Hope, 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 »] CERAMIC DOG, Hope [/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 Enja & YellowBird [/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/Hope-1.jpg » alt= »Hope de Marc Ribot’s Ceramic Dog » title_text= »Hope » _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 »]Hope by Marc Ribot's Ceramic Dog[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Meooow. It would take more than four legs to count the love affairs between felines and humanos in jazz thing. Disney and his Aristocats, Lalo Schifrin and his Cat sliding on Freddie Hubbard’s pistons or Jimmy Smith’s 88 keys. Cat’s back, baby, Cat’s back. And here this Cat is the pseudo translated from Neko. Neko? It’s Hiroshi Suzuki, trombonist with a sound of a carved with diamonds sweetness. Suzuki left for the States in 1971 to get some jump with Buddy Rich, among others. 4 years later, he’s back on homeland and takes the opportunity to check if all his friends are still as cheerful. Verification is neat. In 3 days of October 75, 5 tracks are taped. Completely seaside, set with a discreet funk and a solid jazz. Walk Tall is far from its Afro-American claimant ground but faces the present with great class. Shrimp Dance has the feel of a naughty then happy cabaret. It’s packed with spirit, the trombone flirts with the sweet sound of a clogged trumpet, and Kunimitsu Inaba’s (bass) solos are almost helically precise. The tawny sweetness of Romance brings the end of the record to the level of a nugget for diggers and a pretty joy to sample. Pink Siifu did that on his 2018 Pull-up. 45 years later, Neko is still buzzing. Purrrr. » content_phone= » ENGLISH / FRANÇAIS Meooow. It would take more than four legs to count the love affairs between felines and humanos in jazz thing. Disney and his Aristocats, Lalo Schifrin and his Cat sliding on Freddie Hubbard’s pistons or Jimmy Smith’s 88 keys. Cat’s back, baby, Cat’s back. And here this Cat is the pseudo translated from Neko. Neko? It’s Hiroshi Suzuki, trombonist with a sound of a carved with diamonds sweetness. Suzuki left for the States in 1971 to get some jump with Buddy Rich, among others. 4 years later, he’s back on homeland and takes the opportunity to check if all his friends are still as cheerful. Verification is neat. In 3 days of October 75, 5 tracks are taped. Completely seaside, set with a discreet funk and a solid jazz. Walk Tall is far from its Afro-American claimant ground but faces the present with great class. Shrimp Dance has the feel of a naughty then happy cabaret. It’s packed with spirit, the trombone flirts with the sweet sound of a clogged trumpet, and Kunimitsu Inaba’s (bass) solos are almost helically precise. The tawny sweetness of Romance brings the end of the record to the level of a nugget for diggers and a pretty joy to sample. Pink Siifu did that on his 2018 Pull-up. 45 years later, Neko is still buzzing. Purrrr. » 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 Burntouted fire or joyfull endorphins. This Hope, latest record by Marc Ribot’s Ceramic Dog is not clear-cut but very sharp. The fangs planted in all the hashtags ‘benevolence’ and ‘resilience’ that unite the twittosphere and the covers of feel good magazines. Too bad for Leonard Cohen, Sir Ribot is gone home with his hard on. Or rather stayed, blocked a bit like all of them by the COVID. And without replaying the political acrimony of his Songs Of Resistance, of the YRU Still Here? of the same mutt, a little irritated by the trumpetts presidency. Here, Ribot, Ches Smith and Shahzad Ismaily are less annoyed than deeply focused on a huge urgent poetry, full of humanity, of the indescribable desire to settle its account to the damn period that the world is just starting to finish going through. Hope, it is the title of the LP. Simple, deep, fragile. Like each of the tracks, erectile poems or long stubborn musical digressions. Fragile but bumped with class. These are the assaults of Darius Jones’ tenor on They Met In The Middle, gilded with New York gold from the dingo golden age of No Wave. It’s the layback proto-rocksteady of Nickelodeon, walking straight as a priest leaving mass should do. It is the 13 minutes 30 of Mapple leaf Rage, red, very very red, pyromaniac. It is finally the cover of Donovan, a Wear Your Love Like Heaven rolled in the velvet and the hope to remain standing. With a hard on. Now we can enter in the post-Covid future by the big door. [/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″] Brûlot burnouté ou joie pleine d’endorphines. Pas tranché mais très tranchant ce Hope, dernier disque du Ceramic Dog de Marc Ribot. Les crocs plantés dans toutes les hashtags ‘bienveillance’ et ‘résilience’ qui unissent la twittosphère et les couvertures de magazines feel good. Tant pis pour Leonard Cohen, Sir Ribot est gone home with his hard on. Enfin plutôt resté, bloqué un peu comme tous par la COVID. Et sans ressasser la hargne politique de ses récentes Songs Of Resistance, du YRU Still Here? du même cabot, un poil énervé par la présidence trumpette. Ici, Ribot, Ches Smith et Shahzad Ismaily se font moins vénères que deeply porté sur une poésie urgence, pleine d’humanité, de l’envie indépassable de régler son compte à la foutue période que le monde commence tout juste à finir de traverser. Hope, c’est le titre du disque. Simple, profond, fragile. Comme chacune des plages, poèmes érectiles ou longues digressions musicales têtues. Fragiles mais
Similar & Different, 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= »||||false|false » 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_phone= » FUNKY COUP:Korean Soul, Funk& Rare Groove Nuggets 1973-1980 vol. 1 » content_last_edited= »off|tablet » _builder_version= »4.9.7″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] DAL:UM, Similar & Different [/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 Tak:til et Glitterbeat 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/a3728459498_10.jpg » alt= »Dal:um-Similar & Different » title_text= »Dal:um-Similar & Different » _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″][/et_pb_image][et_pb_code _builder_version= »4.9.7″ _module_preset= »default » custom_margin= »4em||||false|false »]similar & different by dal:um[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Pleasure, tradition, Asia and old stuff. Released on April 9th, Funky Coup : Korean Soul, Funk & Rare Groove Nuggets 1973-1980 Vol. 1 compilation revives the sex-appeal of 25 made in Korea nuggets. Beatball, an independent label, is in the kitchen with DJ Soulscape to cook one of the craziest mix. As a smooth operator. From 1973 to 1980, the land of the Morning Calm, we restyled the trot, a 100% Korean genre. Simple recipe : quaking voice, mostly a feminine one, precise and surprising rythmes. Thus, here is something like a musical energy drink. Listening to Funky Coup, it’s like driving a time machine, changing atmosphere and being transported on the other end of the world. Cruise ship, long drink, blue sky and funky seagulls. Traditional notes, powerful voices, beyond understanding but brilliantly harmonious language in a familiar register. It is even one of the delights of the compilation. Stop once. Beauty Girls’ Milyang Arirang sounds very similar to a comforting song for some military demonstration. No surprise if you consider the political background of the game. Stop twice. Crying Girl, a bewitching flute with random onomatopeia by Lee Jang-hee. Efficient and crispy. Last stop, soft voices of Kim Trio. The kind that makes you want to say here. Dropping anchor, sunbathing and never returning back. » content_phone= » ENGLISH / FRANÇAIS Pleasure, tradition, Asia and old stuff. Released on April 9th, Funky Coup : Korean Soul, Funk & Rare Groove Nuggets 1973-1980 Vol. 1 compilation revives the sex-appeal of 25 made in Korea nuggets. Beatball, an independent label, is in the kitchen with DJ Soulscape to cook one of the craziest mix. As a smooth operator. From 1973 to 1980, the land of the Morning Calm, we restyled the trot, a 100% Korean genre. Simple recipe : quaking voice, mostly a feminine one, precise and surprising rythmes. Thus, here is something like a musical energy drink. Listening to Funky Coup, it’s like driving a time machine, changing atmosphere and being transported on the other end of the world. Cruise ship, long drink, blue sky and funky seagulls. Traditional notes, powerful voices, beyond understanding but brilliantly harmonious language in a familiar register. It is even one of the delights of the compilation. Stop once. Beauty Girls’ Milyang Arirang sounds very similar to a comforting song for some military demonstration. No surprise if you consider the political background of the game. Stop twice. Crying Girl, a bewitching flute with random onomatopeia by Lee Jang-hee. Efficient and crispy. Last stop, soft voices of Kim Trio. The kind that makes you want to say here. Dropping anchor, sunbathing and never returning back. » content_last_edited= »on|phone » _builder_version= »4.9.7″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »10%||||false|false »] ENGLISH Let’s go to Korea. South Korea, indeed. K-pop ? Haha nope but for a supreme meeting. Beautiful and friendly fight between the geomungo and the gayageum, instruments played in the spheres of f the VI and VII centuries the Korean Court. The geomungo has 12 silk strings and the gayageum has 6. The tradition letting them dialogue with each other. Could you guess which is which? Anyway. The duo Dal:um extends the debates with the desire of flirting with the limits. Tradition, contemporary invention. This dialogue is tied, shaken like a strawberry milk on a stormy night. And it gives Similar & Different. A game of 7 errors reniewed by Hwang Hyeyoung and Ha Suyean, two fine blades of the Seoul Metropolitan Youth Traditional Music Ensemble. Dal:um provokes its landscapes. Experimental and dancing on the void and hypnosis. Dasreum announces the color of this disc. It is abrupt, dangerous and powerful. Of what to make vibrate. Not only the strings but the eardrums with. Later, The Collapsing Time, it is the essence of the beauty. It begins softly and then the melody flies away with frenzy. It escapes to change rhythm, it runs, it rushes to finally fly away. TAL brings us back on its 5 minutes of roller coaster. Soft then pressing. Pressing then soft. Impossible to guess when will be the rise and when will be the fall. It’s addictive as hell, it’s coming out on June 25th and it’s powerful as fuck. [/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 »] Direction la Corée. on aime plutôt ça, ici. Corée du Sud, of course. K-pop ? Haha nope mais pour un battle supreme. Combat magnifique et amical entre le geomungo et le gayageum, instruments joués dans les hautes sphères de la Cour coréenne des VI et VIIème siècles. 12 cordes en soie pour l’un et 6 pour l’autre. La tradition les laissant dialoguer à l’envi, reste à deviner lequel est lequel. Anyway. Le duo Dal:um prolonge les débats avec l’envie de flirter avec les limites. Tradition, invention contemporaine, le dialogue est noué, shaké comme un lait fraise un soir d’orage. Et ça donne Similar & Different. Un jeu des 7 erreurs revu par Hwang Hyeyoung et Ha Suyean, deux fines lames du Seoul Metropolitan Youth Traditional Music Ensemble. Dal:um provoque ses paysages. Persos, expés, dansants sur le vide et l’hypnose. Dasreum annonce la couleur du disque. C’est abrupt, dangereux et puissant. De quoi faire vibrer. Pas seulement les cordes mais les tympans avec. Plus tard, The Collapsing Time, c’est l’essence de la beauté. Au début, c’est doux
I Be Trying, 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 »] CEDRIC BURNSIDE, I Be Trying [/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 Single Lock 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/cedric-burnside-i-be-trying-1200×1200-1.jpg » alt= »Cedric Burnside – I Be Trying » title_text= »Cedric Burnside – I Be Trying » _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/2021/06/02-Step-In.wav » title= »In step » artist_name= »Cedric Burnside » album_name= »I Be Trying ( 2021) » _builder_version= »4.9.7″ _module_preset= »default » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS « My grandfather used to tell me all the time: %22You have to feel this music to play it%22. It’s not something you can write down on a piece of paper, it’s all about the feel. » Here is the principle of Hill Country Blues, summarized by Cedric Burnside in this same magazine. RL Burnside’s grandson was defending on stage then his newly released Benton County Relic. A year and a half later, he released I Be Trying. Same recipe, same feeling, same guy. With these micro-variations that everyone knows in the flow of life. And it is even there, what is exciting with Cedric Burnside, this regular blues which traces its road. No need to innovate, the blues is obviously not a fashion. No outrageous respect to a form of tradition, let’s leave it to the reactive kids of the 2k generation. I Be Trying acts elsewhere. In the progress of days and nights, in this impudent and intimate exercise that is a blues track. There once again, that’s made with patience, sharpness and generosity. Nothing new at Burnside’s. In Step knits the details, Love is The Key plays the perfect lovers tune, Gotta Look Out gives you the necessary warnings. To be taken into account or not, according to your feeling of the day. Burnside, grandchild, will surely be here later for more advice. Respect, sir. » content_phone= » ENGLISH / FRANÇAIS « My grandfather used to tell me all the time: %22You have to feel this music to play it%22. It’s not something you can write down on a piece of paper, it’s all about the feel. » Here is the principle of Hill Country Blues, summarized by Cedric Burnside in this same magazine. RL Burnside’s grandson was defending on stage then his newly released Benton County Relic. A year and a half later, he released I Be Trying. Same recipe, same feeling, same guy. With these micro-variations that everyone knows in the flow of life. And it is even there, what is exciting with Cedric Burnside, this regular blues which traces its road. No need to innovate, the blues is obviously not a fashion. No outrageous respect to a form of tradition, let’s leave it to the reactive kids of the 2k generation. I Be Trying acts elsewhere. In the progress of days and nights, in this impudent and intimate exercise that is a blues track. There once again, that’s made with patience, sharpness and generosity. Nothing new at Burnside’s. In Step knits the details, Love is The Key plays the perfect lovers tune, Gotta Look Out gives you the necessary warnings. To be taken into account or not, according to your feeling of the day. Burnside, grandchild, will surely be here later for more advice. Respect, sir. » 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 « My grandfather used to tell me all the time: « You have to feel this music to play it ». It’s not something you can write down on a piece of paper, it’s all about the feel. » Here is the principle of Hill Country Blues, summarized by Cedric Burnside in this same magazine. RL Burnside’s grandson was defending on stage then his newly released Benton County Relic. A year and a half later, he released I Be Trying. Same recipe, same feeling, same guy. With these micro-variations that everyone knows in the flow of life. And it is even there, what is exciting with Cedric Burnside, this regular blues which traces its road. No need to innovate, the blues is obviously not a fashion. No outrageous respect to a form of tradition, let’s leave it to the reactive kids of the 2k generation. I Be Trying acts elsewhere. In the progress of days and nights, in this impudent and intimate exercise that is a blues track. There once again, that’s made with patience, sharpness and generosity. Nothing new at Burnside’s. In Step knits the details, Love is The Key plays the perfect lovers tune, Gotta Look Out gives you the necessary warnings. To be taken into account or not, according to your feeling of the day. Burnside, grandchild, will surely be here later for more advice. Respect, sir. [/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″] « Mon grand-père me disait sans arrêt : « Tu dois sentir cette musique pour la jouer ». Ce n’est pas quelque chose que tu peux écrire sur une feuille de papier, le feeling y est pour beaucoup. » Voilà pour le principe du Hill Country Blues, résumé par Cedric Burnside dans ce même magazine. Le petit fiston de R. L. Burnside défendait en live son Benton County Relic, qui venait de sortir. Un an et demi plus tard, sort I Be Trying. Même recette, même feeling, même bonhomme. Avec les micro-variations que chacun connaît dans le flot de la vie. Et c’est même là, ce qui est passionnant chez Cedric Burnside, ce blues régulier qui trace sa route. Pas besoin d’innover, le blues n’est visiblement pas une mode. Pas de respect outrancier à une forme de tradition, laissons-ça aux kids réac’ de la génération 2k si ça les chauffent. I Be Trying agit ailleurs. Dans l’avancée des jours et de nuits, dans cet exercice impudique et intime qu’est une track de blues. Là
At Newport-Paris, 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= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] JEF GILSON,Malagasy at Newport-Paris [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] réédition le 11 juin 2021 par Souffle Continu 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/Gilson_MalagasyNewport.jpg » alt= »Cat de Hiroshi Suzuki » title_text= »Gilson_MalagasyNewport » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/06/02-Salegy-Jef.mp3″ title= »Salegy Jef » artist_name= »Jef Gilson » album_name= »Malagasy at Newport-Paris (1973) » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Jazz, trad and funk. Take this in the same glass, there are less successful mixes. This one is as perfect as the Suze-Tonic. Off-center, fresh in the mouth and rooted to the soil. That’s we can say about these 9 tracks of live At Newport-Paris of Malagasy. This live is the return match of the studio album recorded between Antananarivo and Paris, during the previous stays of Jef Gilson in Madagascar. Here the chance meets the pianist, once again. The Parisian spasms of 68 are more or less calmed down, giving way to those of the revolt of the Malagasy young people of 1972. Five of them have chosen the French exile and are wandering in Paris when they come across the one with whom they were able to play on the big island, three years earlier. The connection has lost none of its flow. Accolades, repetitions and magnificent reinventions of compositions for Gilson. His vow of living folklore is at the bench. Anamorphose sits on Ange Japhet’s Malagasy bass and becomes Salegy Jef, Requiem Pour Django lights up all Del Rabenja’s sax. The youth embarked on the tour and the live recording of this record knows Coltrane and the prog rock that explodes around the world, Jef Gilson knows the art of safe mixtures. The one of the reanimation too. This urgent live is invigorating, to take in mouth, fresh. » content_phone= » ENGLISH / FRANÇAIS Jazz, trad and funk. Take this in the same glass, there are less successful mixes. This one is as perfect as the Suze-Tonic. Off-center, fresh in the mouth and rooted to the soil. That’s we can say about these 9 tracks of live At Newport-Paris of Malagasy. This live is the return match of the studio album recorded between Antananarivo and Paris, during the previous stays of Jef Gilson in Madagascar. Here the chance meets the pianist, once again. The Parisian spasms of 68 are more or less calmed down, giving way to those of the revolt of the Malagasy young people of 1972. Five of them have chosen the French exile and are wandering in Paris when they come across the one with whom they were able to play on the big island, three years earlier. The connection has lost none of its flow. Accolades, repetitions and magnificent reinventions of compositions for Gilson. His vow of living folklore is at the bench. Anamorphose sits on Ange Japhet’s Malagasy bass and becomes Salegy Jef, Requiem Pour Django lights up all Del Rabenja’s sax. The youth embarked on the tour and the live recording of this record knows Coltrane and the prog rock that explodes around the world, Jef Gilson knows the art of safe mixtures. The one of the reanimation too. This urgent live is invigorating, to take in mouth, fresh. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Jazz, trad and funk. Take this in the same glass, there are less successful mixes. This one is as perfect as the Suze-Tonic. Off-center, fresh in the mouth and rooted to the soil. That’s we can say about these 9 tracks of live At Newport-Paris of Malagasy. This live is the return match of the studio album recorded between Antananarivo and Paris, during the previous stays of Jef Gilson in Madagascar. Here the chance meets the pianist, once again. The Parisian spasms of 68 are more or less calmed down, giving way to those of the revolt of the Malagasy young people of 1972. Five of them have chosen the French exile and are wandering in Paris when they come across the one with whom they were able to play on the big island, three years earlier. The connection has lost none of its flow. Accolades, repetitions and magnificent reinventions of compositions for Gilson. His vow of living folklore is at the bench. Anamorphose sits on Ange Japhet’s Malagasy bass and becomes Salegy Jef, Requiem Pour Django lights up all Del Rabenja’s sax. The youth embarked on the tour and the live recording of this record knows Coltrane and the prog rock that explodes around the world, Jef Gilson knows the art of safe mixtures. The one of the reanimation too. This urgent live is invigorating, to take in mouth, fresh. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Jazz, trad et funk. Dans le même verre, il y a des mélanges moins réussis. Celui-ci est à la hauteur de la Suze-Tonic. Décentré, frais en bouche et ancré dans le terroir. Résumé des 9 morceaux du live Malagasy at Newport-Paris. Ce live est le match retour de l’album studio gravé entre Antananarivo et Paris, lors des précédents séjours de Jef Gilson à Madagascar. Ici le hasard prend le musicien par l’épaule. Les spasmes parisiens de 68 sont à peu près calmés, laissant place à ceux de la révolte des jeunes malgaches. 5 d’entre eux ont choisi l’exil français et déambulent à Paname quand ils tombent sur celui avec qui ils ont pu joué sur la grande île, trois ans plus tôt. La connexion n’a rien perdu de son débit. Accolades, répétitions et réinventions magnifiques de compositions pour Gilson. Son voeu de folklore vivant est à l’établi. Anamorphose s’asseoit sur la basse malgache d’Ange Japhet et devient le parfait Salegy Jef, Requiem Pour Django s’allume tous le sax
Avec le temps, 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|phone » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] SOSO MANESS, Avec le Temps [/et_pb_text][et_pb_text _builder_version= »4.9.4″ 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 4 juin sur six-O-nine [/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/SosoCover.png » alt= »Avec le temps de Soso Maness » title_text= »Soso maness » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/06/soso-maness-les-derniers-marioles-clip-officiel-ft-sch.mp3″ title= »Les Derniers mariolles (feat SCH) » artist_name= »Soso Maness » album_name= »Avec le temps » _builder_version= »4.9.4″ _module_preset= »default » background_color= »#27657f » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Purists will say that the golden age of rap in Marseille belongs to IAM. OK. Fuck the purists. I am a young person and for me the new generation have trust the rap game of Marseille. Appeared with the project 100% marseille 13 organized, Soso Maness strikes also strong in solo with his third album, Avec le temps. Notably recognized for his passage in Bande Organisée with Zumba Cafew, the Marseillais intends to show that he knows how to do other things. Rap, real rap. And it is well there where it is good. It is with 17 titles and well accompanied that Sofien of his real name, comes to rap his lived, his detour in prison and his loves for the block, for the cops, for his wife. In short. Punchy kickage on Het Gaat Goed, caliente on Toute la noche feat Gims until the more melancholic sounds of the scratch on Ô Beaumettes or more clubby vibes on Petrouchka, Soso Maness takes care of its feels. The sounds productions are not left behind. No one here had yet sampled song like the O Paokara anthem (Puta Madre in feat with Jul) or even Colette Renard’s Tais-toi Marseille (delicious feat of SCH on Les Derniers marioles). Avec le temps it’s 50′ in the skin of a real bandit, 50′ in immersion in the heart of the sound system of Massilia. 50′ Inside, thus. » content_phone= » ENGLISH / FRANÇAIS Purists will say that the golden age of rap in Marseille belongs to IAM. OK. Fuck the purists. I am a young person and for me the new generation have trust the rap game of Marseille. Appeared with the project 100% marseille 13 organized, Soso Maness strikes also strong in solo with his third album, Avec le temps. Notably recognized for his passage in Bande Organisée with Zumba Cafew, the Marseillais intends to show that he knows how to do other things. Rap, real rap. And it is well there where it is good. It is with 17 titles and well accompanied that Sofien of his real name, comes to rap his lived, his detour in prison and his loves for the block, for the cops, for his wife. In short. Punchy kickage on Het Gaat Goed, caliente on Toute la noche feat Gims until the more melancholic sounds of the scratch on Ô Beaumettes or more clubby vibes on Petrouchka, Soso Maness takes care of its feels. The sounds productions are not left behind. No one here had yet sampled song like the O Paokara anthem (Puta Madre in feat with Jul) or even Colette Renard’s Tais-toi Marseille (delicious feat of SCH on Les Derniers marioles). Avec le temps it’s 50′ in the skin of a real bandit, 50′ in immersion in the heart of the sound system of Massilia. 50′ Inside, thus. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »10%||||false|false »] ENGLISH Purists will say that the golden age of rap in Marseille belongs to IAM. OK. Fuck the purists. I am a young person and for me the new generation have trust the rap game of Marseille. Appeared with the project 100% marseille 13 organized, Soso Maness strikes also strong in solo with his third album, Avec le temps. Notably recognized for his passage in Bande Organisée with Zumba Cafew, the Marseillais intends to show that he knows how to do other things. Rap, real rap. And it is well there where it is good. It is with 17 titles and well accompanied that Sofien of his real name, comes to rap his lived, his detour in prison and his loves for the block, for the cops, for his wife. In short. Punchy kickage on Het Gaat Goed, caliente on Toute la noche feat Gims until the more melancholic sounds of the scratch on Ô Beaumettes or more clubby vibes on Petrouchka, Soso Maness takes care of its feels. The sounds productions are not left behind. No one here had yet sampled song like the O Paokara anthem (Puta Madre in feat with Jul) or even Colette Renard’s Tais-toi Marseille (delicious feat of SCH on Les Derniers marioles). Avec le temps it’s 50′ in the skin of a real bandit, 50′ in immersion in the heart of the sound system of Massilia. 50′ Inside, thus. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default »] Les puristes diront que l’âge d’or du rap marseillais appartient à IAM. OK. Nique les puristes. Je suis un petit jeune et pour moi c’est bien la nouvelle génération qui survole le rap phocéen. Apparu avec le projet 100% marseille 13 organisé, Soso Maness frappe aussi fort en solo avec son troisième album, Avec le temps, annoncé sur les réseaux, il y a 1 mois. Cette semaine, Soso a même teasé le projet en sortant l’épisode 3 de sa mini-série qui se passe dans son quartier à Font-Vert. Notamment reconnu pour son passage dans Bande Organisée avec Zumba Cafew, le marseillais entend montrer qu’il sait faire d’autres choses. Du rap, du vrai rap. Et c’est bien là où il est bon. C’est avec 17 titres et bien accompagné que Sofien de son vrai prénom, vient rapper son vécu, son détour en prison et ses amours pour le bloc, pour les flics, pour sa femme. Bref. Du kickage bien
Vinyl Junkie Thangs, 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= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] VINYL JUNKIE THANGS,Jasper the Vinyl Junkie presents [/et_pb_text][et_pb_text _builder_version= »4.9.4″ 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 11 juin 2021 sur BBE Music [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true »][/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/BBE499CDG_Vinyl_Junkie_Thangs_cover.jpg » alt= »Jasper The Vinyl Junkie presents Vinyl Junkie Thangs » title_text= »Jasper The Vinyl Junkie presents Vinyl Junkie Thangs » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Vinyl Junkie Thangs by Jasper The Vinyl Junkie[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Addicted to vinyls and mini-tapes, Jasper the Vinyl Junkie releases his second compilation on BBE Music. No rehab no option to get straight. Imagine some kinda Indiana Jones in a musical jungle digging up jazz treasures, collecting rare nuggets. Disco atmosphere, yes sir ! That’s pretty good, indeed and coming out on June 11th. Vinyl Junkie Thangs, it’s 18 tracks more than bewitching ones. Let’s dance tonight? %22Yeaaaah%22, answers Steve Arrington in Nobody Else But You. The remix groove makes ya legs unable not to try a little move as MJ did. Bouncing and rhythmic, as ya want. Change the record on your turntable and the atmosphere is changing, too. That’s Cruisen by Thomas Siffling and his gentle trumpet. You can consider that compilation like you’ll do with some luxury cruise. You get the ocean waves and, near, the lights of some sleeping city. Close your eyes and let’s dream. Last nugget in this groovey trunk, Emmanuel de JKriv and Free Magic. Lounge vibes, like the previous one but there, you are rather dining at a restaurant on the edges of sea shores. It is dancing, it is festive, it is exciting. Let’s pop the champagne, baby! » content_phone= » ENGLISH / FRANÇAIS Addicted to vinyls and mini-tapes, Jasper the Vinyl Junkie releases his second compilation on BBE Music. No rehab no option to get straight. Imagine some kinda Indiana Jones in a musical jungle digging up jazz treasures, collecting rare nuggets. Disco atmosphere, yes sir ! That’s pretty good, indeed and coming out on June 11th. Vinyl Junkie Thangs, it’s 18 tracks more than bewitching ones. Let’s dance tonight? %22Yeaaaah%22, answers Steve Arrington in Nobody Else But You. The remix groove makes ya legs unable not to try a little move as MJ did. Bouncing and rhythmic, as ya want. Change the record on your turntable and the atmosphere is changing, too. That’s Cruisen by Thomas Siffling and his gentle trumpet. You can consider that compilation like you’ll do with some luxury cruise. You get the ocean waves and, near, the lights of some sleeping city. Close your eyes and let’s dream. Last nugget in this groovey trunk, Emmanuel de JKriv and Free Magic. Lounge vibes, like the previous one but there, you are rather dining at a restaurant on the edges of sea shores. It is dancing, it is festive, it is exciting. Let’s pop the champagne, baby! » content_last_edited= »on|desktop » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Addicted to vinyls and mini-tapes, Jasper the Vinyl Junkie releases his second compilation on BBE Music. No rehab no option to get straight. Imagine some kinda Indiana Jones in a musical jungle digging up jazz treasures, collecting rare nuggets. Disco atmosphere, yes sir ! That’s pretty good, indeed and coming out on June 11th. Vinyl Junkie Thangs, it’s 18 tracks more than bewitching ones. Let’s dance tonight? « Yeaaaah », answers Steve Arrington in Nobody Else But You. The remix groove makes ya legs unable not to try a little move as MJ did. Bouncing and rhythmic, as ya want. Change the record on your turntable and the atmosphere is changing, too. That’s Cruisen by Thomas Siffling and his gentle trumpet. You can consider that compilation like you’ll do with some luxury cruise. You get the ocean waves and, near, the lights of some sleeping city. Close your eyes and let’s dream. Last nugget in this groovey trunk, Emmanuel de JKriv and Free Magic. Lounge vibes, like the previous one but there, you are rather dining at a restaurant on the edges of sea shores. It is dancing, it is festive, it is exciting. Let’s pop the champagne, baby! [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Drogué aux vinyles et aux mini-cassettes, Jasper the Vinyl Junkie sort sa deuxième compile chez BBE Music. Un peu comme un Indiana Jones dans la jungle de la musique, il part à l’aventure et dégote des trésors de jazz, collectionne des pépites rares. Ambiance disco, yes sir ! C’est très très good, c’est follement dansant et ça sort le 11 juin. Vinyl Junkie Thangs, c’est 18 tracks plus qu’envoûtants. Let’s dance tonight? « Yeaaaah », répond Steve Arrington dans Nobody Else But You. Le groove du remix rend les jambes incapables de ne pas tenter un petit move à la MJ. Dansant et rythmique, à souhait. Changement de disque et changement d’atmosphère avec Cruisen de Thomas Siffling et sa délicate trompette. Cette compile, c’est un peu une croisière, obviously, sur les vagues de l’océan avec, au loin, l’étendue des lumières de la ville endormie. Yeux fermés, let’s dream. Dernière pépite du coffre, Emmanuel de JKriv et Free Magic. Lounge vibe, comme la précédente mais là, c’est plutôt un restaurant sur les côtes de cette traversée maritime. C’est dansant, c’est festif, c’est excitant. Let’s pop the champagne, bébé ! [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Vinyl Junkie Thangs : bandcampBBE music : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Melt All The Guns, 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= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] DEVIN GRAY, Melt All The Guns [/et_pb_text][et_pb_text _builder_version= »4.9.4″ 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 4 juin 2021 par Rataplan 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/Melt-All-The-Guns-Cover-1024×1024-1.jpg » alt= »Melt All The Guns Devin Gray » title_text= »Melt All The Guns Devin Gray » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/06/Micro-Waves.mp3″ title= »Micro Waves » artist_name= »Devin Gray » album_name= »Melt All The Guns (2021) » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Pow pow pow. Considering that Europe threw the worst of its paranoids nevrosis across the Atlantic during the Pilgrim Fathers era, you would hardly be surprised at the gun violences that mess the States. Horrified, surely but not surprised. And from this state of vigilance, one should be able to remain lucid in the face of the madness of self-protection. Some of us watch, some of us militate. Others still strike. Thus this damned tireless drummer that is Devin Gray. A wide awake drummer who’ll releaseg an album this Friday, in sync with the 7th National Gun Violence Awareness Day, aptly named. Melt All The Guns. The dream of melting the steel used to shoot anyone for any slightest pretext. Well, anyone, you get the idea. Especially in the United States. The recent news has been plagued by a bunch of sad examples. Made a little pissed off by that, and others craps like environmental thing and other social breakdowns, Devin Gray reunited Angelica Sanchez and Ralph Alessi for a trio full of hope and worried litanies. Gray’s typing supports all the music that develops with a genuine art of generosity and restraint. The best kind of the leaflet for not to lose sight and ear that changes of the world are a damned pretty thing if not confiscated by some cynics. » content_phone= » ENGLISH / FRANÇAIS Pow pow pow. Considering that Europe threw the worst of its paranoids nevrosis across the Atlantic during the Pilgrim Fathers era, you would hardly be surprised at the gun violences that mess the States. Horrified, surely but not surprised. And from this state of vigilance, one should be able to remain lucid in the face of the madness of self-protection. Some of us watch, some of us militate. Others still strike. Thus this damned tireless drummer that is Devin Gray. A wide awake drummer who’ll releaseg an album this Friday, in sync with the 7th National Gun Violence Awareness Day, aptly named. Melt All The Guns. The dream of melting the steel used to shoot anyone for any slightest pretext. Well, anyone, you get the idea. Especially in the United States. The recent news has been plagued by a bunch of sad examples. Made a little pissed off by that, and others craps like environmental thing and other social breakdowns, Devin Gray reunited Angelica Sanchez and Ralph Alessi for a trio full of hope and worried litanies. Gray’s typing supports all the music that develops with a genuine art of generosity and restraint. The best kind of the leaflet for not to lose sight and ear that changes of the world are a damned pretty thing if not confiscated by some cynics. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Pow pow pow. Considering that Europe threw the worst of its paranoids nevrosis across the Atlantic during the Pilgrim Fathers era, you would hardly be surprised at the gun violences that mess the States. Horrified, surely but not surprised. And from this state of vigilance, one should be able to remain lucid in the face of the madness of self-protection. Some of us watch, some of us militate. Others still strike. Thus this damned tireless drummer that is Devin Gray. A wide awake drummer who’ll releaseg an album this Friday, in sync with the 7th National Gun Violence Awareness Day, aptly named. Melt All The Guns. The dream of melting the steel used to shoot anyone for any slightest pretext. Well, anyone, you get the idea. Especially in the United States. The recent news has been plagued by a bunch of sad examples. Made a little pissed off by that, and others craps like environmental thing and other social breakdowns, Devin Gray reunited Angelica Sanchez and Ralph Alessi for a trio full of hope and worried litanies. Gray’s typing supports all the music that develops with a genuine art of generosity and restraint. The best kind of the leaflet for not to lose sight and ear that changes of the world are a damned pretty thing if not confiscated by some cynics. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Pow pow. A bien considérer que l’Europe a balancé outre-Atlantique le pire de sa parano à l’époque des Pilgrim Fathers, on serait guère étonné des violences avec armes qui sont légion aux States. Horrifié, mais sans surprise. Et de cet état de veille, on devrait pouvoir rester lucide face à la folie de l’auto-protection. Certains veillent, d’autres militent. D’autres encore frappent. Ainsi ce satané batteur inlassable qu’est Devin Gray. Frappeur aux aguets, il sort cette semaine et carrément en synchronicité avec le 7ème National Gun Violence Awareness Day, un album bien nommé. Melt All The Guns. Le rêve de fondre l’acier qui sert à shooter n’importe qui, au moindre prétexte. Enfin n’importe qui, vous voyez le topo. Surtout aux Etats-Unis. L’actu récente a été endeuillée par un foutu paquet de tristes exemples. Rendu un poil énervé par cet état des choses, et d’autres encore comme les saloperies environnementales et autres casses sociales, Devin Gray a réuni Angelica Sanchez et Ralph Alessi pour un trio plein d’espoir et de litanies inquiètes. La frappe de Gray soutient toute la musique qui se développe avec un art consommé de
The Loud Minority, 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= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] FRANK FOSTER, The Loud Minority [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] réédition le 12 juin 2021 par WEWANTSOUNDS 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/FRANK-FOSTER-THE-LOUD-MINORITY.jpg » alt= »Frank Foster – The Loud Minority » title_text= »Frank Foster – The Loud Minority » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/06/yt1s.com-Frank-Foster-The-Loud-Minority-1974.mp3″ title= »The Loud Minority » artist_name= »Frank Foster » album_name= »The Loud Minority (1972 / reiss.2021) » _builder_version= »4.9.4″ _module_preset= »default »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS USA, 70s. Black People, a minority with sounds, defines finally itself as African-American and paints its Blackness loud and clear. To get a possible form for that change, musicians raise their fists, raise their heads and push their feet on pedals. Musicians and labels, too. Here is Mainstream, an ironic political perfection driven by Bob Shad. And in this house, a musician strikes a masterly blow, a guy named Franck Foster. His Loud Minority, a band and an album recorded in 1972 for Mainstream, is part of this explosion of a black culture that will soon flood on movie screens, barber shops and clothing stores. Black is Beautiful will soon be read everywhere. But first, it is necessary to rage, to record and to invent an unconcerned form, immediate and gripping as possible. The 4 tracks of this record, perfectly reissued this month by Wewantsounds, take their part in the movement. It’s free when it must, you’ve got Charles McGee on trumpet. It’s funky-blues when it can, there’s Deedee Bridgewater in the incredible vocals that open the record. It’s punchy almost all the time, there’s a certain Elvin Jones behind the drums. Mr. Thunder sees here a splendid way out for his post-Coltrane period. This music acts like Frank Foster’s daydream happening. Two sides to get glittering splinters in the corners of your eyes. Easy. » content_phone= » ENGLISH / FRANÇAIS USA, 70s. Black People, a minority with sounds, defines finally itself as African-American and paints its Blackness loud and clear. To get a possible form for that change, musicians raise their fists, raise their heads and push their feet on pedals. Musicians and labels, too. Here is Mainstream, an ironic political perfection driven by Bob Shad. And in this house, a musician strikes a masterly blow, a guy named Franck Foster. His Loud Minority, a band and an album recorded in 1972 for Mainstream, is part of this explosion of a black culture that will soon flood on movie screens, barber shops and clothing stores. Black is Beautiful will soon be read everywhere. But first, it is necessary to rage, to record and to invent an unconcerned form, immediate and gripping as possible. The 4 tracks of this record, perfectly reissued this month by Wewantsounds, take their part in the movement. It’s free when it must, you’ve got Charles McGee on trumpet. It’s funky-blues when it can, there’s Deedee Bridgewater in the incredible vocals that open the record. It’s punchy almost all the time, there’s a certain Elvin Jones behind the drums. Mr. Thunder sees here a splendid way out for his post-Coltrane period. This music acts like Frank Foster’s daydream happening. Two sides to get glittering splinters in the corners of your eyes. Easy. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH USA, 70s. Black People, a minority with sounds, defines finally itself as African-American and paints its Blackness loud and clear. To get a possible form for that change, musicians raise their fists, raise their heads and push their feet on pedals. Musicians and labels, too. Here is Mainstream, an ironic political perfection driven by Bob Shad. And in this house, a musician strikes a masterly blow, a guy named Franck Foster. His Loud Minority, a band and an album recorded in 1972 for Mainstream, is part of this explosion of a black culture that will soon flood on movie screens, barber shops and clothing stores. Black is Beautiful will soon be read everywhere. But first, it is necessary to rage, to record and to invent an unconcerned form, immediate and gripping as possible. The 4 tracks of this record, perfectly reissued this month by Wewantsounds, take their part in the movement. It’s free when it must, you’ve got Charles McGee on trumpet. It’s funky-blues when it can, there’s Deedee Bridgewater in the incredible vocals that open the record. It’s punchy almost all the time, there’s a certain Elvin Jones behind the drums. Mr. Thunder sees here a splendid way out for his post-Coltrane period. This music acts like Frank Foster’s daydream happening. Two sides to get glittering splinters in the corners of your eyes. Easy. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″] USA, années 70. Le peuple noir, la loud minority, la minorité bruissante, s’affirme africain-américain et revendu que haut et fort sa Blackness. Pour lui trouver une forme possible, presque concrète, paradoxalement, des musiciens lèvent le poing, relèvent la tête et abaissent leurs pieds sur la pédale. Des musiciens et des labels. Comme ce Mainstream, ironique perfection politique pilotée par Bob Shad (très belle compile, elle aussi sur Wewantsounds, btw). Et dans le creux de ce label, un musicien frappe un coup magistral, Frank Foster. Et ça pèse. Un poids d’or. Loud Minority, album qui prend le nom du groupe et gravé en 1972 pour Mainstream, participe de cette explosion d’une culture noire qui inondera bientôt les écrans de cinoche, les salons de coiffure, les devantures de marchands de fringue. Black is Beautiful liront bientôt un peu partout. Mais d’abord, il faut rager, enregistrer et inventer une forme intranquille, immédiate et prenante au possible. Les 4 tracks de ce disque, réédité parfaitement par Wewantsounds, prennent leur part dans le mouvement. C’est free quand ça doit, il y
La Litanie des Cimes, 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= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] CLEMENT JANINET, La Litanie des Cimes [/et_pb_text][et_pb_text _builder_version= »4.9.4″ 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 2 juin 2021 chez Gigantonium [/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/a1381866965_10.jpg » alt= »Clément Janinet – La Litanie des Cimes » title_text= »Clément Janinet – La Litanie des Cimes » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default »]La Litanie des Cimes by GIGANTONIUM[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Blood, sweat and tears. Seriously, you can really find that kind of things in the very first disc of La Litanies des Cimes. Of course, we are far from the new age fusion of Al Kooper and Randy Brecker’s band. Naturally, what is progressive here are more the common climates than the personal antics. But underneath the classy coat of this trio, organic, woody and sensitive things bubble up. In short, lively. Spectacular in the smallest sense of the word. La Litanie des Cimes, the latest project led by Clément Janinet with Élodie Pasquier and Bruno Ducret, works with blood, sweat and tears. Works in depth, here nothing of condensing, nothing of colorist, nothing of dark. On the contrary, light emerges from tracks like Gigue avec Steve or Mauvais temps. A light of an intimate cathedral. La Litanie des Cimes dances on its own balance, cutting back on the effect to better shelter the rhythmic and harmonic junctions of the violin and the cello. The clarinet has the royal share of counterpoints, counter-songs. Fields and counter-fields. Let’s say it out loud. This record is a blues record. A French-style blues, squared off, kneaded with an instinct transcended by a skillful and sure gesture. Beyond blood and tears. » content_phone= » ENGLISH / FRANÇAIS Blood, sweat and tears. Seriously, you can really find that kind of things in the very first disc of La Litanies des Cimes. Of course, we are far from the new age fusion of Al Kooper and Randy Brecker’s band. Naturally, what is progressive here are more the common climates than the personal antics. But underneath the classy coat of this trio, organic, woody and sensitive things bubble up. In short, lively. Spectacular in the smallest sense of the word. La Litanie des Cimes, the latest project led by Clément Janinet with Élodie Pasquier and Bruno Ducret, works with blood, sweat and tears. Works in depth, here nothing of condensing, nothing of colorist, nothing of dark. On the contrary, light emerges from tracks like Gigue avec Steve or Mauvais temps. A light of an intimate cathedral. La Litanie des Cimes dances on its own balance, cutting back on the effect to better shelter the rhythmic and harmonic junctions of the violin and the cello. The clarinet has the royal share of counterpoints, counter-songs. Fields and counter-fields. Let’s say it out loud. This record is a blues record. A French-style blues, squared off, kneaded with an instinct transcended by a skillful and sure gesture. Beyond blood and tears. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Blood, sweat and tears. Seriously, you can really find that kind of things in the very first disc of La Litanies des Cimes. Of course, we are far from the new age fusion of Al Kooper and Randy Brecker’s band. Naturally, what is progressive here are more the common climates than the personal antics. But underneath the classy coat of this trio, organic, woody and sensitive things bubble up. In short, lively. Spectacular in the smallest sense of the word. La Litanie des Cimes, the latest project led by Clément Janinet with Élodie Pasquier and Bruno Ducret, works with blood, sweat and tears. Works in depth, here nothing of condensing, nothing of colorist, nothing of dark. On the contrary, light emerges from tracks like Gigue avec Steve or Mauvais temps. A light of an intimate cathedral. La Litanie des Cimes dances on its own balance, cutting back on the effect to better shelter the rhythmic and harmonic junctions of the violin and the cello. The clarinet has the royal share of counterpoints, counter-songs. Fields and counter-fields. Let’s say it out loud. This record is a blues record. A French-style blues, squared off, kneaded with an instinct transcended by a skillful and sure gesture. Beyond blood and tears. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Blood, sweat and tears. Non, sérieusement, c’est véritablement ce qui est à l’œuvre dans ce premier disque de La Litanies des Cimes. Bien sûr, on est loin de la fusion new age du groupe d’Al Kooper et de Randy Brecker. Bien entendu, ce qui est progressif ici, ce sont davantage les climats communs que les cabrioles persos. Mais, sous le manteau très classe de ce trio, bouillonne de l’organique, du boisé et du sensible. Bref, du vivant. Spectaculaire au sens infime du mot. La Litanie des Cimes, dernier projet mené par Clément Janinet avec Élodie Pasquier et Bruno Ducret, travaille avec ça, du sang, de la sueur et des larmes. Travaille en profondeur, ici rien de condensant, rien de coloriste, rien de dark. Bien au contraire, naît, de tracks comme Gigue avec Steve ou Mauvais temps, de la lumière. Une lumière de cathédrale intime. La Litanie des Cimes, le disque, danse sur son propre équilibre, rogne sur l’effet pour mieux abriter les jonctions rythmiques et harmoniques du violon et du cello. La clarinette a la part royale des contrepoints, des contre-chants. Champs et contre-chants. Disons-le tout haut. Ce disque est un disque de blues. Un blues à la française, quadrillé, pétri d’un instinct transcendé d’un geste habile et sûr. Au-delà du sang et des larmes. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Clément Janinet : site webGigantonium: bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
La Piscine, 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= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] MICHEL LEGRAND, La Piscine OST [/et_pb_text][et_pb_text _builder_version= »4.9.4″ text_font= »Roboto|100||||||| » text_text_color= »#ffffff » text_font_size= »28px » text_line_height= »1.2em » custom_margin= »9px||||| » custom_padding= »||2px||| »] réédition le 12 juin 2021 par WEWANTSOUNDS Records (RSD 21) [/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/2021/05/MICHEL-LEGRAND-LA-PISCINE.jpg » alt= »Michel Legrand – La piscine OST » title_text= »Michel Legrand – La piscine OST » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »||||false|false » animation_style= »fade » animation_direction= »left » animation_duration= »1450ms » border_color_all= »rgba(0,0,0,0.08) » box_shadow_style= »preset3″ box_shadow_vertical= »9px »][/et_pb_image][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2021/05/6-La-Piscine-Run-Brother-Rabbit-Run.mp3″ title= »Run, Brother Rabbit, Run » artist_name= »Michel Legrand » album_name= »La Piscine (1969) » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Since its release in 1969, Jacques Deray’s La Piscine has acquired the highly misguided status of a cult film. Pop (Saint-trop) and sexy (Schneider and Birkin), dark (Delon) and hypnotic (the dull heat of the Cote d’Azur), La Piscine, far from being a great film, has nevertheless a unique and venomous charm, quite rare in French cinema. For the score, Deray called upon Michel Legrand, who had just won an Oscar the previous year for The Thomas Crown Affair, with an ostentatious and groovy soundtrack. For this one, Legrand’s intelligence was not to give in to the bling bling of the place and the actors and, on the contrary, to produce a hybrid music, a kind of jazz/easy-listening, all in nuance, reassuring and worrying at the same time, with an impeccable theme, often scatted by Mr. and his sister Christiane (who was, among other things, the interpreter of the songs of the French version of Mary Poppins) and embellished with the violin of Stephane Grappelli. The result is Peau d’âne in an Alfa Romeo on the roads of the Var. Demanding, confusing, complex, uncomfortable but warm, sometimes syncopated and highly addictive, just like the film, Michel Legrand’s La Piscine is a musical summit of the French culture of the 70s, both pop and popular. To note, in the reissue released by Wewantsounds, the marvellous Un Homme est mort, a funk slaughter with epileptic organ, for the film of the same name from 1972, still by Jacques Deray. » content_phone= » ENGLISH / FRANÇAIS Since its release in 1969, Jacques Deray’s La Piscine has acquired the highly misguided status of a cult film. Pop (Saint-trop) and sexy (Schneider and Birkin), dark (Delon) and hypnotic (the dull heat of the Cote d’Azur), La Piscine, far from being a great film, has nevertheless a unique and venomous charm, quite rare in French cinema. For the score, Deray called upon Michel Legrand, who had just won an Oscar the previous year for The Thomas Crown Affair, with an ostentatious and groovy soundtrack. For this one, Legrand’s intelligence was not to give in to the bling bling of the place and the actors and, on the contrary, to produce a hybrid music, a kind of jazz/easy-listening, all in nuance, reassuring and worrying at the same time, with an impeccable theme, often scatted by Mr. and his sister Christiane (who was, among other things, the interpreter of the songs of the French version of Mary Poppins) and embellished with the violin of Stephane Grappelli. The result is Peau d’âne in an Alfa Romeo on the roads of the Var. Demanding, confusing, complex, uncomfortable but warm, sometimes syncopated and highly addictive, just like the film, Michel Legrand’s La Piscine is a musical summit of the French culture of the 70s, both pop and popular. To note, in the reissue released by Wewantsounds, the marvellous Un Homme est mort, a funk slaughter with epileptic organ, for the film of the same name from 1972, still by Jacques Deray. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Since its release in 1969, Jacques Deray’s La Piscine has acquired the highly misguided status of a cult film. Pop (Saint-trop) and sexy (Schneider and Birkin), dark (Delon) and hypnotic (the dull heat of the Cote d’Azur), La Piscine, far from being a great film, has nevertheless a unique and venomous charm, quite rare in French cinema. For the score, Deray called upon Michel Legrand, who had just won an Oscar the previous year for The Thomas Crown Affair, with an ostentatious and groovy soundtrack. For this one, Legrand’s intelligence was not to give in to the bling bling of the place and the actors and, on the contrary, to produce a hybrid music, a kind of jazz/easy-listening, all in nuance, reassuring and worrying at the same time, with an impeccable theme, often scatted by Mr. and his sister Christiane (who was, among other things, the interpreter of the songs of the French version of Mary Poppins) and embellished with the violin of Stephane Grappelli. The result is Peau d’âne in an Alfa Romeo on the roads of the Var. Demanding, confusing, complex, uncomfortable but warm, sometimes syncopated and highly addictive, just like the film, Michel Legrand’s La Piscine is a musical summit of the French culture of the 70s, both pop and popular. To note, in the reissue released by Wewantsounds, the marvellous Un Homme est mort, a funk slaughter with epileptic organ, for the film of the same name from 1972, still by Jacques Deray. [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″][et_pb_text _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ link_font= »Roboto|||||||| » link_text_color= »#ff6600″] Depuis sa sortie en 69, La Piscine de Jacques Deray a acquis le statut hautement fourvoyé de film culte. Objet pop (Saint-trop) et sexy (Schneider et Birkin), sombre (Delon) et hypnotique (la chaleur assommante de la Cote d’Azur), La Piscine, loin d’être un grand film, possède pourtant un charme unique et vénéneux, assez rare dans le ciné français. Pour le score, Deray fait appel à Michel Legrand, fraichement oscarisé l’année précédente pour L’Affaire Thomas Crown avec une BO ostentatoire et groovy à souhait. Pour celle-ci, l’intelligence de Legrand a été de ne pas céder au bling bling du lieu et des acteurs pour, au contraire, pondre une musique hybride, sorte