can lose your mind in a quarter of a second. A bit like in an action movie. There are breaks and times when it goes so fast that you don’t even have to blink. Like, CORSO. It roars in your eardrums. It hits, it swings, it drives you crazy. No time to breathe, LEMONHEAD comes. DJ Drama gives just the time to exhale and hardly to inhale. As for the break, we have SWEET / I THOUGHT YOU WANTED TO DANCE. Honey for the ears. Sweet, indeed. A bit like the moral of this film, WILSHIRE comes almost to the end. 8 minutes of prose. The ups and downs of a love triangle. Okay, that sounds long. But hearing Tyler put his words down in a smooth, crystal clear way. Addictive. A real eargasm. But, then, the big question, Charles Baudelaire or A Series of Unfortunate Events ? Maybe one of the two. Maybe both or maybe neither. Anyway. Call me if you get lost, bitches. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ sticky_enabled= »0″] Nouvel album du Créateur. Ça veut dire ? New storytelling. Nouvelle création, nouveaux personnages, nouveaux invités et damn du rap en balle. Thanks, God. Nouvelle histoire entremêlée en 16 titres. Pas très étonnant venant de Tyler, The Creator a.k.a Wolf
We’re OK, chronique
Yellow, chronique
Japanese Flower, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] ISM, Japanese Flower [/et_pb_text][et_pb_text _builder_version= »4.9.7″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie le 30 juin 2021 sur Umlaut 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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/06/cover.jpg » alt= »Japanese Flower de ISM » title_text= »Japanese Flower de ISM » _builder_version= »4.9.7″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.7″ _module_preset= »default »]Japanese Flower by سم [ISM][/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Old style or good style? Indolent research or nervous braking? All four, sir! And that’s even what’s radically joyful about the two 20-minute tracks on this Japanese Flower, picked fresh by ISM. The rhythmic expat of the perfect Ahmed, this trio does things the old-fashioned way, the groove of bebop, and does them today, the calm patience of harmonics. Everything is mixed, nothing is confused. A trio with a calligraphic name recording in the Rising Sun, two vegetal tracks – Dahlia and Tomato, both strong of an organic music teeming with classy intentions, interlacing created today sounding like spirit lines engraved in ’55. And from this maelstrom, with its tiny and flamboyant incandescence, impertinence, versatility and precision gush, uniquely stretched by their common goal. The pleasure of playing. This three-way dialogue starts from a point without really knowing where the path will lead. This other side of the coin, the reverse side of which was Metaphor, released in 2019, this record blooms frankly in the hands of Antonin Gerbal, Pat Thomas and Joel Grip. It blooms with a dense, fragrant and beneficent beauty. » content_phone= » ENGLISH / FRANÇAIS Old style or good style? Indolent research or nervous braking? All four, sir! And that’s even what’s radically joyful about the two 20-minute tracks on this Japanese Flower, picked fresh by ISM. The rhythmic expat of the perfect Ahmed, this trio does things the old-fashioned way, the groove of bebop, and does them today, the calm patience of harmonics. Everything is mixed, nothing is confused. A trio with a calligraphic name recording in the Rising Sun, two vegetal tracks – Dahlia and Tomato, both strong of an organic music teeming with classy intentions, interlacing created today sounding like spirit lines engraved in ’55. And from this maelstrom, with its tiny and flamboyant incandescence, impertinence, versatility and precision gush, uniquely stretched by their common goal. The pleasure of playing. This three-way dialogue starts from a point without really knowing where the path will lead. This other side of the coin, the reverse side of which was Metaphor, released in 2019, this record blooms frankly in the hands of Antonin Gerbal, Pat Thomas and Joel Grip. It blooms with a dense, fragrant and beneficent beauty. » content_last_edited= »on|phone » _builder_version= »4.9.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Old style or good style? Indolent research or nervous braking? All four, sir! And that’s even what’s radically joyful about the two 20-minute tracks on this Japanese Flower, picked fresh by ISM. The rhythmic expat of the perfect Ahmed, this trio does things the old-fashioned way, the groove of bebop, and does them today, the calm patience of harmonics. Everything is mixed, nothing is confused. A trio with a calligraphic name recording in the Rising Sun, two vegetal tracks – Dahlia and Tomato, both strong of an organic music teeming with classy intentions, interlacing created today sounding like spirit lines engraved in ’55. And from this maelstrom, with its tiny and flamboyant incandescence, impertinence, versatility and precision gush, uniquely stretched by their common goal. The pleasure of playing. This three-way dialogue starts from a point without really knowing where the path will lead. This other side of the coin, the reverse side of which was Metaphor, released in 2019, this record blooms frankly in the hands of Antonin Gerbal, Pat Thomas and Joel Grip. It blooms with a dense, fragrant and beneficent beauty. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″] ssOld Style ou good style ? Recherche indolente ou Braquet nerveux ? Les quatre, mon colonel ! Et c’est même ce qui est radicalement joyeux dans les 2 plages de 20 minutes de cette Japanese Flower cueillie fraîche par ISM. Rythmique expat’ du parfait Ahmed, ce trio fait les choses à l’ancienne, le groove du be-bop, et les fait aujourd’hui, la calme patience des harmoniques. Tout est mélangé, rien n’est confus. Trio au nom calligraphié enregistrant au Soleil levant, deux plages végétales — Dahlia et Tomato — fortes d’une musique organique grouillant d’intentions classes, d’entrelacs créés aujourd’hui et sonnant comme des traits d’esprits gravés en 55. Et de ce maelström, à l’incandescence minuscule et flamboyante, nait l’impertinence d’un free bop, sa versatilité et sa précision, uniquement tendues par leur but commun. Le plaisir du jeu. Ce dialogue à trois part d’un point sans trop vouloir savoir où le chemin débouchera. Revers d’une médaille dont le verso serait ce Metaphor, sorti en 2019, ce disque fleurit sans détour entre les mains d’Antonin Gerbal, Pat Thomas et Joel Grip. Fleurit d’une fleur à la beauté dense, odorante et bienfaitrice. [/et_pb_text][et_pb_text _builder_version= »4.9.7″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —اسم [Ism] : site webUmlaut Records : bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Wastral, chronique
Gentle Ghosts, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| »][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 »][et_pb_column type= »4_4″ _builder_version= »4.0.6″][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] BENOIT DELBECQ 4, Gentle Ghosts [/et_pb_text][et_pb_text _builder_version= »4.9.7″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] sortie le 25 juin 2021 sur Jazzdor Series [/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 »][/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 »][/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 »][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||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2021/06/GentleGhosts.jpg » alt= »Hope de Marc Ribot’s Ceramic Dog » title_text= »Gentle Ghosts de Delbecq 4″ _builder_version= »4.9.7″ _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 »][/et_pb_image][et_pb_code _builder_version= »4.9.7″ _module_preset= »default » custom_margin= »4em||||false|false »]Benoît Delbecq 4 – Gentle Ghosts by Benoît Delbecq[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS So, you can be a pointillist without being fussy. Pointillist, or more precisely, let’s say impressionist for Benoît Delbecq, great fan of Claude Monet. Impressionist, for example, in the touch that drives Gentle Ghosts, the patient and eponymous blues of this record. One nice reason to keep this record in heavy rotation. Impressionist, then indeed. Impressionist in its spaces and in the imaginery landscapes of the other 6 tracks of the album. Impressionist, finally, in the line-up of this quartet that squares harmonics and subtle tensions. Quite fascinating to see how Delbecq re-enacts the links between the four musicians. Mark Turner, whose restraint is matched only by the implacable and brilliant velvetiness of his sax parts, faces the pair Gerald Cleaver/John Hébert. The listening is tense, open and with a discretion that would make the weepers of Sicily cry real tears. All have played together, recorded together. Gentle Ghosts is based on a complicity of full evidence, with a demanding modesty. The kind that pushes you towards the bottom rather than towards decorum. What is at stake in this album is the networks that unite the quartet. No friendship is claimed or displayed. Everything is played, once again, with discretion. The kind that forces you to lay down weapons and precautions, to accept to be taken in by the impressionistic beauty of this sensitive music. Impressive. Period. » content_phone= » ENGLISH / FRANÇAIS So, you can be a pointillist without being fussy. Pointillist, or more precisely, let’s say impressionist for Benoît Delbecq, great fan of Claude Monet. Impressionist, for example, in the touch that drives Gentle Ghosts, the patient and eponymous blues of this record. One nice reason to keep this record in heavy rotation. Impressionist, then indeed. Impressionist in its spaces and in the imaginery landscapes of the other 6 tracks of the album. Impressionist, finally, in the line-up of this quartet that squares harmonics and subtle tensions. Quite fascinating to see how Delbecq re-enacts the links between the four musicians. Mark Turner, whose restraint is matched only by the implacable and brilliant velvetiness of his sax parts, faces the pair Gerald Cleaver/John Hébert. The listening is tense, open and with a discretion that would make the weepers of Sicily cry real tears. All have played together, recorded together. Gentle Ghosts is based on a complicity of full evidence, with a demanding modesty. The kind that pushes you towards the bottom rather than towards decorum. What is at stake in this album is the networks that unite the quartet. No friendship is claimed or displayed. Everything is played, once again, with discretion. The kind that forces you to lay down weapons and precautions, to accept to be taken in by the impressionistic beauty of this sensitive music. Impressive. Period. » content_last_edited= »on|phone » _builder_version= »4.9.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false » hover_enabled= »0″ sticky_enabled= »0″] ENGLISH So, you can be a pointillist without being fussy. Pointillist, or more precisely, let’s say impressionist for Benoît Delbecq, great fan of Claude Monet. Impressionist, for example, in the touch that drives Gentle Ghosts, the patient and eponymous blues of this record. One nice reason to keep this record in heavy rotation. Impressionist, then indeed. Impressionist in its spaces and in the imaginery landscapes of the other 6 tracks of the album. Impressionist, finally, in the line-up of this quartet that squares harmonics and subtle tensions. Quite fascinating to see how Delbecq re-enacts the links between the four musicians. Mark Turner, whose restraint is matched only by the implacable and brilliant velvetiness of his sax parts, faces the pair Gerald Cleaver/John Hébert. The listening is tense, open and with a discretion that would make the weepers of Sicily cry real tears. All have played together, recorded together. Gentle Ghosts is based on a complicity of full evidence, with a demanding modesty. The kind that pushes you towards the bottom rather than towards decorum. What is at stake in this album is the networks that unite the quartet. No friendship is claimed or displayed. Everything is played, once again, with discretion. The kind that forces you to lay down weapons and precautions, to accept to be taken in by the impressionistic beauty of this sensitive music. Impressive. Period. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.7″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ sticky_enabled= »0″] Comme quoi on peut être pointilliste sans être pointilleux. Pointilliste, ou plus justement, impressionniste pour ce fan de Claude Monet qu’est Benoît Delbecq. Impressionniste, par exemple, dans la touche qui pilote Gentle Ghosts, le blues patient et éponyme de ce disque. À lui seul raison suffisante pour faire tourner à haute rotation ce disque. Impressionniste, donc. Impressionniste dans les espaces et dans les imaginery landscapes des 6 autres plages de l’album. Impressionniste enfin le line-up de ce quartet qui quadrille harmoniques et tensions subtiles. Plutôt fascinant de voir comment Delbecq rejoue ici les liens, les attachements des quatre musiciens. Mark Turner, dont la retenue n’a d’égale que le velouté implacable et brillant de ses parties de sax, fait face à la paire rythmique Gerald Cleaver/John Hébert. L’écoute est tendue, ouverte et d’une discrétion à sortir de vraies larmes des pleureuses de Sicile. Tous ont joué ensemble, enregistré ensemble. Gentle Ghosts repose sur une complicité de pleine évidence, à la modestie exigeante. De celle qui vous pousse vers le fond plutôt que