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
Children of Zeus, 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 »] CHILDREN OF ZEUS, Balance [/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 sur First Word 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/2021/05/childrenofzeus.jpg » alt= »Children of Zeus – Balance » title_text= »Children of Zeus – Balance » _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 »]Balance by Children Of Zeus[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS If we had DJ Amir in front of us, it is obvious that the social distancies would go off sparkling. Mega hug or one hell of a hand shake would be nice. A gasser who rummages through trunks and ends up putting forward Strata Records, deserves all the respect possible and a frank %22Thank you Sir%22. A short-lived but downright infectious jazz label – 6 years old, Strata was founded by Kenny Cox in Detroit in ’69. The label developed its own studio/GQ/concert hall and became the cradle of a handful of free musicians at the forefront of the musical adventures of the counter-culture. Despite an official discography lighter than a Diet Coke, the Strata vaults shine with a collection of unreleased archives including a %22lost%22 Herbie Hancock LP. One can imagine quite quickly that the label weighs heavily on the jazz game. The insiders know all about it, they get the sauce up and negotiate like Wall Street Wolves for original copies on Discogs. But DJ Amir is an intermediary, not a speculator. %22Music for People%22 is his credo. Thanks to his label 180 Proof he wants to widen the audience. Good for him. And for that, he joined forces with the beautiful BBE label, specialist in deluxe reissues and digging in the style of an accelerated masterclass in musical culture. Selected by Amir himself, the tracklist of 22 tracks is a perfect gateway to the Strata catalog between the much awaited Saturday Night Special by Lyman Woodard, and the unexpected Maiden Voyage taken by Ursula Walker from a certain Herbie. Classy handover. » content_phone= » ENGLISH / FRANÇAIS If we had DJ Amir in front of us, it is obvious that the social distancies would go off sparkling. Mega hug or one hell of a hand shake would be nice. A gasser who rummages through trunks and ends up putting forward Strata Records, deserves all the respect possible and a frank %22Thank you Sir%22. A short-lived but downright infectious jazz label – 6 years old, Strata was founded by Kenny Cox in Detroit in ’69. The label developed its own studio/GQ/concert hall and became the cradle of a handful of free musicians at the forefront of the musical adventures of the counter-culture. Despite an official discography lighter than a Diet Coke, the Strata vaults shine with a collection of unreleased archives including a %22lost%22 Herbie Hancock LP. One can imagine quite quickly that the label weighs heavily on the jazz game. The insiders know all about it, they get the sauce up and negotiate like Wall Street Wolves for original copies on Discogs. But DJ Amir is an intermediary, not a speculator. %22Music for People%22 is his credo. Thanks to his label 180 Proof he wants to widen the audience. Good for him. And for that, he joined forces with the beautiful BBE label, specialist in deluxe reissues and digging in the style of an accelerated masterclass in musical culture. Selected by Amir himself, the tracklist of 22 tracks is a perfect gateway to the Strata catalog between the much awaited Saturday Night Special by Lyman Woodard, and the unexpected Maiden Voyage taken by Ursula Walker from a certain Herbie. Classy handover. » content_last_edited= »on|tablet » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH Summer is coming and, good news, long evenings to fill. So, soul music is needed. What about that one coming straight from Manchester. Cockney soul? Yes, dear! Soul music delivered by a duo that complements each other like two sides of a penny should do. On the flip side, Tyler Daley sings niceley. On the flip side, Konny Kon raps with a British tongue. Brilliant. And that gives Children of Zeus. Children of gods? Don’t think so. Angels voices? Maybe but not only. That thing is celestial and devilishly multiple. Balance, second album of the tandem, displays 13 tracks in soul, rnb, hip-hop, gospel and funk mode. Co-produced by Beat Butcha known for his work with Jay-Z and Beyoncé, the thing is well done and square as possible. First track, No Love Song, has a rather ironic groove. Apart from the lyrics, the vibe is a serious lover vibe. How not to get in this mood with the smooth as fuck voice of Tyler Daley and the soft and rough rap of Konny Kon. Nice & Sweet, very 90’s R&B, settles on Daley’s intoxicating voice. The production makes you want to prepare a sick date and light up red LEDs in a hot atmosphere. Sorry not sorry. Small surprise and final touch with Sunset who goes to the gospel cherubs. Tyler takes out his high notes and makes the little hearts vibrate. It is soft and rather corny. But it’s nice, it’s sweet and it comes out on June 4th. Just before the summer. f*** Fine. [/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″] L’été arrive et, avec elle, les longues soirées à combler. S’impose alors de la soul, histoire de bien profiter. Et pourquoi pas venue droit de Manchester. De la soul cockney ? Mais oui, dear. De la soul livrée par un duo complémentaire comme les deux faces d’un penny en équilibre. Côté de pile, Tyler Daley chantonne facile. Côté de face, Konny Kon rappe avec l’accent british. Brilliant. Et ça donne Children of Zeus. Enfants de dieux
(n)Traverse, 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 »] WARREN WALKER, (n)Traverse vol. 1 [/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 28 mai 2021 sur Kyudo 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/2021/05/warrenwalker.jpg » alt= »Warren Walker – (n)Traverse » title_text= »Warren Walker – (n)Traverse » _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 »](n)Traverse vol.1 by Warren Walker[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Without fanfare. Without double bass nor piano or anything live by the way. But Warren Walker is a kind of a jazz guy. Considering how the moment is shaped, how it is subject to tuggings and extensions, how every break causes surprises or happy consternations (Antonin). We have both feet in the constituents of jazz, sir. It’s electro, yes. Well, it sounds electro, for sure. But Walker goes rather sideways. In the margins or on the tangent, that will be according to your chapel. But in this sideways Walker strides that calm surface entirely dedicated to its power of evocation. Landscapes, organisms and other paintings, this (n)Traverse is full of them. And underneath this surface, it’s swarming. Close to the work of Matmos on Björk’s Vespertine, close to what brought their lace closer to jazz, precisely. Here, we are even closer to the void, in balance just above (Maestro). Enough above to have to bend over a hundred, a thousand or a billion times on this record to hear all its finesse and richness (Agni). The perfect kind of thing to listen to, laid down, with a glass of dark rum around 3am. Quietly. Without fanfare. » content_phone= » ENGLISH / FRANÇAIS Without fanfare. Without double bass nor piano or anything live by the way. But Warren Walker is a kind of a jazz guy. Considering how the moment is shaped, how it is subject to tuggings and extensions, how every break causes surprises or happy consternations (Antonin). We have both feet in the constituents of jazz, sir. It’s electro, yes. Well, it sounds electro, for sure. But Walker goes rather sideways. In the margins or on the tangent, that will be according to your chapel. But in this sideways Walker strides that calm surface entirely dedicated to its power of evocation. Landscapes, organisms and other paintings, this (n)Traverse is full of them. And underneath this surface, it’s swarming. Close to the work of Matmos on Björk’s Vespertine, close to what brought their lace closer to jazz, precisely. Here, we are even closer to the void, in balance just above (Maestro). Enough above to have to bend over a hundred, a thousand or a billion times on this record to hear all its finesse and richness (Agni). The perfect kind of thing to listen to, laid down, with a glass of dark rum around 3am. Quietly. Without fanfare. » 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 Without fanfare. Without double bass nor piano or anything live by the way. But Warren Walker is a kind of a jazz guy. Considering how the moment is shaped, how it is subject to tuggings and extensions, how every break causes surprises or happy consternations (Antonin). We have both feet in the constituents of jazz, sir. It’s electro, yes. Well, it sounds electro, for sure. But Walker goes rather sideways. In the margins or on the tangent, that will be according to your chapel. But in this sideways Walker strides that calm surface entirely dedicated to its power of evocation. Landscapes, organisms and other paintings, this (n)Traverse is full of them. And underneath this surface, it’s swarming. Close to the work of Matmos on Björk’s Vespertine, close to what brought their lace closer to jazz, precisely. Here, we are even closer to the void, in balance just above (Maestro). Enough above to have to bend over a hundred, a thousand or a billion times on this record to hear all its finesse and richness (Agni). The perfect kind of thing to listen to, laid down, with a glass of dark rum around 3am. Quietly. Without fanfare. [/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″] Sans tambour ni trompette. Ni contrebasse, ni piano, ni rien de live d’ailleurs. Mais Warren Walker est un type de jazz, il est aussi saxophoniste. À bien considérer comment l’instant est façonné, comment il est soumis à tiraillements et à prolongements, comment les ruptures provoquent surprises ou consternations consentantes (Antonin). On a bien les deux pieds dans les constituantes du jazz, sir. C’est électro, oui. Enfin, ça sonne électro, c’est certain. Mais Walker marche plutôt à côté. Dans les marges ou sur la tangente, ça ce sera selon votre chapelle. Mais dans cet à-côté Walker arpente une surface calme et toute entière livrée à ses pouvoirs d’évocation, à la force du synthé modulaire. Paysages, organismes et autres peintures, ce (n)Traverse en est pétri. Et sous cette surface, ça grouille. Proche du travail de Matmos sur le Vespertine de Björk, proche de ce qui rapprochait leur dentelle du jazz, justement. Ici, on est encore plus proche du vide, en équilibre juste au-dessus (Maestro). Suffisamment au-dessus pour avoir à se pencher cent, mille ou un milliard de fois sur ce disque pour en entendre toute la finesse et la richesse (Agni). Le genre de truc parfait à écouter posé, avec un verre de rhum brun vers 3h du matin. Au calme. Sans tambour ni trompette. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Warren Walker : presseKuydo Records : bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Cat, 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 »] HIROSHI SUZUKI, Cat [/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 WRWTFWW 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/2021/05/cover.jpg » alt= »Cat de Hiroshi Suzuki » title_text= »Cat de Hiroshi Suzuki » _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/Hiroshi-Suzuki-Romance.mp3″ title= »Romance » artist_name= »Hiroshi Suzuki » album_name= »Cat (1975) » _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »][/et_pb_audio][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= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH 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. [/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″] Meooow. Il faudrait plus de quatre pattes pour compter les occaz d’amour entre les félins et les humanos du jazz. Disney et ses Aristochats, Lalo Schifrin et son Cat en glissade sur les piston de Freddie Hubbard ou les 88 touches de Jimmy Smith. Cat’s back, baby, Cat’s Back. Et ce Cat-là, c’est un blaze, le pseudo traduit de Neko. Neko, c’est Hiroshi Suzuki. Tromboniste soft, au son d’une douceur de diamant. Suzuki part aux States en 1971 pour prendre du jump auprès de Buddy Rich, notamment. 4 ans plus tard, il est passage sur sa homeland et en profite pour checker si tous ses petits potes sont toujours aussi enjoués. Verif sans appel. En 3 jours d’octobre 75, il grave 5 tracks. Complètement balnéaires, réglés d’un funk discret et d’un jazz solide. Walk Tall est loin de son terreau revendicatif afro-américain mais affronte le présent avec grande classe. Shrimp Dance a des envies de cabaret coquin et joyeux. C’est bourré de spirit, le trombone flirte avec le son sweet d’une trompette bouchée, et les solos de Kunimitsu Inaba (basse) sont d’une précision quasi-helvétique. La douceur fauve de Romance porte à loisir la fin du disque à la hauteur de
Strata Records, 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 »] DJ Amir Presents Strata Records:‘The Sound of Detroit’ vol. 1 [/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 21 mai 2021 chez 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/2021/05/CoverBBE-1024×1024-1.jpg » alt= »Compile DJ Amir presents Strata Records » title_text= »Compile DJ Amir presents Strata Records » _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 »]DJ Amir Presents ‘Strata RecordsThe Sound of Detroit’ Volume 1 by Various Artists[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS If we had DJ Amir in front of us, it is obvious that the social distancies would go off sparkling. Mega hug or one hell of a hand shake would be nice. A gasser who rummages through trunks and ends up putting forward Strata Records, deserves all the respect possible and a frank %22Thank you Sir%22. A short-lived but downright infectious jazz label – 6 years old, Strata was founded by Kenny Cox in Detroit in ’69. The label developed its own studio/GQ/concert hall and became the cradle of a handful of free musicians at the forefront of the musical adventures of the counter-culture. Despite an official discography lighter than a Diet Coke, the Strata vaults shine with a collection of unreleased archives including a %22lost%22 Herbie Hancock LP. One can imagine quite quickly that the label weighs heavily on the jazz game. The insiders know all about it, they get the sauce up and negotiate like Wall Street Wolves for original copies on Discogs. But DJ Amir is an intermediary, not a speculator. %22Music for People%22 is his credo. Thanks to his label 180 Proof he wants to widen the audience. Good for him. And for that, he joined forces with the beautiful BBE label, specialist in deluxe reissues and digging in the style of an accelerated masterclass in musical culture. Selected by Amir himself, the tracklist of 22 tracks is a perfect gateway to the Strata catalog between the much awaited Saturday Night Special by Lyman Woodard, and the unexpected Maiden Voyage taken by Ursula Walker from a certain Herbie. Classy handover. » content_phone= » ENGLISH / FRANÇAIS If we had DJ Amir in front of us, it is obvious that the social distancies would go off sparkling. Mega hug or one hell of a hand shake would be nice. A gasser who rummages through trunks and ends up putting forward Strata Records, deserves all the respect possible and a frank %22Thank you Sir%22. A short-lived but downright infectious jazz label – 6 years old, Strata was founded by Kenny Cox in Detroit in ’69. The label developed its own studio/GQ/concert hall and became the cradle of a handful of free musicians at the forefront of the musical adventures of the counter-culture. Despite an official discography lighter than a Diet Coke, the Strata vaults shine with a collection of unreleased archives including a %22lost%22 Herbie Hancock LP. One can imagine quite quickly that the label weighs heavily on the jazz game. The insiders know all about it, they get the sauce up and negotiate like Wall Street Wolves for original copies on Discogs. But DJ Amir is an intermediary, not a speculator. %22Music for People%22 is his credo. Thanks to his label 180 Proof he wants to widen the audience. Good for him. And for that, he joined forces with the beautiful BBE label, specialist in deluxe reissues and digging in the style of an accelerated masterclass in musical culture. Selected by Amir himself, the tracklist of 22 tracks is a perfect gateway to the Strata catalog between the much awaited Saturday Night Special by Lyman Woodard, and the unexpected Maiden Voyage taken by Ursula Walker from a certain Herbie. Classy handover. » content_last_edited= »on|tablet » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »5%||||false|false »] ENGLISH If we had DJ Amir in front of us, it is obvious that the social distancies would go off sparkling. Mega hug or one hell of a hand shake would be nice. A gasser who rummages through trunks and ends up putting forward Strata Records, deserves all the respect possible and a frank « Thank you Sir ». A short-lived but downright infectious jazz label – 6 years old, Strata was founded by Kenny Cox in Detroit in ’69. The label developed its own studio/GQ/concert hall and became the cradle of a handful of free musicians at the forefront of the musical adventures of the counter-culture. Despite an official discography lighter than a Diet Coke, the Strata vaults shine with a collection of unreleased archives including a « lost » Herbie Hancock LP. One can imagine quite quickly that the label weighs heavily on the jazz game. The insiders know all about it, they get the sauce up and negotiate like Wall Street Wolves for original copies on Discogs. But DJ Amir is an intermediary, not a speculator. « Music for People » is his credo. Thanks to his label 180 Proof he wants to widen the audience. Good for him. And for that, he joined forces with the beautiful BBE label, specialist in deluxe reissues and digging in the style of an accelerated masterclass in musical culture. Selected by Amir himself, the tracklist of 22 tracks is a perfect gateway to the Strata catalog between the much awaited Saturday Night Special by Lyman Woodard, and the unexpected Maiden Voyage taken by Ursula Walker from a certain Herbie. Classy handover. [/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″] Si on avait DJ Amir en face de nous, il est évident que les social distancies voleraient en éclats. Mega hug ou un sacré serrage de paluche serait de rigueur. Un gazier qui farfouille dans des malles et finit par mettre en avant Strata Records, mérite tout le respect possible et un énergique «
Mek+oub, 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 »] DI-MEH, Mek+oub [/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 12 mai 2021 chez Grand Musique Management [/et_pb_text][et_pb_divider color= »rgba(255,255,255,0.51) » divider_style= »dotted » divider_position= »center » _builder_version= »4.9.4″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true »][/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/dimehpochette.jpg » alt= »Di-Meh Mek+oub » title_text= »Di-Meh Mek+oub » _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/yt1s.com-DIMEH-Gatee-AUDIO-OFFICIEL.mp3″ title= »Gâtée » artist_name= »Di-meh » album_name= »Mek+oub (2021) » _builder_version= »4.9.4″ _module_preset= »default » title_font= »Roboto|300||||||| » background_color= »rgba(63,42,76,0.35) » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS You have to be sure in this messy year that Mektoub does things pretty well. Di-meh started riding on the French rap game by doing his best 3.6 flips at the skatepark. After 5 warm-ups as EPs, he’s now ready with his Mek+oub. This first album is a hit. Egotrip so perfect that it breaks this major rule. This release didn’t happen on May 10th as usual but on May 12th. Anyway, everything is ok, these 16 titles deliver the regular stuff. Big cars, alcohol, money, conquests, and smoking: the rapper’s starter pack is present. Period. The Swiss kick on prods based on oud reminding his Algerian Moroccan origin and no doubt, it Turn Up. It comes out of his XTRM carnage habits, in the rapper’s gullet, there is singing and autotuned flow. Further on, Lefa, Klench Poko and Vladimir Cauchemar come in and add their little touches to the Di-meh recipe. Perfect recipe for se Balader on Week-end with open windows and loud music. A breath of fresh air and a ray of sunshine after the rain, Holala, this album feels good. We still say it and we seriously hope that the Mektoub watches over the rapper, over him and over our ears. » content_phone= » ENGLISH / FRANÇAIS You have to be sure in this messy year that Mektoub does things pretty well. Di-meh started riding on the French rap game by doing his best 3.6 flips at the skatepark. After 5 warm-ups as EPs, he’s now ready with his Mek+oub. This first album is a hit. Egotrip so perfect that it breaks this major rule. This release didn’t happen on May 10th as usual but on May 12th. Anyway, everything is ok, these 16 titles deliver the regular stuff. Big cars, alcohol, money, conquests, and smoking: the rapper’s starter pack is present. Period. The Swiss kick on prods based on oud reminding his Algerian Moroccan origin and no doubt, it Turn Up. It comes out of his XTRM carnage habits, in the rapper’s gullet, there is singing and autotuned flow. Further on, Lefa, Klench Poko and Vladimir Cauchemar come in and add their little touches to the Di-meh recipe. Perfect recipe for se Balader on Week-end with open windows and loud music. A breath of fresh air and a ray of sunshine after the rain, Holala, this album feels good. We still say it and we seriously hope that the Mektoub watches over the rapper, over him and over our ears. » 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 You have to be sure in this messy year that Mektoub does things pretty well. Di-meh started riding on the French rap game by doing his best 3.6 flips at the skatepark. After 5 warm-ups as EPs, he’s now ready with his Mek+oub. This first album is a hit. Egotrip so perfect that it breaks this major rule. This release didn’t happen on May 10th as usual but on May 12th. Anyway, everything is ok, these 16 titles deliver the regular stuff. Big cars, alcohol, money, conquests, and smoking: the rapper’s starter pack is present. Period. The Swiss kick on prods based on oud reminding his Algerian Moroccan origin and no doubt, it Turn Up. It comes out of his XTRM carnage habits, in the rapper’s gullet, there is singing and autotuned flow. Further on, Lefa, Klench Poko and Vladimir Cauchemar come in and add their little touches to the Di-meh recipe. Perfect recipe for se Balader on Week-end with open windows and loud music. A breath of fresh air and a ray of sunshine after the rain, Holala, this album feels good. We still say it and we seriously hope that the Mektoub watches over the rapper, over him and over our ears. [/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 » link_font= »Roboto|||||||| » link_text_color= »#FF6600″] Ce qui est sûr dans cette année cafouillis, c’est que le Mektoub fait bien les choses. C’est en posant ses meilleurs 3.6 flips au skatepark que Di-meh a commencé à rider sur le rap game francophone. Après 5 EP d’échauffement, il rentre carrément sur le terrain avec Mek+oub. Ce premier album est une frappe. Egotrip si parfait qu’il casse une règle majeure. Sortie non pas le 10 mai comme d’hab’ mais le 14 mai. Sinon, on est bien, ces 16 titres alignent le matos réglementaire. Grosses bagnoles, alcool, argent, les conquêtes et la fume : le starter pack du rappeur est présent et validey. Le Suisse kicke sur des prods à base d’oud rappelant son origine algéro-marocaine et pas de doute, ça Turn Up. Il sort de ses habitudes de carnage XTRM, dans le gosier du rappeur, c’est du flow chanté et autotuné. Plus loin, Lefa, Klench Poko et Vladimir Cauchemar débarquent et apportent leurs petites touches à la recette Di-meh. Recette nickel pour se Balader un Week-end, fenêtres ouvertes musiques à fond. Grand bol d’air frais doublé d’un rayon de soleil après la pluie, Holala, cet album fait du bien. On le dit encore et on espère grave que le Mektoub veille sur le rappeur. Sur lui et sur nos oreilles. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Mek+oub : site webDi-meh : instagram [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]