Petites nouvelles pour le weekend

Le Jazz est là avait organisé un magnifique concert à l'Ever'In Nîmes avec le quartet de
Famoudou Don Moye à la batterie, Darryl Hall contra-basse, Benny Ross ténor saxophone et  un violon-celliste.

Du jazz pur américain de Chicago embellit avec du blues!





Le Jazz se mets en vert    (photo Elzbiete Hnat)




Jeune musicien  solo avec son public

L’Agglo au rythme du jazz 2012

Jeudi 19 Juillet 2012

Accueil » New Orleans » News » Culture

 

Le festival de Nîmes présentera sa 7ème édition du 27 septembre au 20 octobre. Quelques grands noms de la programmation viennent d’être révélés !

L’Agglo au rythme du jazz se situera comme chaque année dans différentes communes du Gard.

Au programme de l’évènement qui se déroulera du 27 septembre au 20 octobre accueillera quelques pointures jazz et soul :

On attend notamment sur scène le guitariste Lucky Peterson, mais aussi Eddy Louiss, Roberto Fonseca ou encore l’incontournable Marcus Miller.

Le festival se terminera en beauté avec le live de China Moses alias Mademoiselle China accompagnée de son pianiste fétiche Raphael Lemonnier.

Informations et réservations :

http://www.infoconcert.com/festival/lagglo-au-rythme-du-jazz-4199/concerts.html

Concert Deschepper, Santacruz, Silvant au Carré d'Art à Nimes

                     Travaux d’Approche
              
                       Recherche et réalisation musicale,
                          Ouvrez la porte du laboratoire !

                                             Moments de partage avec trois musiciens

                                                Philippe Deschepper / guitare & loops,
                                               Bernard Santacruz / basse électrique,
                                               Samuel Silvant /batterie & percussions

   Découvrir les coulisses de la création d’une oeuvre musicale,
          le travail d’écriture, l’improvisation…
                         Mercredi 26 et jeudi 27 septembre
                                            de 9h à 12h public scolaire
                                            de 14h à 18h tout public

                          Ce travail donnera lieu à un concert
                               Jeudi 27 septembre 19h

                         Carré d’Art Salle de conférences (-1)

Expo au Fil'O'Fromage à Paris

La France connaît beaucoup d' excellents musiciens de jazz,la France a aussi de très bons photographes de jazz, mais en ce qui concerne la peinture de l'univers jazz et blues, il n'y a malheureusement pas beaucoup de peintres.

En ce moment le peintre Ton van Meesche expose ses aquarelles de jazz et de blues au restaurant Fil'O'Fromage,tenu par le photographe de jazz: Chérif Boubrit à75013 Paris jusqu'à la fin du mois de septembre.

              Vous êtes toujours les bienvenus au vernissage le mercredi 26 septembre à 18.30

Pepper Adams, saxophoniste baryton

Un peu de l'histoire et de la nostalgie avec le saxophoniste baryton PEPPER ADAMS à  redécouvrir

Pepper Adams Tribute Band plays ‘Binary’

Jeff Suzda (baritone saxophone), Fred Couderc (baritone saxophone), Patrick Villanueva (piano), Fabien Marcoz (bass), and Jeff Boudreaux (drums) play the compositions of Pepper Adams. Studio: Bopcity, Le Pré-Saint-Gervais. Recorded on February 20, 2011. Mixing and mastering by Didier Moutou.

September 19, 2012

Complete Works of Pepper Adams

If Gerry Mulligan's mannered, contrapuntal baritone saxophone style can be likened to a badminton player, then Pepper Adams' approach can be compared to a street brawler. Born in Michigan, Adams moved as a child with his family to upstate New York and then to Detroit, where at age 16 he took up the baritone sax. His relocation back to New York in the mid-1950s put him in play on the recording scene, particularly with hard bop players.

Adams had the remarkable ability to blow low with enormous power and swing, becoming a hefty addition to big band reed sections. He also was an equally dominant voice in small groups, adding ferocious excitement and stamina. As a songwriter, Adams was lyrical and prolific, composing 43 pieces. 

We know this because jazz historian and album producer GaryCarner [pictured] has long been diligently obsessed with the Adams legacy. While a graduate English student at the City College of New York in 1984, Carner befriended Adams and spent months interviewing him for a paper and biography. Then Adams grew ill with cancer in 1985. Shortly before Adams died in September 1986, Carner ran into pianist Tommy Flanagan, who was Adams' closest friend.

As Carner relates:

"Flanagan told me that Adams was very frail, lapsing in and out of a coma. But once, when he came to, Pepper tried feebly to nudge with his fingers [my manuscript] in Tommy's direction, as if to draw attention to it and give it weight. Adams wanted this material to survive him after his death, and Flanagan made sure that I was aware of it."

Following Adams' death, Carner focused on preserving Adams' work. Twenty-six years later, Carner has collated Adams' papers, lead sheets, photographs and the remains of his estate, establishing an extensive tribute website (go here) along the way. He also painstakingly has assembled Adams' discography. In the process, Carner has compiled the music to all of Adams' compositions.

Article écrit par Marc Myers sur JAZZWAX!

plus de détails sur: http://www.jazzwax.com/

JazzWax clip: Here's Pepper Adams in London in 1981 playingBossa Nouveau...

Daniel Humair

*Article sur Culture Jazz par Thierry Giard

... et d’excellente humeur ? Oui, deux fois Oui !

Nous poursuivons notre balade dans les nouveaux disques de batteurs suisses. Après Alex Huber (lire ici), on retrouve Daniel Humair. Des patronymes phonétiquement proches pour deux musiciens d’âge différent mais aux musiques pas si éloignées dans l’esprit...

Sommaire :

• Deux nouveaux projets.
• Nicolas FOLMER & Daniel HUMAIR PROJECT : "Lights"
• Daniel HUMAIR – PARISIEN – REGARD – PEIRANI : "Sweet & Sour"
• Références et liens

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" Daniel Humair , né le 23 mai 1938 à Genève, est un batteur et compositeur de jazz ainsi qu’un peintre suisse." Ainsi débute assez sèchement l’article de Wikipédia consacré à un musicien formidable, un alchimiste qui ne maîtrise pas seulement les formes et les couleurs, en peinture comme en musique, mais qui est aussi un vrai révélateur de talents. Ce passionné d’art culinaire sait "cuisiner" avec beaucoup de doigté, de force et de finesse les instrumentistes qu’il réunit dans ses nouvelles préparations pour révéler leurs spécificités, faire éclore les saveurs de leur jeu.
Parce que Daniel Humair reste aujourd’hui un des meilleurs batteurs dans le monde du jazz et un leader vénéré, il peut se permettre de propulser chacun au-delà de ses limites et des bousculer les habitudes, les cadres et les idées reçues. Après avoir fait exploser les "bébés-jazzmen" qu’il avait recrutés dans les rangs du CNSMDP [1] de Paris (Baby Boom), il continue avec la même envie de partage en confrontant son jeu de baguettes incomparable à des musiciens beaucoup plus jeunes que lui. Le secret de la jouvence ?
Les deux disques qui paraissent à quelques jours d’intervalle pour cette rentrée 2012 sont parfaitement révélateurs de cet "effet Humair".
Dans le premier, "Maître D.H." s’associe au trompettiste Nicolas Folmer pour co-diriger un quartet qui prend, du coup, une dimension presque inattendue. Du jazz mélodique, respectueux des normes et des codes qui prend un aspect singulier : passionnant !
Dans le second, sur le label Laborie de Jean-Michel Leygonie, Daniel Humair présente une version légèrement remodelée de son nouveau quartet créé en 2011. Jérôme Regard y remplace Jean-Paul Celea aux côtés des jeunes loups pleins de vie et d’envies que sont Émile Parisien et Vincent Peirani. Il nous refait le coup de la bande de jeunes avec un répertoire d’un éclectisme débridé et jubilatoire.
Deux disques qui vont compter pour cette fin d’année et deux projets aux caractères assez différents pour qu’on salue encore l’ouverture d’esprit et la passion d’éternel défricheur d’un Humair plus énergique que jamais.

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Nicolas FOLMER & Daniel HUMAIR PROJECT : "Lights"

Nicolas FOLMER & Daniel HUMAIR PROJECT : "Lights"

Cristal Records / Harmonia Mundi

"OUI ! On aime !"

Personne ne contestera le talent d’instrumentiste du trompettiste Nicolas Folmer, qui pourrait évoquer Freddie Hubbard ou Jon Faddis pour prendre des références "étatsuniennes". Il navigue avec aisance et assurance dans les eaux d’un jazz moderne qui sait captiver le public en jouant sur des liens serrés entre des structures mélodiques séduisantes (il écrit fort bien) et des assises rythmiques solides. Il maintient ainsi l’auditeur dans un cadre rassurant.
Avec ce disque, un déclic s’est produit. Folmer le garçon sage et mesuré semble s’émanciper sous les coups d’aiguilles (le scintillement des cymbales), coups de pied et de poing d’un Humair qui boxe dans le velours, triture, modèle les formes et les couleurs pour en faire une musique qui sait occuper l’espace.
Du coup, tout le monde se lâche et tout particulièrement le pianiste Alfio Origloqui prend son piano à bras le corps et improvise avec brio et inventivité (écoutez-le dans Galinette ou cette Rivière Calme qu’il transforme en torrent pour suivre les fluctuations de courant impulsées par Daniel Humair).
Laurent Vernerey apparaît, dans ce contexte comme un contrebassiste discret et attentif pendant que Nicolas Folmer distille une partie de trompette superbe, souvent tempérée par des sourdines dont il fait un usage virtuose.
Il est intéressant de retrouver dans ce disque le thème I comme Icare qui donnait sont titre au premier album du trompettiste (en 2004, avec André Ceccarelli à la batterie tout de même). Il permet de mesurer l’épanouissement d’un musicien qui parvient à une maturité sereine dans cette association avec Daniel Humair.
Le temps fait son œuvre, dans le bons sens si on sait bien s’entourer.

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Daniel HUMAIR – PARISIEN – REGARD – PEIRANI : "Sweet & Sour"

Daniel HUMAIR – PARISIEN – REGARD – PEIRANI : "Sweet & Sour"

Label Laborie / distribution Abeille Musique

"OUI ! On aime !"

Le 12 août 2011, nous découvrions le tout nouveau quartet de Daniel Humair pendant le festival "Jazz à La Tour" (La Tour d’Aigues - Vaucluse). La formation n’avait que quelques concerts à son actif et Daniel Humair se remettait tout juste d’une fracture de... l’humérus survenue un peu plus de deux mois auparavant. Ce n’est pas une équipe de bras cassés, on peut vous le dire : ils nous ont subjugués. Demandez à notre ami-rédacteur Jean Buzelin : il a pris deux "coups de chaud" ce jour-là, le midi à cause du soleil et le soir avec ce quartet (tout va bien pour lui, qu’on se rassure !).
Certes, ce soir-là, c’est Jean-Paul Celea qui était à la contrebasse. Il est aujourd’hui remplacé par Jérôme Regard qui nous épate autant dans ce contexte que l’équipe de Folmer dans le disque évoqué ci-dessus. Celea est aujourd’hui mobilisé par son trio "Yes Ornette !" dans lequel il a embauché le même saxophoniste stratosphérique, Émile Parisien (On en reparlera un peu plus tard).
Et voilà donc la galette toute fraîche à la sauce aigre-douce (Sweet & Sour) qui marque l’entrée officielle de Daniel Humair dans le "team" du label Laborie. On notera d’ailleurs que ce disque marque une inflexion de la politique du label initialement concacré à la jeune génération des jazzmen fançais et européens qui s’ouvre aujourd’hui à des musiciens de renom donc un poil plus âgés.
Ce qui tranche dans ce disque, si on le compare aux précédents opus du batteur, c’est la présence de l’accordéon deVincent Peirani qui réussit l’exploit (effet rebond ?) d’entraîner le batteur-leader sur son terrain jusque dans les recoins du swing musette où on n’attendait pas vraiment le peintre genevois qui valse comme pas deux (7A3) jusqu’à tourner free...
Et puis il y a Émile Parisien, l’as du soprano qui passe avec le même enthousiasme de son propre quartet aux projets de ses "maîtres" (Humair, Celea...). Avec son phrasé en dents de scie, il déplace les montaganes et les conventions, se trémoussant du bec, les doigts dans les courants d’air de son tuyau rectiligne. Chez Émile Parisien, la gestuelle est vraiment une composante de l’expression. Tout fait sens. Écoutez Oppression, sa magnifique composition où il chemine pas à pas avec Vincent Peirani. Copains et complices et vice-versa qui poursuivent l’échange dans Shuberthauser, composition du second. Là-dessus, Daniel Humair brode une dentelle percussive en parfaite harmonie avec Jérôme Regard.
Nous vous épargnerons le descriptif détaillé de chaque morceau. Le mieux est d’écouter ce disque afin de réaliser que vous ne pourrez vraiment pas vous en passer. Vous serez mis dans l’ambiance tout de suite par le thème très contrasté emprunté à la saxophoniste Jane Ira Bloom, A Unicorn in Captivity. Un passage obligé devant la Licorne pour percer les secrets d’un très bel album concocté avec malice par une équipe de mages musiciens, interprètes remarquables et improvisateurs redoutables. Du grand art, vraiment !

---

Les références :

> Nicolas FOLMER & Daniel HUMAIR PROJECT : "Lights" - Cristal Records - distribution Harmonia Mundi (parution le 28/08/2012)
Nicolas Folmer : trompette / Daniel Humair : batterie / Alfio Origlio : piano / Laurent Vernerey : contrebasse
01. Ici et maintenant / 02. I comme Icare / 03. Kamakura / 04. Galinette / 05. Riviere calme / 06. Attrape-moi si tu peux / 07. Gravenstein / 08. Claire et Sombre // Enregistré aux Studios de Meudon les 12 et 13 mars 2012 - ( titre 06 enregistré au Duc des Lombards - Paris)
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
> Daniel HUMAIR – PARISIEN – REGARD – PEIRANI : "Sweet & Sour" - Label Laborie J19 - distribution Abeille Musique (parution septembre 2012)
Daniel Humair : batterie / Émile Parisien : saxophones / Vincent Peirani : accordéon / Jérôme Regard : contrebasse
01. A Unicorn in Captivity (J-I Blum) / 02. Ground Zero (Humair – Parisien – Peirani – Regard) / 03. Care 4 (Humair – Parisien – Peirani – Regard) / 04. 7A3 (Peirani) / 05. T2T3 (Humair – Parisien – Peirani – Regard) / 06. Oppression (Parisien) / 07. Shuberthauser (Peirani) / 08. Debsh (Parisien) / 09. Ground One (Humair – Parisien – Peirani – Regard) / 10. Road to Perdition (T. Newman) // Enregistré au studio Laborie en 2012
> Liens :

• www.nicolasfolmer.com
• www.danielhumair.com
• www.emileparisienquartet.com
• www.vincent-peirani.com
• fr.wikipedia.org/wiki/Daniel_Humair

• www.laboriejazz.com
• www.cristalrecords.com/Folmer-Humair

http://www.culturejazz.fr/spip.php?article1938

Saison Jazz à Junas 2012, 2nd semestre !!

La Saison Jazz à Junas rédémarre pour un 2nd semestre riche et éclectique :

Ci-dessous le programme complet !

	BIG BAND de PETITE CAMARGUE avec DENIS BADAULT Samedi 22 Septembre 2012 à BOISSERON, La Carrière 21h00
	SYLVAIN LUC SOLO + GUILLAUME SEGURON TRIO (1ère partie) Vendredi 12 Octobre 2012 à ALLEGRE LES FUMADES, Maison de L'eau 21h00
	GILAD HEKSELMAN QUARTET avec MARK TURNER Samedi 20 octobre au VIGAN, Auditorium du Lycée André Chamson 21h00
	ANTONELLO SALIS / GERARD PANSANEL DUO Vendredi 23 novembre à NIMES, La Milonga 20h30
	JOURNAL INTIME TRIO joue HENDRIX Jeudi 13 décembre à ANDUZE, Ecole de Musique 20h30
	RST: ROMANO / SCLAVIS / TEXIER Vendredi 14 décembre à VERGEZE, Vergèze Espace 21h00

Ornette Coleman, reportage retrouvé de 1985

Reportage retrouvé (daté de 1985) d'Ornette Coleman, le saxophoniste d'avent-garde qui joue
toujours à l'âge de 82 ans.
Ornette Coleman joue rarement en Europe; il était programmé pour Jazz à Middelheim (Belgique) mais le concert était annulé la dernière minute à cause de sa santé.
Même l'association de Jazz à Junas avait rêvé d'avoir Ornette Coleman sur scêne pendant le Festival de New York en 2010.

• THE NEW YORKER
• ONLINE ONLY

EnlargeRobert Atanasovski/AFP/Getty Images

Ornette Coleman, pictured here in 2006, was portrayed in a recently-restored 1986 documentary called Ornette: Made In America.

• «

ORNETTE COLEMAN’S BIG ADVENTURE

POSTED BY RICHARD BRODY

The restoration and reissue of “Ornette: Made in America,” Shirley Clarke’s 1985 portrait of Ornette Coleman, the saxophonist whose recordings and performances in the late fifties and early sixties were among the most liberating avant-garde breakthroughs in the history of jazz (and who, happily, is still performing, at the age of eighty-two), is cause for celebration—both for its value as a movie and for its exploration of Coleman’s art. I’ve got acapsule review in the magazine this week about the movie (above is a clip). There’s a lot more to say about it, particularly regarding the way that Clarke uses video technology and dramatic reconstructions to evoke Coleman’s way of thinking, but here I’d like to focus on Coleman’s music—which I’ve been passionate about since I was in high school, in the seventies, and still listen to enthusiastically—while noting the ways in which the movie contributes to a better understanding of the music.

One way into Coleman’s music is to think of it as avant-gutbucket. Hailing from Fort Worth (which figures prominently in the film, as in the clip above), he got his start in rhythm and blues and the blues are, conspicuously, at the forefront of his achievement. (In the movie, he speaks warmly of another son of the city, King Curtis, who, having made a fortune from a more popular strain of bluesy jazz, picked Coleman up in New York with his Rolls-Royce.) The forbidding harmonic intricacy of bebop sparked several responses in the fifties, but Coleman’s was the most radical. He threw out the chord changes, famously excluding pianists from his primordial groups, thus eliminating “comping,” or chord-prompting that kept soloists in line, and played music that often had the furious speed of bop but lacked its tonal anchors. His melodies and solos were filled with catchy bluesy riffs and soul-chilling cries, but he shifted notes (or, rather, from pitches) without regard for traditionally recognizable relations of consonance.

That’s why, when he came to New York, in 1959, Coleman was instantly considered an enfant terrible who brazenly imported something like atonality into jazz. But what really made his style catch on was that his phrases were, in fact, fluently, melodically, catchily, deep-in-the-bone singable—close in feel to the primal wails of blues singers. Coleman wasn’t so much against harmony as he was questioning it; wasn’t opposed to chords (he employed marvellous bass players, including Charlie Haden, who’s seen in this clip) but to constraints; and, as his solos took flight, they were received as signal acts of modernism, exposing the conventions of jazz while defying them, turning jazz performance into an act of spontaneous thought, constant musical invention, and self-questioning. What made his 1959 performances seminal moments of free jazz was the very idea of freedom that they embodied.

The boxed set of recordings that Coleman made for Atlantic between 1959 and 1961 is a cornerstone of jazz history. If I was constrained to pick one album, it would be the first “The Shape of Jazz to Come,” which opens with the frenetic quadruple-time dirge “Lonely Woman,” one of the most covered jazz compositions, and includes the fragmented “Focus on Sanity,” the lyrical “Peace,” and two loping rockers that highlight Coleman’s emotionally straightforward sense of swing. My second choice would be “This Is Our Music,” featuring the rollicking jitter of Ed Blackwell’s drumming. (Sample “Blues Connotation” for the tuneful pole of Coleman’s playing, sample “Folk Tale” for the unmoored and impulsive one.)

At the end of the clip, Coleman, tells his son, Denardo, “What really makes me want to play music is when I really hear an individual thought pattern placed in an environment to make something actually come about that is not an obvious thing that everyone is doing.” It’s a serious remark that gets to the heart of Coleman’s project—context is essential to his music. His style of playing hasn’t changed drastically since he got started, but his music has nonetheless evolved greatly by means of his changing groups and settings. He emerged with a quartet featuring the trumpeter Don Cherry, plus the bassist Charlie Haden and the drummer Billy Higgins, then Blackwell and the short-lived bassist Scott LaFaro; he then jettisoned the quartet for a trio (David Izenzon and Charles Moffett). A live 1962 performance points far ahead, with a twenty-three minute excursion through a labyrinth of tones, themes, tempi suggests the search for an even more fluid musical framework as well as a string quartet, composed by Coleman, that suggests the growing desire to shift contexts drastically and bypass the traditions of jazz altogether.

Two wonderful volumes of that trio, live from Sweden in 1965, are available, and the sound is much better than the 1962 issue. The second volume (which has the exquisitely tender “Morning Song” and “Antiques”) features a cut with Coleman playing violin and trumpet, neither of which is really his instrument. But, of course, he does indeed play them, and the very notion of performing on instruments on which he’s less than a complete master is a conceptual act of a high order. He was creating sounds that owe less to virtuosity than to gesture, less to skill than to will. Though the lack of variety and nuance makes his brevity on them welcome, those instruments and the sound he conjures with them have became a small but crucial part in his music.

The following year, he took an even stranger leap into the conceptual: he replaced his drummer with his son, Denardo, who was ten years old, for the album “The Empty Foxhole”—six tracks, three on alto, two on trumpet, one on violin. Coleman made himself, in effect, into as much of a beginner as his son was. The video clip above shows them performing together two years later, in 1968. The results were remarkable, precisely because, as Denardo was finding his way into his instrument, the role of the drums became more ornamental and coloristic. (This compilation includes two tracks from it, “Zig Zag” and “Good Old Days.”) Within a few years, the rumble and bash of Denardo’s drumming became one of Coleman’s constants (they play together to this day), and one of Coleman’s best albums, “Crisis” (sadly unavailable), live from N.Y.U. in 1969, displays the emotional range of his newly protean group concept.

The orchestral composition “Skies of America,” recorded in 1972, is also performed by Coleman and his band in Clarke’s film. That group went through a drastic change in the mid-seventies: Coleman added electric guitars (including that of James “Blood” Ulmer), electric basses, and sometimes a second drummer, but, despite the rockish tones, the music is as adventuresome and free as ever. He called this group Prime Time; they’re in the film, but most of their finest albums (including “Of Human Feelings” and “In All Languages”) are unavailable. There are some wonderful video clips floating around (here’s one from Germany in 1978 and one from Montreal in 1988). The first recording he made with this group, “Dancing in Your Head,” is still a shock (it includes performances he gave in Morocco with Joujouka musicians, a story that Clarke tells). For all the recording’s electrical energy and off-kilter harmonies, it’s centered on an almost childlike ditty that has remained something of an obsession of Coleman’s for more than forty years.

One of the crucial revelations of Clarke’s film is the utopian aspect of Coleman’s music. The progression from a quartet to a string quartet to a symphony orchestra to a rock band is only a small part of his striving to take the music out of its original context in clubs and studios. The movie documents a satellite-video project, an attempt to turn an abandoned school on Rivington Street into an art space, and a performance in a geodesic dome (Coleman cites Buckminster Fuller as a lifelong hero). Music is a subset of sound, which is a subset of life, and Coleman’s implicitly philosophical ambition has always been to make explicit the unified field of creation and of life. Interviewed in this magazine in 1960, he said, “It’s the hidden things, the subconscious that lies in the body and lets you know: you feel this, you play this.”

Childhood recollections and sophisticated theories, electronics and primal cries, silent reflections and collective revelries, symphonic grandeur and down-home mother—for Coleman, music has never been quite enough to contain and to reflect the unfathomable depths of his experience. He has been performing furiously all his life even while clawing at the scrim that music has placed between him and others. It’s exactly this tension, the striving toward immediate and terrifyingly risky connections, that has made Coleman’s music more than music, and has made him one of the great creative adventurers of the century.

P.S. Two more recordings—a bootleg of Coleman, live in Los Angeles in 1958, before he “hit”—thin sound but an exhilarating sense of discovery; and “Free Jazz,” a strange recording from 1960 (part of the Atlantic package), featuring a double quartet playing with more preordained patterns than its title suggests. The themes and order of solos are set, but the other horn players are free to interject their musical comments. The key player, beside Coleman, is Eric Dolphy. There are splendid moments, but the most important thing about the album is the concept itself, the desire to break with the sacrosanct parenthesis of the solo in favor of a musical communion.

KEYWORDS

• ORNETTE COLEMAN;
 
• SHIRLEY CLARKE

http://www.newyorker.com/online/blogs/movies/2012/08/ornette-coleman-on-disk-and-screen.html#ixzz26WP2qqCe

TOOTS90 à Bruxelles

Si vous êtes par hasard à Bruxelles, n'oubliez pas de visiter l'exposition: TOOTS90

                                          photo Jacky Lepage.be


EXPO TOOTS90


Un jour en 1924, Jean Thielemans, âgé de deux ans, est assis dans l'estaminet enfumé de ses parents, situé rue Haute à Bruxelles, lorsqu'une vieille boîte à chaussures attire son attention. Propulsé par son imagination d'enfant, il commence à pianoter avec ses petits doigts sur la boîte comme un maître pianiste.


Cette anecdote marque le début d'une carrière musicale hors du commun, qui le conduira sur les plus grandes scènes du monde en compagnie des étoiles du jazz. Toots a joué aux côtés de Stevie Wonder, Billy Joël, Paul Simon, Ella Fitzgerald et bon nombre d'autres légendes.


Ayant fêté son 90ème anniversaire cette année, Toots - le nom sous lequel tout le monde le connaît aujourd'hui - nous livre ses souvenirs. L'exposition Toots90 dévoile l'itinéraire extraordinaire d'un enfant surdoué, originaire des Marolles, qui s'est transformé en un des hommes les pus grands du monde, en baron, en producteur de Bluesettes (des chansons reprises maintes fois par différents artistes) et en compositeur de nombreuses musiques de film connues. Dans le monde entier, petit Jean est devenu Toots.



L'expo se déroulera dans un endroit éphémère unique, au cœur de Bruxelles, en l'occurrence le Toots Theatre, dans le bâtiment Vanderborght. Celui-ci se situe à l'entrée de la Galerie du Roi, non loin de la Gare Centrale et de la Monnaie, dans le cœur touristique et culturel de Bruxelles.
L'exposition finira le 6 janvier 2013

Adresse:
Toots Theatre – bâtiment Vanderborght
Rue de l'Ecuyer 50
1000 Bruxelles

http://www.expotoots90.be/

Jazz à Nîmes

Concert Jazz à Junas à Boisseron le samedi 22 septembre

Samedi 22 septembre

BIG BAND DE PETITE CAMARGUE avec DENIS BADAULT "So sweet suite"

Le Big Band de Petite Camargue est dirigé par Philippe Guyon. Ce Big Band qui est devenu une valeur sûre dans la région Languedoc-Roussillon, a participé à de nombreux concerts couronnés de succès, ainsi qu’aux Festivals de Jazz de Nîmes, du Grau du Roi, de Pertuis et de Vauvert.

Présentant un répertoire moderne et varié, cet orchestre va allègrement de Charles Mingus à Bob Mintzer et toutes sortes de musiques swing ou funk.

Aujourd’hui le Big Band a choisi de travailler avec le pianiste et compositeur Denis Badault, pour son nouveau projet créé aux Nuits du Jazz de Vauvert. Un projet et une rencontre très réussi qui permettent au Big Band de proposer une nouvelle très belle aventure !

"La plupart du temps, les pièces que je propose s'inscrivent dans un langage dont on me dit qu'il se situe entre le jazz actuel et une certaine musique contemporaine. Invendable, donc ! Je suis et reste un enfant du jazz. Mais il faut savoir partir de chez ses parents."

En partenariat avec la Communauté de Communes du Pays de Lunel, l'Office de Tourisme du Pays de Lunel et la Mairie de Boisseron.

CONCERT GRATUIT !!

Renseignement : 04 66 80 30 27

Concert Le Jazz Est Là à l'Ever'In le 28 septembre

Le Jazz Est Là annonce son premier concert pour le mois de septembre (le 28) à l'Ever'In Café à Nîmes
Au programme Famoudou Don Moye, Darryl Hall et Benny Ross.

Famoudou Don Moye et Darryl Hall jouaient avec Archie Shepp ATTICA Blues Band dimanche passé à Jazz à La Villette.

Réservation recommandée!

L'histoire de Strange Fruit

L'histoire derrière la chanson 'Strange Fruit' , une chanson bien connue par la voix de Billy Holiday.

The Strange Story Of The Man Behind 'Strange Fruit'

by ELIZABETH BLAIR

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Morning Edition

[7 min 46 sec]

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EnlargeCourtesy of Robert and Michael Meeropol

Abel Meeropol watches as his sons, Robert and Michael, play with a train set.

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September 5, 2012

One of Billie Holiday's most iconic songs is "Strange Fruit," a haunting protest against the inhumanity of racism. Many people know that the man who wrote the song was inspired by a photograph of a lynching. But they might not realize that he's also tied to another watershed moment in America's history.

The man behind "Strange Fruit" is New York City's Abel Meeropol, and he really has two stories. They both begin at Dewitt Clinton High School, a public high school in the Bronx that has an astonishing number of famous people in its alumni. James Baldwin went there. So did Countee Cullen, Richard Rodgers, Burt Lancaster, Stan Lee, Neil Simon, Richard Avedon and Ralph Lauren.

Meeropol graduated from Dewitt Clinton in 1921; he went on to teach English there for 17 years. He was also a poet and a social activist, says Gerard Pelisson, who wrote a book about the school.

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Evolution Of A Song: 'Strange Fruit'

In the late 1930s, Pellison says, Meeropol "was very disturbed at the continuation of racism in America, and seeing a photograph of a lynching sort of put him over the edge."

Meeropol once said the photograph "haunted" him "for days." So he wrote a poem about it, which was then printed in a teachers union publication. An amateur composer, Meeropol also set his words to music. He played it for a New York club owner — who ultimately gave it to Billie Holiday.

When Holiday decided to sing "Strange Fruit," the song reached millions of people. While the lyrics never mention lynching, the metaphor is painfully clear:

Southern trees bear a strange fruit,
Blood on the leaves and blood at the root,
Black body swinging in the Southern breeze,
Strange fruit hanging from the poplar trees.

Pastoral scene of the gallant South,
The bulging eyes and the twisted mouth,
Scent of magnolia sweet and fresh,
And the sudden smell of burning flesh!

Here is a fruit for the crows to pluck,
For the rain to gather, for the wind to suck,
For the sun to rot, for a tree to drop,
Here is a strange and bitter crop.

In 1999, Time magazine named "Strange Fruit" the "song of the century." The Library of Congress put it in the National Recording Registry. It's been recorded dozens of times. Herbie Hancock andMarcus Miller did an instrumental version, with Miller evoking the poem on his mournful bass clarinet.

Miller says he was surprised to learn the song was written by a white Jewish guy from the Bronx. "Strange Fruit," he says, took extraordinary courage both for Meeropol to write and for Holiday to sing.

"The '60s hadn't happened yet," he says. "Things like that weren't talked about. They certainly weren't sung about."

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Looking For Lady Day's Resting Place? Detour Ahead

New York lawmakers didn't like "Strange Fruit." In 1940, Meeropol was called to testify before a committee investigating communism in public schools. They wanted to know whether the American Communist Party had paid him to write the song. They had not — but, like many New York teachers in his day, Meeropol was a Communist.

Journalist David Margolick, who wrote Strange Fruit: The Biography of a Song, says, "There are a million reasons to disparage communism now. But American Communism, one point it had in its favor was that it was concerned about civil rights very early."

Meeropol left his teaching job at Dewitt Clinton in 1945. He eventually quit the Communist Party.

And that's where the second part of Meeropol's story begins. The link is the pseudonym he used when writing poetry and music: Lewis Allan.

"Abel Meeropol's pen name 'Lewis Allan' were the names of their children who were stillborn, who never lived," says his son, Robert Meeropol. He and his older brother, Michael, were raised by Abel and his wife, Anne Meeropol, after the boys' parents — Ethel and Julius Rosenberg — were executed for espionage in 1953.

Julius and Ethel Rosenberg were sentenced to death for conspiring to give atomic secrets to the Soviet Union. The Rosenbergs had also been Communists.

EnlargeKeystone/Getty Images

Julius and Ethel Rosenberg are taken to prison after being found guilty of nuclear espionage. They were subsequently executed.

The couple's trial and execution made national headlines, and there was also something of a salacious element, given that the Rosenbergs were a married couple. News accounts described it as "the first husband and wife to die in the electric chair."

At the time, the Rosenberg sons, Robert and Michael, were 6 and 10, respectively. News photographs of the boys show them dressed in suits visiting their parents in prison.

"They're these little boys and they're wearing these caps, and they look so young and so vulnerable. It's really a very poignant image," says Margolick.

Robert Meeropol says that in the months following his parents' execution, it was unclear who would take care of him and his brother. It was the height of McCarthyism. Even family members were fearful of being in any way associated with the Rosenbergs or Communism.

Then, at a Christmas party at the home of W.E.B. Du Bois, the boys were introduced to Abel and Anne Meeropol. A few weeks later, they were living with them.

"One of the most remarkable things was how quickly we adapted," Robert says. "First of all, Abel, what I remember about him as a 6-year-old was that he was a real jokester. He liked to tell silly jokes and play word games, and he would put on these comedy shows that would leave me rolling."

There is something else about Abel Meeropol that seems to connect the man who wrote "Strange Fruit" to the man who created a loving family out of a national scandal. "He was incredibly softhearted," Robert says.

EnlargeCourtesy of Robert and Michael Meeropol

Anne Meeropol plays a song on guitar for her sons, Robert and Michael.

For example, there was an old Japanese maple tree in their backyard, which sent out many new seedlings every year.

"I was the official lawnmower," Robert says, "and I was going to mow over them, and he said, 'Oh, no, you can't kill the seedlings!' I said, 'What are you going to do with them, Dad? There are dozens of them.'

"Well, he dug them up and put them in coffee cans and lined them up along the side of the house. And there were hundreds of them. But he couldn't bring himself to just kill them. It was just something he couldn't do."

Abel Meeropol died in 1986. His sons, Robert and Michael, both became college professors. They're also both involved in social issues. Robert founded the Rosenberg Fund for Children. And he says that even after all these years, he still finds himself unable to kill things in his own garden.

http://www.npr.org/2012/09/05/158933012/the-strange-story-of-the-man-behind-strange-fruit