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
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