Jazz Thing, 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= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] GANG STARR, Jazz Thing [/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 en mars 2020 chez Mr Bongo [/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/2020/04/Gang-starr-jazz-thing.jpg » alt= »Jazz Thing de Gang Starr » title_text= »Jazz Thing de Gang Starr » _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″][/et_pb_image][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Got it ? The little pendulum movement of Guru’s head under his borsalino hat? 30 years it’s been going on, as imperturbable as one of those little plastic dogs on the back of cars. Jazz Thing is 30 years old and the track doesn’t seem ready to stop moving. Reissued at the end of March in 7%22 format by Mister Bongo, Gang Starr’s tribute to the jazz of Bird, Dizz and Monk has lost nothing of its swing. In 90, Preemo draws from Bop’s safes to refresh the loops of an old track and put it on the screen. It’s gonna be Mo’ Better Blues by Spike Lee’s OST. This jazz thing also announces the future job : Jazzmatazz for Guru or a track as Now You’re Mine from the Gang of 94. Oldschool, New School but still no rules. » content_phone= » ENGLISH / FRANÇAIS Got it ? The little pendulum movement of Guru’s head under his borsalino hat? 30 years it’s been going on, as imperturbable as one of those little plastic dogs on the back of cars. Jazz Thing is 30 years old and the track doesn’t seem ready to stop moving. Reissued at the end of March in 7%22 format by Mister Bongo, Gang Starr’s tribute to the jazz of Bird, Dizz and Monk has lost nothing of its swing. In 90, Preemo draws from Bop’s safes to refresh the loops of an old track and put it on the screen. It’s gonna be Mo’ Better Blues by Spike Lee’s OST. This jazz thing also announces the future job : Jazzmatazz for Guru or a track as Now You’re Mine from the Gang of 94. Oldschool, New School but still no rules. » content_last_edited= »on|tablet » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »10%||||false|false »] ENGLISH Got it ? The little pendulum movement of Guru’s head under his borsalino hat? 30 years it’s been going on, as imperturbable as one of those little plastic dogs on the back of cars. Jazz Thing is 30 years old and the track doesn’t seem ready to stop moving. Reissued at the end of March in 7″ format by Mister Bongo, Gang Starr’s tribute to the jazz of Bird, Dizz and Monk has lost nothing of its swing. In 90, Preemo draws from Bop’s safes to refresh the loops of an old track and put it on the screen. It’s gonna be Mo’ Better Blues by Spike Lee’s OST. This jazz thing also announces the future job : Jazzmatazz for Guru or a track as Now You’re Mine from the Gang of 94. Oldschool, New School but still no rules. [/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 »] Tu l’as, le petit mouvement de pendule de la tête de Guru sous un borsalino ? 30 ans que ça dure, aussi imperturbable qu’elle celui d’un de ces petits chiens sur les plages arrières de bagnole. Jazz Thing, a 30 ans et le track ne semble pas prêt à s’arrêter de bouger. Réédité fin mars au format 7’’ par Mister Bongo, le tribute rendu par Gang Starr au jazz de Bird, Dizz et Monk n’a rien perdu de swing. En 90, Preemo puise dans les coffres-forts du Bop pour rafraîchir les boucles d’un vieux track et de la mettre à l’écran. Ce sera l’OST de Mo’ Better Blues de Spike Lee. Cette jazz thing annonce aussi le boulot futur, Jazzmatazz pour Guru ou un morceau comme Now You’re Mine du Gang de 94. Oldschool, New School but still no rules. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#ff6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Gang Starr : site web Mr Bongo : site web [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version= »4.9.4″ _module_preset= »default » width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone »][et_pb_column type= »4_4″ _builder_version= »4.9.4″ _module_preset= »default »][et_pb_audio audio= »https://pointbreak.fr/wp-content/uploads/2020/04/Gang_Starr_-_Jazz_Thing_Official_Video.mp3″ title= »Jazz Thing » artist_name= »Gang Starr » _builder_version= »4.9.4″ _module_preset= »default » background_color= »#27657f »][/et_pb_audio][/et_pb_column][/et_pb_row][/et_pb_section]
Jazz Is Dead 001, chronique
[et_pb_section fb_built= »1″ _builder_version= »4.9.4″ background_color= »#27657f » min_height= »407.7px » custom_padding= »68px||0px||| » global_colors_info= »{} »][et_pb_row make_equal= »on » custom_padding_last_edited= »on|phone » _builder_version= »4.9.4″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »0px||||false|false » custom_margin_last_edited= »on|phone » custom_padding_tablet= » » custom_padding_phone= »0px||||false|false » animation_style= »fade » global_colors_info= »{} »][et_pb_column type= »4_4″ _builder_version= »4.0.6″ global_colors_info= »{} »][et_pb_text content_last_edited= »off|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false » global_colors_info= »{} »] ADRIAN YOUNGE AND ALI SHAHEED MUHAMMAD, Jazz Is Dead 001 [/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||| » global_colors_info= »{} »] sortie en mars 2020 chez Jazz Is Dead [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true » global_colors_info= »{} »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.9.4″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF » global_colors_info= »{} »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.9.4″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false » global_colors_info= »{} »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.9.4″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| » global_colors_info= »{} »][et_pb_column type= »3_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2020/04/adrian-younge-ali-shaheed-muhammad.jpg » alt= »Jazz Is Dead 001 de Adrian Younge and Ali Shaheed Muhammad / » title_text= »Jazz Is Dead 001 de Adrian Younge and Ali Shaheed Muhammad » _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 » global_colors_info= »{} »][/et_pb_image][et_pb_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false » global_colors_info= »{} »]Jazz Is Dead 001 by Adrian Younge and Ali Shaheed Muhammad[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS A brief: Two geniuses of the h-and-h productions are working overtime. A duet: The Midnight Hour. Their music : clever, arousing and beautiful. Written by them both and for all the totems they invited on this LP. In a bulky way : Roy Ayers, Gary Bartz, Azymuth, Marcos Valle. It is through hip-hop samples (Hi the Tribe) that the duo discovered jazzmusic. And, as MPCs have their limits and the guys have some fangs. So they started playing live on instruments. A very greedy foretaste of the 7 albums to come, each one offered to one of the musicians of the selecta of this opus-prélude. Jazz Is dead ? Long live the jazz! » content_phone= » ENGLISH / FRANÇAIS A brief: Two geniuses of the h-and-h productions are working overtime. A duet: The Midnight Hour. Their music : clever, arousing and beautiful. Written by them both and for all the totems they invited on this LP. In a bulky way : Roy Ayers, Gary Bartz, Azymuth, Marcos Valle. It is through hip-hop samples (Hi the Tribe) that the duo discovered jazzmusic. And, as MPCs have their limits and the guys have some fangs. So they started playing live on instruments. A very greedy foretaste of the 7 albums to come, each one offered to one of the musicians of the selecta of this opus-prélude. Jazz Is dead ? Long live the jazz! » 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 » global_colors_info= »{} »] ENGLISH A brief: Two geniuses of the h-and-h productions are working overtime. A duet: The Midnight Hour. Their music : clever, arousing and beautiful. Written by them both and for all the totems they invited on this LP. In a bulky way : Roy Ayers, Gary Bartz, Azymuth, Marcos Valle. It is through hip-hop samples (Hi the Tribe) that the duo discovered jazzmusic. And, as MPCs have their limits and the guys have some fangs. So they started playing live on instruments. A very greedy foretaste of the 7 albums to come, each one offered to one of the musicians of the selecta of this opus-prélude. Jazz Is dead ? Long live the jazz! [/et_pb_text][/et_pb_column][et_pb_column type= »2_5″ _builder_version= »4.0.4″ global_colors_info= »{} »][et_pb_text _builder_version= »4.13.1″ _module_preset= »default » link_font= »Roboto|||||||| » link_text_color= »#ff6600″ hover_enabled= »0″ global_colors_info= »{} » sticky_enabled= »0″] Le pitch : Deux génies de la prod hachipé-hachopé font des heures sup’. Leur duo : The Midnight Hour. Leur musique : maline, émoustillée et belle. Écrite par eux deux et pour tous les totems qu’ils ont invités sur ce LP. En vrac : Roy Ayers, Gary Bartz, Azymuth, Marcos Valle. C’est à travers les samples du hip-hop (coucou la Tribe) que le duo a découvert la jazzmusic. Et, comme les MPC ont leurs limites et que les gars ont les crocs, ils se sont mis à la compo sur instruments live. Un avant-goût très gourmand des 10 albums à venir, chacun offert à l’un des musiciens de la selecta de cet opus-prélude ou à plusieurs. Jazz Is dead ? Vive le jazz. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false » global_colors_info= »{} »] —Ali Shaheed Muhammad : instagramAdrian Younge : instagramJazz Is Dead : bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Inicial, 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 »] VLADIMIR TORRES, Inicial [/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 en avril 2020 chez L’Horizon Violet [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true »][/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/2020/05/Inical.jpg » alt= »Inicial de Vladimir Torres » title_text= »Inicial de Vladimir Torres » _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 »]INICIAL by Vladimir Torres[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Typing error. Vladimir confided to PointBreak yesterday, that some people thought there was a typing error in the title of this album, Inicial. But obviously, the only error left in this record is the one that the double bass player has just avoided by delivering these 10 tracks. Neat and skillful. Trio for a solid base, then guests in the best possible way, and then engineering on the line. You’d have to be a big shot not to hear, here, what makes this album such a joy to listen to. Joy of paradoxes, intimacy at play and a rather reassuring thing as a window in the ambient quarantine. A track like Contrarriba makes the double bass a lit podium of an inexhaustible capacity of humanity. That’s classy. Thanx for the typo. » content_phone= » ENGLISH / FRANÇAIS Typing error. Vladimir confided to PointBreak yesterday, that some people thought there was a typing error in the title of this album, Inicial. But obviously, the only error left in this record is the one that the double bass player has just avoided by delivering these 10 tracks. Neat and skillful. Trio for a solid base, then guests in the best possible way, and then engineering on the line. You’d have to be a big shot not to hear, here, what makes this album such a joy to listen to. Joy of paradoxes, intimacy at play and a rather reassuring thing as a window in the ambient quarantine. A track like Contrarriba makes the double bass a lit podium of an inexhaustible capacity of humanity. That’s classy. Thanx for the typo. » 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 Typing error. Vladimir confided to PointBreak yesterday, that some people thought there was a typing error in the title of this album, Inicial. But obviously, the only error left in this record is the one that the double bass player has just avoided by delivering these 10 tracks. Neat and skillful. Trio for a solid base, then guests in the best possible way, and then engineering on the line. You’d have to be a big shot not to hear, here, what makes this album such a joy to listen to. Joy of paradoxes, intimacy at play and a rather reassuring thing as a window in the ambient quarantine. A track like Contrarriba makes the double bass a lit podium of an inexhaustible capacity of humanity. That’s classy. Thanx for the typo. [/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″] Faute de frappe. Vladimir confiait, hier, à PointBreak que certains pensaient qu’il y avait une coquille dans le titre de cet album, Inicial. Mais d’évidence, la seule coquille qui reste dans ce disque, à paraître demain, est celle que le contrebassiste vient de briser pour livrer ces 10 tracks. Trio en base solide, puis des invités nickel, puis une prod’ au cordeau. Il faudrait être balèze pour ne pas entendre ici ce qui fait la joie de cet album. Joie des paradoxes, mise en jeu de l’intimité. et une chose plutôt rassérénante comme fenêtre dans le confinement ambiant, un morceau comme Contrarriba qui fait de la contrebasse un podium éclairé d’une capacité d’humanité inépuisable. C’est classe. tu repasseras pour la faute de frappe. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Vladimir Torres : l’interview PointBreakVladimir Torres : site webL’Horizon Violet : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Erozje, 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 »] BŁOTO, Erozje [/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 en avril 2020 chez Astigmatic 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/2020/04/Bloto.jpg » alt= »Erozje de Bloto » title_text= »Erozje de Bloto » _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 »]Erozje by Błoto[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Four men in the mud. Face into the wind. And, if the wind is the one blowing in Poland, the music of this stubborn quartet is downright universal. Not necessarily the kind that makes the crowds and banners rise, no, but quite the kind that will blow your brains out and take the body by storm. And to make you hear that free jazz, when it rubs shoulders with the heaviest beats of English hip hop and the most classy melodies of US nu-jazz, becomes a formidable machine. Machine to feel, to go into trance, to dance in the mud (Błoto, in Polish). » content_phone= » ENGLISH / FRANÇAIS Four men in the mud. Face into the wind. And, if the wind is the one blowing in Poland, the music of this stubborn quartet is downright universal. Not necessarily the kind that makes the crowds and banners rise, no, but quite the kind that will blow your brains out and take the body by storm. And to make you hear that free jazz, when it rubs shoulders with the heaviest beats of English hip hop and the most classy melodies of US nu-jazz, becomes a formidable machine. Machine to feel, to go into trance, to dance in the mud (Błoto, in Polish). » 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 Four men in the mud. Face into the wind. And, if the wind is the one blowing in Poland, the music of this stubborn quartet is downright universal. Not necessarily the kind that makes the crowds and banners rise, no, but quite the kind that will blow your brains out and take the body by storm. And to make you hear that free jazz, when it rubs shoulders with the heaviest beats of English hip hop and the most classy melodies of US nu-jazz, becomes a formidable machine. Machine to feel, to go into trance, to dance in the mud (Błoto, in Polish). [/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″] Quatre hommes dans la boue. La face au vent. Et, si le vent est celui qui souffle en Pologne, la musique de ce quartet têtu est carrément universelle. Pas forcément le genre qui fait se lever les foules et les bannières, non, mais tout à fait le genre à vous débrancher le cervelet pour prendre le corps d’assaut. Et vous faire entendre que le free jazz, quand il côtoie les beats les plus lourds du hip hop anglais et les mélodies les plus classes du nu-jazz US, devient une machine redoutable. Machine à ressentir, à entrer dans la transe, à danser dans la boue (błoto, en polonais). [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Błoto : bandcampAstigmatic Records : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Inspiration Information, 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 »] JIMI TENOR – TONY ALLEN,Inspiration Information 04 [/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 en octobre 2009 chez Strut 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/2020/05/cover.jpg » alt= »Inspiration Information de Jimi Tenor & Tony Allen » title_text= »Inspiration Information de Jimi Tenor & Tony Allen » _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 »]Inspiration Information 4 by Jimi Tenor & Tony Allen[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS And auspices struck hard once again. It was 2009. It was in a studio in Lathi, Finland. It was like a black’n’white fraternity, two mavericks fiercely battled in heaven. Tony Allen, the founding father of Afrobeat as Fela Kuti’s lieutenant, and Jimi Tenor the most African of polar flutists. Strut documented the encounter for his Inspiration/Information series. It’s ultra deeeeeeep, it’s full of jammed Afro sways. Dense, thick and heavy. Very playful too, a bit of a crook at last. Take, for example, Selfish Gene. This says it all. Kind of a myriad of solitary pleasure for most of us. Anti-quarantine as possible. » content_phone= » ENGLISH / FRANÇAIS And auspices struck hard once again. It was 2009. It was in a studio in Lathi, Finland. It was like a black’n’white fraternity, two mavericks fiercely battled in heaven. Tony Allen, the founding father of Afrobeat as Fela Kuti’s lieutenant, and Jimi Tenor the most African of polar flutists. Strut documented the encounter for his Inspiration/Information series. It’s ultra deeeeeeep, it’s full of jammed Afro sways. Dense, thick and heavy. Very playful too, a bit of a crook at last. Take, for example, Selfish Gene. This says it all. Kind of a myriad of solitary pleasure for most of us. Anti-quarantine as possible. » 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 And auspices struck hard once again. It was 2009. It was in a studio in Lathi, Finland. It was like a black’n’white fraternity, two mavericks fiercely battled in heaven. Tony Allen, the founding father of Afrobeat as Fela Kuti’s lieutenant, and Jimi Tenor the most African of polar flutists. Strut documented the encounter for his Inspiration/Information series. It’s ultra deeeeeeep, it’s full of jammed Afro sways. Dense, thick and heavy. Very playful too, a bit of a crook at last. Take, for example, Selfish Gene. This says it all. Kind of a myriad of solitary pleasure for most of us. Anti-quarantine as possible. [/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″] Et les auspices frappèrent fort, une fois encore. C’était en 2009. C’était dans un studio de Lathi, en Finlande. C’était genre fraternité black’n’white, Deux francs-tireurs ferraillaient au paradis. Tony Allen, père fondateur de l’afrobeat et lieutenant de Fela Kuti, et Jimi Tenor le plus africain des flûtistes polaires. Strut documentait la rencontre pour sa série Inspiration/Information. C’est ultra deeeeep, c’est bourré de chaloupements jammés façon Afro. Denses, épais et lourds. Très joueurs aussi, un peu escrocs enfin. Prends, par exemple, Selfish Gene. Tout est dans le titre. Un genre de plaisir solitaire à plusieurs. Anti-quarantine au possible. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Tony Allen : site webStrut Records : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Socialytics, 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, Socialytics [/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 en avril 2020 chez 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/2020/05/cover-1-scaled.jpg » alt= »Socialytics de Devin Gray » title_text= »Socialytics de 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_code _builder_version= »4.9.4″ _module_preset= »default » custom_margin= »7%||||false|false »]Socialytics by devingraymusic.com[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS %22Is That Jazz?%22 sang Gil Scott-Heron. %22Yes, as long as there’s trumpet%22, could have mewed the feline Thomas O’Malley as an answer. In Socialytics, the latest issue of Devin Gray, some kind o’ patient and libertarian drummer, there is Dave Ballou’s trumpet. And Ryan Ferreira’s guitar. Together, they play a 24-minute mini space-op’. Suspended, steadfast and fascinating. And finally, very mundane in its way to play over and over with links. Social links, listening ways, bonds fulfilled with brotherhood to the end of the breath (Socialytics). And without warning, with that title mixing social path and political desire, Devin Gray declares himself as a musician. A mad inventor who goes around the thread of time (Chatbot, Phone Ears), mending men to each other (Streambait). Connecting People, we would have read on some french billboards at another time. » content_phone= » ENGLISH / FRANÇAIS %22Is That Jazz?%22 sang Gil Scott-Heron. %22Yes, as long as there’s trumpet%22, could have mewed the feline Thomas O’Malley as an answer. In Socialytics, the latest issue of Devin Gray, some kind o’ patient and libertarian drummer, there is Dave Ballou’s trumpet. And Ryan Ferreira’s guitar. Together, they play a 24-minute mini space-op’. Suspended, steadfast and fascinating. And finally, very mundane in its way to play over and over with links. Social links, listening ways, bonds fulfilled with brotherhood to the end of the breath (Socialytics). And without warning, with that title mixing social path and political desire, Devin Gray declares himself as a musician. A mad inventor who goes around the thread of time (Chatbot, Phone Ears), mending men to each other (Streambait). Connecting People, we would have read on some french billboards at another time. » 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 « Is That Jazz? » sang Gil Scott-Heron. « Yes, as long as there’s trumpet », could have mewed the feline Thomas O’Malley as an answer. In Socialytics, the latest issue of Devin Gray, some kind o’ patient and libertarian drummer, there is Dave Ballou’s trumpet. And Ryan Ferreira’s guitar. Together, they play a 24-minute mini space-op’. Suspended, steadfast and fascinating. And finally, very mundane in its way to play over and over with links. Social links, listening ways, bonds fulfilled with brotherhood to the end of the breath (Socialytics). And without warning, with that title mixing social path and political desire, Devin Gray declares himself as a musician. A mad inventor who goes around the thread of time (Chatbot, Phone Ears), mending men to each other (Streambait). Connecting People, we would have read on some french billboards at another time. [/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″] « Is That Jazz? » chantait Gil Scott-Heron. Oui, du moment qu’il y a de la trompette, aurait pu feulé le félin Thomas O’Malley, en guise de réponse. Dans Socialytics, la dernière livraison de Devin Gray, batteur patient et libertaire, il y a la trompette de Dave Ballou. Et la guitare de Ryan Ferreira. Et à eux trois, ils balancent un mini space-op’ de 24 minutes. Suspendu, latent et fascinant. Et finalement, très terre-à-terre dans sa façon de jouer incessamment sur les liens. Liens sociaux, liens d’écoute, liens tissés de fraternité jusqu’au bout du souffle (Socialytics). Et sans en avoir l’air, dans son titre valise mêlant voie sociale et désir politique, Devin Gray reste un musicien. Un inventeur fou contournant le fil du temps (Chatbot, Phone Ears), raccommodant les hommes entre eux (Streambait). Connecting People, aurait-on lu en France à une autre époque. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Rataplan Records : bandcampDevin Gray : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Adult Themes, 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 »] EL MICHELS AFFAIR, Adult Themes [/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 en mai 2020 chez Big Crown 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/2020/05/cover-2.jpg » alt= »Adult Themes de El Michels Affair » title_text= »Adult Themes de El Michels Affair » _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 »]Adult Themes by El Michels Affair[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Snapy Raccoon. This could be one of Leon Michels’ totem-animal. Clever and teasing. Finally out of the Wu Hotel’s room 37, the black belt of multi-instrumental groove releases Adult Themes. First conceived as a compilation of potential samples delivered by a lover of the art of sampling, this album is now a grown-up. Classy, gleaming and catchy. Heading his little personal affair, Michels is smartly cooing about liquid sensuality (Rubix), unstoppable slow-motion hip rolls (Hipps) and invincible eye candy (Villa, Adult Theme n°3). It’s clever, as we said earlier. Adult Themes has less to do with pornhub than with the great hours of the 70s erotic cinema, where great landscapes flirted with deep throats, where pleasure flowed freely. Offshot from the Menahan Street Band, among other glory facts, deluxe sidekicks of Jadakiss or GhostFace Killah, Leon Michels knows the depth of a beat, knows the tensions necessary for desire. Adult Themes is a chamber music album, the perfect thing for all the naps and after-dinner drinks to come during the next quarantine. » content_phone= » ENGLISH / FRANÇAIS Snapy Raccoon. This could be one of Leon Michels’ totem-animal. Clever and teasing. Finally out of the Wu Hotel’s room 37, the black belt of multi-instrumental groove releases Adult Themes. First conceived as a compilation of potential samples delivered by a lover of the art of sampling, this album is now a grown-up. Classy, gleaming and catchy. Heading his little personal affair, Michels is smartly cooing about liquid sensuality (Rubix), unstoppable slow-motion hip rolls (Hipps) and invincible eye candy (Villa, Adult Theme n°3). It’s clever, as we said earlier. Adult Themes has less to do with pornhub than with the great hours of the 70s erotic cinema, where great landscapes flirted with deep throats, where pleasure flowed freely. Offshot from the Menahan Street Band, among other glory facts, deluxe sidekicks of Jadakiss or GhostFace Killah, Leon Michels knows the depth of a beat, knows the tensions necessary for desire. Adult Themes is a chamber music album, the perfect thing for all the naps and after-dinner drinks to come during the next quarantine. » 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 Snapy Raccoon. This could be one of Leon Michels’ totem-animal. Clever and teasing. Finally out of the Wu Hotel’s room 37, the black belt of multi-instrumental groove releases Adult Themes. First conceived as a compilation of potential samples delivered by a lover of the art of sampling, this album is now a grown-up. Classy, gleaming and catchy. Heading his little personal affair, Michels is smartly cooing about liquid sensuality (Rubix), unstoppable slow-motion hip rolls (Hipps) and invincible eye candy (Villa, Adult Theme n°3). It’s clever, as we said earlier. Adult Themes has less to do with pornhub than with the great hours of the 70s erotic cinema, where great landscapes flirted with deep throats, where pleasure flowed freely. Offshot from the Menahan Street Band, among other glory facts, deluxe sidekicks of Jadakiss or GhostFace Killah, Leon Michels knows the depth of a beat, knows the tensions necessary for desire. Adult Themes is a chamber music album, the perfect thing for all the naps and after-dinner drinks to come during the next quarantine. [/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″] Raccoon racoleur. Ce pourrait être un des totems animalier de Leon Michels. Malin et aguicheur. Enfin sortie de la chambre 37 de l’hôtel Wu, la ceinture noire du multi-instrumentisme groove sort Adult Themes. D’abord conçu comme une compile de samples potentiels livrés par un amoureux de l’art du sampling, puis désormais album majeur. Classe, rutilant et accrocheur. À la tête de sa petite affaire personnelle, Michels roucoule du sensuel liquide (Rubix), du déroulé de hanches au ralenti imparable (Hipps) et des œillades invincibles (Villa, Adult Theme n°3). C’est malin, on l’a dit plus tôt. Adult Themes a moins à voir avec Pornhub qu’avec les grandes heures du ciné érotico-70s où les grands espaces cotoyaient les gorges profondes, où le plaisir coulait à flots. Rejeton du Menahan Street Band, entre autres faits de gloire, sidekicks d’un Jadakiss ou d’un GhostFace Killah, Leon Michels sait la lourdeur d’un beat, compagnon de groove de Lee Fields, il connait les tensions nécessaires au désir. Adult Themes est un album de musique de chambre, le truc parfait pour toutes les siestes et afters à venir lors des prochains confinements. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —El Michels Affair : bandcampBig Crown Records : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Blue to Red, 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 »] CHIP WICKHAM, Blue to Red [/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 en mai 2020 chez LoveMonk [/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/2020/05/cover1.jpg » alt= »Blue To Red de Chip Wickham » title_text= »Blue To Red de Chip Wickham » _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 »]Blue to Red by Chip Wickham[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Exit, Stendhal’s Le Rouge et le Noir. Here is Blue To Red. Sorry, Julien, Bonap’ never got access to the Cosmos. Chip Wickham, much more. After the winds of Shamal, this last LP is taking an interstellar course. Taking the Trane on the fly, ogling Alice’s petticoats, greeting Yusef Lateef, Blue To Red plays on brilliance, arpeggiated harmonies and ethereal atmospheres. Perfect to take off, guaranteed kerosene free, perfectly in accordance with our time. If the previous LP, Shamal Winds, played between vitamin D and small comfy armchairs, this one never really settles down. Partying in the air non-stop. From blue to red, until the mix of the two. Airy, solid and quietly powerful. » content_phone= » ENGLISH / FRANÇAIS Exit, Stendhal’s Le Rouge et le Noir. Here is Blue To Red. Sorry, Julien, Bonap’ never got access to the Cosmos. Chip Wickham, much more. After the winds of Shamal, this last LP is taking an interstellar course. Taking the Trane on the fly, ogling Alice’s petticoats, greeting Yusef Lateef, Blue To Red plays on brilliance, arpeggiated harmonies and ethereal atmospheres. Perfect to take off, guaranteed kerosene free, perfectly in accordance with our time. If the previous LP, Shamal Winds, played between vitamin D and small comfy armchairs, this one never really settles down. Partying in the air non-stop. From blue to red, until the mix of the two. Airy, solid and quietly powerful. » 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 Exit, Stendhal’s Le Rouge et le Noir. Here is Blue To Red. Sorry, Julien, Bonap’ never got access to the Cosmos. Chip Wickham, much more. After the winds of Shamal, this last LP is taking an interstellar course. Taking the Trane on the fly, ogling Alice’s petticoats, greeting Yusef Lateef, Blue To Red plays on brilliance, arpeggiated harmonies and ethereal atmospheres. Perfect to take off, guaranteed kerosene free, perfectly in accordance with our time. If the previous LP, Shamal Winds, played between vitamin D and small comfy armchairs, this one never really settles down. Partying in the air non-stop. From blue to red, until the mix of the two. Airy, solid and quietly powerful. [/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″] Dead, Le Rouge et le Noir. Voici Blue To Red. Sorry Julien, Napo n’aura jamais accès au Cosmos. Chip Wickham, lui, beaucoup plus. Après les vents de Shamal, ce dernier LP se trace une voie intersidérale. Prenant le Trane à la volée, lorgnant sur les jupons d’Alice, saluant Yusef Lateef, Blue To Red joue sur les brillances, les harmonies arpégées et une ambiance d’éther. Parfait pour décoller, garantie kérosène free, parfaitement raccord avec l’époque. Si le précédent LP, Shamal Winds, jouait entre vitamine D et petits poufs comfy, celui-ci ne se pose jamais vraiment. Partie en l’air sans escale. Du bleu au rouge, jusqu’au mélange. Aérien, solide et d’une puissance tranquille. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Chip Wickham : bandcampLoveMonk : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Check The Rhime, 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 »] SOUL SUPREME, Check The Rhime [/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 en avril 2020 [/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/2020/05/cover-3.jpg » alt= »Check The Rhime de Soul Supreme » title_text= »Check The Rhime de Soul Supreme » _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 »]Check the Rhime / Lyrics to Go by Soul Supreme[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS It must be said that the Tribe had nitpicked. Check The Rhime pinched its structure from Bebop and included samples and hooks from the Average White Band, Minnie Riperton and Groover Washington Jr. in its production. Phife Dog barked then that Rap is not pop. Their art of collage, raw, immediate and rough, is never very far from Pop Art. Yet without any concept drawed on a notebook, this is something immediate as well. Glued to asphalt. Let’s get back. It’s 1991 and Check The Rhime is one of the nuggets of The Low End Theory, ATCQ’s second LP. Let’s move forward. It’s 2020 and Soul Supreme adds a coat of paint with his EP that combines a reworking of Check The Rhimeand Lyrics To Go. The prod and DJ from Jerusalamsterdam gives jazz back its cut of rap. No lyrics, but Luuk Hof’s trumpet and Haruki Harada’s guitar. We’re in pure instrumentals. Raised like a thoroughbred, reared like a calendar pin-up, concentrated like a tube of baby milk. Human tenderness and f**kin’ good vibes. You on point Tip? » content_phone= » ENGLISH / FRANÇAIS It must be said that the Tribe had nitpicked. Check The Rhime pinched its structure from Bebop and included samples and hooks from the Average White Band, Minnie Riperton and Groover Washington Jr. in its production. Phife Dog barked then that Rap is not pop. Their art of collage, raw, immediate and rough, is never very far from Pop Art. Yet without any concept drawed on a notebook, this is something immediate as well. Glued to asphalt. Let’s get back. It’s 1991 and Check The Rhime is one of the nuggets of The Low End Theory, ATCQ’s second LP. Let’s move forward. It’s 2020 and Soul Supreme adds a coat of paint with his EP that combines a reworking of Check The Rhimeand Lyrics To Go. The prod and DJ from Jerusalamsterdam gives jazz back its cut of rap. No lyrics, but Luuk Hof’s trumpet and Haruki Harada’s guitar. We’re in pure instrumentals. Raised like a thoroughbred, reared like a calendar pin-up, concentrated like a tube of baby milk. Human tenderness and f**kin’ good vibes. You on point Tip? » 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 It must be said that the Tribe had nitpicked. Check The Rhime pinched its structure from Bebop and included samples and hooks from the Average White Band, Minnie Riperton and Groover Washington Jr. in its production. Phife Dog barked then that Rap is not pop. Their art of collage, raw, immediate and rough, is never very far from Pop Art. Yet without any concept drawed on a notebook, this is something immediate as well. Glued to asphalt. Let’s get back. It’s 1991 and Check The Rhime is one of the nuggets of The Low End Theory, ATCQ’s second LP. Let’s move forward. It’s 2020 and Soul Supreme adds a coat of paint with his EP that combines a reworking of Check The Rhimeand Lyrics To Go. The prod and DJ from Jerusalamsterdam gives jazz back its cut of rap. No lyrics, but Luuk Hof’s trumpet and Haruki Harada’s guitar. We’re in pure instrumentals. Raised like a thoroughbred, reared like a calendar pin-up, concentrated like a tube of baby milk. Human tenderness and f**kin’ good vibes. You on point Tip? [/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″] Il faut dire que la Tribe avait cherché. Check The Rhime taxait sa structure au Bebop et casait dans sa prod des samples et des hooks du Average White Band, de Minnie Riperton ou encore du Groover Washington Jr. Phife Dog pouvait bien aboyer que le Rap is not pop, leur art du collage, brut, immédiat et rugueux, n’est jamais très loin du Pop Art. Mais avec un concept qui échappe à tout bloc-notes, un truc immédiat lui aussi. Collé à l’asphalte.On rembobine. On est en 1991 et Check The Rhime est une des pépites de The Low End Theory, deuxième LP de ATCQ. Fast Forward. On est en 2020 et Soul Supreme en rajoute une couche avec le EP qui associe une refonte de Check The Rhime à celle de Lyrics To Go. Le prod et DJ from Jerusalamsterdam rend au jazz sa part de rap. Pas de lyrics, mais la trompette de Luuk Hof et la guitare d’Haruki Harada. On est dans de l’instru pure. On est dans la pure instru. Montée comme un pur-sang, cabrée comme une pin-up de calendrier, concentrée comme un tube de lait pour enfants. Tendresse humaine et f**kin’ good vibes. You on point Tip? [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Soul Supreme : bandcamp [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
H.A.R.D, 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 »] Joell Ortiz & KXNG Crooked, H.A.R.D. [/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 en mai 2020 chez Mello Music Group [/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/2020/06/HARD.jpg » alt= »H.A.R.D. de Joell Ortiz & KXNG Crooked » title_text= »H.A.R.D. de Joell Ortiz & KXNG Crooked » _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 »]H.A.R.D. by Joell Ortiz & KXNG Crooked[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Strong flow, hard rhymes, pure madness. Joell Ortiz & KXNG CROOKED, both former members of the Slaughterhouse band have just dropped a collaborative boom bap album :H.A.R.D. (Housing Authority Rap District) with on it’s cover the popular president Ronald Reagan and his famous %22Government Cheese%22. I know it’s cheesy but for them rap is just child’s play, %22got 20 years in the game, I saw the whole thang%22. Sharing their reality, their childhood, difficulties and sacrifices without being an autobiographical work. 8 tracks, a pure pleasure for the ears. Some Up-tempo tracks like Get Ya Money that make your head spin, or more chill but heartbreaking like Lose My Mind. Bangers, quality rap. That’s hard. » content_phone= » ENGLISH / FRANÇAIS Strong flow, hard rhymes, pure madness. Joell Ortiz & KXNG CROOKED, both former members of the Slaughterhouse band have just dropped a collaborative boom bap album :H.A.R.D. (Housing Authority Rap District) with on it’s cover the popular president Ronald Reagan and his famous %22Government Cheese%22. I know it’s cheesy but for them rap is just child’s play, %22got 20 years in the game, I saw the whole thang%22. Sharing their reality, their childhood, difficulties and sacrifices without being an autobiographical work. 8 tracks, a pure pleasure for the ears. Some Up-tempo tracks like Get Ya Money that make your head spin, or more chill but heartbreaking like Lose My Mind. Bangers, quality rap. That’s hard. » 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 Strong flow, hard rhymes, pure madness. Joell Ortiz & KXNG CROOKED, both former members of the Slaughterhouse band have just dropped a collaborative boom bap album :H.A.R.D. (Housing Authority Rap District) with on it’s cover the popular president Ronald Reagan and his famous « Government Cheese ». I know it’s cheesy but for them rap is just child’s play, « got 20 years in the game, I saw the whole thang« . Sharing their reality, their childhood, difficulties and sacrifices without being an autobiographical work. 8 tracks, a pure pleasure for the ears. Some Up-tempo tracks like Get Ya Money that make your head spin, or more chill but heartbreaking like Lose My Mind. Bangers, quality rap. That’s hard. [/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″] Flow marquant, rimes acharnées, du kickage pur et dur. Joell Ortiz & KXNG CROOKED, tous deux anciens membres du groupe Slaughterhouse viennent de lâcher un album boom bap en collab’ : H.A.R.D. (Housing Authority Rap District)avec encover Ronald Reagan, le président populaire et son célèbre “Government Cheese”. I know it’s cheesy mais pour eux le rap n’est qu’un jeu d’enfant, “got 20 years in the game, I seen the whole thang”. Partage de leur réalité, leur enfance, difficultés et sacrifices sans pour autant être une oeuvre autobiographique. 8 titres, un pur plaisir auditif. Des morceaux up-tempo comme Get Ya Money qui te font tourner la tête, ou plus posey mais déchirants comme Lose My Mind. Des bangers, du rap de qualitey.That’s hard. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Joell Ortiz : bandcampMello Music Group : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]