Notre musique

https://www.youtube.com/watch?v=fQqpOxZ704A

Spoiler:

Héhéhé.

Cités plus en amont.

Spoiler:

idéal, si l'on pense à Hors Satan

Très bien Wild Flag, Erwan

http://www.rollingstone.com/music/albumreviews/wild-flag-20110913

Me souviens avoir lu à propos de leur titre Romance:
"I listened to a lot of top-40 music for help with melodies," says Brownstein. "I came up with the melody for 'Romance' after a day of listening to Rihanna and Beyoncé, and then filtering it through my messed up post-punk filter."








Hier soir, la dernière apparition de James Maynard Keenan (chanteur de Tool donc) chez Letterman...en perruque blonde, fausse moustache et lunette noire.

il y avait un malentendu: je me souvenais de leur clips de techno-trance au début des années 90 avec la Ford déglinguée et les trains électriques, mais ignorais qu'il étaient prélevés sur cette merveille à laquelle ils devaient servir à la fois de produit d'appel et de démenti. Cela fait penser à un équivalent musical et réussi de Two-Lane Blacktop; à la fois post-moderne et sincère (ce que le film d'Hellman n'est pas).

Une petite découverte ( pas très récente ) sur le twitter d'Hisato Higuchi



" Although NNCK’s all-improvised discipline sets this collective apart from many bands, the representative I spoke with said that he saw similar experimentation going on among a few other bands. In particular, he cites Embryo, a long-standing German experimental project that incorporates indigenous musicians from Asia, Africa, and the Middle East into their recordings and live performances. Embryo’s latest collaboration is with a certain improvisatory collective from Harlem; Embryonnck,NNCK’s double LP collaboration with Embryo will be released on Staubgold Records in early 2006. “Christian Burchard, the leader of Embryo [and ex of Amon Duul]... seemed to see us as if we were also this kind of indigenous urban music phenomenon,” said the band member, “in the same way that different styles of Middle Eastern or Turkish or African musicians that he kind of catalogues in the Embryo experience.”

Like Embryo, NNCK draws on a variety of traditions. You can hear bits of jazz, rock, and ethnic music in their work, and even, from time to time, a bit of the “blues” contained in their name. Asked about the band’s connection with this traditional artform, the band member said that both his collective and the band’s friend John Fahey had had a more expansive definition of the blues than many, equating it with music that expresses longing and melancholy, rather than with 12-bar progressions. “Fahey was really scholarly about the differences between guitar players—never mind the differences between a Japanese three-string guitar player and a six-string guitar player, but he really could tell the difference between two very similar six-string guitar players and why one was one way and the other another way. It was great to be around him and to experience his understanding of that stuff,” he said. “But I also think that he and we agreed that there was something that was bigger than style as far as the blues is concerned. And that’s the blues that’s in our music.”

https://www.youtube.com/watch?v=_V2P9m1bWe8

J'en profite aussi pour vous faire part d'un film que je viens de voir:

Fort intéressant We Don't Care About Music Anyway, sur Otomo Yoshihide et cette scène tokyoïte.
Je dois l'avoir dans un coin. Je le déposerai dans la section "le musée des ombres".

et tant d'autres

Moi aussi je pense et m'exprime comme un pied comme à peu près tout le monde sur Internet, et comme eux je pense en permanence, mais je crois parfois en la sincérité de mon bon goût. De ce fait je peux légitiment prétendre être un leader sur Internet, et cette musique est si vraie qu'elle me dispense de recenser le nombre de gens qu'elle influencera grâce à moi.

Je dédie l'espèce de chiasme musical de ce morceau à tous mes followers et les 4 minute qui le précèdent à mes ennemis.


Par honnêteté je préciserai quand-même que plein de gens ont écouté Michael Gira avant moi, mais je les connais pas et je ne peux pas tous les citer.

J'ai aussi écouté du MC5 la semaine dernière.

The truth is, Lonnie Johnson sat comfortably on many fences – comfortably for him, if not the critics, historians and fans who like things neatly labeled. He had one of the longest recording careers in blues history, from 1925 through the mid-1960's, during which he produced a barrage of basic blues, hokum, haunting vocals, jazz guitar instrumentals and rhythm and blues – by his own count 572 songs. He accompanied blues shouter Texas Alexander, contributed solo parts to recordings by Duke Ellington and Louis Armstrong, cut the first jazz guitar duets with Eddie Lang. "His whole musical style and manner," Giles Oakley writes in The Devil's Music, "spoke of urbane sophistication, from the clarity of his bittersweet voice to the clean-cut precision of his highly original guitar-playing. Yet when he accompanied the hollering Texas Alexander, while never abandoning his technical proficiency, he showed a sensitive empathy for the rough, emotional directness of country blues."

Lonnie Johnson is the major transistional figure in American guitar. Everything that came before – the complex patterns of Papa Charlie Jackson on six-string banjo, the rag-time blues of Blind Blake, the idiosyncratic runs and melodic flexibility of Blind Lemon Jefferson – comes together in his playing; and much that follows, issues from it, right up to the jazz lines of Kenny Burrell or B. B. King's whiplike call-and-response guitar accompaniment.
(...)
It seems likely that Lonnie, whose recording career in the twenties was profoundly successful, who came back and built another career in the late thirties and again in the forties and yet again in the sixties, has still another, posthumous career ahead – perhaps the greatest of all – as increasing numbers of guitarists and blues and jazz enthusiasts rediscover his inimitable music.

(james sallis,The Guitar Players)


"
Whatever can be called electronics in today’s music -in jazz, jazz-rock, fusion, rock, and pop- comes from Jimi Hendrix."
(james sallis, guitar in jazz : an anthology)



on oublie trop souvent les "origines indiennes" de hendrix...