On the Tender Spot of Every Calloused Moment, 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 »] AMBROSE ASKINMUSIRE, On the Tender Spot of Every Calloused Moment [/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 juin 2020 chez Blue Note 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/2020/06/TenderSpot.jpg » alt= »On The Tender Spot Of Every Calloused Moment de Ambrose Akinmusire » title_text= »On The Tender Spot Of Every Calloused Moment de Ambrose Akinmusire » _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 As Usual. Extendable title, music with secrets, politics screwed to his trumpet and his faithful pals in sideband. As usual, Ambrose Akinmusire digs his furrow of a black revolution. A musical one. Fascinating, complex and limpid. On The Tender Spot Of Every Calloused Moment. This is the last LP’s title that was released in early June, on Blue Note, that label whose reputation will not be rebuilt. Cover in a black and white streetwear mood, but music is black only. On the tender spot. That’s the sore spot. And these last few days, focus on a story that’s been mishandled, some sore points about the black condition in the States have been noticed. And rough moments, too. We could write their litany on American asphalt. Black, and a bit red in the last few days. Akinmusire doesn’t play the Doom Prophets in this black album, but paints a chiaroscuro of a masterly and confounding fluidity. A loose thread that slips in and completes the history of popular music forms in the USA. Ragging, joyful and deferential when necessary (Hi Mr Roscoe). Tender Spot, sensitive point. Final point. » content_phone= » ENGLISH / FRANÇAIS As Usual. Extendable title, music with secrets, politics screwed to his trumpet and his faithful pals in sideband. As usual, Ambrose Akinmusire digs his furrow of a black revolution. A musical one. Fascinating, complex and limpid. On The Tender Spot Of Every Calloused Moment. This is the last LP’s title that was released in early June, on Blue Note, that label whose reputation will not be rebuilt. Cover in a black and white streetwear mood, but music is black only. On the tender spot. That’s the sore spot. And these last few days, focus on a story that’s been mishandled, some sore points about the black condition in the States have been noticed. And rough moments, too. We could write their litany on American asphalt. Black, and a bit red in the last few days. Akinmusire doesn’t play the Doom Prophets in this black album, but paints a chiaroscuro of a masterly and confounding fluidity. A loose thread that slips in and completes the history of popular music forms in the USA. Ragging, joyful and deferential when necessary (Hi Mr Roscoe). Tender Spot, sensitive point. Final point. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »10%||||false|false »] ENGLISH As Usual. Extendable title, music with secrets, politics screwed to his trumpet and his faithful pals in sideband. As usual, Ambrose Akinmusire digs his furrow of a black revolution. A musical one. Fascinating, complex and limpid. On The Tender Spot Of Every Calloused Moment. This is the last LP’s title that was released in early June, on Blue Note, that label whose reputation will not be rebuilt. Cover in a black and white streetwear mood, but music is black only. On the tender spot. That’s the sore spot. And these last few days, focus on a story that’s been mishandled, some sore points about the black condition in the States have been noticed. And rough moments, too. We could write their litany on American asphalt. Black, and a bit red in the last few days. Akinmusire doesn’t play the Doom Prophets in this black album, but paints a chiaroscuro of a masterly and confounding fluidity. A loose thread that slips in and completes the history of popular music forms in the USA. Ragging, joyful and deferential when necessary (Hi Mr Roscoe). Tender Spot, sensitive point. Final point. [/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 »] Comme d’hab. Titre à rallonges, musique à tiroir, politique chevillée au pavillon et ses fidèles en sideband. Comme d’hab, Ambrose Akinmusire creuse son sillon d’une révolution noire. Musicale, fascinante, complexe et limpide. On The Tender Spot Of Every Calloused Moment. C’est le titre de dernier LP sorti début juin, chez Blue Note, label dont on ne refera pas la réputation. Pochette en streetwear noir et blanc, musique black only. On the tender spot. C’est ça le point sensible. Et ces derniers jours, focus sur une histoire malmenée, des points sensibles sur la condition noire aux States, il y en a quelques-uns. Et des moments rugueux, on pourrait écrire la litanie sur l’asphalte américain. Noir, rougi ces derniers jours. Akinmusire ne joue pas les Cassandre alarmiste dans cette galette black, mais pose un clair-obscur d’une fluidité magistrale et confondante. Un délié qui se glisse et complète l’histoire des formes populaires musicales des USA. Rageur, joyeux, déférent quand il le faut (Mr Roscoe). Tender Spot, point sensible. Point Final. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] — Ambrose Akinmusire : site webBlue Note Records : 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/2020/06/Mr-Roscoe-consider-the-simultaneous.mp3″ title= »Mr. Roscoe (Consider The Simultaneous) » artist_name= »Ambrose Akinmusire » album_name= »On The Tender Spot Of Every Calloused Moment » _builder_version= »4.9.4″ _module_preset= »default » background_color= »#27657f »][/et_pb_audio][/et_pb_column][/et_pb_row][/et_pb_section]
Love Is Everywhere, 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 »] LAURENT BARDAINNE & TIGRE D’EAU DOUCE, Love Is Everywhere [/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 Heavenly Sweetness [/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/cover.jpg » alt= »Love Is Everywhere de Laurent Bardainne & Tigre d’Eau Douce » title_text= »Love Is Everywhere de Laurent Bardainne & Tigre d’Eau Douce » _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 »]Love Is Everywhere by Laurent Bardainne & Tigre d'Eau Douce[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Félin méchant, one of the tracks you can find here. Bachibouzouk, Apaches, some others. And Studio Méchant the place where all of this was mixed. It’s funny that with so much savagery claimed, we have such a sweetness in this record. With a title like Love Is Everywhere, you might have expected it. We could also have expected the velvet and the finesse of the harmonics, too. Just think back to Marvin, the fisrt EP released last year from the claws of the same tiger. Then what? What’s the surprise ? That’s the point. Rediscover during each listening of a track like Apaches (with an ‘s’ and without a Bongo Band) the power of Philippe Gleizes’ drive, the articulated assaults of Arnaud Roulin’s fingers. But also the power of the sound of Bardainne himself. The kind of thing that the Gato Barbieri of Tupac Amaru would not have denied. It’s beautiful, it’s tender and it’s tiger. It’s savage. » content_phone= » ENGLISH / FRANÇAIS Félin méchant, one of the tracks you can find here. Bachibouzouk, Apaches, some others. And Studio Méchant the place where all of this was mixed. It’s funny that with so much savagery claimed, we have such a sweetness in this record. With a title like Love Is Everywhere, you might have expected it. We could also have expected the velvet and the finesse of the harmonics, too. Just think back to Marvin, the first EP released last year from the claws of the same tiger. Then what? What’s the surprise ? That’s the point. Rediscover during each listening of a track like Apaches (with an ‘s’ and without a Bongo Band) the power of Philippe Gleizes’ drive, the articulated assaults of Arnaud Roulin’s fingers. But also the power of the sound of Bardainne himself. The kind of thing that the Gato Barbieri of Tupac Amaru would not have denied. It’s beautiful, it’s tender and it’s tiger. It’s savage. » 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 Félin méchant, one of the tracks you can find here. Bachibouzouk, Apaches, some others. And Studio Méchant the place where all of this was mixed. It’s funny that with so much savagery claimed, we have such a sweetness in this record. With a title like Love Is Everywhere, you might have expected it. We could also have expected the velvet and the finesse of the harmonics, too. Just think back to Marvin, the fisrt EP released last year from the claws of the same tiger. Then what? What’s the surprise ? That’s the point. Rediscover during each listening of a track like Apaches (with an ‘s’ and without a Bongo Band) the power of Philippe Gleizes’ drive, the articulated assaults of Arnaud Roulin’s fingers. But also the power of the sound of Bardainne himself. The kind of thing that the Gato Barbieri of Tupac Amaru would not have denied. It’s beautiful, it’s tender and it’s tiger. It’s savage. [/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″] Félin méchant, un titre. Bachibouzouk, Apaches, d’autres titres. Et le Studio Méchant pour mixer la chose. C’est fou qu’avec autant de sauvagerie affichée, on ait une telle douceur dans ce disque. Faut dire qu’avec un titre comme Love Is Everywhere, on aurait pu s’y attendre. On aurait pu s’attendre au velouté sévère, à la finesse des grilles aussi, en repensant à Marvin, EP sorti l’an passé des griffes du même félin. Alors quoi ? C’est quoi la surprise. C’est de redécouvrir à chaque écoute d’un morceau comme Apaches (avec un ‘s’ et sans Bongo Band) la puissance du drive de Philippe Gleizes, les assauts éructés des phalanges d’Arnaud Roulin. Mais aussi la puissance du son de Bardainne que ne renierait pas, sur ce track du moins, le Gato Barbieri de Tupac Amaru. C’est beau, c’est tendre et c’est tigré. C’est chanmé. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Laurent Bardainne : la revue de concert PointBreakLaurent Bardainne : bandcampHeavenly Sweetness : site web [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]
Vol pour Sidney (retour), 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 »] Vol pour Sidney (retour) [/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 juin 2020 chez Nato [/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/2021/04/Sidney_carre.jpg » alt= »Vol Pour Sidney (retour) » title_text= »Vol Pour Sidney (retour) » _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 Ya bet? Three clues : flower, onions, clarinet? Bingo, you’ve got Sidney Bechet. Ya right. Bechet has incredible sales records in the popular households. Ya right. Petite fleur is some kind of pretty. Smells like the French Riviera, Antibes and iced vermouth drank on the patio. Yep. But. But Bechet — and we always easily forget that — he’s also a musician. An underestimated and revolutionary one, too quickly sided with the ‘small fleurists’. Bechet is back. At least, a reading of his work, full of alertness, diagonal and verve. 12 years after the creation of the Nato record company, Jean Rochard is rowing an imperial areopagus to weave a crown for King Sidney. It was 1992 and Vol pour Sidney (outward), it was modern, a little furious and agitated like a Parkinson in front of the lacemakers of Puy-en-Velay. Vol pour Sidney (return) is coming out this month, in the same company. It’s less furious but perfectly joyful. Of that joy that resists when you touch the essence of things. It’s a record that dances. It’s a record that moves your soul and your guts. The line-up’s still just as crazy in its assembly but no less imperial in its way of doing things. Until the redux of Petite fleur, it brings Sidney even closer to the nerve of his music. Powerful, incisive and sometimes hot enough to scream with joy if you set foot in it. » content_phone= » ENGLISH / FRANÇAIS Ya bet? Three clues : flower, onions, clarinet? Bingo, you’ve got Sidney Bechet. Ya right. Bechet has incredible sales records in the popular households. Ya right. Petite fleur is some kind of pretty. Smells like the French Riviera, Antibes and iced vermouth drank on the patio. Yep. But. But Bechet — and we always easily forget that — he’s also a musician. An underestimated and revolutionary one, too quickly sided with the ‘small fleurists’. Bechet is back. At least, a reading of his work, full of alertness, diagonal and verve. 12 years after the creation of the Nato record company, Jean Rochard is rowing an imperial areopagus to weave a crown for King Sidney. It was 1992 and Vol pour Sidney (outward), it was modern, a little furious and agitated like a Parkinson in front of the lacemakers of Puy-en-Velay. Vol pour Sidney (return) is coming out this month, in the same company. It’s less furious but perfectly joyful. Of that joy that resists when you touch the essence of things. It’s a record that dances. It’s a record that moves your soul and your guts. The line-up’s still just as crazy in its assembly but no less imperial in its way of doing things. Until the redux of Petite fleur, it brings Sidney even closer to the nerve of his music. Powerful, incisive and sometimes hot enough to scream with joy if you set foot in it. » 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 Ya bet? Three clues : flower, onions, clarinet? Bingo, you’ve got Sidney Bechet. Ya right. Bechet has incredible sales records in the popular households. Ya right. Petite fleur is some kind of pretty. Smells like the French Riviera, Antibes and iced vermouth drank on the patio. Yep. But. But Bechet — and we always easily forget that — he’s also a musician. An underestimated and revolutionary one, too quickly sided with the ‘small fleurists’. Bechet is back. At least, a reading of his work, full of alertness, diagonal and verve. 12 years after the creation of the Nato record company, Jean Rochard is rowing an imperial areopagus to weave a crown for King Sidney. It was 1992 and Vol pour Sidney (outward), it was modern, a little furious and agitated like a Parkinson in front of the lacemakers of Puy-en-Velay. Vol pour Sidney (return) is coming out this month, in the same company. It’s less furious but perfectly joyful. Of that joy that resists when you touch the essence of things. It’s a record that dances. It’s a record that moves your soul and your guts. The line-up’s still just as crazy in its assembly but no less imperial in its way of doing things. Until the redux of Petite fleur, it brings Sidney even closer to the nerve of his music. Powerful, incisive and sometimes hot enough to scream with joy if you set foot in it. [/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 »] On fait le pari ? En trois : fleur, oignons, clarinette ? Bingo, C’est Sidney Bechet qui sort de la pyramide à questions. Alors oui, Bechet a des records de vente incroyable dans les foyers populaires, alors oui, c’est joli Petite fleur, ça sent bon le Sud, Antibes et les Vermouth glacés en terrasse. Yep. Mais. Mais Bechet, on l’oublie toujours un peu vite, c’est aussi un musicien. Un révolutionnaire mésestimé et trop vite rangé du côté des petits fleuristes. Bechet est de retour. Enfin, une lecture pleine de veille, de diagonale et de faconde. 12 ans après la création de la maison de disques nato, Jean Rochard rameutait un aréopage impérial pour tisser une couronne au king Sidney. C’était 1992 et Vol pour Sidney (aller), c’était moderne, un peu furieux et agité comme un Parkinson face aux dentelières du Puy-en-Velay. Vol pour Sidney (retour) sort ce mois-ci, dans la
Ar Ker, 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 »] SÉBASTIEN BRUN, Ar Ker [/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 septembre 2020 chez Carton 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/2020/07/cover.jpg » alt= »Ar Ker de Sébastien Brun » title_text= »Ar Ker de Sébastien Brun » _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 »]Ar Ker by Sébastien Brun[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Ar Ker immediately evokes the tiny beats the beginning of a Horns live set the Météo festival in Mulhouse in 2019. The quartet led by Sebastien Brun delivered its electronic movements, its ultra-powerful and clearly hypnotic squeaks and scratches. The long ascending phase delivered micro-events and hairy paradoxes, destabilized everybody and ended up winning the ear’s approval without any difficulty. From the ear but also from the body. Seb Brun launched a physical music at high speed. With Ar Ker, the drummer completes this state of mind, complete the reinforced concrete of Parquet’s techno music. Just as brutal, just as fine. Recorded live, solo and in Brittany, the 33 minutes of this album are as much about physical trance as Horns was. The major difference between the two project is the a cappella vocals that open Bob Zarkansyèl. And Seb Brun flirts with an introspective and frighteningly moving shamanism. The voice is tenuous and fragile. It leaves the mind of the listener the necessary amplitude to imagine the deflagrations in the four phases to come. Four phases during which we dig our furrow, our nest (possible translation of Ar Ker in Breton) in the noise and electronics shaped at sight, precise as the devil and divinely explosive. It’s haunting, wandering and it makes you wanna go screamin’ with the seagulls along the dunes of northern Finistère. » content_phone= » ENGLISH / FRANÇAIS Ar Ker immediately evokes the tiny beats the beginning of a Horns live set the Météo festival in Mulhouse in 2019. The quartet led by Sebastien Brun delivered its electronic movements, its ultra-powerful and clearly hypnotic squeaks and scratches. The long ascending phase delivered micro-events and hairy paradoxes, destabilized everybody and ended up winning the ear’s approval without any difficulty. From the ear but also from the body. Seb Brun launched a physical music at high speed. With Ar Ker, the drummer completes this state of mind, complete the reinforced concrete of Parquet’s techno music. Just as brutal, just as fine. Recorded live, solo and in Brittany, the 33 minutes of this album are as much about physical trance as Horns was. The major difference between the two project is the a cappella vocals that open Bob Zarkansyèl. And Seb Brun flirts with an introspective and frighteningly moving shamanism. The voice is tenuous and fragile. It leaves the mind of the listener the necessary amplitude to imagine the deflagrations in the four phases to come. Four phases during which we dig our furrow, our nest (possible translation of Ar Ker in Breton) in the noise and electronics shaped at sight, precise as the devil and divinely explosive. It’s haunting, wandering and it makes you wanna go screamin’ with the seagulls along the dunes of northern Finistère. » 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 Ar Ker immediately evokes the tiny beats the beginning of a Horns live set the Météo festival in Mulhouse in 2019. The quartet led by Sebastien Brun delivered its electronic movements, its ultra-powerful and clearly hypnotic squeaks and scratches. The long ascending phase delivered micro-events and hairy paradoxes, destabilized everybody and ended up winning the ear’s approval without any difficulty. From the ear but also from the body. Seb Brun launched a physical music at high speed. With Ar Ker, the drummer completes this state of mind, complete the reinforced concrete of Parquet’s techno music. Just as brutal, just as fine. Recorded live, solo and in Brittany, the 33 minutes of this album are as much about physical trance as Horns was. The major difference between the two project is the a cappella vocals that open Bob Zarkansyèl. And Seb Brun flirts with an introspective and frighteningly moving shamanism. The voice is tenuous and fragile. It leaves the mind of the listener the necessary amplitude to imagine the deflagrations in the four phases to come. Four phases during which we dig our furrow, our nest (possible translation of Ar Ker in Breton) in the noise and electronics shaped at sight, precise as the devil and divinely explosive. It’s haunting, wandering and it makes you wanna go screamin’ with the seagulls along the dunes of northern Finistère. [/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″] Ar Ker évoque d’emblée les battements minuscules, encore à peine perceptibles du début d’un set de Horns à sa création lors du festival Météo à Mulhouse en 2019. Spectateurs sur la circulaire, le projet en quartet livrait ses mouvements électroniques, ses grincements et grattements ultra puissants et clairement hypnotiques. La longue phase ascendante, percluses de micro-évènements et de paradoxes velus réglait, déstabilisait et finissait sans aucun mal à remporter l’adhésion de l’oreille. Mais aussi du corps. Sebastien Brun y lançait à vive allure une musique physique. Avec Ar Ker, le batteur prolonge cet état des choses, prolonge aussi le béton armé de techno de Parquet. Tout aussi brutal, tout aussi fin. Enregistré live, en solo et en Bretagne, les 33 minutes de cet album sont elles aussi portées sur la même transe physique que celle de Horns. À cette différence près, majeure pour l’album : le chant a cappella qui ouvre Bob Zarkansyèl. Et Seb Brun de flirter avec un chamanisme introspectif et redoutablement émouvant. La voix, ténue et fragile, est pleine de mini-gwerz très roughs. La voix laisse à l’esprit de celui qui écoute l’amplitude
Aurora, 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 »] THÉÂTRE DU CHÊNE NOIR, Aurora [/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 en mai 2020 chez Souffle Continu Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.9.4″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.9.4″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.9.4″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2020/07/cover-1.jpg » alt= »Aurora de Théâtre du Chêne Noir » title_text= »Aurora de Théâtre du Chêne Noir » _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_audio audio= »https://pointbreak.fr/wp-content/uploads/2020/07/A2-Le-Bonheur.mp3″ title= »Le Bonheur » artist_name= »Chêne Noir » album_name= »Aurora (1971) » _builder_version= »4.9.4″ _module_preset= »default » background_color= »#27657f » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Of course, some of you will smile. The imprecations, the litanies, the sound space developed in the soundtrack of Aurora, one of Chene Noir’s plays, can lend to condescending criticism 50 years later. But this reissue delivered by Souffle Continu Records (and taken from the original tapes produced by Gérard Terrones for Futura Records), goes well beyond the mere documentary interest. What’s disconcerting is that the cata-ecological theme is still relevant today. That %22bird-people%22 have been greeding the world for 50 years. then, is the sounding and violent French underground of the 60s and 70s really helpless? For having changing the world, no doubt. But in terms of filling art with a powerful and sensitive political force, it hits the nail on the head. Aurora carries her word high and when the sound has to take over, it’s to draw from the same energy, tense and tenuous. It’s beautiful, it’s black, black and arch-black. You have to hear Nicole Aubiat play with the same urgency as an oboe, you have to listen how the tenor sax plays desperate in Vivre. There is a documentary urgency, yes. There is also an urgency to hear again that Notre Dame des Landes fight, for example, come from further away than an daily news tv show. » content_phone= » ENGLISH / FRANÇAIS Of course, some of you will smile. The imprecations, the litanies, the sound space developed in the soundtrack of Aurora, one of Chene Noir’s plays, can lend to condescending criticism 50 years later. But this reissue delivered by Souffle Continu Records (and taken from the original tapes produced by Gérard Terrones for Futura Records), goes well beyond the mere documentary interest. What’s disconcerting is that the cata-ecological theme is still relevant today. That %22bird-people%22 have been greeding the world for 50 years. then, is the sounding and violent French underground of the 60s and 70s really helpless? For having changing the world, no doubt. But in terms of filling art with a powerful and sensitive political force, it hits the nail on the head. Aurora carries her word high and when the sound has to take over, it’s to draw from the same energy, tense and tenuous. It’s beautiful, it’s black, black and arch-black. You have to hear Nicole Aubiat play with the same urgency as an oboe, you have to listen how the tenor sax plays desperate in Vivre. There is a documentary urgency, yes. There is also an urgency to hear again that Notre Dame des Landes fight, for example, come from further away than an daily news tv show. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »10%||||false|false »] ENGLISH Of course, some of you will smile. The imprecations, the litanies, the sound space developed in the soundtrack of Aurora, one of Chene Noir’s plays, can lend to condescending criticism 50 years later. But this reissue delivered by Souffle Continu Records (and taken from the original tapes produced by Gérard Terrones for Futura Records), goes well beyond the mere documentary interest. What’s disconcerting is that the cata-ecological theme is still relevant today. That « bird-people » have been greeding the world for 50 years. then, is the sounding and violent French underground of the 60s and 70s really helpless? For having changing the world, no doubt. But in terms of filling art with a powerful and sensitive political force, it hits the nail on the head. Aurora carries her word high and when the sound has to take over, it’s to draw from the same energy, tense and tenuous. It’s beautiful, it’s black, black and arch-black. You have to hear Nicole Aubiat play with the same urgency as an oboe, you have to listen how the tenor sax plays desperate in Vivre. There is a documentary urgency, yes. There is also an urgency to hear again that Notre Dame des Landes fight, for example, come from further away than an daily news tv show. [/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 »] Alors, oui, bien sûr, on pourra sourire. Les imprécations, les litanies, l’espace sonore développées dans la bande sonore d’Aurora, spectacle du Chêne Noir peuvent prêter le flanc à une critique condescendante, 50 plus tard. Mais on est bien au-delà du simple intérêt documentaire avec cette réédition livrée par Souffle Continu Records et tirée des premières bandes produites par Gérard Terrones pour les Disques Futura. Ce qui est déroutant, c’est que le thème cata-écolo est toujours d’actualité, que les hommes-oiseaux avides d’espaces et d’argent font le monde depuis 50 ans. Alors, impuissant le théâtre sonore et violent de l’underground frenchy des années 60/70 ? Pour ce qui est d’avoir changé le monde, sans doute un peu, mais pour ce qui est de charger l’art d’une force politique puissante et sensible, là ça fait mouche. Aurora, porte haut son verbe et quand le son doit prendre le relais de parole, c’est pour puiser dans une même énergie, tendue hargneuse et ténue. C’est beau, c’est noir, noir et archi-noir. Il faut entendre Nicole Aubiat jouer avec la même urgence qu’un hautbois, il faut entendre le sax ténor jouer funèbre et désespéré dans Vivre. Il y urgence documentaire, oui. Il y a urgence aussi à réentendre que Notre Dame des Landes ou les combats
Why Don’t You Listen?, 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 »] HORACE TAPSCOTT, Why Don’t You Listen?(Live at LACMA 1998) [/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 juin 2020 chez Dark Tree [/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/2020/07/Cover-2.jpg » alt= »Live at LACMA, 1998 de Horace Tapscott » title_text= »Live at LACMA, 1998 de Horace Tapscott » _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 »]Live at LACMA, 1998 by Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS %22Our music is contributive, rather than competitive%22 notes Horace Tapscott to conclude the booklet of this release of a previously unreleased concert by the Pan Afrikan Peoples Arkestra. Contributory, not competitive. Both backwards and both feet in its time. Tapscott has always been able to channel the political aspirations of the African-American people and the strong spirituality that has been irrigating jazz underground since the 1960s. All this to raise hymns to twist your faith, beautiful to cry, strong of a pagan belief in brotherhood. This naïve and therefore downright recommendable secular faith is still at work in 1998, when the 5 tracks of this live at LACMA were recorded. 5 feature long-playing stories that pay a respectful tribute to the old jazz darons such as Bird, Trane or Dizzy whose voices Tapscott has been extending since, notably the first LP of Pan Afrikan in 1978. It’s full of spirit, it reshapes a standard like Caravan as a promontory of conquest steeped in intense humanity, it also quotes Lagos and Fela. The riffs are fearsome, the vamp are laid down with an iron hand and the speeches take time to brew. Not a title under 13 minutes. No chit-chat, though. Everything that is said is said to be heard and digested. Why don’t you listen? Even the magnificent voices of the UGMAA singers are heard. You have the summer to send us your answers. » content_phone= » ENGLISH / FRANÇAIS %22Our music is contributive, rather than competitive%22 notes Horace Tapscott to conclude the booklet of this release of a previously unreleased concert by the Pan Afrikan Peoples Arkestra. Contributory, not competitive. Both backwards and both feet in its time. Tapscott has always been able to channel the political aspirations of the African-American people and the strong spirituality that has been irrigating jazz underground since the 1960s. All this to raise hymns to twist your faith, beautiful to cry, strong of a pagan belief in brotherhood. This naïve and therefore downright recommendable secular faith is still at work in 1998, when the 5 tracks of this live at LACMA were recorded. 5 feature long-playing stories that pay a respectful tribute to the old jazz darons such as Bird, Trane or Dizzy whose voices Tapscott has been extending since, notably the first LP of Pan Afrikan in 1978. It’s full of spirit, it reshapes a standard like Caravan as a promontory of conquest steeped in intense humanity, it also quotes Lagos and Fela. The riffs are fearsome, the vamp are laid down with an iron hand and the speeches take time to brew. Not a title under 13 minutes. No chit-chat, though. Everything that is said is said to be heard and digested. Why don’t you listen? Even the magnificent voices of the UGMAA singers are heard. You have the summer to send us your answers. » 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 « Our music is contributive, rather than competitive » notes Horace Tapscott to conclude the booklet of this release of a previously unreleased concert by the Pan Afrikan Peoples Arkestra. Contributory, not competitive. Both backwards and both feet in its time. Tapscott has always been able to channel the political aspirations of the African-American people and the strong spirituality that has been irrigating jazz underground since the 1960s. All this to raise hymns to twist your faith, beautiful to cry, strong of a pagan belief in brotherhood. This naïve and therefore downright recommendable secular faith is still at work in 1998, when the 5 tracks of this live at LACMA were recorded. 5 feature long-playing stories that pay a respectful tribute to the old jazz darons such as Bird, Trane or Dizzy whose voices Tapscott has been extending since, notably the first LP of Pan Afrikan in 1978. It’s full of spirit, it reshapes a standard like Caravan as a promontory of conquest steeped in intense humanity, it also quotes Lagos and Fela. The riffs are fearsome, the vamp are laid down with an iron hand and the speeches take time to brew. Not a title under 13 minutes. No chit-chat, though. Everything that is said is said to be heard and digested. Why don’t you listen? Even the magnificent voices of the UGMAA singers are heard. You have the summer to send us your answers. [/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″] « Our music is contributive, rather than competitive » note Horace Tapscott pour conclure le livret de cette sortie sur disque d’un concert inédit du Pan Afrikan Peoples Arkestra. Participative, et pas compétitive. À la fois à rebours et les deux pieds dans son époque, la musique de ce disque. Tapscott a toujours su canaliser les aspirations politiques du peuple africain-américain et la spiritualité forte qui irrigue en souterrain le jazz depuis les années 60. Cela pour lever des hymnes à vous vriller le foie, beaux à pleurer, forts d’une croyance païenne en la fraternité. Cette foi laïque naïve et donc carrément recommandable est toujours à l’œuvre en 1998, un an avant sa mort, date à laquelle sont enregistrées les 5 plages de ce live à LACMA. 5 longs métrages qui rendent un hommage déférent aux anciens darons du
SBATAX, 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 »] BERTRAND DENZLER ET ANTONIN GERBAL, SBATAX [/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 2020 chez Umlaut Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.9.4″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.9.4″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.9.4″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2020/08/SBATAX_cover.jpg » alt= »SBATAX de Bertrand Denzler et Antonin Gerbal » title_text= »SBATAX de Bertrand Denzler et Antonin Gerbal » _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 Tenor sax and drums. Free jazz à la française. Second album of the duo Bertrand Denzler/Antonin Gerbal. It’s called SBATAX, a new molecule composed — you can easily try — with bits of ‘batterie’ and saxophone pieces. Not really conceived to fall asleep. Rather of the kind to spin the Dance of Saint-Guy to a wooden horse. It’s violent, magnificent and it never stays in place. Meaning here: the energy, because the music stays in place without flinching, fully mastered and versed in the art of warming your back, your kidneys and what your thighs will keep from your summer sports sessions. The sonic space moves forward with the wire of the breath with an ardor, a power inherited from the great hours of the bass / beat’ duo of the American free. It’s digested with a crazy, regurgitated class, literally with an incandescent, life-saving urgency. The sax hits hard, the drums know how to whistle. Or the other way around, if you like things straight. But the bet is quickly made, if you start playing this SBATAX. » content_phone= » ENGLISH / FRANÇAIS Tenor sax and drums. Free jazz à la française. Second album of the duo Bertrand Denzler/Antonin Gerbal. It’s called SBATAX, a new molecule composed — you can easily try — with bits of ‘batterie’ and saxophone pieces. Not really conceived to fall asleep. Rather of the kind to spin the Dance of Saint-Guy to a wooden horse. It’s violent, magnificent and it never stays in place. Meaning here: the energy, because the music stays in place without flinching, fully mastered and versed in the art of warming your back, your kidneys and what your thighs will keep from your summer sports sessions. The sonic space moves forward with the wire of the breath with an ardor, a power inherited from the great hours of the bass / beat’ duo of the American free. It’s digested with a crazy, regurgitated class, literally with an incandescent, life-saving urgency. The sax hits hard, the drums know how to whistle. Or the other way around, if you like things straight. But the bet is quickly made, if you start playing this SBATAX. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »10%||||false|false »] ENGLISH Tenor sax and drums. Free jazz à la française. Second album of the duo Bertrand Denzler/Antonin Gerbal. It’s called SBATAX, a new molecule composed — you can easily try — with bits of ‘batterie’ and saxophone pieces. Not really conceived to fall asleep. Rather of the kind to spin the Dance of Saint-Guy to a wooden horse. It’s violent, magnificent and it never stays in place. Meaning here: the energy, because the music stays in place without flinching, fully mastered and versed in the art of warming your back, your kidneys and what your thighs will keep from your summer sports sessions. The sonic space moves forward with the wire of the breath with an ardor, a power inherited from the great hours of the bass / beat’ duo of the American free. It’s digested with a crazy, regurgitated class, literally with an incandescent, life-saving urgency. The sax hits hard, the drums know how to whistle. Or the other way around, if you like things straight. But the bet is quickly made, if you start playing this SBATAX. [/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 »] Sax ténor et drums. Free jazz à la française. Deuxième album du duo Bertrand Denzler/Antonin Gerbal. Ça s’appelle SBATAX, nouvelle molécule recomposée — on l’imagine facilement — avec des bouts de batterrie et des morceaux de saxophone. Pas vraiment faite pour s’endormir au volant, la molécule. Plutôt du genre à filer la Danse de Saint-Guy à un cheval de bois. C’est violent, magnifique et ça reste jamais en place. Lire ici : l’énergie. Parce que la musique, elle, reste parfaitement en place. Sans broncher, toute entière maîtrisée et versée dans l’art de vous chauffer le dos, les reins et ce que vos cuisses conserveront de vos sessions sportives de l’été. L’espace sonique avance au fil du souffle avec une fougue, une puissance héritée des grandes heures du duo basse/batt’ du free américain. C’est digéré avec une classe folle et régurgité, littéralement avec une urgence incandescente et salvatrice. Le sax tape dur, les fûts savent siffler. Ou l’inverse, si vous aimez la rectitude des choses. Mais le pari est vite fait, si vous vous risquez à lancer la lecture de ce SBATAX. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —SBATAX : la revue de concert PointBreakSBATAX : l’interview PointBreak part.1 et 2Antonin Gerbal : site webBertrand Denzler : site webUmlaut Records : bandcamp [/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/2020/08/Sbatax-exc-1-1.mp3″ title= »SBATAX (extrait) » artist_name= »Bertrand Denzler et Antonin Gerbal » album_name= »SBATAX (2020) » _builder_version= »4.9.4″ _module_preset= »default » background_color= »#27657f »][/et_pb_audio][/et_pb_column][/et_pb_row][/et_pb_section]
Soul Love Now : The Black Fire Records Story 1975-1993, 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 LOVE NOW: The Black Fire Records Story 1975-1993 [/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 août 2020 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/2020/09/cover.jpg » alt= »Soul Love Now : The Black Fire Records Story 1975-1993″ title_text= »Soul Love Now : The Black Fire Records Story 1975-1993″ _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 »]Soul Love Now: The Black Fire Records Story 1975-1993 by Southern Energy Ensemble[/et_pb_code][et_pb_text content_tablet= » ENGLISH / FRANÇAIS Hot. Black Fire, the label of Richmond-based DJ and producer Jimmy Gray, is compiled by Strut Records. Black Fire is first and foremost a black label where the industry and withey profits are kept at bay. Then, inevitably, it crosses avant-garde, economic and political independence, reappropriation of history and a creative madness to make the best of Holiday On Ice’s lighting designers pale in comparison. Quiet, easy. Black Fire is above all the stable that serves as a workshop for the genius craftsmanship of Oneness Of Juju, whose album Africans Rythms (1975) satisfies the brains of free fans and the pools of groove fans. From 1975 to 1993, Jimmy Gray’s label tracked down all shades of black alongside, for example, small jazz giants such as Byard Lancaster – the very beautiful Drummers From Ibadan settled permanently on the turntables – or Hamiet Bluiett, who joined forces with collectives that were mad in their genius, such as Theatre West, completely lolysmooth, or the Southern Energy Ensemble, which returns, Third House, in 7 minutes, all southern confederate to the Paleolithic. Soul Love Now, that’s the title of the compilation, put together by Strut, gathers a dozen of proofs of a robbery in order to recover a part of what the jazz industry had stolen from Black Culture. » content_phone= » ENGLISH / FRANÇAIS Hot. Black Fire, the label of Richmond-based DJ and producer Jimmy Gray, is compiled by Strut Records. Black Fire is first and foremost a black label where the industry and withey profits are kept at bay. Then, inevitably, it crosses avant-garde, economic and political independence, reappropriation of history and a creative madness to make the best of Holiday On Ice’s lighting designers pale in comparison. Quiet, easy. Black Fire is above all the stable that serves as a workshop for the genius craftsmanship of Oneness Of Juju, whose album Africans Rythms (1975) satisfies the brains of free fans and the pools of groove fans. From 1975 to 1993, Jimmy Gray’s label tracked down all shades of black alongside, for example, small jazz giants such as Byard Lancaster – the very beautiful Drummers From Ibadan settled permanently on the turntables – or Hamiet Bluiett, who joined forces with collectives that were mad in their genius, such as Theatre West, completely lolysmooth, or the Southern Energy Ensemble, which returns, Third House, in 7 minutes, all southern confederate to the Paleolithic. Soul Love Now, that’s the title of the compilation, put together by Strut, gathers a dozen of proofs of a robbery in order to recover a part of what the jazz industry had stolen from Black Culture. » 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 Hot. Black Fire, the label of Richmond-based DJ and producer Jimmy Gray, is compiled by Strut Records. Black Fire is first and foremost a black label where the industry and withey profits are kept at bay. Then, inevitably, it crosses avant-garde, economic and political independence, reappropriation of history and a creative madness to make the best of Holiday On Ice’s lighting designers pale in comparison. Quiet, easy. Black Fire is above all the stable that serves as a workshop for the genius craftsmanship of Oneness Of Juju, whose album Africans Rythms (1975) satisfies the brains of free fans and the pools of groove fans. From 1975 to 1993, Jimmy Gray’s label tracked down all shades of black alongside, for example, small jazz giants such as Byard Lancaster – the very beautiful Drummers From Ibadan settled permanently on the turntables – or Hamiet Bluiett, who joined forces with collectives that were mad in their genius, such as Theatre West, completely lolysmooth, or the Southern Energy Ensemble, which returns, Third House, in 7 minutes, all southern confederate to the Paleolithic. Soul Love Now, that’s the title of the compilation, put together by Strut, gathers a dozen of proofs of a robbery in order to recover a part of what the jazz industry had stolen from Black Culture. [/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″] Chaud. Black Fire, label du DJ et producteur Jimmy Gray à Richmond, est compilé par Strut Records. Black Fire, c’est d’abord un label black où l’industrie et les profits des withey sont tenus à distance. Alors forcément, ça croise avant-garde, indépendance économique, politique, réappropriation de l’histoire et une folie créatrice à faire pâlir les meilleurs des éclairagistes d’Holiday On Ice. Tranquille, easy. Black Fire est surtout l’écurie qui sert d’atelier à l’artisanat génial de Oneness Of Juju, dont l’album Africans Rythms (1975) contente les cervelles des fans de free et les bassins des fans de groove. De 1975 à 1993, le label de Jimmy Gray traque toutes les nuances de noirs aux côtés par exemple de petits géants du jazz comme Byard Lancaster – le très beau Drummers From Ibadan s’installe durablement sur les platines – ou Hamiet Bluiett mis en jonction avec des collectifs forcenés dans leur génie comme le Theatre West, complètement lolysmooth, ou le Southern Energy Ensemble qui renvoie, Third House, en 7 minutes tout confédéré au paléolithique. Soul Love Now, c’est le titre de la compile ficelée par Strut, rassemble une dizaine de preuves d’un braquage en règle pour recouvrer une part
Sea Fluorescent, 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 »] ALAIN BELLAÏCHE, Sea Fluorescent [/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 en octobre 2020 chez Souffle Continu Records [/et_pb_text][et_pb_divider color= »#ff7ad2″ divider_style= »dotted » divider_position= »center » _builder_version= »4.0.6″ custom_margin= »0px||13px||false|false » custom_padding= »0px||0px||true|true »][/et_pb_divider][et_pb_post_title title= »off » date_format= »j M Y » comments= »off » featured_image= »off » _builder_version= »4.9.4″ _module_preset= »default » meta_font= »Roboto|100||||||| » meta_text_color= »#FFFFFF »][/et_pb_post_title][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built= »1″ custom_padding_last_edited= »on|phone » _builder_version= »4.9.4″ background_color= »#FFFFFF » custom_margin= »||||false|false » custom_margin_tablet= » » custom_margin_phone= »||0px||false|false » custom_margin_last_edited= »on|phone » custom_padding= »||||false|false » custom_padding_tablet= » » custom_padding_phone= »||0px||false|false »][et_pb_row column_structure= »3_5,2_5″ _builder_version= »4.9.4″ width= »60% » width_tablet= »90% » width_phone= »90% » width_last_edited= »on|phone » custom_padding= »||2px||| »][et_pb_column type= »3_5″ _builder_version= »4.0.4″][et_pb_image src= »https://pointbreak.fr/wp-content/uploads/2020/10/FFL063-AlainBellaiche-SeaFluorescent_Cover.jpg » alt= »Sea Fluorescent de Alain Bellaïche » title_text= »Sea Fluorescent de Alain Bellaïche » _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_audio audio= »https://pointbreak.fr/wp-content/uploads/2020/10/01.-California.mp3″ title= »California » artist_name= »Alain Bellaïche » album_name= »Sea Fluorescent (1975) » _builder_version= »4.9.4″ _module_preset= »default » background_color= »#27657f » custom_margin= »7%||||false|false »][/et_pb_audio][et_pb_text content_tablet= » ENGLISH / FRANÇAIS %22Sayin’ bye-bye to the city%22. We won’t really know to which coast this goodbye is addressed by the open palm of Alain Bellaïche. Shoreline of the beloved States or French coast almost despised. Despised for the laziness to invent a mix of prog’, jazz and the most voluble of rock’n’roll. Thus, Bellaïche will do it at the source. Rather than dreaming in France of a possible America, he engraves two LPs on the spot. Metropolitan and this one, Sea Fluorescent. In 1975, fluo shades hasn’t yet invaded the schoolkids shorts nor Mark Knopfler’s wrist-bands, and that’s a good thing. Its enlightens an incredible compendium-album. Of course, there are the royal echoes of Hancock and Weather Report’s surely lurking backstage. Of course, there’s the infernal line-up where Fabiano heavy challenges with Jerry Goodman‘s impeccable violin and John Hicks‘ five-star keyboards. But above all there is Alain Bellaïche’s ultra sharp and ultra naive look at the USA that brought him across the Atlantic. It’s all in the titles: Spanish Roots, California, Sun Blues, Reggae And Western. Stirring. The production is neat, the movie is a very classy. Very classy, too and once again, this reissue of a treasury album by Souffle Continu Records. America has beautiful leftovers, yet. » content_phone= » ENGLISH / FRANÇAIS %22Sayin’ bye-bye to the city%22. We won’t really know to which coast this goodbye is addressed by the open palm of Alain Bellaïche. Shoreline of the beloved States or French coast almost despised. Despised for the laziness to invent a mix of prog’, jazz and the most voluble of rock’n’roll. Thus, Bellaïche will do it at the source. Rather than dreaming in France of a possible America, he engraves two LPs on the spot. Metropolitan and this one, Sea Fluorescent. In 1975, fluo shades hasn’t yet invaded the schoolkids shorts nor Mark Knopfler’s wrist-bands, and that’s a good thing. Its enlightens an incredible compendium-album. Of course, there are the royal echoes of Hancock and Weather Report’s surely lurking backstage. Of course, there’s the infernal line-up where Fabiano heavy challenges with Jerry Goodman‘s impeccable violin and John Hicks‘ five-star keyboards. But above all there is Alain Bellaïche’s ultra sharp and ultra naive look at the USA that brought him across the Atlantic. It’s all in the titles: Spanish Roots, California, Sun Blues, Reggae And Western. Stirring. The production is neat, the movie is a very classy. Very classy, too and once again, this reissue of a treasury album by Souffle Continu Records. America has beautiful leftovers, yet. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »10%||||false|false »] ENGLISH « Sayin’ bye-bye to the city« . We won’t really know to which coast this goodbye is addressed by the open palm of Alain Bellaïche. Shoreline of the beloved States or French coast almost despised. Despised for the laziness to invent a mix of prog’, jazz and the most voluble of rock’n’roll. Thus, Bellaïche will do it at the source. Rather than dreaming in France of a possible America, he engraves two LPs on the spot. Metropolitan and this one, Sea Fluorescent. In 1975, fluo shades hasn’t yet invaded the schoolkids shorts nor Mark Knopfler’s wrist-bands, and that’s a good thing. Its enlightens an incredible compendium-album. Of course, there are the royal echoes of Hancock and Weather Report’s surely lurking backstage. Of course, there’s the infernal line-up where Fabiano heavy challenges with Jerry Goodman‘s impeccable violin and John Hicks‘ five-star keyboards. But above all there is Alain Bellaïche’s ultra sharp and ultra naive look at the USA that brought him across the Atlantic. It’s all in the titles: Spanish Roots, California, Sun Blues, Reggae And Western. Stirring. The production is neat, the movie is a very classy. Very classy, too and once again, this reissue of a treasury album by Souffle Continu Records. America has beautiful leftovers, yet. [/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= »|300||||||| »] « Sayin’ bye-bye to the city ». On ne saura vraiment à quelle côte s’adresse cet au revoir, signé de la paume ouverte par Alain Bellaïche. Rivage des States adorés ou littoral frenchie presque honni. Honni pour la flemme à inventer un mélange de prog’, de jazz et du plus volubile des rock’n’roll. Bellaïche le fera donc à la source. Plutôt que de rêver en France à une Amérique possible, il grave deux LP sur place. Metropolitan et celui-ci, Sea Fluorescent. En 1975, le fluo n’a pas encore envahi les shorts des collégiens ni les poignets-éponges de Mark Knopfler, et c’est tant mieux. Ses lueurs éclairent un album-catalogue incroyable. Bien sûr, il y a les réfs royales du Weather Report, de Hancock qui trainent en coulisses. Bien sûr, il y a le line-up infernal ou Fabiano tient la dragée haute au violon impeccable de Jerry Goodman et aux claviers five stars de John Hicks. Mais il y a surtout le regard ultra pointu et ultra naïf d’Alain Bellaïche sur les USA qui l’ont fait traverser l’Atlantique. Tout est dans les titres : Spanish Roots, California, Sun Blues, Reggae And Western. Emouvant au possible. La prod est au cordeau, le film est du genre long métrage très classe. Très classe, une fois de plus, la ressortie d’un album-trésor par Souffle Continu. L’Amérique a de beaux restes. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —Interview d’Alain
inDOLPHYlités, 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|desktop » _builder_version= »4.9.4″ text_text_color= »#ffffff » text_font_size= »50px » text_line_height= »1em » custom_padding= »30px||30px||true|false »] ARFI, inDOLPHYlités [/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 2020 du Label ARFI [/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/2020/10/inDOLPHYlites.jpg » alt= »inDOLPHYlités de ARFI » title_text= »inDOLPHYlités de ARFI » _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 No excuses, no birthdays, no memorials. Just a urge. To extend, to reshuffle the facts and the fervor of an album. The album is Out To Lunch recorded by Eric Dolphy during a day off studio in February 1964. The desire is that of the Lyon-based collective ARFI. Since 1977, this melting-pot of indiscipline has been working wonders, same mood yet with this inDOLPHYlités. Prolonged, buttered with cards and ardour. The quintet is identical in its instrumentarium, the tracklist’s been barely shaken. Hat And Beard sets the ball rolling and Straight Up And Down ends the story. In between these two lines, other lines are crossed, Facts are revised with unfaithful respect. Out To Lunch is doubled by an Out To Punch, which makes your mouth water in these times of re-lockdown. Something Sweet gains a Frenchy cousin full of velvet and classy light. Damné soit le premier is any conclusion but just a final addition from ARFI, in the form of a wink at the first of this two Lunch. Royal. Too bad for the hipsters, we’ll stay more Lunch than Brunch. » content_phone= » ENGLISH / FRANÇAIS No excuses, no birthdays, no memorials. Just a urge. To extend, to reshuffle the facts and the fervor of an album. The album is Out To Lunch recorded by Eric Dolphy during a day off studio in February 1964. The desire is that of the Lyon-based collective ARFI. Since 1977, this melting-pot of indiscipline has been working wonders, same mood yet with this inDOLPHYlités. Prolonged, buttered with cards and ardour. The quintet is identical in its instrumentarium, the tracklist’s been barely shaken. Hat And Beard sets the ball rolling and Straight Up And Down ends the story. In between these two lines, other lines are crossed, Facts are revised with unfaithful respect. Out To Lunch is doubled by an Out To Punch, which makes your mouth water in these times of re-lockdown. Something Sweet gains a Frenchy cousin full of velvet and classy light. Damné soit le premier is any conclusion but just a final addition from ARFI, in the form of a wink at the first of this two Lunch. Royal. Too bad for the hipsters, we’ll stay more Lunch than Brunch. » content_last_edited= »on|phone » _builder_version= »4.9.4″ _module_preset= »default » text_text_color= »#000000″ text_font_size= »16px » custom_margin= »10%||||false|false »] ENGLISH No excuses, no birthdays, no memorials. Just a urge. To extend, to reshuffle the facts and the fervor of an album. The album is Out To Lunch recorded by Eric Dolphy during a day off studio in February 1964. The desire is that of the Lyon-based collective ARFI. Since 1977, this melting-pot of indiscipline has been working wonders, same mood yet with this inDOLPHYlités. Prolonged, buttered with cards and ardour. The quintet is identical in its instrumentarium, the tracklist’s been barely shaken. Hat And Beard sets the ball rolling and Straight Up And Down ends the story. In between these two lines, other lines are crossed, Facts are revised with unfaithful respect. Out To Lunch is doubled by an Out To Punch, which makes your mouth water in these times of re-lockdown. Something Sweet gains a Frenchy cousin full of velvet and classy light. Damné soit le premier is any conclusion but just a final addition from ARFI, in the form of a wink at the first of this two Lunch. Royal. Too bad for the hipsters, we’ll stay more Lunch than Brunch. [/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 »] Pas de fausse excuse, pas d’anniversaire, pas de commémoration. Juste une envie. De prolonger, de rebattre les cartes et la fougue d’un album. L’album c’est Out To Lunch d’Eric Dolphy, enregistré pendant un jour off en février 1964. L’envie, c’est celle du collectif lyonnais ARFI. Depuis 1977, ce creuset d’indiscipline fait des merveilles, il en est encore question avec cet inDOLPHYlités. Prolongement, rebattue de cartes et de fougue. Le quintet est identique dans son instrumentarium, la tracklist à peine bousculée. Hat And Beard ouvre le bal et Straight Up And Down ferme bien le ban. Entre ces deux bornes, d’autres bornes qui sont dépassées, augmentées et revissées avec un respect infidèle. Out To Lunch se voit doublé d’un Out To Punch qui met l’eau à la bouche dans ces temps de reconfinement. Something Sweet gagne un cousin frenchy plein de velours et de lumière classe. Damné soit le premier. Pas une conclusion, juste un ultime ajout de l’ARFI, en forme de clin d’oeil au premier des deux déjeuners. Royaux. Tant pis pour les hipsters, on restera plus Lunch que Brunch. [/et_pb_text][et_pb_text _builder_version= »4.9.4″ link_text_color= »#FF6600″ custom_margin= »5%||||false|false » custom_padding= »||||false|false »] —ARFI : la Playlist PointBreakClément Gibert : l’interview PointBreakARFI : bandcampARFI : 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/2020/10/5-OUT-TO-PUNCH.mp3″ title= »Out To Punch » artist_name= »ARFI » album_name= »inDOLPHYlités (2020) » _builder_version= »4.9.4″ _module_preset= »default » background_color= »#27657f »][/et_pb_audio][/et_pb_column][/et_pb_row][/et_pb_section]