array:12 [
  0 => ProductListingLazyArray {#622
    -imageRetriever: ImageRetriever {#628
      -link: Link {#163
        #allow: 0
        #url: "/index.php"
        +protocol_link: "https://"
        +protocol_content: "https://"
        #ssl_enable: "1"
        #urlShopId: null
      }
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#601}
    -productColorsRetriever: ProductColorsRetriever {#624}
    -translator: TranslatorComponent {#55
      #catalogues: array:1 [
        "fr-FR" => MessageCatalogue {#59 …6}
      ]
      -locale: "fr-FR"
      -fallbackLocales: []
      -loaders: []
      -resources: []
      -formatter: MessageFormatter {#56
        -selector: MessageSelector {#57}
      }
      -cacheDir: "/space/apache/vhosts/preprod.fremeaux.com/public/var/cache/dev/translations"
      -debug: false
      -configCacheFactory: ConfigCacheFactory {#58
        -debug: false
      }
    }
    #settings: ProductPresentationSettings {#612
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1049"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302573526"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5735"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "313"
      "date_add" => "2021-10-21 20:48:08"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>Reine de la Soul, Aretha Franklin fut sans doute plus encore : la Reine des Chanteuses Am&eacute;ricaines, un titre tr&egrave;s disput&eacute; auquel son impressionnante discographie peut ais&eacute;ment pr&eacute;tendre. Ce double album contient les six premi&egrave;res ann&eacute;es de ses enregistrements o&ugrave;, de vedette surdou&eacute;e du gospel &agrave; quatorze ans, elle devint l&rsquo;une des plus extraordinaires vocalistes de l&rsquo;histoire avec l&rsquo;intensit&eacute; des renversants &laquo; Today I Sing the Blues &raquo; ou &laquo; Maybe I&rsquo;m a Fool &raquo;. Bruno Blum raconte ici son histoire.&nbsp;</p><p align=justify><strong>Patrick FRÉMEAUX <br /></strong><br /></p><p align=justify>&laquo; Aretha a contribu&eacute; &agrave; d&eacute;finir l&rsquo;exp&eacute;rience am&eacute;ricaine. Dans sa voix on a pu ressentir notre histoire, toute notre histoire et dans toutes ses nuances &mdash; notre puissance et notre douleur, notre noirceur et notre lumi&egrave;re, notre qu&ecirc;te pour la r&eacute;demption et notre respect durement gagn&eacute;. Que la Reine de la Soul repose en paix &eacute;ternellement. &raquo;&nbsp;</p><p align=justify><strong>Barack OBAMA</strong></p><p align=justify><br /></p><p align=justify><strong>Conception collection : Patrick Fr&eacute;meaux &amp; Claude Colombini</strong></p><p align=justify><strong>Direction Artistique : Bruno Blum</strong></p><p align=justify><strong>Direction collection : Augustin Bondoux</strong></p><p align=justify><strong>Droits : Fr&eacute;meaux &amp; Associes</strong></p><p align=justify><br /></p><p align=justify><em>Aretha Franklin was the Queen of Soul and probably much more: the Queen of American singers, a much- disputed title her impressive discography can easily claim. This double album includes the first six years of her recordings, going forward from her beginnings as an exceptionally gifted gospel singer aged fourteen. She went on to become one of the most extraordinary vocalists in music history, thanks to the intensity of astounding recordings like &ldquo;Today I Sing the Blues&rdquo; or &ldquo;Maybe I&rsquo;m a Fool.&rdquo; Bruno Blum tells her story. Patrick FRÉMEAUX <br />&ldquo;Aretha helped define the American experience. In her voice, we could feel our history, all of it and in every shade &mdash; our power and our pain, our darkness and our light, our quest for redemption and our hard-won respect. May the Queen of Soul rest in eternal peace.&rdquo; Barack OBAMA</em></p><p align=justify><br /></p><p align=justify>CD 1 : SONGS OF FAITH : THERE IS A FOUNTAIN FILLED WITH BLOOD &bull; TAKE MY HAND PRECIOUS LORD (PART ONE) &bull; TAKE MY HAND PRECIOUS LORD (PART TWO) &bull; YOU GROW CLOSER &bull; NEVER GROW OLD &bull; THE DAY IS PAST AND GONE &bull; HE WILL WASH YOU WHITE AS SNOW &bull; WHILE THE BLOOD RUNS WARM &bull; YIELD NOT TO TEMPTATION. ARETHA - WITH THE RAY BRYANT COMBO : TODAY I SING THE BLUES &bull; LOVE IS THE ONLY THING &bull; RIGHT NOW &bull; OVER THE RAINBOW &bull; ALL NIGHT LONG &bull; (BLUE) BY MYSELF &bull; SWEET LOVER &bull; WON&rsquo;T BE LONG &bull; IT AIN&rsquo;T NECESSARILY SO &bull; WHO NEEDS YOU? &bull; ARE YOU SURE &bull; MAYBE I&rsquo;M A FOOL. B-SIDES : OPERATION HEARTBREAK &bull; TROUBLE IN MIND. CD 1 : THE ELECTRIFYING ARETHA FRANKLIN : YOU MADE ME LOVE YOU &bull; I TOLD YOU SO &bull; ROCK-A-BYE YOUR BABY WITH A DIXIE MELODY &bull; NOBODY LIKE YOU &bull; EXACTLY LIKE YOU &bull; IT&rsquo;S SO HEARTBREAKING) &bull; ROUGH LOVER &bull; BLUE HOLIDAY &bull; JUST FOR YOU &bull; THAT LUCKY OLD SUN (JUST ROLLS AROUND HEAVEN ALL DAY) &bull; I SURRENDER DEAR &bull; AC-CENTU-ATE THE POSITIVE. THE TENDER, THE MOVING, THE SWINGING ARETHA FRANKLIN : DON&rsquo;T CRY, BABY &bull; TRY A LITTLE TENDERNESS &bull; I APOLOGIZE &bull; WITHOUT THE ONE YOU LOVE &bull; LOOK FOR THE SILVER LINING &bull; I&rsquo;M SITTING ON TOP OF THE WORLD &bull; JUST FOR A THRILL &bull; GOD BLESS THE CHILD &bull; I&rsquo;M WANDERING &bull; HOW DEEP IS THE OCEAN &bull; I DON&rsquo;T KNOW YOU ANYMORE &bull; LOVER COME BACK TO ME.<br /></p></p><br><br>"
      "description_short" => "<h3>INTEGRALE 1956-1962</h3>"
      "link_rewrite" => "aretha-franklin-the-indispensable"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Aretha Franklin The Indispensable "
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 313
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1049-19355"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1049&rewrite=aretha-franklin-the-indispensable&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:3 [
        0 => array:5 [ …5]
        1 => array:5 [ …5]
        2 => array:5 [ …5]
      ]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [
        5 => array:8 [ …8]
      ]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>Areta Franklin FA5735</h3><p align=justify><br /></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>THE INDISPENSABLE<br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>ARETHA<br />FRANKLIN<br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>INTÉGRALE 1956-1962</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Rock-A-Bye Your Baby <br />with a Dixie Melody<br />Try a Little Tenderness<br />Take my Hand Precious Lord<br />Maybe I&rsquo;m a Fool</span><span class=Texte><br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre2>The Indispensable <br />Aretha Franklin <br />1956-1962</span><span class=Texte><br /></span><span class=Soustitre>par Bruno Blum<br /></span><span class=Texte><br />Aretha Louise Franklin (25 mars 1942-16 ao&ucirc;t 2018) est n&eacute;e au 406 Lucy Avenue &agrave; Memphis dans le Tennessee, l&rsquo;un des bastions du Ku Klux Klan et de l&rsquo;oppression raciale aux États-Unis. Son p&egrave;re Clarence LaVaugh Franklin dit &laquo;&thinsp;C.L.&thinsp;&raquo; &eacute;tait un pasteur baptiste qui, faute d&rsquo;un poste permanent, pr&ecirc;chait de fa&ccedil;on itin&eacute;rante dans la r&eacute;gion, circulant d&rsquo;un temple &agrave; l&rsquo;autre. En 1944, comme beaucoup d&rsquo;Afro-am&eacute;ricains souffrant de la pauvret&eacute; et du racisme, les Franklin sont partis vers le nord. D&rsquo;abord d&eacute;plac&eacute;e &agrave; Buffalo (New York) la famille nombreuse s&rsquo;est install&eacute;e &agrave; Detroit (Michigan) en 1947. C. L. y a obtenu la charge d&rsquo;un temple New Bethel Baptist et obtint peu &agrave; peu une grande affluence. La m&egrave;re Barbara Franklin (n&eacute;e Siggers), a quitt&eacute; son mari infid&egrave;le en 1948; elle est retourn&eacute;e &agrave; Buffalo avec un des demi-fr&egrave;res d&rsquo;Aretha, Vaughn. Elle ne revit ses autres enfants qu&rsquo;&agrave; l&rsquo;occasion des vacances et mourut d&rsquo;une crise cardiaque le 7 mars 1952. C&rsquo;est la grand-m&egrave;re Rachel qui se chargea de l&rsquo;&eacute;ducation d&rsquo;Aretha apr&egrave;s le d&eacute;c&egrave;s de Barbara. <br /></span><span class=Soustitre>GOSPEL &Agrave; DETROIT</span><span class=Texte><br />Mahalia Jackson, la plus c&eacute;l&egrave;bre chanteuse de gospel de l&rsquo;apr&egrave;s-guerre, rendait fr&eacute;quemment visite &agrave; Aretha et aidait la famille(1). L&rsquo;enfant commen&ccedil;a &agrave; chanter dans le temple de son p&egrave;re &agrave; l&rsquo;&acirc;ge de dix ans et apprit seule &agrave; jouer du piano, &agrave; l&rsquo;oreille. Elle quitta le coll&egrave;ge Northern High School &agrave; l&rsquo;&acirc;ge de treize ans. La ville de Detroit, o&ugrave; vivaient un grand nombre d&rsquo;Afro-am&eacute;ricains venus du sud chercher du travail dans la capitale industrielle de l&rsquo;automobile, &eacute;tait impr&eacute;gn&eacute;e de culture baptiste. Cette religion protestante &eacute;tait depuis plus d&rsquo;un si&egrave;cle l&rsquo;un des grands vecteurs d&rsquo;organisation, de culture, de lib&eacute;ration et de foi du peuple afro-am&eacute;ricain. Dans les ann&eacute;es 1950 les pr&ecirc;ches baptistes (mais aussi m&eacute;thodistes et surtout pentec&ocirc;tistes) &eacute;taient souvent charg&eacute;s d&rsquo;&eacute;motion et C.L. Franklin excellait en expression du pathos. Accompagn&eacute; par son &eacute;quipe de chant gospel, le r&eacute;v&eacute;rend &eacute;tait devenu une c&eacute;l&eacute;brit&eacute; du clerg&eacute;. Il gagnait de grosses sommes avec ses pr&ecirc;ches dans tout le pays et&nbsp; Aretha devint vite la chanteuse solo attitr&eacute;e de l&rsquo;&eacute;quipe de son p&egrave;re. Elle commen&ccedil;ait ses prestations par &laquo;Jesus, Be a Fence Around Me&raquo; et le r&eacute;v&eacute;rend &eacute;tait devenu son manager alors qu&rsquo;elle n&rsquo;avait que douze ans. Comme Frankie Lymon avant elle ou Michael Jackson et Dennis Brown plus tard, elle &eacute;tait d&eacute;j&agrave; une enfant-vedette, sans arr&ecirc;t en tourn&eacute;e. Elle donnait des interpr&eacute;tations puissantes, spontan&eacute;es, capables d&rsquo;&eacute;mouvoir les fid&egrave;les aux larmes, en utilisant les techniques d&rsquo;improvisation que l&rsquo;on retrouve dans le blues, le jazz comme dans le gospel : ornementations diverses comme les m&eacute;lismes, appoggiatures, passage brusque de la m&eacute;lodie &agrave; un octave plus haut, utilisation de la septi&egrave;me mineure, etc. Ce langage musical &eacute;tait &eacute;galement utilis&eacute; par son p&egrave;re. C.L. Franklin &eacute;tait devenu &laquo;&thinsp;la voix &agrave; un million de dollars&thinsp;&raquo; et le succ&egrave;s parall&egrave;le de sa fille lui permit d&rsquo;obtenir sans difficult&eacute;s un contrat avec les disques J-V-B de Joe Von Battle (n&eacute; Joseph Battle), un ancien pr&ecirc;cheur de l&rsquo;African Methodist Episcopal Church devenu un incontournable disquaire &agrave; Detroit. Von Battle avait commenc&eacute; &agrave; enregistrer et sortir des disques de gospel en 1948 (et le blues &laquo;&thinsp;Boogie Rambler/No More Doggin&rsquo;&thinsp;&raquo; de John Lee Hooker). Il avait publi&eacute; deux disques de pr&ecirc;ches du p&egrave;re d&rsquo;Aretha en 1956 (les deux parties de &laquo;&thinsp;Old Ship of Zion&thinsp;&raquo; et &laquo;&thinsp;I&rsquo;m Going Through&thinsp;&raquo;). Il enregistra neuf titres (qui ouvrent ici le disque 1) de la gamine de quatorze ans &agrave; la New Bethel Baptist Church familiale en m&ecirc;me temps que son p&egrave;re et sortit d&eacute;but 1957 Never Grow Old avec en face B Grow Closer. Le gospel enregistr&eacute; connaissait un fort renouveau pendant cette p&eacute;riode avec par exemple le succ&egrave;s des excellents Five Blind Boys of Alabama et surtout de Mahalia Jackson et Clara Ward &mdash; qui v&eacute;cut une longue relation affective non officielle avec C.L. Franklin et devint de fait la belle-m&egrave;re d&rsquo;Aretha. Jusqu&rsquo;en 1958 Clara Ward et ses Ward Singers &eacute;taient sans arr&ecirc;t en tourn&eacute;e avec Aretha et son p&egrave;re; elle devint une sorte de mod&egrave;le pour l&rsquo;adolescente, qui &eacute;tait aussi tr&egrave;s marqu&eacute;e par Dinah Washington. Entre 1956 et 1959 Joe Von Battle a publi&eacute; au moins soixante-trois disques 78 tours &agrave; deux titres de C.L. Franklin, des pr&ecirc;ches et chants gospel qu&rsquo;il ne cessera de r&eacute;&eacute;diter jusqu&rsquo;en 1966. L&rsquo;album Spirituals (vers 1958) contenait cinq titres d&rsquo;Aretha dont Take my Hand Precious Lord, morceau embl&eacute;matique de Mahalia Jackson et quatre de C.L. (plus deux de la naine Sammie Bryant). Leur spectacle attirait des vedettes comme Jackie Wilson, Sam Cooke et Martin Luther King, avec qui ils partirent en tourn&eacute;e. J-V-B a sorti d&rsquo;autres documents de ses d&eacute;buts gospel, tous r&eacute;unis ici. <br /></span><span class=Soustitre>BLUES, JAZZ ET VARIETE CHEZ COLUMBIA</span><span class=Texte><br />C&rsquo;est la rencontre entre Aretha et Sam Cooke en Californie en 1958 qui donna &agrave; la chanteuse l&rsquo;envie de tenter sa chance dans la musique populaire. Apr&egrave;s une carri&egrave;re de chanteur de gospel &agrave; succ&egrave;s avec les Soul Stirrers, Cooke s&rsquo;&eacute;tait lanc&eacute; dans la chanson en 1956, et avait atteint le num&eacute;ro un avec &laquo;&thinsp;You Send Me&thinsp;&raquo; en 1957, un changement de style controvers&eacute;, critiqu&eacute; par les religieux, qui fit sa fortune. Apr&egrave;s son anniversaire de dix-huit ans, Aretha d&eacute;clara son d&eacute;sir de suivre son exemple. Son p&egrave;re lui fit alors enregistrer une maquette de deux titres qui convainquit Berry Gordy. Ce parolier ind&eacute;pendant venait de fonder les disques Tamla-Motown. Au printemps 1960, le r&eacute;v&eacute;rend Franklin pr&eacute;f&eacute;ra accepter l&rsquo;offre du l&eacute;gendaire John Hammond (d&eacute;couvreur de Bessie Smith et Billie Holiday, entre autres) chez Columbia. Hammond avait &eacute;t&eacute; conseill&eacute; par le compositeur Curtis Reginald Lewis, qui pla&ccedil;a deux compositions sur l&rsquo;album &agrave; venir. Diff&eacute;rentes chansons ont &eacute;t&eacute; propos&eacute;es &agrave; Aretha, dont six sign&eacute;es par John Leslie McFarland. Ce compositeur et arrangeur avait &eacute;crit plusieurs morceaux pour Bill Haley et venait d&rsquo;&eacute;crire &laquo;&thinsp;Stuck on You&thinsp;&raquo;, le treizi&egrave;me num&eacute;ro un d&rsquo;Elvis Presley, sorti en mars 1960, pile au moment o&ugrave; Hammond montait une &eacute;quipe pour Aretha. La jeune femme d&eacute;m&eacute;nagea &agrave; New York et entra en studio avec le groupe de Ray Bryant, un pianiste, arrangeur et compositeur venu du gospel. Bryant &eacute;tait le pianiste maison du Blue Note Club dans sa ville de Philadelphie, o&ugrave; il avait notamment accompagn&eacute; Lester Young, Charlie Parker, Sonny Stitt et Miles Davis; puis il avait jou&eacute; quatre mois avec Dizzy Gillespie et enregistr&eacute; avec Miles et Sonny Rollins, Tiny Grimes et Carmen McRae. Install&eacute; &agrave; New York en 1959, Bryant multiplia les s&eacute;ances de studio, notamment avec Ella Fitzgerald, avant de signer lui aussi avec Columbia, engag&eacute; par John Hammond. Ensemble ils cr&eacute;&egrave;rent le premier album d&rsquo;Aretha Franklin, douze titres d&eacute;pouill&eacute;s qui comptent parmi les plus grands chefs-d&rsquo;&oelig;uvre de celle qui allait devenir la reine incontest&eacute;e de la soul, un titan dans l&rsquo;histoire de la musique &eacute;tats-unienne. Un remarquable premier 45 tours, Today I Sing the Blues/Love Is The Only Thing en octobre 1960 s&rsquo;est class&eacute; dans les dix meilleures ventes R&amp;B. Rarement les sentiments de l&rsquo;amour avaient &eacute;t&eacute; exprim&eacute;s avec un tel &eacute;clat, avec une interpr&eacute;tation d&rsquo;une telle justesse, d&rsquo;une telle force. Pourtant malgr&eacute; des morceaux renversants comme Maybe I&rsquo;m a Fool et l&rsquo;excellent titre sur la foi Are You Sure, l&rsquo;album Aretha: With The Ray Bryant Combo paru le 27 f&eacute;vrier 1961 n&rsquo;a pas eu de succ&egrave;s. Aretha n&rsquo;a plus cess&eacute; d&rsquo;enregistrer ensuite, mais elle ne connut la gloire que six ans plus tard avec les disques Atlantic. Que s&rsquo;est-il pass&eacute; ?<br /></span><span class=Soustitre>THE ELECTRIFYING ARETHA FRANKLIN </span><span class=Texte><br />D&eacute;&ccedil;u par cet &eacute;chec commercial, le producteur John Hammond changea son &eacute;quipe de musiciens et fit appel &agrave; l&rsquo;arrangeur Richard Wess, qui travaillait avec des artistes de vari&eacute;t&eacute; comme Bobby Darin. Ce chanteur blanc r&ecirc;vait de chanter du rock &agrave; l&rsquo;exemple d&rsquo;Elvis Presley mais ce sont des chansons rythm&eacute;es, sans envergure, qui ont fait son succ&egrave;s gr&acirc;ce &agrave; des morceaux bien ficel&eacute;s par ses arrangeurs, dont Wess. Richard Wess &eacute;tait sp&eacute;cialis&eacute; dans la vari&eacute;t&eacute; : nappes de violons (Just For You, That Lucky Old Sun), interventions de vents dans un style swing surann&eacute;, vieux de dix ans au moins (comme sur Ac-Cent-Tchu-Ate the Positive, enregistr&eacute; avec talent en 1959 par Gene Vincent(2)). The Electrifying Aretha Franklin est sorti une semaine avant l&rsquo;anniversaire de vingt ans de la chanteuse. Avec le recul, John Hammond a fait une erreur de direction artistique en engageant Wess sur cette production au moment o&ugrave; la musique soul pure commen&ccedil;ait &agrave; surgir de tous les coins du pays (&eacute;couter Roots of Soul 1928-1962 et New Orleans Roots of Soul 1941-1962 dans cette collection). Indiscutablement, la lourdeur et le style des arrangements nuisent aux interpr&eacute;tations enflamm&eacute;es d&rsquo;Aretha, qui se suffisaient &agrave; elles-m&ecirc;mes, comme on peut le v&eacute;rifier sur son brillant premier album studio, plus sobre, grav&eacute; un an plus t&ocirc;t (disque 1). N&eacute;anmoins, le g&eacute;nie de la jeune femme est maintes fois parvenu &agrave; transcender ces fautes de go&ucirc;t du producteur et de l&rsquo;arrangeur (comme sur Nobody Like You, Exactly Like You). Sa puissance vocale transperce souvent les murs de violons et affaiblit peu sa fantastique &eacute;nergie vocale. Seul le 45 tours Rock-A-Bye Your Baby With a Dixie Melody connut un petit succ&egrave;s.<br />Ironiquement, c&rsquo;est l&rsquo;album suivant, plus charg&eacute; encore en arrangements, qui lui a donn&eacute; ses premiers vrais succ&egrave;s, une relative r&eacute;ussite qui lui a permis de continuer &agrave; enregistrer. L&rsquo;album &eacute;tait tourn&eacute; vers la vari&eacute;t&eacute; internationale et visait plus le march&eacute; de Patti Page ou Frank Sinatra que celui de la soul d&rsquo;Ike &amp; Tina Turner ou Etta James. Paru le 13 ao&ucirc;t 1962, The Tender, the Moving, the Swinging Aretha Franklin monta au num&eacute;ro 69 du Billboard. Columbia produit encore plusieurs albums tr&egrave;s in&eacute;gaux avant de passer la main &agrave; Atlantic, marque reine de la musique afro-am&eacute;ricaine, qui transforma l&rsquo;essai et fit aus&shy;sit&ocirc;t d&rsquo;Aretha Franklin la fabu&shy;leuse reine de la soul.<br /></span><span class=Soustitre>Bruno Blum</span><span class=Source>, septembre 2018<br />&copy; Fr&eacute;meaux &amp; Associ&eacute;s 2018<br />1. Les &oelig;uvres compl&egrave;tes de Mahalia Jackson sont disponibles dans cette collection.<br />2. Écouter Gene Vincent Volume 2 1958-1962 dans cette collection.</span><span class=Texte><br /></span><span class=Soustitre2><br /></span></p><p align=justify><br /></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>The Indispensable <br />Aretha Franklin 1956-1962</span><span class=Texte><br /></span><span class=Soustitre>By Bruno Blum</span><span class=Texte><br />Aretha Louise Franklin (March 25, 1942-August 16, 2018) was born at 406 Lucy Avenue in Memphis, Tennessee, one of the Ku Klux Klan&rsquo;s strongholds. Her father, Clarence LaVaugh Franklin, aka &ldquo;C.L.&rdquo;, was a baptist pastor who, through lack of a steady position, preached from town to town, going from church to church in the area. By 1944, as many racism and poverty-stricken African Americans did, the Franklins moved north. <br />The large family went first to Buffalo (New York) but settled in Detroit (Michigan) in 1947. C.L. was entrusted a New Bethel Baptist church there. Its attendance soon multiplied. The mother, Barbara Franklin (n&eacute;e Siggers), left her unfaithful husband in 1948; she went back to Buffalo with Vaughn, one of Aretha&rsquo;s half-brothers. She only saw her other children on holidays and died of a heart attack on March 7, 1952. Grandmother Rachel took care of the children&rsquo;s education after Barbara&rsquo;s passing.<br /></span><span class=Soustitre>GOSPEL IN DETROIT</span><span class=Texte><br />Mahalia Jackson was the most famous post-war gospel singer. She often visited Aretha and helped the family(1). The young child started singing in her father&rsquo;s church at the age of ten and learnt to play the piano by ear, on her own. She left Northern High School College when she was thirteen. Many African Americans had come from the South to seek work in the capital city of the US automobile industry and so Baptist culture had spread in Detroit. For over a century this Protestant religion had widely contributed to the organisation, culture, emancipation and continuing faith of African American people. <br />In the 1950s, Baptist preaching (as well as Methodist and Pentecostal) often carried a highly-emotional charge and C. L. Franklin excelled in expressing pathos. Taking along his team of gospel singers, the reverend was fast becoming a clergy celebrity. He was earning lump sums preaching around the country and Aretha soon became his official solo gospel singer. <br />She used to start her performances with &ldquo;Jesus, Be a Fence Around Me&rdquo; and the reverend also became her manager when she was just twelve. Like Frankie Lymon before her, or Michael Jackson and Dennis Brown later, she was already a child star, constantly on tour. She delivered powerful, spontaneous renditions, often bringing the congregation to tears, using vocal improvisation techniques also found in blues, jazz and gospel: various ornamentations such as melisma, appogiattura, taking the melody up one octave, the use of the seventh minor note, etc. <br />This musical language was also used by her father. C.L. Franklin had become &ldquo;The million dollar voice&rdquo; and the simultaneous success of his daughter easily obtained a recording contract with ex-African Methodist Episcopal Church preacher Joe Von Battle (born Joseph Battle), who then ran a key record shop in Detroit. <br />Von Battle had started recording and issuing gospel records in 1948 (as well as John Lee Hooker&rsquo;s &ldquo;Boogie Rambler/No More Doggin&rsquo;&rdquo; blues tunes) and released two of Aretha&rsquo;s father&rsquo;s preaching records in 1956 (both parts of &ldquo;Old Ship of Zion&rdquo; and &ldquo;I&rsquo;m Going Through&rdquo;). He recorded nine titles (opening Disc One here) by the girl, at the same time as more by her father, at the family&rsquo;s New Bethel Baptist Church. <br />In early 1957 he issued Never Grow Old with Grow Closer on the B-side. Recorded gospel was going through a strong revival at the time. There were, among others, the great Five Blind Boys of Alabama and especially Mahalia Jackson and Clara Ward &mdash; who had a lasting, non-official relationship with C.L. Franklin and was de facto Aretha&rsquo;s mother-in-law. Until 1958, Clara Ward and the Ward Singers were constantly touring with Aretha and her father; Clara became a role model for the teenager, who was also much influenced by Dinah Washington. <br />Between 1956 and 1959 Joe Von Battle released at least sixty-three two-sided 78RPM records by C.L. Franklin preaching and singing, which he reissued consistently until 1966. The album Spirituals (circa 1958) contained five tracks by Aretha, including Take my Hand Precious Lord, Mahalia Jackson&rsquo;s emblematic song, as well as four by C.L. (plus two by midget Sammie Bryant). Their show attracted people like Jackie Wilson, Sam Cooke and Martin Luther King, with whom they went on tour. Von Battle issued more gospel recordings documenting her early days. All of these are included here. <br /></span><span class=Soustitre>BLUES, JAZZ AND POP AT COLUMBIA</span><span class=Texte><br />It was meeting Sam Cooke in California in 1958 that gave the singer a desire to try her luck in pop music. Following a career as a successful gospel singer, Sam Cooke had tried pop songs in 1956 and by 1957 he reached Number One with &ldquo;You Send Me,&rdquo; a controversial change of style criticised by the religious &mdash; but which made his fortune. <br />Shortly after her eighteenth birthday, Aretha said she wanted to follow his example. Her father then had her record a demo tape that convinced Berry Gordy, the independent lyric writer who had just founded Tamla-Motown Records. But in the spring of 1960, the Reverend Franklin preferred to accept an offer from the legendary John Hammond (who had discovered Bessie Smith and Billie Holiday, among others) at Columbia. <br />Hammond had been tipped off about Aretha by composer Curtis Reginald Lewis, who got two songs on the forthcoming album by way of a thank you. Several songs were offered to Aretha, among which were six by John Leslie McFarland. A composer and arranger, McFarland had written several tunes for Bill Haley and had just written &ldquo;Stuck on You,&rdquo; the thirteenth Number One record by Elvis Presley, which was issued in March, 1960, right at the time Hammond was looking for a suitable team for Aretha. <br />The young woman moved to New York City and went into the studio with Ray Bryant, a pianist, arranger and composer with a gospel background. Bryant was also the house pianist in his home city of Philadelphia&rsquo;s Blue Note Club, where he&rsquo;d backed Lester Young, Charlie Parker, Sonny Stitt and Miles Davis. He subsequently played with Dizzy Gillespie for four months and also recorded with Miles and Sonny Rollins, Tiny Grimes and Carmen McRae. He&rsquo;d moved to New York in 1959, sitting in on many sessions, including Ella Fitzgerald, before signing with John Hammond at Columbia, too. <br />Together, they created Aretha Franklin&rsquo;s first album, twelve gems with plain, understated backing tracks that can easily be listed among the greatest masterpieces of the undisputed Queen of Soul-to-be, a true titan of American music history. <br />Her remarkable first pop single, Today I Sing the Blues/Love Is The Only Thing, was released in October, 1960 and charted in the R&amp;B top ten. Her renditions shine with heartfelt, apt power. These feelings of love were rarely expressed with such radiance but in spite of astounding tunes like Maybe I&rsquo;m a Fool and the excellent song about faith, Are You Sure, the album Aretha with The Ray Bryant Combo, released on February 27, 1961, got nowhere. Aretha has never ceased to record ever since, but she only hit glory six years later with Atlantic Records. So what happened in between?<br /></span><span class=Soustitre><br />THE ELECTRIFYING ARETHA FRANKLIN </span><span class=Texte><br />Disappointed by this commercial failure, producer John Hammond changed his team of musicians and called in arranger Richard Wess, who had worked with mainstream singers such as Bobby Darin. This white singer dreamt of singing rock and roll like Elvis Presley but he made it with well-crafted pop tunes with a strong beat (well focussed but somewhat lacking in scope) thanks to his arrangers &mdash; which included Wess. <br />Richard Wess specialised in mainstream pop: slick violin arrangements (Just For You, That Lucky Old Sun) &amp; swing style wind/brass riffs outdated by at least ten years (such as on Ac-Cent-Tchu-Ate the Positive, which was also recorded by Gene Vincent, in 1959(2)). The Electrifying Aretha Franklin was released just a week before the singer&rsquo;s twentieth birthday. <br />In retrospect, John Hammond made a mistake as an artistic director when he hired Wess for this production, at a time when true, pure soul music was on the rise all over the country (listen to Roots of Soul - 1928-1962 and New Orleans Roots of Soul - 1941-1962 in this series). The ponderous style of arrangements indisputably damage Aretha&rsquo;s inflamed, impassioned and self-sufficient renditions, as can be verified by listening to her brilliant, plainer first studio album cut a year earlier (Disc 1). <br />However, more often than not, this young woman&rsquo;s genius managed to transcend the producer and the arranger&rsquo;s mistaken musical preferences (i.e. on Nobody Like You, Exactly Like You). Her vocal power and prowess often pierces through the walls of violins, allowing them to weaken her fantastic energy only slightly. The single Rock-A-Bye Your Baby With a Dixie Melody sold a little.<br />Ironically, it was her follow-up album, which contains even more sultry arrangements, that gave her a first taste of success, a relative achievement that allowed her to keep on recording. The album was marketed as mainstream pop and aimed more at Patti Page or perhaps Frank Sinatra record buyers than Ike &amp; Tina Turner or Etta James&rsquo; soul market. <br />Issued on March 13, 1962 The Tender, the Moving, the Swinging Aretha Franklin charted at #69 in Billboard. Columbia then produced several uneven albums before handing her over to Atlantic, the legendary and dominant record label of African American music, which, thankfully and predictably, turned Aretha Franklin into the fabulous, undisputed Queen of Soul that she is known and revered as today.<br /></span><span class=Soustitre>Bruno Blum</span><span class=Texte> </span><span class=Source>September, 2018.<br />Thanks to Chris Carter for proofreading.<br />&copy; FRÉMEAUX &amp; ASSOCIÉS 2018<br />1. Mahalia Jackson&rsquo;s complete works are available in this series.<br />2. Read the booklet and listen to Gene Vincent - Volume 2, 1958-1962 in this series.<br /></span><span class=Texte><br /></span><span class=Soustitre2>The Indispensable Aretha Franklin 1956-1962</span><span class=Texte><br /><strong>Disc 1 <br />SONGS OF FAITH</strong><br />All tracks recorded live by Joseph Battle as Joe Von Battle, New Bethel Baptist Church, 4210 Hastings Street, Detroit, Michigan, late 1956.<br />1. There Is A Fountain Filled With Blood<br />(William Cowper)<br />2. Take My Hand Precious Lord (Part One)<br />(Thomas Andrew Dorsey)<br />3. Take My Hand Precious Lord (Part Two)<br />(Thomas Andrew Dorsey)<br />4. You Grow Closer<br />(Aretha Louise Franklin)<br />5. Never Grow Old <br />(unknown)<br />6. The Day Is Past And Gone<br />(unknown, translated by John M. Neale)<br />7. He Will Wash You White As Snow<br />(unknown)<br />8. While The Blood Runs Warm<br />(unknown, attributed to Ralph Basso, Jr. aka Ralph Bass, Alphonso Thompson aka Sonny Thompson, Harold Eugene Smith)<br />9. Yield Not To Temptation<br />(unknown, attributed to Aretha Louise Franklin, Ralph Basso, Jr. aka Ralph Bass, Alphonso Thompson aka Sonny Thompson)<br />Aretha Louise Franklin, v, p; possibly James Cleveland, org; vocal choir including Aretha&rsquo;s brother and sisters Erma Franklin, Carolyn Franklin and Cecil Franklin on 7.<br /><strong>ARETHA WITH THE RAY BRYANT COMBO</strong><br />All tracks produced by John Henry Hammond II as John Hammond and arranged by John Leslie McFarland except 10 &amp; 14 by Curtis Reginald Lewis.<br />10. Today I Sing the Blues<br />(Curtis Reginald Lewis)<br />11. Love Is The Only Thing<br />(John Leslie McFarland)<br />12. Right Now<br />(John Leslie McFarland)<br />13. Over The Rainbow<br />(Harold Arlen, Isidore Hochberg aka<br />&nbsp;Edgar Yipsel Harburg aka Yip Harburg)<br />Aretha Louise Franklin-v; Tyree Glenn-tb; Clifton Best aka Skeeter-g on 10; Ray Bryant-p; William Lee aka Bill Lee-b; James Osie Johnson-d. Paul Owens-harmony v on 11. August 1, 1960.<br />14. All Night Long<br />(Curtis Reginald Lewis)<br />15. (Blue) By Myself<br />(John Leslie McFarland, J. Bailey<br />Aretha Louise Franklin-v; Quentin Jackson-tb; Albert Omega Sears as Big Al Sears-ts; Chauncey Westbrook as Lord Westbrook-g; Ray Bryant-p; William Lee aka Bill Lee-b; Belton Evans aka Sticks Evans-d. Produced by John Henry Hammond II as John Hammond, arranged by John Leslie McFarland. Columbia Recording Studios, 207 East 30th Street, New York City, November 17, 1960.<br />16. Sweet Lover<br />(John Leslie McFarland, Sidney Wyche)<br />17. Won&rsquo;t Be Long<br />(John Leslie McFarland) <br />Aretha Louise Franklin-v, p on 17; Ray Bryant-p; William Lee aka Bill Lee-b; Belton Evans aka Sticks Evans-d. Produced by John Henry Hammond II as John Hammond, arranged by John Leslie McFarland. Columbia Recording Studios, 207 East 30th Street, New York City, November 29, 1960.<br />18. It Ain&rsquo;t Necessarily So<br />(Jacob Bruskin Gershowitz aka George Jacob Gershwin, Ira Gershowitz aka Ira Gerschwin)<br />Aretha Louise Franklin-v; Warren Luckey-ts; Chauncey Westbrook as Lord Westbrook-g; Ray Bryant-p; William Lee aka Bill Lee-b; Belton Evans aka Sticks Evans-d. Columbia Recording Studios, 207 East 30th Street, New York City, December 19, 1960.<br />19. Who Needs You?<br />(Eleanora Fagan aka Billie Holiday, Jeanne Burns)<br />20. Are You Sure<br />(Robert Reiniger Meredith Willson)<br />21. Maybe I&rsquo;m a Fool<br />(John Leslie McFarland)<br />Aretha Louise Franklin-v, p; Albert Omega Sears as Big Al Sears-ts; Chauncey Leon Westbrook as Lord Westbrook-g; Milton Hinton-b; Belton Evans aka Sticks Evans-d. Columbia Recording Studios, 207 East 30th Street, New York City, January 10, 1961<br /><strong>B-SIDES</strong><br />22. Operation Heartbreak <br />(Alfred Kasha, Alan Thomas, Curtis Williams)<br />23. Trouble in Mind<br />(Richard Marigny Jones)<br />Aretha Louise Franklin-v, p; Uncredited musicians. Produced by John Hammond, arranged by Richard Wess. Columbia Recording Studios, 799 Seventh Avenue, New York, circa 1961.<br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><strong>Disc 2 &nbsp;<br />THE ELECTRIFYING ARETHA FRANKLIN</strong><br />Released on March 19, 1962. <br />Produced by John Hammond, arranged by Richard Wess. <br />1. You Made Me Love You (Joe McCarthy, James Vincent Monaco)<br />2. I Told You So (John Leslie McFarland)<br />3. Rock-A-Bye Your Baby With a Dixie Melody (Sam M. Lewis, Jean Schwartz, Joe Young)<br />4. Nobody Like You (James Cleveland)<br />5. Exactly Like You (Jimmy McHugh, Dorothy Fields)<br />6. It&rsquo;s So Heartbreaking (John Leslie McFarland)<br />7. Rough Lover&rdquo; (John Leslie McFarland) 2:48<br />8. Blue Holiday (Willie Denson, Luther Dixon)<br />9. Just for You (J. Bailey, John Leslie McFarland)<br />10. That Lucky Old Sun (Just Rolls Around Heaven All Day) (James Lamont Gillespie as Haven Gillespie, Harry Beasley Smith)<br />11. I Surrender, Dear (Harry Barris, Gordon Clifford) <br />12 Ac-Cent-Tchu-Ate the Positive (Hyman Arluck aka Harold Arlen, John Herndon Mercer aka Johnny Mercer) <br />Aretha Louise Franklin-v, p; uncredited musicians. Columbia Recording Studios, 799 Seventh Avenue, New York, July 11, 1961; August 16, 1961; November 7, 1961; December 21, 1961; January 25, 1962.<br /><strong>THE TENDER, THE MOVING, THE SWINGING ARETHA FRANKLIN </strong><br />Released on August 13, 1962.<br />Produced and arranged by Robert Mersey, conductor.<br />13. Don&rsquo;t Cry, Baby (Saul Bernie, James P. Johnson, Stella Unger)<br />14. Try a Little Tenderness (James Campbell, Reginald Connelly, Harry M. Woods)<br />15. I Apologize (Al Hoffman, Al Goodhart, Ed Nelson)<br />16. Without the One You Love (Aretha Louise Franklin)<br />17. Look for the Silver Lining (Jerome Kern, B.G. DeSylva)<br />18. I&rsquo;m Sitting on Top of the World (Ray Henderson, Sam M. Lewis, Joe Young) <br />19. Just for a Thrill (Lil Hardin Armstrong, Don Raye)<br />20. God Bless the Child (Eleanora Fagan aka Billie Holiday, Arthur Herzog, Jr.) <br />21. I&rsquo;m Wandering (Berry Gordy, Jr., Tyran Carlo)<br />22. How Deep Is the Ocean (Israel Beilin as Irving Berlin)<br />23. I Don&rsquo;t Know You Anymore (Gary Geld, Peter Udell)<br />24. Lover Come Back to Me (Sigmund Romberg, Oscar Greeley Clenfenning Hammerstein II as Oscar Hammerstein) <br />Aretha Louise Franklin-v, p; uncredited musicians. Columbia Recording Studios, 799 Seventh Avenue, New York.<br />Reine de la Soul, Aretha Franklin fut sans doute plus encore : la Reine des Chanteuses Am&eacute;ricaines, un titre tr&egrave;s disput&eacute; auquel son impressionnante discographie peut ais&eacute;ment pr&eacute;tendre. Ce double album contient les six premi&egrave;res ann&eacute;es de ses enregistrements o&ugrave;, de vedette surdou&eacute;e du gospel &agrave; quatorze ans, elle devint l&rsquo;une des plus extraordinaires vocalistes de l&rsquo;histoire avec l&rsquo;intensit&eacute; des renversants &laquo;&thinsp;Today I Sing the Blues&thinsp;&raquo; ou &laquo;&thinsp;Maybe I&rsquo;m a Fool&thinsp;&raquo;. Bruno Blum raconte ici son histoire.&nbsp;&nbsp;&nbsp; <br /></span></p><p align=justify><span class=Texte><strong>Patrick FRÉMEAUX </strong><br />&laquo;&thinsp;Aretha a contribu&eacute; &agrave; d&eacute;finir l&rsquo;exp&eacute;rience am&eacute;ricaine. Dans sa voix on a pu ressentir notre histoire, toute notre histoire et dans toutes ses nuances &mdash; notre puissance et notre douleur, notre noirceur et notre lumi&egrave;re, notre qu&ecirc;te pour la r&eacute;demption et notre respect durement gagn&eacute;. Que la Reine de la Soul repose en paix &eacute;ternellement.&thinsp;&raquo;<br /><strong>Barack Obama</strong></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>Aretha Franklin was the Queen of Soul and probably much more: the Queen of American singers, a much- disputed title her impressive discography can easily claim. This double album includes the first six years of her recordings, going forward from her beginnings as an exceptionally gifted gospel singer aged fourteen. She went on to become one of the most extraordinary vocalists in music history, thanks to the intensity of astounding recordings like &ldquo;Today I Sing the Blues&rdquo; or &ldquo;Maybe I&rsquo;m a Fool.&rdquo; Bruno Blum tells her story.&nbsp;&nbsp; &nbsp;<br />&nbsp;&nbsp; &nbsp;<strong>Patrick FRÉMEAUX </strong><br />&ldquo;Aretha helped define the American experience. In her voice, we could feel our history, all of it and in every shade &mdash; our power and our pain, our darkness and our light, our quest for redemption and our hard-won respect. May the Queen of Soul rest in eternal peace.&rdquo;<br />&nbsp;&nbsp; &nbsp;<strong>Barack Obama</strong><br /></span><span class=Soustitre2>Disc 1</span><span class=Texte><br /></span><span class=Soustitre>SONGS OF FAITH</span><span class=Texte><br />&#8199;1. There Is a Fountain Filled with Blood &nbsp;&nbsp; &nbsp;4&rsquo;27<br />&#8199;2. Take my Hand Precious Lord (Part One) &nbsp;&nbsp; &nbsp;3&rsquo;23<br />&#8199;3. Take my Hand Precious Lord (Part Two) &nbsp;&nbsp; &nbsp;2&rsquo;51<br />&#8199;4. You Grow Closer &nbsp;&nbsp; &nbsp;2&rsquo;42<br />&#8199;5. Never Grow Old &nbsp;&nbsp; &nbsp;2&rsquo;55<br />&#8199;6. The Day Is Past and Gone &nbsp;&nbsp; &nbsp;4&rsquo;58<br />&#8199;7. He Will Wash You White as Snow &nbsp;&nbsp; &nbsp;4&rsquo;19<br />&#8199;8. While the Blood Runs Warm &nbsp;&nbsp; &nbsp;3&rsquo;05<br />&#8199;9. Yield Not to Temptation &nbsp;&nbsp; &nbsp;2&rsquo;58<br /></span><span class=Soustitre>ARETHA WITH THE RAY BRYANT COMBO</span><span class=Texte><br />10. Today I Sing the Blues &nbsp;&nbsp; &nbsp;2&rsquo;46<br />11. Love Is the Only Thing &nbsp;&nbsp; &nbsp;2&rsquo;43<br />12. Right Now &nbsp;&nbsp; &nbsp;2&rsquo;22<br />13. Over the Rainbow &nbsp;&nbsp; &nbsp;2&rsquo;38<br />14. All Night Long &nbsp;&nbsp; &nbsp;3&rsquo;05<br />15. (Blue) By Myself &nbsp;&nbsp; &nbsp;2&rsquo;38<br />16. Sweet Lover &nbsp;&nbsp; &nbsp;3&rsquo;22<br />17. Won&rsquo;t Be Long &nbsp;&nbsp; &nbsp;3&rsquo;20<br />18. It Ain&rsquo;t Necessarily So &nbsp;&nbsp; &nbsp;3&rsquo;07<br />19. Who Needs You? &nbsp;&nbsp; &nbsp;2&rsquo;50<br />20. Are You Sure &nbsp;&nbsp; &nbsp;2&rsquo;40<br />21. Maybe I&rsquo;m a Fool &nbsp;&nbsp; &nbsp;3&rsquo;16<br /></span><span class=Soustitre>B-SIDES</span><span class=Texte><br />22. Operation Heartbreak &nbsp;&nbsp; &nbsp;2&rsquo;59<br />23. Trouble in Mind &nbsp;&nbsp; &nbsp;2&rsquo;14<br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre2>Disc 2</span><span class=Texte><br /></span><span class=Soustitre>THE ELECTRIFYING ARETHA FRANKLIN</span><span class=Texte><br />&#8199;1. You Made Me Love You &nbsp;&nbsp; &nbsp;2&rsquo;16<br />&#8199;2. I Told You So &nbsp;&nbsp; &nbsp;2&rsquo;41<br />&#8199;3. Rock-A-Bye Your Baby with a Dixie Melody &nbsp;&nbsp; &nbsp;2&rsquo;22<br />&#8199;4. Nobody Like You &nbsp;&nbsp; &nbsp;2&rsquo;20<br />&#8199;5. Exactly Like You &nbsp;&nbsp; &nbsp;2&rsquo;34<br />&#8199;6. It&rsquo;s So Heartbreaking&nbsp;&nbsp; &nbsp; 2&rsquo;38<br />&#8199;7. Rough Lover &nbsp;&nbsp; &nbsp;2&rsquo;45<br />&#8199;8. Blue Holiday &nbsp;&nbsp; &nbsp;2&rsquo;52<br />&#8199;9. Just for You &nbsp;&nbsp; &nbsp;2&rsquo;19<br />10. That Lucky Old Sun (Just Rolls Around Heaven All Day) &nbsp;&nbsp; &nbsp;3&rsquo;18<br />11. I Surrender Dear &nbsp;&nbsp; &nbsp;2&rsquo;44<br />12. Ac-Cent-Tchu-Ate the Positive &nbsp;&nbsp; &nbsp;2&rsquo;16<br /></span><span class=Soustitre>THE TENDER, THE MOVING, THE SWINGING ARETHA FRANKLIN</span><span class=Texte><br />13. Don&rsquo;t Cry, Baby &nbsp;&nbsp; &nbsp;3&rsquo;20<br />14. Try a Little Tenderness &nbsp;&nbsp; &nbsp;3&rsquo;14<br />15. I Apologize &nbsp;&nbsp; &nbsp;2&rsquo;52<br />16. Without the One You Love &nbsp;&nbsp; &nbsp;2&rsquo;46<br />17. Look for the Silver Lining &nbsp;&nbsp; &nbsp;3&rsquo;03<br />18. I&rsquo;m Sitting on Top of the World &nbsp;&nbsp; &nbsp;2&rsquo;41<br />19. Just for a Thrill &nbsp;&nbsp; &nbsp;2&rsquo;31<br />20. God Bless the Child &nbsp;&nbsp; &nbsp;3&rsquo;01<br />21. I&rsquo;m Wandering &nbsp;&nbsp; &nbsp;3&rsquo;26<br />22. How Deep Is the Ocean &nbsp;&nbsp; &nbsp;2&rsquo;47<br />23. I Don&rsquo;t Know You Anymore &nbsp;&nbsp; &nbsp;2&rsquo;48<br />24. Lover Come Back to Me &nbsp;&nbsp; &nbsp;2&rsquo;35<br /></span></p>"
      "dwf_titres" => array:47 [
        0 => array:6 [ …6]
        1 => array:6 [ …6]
        2 => array:6 [ …6]
        3 => array:6 [ …6]
        4 => array:6 [ …6]
        5 => array:6 [ …6]
        6 => array:6 [ …6]
        7 => array:6 [ …6]
        8 => array:6 [ …6]
        9 => array:6 [ …6]
        10 => array:6 [ …6]
        11 => array:6 [ …6]
        12 => array:6 [ …6]
        13 => array:6 [ …6]
        14 => array:6 [ …6]
        15 => array:6 [ …6]
        16 => array:6 [ …6]
        17 => array:6 [ …6]
        18 => array:6 [ …6]
        19 => array:6 [ …6]
        20 => array:6 [ …6]
        21 => array:6 [ …6]
        22 => array:6 [ …6]
        23 => array:6 [ …6]
        24 => array:6 [ …6]
        25 => array:6 [ …6]
        26 => array:6 [ …6]
        27 => array:6 [ …6]
        28 => array:6 [ …6]
        29 => array:6 [ …6]
        30 => array:6 [ …6]
        31 => array:6 [ …6]
        32 => array:6 [ …6]
        33 => array:6 [ …6]
        34 => array:6 [ …6]
        35 => array:6 [ …6]
        36 => array:6 [ …6]
        37 => array:6 [ …6]
        38 => array:6 [ …6]
        39 => array:6 [ …6]
        40 => array:6 [ …6]
        41 => array:6 [ …6]
        42 => array:6 [ …6]
        43 => array:6 [ …6]
        44 => array:6 [ …6]
        45 => array:6 [ …6]
        46 => array:6 [ …6]
      ]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/3/5/5/19355-home_default.jpg"
      "cover" => array:9 [
        "bySize" => array:6 [ …6]
        "small" => array:3 [ …3]
        "medium" => array:3 [ …3]
        "large" => array:3 [ …3]
        "legend" => null
        "cover" => "1"
        "id_image" => "19355"
        "position" => "1"
        "associatedVariants" => []
      ]
      "authors" => []
      "performers" => array:1 [
        0 => array:5 [ …5]
      ]
      "images" => array:1 [
        0 => array:9 [ …9]
      ]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40
      +id: 1
      +name: "Français (French)"
      +iso_code: "fr"
      +locale: "fr-FR"
      +language_code: "fr"
      +date_format_lite: "d/m/Y"
      +date_format_full: "d/m/Y H:i:s"
      +is_rtl: "0"
      +active: "1"
      #webserviceParameters: array:2 [
        "objectNodeName" => "language"
        "objectsNodeName" => "languages"
      ]
      #translationsFilesAndVars: array:5 [
        "fields" => "_FIELDS"
        "errors" => "_ERRORS"
        "admin" => "_LANGADM"
        "pdf" => "_LANGPDF"
        "tabs" => "tabs"
      ]
      #id_lang: null
      #id_shop: 1
      +id_shop_list: []
      #get_shop_from_context: true
      #table: "lang"
      #identifier: "id_lang"
      #fieldsRequired: array:4 [
        0 => "name"
        1 => "iso_code"
        2 => "date_format_lite"
        3 => "date_format_full"
      ]
      #fieldsSize: array:6 [
        "name" => 32
        "iso_code" => 2
        "locale" => 5
        "language_code" => 5
        "date_format_lite" => 32
        "date_format_full" => 32
      ]
      #fieldsValidate: array:8 [
        "name" => "isGenericName"
        "iso_code" => "isLanguageIsoCode"
        "locale" => "isLocale"
        "language_code" => "isLanguageCode"
        "active" => "isBool"
        "is_rtl" => "isBool"
        "date_format_lite" => "isPhpDateFormat"
        "date_format_full" => "isPhpDateFormat"
      ]
      #fieldsRequiredLang: []
      #fieldsSizeLang: []
      #fieldsValidateLang: []
      #tables: []
      #image_dir: null
      #image_format: "jpg"
      #translator: null
      #def: array:4 [
        "table" => "lang"
        "primary" => "id_lang"
        "fields" => array:8 [ …8]
        "classname" => "Language"
      ]
      #update_fields: null
      +force_id: false
    }
    -arrayAccessList: ArrayObject {#636
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [
        "add_to_cart_url" => array:2 [ …2]
        "id" => array:2 [ …2]
        "attributes" => array:2 [ …2]
        "show_price" => array:2 [ …2]
        "weight_unit" => array:2 [ …2]
        "url" => array:2 [ …2]
        "canonical_url" => array:2 [ …2]
        "condition" => array:2 [ …2]
        "delivery_information" => array:2 [ …2]
        "embedded_attributes" => array:2 [ …2]
        "file_size_formatted" => array:2 [ …2]
        "attachments" => array:2 [ …2]
        "quantity_discounts" => array:2 [ …2]
        "reference_to_display" => array:2 [ …2]
        "grouped_features" => array:2 [ …2]
        "seo_availability" => array:2 [ …2]
        "labels" => array:2 [ …2]
        "ecotax" => array:2 [ …2]
        "flags" => array:2 [ …2]
        "main_variants" => array:2 [ …2]
        "specific_references" => array:2 [ …2]
        "id_product" => array:2 [ …2]
        "id_supplier" => array:2 [ …2]
        "id_manufacturer" => array:2 [ …2]
        "id_category_default" => array:2 [ …2]
        "id_shop_default" => array:2 [ …2]
        "id_tax_rules_group" => array:2 [ …2]
        "on_sale" => array:2 [ …2]
        "online_only" => array:2 [ …2]
        "ean13" => array:2 [ …2]
        "isbn" => array:2 [ …2]
        "upc" => array:2 [ …2]
        "quantity" => array:2 [ …2]
        "minimal_quantity" => array:2 [ …2]
        "low_stock_threshold" => array:2 [ …2]
        "low_stock_alert" => array:2 [ …2]
        "price" => array:2 [ …2]
        "wholesale_price" => array:2 [ …2]
        "unity" => array:2 [ …2]
        "unit_price_ratio" => array:2 [ …2]
        "additional_shipping_cost" => array:2 [ …2]
        "reference" => array:2 [ …2]
        "supplier_reference" => array:2 [ …2]
        "location" => array:2 [ …2]
        "width" => array:2 [ …2]
        "height" => array:2 [ …2]
        "depth" => array:2 [ …2]
        "weight" => array:2 [ …2]
        "out_of_stock" => array:2 [ …2]
        "additional_delivery_times" => array:2 [ …2]
        "quantity_discount" => array:2 [ …2]
        "customizable" => array:2 [ …2]
        "uploadable_files" => array:2 [ …2]
        "text_fields" => array:2 [ …2]
        "active" => array:2 [ …2]
        "redirect_type" => array:2 [ …2]
        "id_type_redirected" => array:2 [ …2]
        "available_for_order" => array:2 [ …2]
        "available_date" => array:2 [ …2]
        "show_condition" => array:2 [ …2]
        "indexed" => array:2 [ …2]
        "visibility" => array:2 [ …2]
        "cache_is_pack" => array:2 [ …2]
        "cache_has_attachments" => array:2 [ …2]
        "is_virtual" => array:2 [ …2]
        "cache_default_attribute" => array:2 [ …2]
        "date_add" => array:2 [ …2]
        "date_upd" => array:2 [ …2]
        "advanced_stock_management" => array:2 [ …2]
        "pack_stock_type" => array:2 [ …2]
        "state" => array:2 [ …2]
        "price_code" => array:2 [ …2]
        "id_shop" => array:2 [ …2]
        "id_lang" => array:2 [ …2]
        "description" => array:2 [ …2]
        "description_short" => array:2 [ …2]
        "link_rewrite" => array:2 [ …2]
        "meta_description" => array:2 [ …2]
        "meta_keywords" => array:2 [ …2]
        "meta_title" => array:2 [ …2]
        "name" => array:2 [ …2]
        "available_now" => array:2 [ …2]
        "available_later" => array:2 [ …2]
        "delivery_in_stock" => array:2 [ …2]
        "delivery_out_stock" => array:2 [ …2]
        "new" => array:2 [ …2]
        "id_product_attribute" => array:2 [ …2]
        "product_attribute_minimal_quantity" => array:2 [ …2]
        "id_image" => array:2 [ …2]
        "legend" => array:2 [ …2]
        "manufacturer_name" => array:2 [ …2]
        "category_default" => array:2 [ …2]
        "orderprice" => array:2 [ …2]
        "allow_oosp" => array:2 [ …2]
        "category" => array:2 [ …2]
        "category_name" => array:2 [ …2]
        "link" => array:2 [ …2]
        "attribute_price" => array:2 [ …2]
        "price_tax_exc" => array:2 [ …2]
        "price_without_reduction" => array:2 [ …2]
        "price_without_reduction_without_tax" => array:2 [ …2]
        "reduction" => array:2 [ …2]
        "reduction_without_tax" => array:2 [ …2]
        "specific_prices" => array:2 [ …2]
        "quantity_all_versions" => array:2 [ …2]
        "features" => array:2 [ …2]
        "virtual" => array:2 [ …2]
        "pack" => array:2 [ …2]
        "packItems" => array:2 [ …2]
        "nopackprice" => array:2 [ …2]
        "customization_required" => array:2 [ …2]
        "rate" => array:2 [ …2]
        "tax_name" => array:2 [ …2]
        "ecotax_rate" => array:2 [ …2]
        "classic_pack_price_tax_exc" => array:2 [ …2]
        "is_ap5_bundle" => array:2 [ …2]
        "dwf_parent_product" => array:2 [ …2]
        "dwf_distinctions" => array:2 [ …2]
        "dwf_livret" => array:2 [ …2]
        "dwf_titres" => array:2 [ …2]
        "unit_price" => array:2 [ …2]
        "price_digital" => array:2 [ …2]
        "price_cd" => array:2 [ …2]
        "img_url" => array:2 [ …2]
        "cover" => array:2 [ …2]
        "authors" => array:2 [ …2]
        "performers" => array:2 [ …2]
        "images" => array:2 [ …2]
        "has_discount" => array:2 [ …2]
        "discount_type" => array:2 [ …2]
        "discount_percentage" => array:2 [ …2]
        "discount_percentage_absolute" => array:2 [ …2]
        "discount_amount" => array:2 [ …2]
        "discount_amount_to_display" => array:2 [ …2]
        "price_amount" => array:2 [ …2]
        "regular_price_amount" => array:2 [ …2]
        "regular_price" => array:2 [ …2]
        "discount_to_display" => array:2 [ …2]
        "unit_price_full" => array:2 [ …2]
        "show_availability" => array:2 [ …2]
        "availability_message" => array:2 [ …2]
        "availability_date" => array:2 [ …2]
        "availability" => array:2 [ …2]
      ]
    }
    -arrayAccessIterator: ArrayIterator {#678
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [
        "add_to_cart_url" => array:2 [ …2]
        "id" => array:2 [ …2]
        "attributes" => array:2 [ …2]
        "show_price" => array:2 [ …2]
        "weight_unit" => array:2 [ …2]
        "url" => array:2 [ …2]
        "canonical_url" => array:2 [ …2]
        "condition" => array:2 [ …2]
        "delivery_information" => array:2 [ …2]
        "embedded_attributes" => array:2 [ …2]
        "file_size_formatted" => array:2 [ …2]
        "attachments" => array:2 [ …2]
        "quantity_discounts" => array:2 [ …2]
        "reference_to_display" => array:2 [ …2]
        "grouped_features" => array:2 [ …2]
        "seo_availability" => array:2 [ …2]
        "labels" => array:2 [ …2]
        "ecotax" => array:2 [ …2]
        "flags" => array:2 [ …2]
        "main_variants" => array:2 [ …2]
        "specific_references" => array:2 [ …2]
        "id_product" => array:2 [ …2]
        "id_supplier" => array:2 [ …2]
        "id_manufacturer" => array:2 [ …2]
        "id_category_default" => array:2 [ …2]
        "id_shop_default" => array:2 [ …2]
        "id_tax_rules_group" => array:2 [ …2]
        "on_sale" => array:2 [ …2]
        "online_only" => array:2 [ …2]
        "ean13" => array:2 [ …2]
        "isbn" => array:2 [ …2]
        "upc" => array:2 [ …2]
        "quantity" => array:2 [ …2]
        "minimal_quantity" => array:2 [ …2]
        "low_stock_threshold" => array:2 [ …2]
        "low_stock_alert" => array:2 [ …2]
        "price" => array:2 [ …2]
        "wholesale_price" => array:2 [ …2]
        "unity" => array:2 [ …2]
        "unit_price_ratio" => array:2 [ …2]
        "additional_shipping_cost" => array:2 [ …2]
        "reference" => array:2 [ …2]
        "supplier_reference" => array:2 [ …2]
        "location" => array:2 [ …2]
        "width" => array:2 [ …2]
        "height" => array:2 [ …2]
        "depth" => array:2 [ …2]
        "weight" => array:2 [ …2]
        "out_of_stock" => array:2 [ …2]
        "additional_delivery_times" => array:2 [ …2]
        "quantity_discount" => array:2 [ …2]
        "customizable" => array:2 [ …2]
        "uploadable_files" => array:2 [ …2]
        "text_fields" => array:2 [ …2]
        "active" => array:2 [ …2]
        "redirect_type" => array:2 [ …2]
        "id_type_redirected" => array:2 [ …2]
        "available_for_order" => array:2 [ …2]
        "available_date" => array:2 [ …2]
        "show_condition" => array:2 [ …2]
        "indexed" => array:2 [ …2]
        "visibility" => array:2 [ …2]
        "cache_is_pack" => array:2 [ …2]
        "cache_has_attachments" => array:2 [ …2]
        "is_virtual" => array:2 [ …2]
        "cache_default_attribute" => array:2 [ …2]
        "date_add" => array:2 [ …2]
        "date_upd" => array:2 [ …2]
        "advanced_stock_management" => array:2 [ …2]
        "pack_stock_type" => array:2 [ …2]
        "state" => array:2 [ …2]
        "price_code" => array:2 [ …2]
        "id_shop" => array:2 [ …2]
        "id_lang" => array:2 [ …2]
        "description" => array:2 [ …2]
        "description_short" => array:2 [ …2]
        "link_rewrite" => array:2 [ …2]
        "meta_description" => array:2 [ …2]
        "meta_keywords" => array:2 [ …2]
        "meta_title" => array:2 [ …2]
        "name" => array:2 [ …2]
        "available_now" => array:2 [ …2]
        "available_later" => array:2 [ …2]
        "delivery_in_stock" => array:2 [ …2]
        "delivery_out_stock" => array:2 [ …2]
        "new" => array:2 [ …2]
        "id_product_attribute" => array:2 [ …2]
        "product_attribute_minimal_quantity" => array:2 [ …2]
        "id_image" => array:2 [ …2]
        "legend" => array:2 [ …2]
        "manufacturer_name" => array:2 [ …2]
        "category_default" => array:2 [ …2]
        "orderprice" => array:2 [ …2]
        "allow_oosp" => array:2 [ …2]
        "category" => array:2 [ …2]
        "category_name" => array:2 [ …2]
        "link" => array:2 [ …2]
        "attribute_price" => array:2 [ …2]
        "price_tax_exc" => array:2 [ …2]
        "price_without_reduction" => array:2 [ …2]
        "price_without_reduction_without_tax" => array:2 [ …2]
        "reduction" => array:2 [ …2]
        "reduction_without_tax" => array:2 [ …2]
        "specific_prices" => array:2 [ …2]
        "quantity_all_versions" => array:2 [ …2]
        "features" => array:2 [ …2]
        "virtual" => array:2 [ …2]
        "pack" => array:2 [ …2]
        "packItems" => array:2 [ …2]
        "nopackprice" => array:2 [ …2]
        "customization_required" => array:2 [ …2]
        "rate" => array:2 [ …2]
        "tax_name" => array:2 [ …2]
        "ecotax_rate" => array:2 [ …2]
        "classic_pack_price_tax_exc" => array:2 [ …2]
        "is_ap5_bundle" => array:2 [ …2]
        "dwf_parent_product" => array:2 [ …2]
        "dwf_distinctions" => array:2 [ …2]
        "dwf_livret" => array:2 [ …2]
        "dwf_titres" => array:2 [ …2]
        "unit_price" => array:2 [ …2]
        "price_digital" => array:2 [ …2]
        "price_cd" => array:2 [ …2]
        "img_url" => array:2 [ …2]
        "cover" => array:2 [ …2]
        "authors" => array:2 [ …2]
        "performers" => array:2 [ …2]
        "images" => array:2 [ …2]
        "has_discount" => array:2 [ …2]
        "discount_type" => array:2 [ …2]
        "discount_percentage" => array:2 [ …2]
        "discount_percentage_absolute" => array:2 [ …2]
        "discount_amount" => array:2 [ …2]
        "discount_amount_to_display" => array:2 [ …2]
        "price_amount" => array:2 [ …2]
        "regular_price_amount" => array:2 [ …2]
        "regular_price" => array:2 [ …2]
        "discount_to_display" => array:2 [ …2]
        "unit_price_full" => array:2 [ …2]
        "show_availability" => array:2 [ …2]
        "availability_message" => array:2 [ …2]
        "availability_date" => array:2 [ …2]
        "availability" => array:2 [ …2]
      ]
    }
    -methodCacheResults: []
  }
  1 => ProductListingLazyArray {#625
    -imageRetriever: ImageRetriever {#671
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#670}
    -productColorsRetriever: ProductColorsRetriever {#668}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#672
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1064"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302574820"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5748"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "328"
      "date_add" => "2021-10-21 20:48:08"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>Apr&egrave;s un concert &eacute;v&eacute;nement &agrave; Antibes Juan-les-Pins en juillet 1961, Ray Charles revient en France, cette fois ci &agrave; Paris, pour une s&eacute;rie de concerts m&eacute;morables en octobre 1961. Ce coffret, r&eacute;alis&eacute; par Jo&euml;l Dufour, sp&eacute;cialiste mondial de Brother Ray, a une valeur essentielle et historique. En effet, il regroupe les seules performances live de Ray Charles o&ugrave; il troque son piano pour l&rsquo;orgue Hammond. Par l&rsquo;interm&eacute;diaire des 25 pistes in&eacute;dites et bonus qui le composent, ce coffret nous fait red&eacute;couvrir sous un angle in&eacute;dit l&rsquo;art du Genius, imp&eacute;rial, g&eacute;n&eacute;reux et virtuose.&nbsp;</p><p align=justify><strong>Patrick FRÉMEAUX&nbsp;</strong></p><p align=justify><strong><br /></strong></p><p align=justify><p style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px; background-color: rgb(255, 255, 255);><strong>DIRECTION ARTISTIQUE : JOEL DUFOUR</strong></p><p style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px; background-color: rgb(255, 255, 255);><strong>DROITS : FREMEAUX &amp; ASSOCIES</strong></p><br /><em>After giving an eventful concert in Antibes/Juan-les-Pins in July &lsquo;61, Ray Charles went back to France in October, but this time to Paris for a series of memorable performances. This set was prepared by Jo&euml;l Dufour, one of the world&rsquo;s specialists in matters concerning Brother Ray, and its historic value makes it essential listening&hellip; because it contains the only live performances where Ray Charles swapped his piano for a Hammond organ. With 25 previously unreleased titles and bonuses, this special box provides a brand-new perspective of the man nicknamed the Genius, a generous, virtuoso musician who enjoyed an imperial reign. Patrick FRÉMEAUX </em><br />Ray Charles&rsquo; 1961 performances at the Palais des Sports in Paris (his only live recordings where he played organ throughout) PLUS 5 bonus tracks by the Ray Charles all-stars big band led by Hank Crawford Contains 25 previously unreleased tracks<br />CD 1 - THE RAY CHARLES ORCHESTRA (BONUS TRACKS) : STOCKHOLM SWEETNIN&rsquo;* &bull; WHISPER NOT*. RAY CHARLES &amp; HIS ORCHESTRA: THE OCTOBER 21, 1961, PERFORMANCE : ONE MINT JULEP &bull; FROM THE HEART &bull; MOANIN&rsquo;* &bull; LET THE GOOD TIMES ROLL* &bull; GEORGIA ON MY MIND* &bull; HALLELUJAH I LOVE HER SO* &bull; JUST FOR A THRILL &bull; MARGIE &bull; ALEXANDER&rsquo;S RAGTIME BAND* &bull; I BELIEVE TO MY SOUL* &bull; MY BONNIE* &bull; I WONDER &bull; STICKS AND STONES &bull; MY BABY (I LOVE HER, YES I DO) &bull; HIT THE ROAD JACK* &bull; COME RAIN OR COME SHINE &bull; WHAT&rsquo;D I SAY*. <br />CD 2 - THE RAY CHARLES ORCHESTRA (BONUS TRACKS) : DAT DERE* &bull; SOLITUDE*. RAY CHARLES &amp; HIS ORCHESTRA: THE OCTOBER 22, 1961, AFTERNOON PERFORMANC : ONE MINT JULEP* &bull; MOANIN&rsquo; &bull; DOODLIN&rsquo; &bull; FROM THE HEART* &bull; HALLELUJAH I LOVE HER SO* &bull; GEORGIA ON MY MIND* &bull; MARGIE* &bull; I&rsquo;VE GOT NEWS FOR YOU &bull; ALEXANDER&rsquo;S RAGTIME BAND &bull; I BELIEVE TO MY SOUL &bull; MY BONNIE &bull; I WONDER* &bull; YES INDEED &bull; MY BABY (I LOVE HER, YES I DO) &bull; HIT THE ROAD JACK &bull; I&rsquo;M GONNA MOVE TO THE OUTSKIRTS OF TOWN &bull; WHAT&rsquo;D I SAY. <br />CD 3 - THE RAY CHARLES ORCHESTRA (BONUS TRACK) : ROLL IN G*. RAY CHARLES &amp; HIS ORCHESTRA: THE OCTOBER 22, 1961, EVENING PERFORMANCE : ONE MINT JULEP* &bull; DOODLIN&rsquo;* &bull; MOANIN&rsquo;* &bull; LET THE GOOD TIMES ROLL &bull; COME RAIN OR COME SHINE &bull; HALLELUJAH I LOVE HER SO &bull; I&rsquo;M GONNA MOVE TO THE OUTSKIRTS OF TOWN &bull; MARGIE &bull; GEORGIA ON MY MIND &bull; ALEXANDER&rsquo;S RAGTIME BAND &bull; I WONDER &bull; MY BONNIE* &bull; MY BABY (I LOVE HER, YES I DO)* &bull; HIT THE ROAD JACK &bull; I BELIEVE TO MY SOUL &bull; WHAT&rsquo;D I SAY. <br />(* PREVIOUSLY UNRELEASED).<br />DIRECTION ARTISTIQUE : JO&Euml;L DUFOUR<br /></p></p><br><br>"
      "description_short" => "<h3>THE ONLY LIVE RECORDINGS WHERE RAY CHARLES PLAYED ORGAN THROUGHOUT, CONTAINS 25 PREVIOUSLY UNRELEASED TRACKS</h3>"
      "link_rewrite" => "ray-charles-the-complete-1961-paris-recordings"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Ray Charles - The Complete 1961 Paris Recordings "
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 328
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1064-18671"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1064&rewrite=ray-charles-the-complete-1961-paris-recordings&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:3 [
        0 => array:5 [ …5]
        1 => array:5 [ …5]
        2 => array:5 [ …5]
      ]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [
        5 => array:8 [ …8]
      ]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>FA5748 Ray Charles</h3><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>RAY CHARLES<br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>The Complete 1961<br />Paris Recordings</span><span class=Texte><br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Ray Charles&rsquo; 1961 <br />performances at the Palais des Sports in Paris <br />(his only live recordings where he played organ throughout)<br />PLUS 5 bonus tracks <br />by the Ray Charles all-stars big band led <br />by Hank Crawford</span><span class=Texte><br /><strong>Contains 25 previously unreleased tracks</strong><br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>Apr&egrave;s un concert &eacute;v&eacute;nement &agrave; Antibes Juan-les-Pins en juillet 1961, Ray Charles revient en France, cette fois ci &agrave; Paris, pour une s&eacute;rie de concerts m&eacute;morables en octobre 1961. Ce coffret, r&eacute;alis&eacute; par Jo&euml;l Dufour, sp&eacute;cialiste mondial de Brother Ray, a une valeur essentielle et historique. En effet, il regroupe les seules performances live de Ray Charles o&ugrave; il troque son piano pour l'orgue Hammond. Par l'interm&eacute;diaire des 25 pistes in&eacute;dites et bonus qui le composent, ce coffret nous fait red&eacute;couvrir sous un angle in&eacute;dit l'art du Genius, imp&eacute;rial, g&eacute;n&eacute;reux et virtuose.&nbsp;&nbsp; &nbsp;</span><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Patrick Fr&eacute;meaux</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>After giving an eventful concert in Antibes/Juan-les-Pins in July '61, Ray Charles went back to France in October, but this time to Paris for a series of memorable performances. This set was prepared by Jo&euml;l Dufour, one of the world's specialists in matters concerning Brother Ray, and its historic value makes it essential listening&hellip; because it contains the only live performances where Ray Charles swapped his piano for a Hammond organ. With 25 previously unreleased titles and bonuses, this special box provides a brand-new perspective of the man nicknamed the Genius, a generous, virtuoso musician who enjoyed an imperial reign.&nbsp;&nbsp; &nbsp;</span><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Patrick Fr&eacute;meaux</span><span class=Texte><br /></span><span class=Texte><br /></span><span class=Soustitre2><br />Ray Charles &ndash; The Complete 1961 Paris Recordings</span><span class=Texte><br /></span><span class=Soustitre>Par Jo&euml;l Dufour</span><span class=Texte><br />Ces enregistrements de trois concerts de Ray Charles &agrave; Paris en octobre 1961 tiennent une place tr&egrave;s particuli&egrave;re, et tout &agrave; fait essentielle, parmi tout ce qui a pu &ecirc;tre captur&eacute; de sa musique.<br />Car si, par bonheur, d&rsquo;autres enregistrements &laquo;&thinsp;live&thinsp;&raquo; ont &eacute;galement saisi l&rsquo;immense chanteur au sommet de son art, ceux-ci pr&eacute;sentent la sp&eacute;cificit&eacute; d&rsquo;&ecirc;tre les seuls qui soient issus de concerts o&ugrave; il avait substitu&eacute; &agrave; son piano un orgue Hammond, instrument qu&rsquo;il aura tr&egrave;s peu utilis&eacute; mais sur lequel il poss&eacute;dait, aussi, un style original particuli&egrave;rement pr&eacute;gnant. <br />Ray Charles venait de publier, avec un grand succ&egrave;s, son recueil &laquo;&thinsp;Genius + Soul = Jazz&thinsp;&raquo;, son seul album studio o&ugrave; il avait jou&eacute; exclusivement de l&rsquo;orgue et il souhaitait en interpr&eacute;ter une partie du r&eacute;pertoire sur sc&egrave;ne avec la m&ecirc;me instrumentation. Toutefois, en raison de son poids consid&eacute;rable, l&rsquo;orgue Hammond posait un &eacute;pineux probl&egrave;me de transport. Cela explique que Ray ne l&rsquo;avait fait installer sur sc&egrave;ne qu&rsquo;&agrave; Paris, o&ugrave; il devait jouer plusieurs jours cons&eacute;cutifs (du 20 au 22 octobre), tandis que c&rsquo;&eacute;tait au piano qu&rsquo;il &eacute;tait apparu lors des autres concerts de la tourn&eacute;e &ndash; pour lesquels il ne s&rsquo;&eacute;tait produit qu&rsquo;un seul jour dans la m&ecirc;me ville (&agrave; Zurich le 18 et &agrave; Lyon le 19).<br />En fait, il n&rsquo;est pas exag&eacute;r&eacute; d&rsquo;affirmer que l&rsquo;existence m&ecirc;me de ces enregistrements en public de Ray Charles &agrave; l&rsquo;orgue (sans parler de leur survie dans le temps) rel&egrave;ve du miracle, tant de s&eacute;rieux &eacute;l&eacute;ments contraires auraient pu emp&ecirc;cher leur mat&eacute;rialisation&hellip; <br />D&rsquo;abord il aura fallu que ces concerts &agrave; Paris se tiennent pr&eacute;cis&eacute;ment lors de la tr&egrave;s courte p&eacute;riode pendant laquelle le &laquo;&thinsp;Genius&thinsp;&raquo; ressentait une forte motivation &agrave; jouer de l&rsquo;orgue sur sc&egrave;ne (1). <br />De plus on peut consid&eacute;rer que c&rsquo;&eacute;tait d&eacute;j&agrave; une grande chance que Ray Charles ait pu effectivement venir en Europe afin d&rsquo;honorer son contrat pour cette tourn&eacute;e d&rsquo;octobre 1961, quand on sait qu&rsquo;il &eacute;tait alors constamment expos&eacute; &agrave; une arrestation en raison de son addiction &agrave; l&rsquo;h&eacute;ro&iuml;ne (il devait &ecirc;tre de nouveau arr&ecirc;t&eacute; d&egrave;s le 14 novembre). <br />Enfin, la menace d&rsquo;une annulation pure et simple des concerts parisiens au Palais des Sports avait plan&eacute; pendant plusieurs jours, en cons&eacute;quence directe des &eacute;v&egrave;nements tragiques qui se d&eacute;roulaient alors &agrave; Paris, en contrepoint des n&eacute;gociations pr&eacute;paratoires &agrave; l&rsquo;ind&eacute;pendance alg&eacute;rienne qui se tenaient entre le gouvernement fran&ccedil;ais du g&eacute;n&eacute;ral de Gaulle et le &laquo;&thinsp;gouvernement provisoire de la r&eacute;publique alg&eacute;rienne&thinsp;&raquo;, &eacute;manation du FLN (Front de Lib&eacute;ration Nationale). <br />Le 17 octobre 1961, &agrave; trois jours du premier concert programm&eacute; de Ray Charles dans la capitale, la violence avait atteint son paroxysme entre le FLN et la police, apr&egrave;s plusieurs mois d&rsquo;une escalade jalonn&eacute;e d&rsquo;assassinats de policiers auxquels avait r&eacute;pondu une r&eacute;action sauvage de forces de l&rsquo;ordre explicitement couvertes par leur hi&eacute;rarchie.&nbsp;&nbsp; &nbsp;<br />Pour la nuit de ce mardi 17 octobre, le FLN avait appel&eacute; tous les &laquo;&thinsp;FMA&thinsp;&raquo; (Fran&ccedil;ais Musulmans Alg&eacute;riens) &agrave; une manifestation de masse pacifique, avec femmes et enfants, en protestation contre le couvre-feu qui leur &eacute;tait impos&eacute;, &agrave; eux seuls, depuis le 5 octobre. Une foule &eacute;valu&eacute;e &agrave; entre 20&thinsp;000 et 30&thinsp;000 personnes d&eacute;ferla dans les rues de Paris. La r&eacute;pression fut f&eacute;roce (le nombre de morts reste encore un sujet controvers&eacute;), donnant lieu &agrave; des arrestations massives, environ 6 500 des personnes interpell&eacute;es se retrouvant notamment entass&eacute;es au Palais des Sports, r&eacute;quisitionn&eacute; &agrave; cet effet par le pr&eacute;fet de police, Maurice Papon, jusqu&rsquo;au dimanche soir 22 octobre. <br />Le 18 octobre, la direction du Palais des Sports porte l&rsquo;affaire devant le ministre de la justice, Roger Frey, et d&eacute;clare &agrave; la presse qu&rsquo;elle intentera un proc&egrave;s au cas o&ugrave; elle devrait annuler les concerts, payer un d&eacute;dit &agrave; l&rsquo;artiste, et rembourser les quelques 20&thinsp;000 places d&eacute;j&agrave; pr&eacute;-vendues. Enfin, le lendemain, l&rsquo;ordre de r&eacute;quisition est lev&eacute;, et, devant l&rsquo;afflux des demandes, deux concerts suppl&eacute;mentaires sont m&ecirc;me annonc&eacute;s pour les 23 et 24 octobre. L&agrave; encore, les billets sont vendus en un temps record.<br />Ce sont donc finalement six concerts de Ray Charles qui se sont tenus &agrave; Paris du 20 au 24 octobre 1961 (dont 2 concerts le dimanche 22). La capacit&eacute; du Palais des Sports &eacute;tant alors de 5 000 places assises, c&rsquo;est au minimum 30&thinsp;000 personnes qui ont assist&eacute; &agrave; l&rsquo;un de ces concerts. Bien davantage, en fait, car les t&eacute;moins oculaires de l&rsquo;&eacute;v&egrave;nement avaient pu constater que de nombreux spectateurs &laquo;&thinsp;exc&eacute;dentaires&thinsp;&raquo; avaient aussi &eacute;t&eacute; admis, &agrave; tarif r&eacute;duit, et avaient envahi les marches entre les rang&eacute;es. <br />C&rsquo;est donc un engouement hors normes que suscitait Ray Charles &agrave; cette &eacute;poque aupr&egrave;s du public fran&ccedil;ais, bien au-del&agrave; des seuls amateurs &eacute;clair&eacute;s de jazz et de blues. Le facteur principal susceptible d&rsquo;expliquer ce fait est probablement le caract&egrave;re &eacute;minemment dansant de sa musique, qu&rsquo;il s&rsquo;agisse de rock &amp; roll, de twist ou de slow, qui rendait ses disques incontournables dans les &laquo;&thinsp;surprise parties&thinsp;&raquo; d&rsquo;adolescents. <br />Dans Jazz-Hot, G&eacute;rard Br&eacute;mond observait : &laquo;&thinsp;Le public des concerts donn&eacute;s &agrave; Paris &eacute;tait compos&eacute; dans sa majorit&eacute; de jeunes de dix-sept ou dix-huit ans de toutes classes sociales&thinsp;&raquo;, et il rappelait la gen&egrave;se de ce ph&eacute;nom&egrave;ne : &laquo;&thinsp;A l&rsquo;origine quelques critiques, Guy Kopelowicz, Fran&ccedil;ois Postif et Kurt Mohr, &agrave; l&rsquo;&eacute;coute des premiers 45 tours parus aux Etats-Unis, d&eacute;cou&shy;vrent en Ray Charles une personnalit&eacute; excep&shy;tionnelle. Pendant quelques ann&eacute;es, Ray Charles est appr&eacute;ci&eacute; des seuls amateurs de jazz. C&rsquo;est Daniel Filipacchi, avec son &eacute;mission &ldquo;Salut les copains&rdquo;, qui le fait conna&icirc;tre aux jeunes amateurs de vari&eacute;t&eacute;s&thinsp;&raquo;. <br />A cela, il faut ajouter que les alors r&eacute;centes prestations de Ray Charles au festival de jazz d&rsquo;Antibes-Juan-les-Pins, en juillet 1961, avaient &eacute;t&eacute; diffus&eacute;es nationalement, tant par la radio RTF que par l&rsquo;unique cha&icirc;ne de t&eacute;l&eacute;vision (2).<br />Alors qu&rsquo;en juillet &agrave; Antibes Ray Charles &eacute;tait apparu &agrave; la t&ecirc;te de son &laquo;&thinsp;petit&thinsp;&raquo; orchestre de sept musiciens, c&rsquo;est avec une formation augment&eacute;e &agrave; seize instrumentistes (r&eacute;alisation de son r&ecirc;ve de disposer d&rsquo;un &laquo;&thinsp;big band&thinsp;&raquo; de type Count Basie) qu&rsquo;il &eacute;tait revenu en octobre, pour la premi&egrave;re fois lors d&rsquo;une tourn&eacute;e europ&eacute;enne. <br />La plupart des arrangements &eacute;taient de la plume de Quincy Jones, celui-ci (qui avait d&ucirc; r&eacute;cemment abandonner son propre orchestre) en ayant fait don &agrave; son ami Ray.<br />Ce tout nouveau &laquo;&thinsp;big band&thinsp;&raquo; d&eacute;bordait litt&eacute;ralement de talents (impossible d&rsquo;en d&eacute;tailler tous les m&eacute;rites individuels), m&ecirc;me si seuls les saxophonistes David &laquo;&thinsp;Fathead&thinsp;&raquo; Newman (le soliste primordial de Ray Charles depuis 1954) et Hank Crawford (le chef d&rsquo;orchestre) devaient chacun mener ensuite une longue et fructueuse carri&egrave;re personnelle. S&rsquo;il n&rsquo;en fut pas de m&ecirc;me du bouillant saxo-t&eacute;nor Don Wilkerson (que Ray encensait au m&ecirc;me titre que &laquo;&thinsp;Fathead&thinsp;&raquo; dans son autobiographie), c&rsquo;est &agrave; cause des difficult&eacute;s qu&rsquo;il &eacute;prouvait &agrave; surmonter des probl&egrave;mes de drogue qui lui valurent des s&eacute;jours derri&egrave;re les barreaux. <br />Maitrisant une vari&eacute;t&eacute; de styles, du plus traditionnel &agrave; l&rsquo;avant-garde, le trompettiste Marcus Belgrave se sera, quant &agrave; lui, surtout consacr&eacute; &agrave; l&rsquo;enseignement. C&rsquo;est apparemment par manque d&rsquo;ambition, et non de talent, que le trompettiste Phil Guilbeau, brillant &eacute;mule de Clifford Brown, n&rsquo;a pas su s&rsquo;imposer. Il en va de m&ecirc;me de Leroy Cooper, sans doute l&rsquo;un des tout meilleurs saxo-baryton du jazz, dont la carri&egrave;re s&rsquo;est largement r&eacute;sum&eacute;e &agrave; sa participation fid&egrave;le au Ray Charles Orchestra (qu&rsquo;il dirigea pendant une d&eacute;cennie). <br />En ouverture de chaque concert parisien d&rsquo;octobre 1961, l&rsquo;annonce faite que Ray Charles lui-m&ecirc;me n&rsquo;arriverait qu&rsquo;en seconde partie du spectacle avait suscit&eacute; dans le public une grande d&eacute;ception, exprim&eacute;e plus ou moins bruyamment. Toutefois la qualit&eacute; de la musique propos&eacute;e par l&rsquo;orchestre dirig&eacute; par Hank Crawford, perceptible m&ecirc;me par un auditoire non averti, avait fini par avoir raison des protestataires.<br />En revanche, l&rsquo;entr&eacute;e en sc&egrave;ne, en seconde partie, de Ray Charles, et, plus tard, celle des Raelets men&eacute;es par la grande Margie Hendrix, avaient &eacute;t&eacute; accueillies dans une liesse tonitruante. Par rapport &agrave; Antibes, le programme &eacute;tait largement renouvel&eacute; (les pi&egrave;ces &eacute;galement interpr&eacute;t&eacute;es &agrave; Antibes, prenant, de toute fa&ccedil;on, une couleur nouvelle de par l&rsquo;utilisation de l&rsquo;orgue), en particulier par la pr&eacute;sence de trois instrumentaux et des deux magnifiques blues (I&rsquo;m Gonna Move to the Outskirts of Town et I&rsquo;ve Got News for You) issus du recueil &laquo;&thinsp;Genius + Soul = Jazz&thinsp;&raquo;, ainsi que par celle des sublimes ballades Just for a Thrill et Come Rain or Come Shine, b&eacute;n&eacute;ficiant d&eacute;sormais de nouveaux arrangements pour grand orchestre de jazz sign&eacute;s Quincy Jones. Quant &agrave; Georgia on My Mind, d&eacute;j&agrave; au r&eacute;pertoire &agrave; Antibes, le Genius en donne ici ses plus belles versions, magnifi&eacute;es par son subtil jeu d&rsquo;orgue. <br />A partir du moment o&ugrave; Ray Charles a eu son premier &laquo;&thinsp;big band&thinsp;&raquo;, il a toujours continu&eacute; &agrave; en maintenir un, o&ugrave; sera pass&eacute; un nombre incalculable de musiciens, plus ou moins c&eacute;l&egrave;bres ou obscurs. Mais le lien tiss&eacute; avec les instrumentistes qui formaient le noyau de son orchestre des ann&eacute;es 1950 &eacute;tait rest&eacute; tr&egrave;s puissant, comme en t&eacute;moignent au moins huit r&eacute;unions pour des engagements ponctuels, entre 1977 et 1999. En 2009, cinq ans apr&egrave;s le d&eacute;c&egrave;s de Ray Charles, disparaissaient &agrave; leur tour, en quinze jours de temps, Leroy Cooper, David Newman et Hank Crawford. <br />Il ne fait malheureusement aucun doute que c&rsquo;est une &eacute;norme partie de la merveilleuse musique interpr&eacute;t&eacute;e sur sc&egrave;ne par ces artistes d&rsquo;exception qui n&rsquo;a jamais fait l&rsquo;objet d&rsquo;un quelconque enregistrement. Prenons donc la mesure de notre chance que, d&egrave;s que Ray Charles a mis le pied en Europe, en 1961, radios et t&eacute;l&eacute;visions aient enregistr&eacute; certains de ses concerts, en saisissant contraste avec ce qu&rsquo;&eacute;tait alors la quasi-totale indiff&eacute;rence des m&eacute;dias audio-visuels am&eacute;ricains &agrave; l&rsquo;&eacute;gard de ses prestations publiques (3). <br />Jo&euml;l Dufour</span><span class=Source><br />&copy; Fr&eacute;meaux &amp; Associ&eacute;s 2019<br />(1) C&rsquo;est &agrave; titre exceptionnel qu&rsquo;il avait, en plus du piano, rejou&eacute; de l&rsquo;orgue (le temps de cinq morceaux) lors de son concert de 1964 au Shrine Civic Auditorium de Los Angeles [CD &laquo;&thinsp;Ray Charles Live in Concert&thinsp;&raquo;, Concord CRE-31439], sans doute &agrave; la faveur de la facilit&eacute; de transport offerte par la proximit&eacute; de son propre studio d&rsquo;enregistrement (RPM).<br />(2) Ces concerts sont disponibles dans leur int&eacute;gralit&eacute; dans le coffret CD &laquo;&thinsp;Ray Charles &ndash; Antibes 1961&thinsp;&raquo; (Fr&eacute;meaux &amp; Associ&eacute;s FA 5733). <br />(3) La notable exception &agrave; cette &laquo;&thinsp;r&egrave;gle&thinsp;&raquo; a &eacute;t&eacute;, en 1960, l&rsquo;enregistrement de sa prestation au festival de Newport r&eacute;alis&eacute; par la radio &laquo;&thinsp;Voice of America&thinsp;&raquo; [int&eacute;gralement publi&eacute;e dans le coffret CD &laquo;&thinsp;Ray Charles &ndash; Live at Newport 1960&thinsp;&raquo;, Fr&eacute;meaux &amp; Associ&eacute;s FA 5643]. Incidemment, cette station gouvernementale U.S. ne diffuse qu&rsquo;en direction des pays &eacute;trangers&hellip;<br />Livres consult&eacute;s :<br />-Brother Ray &ndash; Ray Charles&rsquo; Own Story, par Ray Charles &amp; David Ritz (Da Capo)<br />-Paris 1961, par Jim House &amp; Neil McMaster (Oxford University Press)<br />Magazine et journaux consult&eacute;s :<br />-&ldquo;Ray Charles le plus humain des chanteurs&rdquo; par G&eacute;rard Br&eacute;mond, in JAZZ HOT n&deg;171, Dec. 1961.<br />-La presse quotidienne fran&ccedil;aise : Le Parisien Lib&eacute;r&eacute;, France-Soir, Paris-Jour, L&rsquo;Aurore, Paris-Presse&hellip; <br />Remerciements &agrave; :<br />Bob Stumpel, Adriano Mazzoletti, Olivier Gillissen, Jean-Francis Merle, David Ritz, Michelle Dufour, Jack Evans, Jeff Helgesen, Robbie Kwock, Steve Sigmund, Alan Leeds.</span><span class=Texte><br /></span><span class=Soustitre2>Ray Charles &ndash; The Complete 1961 Paris Recordings<br /></span><span class=Soustitre>By Joel Dufour</span><span class=Texte><br />These recordings of three Ray Charles concerts in Paris in October 1961 hold a very special, and most essential, place among all of what has been captured of his music.<br />Because if, fortunately, other live shows of that supreme singer at the peak of his art have also been committed to tape, these have the specificity of being the only ones coming from concerts where he had substituted to a piano his Hammond organ, an instrument that he will have scarcely used but on which he also possessed a particularly original and striking style. &nbsp;<br />Ray Charles had recently released with great success his &ldquo;Genius + Soul = Jazz&rdquo;, his only studio album where he had played exclusively organ and he wished to preform part of its material on stage with the same instrumentation. Yet, because of its huge weight, the Hammond organ constituted a nagging transportation problem. That explains that Ray had it set up on stage only in Paris, where he was to play several consecutive days (from the 20th to the 22nd of October), whereas he had appeared on piano at the concerts where he was to play a single day in the same town (in Zurich on the 18th and in Lyon on the 19th).<br />Fact is that it is no exaggeration to state that the very existence of these live recordings of Ray Charles playing organ (not to mention their survival over time) is nothing short of a miracle, since serious odds could have rendered them impossible. <br />To begin with, it took the fluke that these concerts occurred precisely during the very short period of time during which the &ldquo;Genius&rdquo; was feeling strongly motivated to play organ on stage (1).<br />Furthermore, one can consider that it already was out of great luck that Ray Charles had been able to actually cross the Atlantic to fulfil his October 1961 European tour commitments, when one knows that he then was constantly exposed to an arrest because of his heroin addiction (he would be arrested again on the 14th of November).<br />Lastly, the danger of a mere cancellation of the concerts at the Palais des Sports in Paris had menaced during several days, in direct consequence of the tragic events which were going on in Paris alongside the ongoing negotiations, with a view to preparing the Algerian independence, between the French government of general de Gaulle and the FLN (&ldquo;Front de Lib&eacute;ration Nationale&rdquo; &ndash; National Liberation Front)&nbsp; &nbsp;<br />On October 17th, 1961, just three days before the first scheduled Ray Charles concert in Paris, violence had reached a climax between the FLN and the police, after several months of escalation marked by assassinations of policemen which had been matched by a wild reaction of policemen explicitly endorsed by their hierarchy.&nbsp;&nbsp; &nbsp;<br />For the Tuesday, October 17th, the FLN had called all the &ldquo;FMA&rdquo; (&ldquo;Fran&ccedil;ais Musulmans Alg&eacute;rien&rdquo; &ndash; French Muslim Algerian) to a peaceful mass demonstration, with women and children, as a protest against the curfew which was imposed, on them only, since October 5th.<br />A crowd estimated in between 20&thinsp;000 and 30&thinsp;000 people poured in the streets of Paris. The repression was wild (the number of deaths remains debated), giving rise to massive arrests, approximately 6&thinsp;500 of the seized people finding themselves piled up in the Palais des Sports, requisitioned for that purpose by the Chief of Police, Maurice Papon, until Sunday evening, October 22nd. <br />On October 18th, the management of the Palais des Sports brings the issue in front of the Minister of Justice, Roger Frey, and declares to the press that it will file a lawsuit in case it should have to cancel concerts, to pay a revocation to the artist, and to pay off some 20&thinsp;000 already presold tickets. Finally, the next day, the order of requisition is raised, and, in front of the influx of the requests, two additional concerts are even announced for October 23rd and 24th. Even there, tickets are sold in record time.<br />It is thus finally six Ray Charles&rsquo;s concerts which took place in Paris from 20th till 24th October 1961 (among which 2 concerts on Sunday, 22nd). The capacity of the Palais des Sports being then of 5&thinsp;000 seats, it is at least 30&thinsp;000 people who attended one of these concerts. Much more, in fact, because the eyewitnesses of the event had been able to notice that numerous additional spectators had also been admitted, at a reduced price, and had invaded the steps between rows.<br />Thus, it is an exceptional craze which Ray Charles had given rise to at that time near the French public, well beyond the sole informed fans of jazz and blues. The main factor susceptible to explain this fact is probably the eminently danceable character of his music, be it rock and roll, twist or slow dance, which made his records inescapable at any teenagers&rsquo; party.<br />In Jazz-Hot, G&eacute;rard Br&eacute;mond observed: &ldquo;The audience of concerts given in Paris consisted in its majority of young people being seventeen or eighteen years old, of all social classes&rdquo;, and he reminded the genesis of this phenomenon: &ldquo;ori&shy;ginally some critics, Guy Kopelowicz, Fran&ccedil;ois Postif and Kurt Mohr, tuned to the first 45rpm records released in the United States, discover in Ray Charles an exceptional personality. For a few years, Ray Charles is appreciated only by jazz fans. It is Daniel Filipacchi, with his radio program &ldquo;Salut les Copains&rdquo; (&ldquo;Hello buddies&rdquo;), which makes him known by the young fans of pop music&rdquo;. <br />To this, it is necessary to add that the then recent performances of Ray Charles at the jazz festival of Antibes-Juan-les-Pins, in July 1961, had nationally been broadcast by the RTF radio, as well as by the only French television channel (2).<br />While in July at Antibes Ray Charles had appeared at the head of his &ldquo;small&rdquo; band of seven musicians, it is fronting an orchestra augmented to sixteen instrumentalists (realization of his dream to have a Count Basie-type &ldquo;big band&rdquo;) that he had arrived in Paris, for the first time during a European tour. <br />Most of the arrangements had been penned by Quincy Jones, who recently had had to give up his own orchestra. He had given them to his friend Ray.<br />This brand-new big band was literally overflowing with talents (impossible to detail all the individual merits), even if only the saxophonists David &ldquo;Fathead&rdquo; Newman (the essential soloist for Ray Charles since 1954) and Hank Crawford (the band leader) would each enjoy a long and fruitful personal career. If it was not to be the same for the boiling sax-tenor Don Wilkerson (that Ray praised as much as he did &ldquo;Fathead&rdquo; in his autobiography), it is because of the difficulties he was experiencing in his attempts at overcoming drugs problems which cost him stints behind prison bars. <br />Mastering a variety of styles, from the most traditional to the avant-garde, trumpeter Marcus Belgrave focused mostly on a career as a music teacher. It is apparently due to a lack of ambition, and not of talent, that trumpeter Phil Guilbeau, the brilliant Clifford Brown emulator, did not manage to stand out. The same can be said about Leroy Cooper, doubtless one of the best baritone-sax players in jazz, whose career mostly amounted to his faithful participation to the Ray Charles Orchestra (which he led during a decade).<br />At the opening of every Parisian concert of October 1961, the announcement made that Ray Charles himself would arrive only in the second part of the show had aroused a great disappointment in the public, more or less noisily expressed. However, the quality of the music proposed by the orchestra led by Hank Crawford, perceptible even by non-specialists, had eventually silenced the protesters. <br />On the other hand, the arrival on the scene, in the second part, of Ray Charles, and, later, the one of the Raelets led by the great Margie Hendrix, had been welcomed in a resounding jubilation. As compared with Antibes, the program was widely renewed (the tunes also performed in Antibes taking, anyway, a new color due to the use of the organ), in particular by the presence of three instrumentals and the two magnificent blues (I&rsquo;m Gonna Move to the Outskirts of Town and I&rsquo;ve Got News for You) stemming from the &laquo; Genius + Soul = Jazz &raquo; album, as well as by the one of the sublime ballads Just for a Thrill and Come Rain or Come Shine, now benefiting from new arrangements for a large jazz orchestra written by Quincy Jones. As for Georgia on My Mind, already in the repertoire in Antibes, the Genius gives here his most beautiful renditions, heightened by his fine organ playing.<br />From the moment Ray Charles had his first big band, he always kept maintaining one, where have passed countless musicians, famous or obscure. But the link weaved with the instrumentalists who formed the core of his or&shy;-<br />chestra of the 1950s had remained very powerful, as demonstrated by the fact that they would reunite, at least eight times, for punctual gigs between 1977 and 1999. In 2009, five years after the death of Ray Charles, in the span of a fortnight, Leroy Cooper, David Newman and Hank Crawford passed away.<br />There is unfortunately no doubt that it is an enormous portion of the wonderful music performed on stage by these exceptional artists which never was the object of any recording. Thus, let us take the measure of our luck that, as soon as Ray Charles set a foot in Europe, in 1961, radios and televisions recorded some of his concerts, in salient contrast with what was then the quasi-total indifference of the American audio-visual media regarding his live performances (3).<br />Jo&euml;l Dufour<br /></span><span class=Source>&copy; Fr&eacute;meaux &amp; Associ&eacute;s 2019</span></p><p align=justify><span class=Source><br /></span></p><p align=justify><span class=Source>(1) It was as an exception that, besides the piano, he had also played organ again (on five songs) during his 1964 concert at the Shrine Civic Auditorium of Los Angeles [CD &laquo; Ray Charles Live in Concert &raquo;, Concord CRE-31439], probably because the proximity of his own recording studio (RPM) had made its transportation rather easy. &nbsp;<br />(2) These concerts have been released in their entirety in the CD box set &laquo; Ray Charles &ndash; Antibes 1961 &raquo; (Fr&eacute;meaux &amp; Associ&eacute;s FA 5733). <br />(3) The notable exception to that &ldquo;rule&rdquo; was, in 1960, the recording of his performance at the Newport Jazz Festival by the &ldquo;Voice of America&rdquo; radio [released in its entirety in the CD box set &laquo; Ray Charles &ndash; Live at Newport 1960 &raquo;, Fr&eacute;meaux &amp; Associ&eacute;s FA 5643]. Incidentally, this U.S. government owned radio station broadcasts exclusively towards foreign countries.&nbsp; &nbsp;<br />Consulted books:<br />-Brother Ray &ndash; Ray Charles&rsquo; Own Story, by Ray Charles &amp; David Ritz (Da Capo)<br />-Paris 1961, by Jim House &amp; Neil McMaster (Oxford University Press)<br />Consulted magazine and newspapers:<br />-&ldquo;Ray Charles le plus humain des chanteurs&rdquo; by G&eacute;rard Br&eacute;mond, in JAZZ HOT n&deg;171, December 1961.<br />-The daily newspapers: Le Parisien Lib&eacute;r&eacute;, France-Soir, Paris-Jour, L&rsquo;Aurore, Paris-Presse&hellip; <br />Thanks to:<br />Bob Stumpel, Adriano Mazzoletti, Olivier Gillissen, Jean-Francis Merle, David Ritz, Michelle Dufour, Jack Evans, Jeff Helgesen, Robbie Kwock, Steve Sigmund, Alan Leeds.</span><span class=Texte><br /></span><span class=Soustitre>Composition <br />du triple-CD <br />et renseignements <br />discographiques :</span><span class=Texte><br />(*) Previously unreleased<br /></span><span class=Soustitre2>&nbsp;CD-1 (79:53)</span><span class=Texte><br />The Ray Charles Orchestra (bonus tracks)<br />&#8199;1. Stockholm Sweetnin&rsquo; / solo: JH, HC, SF (from the October 22, 1961, afternoon concert) (*)<br />&#8199;2. Whisper Not / solo: DN. (from the October 22, 1961, evening concert) (*)<br />Ray Charles &amp; his orchestra: <br />the October 21, 1961, performance <br />&#8199;3. One Mint Julep<br />&#8199;4. From the Heart / solo: PG<br />&#8199;5. Moanin&rsquo; / solo: PG (*)<br />&#8199;6. Let the Good Times Roll / solo: DN (*)<br />&#8199;7. Georgia on My Mind / solo: DN (*) <br />&#8199;8. Hallelujah I Love Her So / solo: DW (*)<br />&#8199;9. Just for a Thrill / solo: MB<br />10. Margie<br />11. Alexander&rsquo;s Ragtime Band / solo: MB (*)<br />12. I Believe to My Soul (*)<br />13. My Bonnie / solo: DN (*)<br />14. I Wonder <br />15. Sticks and Stones <br />16. My Baby (I Love Her, Yes I Do) / featuring Margie Hendrix<br />17. Hit the Road Jack / featuring Margie Hendrix (*)<br />18. Come Rain or Come Shine / solo: DW<br />19. What&rsquo;d I Say (*)<br /></span><span class=Soustitre2>&nbsp;CD-2&nbsp; (79:25)</span><span class=Texte><br />The Ray Charles Orchestra (bonus tracks)<br />&#8199;1. Dat Dere / solo: HC (from the October 22, 1961, evening concert) (*)<br />&#8199;2. Solitude / solo: LC (from the October 22, 1961, afternoon concert) (*)<br />Ray Charles &amp; his orchestra: the October 22, 1961, <br />afternoon performance <br />&#8199;3. One Mint Julep (*)<br />&#8199;4. Moanin&rsquo; / solo: PG<br />&#8199;5. Doodlin&rsquo; / solo: PG, DN, LC <br />&#8199;6. From the Heart / solo: PG (*)<br />&#8199;7. Hallelujah I Love Her So / solo: DW (*)<br />&#8199;8. Georgia on My Mind / solo: DN (*)<br />&#8199;9. Margie (*)<br />10. I&rsquo;ve Got News for You<br />11. Alexander&rsquo;s Ragtime Band / solo: MB<br />12. I Believe to My Soul<br />13. My Bonnie / solo: DN<br />14. I Wonder (*) <br />15. Yes Indeed / solo: DN<br />16. My Baby (I Love Her, Yes I Do) / featuring Margie Hendrix<br />17. Hit the Road Jack / featuring Margie Hendrix<br />18. I&rsquo;m Gonna Move to the Outskirts of Town / solo: PG<br />19. What&rsquo;d I Say<br /></span><span class=Soustitre2>&nbsp;CD-3 (78:10)</span><span class=Texte><br />The Ray Charles Orchestra (bonus track)<br />&#8199;1. Roll in G / solo: DW (from the October 21, 1961, concert) (*)<br />Ray Charles &amp; his orchestra: the October 22, 1961, <br />evening performance <br />&#8199;2. One Mint Julep (*)<br />&#8199;3. Doodlin&rsquo; / solo: PG, DN, LC (*)<br />&#8199;4. Moanin&rsquo; / solo: PG (*)<br />&#8199;5. Let the Good Times Roll / solo: DN<br />&#8199;6. Come Rain or Come Shine / solo: DW<br />&#8199;7. Hallelujah I Love Her So / solo: DW<br />&#8199;8. I&rsquo;m Gonna Move to the Outskirts of Town / solo: PG<br />&#8199;9. Margie<br />10. Georgia on My Mind / solo: DN<br />11. Alexander&rsquo;s Ragtime Band / solo: MB<br />12. I Wonder<br />13. My Bonnie / solo: DN (*)<br />14. My Baby (I Love Her, Yes I Do) / featuring Margie Hendrix (*)<br />15. Hit the Road Jack / featuring Margie Hendrix <br />16. I Believe to My Soul<br />17. What&rsquo;d I Say</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>The original RTF radio recordings were produced by Andr&eacute; Francis.<br />&nbsp;Repertoire<br />-Alexander&rsquo;s Ragtime Band (Irving Berlin) [arrangement: Ralph Burns]<br />-Come Rain or Come Shine (Johnny Mercer, Harold Arlen) [arrangement: Quincy Jones ]<br />-Dat Dere (Bobby Timmons) [arrangement: Hank Crawford ]<br />-Doodlin&rsquo; (Horace Silver) [arrangement: Quincy Jones ]<br />-From the Heart (Ray Charles) [arrangement: Quincy Jones ]<br />-Georgia on My Mind (Hoagy Carmichael, Stuart Gorrell)<br />-Hallelujah I Love Her So (Ray Charles) [arrangement: Ray Charles]<br />-Hit the Road Jack (Percy Mayfielf) [arrangement: Ray Charles] <br />-I Believe to My Soul (Ray Charles) [arrangement: Ray Charles]<br />-I Wonder (Cecil Gant) [arrangement: Ray Charles]<br />-I&rsquo;m Gonna Move to the Outskirts of Town (Roy Jacobs, Andy Razaf, William Weldon) <br />&nbsp;[arrangement: Quincy Jones ]<br />-I&rsquo;ve Got News for You (Roy Alfred) [arrangement: Ralph Burns]<br />-Just for a Thrill (Lil Armstrong, Don Raye) [arrangement: Quincy Jones ]<br />-Let the Good Times Roll (Sam Theard, Fleecie Moore) [arrangement: Quincy Jones ]<br />-Margie (Con Conrad, Joseph Russel Robinson, Benny Davis) [arrangement: Marty Paich]<br />-Moanin&rsquo; (Bobby Timmons) [arrangement: Quincy Jones ]<br />-My Baby (I Love Her, Yes I Do) (Ray Charles) [arrangement: Ray Charles]<br />-My Bonnie (Ray Charles) [arrangement: Ray Charles]<br />-One Mint Julep (Rudolph Toombs) [arrangement: Quincy Jones ]<br />-Roll in G (?)<br />-Solitude (Duke Ellington) [arrangement: Quincy Jones ]<br />-Sticks and Stones (Titus Turner) [arrangement: Ray Charles]<br />-Stockholm Sweetnin&rsquo; (Quincy Jones) [arrangement: Quincy Jones ]<br />-What&rsquo;d I Say (Ray Charles) [arrangement: Ray Charles]<br />-Whisper Not (Benny Golson) [arrangement: Quincy Jones ]<br />-Yes Indeed (Sy Oliver) [arrangement: Ray Charles]<br />&nbsp;Personnel<br />Ray Charles (organ, lead vocals) &amp; his orchestra: Marcus Belgrave, Wallace Davenport, Phillip Guilbeau (trumpet); John Hunt (flugelhorn); Henderson Chambers, Edward Lee Comegys, James Lee Harbert, Frederic &ldquo;Keg&rdquo; Johnson (trombone); &ldquo;Hank&rdquo; Crawford [Bennie Ross Crawford, Jr.] (band leader, alto saxophone, organ on &ldquo;Roll in G&rdquo;); Everard &ldquo;Rudy&rdquo; Powell (alto saxophone); David &ldquo;Fathead&rdquo; Newman (tenor saxophone, flute); Donald &ldquo;Don&rdquo; Wilkerson (tenor saxophone); Leroy &ldquo;Hog&rdquo; Cooper (baritone saxophone); Elbert &ldquo;Sonny&rdquo; Forriest (guitar); Edgar Willis (bass); Edward &ldquo;Bruno&rdquo; Carr (drums); the Raelets: Gwendolyn &ldquo;Gwen&rdquo; Berry, &ldquo;Margie Hendrix&rdquo; [Marjorie Hendricks], Priscilla &ldquo;Pat&rdquo; Moseley Lyles, Ethel &ldquo;Darlene&rdquo; McCrea (background vocals). <br /></span></p>"
      "dwf_titres" => array:55 [
        0 => array:6 [ …6]
        1 => array:6 [ …6]
        2 => array:6 [ …6]
        3 => array:6 [ …6]
        4 => array:6 [ …6]
        5 => array:6 [ …6]
        6 => array:6 [ …6]
        7 => array:6 [ …6]
        8 => array:6 [ …6]
        9 => array:6 [ …6]
        10 => array:6 [ …6]
        11 => array:6 [ …6]
        12 => array:6 [ …6]
        13 => array:6 [ …6]
        14 => array:6 [ …6]
        15 => array:6 [ …6]
        16 => array:6 [ …6]
        17 => array:6 [ …6]
        18 => array:6 [ …6]
        19 => array:6 [ …6]
        20 => array:6 [ …6]
        21 => array:6 [ …6]
        22 => array:6 [ …6]
        23 => array:6 [ …6]
        24 => array:6 [ …6]
        25 => array:6 [ …6]
        26 => array:6 [ …6]
        27 => array:6 [ …6]
        28 => array:6 [ …6]
        29 => array:6 [ …6]
        30 => array:6 [ …6]
        31 => array:6 [ …6]
        32 => array:6 [ …6]
        33 => array:6 [ …6]
        34 => array:6 [ …6]
        35 => array:6 [ …6]
        36 => array:6 [ …6]
        37 => array:6 [ …6]
        38 => array:6 [ …6]
        39 => array:6 [ …6]
        40 => array:6 [ …6]
        41 => array:6 [ …6]
        42 => array:6 [ …6]
        43 => array:6 [ …6]
        44 => array:6 [ …6]
        45 => array:6 [ …6]
        46 => array:6 [ …6]
        47 => array:6 [ …6]
        48 => array:6 [ …6]
        49 => array:6 [ …6]
        50 => array:6 [ …6]
        51 => array:6 [ …6]
        52 => array:6 [ …6]
        53 => array:6 [ …6]
        54 => array:6 [ …6]
      ]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/8/6/7/1/18671-home_default.jpg"
      "cover" => array:9 [
        "bySize" => array:6 [ …6]
        "small" => array:3 [ …3]
        "medium" => array:3 [ …3]
        "large" => array:3 [ …3]
        "legend" => null
        "cover" => "1"
        "id_image" => "18671"
        "position" => "1"
        "associatedVariants" => []
      ]
      "authors" => []
      "performers" => array:1 [
        0 => array:5 [ …5]
      ]
      "images" => array:1 [
        0 => array:9 [ …9]
      ]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#662
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [
        "add_to_cart_url" => array:2 [ …2]
        "id" => array:2 [ …2]
        "attributes" => array:2 [ …2]
        "show_price" => array:2 [ …2]
        "weight_unit" => array:2 [ …2]
        "url" => array:2 [ …2]
        "canonical_url" => array:2 [ …2]
        "condition" => array:2 [ …2]
        "delivery_information" => array:2 [ …2]
        "embedded_attributes" => array:2 [ …2]
        "file_size_formatted" => array:2 [ …2]
        "attachments" => array:2 [ …2]
        "quantity_discounts" => array:2 [ …2]
        "reference_to_display" => array:2 [ …2]
        "grouped_features" => array:2 [ …2]
        "seo_availability" => array:2 [ …2]
        "labels" => array:2 [ …2]
        "ecotax" => array:2 [ …2]
        "flags" => array:2 [ …2]
        "main_variants" => array:2 [ …2]
        "specific_references" => array:2 [ …2]
        "id_product" => array:2 [ …2]
        "id_supplier" => array:2 [ …2]
        "id_manufacturer" => array:2 [ …2]
        "id_category_default" => array:2 [ …2]
        "id_shop_default" => array:2 [ …2]
        "id_tax_rules_group" => array:2 [ …2]
        "on_sale" => array:2 [ …2]
        "online_only" => array:2 [ …2]
        "ean13" => array:2 [ …2]
        "isbn" => array:2 [ …2]
        "upc" => array:2 [ …2]
        "quantity" => array:2 [ …2]
        "minimal_quantity" => array:2 [ …2]
        "low_stock_threshold" => array:2 [ …2]
        "low_stock_alert" => array:2 [ …2]
        "price" => array:2 [ …2]
        "wholesale_price" => array:2 [ …2]
        "unity" => array:2 [ …2]
        "unit_price_ratio" => array:2 [ …2]
        "additional_shipping_cost" => array:2 [ …2]
        "reference" => array:2 [ …2]
        "supplier_reference" => array:2 [ …2]
        "location" => array:2 [ …2]
        "width" => array:2 [ …2]
        "height" => array:2 [ …2]
        "depth" => array:2 [ …2]
        "weight" => array:2 [ …2]
        "out_of_stock" => array:2 [ …2]
        "additional_delivery_times" => array:2 [ …2]
        "quantity_discount" => array:2 [ …2]
        "customizable" => array:2 [ …2]
        "uploadable_files" => array:2 [ …2]
        "text_fields" => array:2 [ …2]
        "active" => array:2 [ …2]
        "redirect_type" => array:2 [ …2]
        "id_type_redirected" => array:2 [ …2]
        "available_for_order" => array:2 [ …2]
        "available_date" => array:2 [ …2]
        "show_condition" => array:2 [ …2]
        "indexed" => array:2 [ …2]
        "visibility" => array:2 [ …2]
        "cache_is_pack" => array:2 [ …2]
        "cache_has_attachments" => array:2 [ …2]
        "is_virtual" => array:2 [ …2]
        "cache_default_attribute" => array:2 [ …2]
        "date_add" => array:2 [ …2]
        "date_upd" => array:2 [ …2]
        "advanced_stock_management" => array:2 [ …2]
        "pack_stock_type" => array:2 [ …2]
        "state" => array:2 [ …2]
        "price_code" => array:2 [ …2]
        "id_shop" => array:2 [ …2]
        "id_lang" => array:2 [ …2]
        "description" => array:2 [ …2]
        "description_short" => array:2 [ …2]
        "link_rewrite" => array:2 [ …2]
        "meta_description" => array:2 [ …2]
        "meta_keywords" => array:2 [ …2]
        "meta_title" => array:2 [ …2]
        "name" => array:2 [ …2]
        "available_now" => array:2 [ …2]
        "available_later" => array:2 [ …2]
        "delivery_in_stock" => array:2 [ …2]
        "delivery_out_stock" => array:2 [ …2]
        "new" => array:2 [ …2]
        "id_product_attribute" => array:2 [ …2]
        "product_attribute_minimal_quantity" => array:2 [ …2]
        "id_image" => array:2 [ …2]
        "legend" => array:2 [ …2]
        "manufacturer_name" => array:2 [ …2]
        "category_default" => array:2 [ …2]
        "orderprice" => array:2 [ …2]
        "allow_oosp" => array:2 [ …2]
        "category" => array:2 [ …2]
        "category_name" => array:2 [ …2]
        "link" => array:2 [ …2]
        "attribute_price" => array:2 [ …2]
        "price_tax_exc" => array:2 [ …2]
        "price_without_reduction" => array:2 [ …2]
        "price_without_reduction_without_tax" => array:2 [ …2]
        "reduction" => array:2 [ …2]
        "reduction_without_tax" => array:2 [ …2]
        "specific_prices" => array:2 [ …2]
        "quantity_all_versions" => array:2 [ …2]
        "features" => array:2 [ …2]
        "virtual" => array:2 [ …2]
        "pack" => array:2 [ …2]
        "packItems" => array:2 [ …2]
        "nopackprice" => array:2 [ …2]
        "customization_required" => array:2 [ …2]
        "rate" => array:2 [ …2]
        "tax_name" => array:2 [ …2]
        "ecotax_rate" => array:2 [ …2]
        "classic_pack_price_tax_exc" => array:2 [ …2]
        "is_ap5_bundle" => array:2 [ …2]
        "dwf_parent_product" => array:2 [ …2]
        "dwf_distinctions" => array:2 [ …2]
        "dwf_livret" => array:2 [ …2]
        "dwf_titres" => array:2 [ …2]
        "unit_price" => array:2 [ …2]
        "price_digital" => array:2 [ …2]
        "price_cd" => array:2 [ …2]
        "img_url" => array:2 [ …2]
        "cover" => array:2 [ …2]
        "authors" => array:2 [ …2]
        "performers" => array:2 [ …2]
        "images" => array:2 [ …2]
        "has_discount" => array:2 [ …2]
        "discount_type" => array:2 [ …2]
        "discount_percentage" => array:2 [ …2]
        "discount_percentage_absolute" => array:2 [ …2]
        "discount_amount" => array:2 [ …2]
        "discount_amount_to_display" => array:2 [ …2]
        "price_amount" => array:2 [ …2]
        "regular_price_amount" => array:2 [ …2]
        "regular_price" => array:2 [ …2]
        "discount_to_display" => array:2 [ …2]
        "unit_price_full" => array:2 [ …2]
        "show_availability" => array:2 [ …2]
        "availability_message" => array:2 [ …2]
        "availability_date" => array:2 [ …2]
        "availability" => array:2 [ …2]
      ]
    }
    -arrayAccessIterator: ArrayIterator {#711
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [
        "add_to_cart_url" => array:2 [ …2]
        "id" => array:2 [ …2]
        "attributes" => array:2 [ …2]
        "show_price" => array:2 [ …2]
        "weight_unit" => array:2 [ …2]
        "url" => array:2 [ …2]
        "canonical_url" => array:2 [ …2]
        "condition" => array:2 [ …2]
        "delivery_information" => array:2 [ …2]
        "embedded_attributes" => array:2 [ …2]
        "file_size_formatted" => array:2 [ …2]
        "attachments" => array:2 [ …2]
        "quantity_discounts" => array:2 [ …2]
        "reference_to_display" => array:2 [ …2]
         …129
      ]
    }
    -methodCacheResults: []
  }
  2 => ProductListingLazyArray {#673
    -imageRetriever: ImageRetriever {#687
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#712}
    -productColorsRetriever: ProductColorsRetriever {#679}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#677
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1075"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302573328"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5733"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "339"
      "date_add" => "2021-10-21 20:48:08"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>R&eacute;alis&eacute; par Jo&euml;l Dufour, le plus grand sp&eacute;cialiste du &laquo; Genius &raquo;, cet opus regroupe pour la premi&egrave;re fois, en int&eacute;gralit&eacute;, le live de Ray Charles &agrave; Antibes/Juan-les-Pins de juillet 1961. Premier engagement de Ray Charles &agrave; l&rsquo;&eacute;tranger, ce concert culte allait &ecirc;tre le premier d&rsquo;une longue lign&eacute;e et initier cette belle relation d&rsquo;estime entre l&rsquo;artiste et le public fran&ccedil;ais. Jo&euml;l Dufour a par ailleurs s&eacute;lectionn&eacute; une quantit&eacute; mirobolante de titres bonus et in&eacute;dits, o&ugrave; l&rsquo;on retrouve notamment le pianiste en formidable accompagnateur, pour faire de ce coffret 4 CD une r&eacute;f&eacute;rence incontournable pour tout amateur de Brother Ray.&nbsp;</p><p align=justify><strong>Patrick FRÉMEAUX</strong></p><p align=justify><strong><br /></strong></p><p align=justify><p style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px; align=justify><strong>Direction artistique : Joel Dufour</strong></p><p style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px; align=justify><strong>Droits : Fr&eacute;meaux &amp; Associ&eacute;s.&nbsp;</strong></p><br /><em>Produced by Jo&euml;l Dufour, the greatest expert on the work of &ldquo;The Genius&rdquo; &mdash; aka Ray Charles &mdash; this set brings together for the first time the complete live concert that Ray performed in Antibes/Juan-les-Pins in July 1961. It was Ray Charles&rsquo; first booking outside the USA &mdash; a cult concert &mdash; and it was destined to be the first in a lengthy series that created the long-lasting respect reserved for the artist by audiences in France. When compiling this set, Jo&euml;l Dufour chose to include a large number of bonus tracks and previously unreleased material &mdash; notably demonstrating that Ray, already a great keyboard player, was also a fantastic accompanist. This 4CD box a must-have item for every &ldquo;Brother Ray&rdquo; fan. Patrick FRÉMEAUX</em><br />HIS COMPLETE FOUR PERFORMANCES AT THE ANTIBES-JUAN-LES-PINS JAZZ FESTIVAL IN JULY 1961.<br />CD-1 : THE JULY 18, 1961, RAY CHARLES PERFORMANCE + BONUS TRACKS: SPOKEN INTRODUCTIONS BY ANDRÉ FRANCIS AND JOE ADAMS &bull; DOODLIN&rsquo; &bull; THE STORY &bull; LIL&rsquo; DARLIN&rsquo; &bull; ONE MINT JULEP &bull; LET THE GOOD TIMES ROLL &bull; GEORGIA ON MY MIND &bull; MY BONNIE &bull; (NIGHT TIME IS) THE RIGHT TIME &bull; STICKS AND STONES &bull; HALLELUJAH I LOVE HER SO &bull; WHAT&rsquo;D I SAY &bull; BONUS TRACKS WITH RAY CHARLES ON PIANO : TOMMY RIDGLEY : OOH LAWDY MY BABY &bull; TOMMY RIDGLEY: I&rsquo;M GONNA CROSS THAT RIVER &bull; GUITAR SLIM : THE THINGS THAT I USED TO DO &bull; WELL I DONE GOT OVER &bull; THE STORY OF MY LIFE &bull; A LETTER TO MY GIRLFRIEND (AKA PRISON BLUES). <br />CD-2 : THE JULY 19, 1961, RAY CHARLES PERFORMANCE + BONUS TRACKS: SPOKEN INTRODUCTIONS BY ANDRÉ FRANCIS AND JOE ADAMS &bull; THE STORY &bull; IN A LITTLE SPANISH TOWN(*) &bull; LIL&rsquo; DARLIN&rsquo; &bull; POPO(*) &bull; LET THE GOOD TIMES ROLL(*) &bull; GEORGIA ON MY MIND(*) &bull; STICKS AND STONES &bull; MY BABY (I LOVE HER, YES I DO)(*) &bull; YES INDEED &bull; I BELIEVE TO MY SOUL &bull; WHAT&rsquo;D I SAY &bull; RAY CHARLES BONUS TRACKS : IT SHOULD&rsquo;VE BEEN ME &bull; EARLY IN THE MORNIN&rsquo; &bull; MY BONNIE(*). <br />CD-3 : THE JULY 21, 1961, RAY CHARLES PERFORMANCE + BONUS TRACK: SPOKEN INTRODUCTION BY JOE ADAMS &bull; POPO &bull; LIL&rsquo; DARLIN&rsquo; &bull; LET THE GOOD TIMES ROLL(*) &bull; RUBY &bull; MY BONNIE &bull; WITH YOU ON MY MIND &bull; STICKS AND STONES(*) &bull; I WONDER &bull; WHAT&rsquo;D I SAY(*) &bull; BONUS TRACK WITH RAY CHARLES ON PIANO : JOE TURNER : WEE BABY BLUES. <br />CD-4 : THE JULY 22, 1961, RAY CHARLES PERFORMANCE + BONUS TRACKS : SPOKEN INTRODUCTIONS BY ANDRÉ FRANCIS AND JOE ADAMS &bull; POPO(*) &bull; LIL&rsquo; DARLIN&rsquo;(*) &bull; HORNFUL SOUL &bull; LET THE GOOD TIMES ROLL &bull; GEORGIA ON MY MIND &bull; MY BONNI (*) &bull; WITH YOU ON MY MIND(*) &bull; TELL THE TRUTH &bull; I WONDER &bull; STICKS AND STONES &bull; I BELIEVE TO MY SOUL &bull; WHAT&rsquo;D I SAY &bull; BONUS TRACKS WITH RAY CHARLES ON PIANO OR ORGAN : LULA REED : TROUBLE IN IN MIND &bull; AIN&rsquo;T THAT LOVE &bull; JUST KEEP IT UP &bull; THERE HE GOES. <br />(*) PREVIOUSLY UNRELEASED.<br /></p></p><br><br>"
      "description_short" => "<h3>INCLUDING 13 PREVIOUSLY UNRELEASED TRACKS, PLUS 14 BONUS TRACKS</h3>"
      "link_rewrite" => "ray-charles-in-antibes-1961"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Ray Charles - In Antibes 1961"
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 339
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1075-19353"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1075&rewrite=ray-charles-in-antibes-1961&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:3 [ …3]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>fa5733 Ray Charles in Antibes</h3><p align=justify><strong><span class=Texte>His complete four performances at the Antibes-Juan-les-Pins Jazz Festival in July 1961, including 13 previously unreleased tracks, plus 14 bonus tracks<br /></span></strong><span class=Soustitre2><br />RAY CHARLES <br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>in Antibes <br /></span></p><p align=justify><span class=Soustitre2>1961</span><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre2>RAY CHARLES <br />in Antibes 1961</span><span class=Texte><br /></span><span class=Soustitre>par Jo&euml;l Dufour</span><span class=Texte><br />Que la France ait &eacute;t&eacute; le premier pays o&ugrave; Ray Charles se soit produit en dehors des États-Unis ne doit rien au hasard, mais tout &agrave; la passion que ses disques avaient suscit&eacute;e aupr&egrave;s de quelques personnalit&eacute;s qui avaient su se hisser du rang d&rsquo;amateurs de jazz &agrave; celui de d&eacute;cideurs et leaders d&rsquo;opinion, au premier rang desquels la place centrale revient &agrave; Frank T&eacute;not. <br />En compagnie de son ins&eacute;parable partenaire Daniel Filipacchi, Frank T&eacute;not &eacute;tait devenu en 1956 propri&eacute;taire de Jazz Magazine, le mensuel fond&eacute; par Eddie Barclay (Édouard Ruault) et Jacques Souplet deux ans plus t&ocirc;t, et les deux hommes animaient, sur la station de radio Europe 1, l&rsquo;&eacute;mission &laquo;&thinsp;Pour ceux qui aiment le jazz&thinsp;&raquo; depuis 1955, et, depuis 1959, sur la m&ecirc;me antenne, une autre &eacute;mission, populaire et destin&eacute;e au jeune public, &laquo;&thinsp;Salut les copains&thinsp;&raquo;.<br />Enthousiasm&eacute;s par la musique de Ray Charles (ses disques Atlantic y furent distribu&eacute;s en France d&egrave;s 1958), T&eacute;not et Filipacchi ne se privaient pas d&rsquo;en faire la promotion sur les diff&eacute;rents m&eacute;dias dans lesquels ils &eacute;taient impliqu&eacute;s, et, en novembre 1960, Frank T&eacute;not d&eacute;cida de se rendre aux États-Unis afin d&rsquo;aller l&rsquo;y &eacute;couter en public et de l&rsquo;interviewer. Leur rencontre, au Howard Theatre de Washington, D.C. (l&rsquo;&eacute;quivalent de ce qu&rsquo;&eacute;tait l&rsquo;Apollo pour Harlem), fit l&rsquo;objet d&rsquo;un grand article de T&eacute;not intitul&eacute; &laquo;&thinsp;Lumi&egrave;res sur Ray Charles&thinsp;&raquo; dans le num&eacute;ro de d&eacute;cembre 1960 de Jazz Magazine. <br />Peu conscient de l&rsquo;impact que sa musique pouvait d&eacute;j&agrave; avoir sur un public &eacute;tranger, Ray Charles avait &eacute;t&eacute; tr&egrave;s impressionn&eacute; qu&rsquo;un journaliste europ&eacute;en ait franchi l&rsquo;Atlantique juste pour venir le voir sur sc&egrave;ne et l&rsquo;interviewer. Aussi, lorsque Frank T&eacute;not lui dit qu&rsquo;il souhaitait le faire venir se produire en France, c&rsquo;est avec enthousiasme que Ray en avait accept&eacute; le principe.<br />Pour T&eacute;not, il &eacute;tait &eacute;vident que le cadre id&eacute;al dans lequel il fallait exposer Ray Charles pour la premi&egrave;re fois en France &eacute;tait celui du festival de jazz d&rsquo;Antibes-Juan-les Pins, organis&eacute; par Jacques Souplet et Jacques H&eacute;bey, dont la premi&egrave;re &eacute;dition, en juillet 1960 (qui pr&eacute;sentait notamment Charles Mingus, Bud Powell, Dizzy Gillespie et Sister Rosetta Tharpe), avait remport&eacute; un grand succ&egrave;s. <br />Connaissant la popularit&eacute; dont Ray Charles jouissait d&eacute;j&agrave; aupr&egrave;s d&rsquo;une large frange du public fran&ccedil;ais (qui ne dansait pas, &agrave; l&rsquo;&eacute;poque sur What&rsquo;d I say, Yes Indeed ou Georgia ?), pour la 2&egrave;me &eacute;dition du festival d&rsquo;Antibes, Jacques Souplet l&rsquo;avait programm&eacute; en vedette de quatre des sept soir&eacute;es, et la couverture du programme lui &eacute;tait naturellement d&eacute;volue. <br />En 1961, Ray Charles &eacute;tait au c&oelig;ur d&rsquo;une des p&eacute;riodes les plus mouvement&eacute;es de sa vie. Sans parler ni de son implication grandissante dans le mouvement pour les droits civiques ni de ses probl&egrave;mes de drogue (qui allaient bient&ocirc;t &eacute;clater au grand jour), sur le plan strictement musical il avait amorc&eacute; en 1959, avec son album Atlantic &laquo;&thinsp;The Genius of Ray Charles&thinsp;&raquo; (en France &laquo;&thinsp;L&rsquo;extraordinaire Ray Charles&thinsp;&raquo;) une fructueuse entreprise de s&eacute;duction du grand public (blanc) en enregistrant d&rsquo;une part des ballades avec violons et d&rsquo;autre part des standards avec un grand orchestre de jazz de type Count Basie (ce que Ray r&ecirc;vait d&rsquo;avoir sur sc&egrave;ne). Au moment de son arriv&eacute;e &agrave; Antibes, Ray Charles en &eacute;tait d&eacute;j&agrave; &agrave; son troisi&egrave;me album dans cette veine (maintenant pour son nouveau label ABC-Paramount) et il avait d&eacute;j&agrave; commenc&eacute; &agrave; exp&eacute;rimenter, en avril, de se produire avec un &laquo;&thinsp;big band&thinsp;&raquo;. <br />Toutefois, pour ce premier engagement &agrave; l&rsquo;&eacute;tranger c&rsquo;est &agrave; la t&ecirc;te de son octet des ann&eacute;es Atlantic, et de ses indispensables Raelets, qu&rsquo;il s&rsquo;&eacute;tait pr&eacute;sent&eacute;, et son r&eacute;pertoire n&rsquo;avait comport&eacute; que deux (magnifiques) interpr&eacute;tations de ballades enregistr&eacute;es pour ABC-Paramount, Georgia On My Mind et Ruby, toutes deux b&eacute;n&eacute;ficiant consid&eacute;rablement d&rsquo;&ecirc;tre d&eacute;barrass&eacute;es des violons des versions studio. En dehors d&rsquo;une troisi&egrave;me ballade, With You On My Mind (jamais enregistr&eacute;e par Ray en studio), le reste du r&eacute;pertoire du Genius n&rsquo;&eacute;tait constitu&eacute; que de jazz dynamique de style hard-bop et de son inimitable R&amp;B tremp&eacute; au Gospel. <br />Si le grand David &laquo;&thinsp;Fathead&thinsp;&raquo; Newman restait le soliste privil&eacute;gi&eacute;, les autres &laquo;&thinsp;souffleurs&thinsp;&raquo; de l&rsquo;orchestre (Hank Crawford, Phil Guilbeau, Leroy Cooper, John Hunt) eurent largement l&rsquo;occasion de se faire entendre en solo dans les pi&egrave;ces jazz du r&eacute;pertoire, et tous le firent avec brio. Quant &agrave; la soliste des Raelets, l&rsquo;incandescente Margie Hendrix, elle se montra &eacute;gale &agrave; elle-m&ecirc;me (impossible de lui faire un meilleur compliment) sur The Right Time, My Baby et Tell the Truth. Et Ray Charles lui-m&ecirc;me ? Il fut simplement constamment &agrave; son meilleur, tant instrumentalement (&eacute;coutez Hornful Soul) que vocalement (ses hallucinantes mont&eacute;es dans l&rsquo;aigu sur Tell the Truth !)<br />Pendant le reste de sa carri&egrave;re, Ray Charles devait revenir &agrave; treize reprises sur les lieux de ses inoubliables premi&egrave;res prestations en France, maintenant accessibles pour la premi&egrave;re fois dans leur int&eacute;gralit&eacute;.<br /></span><span class=Soustitre><br />Les &laquo;&thinsp;bonus&thinsp;&raquo;</span><span class=Texte><br />Nous avons notamment ajout&eacute; &agrave; cette publication les quelques enregistrements des ann&eacute;es 1950 auxquels Ray Charles a particip&eacute; en tant que pianiste accompagnateur d&rsquo;autres artistes, ainsi qu&rsquo;une des toutes premi&egrave;res s&eacute;ances qu&rsquo;il avait produites (et o&ugrave; il est au clavier) pour la marque de disques Tangerine qu&rsquo;il venait de cr&eacute;er en 1962.<br />A l&rsquo;&eacute;t&eacute; 1953, Ray Charles, qui n&rsquo;avait encore r&eacute;alis&eacute; que deux s&eacute;ances pour Atlantic (dirig&eacute;es par Jesse Stone), &eacute;tait toujours un artiste ne poss&eacute;dant pas son propre orchestre et courant le cachet dans tous les sens. Il avait alors &eacute;lu domicile &agrave; New Orleans et c&rsquo;est l&agrave; qu&rsquo;Ahmet Ertegun et Jerry Wexler, qui &eacute;taient en ville pour enregistrer Tommy Ridgley, lui demand&egrave;rent de venir tenir le piano sur une s&eacute;ance de deux titres de ce chanteur. Apr&egrave;s que Ridgley ait eu enregistr&eacute; ses deux chansons, l&rsquo;orchestre &eacute;tait toujours disponible et il restait suffisamment de temps de studio pour qu&rsquo;Ertegun et Wexler d&eacute;cident d&rsquo;&eacute;galement enregistrer deux titres par Ray, son propre blues I Wonder Who et Feelin&rsquo; Sad (le blues du soldat en Cor&eacute;e), une reprise d&rsquo;une chanson qui avait &eacute;t&eacute; un succ&egrave;s local pour le chanteur et guitariste Guitar Slim, avec qui Ray avait r&eacute;cemment tiss&eacute; une relation. <br />Chanteur &acirc;pre, guitariste au jeu per&ccedil;ant r&eacute;volutionnaire, et aussi personnage flamboyant et extraverti, Guitar Slim devait, quelques mois plus tard, faire appel &agrave; Ray Charles pour jouer du piano sur sa premi&egrave;re s&eacute;ance de quatre titres pour le label Specialty. Une confusion certaine r&eacute;gnant dans le studio du fait de la personnalit&eacute; fantasque de Slim, qui avait tendance &agrave; se comporter comme dans un club, Ray devait finir par prendre les choses en main, &eacute;crire les arrangements, les dicter aux musiciens, et faire de son mieux afin de garder Slim en face d&rsquo;un micro ! L&rsquo;audible &laquo;&thinsp;yeah !&thinsp;&raquo; de soulagement qu&rsquo;il pousse lorsqu&rsquo;une prise satisfaisante de The Things That I Used to Do est enfin r&eacute;alis&eacute;e en dit long sur l&rsquo;&eacute;preuve qu&rsquo;il venait de traverser. Cette chanson fut un succ&egrave;s foudroyant, d&eacute;crochant en janvier 1954 un n&deg;1 R&amp;B dans le classement du magazine Billboard, le premier auquel Ray fut associ&eacute;. <br />En 1986, Bob Porter avait compil&eacute; un double-album d&rsquo;enregistrements Atlantic intitul&eacute; &ldquo;Big Joe Turner : The Rhythm &amp; Blues Years&rdquo; o&ugrave; &eacute;tait indiqu&eacute; que le pianiste sur la version de Wee Baby Blues du 2 octobre 1957 &eacute;tait Ray Charles. C&rsquo;&eacute;tait la premi&egrave;re fois qu&rsquo;une telle information &eacute;tait imprim&eacute;e, aussi, lorsque j&rsquo;en avais eu l&rsquo;opportunit&eacute; (en 1989) j&rsquo;avais demand&eacute; &agrave; Ray Charles s&rsquo;il pouvait confirmer cette affirmation. Sa r&eacute;ponse avait &eacute;t&eacute; &laquo;&thinsp;J&rsquo;ai souvent accompagn&eacute; Joe Turner au piano sur sc&egrave;ne, mais je n&rsquo;ai jamais enregistr&eacute; avec lui&thinsp;&raquo;. Ce n&rsquo;est qu&rsquo;en 2008 que j&rsquo;&eacute;tais parvenu &agrave; entrer en contact avec Mike Stoller, qui avait jou&eacute; du piano sur le premier titre de cette m&ecirc;me s&eacute;ance, Teen Age Letter. Voici ce qu&rsquo;il m&rsquo;avait r&eacute;pondu : &laquo;&thinsp;Oui je peux confirmer que c&rsquo;est bien Ray qui avait jou&eacute; du piano sur &lsquo;Wee Baby Blues&rsquo;. J&rsquo;&eacute;tais l&agrave; quand il l&rsquo;a fait. Jerry Wexler m&rsquo;avait demand&eacute; de venir au studio pour jouer au cours d&rsquo;une s&eacute;ance de Joe Turner. Il voulait que je joue sur &lsquo;Teen Age Letter&rsquo;, le premier titre qui devait &ecirc;tre enregistr&eacute; lors de cette s&eacute;ance. En fait, j&rsquo;&eacute;tais un peu embarrass&eacute; de jouer du piano alors que Ray Charles &eacute;tait l&agrave; &agrave; attendre. Je me souviens que lorsque le 45t avait &eacute;t&eacute; publi&eacute; (Atlantic 1167) &eacute;tait parue une publicit&eacute; dans les journaux professionnels mentionnant que j&rsquo;avais jou&eacute; du piano sur &lsquo;Teen Age Letter&rsquo;. J&rsquo;avais trouv&eacute; idiot de me mentionner et de ne pas le faire pour Ray, qui avait jou&eacute; sur l&rsquo;autre titre, &lsquo;Wee Baby Blues&rsquo;&thinsp;&raquo;.<br />Lorsque Ray Charles avait cr&eacute;&eacute; sa propre marque de disques, Tangerine, en 1962, il s&rsquo;&eacute;tait empress&eacute; d&rsquo;y enregistrer certains de ses artistes de pr&eacute;dilection, comme Percy Mayfield, Louis Jordan ou Jimmy Scott. Mais sa 4&egrave;me s&eacute;ance pour Tangerine, il l&rsquo;avait d&eacute;volue &agrave; Lula Reed, une superbe chanteuse de R&amp;B, avec une touche de sophistication jazz, qui avait jou&eacute; un r&ocirc;le indirect dans sa propre carri&egrave;re. En 1952, le pianiste et chef d&rsquo;orchestre Sonny Thompson avait sorti un 45t comportant une chanson, I&rsquo;ll Drown in My Tears, interpr&eacute;t&eacute;e par son &eacute;pouse, Lula Reed, qui avait d&eacute;croch&eacute; la 5&egrave;me place R&amp;B au Billboard. Quatre ans plus tard, Ray Charles reprenait cette chanson sous le titre Drown in My Own Tears et atteignait avec elle la premi&egrave;re place R&amp;B, suscitant aussi de tr&egrave;s nombreuses reprises par d&rsquo;autres artistes. <br />Cette s&eacute;ance de Lula Reed, qui n&rsquo;a peut-&ecirc;tre jamais aussi bien chant&eacute;, permet &eacute;galement de savourer deux interventions au saxophone t&eacute;nor de Don Wilkerson (un autre des grands solistes de Brother Ray), ainsi que le trop m&eacute;connu, exquis, art de l&rsquo;accompagnement d&rsquo;un vocaliste du maitre, tant au piano qu&rsquo;&agrave; l&rsquo;orgue. Écoutez la magique interaction voix/orgue sur There He Goes ! &nbsp;<br /></span><span class=Soustitre>Jo&euml;l DUFOUR<br /></span><span class=Source><br />&copy; Fr&eacute;meaux &amp; Associ&eacute;s 2018<br />Publications consult&eacute;es :<br />&laquo;&thinsp;Brother Ray &ndash; Ray Charles&rsquo; Own Story&thinsp;&raquo; <br />par Ray Charles <br />&amp; David Ritz <br />(Da Capo).<br />&laquo;&thinsp;Ray Charles &ndash; Man and Music&thinsp;&raquo; par Michael Lydon (Routledge).<br />&laquo;&thinsp;Lumi&egrave;res sur Ray Charles&thinsp;&raquo; <br />par Frank T&eacute;not, in Jazz Magazine n&deg;65, d&eacute;cembre 1960.<br />Remerciements &agrave; :<br />Michelle Dufour, Jean-Francis Merle, David Ritz, Mike Stoller, <br />et Bob Stumpel, <br />le principal &laquo;&thinsp;gardien de <br />la flamme&thinsp;&raquo; <br />du Genius, notamment <br />&agrave; travers son formidable blog &laquo;&thinsp;Ray Charles Video Museum&thinsp;&raquo;.</span><span class=Texte><br /></span></p><p align=justify><br /></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Ray Charles in Antibes 1961</span><span class=Texte><br /></span><span class=Soustitre>by Jo&euml;l Dufour<br /></span><span class=Texte><br />That France has been the first foreign country in which Ray Charles has performed on stage owes nothing to chance but everything to the infatuation that his records had caused on people who had raised from the simple status of jazz fans to the one of decision makers and opinion leaders, at the first rank of which the central role was played by Frank T&eacute;not.<br />Together with his inseparable partner Daniel Filipacchi, Frank T&eacute;not had become in 1956 owner of Jazz Magazine, the monthly publication launched by Eddie Barclay (Edouard Ruault) and Jacques Souplet two years before, and the two men hosted, on the Europe -1 radio station, the program &ldquo;Pour ceux qui aiment le jazz&rdquo; (&ldquo;For those who like jazz&rdquo;), and, since 1959, on the same station, another program, this one pop-oriented and aimed at teenagers, &ldquo;Salut les copains&rdquo; (&ldquo;Hi, buddies&rdquo;).<br />Excited by Ray Charles&rsquo; music (whose Atlantic records had been distributed in France since 1958) T&eacute;not and Filipacchi would not refrain themselves from promoting them through the various media they were involved in, and, in November 1960, Frank T&eacute;not decided to fly to the United States to attend one of Ray&rsquo;s performances and to interview him. Their meeting, at the Howard Theatre of Washington, D.C., resulted in a long article entitled &ldquo;Lumi&egrave;res sur Ray Charles&rdquo; (&ldquo;Lights on Ray Charles&rdquo;) in the December 1960 issue of Jazz Magazine.<br />Hardly aware of the impact that his music already had on a foreign public, Ray Charles had been very impressed that an European journalist had crossed the Atlantic ocean just to see him on stage and interview him. Thus, when Frank T&eacute;not told him that he wished to have him come in France to perform, it is with enthusiasm that Ray had agreed upon the principle. <br />For T&eacute;not, it was obvious that the ideal stage on which to present Ray Charles for the first time in France was the one of the Antibes-Juan-les-Pins jazz festival, organized by Jacques Souplet and Jacques H&eacute;bey, the first edition of which, in July 1960 (which featured Charles Mingus, Bud Powell, Dizzy Gillespie and Sister Rosetta Tharpe), had met with high success.<br />Aware of the popularity that Ray Charles already enjoyed near a large portion of the French public (who, then, didn&rsquo;t dance to What&rsquo; I Say, Yes Indeed or Georgia ?), for the second edition of the Antibes festival, Jacques Souplet had programmed him as the main attraction of four out of the seven evenings, and the cover of the program was naturally devoted to him.<br />In 1961, Ray Charles was experiencing one of the shakiest periods of his life. Notwithstanding his growing involvement in the Civil Rights Movement and his drug problems (which would soon be in the spotlight), on the strictly musical point of view he had started in 1959, with his Atlantic album &ldquo;The Genius of Ray Charles&rdquo; (released in France as &ldquo;L&rsquo;extraordinaire Ray Charles&rdquo;), a fruitful move toward the courtship of the large (white) public through recording, for one part, ballads with strings and, for another part, standards with a Count-Basie type jazz big band (Ray was dreaming of having one to back him on stage). At the time of his arrival at Antibes, Ray Charles had already released his third album in that setting (now for his new label ABC-Paramount) and he had started experimenting, in April, with a big band.<br />However, for these first gigs in a foreign country it was heading his octet of the Atlantic years, and his indispensable Raelets, that he had hit the stage, and his repertoire had included only two (magnificent) renditions of ballads recorded for ABC-Paramount, Georgia On My Mind and Ruby, both greatly benefitting from being rid of the strings of the studio versions. Except for a third ballad, With You on My Mind (never recorded by Ray in the studio), the rest of the Genius&rsquo;s repertoire was all made of dynamic hard-bop style jazz and his own inimitable brand of gospel-drenched R&amp;B.<br />While the great David &ldquo;Fathead&rdquo; Newman was the privileged soloist, the other horn men in the band (Hank Crawford, Phil Guilbeau, Leroy Cooper, John Hunt) had generous room to express themselves as soloists on the jazz tunes of the repertoire, and all did it with knack. As for the Raelets soloist, the incandescent Margie Hendrix, she was her usual own bad self (impossible to address her a better compliment) on The Right Time, My Baby and Tell the Truth. And Ray Charles himself? He simply was constantly at the top of his game, both instrumentally (listen to Hornful Soul) and vocally (check his incredible falsetto singing on Tell the Truth!)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;<br />During the rest of his career, Ray Charles would return thirteen times on the scene of his unforgettable first performances in France, now available in their entirety.<br /></span><span class=Soustitre><br />The bonus tracks </span><span class=Texte><br />Among the &ldquo;bonus tracks&rdquo; we have added to this release are the few recordings of the 1950s in which Ray Charles participated as a sideman backing other artists, as well as one of the first sessions that he produced for his Tangerine label he had launched in 1962.<br />During the Summer of 1953, Ray Charles, who then had only two sessions for Atlantic under his belt (both directed by Jesse Stone), was still a gig seeking freelance artist without his own band. At that time, he was living in New Orleans and it is there that Ahmet Ertegun and Jerry Wexler, who were in town to record Tommy Ridgley, asked him to come play piano on a two-songs session for that singer. After Ridgley had recorded his two songs, the band was still there and there was still studio time available, so Ertegun and Wexler decided to also record two songs by Ray, his own blues I Wonder Who and Feelin&rsquo; Sad (the blues of the soldier in Korea), which had been a local success for the singer and guitar player Guitar Slim, with whom Ray had recently developed a relationship.<br />Harsh singer, guitarist with a revolutionary piercing style, and also a flashy and extrovert personality, Guitar Slim would, a few months later, ask Ray Charles to play piano on his first four songs session for the Specialty label. Due to Slim&rsquo;s hectic behavior &ndash; he tended to act like if he was performing in a club &ndash; the session soon had turned into confusion, until Ray took over the lead. He eventually wrote the arrangements, dictating them to the musicians and did his best to keep Slim in front of a microphone! One can hear Ray&rsquo;s &ldquo;yeah!&rdquo; of relief when a satisfactory take of The Things That I Used To Do was completed, at last. It speaks a lot of the ordeal he had been through. That song was a smash hit, reaching, the #1 R&amp;B spot of the Billboard magazine in January 1954. It was the first time Ray had been involved in such a success.<br />In 1986, Bob Porter had compiled a double-LP of Atlantic recordings entitled &ldquo;Big Joe Turner: The Rhythm &amp; Blues Years&rdquo; where it was mentioned that the piano player on the version of Wee Baby Blues recorded on October 2, 1957 was Ray Charles. It was the first time that such a piece of information had been printed, thus, when I had the opportunity to do so (in 1989) I had asked Ray Charles whether he could confirm that statement. His answer had been: &ldquo;I often played piano behind Joe Turner on stage, but I never recorded with him&rdquo;. It is only in 2008 that I had been able to get in touch with Mike Stoller, who had played piano on the first song of that same session, Teen Age Letter. Here is what he had replied to me: &ldquo;Yes, I can confirm that it was Ray playing piano on &lsquo;Wee Baby Blues&rsquo;. I was there when he did it. Jerry Wexler had asked me to come to the studio to play on a session with Joe Turner. He wanted me to play on &lsquo;Teen Age Letter&rsquo;, which was the first song to be recorded during that session. As a matter of fact, I was a bit embarrassed to be playing the piano while Ray Charles was sitting there, waiting. I recall that when the single (Atlantic 1167) was released there was an ad in the trades mentioning that I had played piano on &lsquo;Teenage Letter&rsquo;. I thought it was silly to mention me and not Ray who played on the other side, &lsquo;Wee Baby Blues&rsquo;&rdquo;. &nbsp;<br />When Ray Charles had founded his own record label, Tangerine, in 1962, he had rushed recording some of his favorite artists, like Percy Mayfield, Louis Jordan or Jimmy Scott. But he had devoted his 4th session for Tangerine to Lula Reed, a superb R&amp;B singer, with a touch of jazz sophistication, who had played an indirect role in his own career. In 1952, pianist and bandleader Sonny Thompson had released a single featuring a song, I&rsquo;ll Drown in My Tears, sung by his wife, Lula Reed, which had reached the #5 spot R&amp;B in Billboard. Four years later, Ray Charles would cover that song under the title Drown in My Own Tears and get a #1 R&amp;B with it, also prompting a lot of covers of his version by other artists.<br />That Lula Reed session, who had possibly never sung so well, also allows to enjoy two tenor-saxophone solos by Don Wilkerson (another of Brother Ray&rsquo;s great soloists) as well as the too obscure, exquisite, art of backing a vocalist of the master, be it on piano or organ. Listen to the magical voice/organ interaction on There He Goes! <br /></span><span class=Soustitre>Jo&euml;l DUFOUR</span><span class=Texte><br /></span><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2018<br />Consulted publications :<br />&ldquo;Brother Ray &ndash; Ray Charles&rsquo; Own Story&rdquo; by Ray Charles &amp; David Ritz (Da Capo).<br />&ldquo;Ray Charles &ndash; Man and Music&rdquo; by Michael Lydon (Routledge).<br />&ldquo;Lumi&egrave;res sur Ray Charles&rdquo; by Frank T&eacute;not, in Jazz Magazine #65, December 1960.<br />Thanks to :<br />Michelle Dufour, Jean-Francis Merle, David Ritz, Mike Stoller, and Bob Stumpel, the main &ldquo;keeper of the flame&rdquo; for the Genius, including through his incredible blog &ldquo;Ray Charles Video Museum&rdquo;.<br /></span><span class=Texte><br /><strong><br />Composition du quadruple-CD et renseignements discographiques</strong><br /></span><span class=Soustitre2><br />CD-1 - The July 18, 1961, Ray Charles performance </span><span class=Texte><br />+ bonus tracks (72:40):<br />&#8199;1. Spoken introductions by Andr&eacute; Francis and Joe Adams - 2:59<br />&#8199;2. Doodlin&rsquo; (Horace Silver) [solo: RC, PG, DN, LC] -7:24<br />&#8199;3. The Story (James Moody) [solo: PG, LC, JH, HC, DN, RC] - 4:55 <br />&#8199;4. Lil&rsquo; Darlin&rsquo; (Neal Hefti) [solo: RC, JH, PG, DN, HC, RC] - 8:27<br />&#8199;5. One Mint Julep (Rudolph Toombs) [solo: RC] - 3:16<br />&#8199;6. Let the Good Times Roll (Sam Theard, Fleecie Moore) [solo: DN] - 2:41<br />&#8199;7. Georgia on My Mind (Hoagy Carmichael, Stuart Gorrell) [solo: DN] - 5:21<br />&#8199;8. My Bonnie (Ray Charles) [solo: DN] &ndash; 3:59<br />&#8199;9. (Night Time Is) The Right Time (Napoleon Brown) [solo: MH] - 4:13<br />10. Sticks and Stones (Titus Turner) [solo: RC] - 3:51<br />11. Hallelujah I Love Her So (Ray Charles) [solo: DN] - 3:06 <br />12. What&rsquo;d I Say (Ray Charles) - 5:46<br />Bonus tracks with Ray Charles on piano: <br />13. Tommy Ridgley: Ooh Lawdy My Baby (Tommy Ridgley) - 2:44 <br />14. Tommy Ridgley: I&rsquo;m Gonna Cross That River (Gladys De Vore, Richard Sturgell) - 2:56<br />15. Guitar Slim: The Things That I Used to Do (Eddie Jones) - 3:01<br />16. Guitar Slim: Well I Done Got Over It (Eddie Jones) - 2:27<br />17. Guitar Slim: The Story of My Life (Eddie Jones) - 3:00<br />18. Guitar Slim: A Letter to My Girlfriend (aka Prison Blues) (Eddie Jones) - 2:10<br /></span><span class=Soustitre2><br />CD-2 - The July 19, 1961, Ray Charles performance </span><span class=Texte><br />+ bonus tracks (59:40):<br />&#8199;1. Spoken introductions by Andr&eacute; Francis and Joe Adams - 2:41<br />&#8199;2. The Story (James Moody) [solo: PG, LC, JH, HC, DN, RC] - 4:49<br />&#8199;3. In a Little Spanish Town (Mabel Wayne) - 4:11 (*)<br />&#8199;4. Lil&rsquo; Darlin&rsquo; (Neal Hefti) [solo: RC, JH, PG, DN, HC, RC] - 6:58 (*)<br />&#8199;5. Popo (Shorty Rogers) [solo: HC, DN, PG, LC, RC] - 4:17 (*)<br />&#8199;6. Let the Good Times Roll (Sam Theard, Fleecie Moore) [solo: DN] - 2:43 (*)<br />&#8199;7. Georgia on My Mind (Hoagy Carmichael, Stuart Gorrell) [solo: DN] - 4:55 (*)<br />&#8199;8. Sticks and Stones (Titus Turner) [solo: RC] - 3:49<br />&#8199;9. My Baby (I Love Her, Yes I Do) (Ray Charles) [solo: MH] - 4:07 (*)<br />10. Yes Indeed (Sy Oliver) [solo: DN] - 2:39<br />11. I Believe to My Soul (Ray Charles) - 3:32<br />12. What&rsquo;d I Say (Ray Charles) - 5:30<br />(*) Previously unreleased.<br />Ray Charles bonus tracks:<br />13. It Should&rsquo;ve Been Me (Eddie &ldquo;Memphis&rdquo; Curtis) - 2:39 <br />14. Early in the Mornin&rsquo; (Leo Hickman, Louis Jordan, Dallas Bartley) [solo: DN] - 2:47<br />15. My Bonnie (Ray Charles) [solo: DN] - 3:46 (*)<br /></span><span class=Soustitre2><br />CD-3 - The July 21, 1961, Ray Charles performance </span><span class=Texte><br />+ bonus track (44&rsquo;50):<br />&#8199;1. Spoken introduction by Joe Adams - 1:23<br />&#8199;2. Popo (Shorty Rogers) [solo: HC, DN, PG, LC, RC] - 3:55 <br />&#8199;3. Lil&rsquo; Darlin&rsquo; (Neal Hefti) [solo: RC, JH, PG, DN, HC, RC] - 8:06<br />&#8199;4. Let the Good Times Roll (Sam Theard, Fleecie Moore) [solo: DN] - 2:41 (*)<br />&#8199;5. Ruby (C. Conrad, J.R. Robinson, B. Davis) - 6:15<br />&#8199;6. My Bonnie (Ray Charles) [solo: DN] - 3:25<br />&#8199;7. With You on My Mind (Nat &ldquo;King&rdquo; Cole, Charlotte Hawkins) - 4:48<br />&#8199;8. Sticks and Stones (Titus Turner) [solo: RC] - 3:25 (*)<br />&#8199;9. I Wonder (Cecil Gant, Raymond Leveen) - 3:21<br />10. What&rsquo;d I Say (Ray Charles) - 5:03 (*)<br />Bonus track with Ray Charles on piano: <br />11. Joe Turner: Wee Baby Blues (Joe Turner, Pete Johnson) [solo: ST] - 2:18<br /></span><span class=Soustitre2>CD-4 - The July 22, 1961, Ray Charles performance </span><span class=Texte><br />+ bonus tracks (67&rsquo;28):<br />&#8199;1. Spoken introductions by Andr&eacute; Francis and Joe Adams - 2:19<br />&#8199;2. Popo (Shorty Rogers) [solo: HC, DN, PG, LC, RC] - 4:15 (*)<br />&#8199;3. Lil&rsquo; Darlin&rsquo; (Neal Hefti) [solo: RC, JH, PG, DN, HC, RC] - 7:44 (*)<br />&#8199;4. Hornful Soul (Ray Charles) [solo: RC] - 5:14<br />&#8199;5. Let the Good Times Roll (Sam Theard, Fleecie Moore) [solo: DN] - 2:54<br />&#8199;6. Georgia on My Mind (Hoagy Carmichael, Stuart Gorrell) [solo: DN] - 5:11<br />&#8199;7. My Bonnie (Ray Charles) [solo: DN] - 3:35 (*)<br />&#8199;8. With You on My Mind (Nat &ldquo;King&rdquo; Cole, Charlotte Hawkins) [solo: DN] - 5:02 (*)<br />&#8199;9. Tell the Truth (Lowman Pauling) [solo: MH] - 3:43<br />10. I Wonder (Cecil Gant, Raymond Leveen) - 3:39<br />11. Sticks and Stones (Titus Turner) [solo: RC] - 3:14<br />12. I Believe to My Soul (Ray Charles) - 3:59<br />13. What&rsquo;d I Say (Ray Charles) - 5:23<br />Bonus tracks with Ray Charles on piano or organ:<br />14. Lula Reed: Trouble in In Mind (Richard M. Jones) [solo: DW] - 3:01 <br />15. Lula Reed: Ain&rsquo;t That Love (Ray Charles) [solo: DW] - 2:49<br />16. Lula Reed: Just Keep It Up (Otis Blackwell) - 1:57<br />17. Lula Reed: There He Goes (Lula Reed) - 3:11<br />&nbsp;<br />On the Ray Charles Antibes 1961 performances (Andr&eacute; Francis produced RTF radio recordings: CD-1, tracks 1-12 / CD-2, tracks 1-12 / CD-3, tracks 1-10 / CD-4, tracks 1-13), the personnel is: Ray Charles (piano, lead vocals); Phillip Guilbeau (trumpet); John Hunt (fluegelhorn); &ldquo;Hank Crawford&rdquo; [Bennie Ross Crawford, Jr] (alto saxophone, band leader); David &ldquo;Fathead&rdquo; Newman (tenor saxophone, flute); Leroy &ldquo;Hog&rdquo; Cooper (baritone saxophone); Edgar Willis (bass); Edward &ldquo;Bruno&rdquo; Carr (drums); The Raelets: Gwendolyn Berry, &ldquo;Margie Hendrix&rdquo; [Marjorie Hendricks], Priscilla &ldquo;Pat&rdquo; Moseley Lyles, Ethel &ldquo;Darlene&rdquo; McCrea (vocals). <br />Doodlin&rsquo;, Hornful Soul, Let the Good Times Roll and One Mint Julep were arranged by Quincy Jones.<br />All the other arrangements are by Ray Charles.<br />On CD-1, tracks 13 &amp; 14, the personnel is: Tommy Ridgley (vocals) with Ray Charles (piano) and Edgar Blanchard&rsquo;s band: Auguste &ldquo;Dimes&rdquo; Dupont (alto saxophone); Warren Hebrard (tenor saxophone); Edgar Blanchard (guitar); Frank Fields (bass); Alonzo Stewart (drums). Recorded in New Orleans, August 18, 1953. Produced by Ahmet Ertegun &amp; Jerry Wexler. Released on Atlantic 1009. <br />On CD-1, tracks 15-18, the personnel is: &ldquo;Guitar Slim&rdquo; (Eddie Jones) (vocals &amp; guitar); Frank Mitchell (trumpet); Gus Fontenette (alto saxophone); Charles Burbank, Joe Tillman (tenor saxophone); Ray Charles (piano); Lloyd Lambert (bass); Oscar Moore (drums). Arranged by Ray Charles. Recorded in New Orleans, October 27, 1953. Produced by Johnny Vincent. Tracks 15 &amp; 16 released on Specialty 482. Tracks 17 &amp; 18 released on Specialty 490.<br />On CD-2, track 13, the personnel is: Ray Charles (vocals, piano); Freddie Mitchell, Pinky Williams (tenor saxophone); Dave McRae (baritone saxophone); McHouston &ldquo;Mickey&rdquo; Baker (guitar); Lloyd Trotman (bass); Connie Kay (drums). Arranged and directed by Jesse Stone. Recorded in New York, May 17, 1953. Produced by Ahmet Ertegun &amp; Herb Abramson. Released on Atlantic 2106. This alternate take of It Should&rsquo;ve Been Me is on this single only. It did not make it to the &ldquo;Ray Charles &ndash; Pure Genius &ndash; The Complete Atlantic Recordings (1952-1959)&rdquo; Rhino CD box set.&nbsp; &nbsp;<br />On CD-2, track 14, the personnel is: Ray Charles (vocals, electric piano); Marcus Belgrave, Lee Zedrick &ldquo;Ricci&rdquo; Harper (trumpet); David &ldquo;Fathead&rdquo; Newman (tenor saxophone); Hank Crawford (baritone saxophone); Edgar Willis (bass); Milton Turner (drums); Mongo Santamaria (congas); Mary Ann Fisher &amp; the Raelets: [Gwen Berry, Margie Hendrix, &ldquo;Pat&rdquo; Moseley Lyles, &ldquo;Darlene&rdquo; McCrea] (vocals). Arranged by Ray Charles. Recorded in New York, October 28, 1958. Produced by Ahmet Ertegun &amp; Jerry Wexler. Released on Atlantic 2094. This take of Early in the Mornin&rsquo; is on that single only (all the other releases of that song used a different take). It did not make it to the &ldquo;Ray Charles &ndash; Pure Genius &ndash; The Complete Atlantic Recordings (1952-1959)&rdquo; Rhino CD box set.&nbsp; &nbsp;<br />On CD-2, track 15 (Radio Basel recording), the personnel is: Ray Charles (vocals, piano); Marcus Belgrave, Wallace Davenport, Phil Guilbeau (trumpet); John Hunt (fluegelhorn); Henderson Chambers, James Lee Harbert, Frederic &ldquo;Keg&rdquo; Johnson, Leon Comegys (trombone); Hank Crawford (alto saxophone, band leader); Everard &ldquo;Rudy&rdquo; Powell (alto saxophone); David &ldquo;Fathead&rdquo; Newman, Donald Wilkerson (tenor saxophone); Leroy Cooper (baritone saxophone); Elbert &ldquo;Sonny&rdquo; Forriest (guitar); Edgar Willis (bass); Bruno Carr (drums); The Raelets: Gwen Berry, Margie Hendrix, &ldquo;Pat&rdquo; Moseley Lyles, &ldquo;Darlene&rdquo; McCrea (vocals). Recorded at Kongresshaus-B&uuml;hne, Z&uuml;rich, October 18, 1961.<br />On CD-3, track 11, the personnel is: Joe Turner (vocals); Ray Charles (piano), and Jesse Stone&rsquo;s band: Jerome Richardson (alto saxophone); Sam &ldquo;The Man&rdquo; Taylor (tenor saxophone); Allen Hanlon, Mundell Lowe (guitar); Lloyd Trotman (bass); David &ldquo;Panama&rdquo; Francis (drums); chorus. Arranged and directed by Jesse Stone. Recorded in New York, October 2, 1957. Produced by Ahmet Ertegun &amp; Jerry Wexler. Released on Atlantic 1167.<br />On CD-4, tracks 14-17, the personnel is: Lula Reed (vocals); Marcus Belgrave, Wallace Davenport (trumpet); Henderson Chambers (trombone); Donald Wilkerson (tenor saxophone); Leroy Cooper (baritone saxophone); Sonny Forriest (guitar); Ray Charles (piano on the first 3 tracks, organ on the last one); Edgar Willis (bass); Wilbert Hogan (drums). Arranged by Gerald Wilson. Recorded in Los Angeles, August 15, 1962. Produced by Ray Charles. Tracks 14 &amp; 15 released on Tangerine 932. Tracks 16 &amp; 17 released on Tangerine 925.<br />R&eacute;alis&eacute; par Jo&euml;l Dufour, le plus grand sp&eacute;cialiste du &laquo;&thinsp;Genius&thinsp;&raquo;, cet opus regroupe pour la premi&egrave;re fois, en int&eacute;gralit&eacute;, le live de Ray Charles &agrave; Antibes/Juan-les-Pins de juillet 1961. Premier engagement de Ray Charles &agrave; l&rsquo;&eacute;tranger, ce concert culte allait &ecirc;tre le premier d&rsquo;une longue lign&eacute;e et initier cette belle relation d&rsquo;estime entre l&rsquo;artiste et le public fran&ccedil;ais. Jo&euml;l Dufour a par ailleurs s&eacute;lectionn&eacute; une quantit&eacute; mirobolante de titres bonus et in&eacute;dits, o&ugrave; l&rsquo;on retrouve notamment le pianiste en formidable accompagnateur, pour faire de ce coffret 4 CD une r&eacute;f&eacute;rence incontournable pour tout amateur de Brother Ray.&nbsp;&nbsp;&nbsp; <br /></span></p><p align=justify><span class=Texte><strong>Patrick FRÉMEAUX</strong><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>Produced by Jo&euml;l Dufour, the greatest expert on the work of &ldquo;The Genius&rdquo; &mdash; aka Ray Charles &mdash; this set brings together for the first time the complete live concert that Ray performed in Antibes/Juan-les-Pins in July 1961. It was Ray Charles&rsquo; first booking outside the USA &mdash; a cult concert &mdash; and it was destined to be the first in a lengthy series that created the long-lasting respect reserved for the artist by audiences in France. When compiling this set, Jo&euml;l Dufour chose to include a large number of bonus tracks and previously unreleased material &mdash; notably demonstrating that Ray, already a great keyboard player, was also a fantastic accompanist. This 4CD box a must-have item for every &ldquo;Brother Ray&rdquo; fan.<br /><strong>Patrick FRÉMEAUX</strong><br /><strong>CD-1 - The July 18, 1961, Ray Charles performance</strong> + bonus tracks (72:40): 1. Spoken introductions by Andr&eacute; Francis and Joe Adams 2:59 &bull; 2. Doodlin&rsquo; 7:24 &bull; 3. The Story 4:55 &bull; 4. Lil&rsquo; Darlin&rsquo; 8:27 &bull; 5. One Mint Julep 3:16 &bull; 6. Let the Good Times Roll 2:41 &bull; 7. Georgia on My Mind 5:21 &bull; 8. My Bonnie 3:59 &bull; 9. (Night Time Is) The Right Time 4:13 &bull; 10. Sticks and Stones 3:51 &bull; 11. Hallelujah I Love Her So 3:06 &bull; 12. What&rsquo;d I Say 5:46 &bull; Bonus tracks with Ray Charles on piano: &bull; 13. Tommy Ridgley: Ooh Lawdy My Baby 2:44 &bull; 14. Tommy Ridgley: I&rsquo;m Gonna Cross That River 2:56 &bull; 15. Guitar Slim: The Things That I Used to Do 3:01 &bull; 16. Guitar Slim: Well I Done Got Over It 2:27 &bull; 17. Guitar Slim: The Story of My Life 3:00 &bull; 18. Guitar Slim: A Letter to My Girlfriend (aka Prison Blues) 2:10.<br /><strong>CD-2 - The July 19, 1961, Ray Charles performance</strong> + bonus tracks (59:40): 1. Spoken introductions by Andr&eacute; Francis and Joe Adams 2:41 &bull; 2. The Story 4:49 &bull; 3. In a Little Spanish Town 4:11 (*) &bull; 4. Lil&rsquo; Darlin&rsquo; 6:58 (*) &bull; 5. Popo 4:17 (*) &bull; 6. Let the Good Times Roll (2:43 (*) &bull; 7. Georgia on My Mind 4:55 (*) &bull; 8. Sticks and Stones 3:49 &bull; 9. My Baby (I Love Her, Yes I Do) 4:07 (*) &bull; 10. Yes Indeed 2:39 &bull; 11. I Believe to My Soul 3:32 &bull; 12. What&rsquo;d I Say 5:30 &bull; Ray Charles bonus tracks: &bull; 13. It Should&rsquo;ve Been Me 2:39 &bull; 14. Early in the Mornin&rsquo; 2:47 &bull; 15. My Bonnie 3:46 (*).<br /><strong>CD-3 - The July 21, 1961, Ray Charles performance </strong>+ bonus track (44&rsquo;50): 1. Spoken introduction by Joe Adams 1:23 &bull; 2. Popo 3:55 &bull; 3. Lil&rsquo; Darlin&rsquo; 8:06 &bull; 4. Let the Good Times Roll 2:41 (*) &bull; 5. Ruby 6:15 &bull; 6. My Bonnie 3:25 &bull; 7. With You on My Mind 4:48 &bull; 8. Sticks and Stones 3:25 (*) &bull; 9. I Wonder 3:21 &bull; 10. What&rsquo;d I Say 5:03 (*) &bull; Bonus track with Ray Charles on piano: &bull; 11. Joe Turner: Wee Baby Blues 2:18.<br /><strong>CD-4 - The July 22, 1961, Ray Charles performance</strong> + bonus tracks (67&rsquo;28): 1. Spoken introductions by Andr&eacute; Francis and Joe Adams 2:19 &bull; 2. Popo 4:15 (*) &bull; 3. Lil&rsquo; Darlin&rsquo; 7:44 (*) &bull; 4. Hornful Soul 5:14 &bull; 5. Let the Good Times Roll 2:54 &bull; 6. Georgia on My Mind 5:11 &bull; 7. My Bonnie 3:35 (*) &bull; 8. With You on My Mind 5:02 (*) &bull; 9. Tell the Truth 3:43 &bull; 10. I Wonder 3:39 &bull; 11. Sticks and Stones 3:14 &bull; 12. I Believe to My Soul 3:59 &bull; 13. What&rsquo;d I Say 5:23 &bull; Bonus tracks with Ray Charles on piano or organ: &bull; 14. Lula Reed: Trouble in In Mind 3:01 &bull; 15. Lula Reed: Ain&rsquo;t That Love 2:49 &bull; 16. Lula Reed: Just Keep It Up 1:57 &bull; 17. Lula Reed: There He Goes 3:11.<br /><strong>(*) Previously unreleased.</strong><br /></span></p>"
      "dwf_titres" => array:61 [ …61]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/3/5/3/19353-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => array:1 [ …1]
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#627
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#703
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
  3 => ProductListingLazyArray {#716
    -imageRetriever: ImageRetriever {#705
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#707}
    -productColorsRetriever: ProductColorsRetriever {#708}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#717
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1076"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302572727"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5727"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "340"
      "date_add" => "2021-10-21 20:48:08"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>Originaire de Louisiane, Jerry Lee Lewis fut l&rsquo;incarnation la plus sauvage du rock blanc des ann&eacute;es 1950. Surgi apr&egrave;s le succ&egrave;s d&rsquo;Elvis Presley qu&rsquo;il d&eacute;fia, son originalit&eacute; fut la cl&eacute; de sa r&eacute;ussite : cheveux longs blonds d&eacute;coiff&eacute;s, pianiste fulgurant, alternant country dynamis&eacute;e et rock noir, b&ecirc;te de sc&egrave;ne capable de jouer debout ou avec ses pieds et de mettre le feu &agrave; son piano, il fut aussi un chanteur d&rsquo;un charisme exceptionnel. Sa carri&egrave;re fut bris&eacute;e par un scandale de moeurs en 1958 mais l&rsquo;int&eacute;grale de ses premiers disques parus &agrave; l&rsquo;&eacute;poque reste indispensable &agrave; tout amateur de rock. Ses p&eacute;rip&eacute;ties sont racont&eacute;es par Bruno Blum dans un livret de 28 pages. <strong>Patrick FRÉMEAUX&nbsp;</strong></p><p align=justify><br /></p><p align=justify><p align=justify style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px;><strong>DIRECTION ARTISTIQUE : BRUNO BLUM</strong></p><p align=justify style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px;><strong>DIRECTEUR DE COLLECTION : PATRICK FREMEAUX &amp; AUGUSTIN BONDOUX</strong></p><p align=justify style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px;><strong>DROITS : FREMEAUX &amp; ASSOCIES</strong></p><p align=justify style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px;><strong>COMMERCIALISATION : FREMEAUX &amp; ASSOCIES.</strong></p><br /><em>A native to Louisiana, Jerry Lee Lewis embodied the wildest form of white rock in the 1950s. He appeared suddenly, after the success of Elvis Presley, whom he challenged. His originality was the key to his popularity: long, blonde, messy hair, a dazzling pianist performing both energized country and black rock. He was a born performer who could play standing, as well as with his feet or who could set fire to his piano and continue playing it; he was also a singer of outstanding charisma. His career was broken overnight by a moral scandal in 1958, but his complete output released at the time is indispensable to any rock fan. The twists and turns of his electrifying career are told by Bruno Blum in a 28-page booklet. Patrick FRÉMEAUX</em><br /></p><p align=justify>CD1 - 1956-1958 : CRAZY ARMS &bull; END OF THE ROAD &bull; GOODNIGHT IRENE &bull; WHEN THE SAINTS GO MARCHING IN &bull; TURN AROUND &bull; IT &lsquo;LL BE ME &bull; WHOLE LOTTA SHAKIN&rsquo; GOIN&rsquo; ON &bull; LEWIS BOOGIE &bull; MATCHBOX &bull; UBANGI STOMP &bull; YOU WIN AGAIN &bull; I&rsquo;M FEELING SORRY &bull; MEAN WOMAN BLUES &bull; GREAT BALLS OF FIRE &bull; DOWN THE LINE &bull; BREATHLESS &bull; DON&rsquo;T BE CRUEL. <br /></p><p align=justify><br /></p><p align=justify>CD 2 - 1958-1959 : JAMBALAYA &bull; HELLO HELLO BABY &bull; FRANKIE AND JOHNNY &bull; IT ALL DEPENDS (ON WHO WILL BUY THE WINE) &bull; PUT ME DOWN &bull; FOOLS LIKE ME &bull; HIGH SCHOOL CONFIDENTIAL &bull; BREAK UP &bull; I&rsquo;LL MAKE IT ALL UP TO YOU &bull; THE RETURN OF JERRY LEE &bull; I&rsquo;LL SAIL MY SHIP ALONE &bull; IT HURTS ME SO &bull; LOVIN&rsquo; UP A STORM &bull; BIG BLON&rsquo; BABY &bull; I COULD NEVER BE ASHAMED OF YOU &bull; HILLBILLY MUSIC &bull; LITTLE QUEENIE &bull; HOME &bull; THE BALLAD OF BILLY JOE. <br /></p><p align=justify><br /></p><p align=justify>CD 3 - 1959 1962 : LET&rsquo;S TALK ABOUT US &bull; OLD BLACK JOE &bull; BABY, BABY, BYE, BYE &bull; BONNIE B &bull; AS LONG AS I LIVE &bull; HANG UP MY ROCK AND ROLL SHOES &bull; JOHN HENRY &bull; WHEN I GET PAID &bull; LOVE MADE A FOOL OUT OF ME &bull; LIVIN&rsquo; LOVIN&rsquo; WRECK &bull; WHAT&rsquo;D I SAY &bull; COLD, COLD HEART &bull; IT WON&rsquo;T HAPPEN WITH ME &bull; SAVE THE LAST DANCE FOR ME &bull; HELLO JOSEPHINE &bull; RAMBLIN&rsquo; ROSE &bull; MONEY &bull; I&rsquo;VE BEEN TWISTIN&rsquo; &bull; SWEET LITTLE SIXTEEN &bull; HOW&rsquo;S MY EX TREATING YOU &bull; GOOD GOLLY MISS MOLLY &bull; I CAN&rsquo;T TRUST ME (IN YOUR ARMS ANYMORE).</p></p><br><br>"
      "description_short" => "<h3>1956-1962</h3>"
      "link_rewrite" => "jerry-lee-lewis-the-indispensable"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Jerry Lee Lewis - The Indispensable "
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 340
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1076-19346"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1076&rewrite=jerry-lee-lewis-the-indispensable&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:3 [ …3]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => null
      "dwf_titres" => array:58 [ …58]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/3/4/6/19346-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => array:1 [ …1]
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#664
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#694
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
  4 => ProductListingLazyArray {#706
    -imageRetriever: ImageRetriever {#696
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#698}
    -productColorsRetriever: ProductColorsRetriever {#699}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#700
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1336"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302543024"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5430"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "398"
      "date_add" => "2021-10-22 10:03:29"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>En fusionnant l&rsquo;&eacute;motion et les m&eacute;lodies du gospel avec les arran gements et la sensualit&eacute; du rhythm and blues, des musiciens afro-am&eacute;ricains ont cr&eacute;&eacute; un langage universel qui a boulevers&eacute; le monde. <br />Indissociable de la lutte pour les droits civiques, la soul rayonne par l&rsquo;intensit&eacute; de ses fabuleux interpr&egrave;tes. <br />Racont&eacute; par Bruno Blum dans un livret fourni, cet album magnifique retrace ses origines, des negro spirituals au R&amp;B, ses pr&eacute;curseurs de Ray Charles &agrave; Sam Cooke &mdash; et r&eacute;unit les premiers chefs-d&rsquo;oeuvre d&rsquo;Otis Redding, Aretha Franklin ou Marvin Gaye. <br /><strong>Patrick&nbsp; FRÉMEAUX</strong><br />In combining gospel&rsquo;s emotion and melodies with the sensuality and arrangements of rhythm and blues, Afro- American musicians created a universal language which shook the world. <br />Soul was inseparable from the Civil Rights struggle and it spread like wildfire in intense performances from the fabulous artists who adopted this style. <br />With the tremendous songs included in this magnificent album, Bruno Blum tells the story of Soul&rsquo;s origins, from Negro spirituals to R&amp;B, in retracing the work of its precursors, from Ray Charles to Sam Cooke &mdash; and including the first masterpieces from Otis Redding, Aretha Franklin or Marvin Gaye. <br /><strong>Patrick FRÉMEAUX</strong><br /></p><br /><strong>DIRECTION ARTISTIQUE : BRUNO BLUM</strong><br /><p><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES</strong></p></p><br><br>"
      "description_short" => "<h3>OTIS REDDING • ARETHA FRANKLIN • JAMES BROWN • MARVIN GAYE…</h3>"
      "link_rewrite" => "roots-of-soul-1928-1962"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Roots Of Soul 1928-1962 "
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 398
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1336-19282"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1336&rewrite=roots-of-soul-1928-1962&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:2 [ …2]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>Roots of soul FA54302</h3><p><span class=Soustitre2>ROOTS OF SOUL</span><br /><span class=Soustitre2>1928-1962<br /></span><span class=Soustitre>OTIS REDDING<br />ARETHA FRANKLIN<br />James Brown<br />MARVIN GAYE… </span><span class=Texte><br /></span><span class=Soustitre2>Roots of SOUL<br />1928-1962</span><span class=Texte><br /></span><span class=Soustitre>par Bruno Blum</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>There is a rose in Spanish Harlem</span><br /><span class=Texte>A red rose up in Spanish Harlem</span><br /><span class=Texte>With eyes as black as coal that looks down in my soul</span><br /><span class=Texte>— Phil Spector et Jerry Leiber, </span><br /><span class=Texte><strong>Spanish Harlem, </strong>1961</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Au début des années 1960, certains interprètes de rhythm and blues chantaient d’une façon si intense, si émouvante qu’on a appelé leur style «?soul music?» : la musique de l’âme (prononcer «?saule?» et jamais «?sahole?»). La plupart de ces chanteurs et chanteuses étaient issus de l’école du gospel, à laquelle ils empruntaient un langage vocal et musical mis en évidence dans cette anthologie. Ils insufflèrent ce bagage stylistique à des chansons non religieuses et les propulsèrent au sommet à l’aide de populaires rythmiques de rhythm and blues — qui était à cette époque qualifié «?musique du diable?» par les amateurs de gospel. S’il a d’abord choqué certains fervents, l’impact des pionniers de la soul a vite séduit le monde. Il reste incalculable.</span></p><p><span class=Texte><br /></span><span class=Soustitre>Influence de la soul</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Sous la domination d’immenses auteurs compositeurs interprètes soul comme <strong>Solomon Burke</strong> ou <strong>Curtis Mayfield </strong>et de géants comme<strong> Aretha Franklin, Marvin Gaye, Ray Charles </strong>ou <strong>James Brown, </strong>les années 1960 ont été la décennie de l’irrévocable union entre les musiciens afro-américains et la jeunesse blanche, qui ne demandait pas mieux. De «?Soul Bossa Nova?» de Quincy Jones en 1962 au «?Rubber Soul?» des Beatles en 1965, du «?Power of Soul?» de Jimi Hendrix en 1970 jusqu’au «?Soul Revolution Part II?» de Bob Marley &amp; the Wailers avec Lee «?Scratch?» Perry en 1971, le terme «?soul?» devint un indice d’authenticité, qui attirait la jeunesse.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Après quelques précurseurs, après les années de plagiat de productions afro-américaines par des artistes blancs au potentiel grand public — et après moult censure, atermoiements et tâtonnements —, les éblouissantes musiques populaires issues de la culture afro-américaine ont triomphé une bonne fois pour toutes dans un contexte effarant de ségrégation raciale. Au point qu’au cœur de la «?révolution soul?» des années 60, certaines célébrités afro-américaines comme<strong> Bo Diddley1, B.B. King2, Chuck Berry3</strong> ou Jimi Hendrix séduisaient la jeunesse blanche alors que les acheteurs «?de couleur?» les boudaient — un comble, inconcevable une décennie plus tôt. Fussent-ils interprètes de blues, de rock, de jazz ou de soul, les artistes afro-américains étaient plus que jamais copiés en 1960?; Mais au début des années 60 un nombre de plus en plus significatif d’entre eux est parvenu à toucher directement le grand public. Si le blues allait marquer la décennie avec l’effet retard du «?blues boom?» à la mode dans le public blanc, c’est l’intense tendance soul qui, plus que tout autre style, a influencé le son de la musique populaire mondiale.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>En effet c’est un peu vite que le blues a été considéré être l’influence principale sur la pop music anglaise des années 1960 : en Angleterre, les Animals, Rolling Stones et autres Beatles ont plus encore été marqués par la soul. Au milieu des années 60, les Stones enregistraient les classiques d’<strong>Otis Redding </strong>(«?I’ve Been Loving You Too Long?»), <strong>Marvin Gaye</strong> («?Hitch Hike?») et autres<strong> Solomon Burke,</strong> le créateur de «?Everybody Needs Somebody to Love?» dont ils ont aussi enregistré le premier succès<strong> Cry to Me </strong>inclus ici. Ces artisans de la soul ont formé l’essentiel du son des très influents Stones de 1963-1965 — avant que ces derniers ne se mettent à composer à leur tour. Les compositeurs de soul puisaient souvent dans le répertoire des negro spirituals. C’est donc logiquement que les Stones ont eux-mêmes emprunté la base de «?The Last Time?» (un de leurs premiers succès en 1965) à un negro spiritual enregistré par les Staple Singers,<strong> This</strong> <strong>May Be the Last Time </strong>dont on peut écouter ici une version passionnée par les<strong> Five Blind Boys of Alabama</strong>. Comme le rock’n’ roll, la soul music vient directement des spirituals afro-américains.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>De «?This Boy?» (1964) à «?Oh! Darling?» (1969), l’influence de la soul sur les Beatles a été encore plus massive, comme en témoignent encore «?Gotta Get You Into my Life?» (1968) ou «?You Really Got a Hold on Me?» (1964). Reprise des<strong> Isley Brothers </strong>qui en avaient vendu un million d’exemplaires, leur version de <strong>Twist and Shout </strong>a été l’un de leurs premiers grands succès. Ils y ajoutèrent aussi les célèbres chœurs «?ou-ou-ooouh!?» empruntés à un autre morceau des frères Isley, «?You Better Come Home?». Avec l’impact de la soul, ce sont l’émotion et le pathos qui se sont invités dans la chanson anglaise. Des Britanniques Mick Jagger à Van Morrison jusqu’à George Michael ou Joe Cocker — qui a modelé son style sur celui de <strong>Ray Charles</strong> — l’approche vocale des décennies à venir a été bouleversée.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Aux immenses États-Unis citons Janis Joplin, l’une des premières grandes chanteuses blanches de soul, Dr. John, Johnny Winter ou Iggy Pop («?Search and Destroy?») : toute une génération «?rock?» a été marquée par la puissance émotionnelle du chant d’<strong>Otis Redding</strong>, <strong>Tina Turner </strong>ou <strong>James Brown</strong>. Sans oublier le règne des Afro-américains eux-mêmes, puisque la soul a accouché de talents parmi les plus essentiels du siècle comme Aretha Franklin, Diana Ross, Al Green, Sly Stone, Betty Davis, Marvin Gaye, Stevie Wonder, Bob Marley, Michael Jackson, Prince et des milliers d’autres. La soul est une grosse branche d’un arbre généalogique géant dont le tronc est le gospel et les racines, les negro spirituals. Quant à ses fruits, ils ont aujourd’hui engendré une forêt entière. Voici l’histoire de leur gestation et de leur naissance.</span></p><p><span class=Texte><br /></span><span class=Soustitre><br />Negro Spirituals</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Aux États-Unis l’abolition de l’esclavage a été promulguée par Abraham Lincoln en 1865. Pendant le siècle de lois ségrégationnistes «?Jim Crow?» qui a suivi, l’activité musicale des Afro-américains a été abondamment nourrie par diverses formes de musiques rituelles du passé, appelées «?chansons d’esclaves?» ou negro spirituals. Elles existaient depuis au moins le XVIIe siècle, aux Caraïbes comme sur le continent nord-américain. Les negro spirituals étaient très différents des spirituals de tradition européenne chantés dans les églises et temples fréquentés principalement par des Blancs. Ils étaient marqués par leurs racines africaines et la doxa de l’esclavage. </span><br /><span class=Texte>Cette présence spirituelle dite «?revivaliste?» avait une apparence ostensiblement chrétienne (qui donnerait au XXe siècle le genre gospel4 song protestante — méthodiste, baptiste, pentecôtiste, apostolique, etc.), ou plus discrètement animiste (hoodoo, vaudou, etc.5). La spiritualité fut très présente dans les musiques afro-américaines enregistrées au XXe siècle. Les spirituals avaient souvent été les créations de groupes informels d’individus fervents réunis pour ces rites, qui structuraient les communautés afro-américaines. Ils ressemblaient aussi aux chants de travail «?appel-réponse?» des esclaves, qui ont perduré dans les pénitenciers américains jusqu’au cœur du XXe siècle et dont on peut écouter des exemples parlants sur l’album Slavery in America (à paraître) dans cette collection.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>On peut découvrir ici un sermon prononcé par le<strong> Reverend Benny Campbell </strong>(1938) qui prend vite une dimension très musicale. Intense, fiévreux, il est caractéristique des racines mêmes des negro spirituals. Sur Jamaica - Folk Trance Possession 1939-1961 dans cette collection on peut découvrir d’autres enregistrements revivalistes très variés, dont certains sont marqués plus encore par l’intensité d’une vibration spirituelle africaine.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Bien des accents de la voix du révérend Campbell se réincarneront dans la musique soul et ses précurseurs des années 1950-1960. On note au passage la présence tout aussi caractéristique du public, qui lui répond en chœur — et en rythme («?appel-réponse?»). Ces manifestations des fidèles sont aussi spontanées et passionnées que les appels venant du fond de l’âme («?soul?») du pasteur. On entend ici d’autres exemples édifiants de cette pratique sur un gospel d’Aretha Franklin,<strong> Take my Hand</strong>, <strong>Precious Lord</strong>. Idem sur les deux titres des <strong>Five Blind Boys of Alabama</strong>, une formation pérenne restant l’un des meilleurs groupes vocaux de type «?jubilee?» dérivé du style des Fisk Jubilee Singers, qui se spécialisaient dans l’interprétation de negro spirituals à la fin du XIXe siècle.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Mais c’est dans les années 1930 que les influents Mills Brothers ont bouleversé le son des groupes vocaux de chansons religieuses. Ils ont principalement enregistré des chansons non religieuses utilisant le langage des groupes «?jubilee?». Mais la qualité et le style de leurs interprétations a eu un immense succès dans tous les États-Unis, jusqu’à marquer les groupes de spirituals «?jubilee?» eux-mêmes. Les jubilee groups adaptaient les spirituals et interprétaient les compositions de gospel, un nouveau genre qui se développa simultanément dans les années 30. Ils adoptaient le nouveau style vocal polyphonique dit «?barber shop?» (de «?salon de coiffure?»). En se basant sur le principe de l’appel-réponse entendu dans les offices religieux, les quintets et quartets «?barber shop?» ont ouvert la voie aux chœurs du rhythm and blues (écouter ici <strong>Have Mercy Baby</strong> par <strong>Clyde McPhatter</strong>), notamment au style des groupes vocaux «?bird group?» que l’on appellera plus tard le doo-wop — et bientôt de la soul. Le <strong>Golden Gate Jubilee</strong> Quartet fut l’un des géants de ce genre jubilee aux harmonies vocales difficiles. Il interprète ici<strong> Rock my Soul, </strong>un spiritual aux origines inconnues mais significatif des racines de la soul music. Même mystère avec les <strong>Five Blind Boys of Alabama</strong> pour l’origine de<strong> This May Be the Last Time </strong>et <strong>Oh Lord, Stand by Me</strong>. En 1960, ce dernier titre inspira à Ben E. King son grand succès : Stand By Me (qui emprunte aussi deux vers aux psaumes 46:2 et 3).</span><br /></p><p align=justify><span class=Texte>Chants de rondes familiales ou d’école, chants de travail (work songs), sermons ou chants rituels — les musiques afro-américaines contenaient bien souvent cette pulsion de l’appel-réponse, où le chœur répond en rythme à la voix du leader et produit un effet d’unité du groupe, de communion spirituelle. Un autre trait essentiel des negro spirituals (comme du gospel qui leur succèdera) est une interprétation vocale passionnée, habitée, pour ne pas dire «?possédée?» par les esprits des défunts. Cette caractéristique est héritée des essentiels et méconnus cultes ouest africains qui ont imprégné toutes les formes d’expressions musicales afro-américaines6. </span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Enregistré au Texas en 1928, le spiritual<strong> Lord, I Just Can’t Keep From Cryin’</strong> ouvre ce coffret consacré à la naissance de la musique soul. <strong>Blind Willie Johnson </strong>(1897-1945) y évoque l’esprit de sa mère, de sa sœur et de son père défunts?; Il chante qu’il est «?sur la route du roi?», en route pour rejoindre sa mère partie au paradis. En dépit de la disparition physique de sa mère, cet aveugle mystique ressentait un profond lien spirituel avec elle. Il l’exprime ici en transmettant avec sa voix une grande émotion dans un style musical imprégné par le blues. Les refrains sont doublés par la voix de son épouse.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Quand mon cœur est plein de sanglots et mes yeux pleins de larmes</span><br /><span class=Texte>Seigneur, parfois je ne peux pas m’empêcher de pleurer</span><br /><span class=Texte>Ma mère m’a souvent dit «?des anges ont attaché ta vie au loin?»</span><br /><span class=Texte>Elle a dit que j’y arriverais, de faire confiance à Dieu et prier</span><br /><span class=Texte>Je suis sur l’autoroute du Roi, je voyage chaque jour</span><br /><span class=Texte>Car parfois je ne peux pas m’empêcher de pleurer […]</span><br /><span class=Texte>Ma mère a trouvé la gloire, Dieu merci je suis en route</span><br /><span class=Texte>Mon père est parti aussi et ma sœur n’a pas pu rester</span><br /><span class=Texte>J’ai foi en lui chaque jour, pour qu’il enlève mes fardeaux</span><br /><span class=Texte>Car parfois je ne peux pas m’empêcher de pleurer</span><br /><span class=Texte>— Blind Willie Johnson, </span><br /><span class=Texte><strong>Lord, I Just Can’t Keep From Cryin’</strong>, 1928</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Au fil du XXe siècle, la diffusion massive de la musique enregistrée, un fait ethnologique aussi nouveau que majeur (disque, radio, télévision), a eu des conséquences difficilement imaginables. L’une des ces conséquences a été, dans un bref laps de temps, un impact multiple sur des auditeurs géographiquement très éloignés du lieu de la prise de son. En quelques années, un spiritual rural enregistré au Texas pouvait se métamorphoser en une chanson nouvelle, adaptée puis parachutée subitement dans une autre culture, prenant un sens différent, un son nouveau, avec une autre finalité.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte><strong>Lord, I Just Can’t Keep From Cryin’</strong> est caractéristique de ce schéma selon lequel un vieux thème de spirituals pouvait devenir un classique du gospel moderne à la limite du rhythm and blues, de la soul, pour ensuite se réincarner en un rock blanc/grand public : géant des negro spirituals,<strong> Blind Willie Johnson </strong>jouait à la sortie des églises en s’accompagnant à la guitare slide dans un style blues rural. Son <strong>Lord, I Just Can’t Keep From Cryin’ </strong>est sans doute un spiritual traditionnel. Il a été repris par la grande chanteuse de gospel <strong>Marie Knight </strong>dans un style rhythm and blues précurseur de la soul. Connue notamment pour ses duos avec la grande vedette du gospel <strong>Sister Rosetta Sharpe,</strong> Marie Knight partageait aussi sa vie privée. Selon une démarche typique de la naissance de la soul music, elle enregistra une version de ce spiritual sur un arrangement R&amp;B profane, volontairement grand public (disque 1), et même proche de la country, en la rebaptisant<strong> I Just Can’t Keep From Crying Sometimes.</strong> Douze ans plus tard, le futur organiste de Bob Dylan en modifierait les paroles pour en faire un bon moment du rock des années soixante, «?I Can’t Keep From Crying Sometimes?» (1965). Il sera à son tour repris en 1967 par Ten Years After, qui en 1973 en publièrent une deuxième version en public où les longues improvisations inspirées du guitariste Alvin Lee connurent un grand succès7.</span></p><p><span class=Texte><br /></span><span class=Soustitre><br />Jazz &amp; Blues</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>La multitude omniprésente des spirituals afro-américains a forcément marqué différentes formes de musique populaire. Apparu à la fin du XIXe siècle dans la région de la Nouvelle-Orléans, le style que l’on appellerait le jazz était un concentré d’éléments issus des negro spirituals. À cette différence près qu’il ne traitait pas ou peu de thèmes liés à la spiritualité. Mais le jazz était initialement bel et bien une forme d’expression «?de l’âme?» (soul) et ses improvisations étaient nourries par la tradition de la glossolalie, ces «?conversations?» musicales vocales avec les esprits, qui à l’origine étaient occasionnées par les transes vécues lors des rites revivalistes. Les artistes de jazz interprétaient souvent des blues, aux mélodies plus simples mais à l’impact émotif maximum. À bien des égards, certains interprètes ont accompli dans un style jazz ce que d’autres feraient une ou deux décennies plus tard avec le rhythm and blues : ils étaient capables de transférer l’intensité des chants spirituels dans leurs chansons, comme le feraient à leur tour les fondateurs de la soul music au début des années 1960.</span><br /></p><p align=justify><span class=Texte>Comme avec les spirituals, les meilleurs chanteurs et chanteuses de jazz puisaient dans l’intuition, la spontanéité, la spiritualité, le sentiment de liberté, l’expression libre et transmettait assidûment leurs émotions : tristesse, espoir ou, comme ici sur <strong>Basing Street Blues</strong>, une joie intense. Avec ses solos de cornet et ses extraordinaires improvisations vocales héritées de la glossolalie (appelées le scat), <strong>Louis Armstrong</strong> fut l’un des colosses de la musique populaire du XXe siècle8. Doté d’une voix d’une puissance expressive extraordinaire, il fut un précurseur de la musique soul avec trente ou quarante ans d’avance — bien avant la lettre. Il chante ici en duo avec <strong>Jack Teagarden, </strong>un remarquable tromboniste. On peut également entendre<strong> Ray Charles</strong> chanter du scat à ses débuts sur<strong> Baby Let Me Hear You Call my Name. Mabel Scott,</strong> une chanteuse au répertoire rhythm and blues qui interpréta du jazz avec Cab Calloway au Cotton Club et se marierait en 1949 avec le chef d’orchestre Charles Brown, était capable d’irrésistibles tours de force vocaux. On peut le constater ici sur <strong>Every Little Doggie Has Its Day</strong> («?chaque petit chien a son jour?»), où avec toute l’émotion du monde elle jure qu’elle sera vengée de ce qu’un homme lui a fait subir. </span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Au début du XXe siècle, rares étaient les Afro-américains religieux (très majoritaires) qui appréciaient le blues, a fortiori lorsque ses interprètes utilisaient la boîte à outils, la boîte à émotions des spirituals. C’était pour eux une trahison à la bonne cause de Dieu. Harmoniquement plus simple que le jazz, le blues a connu de nombreuses formes, et a été couramment arrangé dans des styles jazz, comme ici la fabuleuse chanteuse de vaudeville <strong>Little Miss Cornshucks, </strong>qui enregistra <strong>Try a Little Tenderness,</strong> une composition déjà été gravée par Frank Sinatra et Bing Crosby. En 1967 ce titre deviendrait un morceau emblématique du répertoire d’<strong>Otis Redding,</strong> un des géants de la soul. Deux des plus grandes interprètes de tous les temps, <strong>Dinah Washington</strong> et <strong>Billie Holiday,</strong> transcendaient les genres. Elles ont porté l’étiquette «?jazz?» toute leur vie mais avaient assimilé toute la liberté de ton, tout le pathos habituellement libéré par les spirituals comme par le blues. Comme on peut l’écouter ici, Dinah chantait parfois avec une énergie soul, connectée directement avec son âme. Très populaire dans les années 1950, elle fut la reine du blues dans le genre jazz. Quant à Billie Holiday, c’est avec une émotion et une finesse d’une beauté insondable qu’elle a enregistré cette version bouleversante de l’un des chefs-d’œuvre de Duke Ellington, Solitude. Plus que toute autre, grâce au don d’une technique innée et d’un talent particulièrement exceptionnel cette géante était capable d’orner, de modifier spontanément les mélodies originelles au gré d’une inspiration sans faille. Elle fut en cela le précurseur, peut-être le plus essentiel, de la soul music.</span></p><p><span class=Texte><br />Son chant a presque changé mes goûts musicaux et ma vie musicale, car c’était la première fois que je rencontrais une chanteuse qui chantait vraiment comme un génie improvisateur du jazz.<br />— Son producteur et découvreur John Hammond.<br /></span><span class=Soustitre>Gospel</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Les negro spirituals sont mystérieux et anonymes, rarement crédités car généralement nés du temps obscur de l’esclavage. Leurs compositions collégiales parfois informelles se métamorphosèrent au fil des années. Une partie d’entre elles est parvenue jusqu’à nous grâce à des relevés de paroles et mélodies sujets à caution, réalisés au hasard des bonnes volontés de jadis : mais leurs arrangements, leurs styles originels ont été pour la plupart perdus. Leur forme fondatrice reste l’objet de débats musicologiques passionnés et d’adaptations variées. Le style des jubilee groups (ici le<strong> Golden Gate Jubilee</strong> Quartet , les <strong>Five Blind Boys of Alabama</strong>, les <strong>Soul Stirrers</strong>) qui ont remis nombre de spirituals à la mode dans les années 1930-40, ne correspond pas au son originel des spirituals du temps de l’esclavage. Mais une chose est sûre : tous étaient chantés avec une ferveur et une émotion communicative qui ont été transmises au gospel. Depuis des siècles, ces éléments intenses s’adaptaient progressivement à un cadre religieux où la musique était un vecteur essentiel de communion, un passage obligé de la liturgie : </span></p><p><span class=Texte><br />David et toute la maison d’Israël jouaient, devant le Seigneur, de toutes sortes d’instruments de bois de cyprès : harpes, instruments à cordes, tambourins, sistres et cymbales.<br />— La Bible (version du roi Jacques en usage aux États-Unis), Samuel 6:5.<br /></span></p><p align=justify><span class=Texte>Le langage du gospel afro-américain incluait l’ornementation (ajout de mélodies improvisées, en fin de phrase, entre différents passages de la mélodie principale), notamment des mélismes, soit plusieurs notes pour une seule syllabe, une technique qui serait très utilisée par John Lennon («?Mother?», 1970) comme dans le R&amp;B des années 1990-2010?; l’anacrouse (anticipation de l’attaque du vers, avant le début de la mesure, par exemple par un «?oooh…?» ou le fameux «?gotta! gotta!?» d’Otis Redding)?; les appel-réponses à plusieurs voix et des passages en voix de fausset («?falsetto?» en anglais), communément appelée «?voix de tête?», qui permet d’atteindre des notes hautes perchées, au-dessus de la tessiture de l’interprète - et de transmettre une intensité dramatique particulière. Certains interprètes de soul, comme Curtis Mayfield (ici sur Gypsy Woman) et Smokey Robinson (sur Bad Girl) recouraient beaucoup à la voix de fausset.</span></p><p><span class=Texte><br /></span></p><p align=justify><p align=justify><span class=Texte>Le gospel proprement dit, c’est à dire les chansons religieuses bien structurées, «?pop songs?» sacrées, ne s’est développé qu’à partir de 1930 environ. Ses auteurs compositeurs les plus célèbres comprennent le révérend méthodiste<strong> Arthur Tindley</strong> (un précurseur qui a écrit <strong>Beams of Heaven,</strong> une gospel song interprétée ici magnifiquement par <strong>Sister Rosetta Tharpe</strong>9 en duo avec<strong> Marie Knight</strong>)?; Dans les années 30, le bluesman repenti Georgia Tom (qui enregistra avec Tampa Red), devint une immense star du gospel sous son vrai nom Thomas Andrew Dorsey. Comme certains artistes de blues, nombre d’interprètes de gospel avaient adopté le langage émouvant des spirituals. Et comme le rock, la soul est largement dérivée du gospel.</span></p></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>L’extraordinaire chanteuse de gospel <strong>Mahalia Jackson </strong>fut l’une des principales interprètes du renouveau de ce genre dans l’après-guerre, et une activiste du mouvement pour les droits civiques. Son succès a suscité des vocations, comme celle d’<strong>Aretha Franklin d</strong>ont on peut entendre ici les premiers enregistrements. La version fulgurante de<strong> Take my Hand Precious</strong> <strong>Lord</strong> a été enregistrée en public dans le temple baptiste de son père, le révérend C. L. Franklin alors qu’elle avait à peine quinze ans. Dans cette interprétation rugie, volcanique, on peut entendre une intensité qui anticipe le déferlement soul à venir, contrastant avec l’interprétation d’une Mahalia plus sereine, mûre et contenue, qui la précède ici (disque 2). La fabuleuse Mahalia Jackson ne déviera pas de son destin gospel, mais comme <strong>Sister Rosetta Tharpe </strong>et <strong>Marie Knight </strong>avant elle, en suivant l’exemple de son ami proche <strong>Sam Cooke</strong> la jeune Aretha se laissera aussi tenter par une carrière dans la chanson populaire non-religieuse. Elle deviendra dans les années 1960 la chanteuse afro-américaine la plus adorée de son siècle, la reine de la soul.</span></p><p><span class=Texte><br /></span></p><p align=justify><p align=justify><span class=Texte>Le gospel en tant que tel a aussi été enregistré par des artistes qui s’accompagnaient à la guitare dans le style des bluesmen itinérants. C’est le cas ici des blueswomen <strong>Sister Rosetta Tharpe</strong> et de la remarquable <strong>Sister O.M. Terrell (I’m Going to That City</strong>). Le gospel était chanté par toutes sortes de formations, notamment des groupes vocaux «?jubilee?» décrit plus haut dans ce paragraphe. Les célèbres Soul Stirrers de <strong>Sam Cooke</strong> comptent parmi les meilleures de ces formations vocales du gospel. Comme on peut le constater ici à l’écoute de son premier enregistrement <strong>Jesus Gave Me Water</strong> (1951), <strong>Sam Cooke</strong> fut l’un des plus doués et plus divins interprètes du genre. En 1956, sa décision de se consacrer à la musique non-religieuse, plus rémunératrice, choqua certains de ses admirateurs (et moins ses très nombreuses admiratrices) mais ne modifia pas beaucoup son style vocal très personnel, inspiré — et très influent. Pour Sam Cooke comme <strong>Ray Charles, </strong>chanter le gospel ne rapportait pas, tandis qu’avec le développement considérable de l’industrie du disque dans les années 1950, les chansons profanes pouvaient assurer leur fortune. En modifiant les paroles de<strong> It Must Be Jesus, </strong>un gospel des<strong> Southern Tones </strong>inclus ici qu’il métamorphosa en l’énorme succès <strong>I’ve Got a Woman, </strong>Ray Charles sera souvent considéré comme le principal fondateur de la soul music. En réalité, la plupart des artistes de rhythm and blues et de soul avaient fait leurs débuts dans des formations de gospel, et Ray Charles ne fut que l’un d’entre eux. En 1954 tous n’osaient pas adapter le style gospel à la musique populaire, mais beaucoup, parmi lesquels <strong>Roy Brown, Little Esther, Little Willie John, Little Richard, James Brown, Sam Cooke, Clyde McPhatter, Jackie Wilson, Hank Ballard, </strong>annonçaient comme lui une nouvelle phase dans l’évolution des musiques afro-américaines. En abandonnant le style crooner plus neutre qui avait fait le succès énorme de Nat «?King?» Cole, Ray Charles savait ce qu’il faisait : il utilisait la puissance musicale mystique qui faisait la plus grande force culturelle des Afro-américains et la traduisait en un langage accessible à tous — un langage d’intégration, celui de l’amour.</span></p></p><p><span class=Texte><br /></span><span class=Soustitre>Droits Civiques &amp; Rock &amp; Roll</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>En 1955, en refusant de céder sa place à un Blanc dans un bus, Rosa Parks donnait le signal de départ de la lutte pour les Droits Civiques, qui permettra enfin à des millions de citoyens américains d’origine africaine d’obtenir le droit de vote, l’accès libre à l’école, la fin de la ségrégation raciale, etc. Or ce mouvement historique surgissait parallèlement à l’irruption du rock ‘n’ roll et le phénomène très controversé d’Elvis Presley dans le paysage radiophonique de 1956. Ce n’était pas une coïncidence. Elvis adoptait un grand nombre d’éléments culturels afro-américains, notamment la danse libre, spontanée et suggestive, un répertoire et un style scénique très marqué par les chanteurs de rock noirs issus du gospel comme <strong>Roy Brown</strong>. Presley et ses nombreux suiveurs étaient perçus à juste titre comme l’expression d’un inéluctable rapprochement racial, et faisaient scandale chez nombre de conservateurs. À sa manière, en intégrant ces éléments afro-américains le chanteur a contribué à la lutte pour les Droits Civiques des Afro-américains10. N’oublions pas non plus que ce grand mouvement d’intégration était mené par le révérend Martin Luther King, Jr., un pasteur baptiste qui incarnait donc forcément le gospel, et dont les sermons les plus enflammés étaient prononcés sur un ton plus posé, mais proche de celui du<strong> Reverend Benny Campbell</strong> (disque 1). Le mouvement était ancré dans une histoire rapportée dans la bible. Les Afro-américains opprimés et exploités s’identifiaient au martyr des Israëlites déportés en esclavage et décrit dans l’Ancien Testament :</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Nabuchodonosor envoya Joïachin captif à Babylone?; De même la mère du roi, les femmes du roi, ses officiers et l’élite des terres en captivité de Jérusalem à Babylone.</span><br /><span class=Texte>— La Bible (version du roi Jacques en usage </span><span class=Texte>aux États-Unis), 2 Rois 24:15</span><br /><span class=Texte>Ainsi en s’intégrant de plus en plus au rhythm and blues, une musique populaire qui commençait à toucher le grand public blanc, la culture musicale afro-américaine et son gospel emblématique pénétraient la culture américaine avec force. Ils portaient des coups de boutoir à la ségrégation raciale enracinée depuis des siècles dans toute l’Amérique du Nord, des Caraïbes au Canada. Ils inspiraient respect et humanisme. En injectant la puissante émotion communicative des chants du gospel noir dans leurs chansons d’amour, les précurseurs de la soul mettaient en évidence leur humanité, leur statut d’êtres humains — alors qu’ils étaient jusque-là considérés et traités comme des sous-hommes. En cela ils ont créé un langage universel, c’est à dire un langage capable de toucher quiconque. Leur musique émouvante sera la bande-son du mouvement de libération noir des années 1950-1960.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>«?L’Amérique est essentiellement un rêve. Elle est un rêve d’une terre où les hommes de toutes les races — au-dessus des nationalités et des croyances — peuvent vivre ensemble comme des frères. La sub-stance de ce rêve est exprimée dans ces mots profonds. Nous considérons ces vérités comme évidentes : «?Que tous les hommes ont été créés égaux, et qu’ils ont été dotés de certains droits inaliénables par leur Créateur?; parmi ces droits se trouvent la vie, la liberté, et la recherche du bonheur?». Une des premières choses que l’on observe avec ce rêve, c’est son étonnant universalisme. Il ne dit pas «?une partie des hommes?» mais tous les hommes.</span><br /><span class=Texte>Il ne dit pas «?certains?», il ne dit pas «?tous les hommes blancs?» mais tous les hommes, ce qui comprend les hommes noirs. Il ne dit pas tous les non-juifs, mais il dit tous les hommes, ce qui comprend les Juifs. Il ne dit pas les Protestants, mais il dit tous les hommes, ce qui comprend les Catholiques. Il y a une autre chose que nous observons dans ce rêve, une chose qui distingue la démocratie et notre forme de gouvernement des systèmes totalitaires. Il dit qu’il y a certains droits de base qui ne sont ni dérivés, ni conférés par l’État. Afin de découvrir d’où ils sont venus, il est nécessaire de se rendre au delà du fin brouillard de l’éternité : ils sont un don de Dieu.?»</span><br /><span class=Texte>— Le révérend Martin Luther King, Jr.</span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Ancré dans les chorales religieuses, avec son groupe les <strong>Impressions </strong>Curtis Mayfield composera de brillants classiques du gospel comme «?People Get Ready?» mais aussi du rhythm and blues de luxe avec<strong> Gypsy Woman</strong>. Il se spécialisera dans les morceaux engagés pour la lutte pour les Droits Civiques et les commentaires sociaux, comme le laissait déjà deviner <strong>Minstrel and Queen </strong>où un ménestrel fait une déclaration d’amour à une reine :</span></p><p><span class=Texte><br />Reine Majesté, puis-je parler avec vous<br />Depuis si longtemps j’aspire à vous parler seul<br />C’est vrai je suis d’accord je n’appartiens pas à votre société<br />Je ne suis pas un roi juste un ménestrel<br />Avec ma chanson pour vous je chante :<br />«?Bien que je sois un ménestrel dans la vie nous sommes si éloignés<br />Mais souveraine royale je vois l’amour dans votre cœur, votre cœur<br />Et moi aussi je vous aime, Votre Majesté.?»<br />— Curtis Mayfield, Minstrel and Queen, 1961<br /></span><span class=Soustitre>R&amp;B</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Les succès<strong> I’ve Got a Woman </strong>(1954) et <strong>Drown in my Own Tears</strong> (1955) de Ray Charles marquent un tournant dans l’histoire du rhythm and blues. C’est sans doute parce qu’ils sont parvenus à toucher le grand public (lire : le public blanc), et ce partiellement grâce aux efforts promotionnels de Nat Shapiro chez Atlantic. Mais leur particularité — le langage vocal du gospel utilisé à des fins non religieuses — n’avait rien de nouveau puisqu’on la retrouvait déjà dans nombre de blues d’avant-guerre, «?la musique du diable?». Certains rhythm and blues/R&amp;B/jump blues/rock and roll des années 1940 avaient aussi assimilé cette influence : sur <strong>Do You Call That a Buddy</strong> Louis Jordan crée une intensité dramatique en exprimant la violence qu’il ressent face à la trahison de son ami. D’autres pionniers du rock comme<strong> Roy Brown,</strong> formé à l’école du gospel (sa mère était organiste d’un temple), en fut un exemple radical. Auteur et compositeur de «?Good Rockin’ Tonight?», qui devint l’un des premiers succès de Wynonie Harris puis d’Elvis Presley11, Roy Brown était le parfait exemple du chanteur de gospel qui avait mal tourné. Le rocker hurlait avec grand succès des chansons salaces12 qui horrifiaient les ouailles mais ravissaient nombre d’adolescent(e)s. </span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Néanmoins dans un registre très nettement proto-soul, Roy Brown pouvait aussi commenter la misère et la vie d’errance qu’il avait connu en grandissant dans les ghettos de la Nouvelle-Orléans. Son <strong>Hard Luck Blues </strong>rappelle étrangement la mélodie du premier tube planétaire d’Elvis Presley, «?Heartbreak Hotel?»… Les deux premiers vers de ce même morceau sont aussi analogues au début du célèbre «?Talking Blues?» de Bob Marley, un chanteur jamaïcain formé à l’école du gospel, lui aussi issu de la misère — et qui enregistra plusieurs morceaux de soul au début de sa carrière.</span></p><p><span class=Texte><br />Rocks is my pillow<br />Cold ground is my bed<br />The highway is my home<br />So I might as well be dead<br />— Roy Brown, Hard Luck Blues, 1950<br /></span></p><p align=justify><span class=Texte>Le rhythm and blues des années 1950 a considérablement influencé la naissance du ska en Jamaïque13, un pays anglophone géographiquement et culturellement proche des États-Unis, où le gospel tient une grande place14. Dans la décennie suivante la soul a beaucoup marqué le reggae, une musique à la fois chargée de gospel qui aurait une immense influence à son tour. Repris en Jamaïque, le <strong>Minstrel and Queen </strong>des <strong>Impressions</strong>, un des premiers classiques du rhythm and blues annonçant la soul est par exemple devenu en 1966 un célèbre rocksteady jamaïcain sous le nom de «?Queen Majesty?» par les Techniques. Les Impressions de <strong>Jerry Butler</strong> et <strong>Curtis Mayfield </strong>s’étaient rencontrés dans la chorale d’un temple où ils chantaient ensemble à Chicago. Groupe préféré des Wailers de Bob Marley et Peter Tosh qui avaient modelé leur style vocal sur eux, ils ont sans doute été avec<strong> James Brown</strong> et ses rythmiques funky la principale influence sur la musique jamaïcaine des années 6015. </span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Le premier groupe dont le jeune James Brown devint le leader était une formation de gospel fondée avec ses co-détenus du Georgia Juvenile Institute?; Comme <strong>Clyde McPhatter</strong>, un des chanteurs afro-américains les plus influents des années 1950, il utilisa les irrésistibles techniques vocales du gospel, sur cinq titres remarquables inclus ici (dont quatre ne sont pas inclus dans l’intégrale de ses premières années parue dans cette collection puisqu’ils datent de 196216). Comme dans le principe de l’appel-réponse utilisé par James Brown sur son premier succès <strong>Please Please Please,</strong> le beau <strong>Clyde McPhatter </strong>avait abondamment recours à des chœurs, un élément très présent dans les jubilee groups d’harmonies vocales du gospel. McPhatter fut l’un des chanteurs de R&amp;B les plus populaires de son temps. Après une série de succès avec les Dominoes de Billy Ward, il devint chanteur des Drifters, qui eurent un impact considérable sur les musiques afro-américaines de cette période.</span><br /></p><p align=justify><span class=Texte>Comme James Brown, qui s’auto-décerna le titre de Godfather of Soul (le parrain de la soul) et Soul Brother Number One dans les années 1960, <strong>Little Esther</strong> avait été formée au gospel avant de devenir un grand nom du rhythm and blues. Elle deviendrait plus tard une diva de la soul music sous le nom d’Esther Phillips. Elle n’avait que quatorze ans quand elle enregistré <strong>Lost in a Dream,</strong> un de ses premiers succès avec le groupe de Johnny Otis. Un autre géant des années 1950 n’est autre que <strong>Little Richard</strong>, la plus brillante des étoiles du rock. Son père était un diacre baptiste dans une famille très religieuse et Richard chanta longtemps le gospel. Marqué par Brother Joe May, <strong>Rosetta Tharpe</strong> et<strong> Mahalia Jackson</strong>, il appréciait particulièrement l’effervescence des temples pentecôtistes, où l’on chante les plus exubérants gospels et où contrairement aux cérémonies baptistes la danse n’est pas proscrite. Mais Little Richard était trop flamboyant pour la religion et dût revenir à plus de retenue après des remarques du clergé qui n’appréciait pas toujours ses envolées vocales trop exubérantes à leur goût. Il fut aussi exclu de chez lui à l’âge de seize ans en 1948 et mena jusqu’en octobre 1958 (où il revint à la religion) une vie très dissolue pendant laquelle il devint sans doute le plus grand interprète de rock de tous les temps — et une influence prédominante sur le jeune <strong>Otis Redding,</strong> comme on peut l’apprécier ici sur <strong>Shout Bamalama.</strong> On peut entendre Little Richard chanter ici de façon magistrale sur un tempo lent dès 1955 — déjà de la pure soul. Little Willie John, créateur du célèbre «?Fever», fut aussi un chanteur de soul avant la lettre. Son remarquable<strong> Need Your Love So Bad </strong>est une renversante démonstration vocale dans ce style. Parmi les chanteurs de rhythm and blues pionniers du style vocal soul il succéda à Wynonie Harris, <strong>Roy Brown, Little Esther, Clyde McPhatter,</strong> «?Mr. Excitement?» J<strong>ackie Wilson </strong>(qui remplaça McPhatter dans les Dominoes), <strong>Hank Ballard </strong>(un admirateur de McPhatter) et <strong>James Brown</strong>. Une nouvelle génération de chanteurs de R&amp;B était arrivée, et métamorphosait cette musique en s’imposant dans le nouveau style qui dominerait les années 1960, la soul.</span></p><p><span class=Texte><br /></span><span class=Soustitre>Soul &amp; Funk</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Selon la légende, en 1961 un disc jockey de Philadelphie demanda à Solomon Burke : «?Tu chantes avec ton âme (soul) et tu ne veux pas être un chanteur de R&amp;B, alors quel genre de chanteur vas-tu être ?</span><br /><span class=Texte>Solomon Burke : Un chanteur de soul.</span><br /><span class=Texte>Peut-être plus que tout autre, l’obèse Burke que Jerry Wexler (producteur chez Atlantic) appelait «?le plus grand chanteur de tous les temps?» était le mélange parfait de spiritualité et de commerce, de sincérité et de comédie, d’extase et de divertissement, de salut et de sexe, d’individualisme et de fraternité — autant de paradoxes qui se fondirent dans la soul music des années 1960. Devenu pasteur dès l’âge de douze ans tant ses prêches frénétiques provoquaient d’enthousiasme, Solomon Burke était déjà une vedette du gospel avant de gagner un concours de chant seul, sans accompagnement, et de commencer une carrière de chanteur de R&amp;B qui n’eut aucun succès pendant cinq ans. Il signa avec les disques Atlantic en 1960. Sous la houlette d’Ahmet Ertegun et Jerry Wexler, il est vite devenu un monstre sacré avec des chefs-d’œuvre comme <strong>Home in Your Heart, Cry to Me</strong> ou son célèbre «?Everybody Needs Somebody to Love?». Burke fut le premier à revendiquer cette fameuse étiquette «?soul?» déjà apparue par ci par là sur quelques titres funky, comme l’instrumental «?Soul Meeting?» (1958) de Ray Charles &amp; Milt Jackson. </span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Le terme «?soul?» devint à la mode en 1962. Le puissant Solomon Burke personnifiait ce genre et rivalisait avec <strong>James Brown </strong>qui lui disputait son titre auto-proclamé de «?King of rock and soul?» (Burke se produisait sur scène avec une couronne en toc copiée sur celle du roi d’Angleterre et une cape — un artifice que lui empruntera vite James Brown). Si Solomon Burke fut un chanteur de soul génial, produit par l’équipe du label roi Atlantic, comme James Brown il représente aussi l’archétype du chanteur de gospel flamboyant passé au R&amp;B comme d’autres, mais qui ne s’est pleinement réalisé qu’avec l’avènement de la soul music. Ce fut aussi le cas de la reine incontestée du genre<strong> Aretha Franklin </strong>et de la géante<strong> «?Little?» Esther Phillips,</strong> d’<strong>Etta James</strong> et <strong>Otis Redding</strong>. </span></p><p><span class=Texte><br /></span></p><p align=justify><span class=Texte>Dans les années 1960, les polyrythmies présentes aux Caraïbes et à la Nouvelle Orléans influenceraient la naissance du funk proprement dit. La soul évolua en 1965 vers un nouveau style plus syncopé et plus sale, le funk dont Brown deviendrait à la fois l’inventeur et l’incontestable champion. L’argot américain funky se référait à tout ce qui était de «?mauvaise vie?», sale : ce qu’on voit, entend, sans oublier les mauvaises odeurs. Par extension, «?funky?» signifiait «?authentique?», bien senti, venu de la rue. </span></p><p align=justify> </p><p align=justify><span class=Texte>Désignant initialement l’odeur de transpiration (travail, acte sexuel, crasse), le mot funk trouve probablement ses racines dans une langue d’Afrique de l’Ouest où il signifie la transpiration lors des cérémonies rituelles. Dès le début du XXe siècle, on retrouve l’adjectif funk dans le blues et le jazz («?Funky Butt?» de Buddy Bolden en 1907). Il indiquait déjà l’authenticité, le lien avec les sources traditionnelles : jazz, gospel, chants de travail. En cela, il était presque synonyme du terme «?soul?», qu’il précéda. Mais lié au vocabulaire familier de la rue, «?funk?» diffère aussi de «?soul?» en cela que «?soul?» visait à évoquer la pureté et la profondeur des émotions, et non la crasse des rues, et à se démarquer de l’étiquette rhythm and blues ou R&amp;B, trop connotée racialement. Paradoxalement, la soul était une musique qui visait le grand public et devait être à la fois léchée, sophistiquée mais aussi très sentie — donc très funky. Dans les années 1940, l’argot jive du jazz utilisait le mot «?funk?» pour décrire une musique bien sentie, bluesy, au tempo plutôt lent, et le mot devint synonyme d’authenticité, en particulier dans la population afro-américaine où l’expression était très en vogue dans les années 50. Il mettait en valeur le jeu physique, efficace, dirty «?sale?», un son dénué de fioritures (hard bop, Horace Silver) en rupture avec le jazz cool sophistiqué, au son propre de la Côte Ouest : Ray Charles et Milt Jackson ont enregistré «?Blue Funk?» (1957) et Johnny Hodges, Charlie Parker, Benny Carter, Oscar Peterson, Barney Kessel, Charlie Shavers, Flip Philips, Ben Webster sont réunis autour d’un «?Funky Blues?» détendu (1952). <strong>Nina Simone</strong> était une chanteuse et pianiste de jazz qui ne put réaliser son ambition de concertiste classique en raison de sa couleur. Traumatisée par cette discrimination, elle s’impliquera dans la lutte pour les droits civiques et se tournera vers une approche plus funky que sa formation classique. Elle aussi était marquée par les spirituals et le gospel mais ne dédaignait pas un penchant pour le rhythm and blues qui lui donna son premier succès, <strong>My Baby Just Cares for Me</strong>.</span></p><p align=justify> </p><p align=justify><span class=Texte>«?Sa combinaison inhabituelle de formation classique, la qualité extatique et sérieuse de la musique religieuse nègre qui a influencé son interprétation vocale et les écoles de jazz moderne et «?funky?» avec lesquelles elle est entrée en contact rapproché contribuent à faire d’elle une chanteuse et instrumentiste de jazz innovante capable de nous inspirer.?»</span><br /><span class=Texte>— Joseph Muranyi </span><br /><span class=Texte>(extrait du texte original de la pochette du premier album de Nina Simone, 1958)</span><br /><span class=Texte>La connotation péjorative disparaîtra peu à peu mais, à partir des années 1960, la culture rock blanche commencera à utiliser l’adjectif funk avec un racisme latent pour désigner toutes les musiques noires où le rythme est mis en avant. La musique d’artistes soul comme James Brown (en rupture avec la soul de l’époque, son «?Papa’s Got a Brand New Bag?» en 1965 mettra l’accent sur le premier temps de la mesure, une intention qui marquera sans doute la naissance du nouveau genre musical funk). Le reggae des années 60-70 sera aussi souvent qualifié de «?funky?» (Dave Barker, «?Funky Reggae?» (1968) ou Toots &amp; the Maytals, «?Funky Kingston?», 1973).</span></p><p align=justify><br /><span class=Soustitre>Soul Music</span></p><p align=justify><span class=Texte>La vague réactionnaire qui suivit le phénomène Elvis Presley en 1956 causa un grand tort au rock ‘n’ roll chanté par des artistes blancs (souvent des musiciens de country qui voulaient une part du gâteau rock et enregistrèrent dans le style à la mode). Elle fit aussi un grand tort au rock noir (Little Richard, Chuck Berry, Larry Williams, etc.), que certains disc jockeys appelaient aussi «?rhythm and blues?» selon les artistes (Fats Domino, Roy Brown, Jackie Wilson, etc.). Le scandale du rock en 1956-1960 et l’acharnement de la société américaine à étouffer cette musique trop connotée racialement à leur goût aura en fait pour conséquence un renouveau tout aussi racialement connoté, et tout aussi influent : la soul music.</span></p><p align=justify><br /><span class=Texte>En 1959, pour passer du multiforme rhythm and blues au nouveau son soul naissant, les artistes avaient besoin d’un nouvel élément important : des producteurs et des musiciens capables de créer un son professionnel, dansant, loin des stéréotypes des années 1950. Dès leur succès instrumental «?Last Night?» en 1961 les Mar-Keys dirigés par le guitariste Steve Cropper ont beaucoup contribué au développement du style soul dans le sud en imposant un nouveau type de rythmique aux arrangements d’instruments à vent très dynamiques. Memphis, la ville d’Elvis Presley, était le terrain privilégié de la rencontre des Noirs et des Blancs américains sur le plan musical. En s’adjoignant en 1962 l’organiste de dix-sept ans Booker T. Jones, les Mar-Keys devinrent Booker T. and the M.G.’s (deux Noirs, deux Blancs), le groupe d’accompagnateurs maison de la meilleure écurie soul du sud des États-Unis : Stax Records17. Formé comme lui au gospel,<strong> Otis Redding</strong> était un grand admirateur de <strong>Little Richard</strong>. Après s’être essayé à un soul-rock brûlant sans succès (<strong>Shout Bamalama</strong>) il a trouvé sa voie avec des balades poignantes comme<strong> These Arms of Min</strong>e, son premier succès pour Volt/Stax à Memphis. À New York, les extraordinaires disques Atlantic dominaient tellement le marché du R&amp;B que les meilleurs musiciens se disputaient leurs nombreuses séances de studio et ne manquaient pas d’innover pour garder du travail. Leur vision donna nombre de chefs-d’œuvre de la soul en herbe, notamment avec Ray Charles. C’est aussi l’immense succès du rhythm and blues et de la soul naissante chez Atlantic, King ou Stax qui a ouvert la porte à la pop raffinée de Motown. Leur impact sera plus immense encore, puisqu’ils lanceraient bientôt Diana Ross à l’âge de seize ans, Stevie Wonder à l’âge de douze ans, Michael Jackson à l’âge de dix ans — et tant d’autres géants essentiels. C’est à Detroit qu’avec le fabuleux James Jamerson à la basse, les Funk Brothers ont créé le son Motown, dont quelques-unes des premières productions soul sont incluses ici. La marque de Berry Gordy et<strong> Smokey Robinson</strong> a vite connu le succès. Ils voulaient toucher le grand public avec une musique commerciale, raffinée et n’hésiteraient pas à utiliser des violons (introduits dans le R&amp;B par les <strong>Drifters </strong>chez Atlantic et beaucoup utilisés dans les productions de Phil Spector et avec l’orchestre de Roy Glover pour les <strong>Impressions</strong>). D’autres arrangements riches projetaient également une image de confort, d’intégration opposée au son plus rocailleux, plus dur, de Stax ou Specialty au sud. Comme <strong>Curtis Mayfield </strong>(ici sur<strong> Gypsy Woman</strong>),<strong> Smokey Robinson</strong> (sur <strong>Bad Girl</strong>) utilisait souvent la technique de la voix de tête très utilisée dans le gospel (falsetto), ce qui lui permettait de chanter très haut, d’une façon qui le faisait tout de suite remarquer. On peut apprécier la qualité des premiers succès Motown chantés ici par <strong>Smokey Robinson &amp; the Miracles,</strong> les <strong>Temptations </strong>(avec Eddie Kendricks) et <strong>Marvin Gaye,</strong> fils d’un pasteur pentecôtiste — qui un jour assassinerait sa superstar de fils de deux balles de revolver. Le son Motown n’était pas exclusivement le son de la soul, à laquelle il empruntait ses meilleurs éléments pour le fondre dans son univers de paillettes et nœuds papillons, comme ici sur <strong>Shop Around, Bad Girl, Stubborn Kind of Fellow</strong> et <strong>Dream Come True. </strong>Il était avant tout celui de la nouvelle musique populaire américaine qui adoptait les structures du blues à douze mesures autant que le gospel — et les réconciliait presque. Motown était capable de projeter la soul dans le grand public en la mélangeant avec des titres plus passe-partout. C’est ainsi qu’en bonne partie grâce à ce son généraliste, les caractéristiques de la soul ont fait surface dans un catalogue véritablement tout public, qui mitraillera l’Amérique de succès énormes mais mettra une bonne décennie à totalement s’imposer.</span></p><p align=justify> </p><p align=justify><p align=justify><span class=Texte>Comme le plus souvent dans le jazz (Columbia, Blue Note, Savoy, Riverside, Impulse!, etc.), les grands producteurs de rhythm and blues et de soul étaient presque tous des Blancs, très souvent juifs (la majorité blanche protestante avait une forte tendance à dédaigner les musiques afro-américaines, et donc leur marché), qui découvraient, employaient et encadraient des artistes afro-américains. Ils organisaient autant la création des compositions (Tin Pan Alley, Brill Building), les arrangements, la réalisation des enregistrements, la fabrication, les réseaux de distribution et la promotion. C’était le cas des disques Specialty à Los Angeles (Art Rupe, qui lança <strong>Little Richard</strong>), King (Syd Nathan, qui lança <strong>James Brown</strong>), Atlantic à New York (les frères Ertegun étaient d’origine turque et employaient Jerry Wexler, Mike Leiber, Jerry Stoller, etc.), Stax à Memphis (les frère et sœur Jim Stewart et Estelle Axton), les disques Modern à Los Angeles (les frères Bihari qui lancèrent<strong> B.B. King, Ike &amp; Tina Turner</strong>), Chess (Lejzor Czyz dit Leonard Chess et Fiszel Czyz dit Phil Chess, qui lancèrent<strong> Bo Diddley, Etta James</strong>), Bell (Benny Bell développera la carrière de<strong> Lee Dorsey</strong>) sans oublier Philles avec Phil Spector qui lança les Crystals, les Ronettes… la liste est longue. </span><br /></p></p><p align=justify><span class=Texte>Pourtant quelques exceptions existaient. <strong>Ya Ya,</strong> le premier succès de<strong> Lee Dorsey, </strong>a été produit sur un arrangement d’Allen Toussaint par Bobby Robinson, le premier Noir à ouvrir un magasin de disques sur la très commerçante 125e rue de Harlem. Comme les disques Fury de Bobby Robinson à New York, Motown avait la particularité d’appartenir à des Afro-américains à l’ambition nationale. Dès que ce fut possible, ce sont eux qui employèrent des Blancs pour la partie commerciale et promotionnelle afin que d’éventuels préjugés raciaux à l’égard des représentants de commerce ne ruinent pas leurs efforts. Pour ne pas subir de discrimination raciale, pendant leurs premières années les photos de leurs artistes n’apparaissaient pas non plus sur la plupart des pochettes Motown. Ils produisaient des disques de soul, mais aussi un rhythm and blues passe-partout, une variété de qualité qui projetait une image d’abondance et d’adolescence, de chrétiens modernes et ouverts à l’opposé de celle du blues et de sa réputation «?ghetto?», où les interprètes se posaient fréquemment en victimes. La bientôt célèbre marque de Berry Gordy, Jr. inspira dès le début des années 1960 un petit producteur jamaïcain noir, Clement «?Coxsone?» Dodd, qui produisait nombre de disques de gospel et de soul authentiques sur une île située au sud de la Floride : la Jamaïque. C’est à Kingston que le très indépendant Coxsone grava le <strong>Sinners Weep</strong> d’<strong>Owen Gray </strong>dans un style marqué par le pianiste Allen Toussaint à la Nouvelle Orléans. Comme Motown à Detroit ou Atlantic à New York, Studio One à Kingston était très influencé par le rhythm and blues de King ou Stax au sud des États-Unis18. Avant de créer le ska dans son studio, Coxsone produisait du R&amp;B, lui aussi en authentique précurseur de la soul — avec au trombone l’inimitable Don Drummond (futur membre des Skatalites)19. Comme aux États-Unis, la soul a été très influente en Jamaïque. Elle est à l’origine du rocksteady et du reggae, apparus plus tard dans la décennie 1960. Les Meters et James Brown avec leurs parties de basse syncopées furent des influences essentielles dans la création du reggae. Plus que tous, James Brown est celui qui a incarné la ligne «?dure?» de la soul, avec un chant suractivé, excitant, surpuissant, où il jetait en vrac et gonflait à bloc l’héritage du gospel le plus dévôt. Le son de ses Famous Flames était d’une incroyable modernité, professionnel, peaufiné, très travaillé. Il a toujours chanté avec une tension qui contraste avec les morceaux plus cool des<strong> Impressions </strong>de <strong>Jerry Butler</strong> et <strong>Curtis Mayfield </strong>ou des<strong> Temptations</strong>. La formule tranchante de James Brown donnera en 1963 le fantastique Live at the Apollo qui le propulsera pour de bon au titre de «?Godfather of Soul?» et tournera la page du R&amp;B de papa une bonne fois pour toutes. On peut apprécier ici, dès 1962, la puissance de ses interprétations et ses innovations : sur le méconnu I Got Money le rythme joué par la batterie annonce déjà le funk des années 1960-1970, pour ne pas dire le style «?jungle?» anglais des années 1990 — et la basse anticipe la soul millésime «?Cold Sweat?» qui ferait danser le monde en 1967.</span><br /><span class=Texte>Le genre soul est d’une phénoménale richesse, impossible à résumer en un seul album. Cette anthologie ne fait que réunir quelques morceaux importants expliquant sa venue au monde. Les grands artistes ayant convergé vers ce style à la charnière des années 60 ne manquent pas. Certains l’ont fait de façon visionnaire, comme Gladys Knight &amp; the Pips, ou ici l’analphabète<strong> Bobby «?Blue?» Bland (I’ve Been Wrong So Long)</strong>, Joe Tex (l’excellent <strong>Blessed Are These Tears </strong>dès 1959), la méconnue<strong> Shirley Raymond (You’re Gonna Miss Me)</strong> ou <strong>Aretha Franklin </strong>sur les impressionnants<strong> Are You Sure et Maybe I’m a Fool</strong> (où elle n’a que dix-sept ans !). C’est logiquement que d’autres chanteurs très soul comme <strong>Bo</strong> <strong>Diddley</strong>20<strong> (Meet You on a Saturday)</strong>, le guitariste aveugle de la Nouvelle-Orléans<strong> Snooks Eaglin (That Certain Door)</strong> ou<strong> B.B. King</strong>21<strong> (Down Now)</strong> avaient initialement mijoté dans le gospel avant de trouver leur voie dans le moule du blues, à partir duquel il créèrent des styles originaux et influents. Quant au hurleur Wilson Pickett, futur monstre sacré du genre, il n’en était qu’à ses débuts en 1961 avec l’imparfait I Found a Love, tout frais dérivé du gospel. Les années 1960 furent peut-être la décennie la plus culturellement glorieuse du siècle. Et à l’aube du séisme sociologique qui y gronda, tous ces artistes magnifiques annonçaient, peut-être plus que tous les autres, la révolution des mentalités en marche.</span></p><p><span class=Texte><strong>Bruno BLUM</strong><br /></span><span class=Source>© FRÉMEAUX &amp; ASSOCIÉS 2014</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>1. Lire les livrets et écouter The Indispensable Bo Diddley 1955-1960 (FA5376) et 1959-1962 (FA5406) dans cette collection.</span><br /><span class=Texte>2. Lire le livret et écouter The Indispensable B.B. King 1949-1962 (FA5414) dans cette collection.</span><br /><span class=Texte>3. Lire le livret et écouter The Indispensable Chuck Berry 1955-1961 (FA5409) dans cette collection.</span><br /><span class=Texte>4. Lire les livrets et écouter notre série Gospel de quatre coffrets retraçant son histoire de 1926 à 1951 (FA008, FA026, FA044 et FA5053) dans cette collection.</span><br /><span class=Texte>5. Lire les livrets et écouter Voodoo in America - Blues Jazz Rhythm and Blues Calypso 1926-1961 (FA5375) et Africa in America - Rock Jazz &amp; Calypso 1920-1962 (FA 5397) dans cette collection.</span><br /><span class=Texte>6. Lire le livret et écouter Jamaica - Folk Trance Possession - Mystic Music From Jamaica 1939-1961 (FA5384) dans cette collection.</span><br /><span class=Texte>7. Écouter Ten Years After (Deram, 1967) et Recorded Live (Chrysalis, 1973).</span><br /><span class=Texte>8. L’intégrale des enregistrements de Louis Armstrong est en chantier chez Frémeaux et Associés dans cette collection.</span><br /><span class=Texte>9. L’œuvre intégrale de Sister Rosetta Tharpe (jusqu’à 1962) est disponible chez Frémeaux et Associés dans cette collection.</span><br /><span class=Texte>10. Lire le livret et écouter Elvis Presley face à l’histoire de la musique américaine 1954-1956 (FA5361) et le volume 2 (FA5383) qui juxtapose les interprétations d’Elvis Presley et leurs versions originales.</span><br /><span class=Texte>11. Lire le livret et écouter Elvis Presley face à l’histoire de la musique américaine 1954-1956 (FA5361) qui juxtapose les interprétations d’Elvis Presley et leurs versions originales. On y retrouve les versions de «?Good Rockin’ Tonight?» par Roy Brown et Elvis.</span><br /><span class=Texte>12. Retrouvez Roy Brown dans «?Butcher Pete?» sur l’anthologie The Roots of Punk Rock Music 1926-1962 (FA5415) dans cette collection.</span><br /><span class=Texte>13. Lire le livret et écouter Roots of Ska - USA Jamaica 1942-1962 (FA5396) dans cette collection.</span><br /><span class=Texte>14. Lire le livret et écouter Jamaica - Rhythm and Blues 1956-1961 (FA5358) dans cette collection.</span><br /><span class=Texte>15. À titre d’exemple, Bob Marley a enregistré plusieurs titres dans le style soul. Il a aussi nommé son troisième album jamaïcain Soul Revolution Part II (Upsetter, 1971) et enregistré plusieurs reggaes sur le thème de l’âme : «?Soul Shake Down Party?»,  «?Soul Rebel?», «?Satisfy my Soul?» etc.</span><br /><span class=Texte>16. Écouter The Indispensable James Brown 1956-1961 (FA5378) dans cette collection.</span><br /><span class=Texte>17. Retrouvez les Mar-Keys dans «?Last Night?» et Booker T and the M.G.’s dans «?Green Onions?» sur Rock Instrumentals Story 1934-1962 (FA5426) dans cette collection.</span><br /><span class=Texte>18. Lire le livret et écouter Jamaica-Rhythm and Blues 1956-1961 (FA5358) dans cette collection.</span><br /><span class=Texte>19. Lire le livret et écouter Roots of Ska U.S.A.-Jamaica 1942-1962 (FA5396) dans cette collection.</span><br /><span class=Texte>20. Lire les livrets et écouter les deux triple albums The Indispensable Bo Diddley 1955-1960 (FA5376) et 1959-1962 (FA5406) dans cette collection.</span><br /><span class=Texte>21. Lire le livret et écouter le triple album The Indispensable B.B. King 1949-1962 (FA5414) dans cette collection.</span></p><p><span class=Texte><br /><strong><br />Merci à Jean Buzelin, Stéphane Colin, Gilles Conte, Christophe Hénault, Kurt Mohr, Gilles Pétard, Soul Bag, Nicolas Teurnier, Michel Tourte et Terence Trent d’Arby.</strong><br /></span><span class=Soustitre2><br />Roots of SOUL<br />1928-1962</span><span class=Texte><br /></span><span class=Soustitre>by Bruno Blum</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>In the early Sixties some performances by rhythm and blues artists were so intensely moving that their style was called “soul mu-sic”. Most of those singers, male or female, had been schooled in gospel music and borrowed the vocal and musical characteristics which featured in it. They breathed their style into non-religious songs, and with the help of popular R&amp;B rhythms they catapulted their music to the top of the best-seller lists; at first it shocked some R&amp;B adepts, but the impact of those soul pioneers quickly seduced the whole world. </span></p><p><span class=Texte><br /></span><span class=Soustitre><br />The soul influence</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Dominated by immense Soul singer-songwriters like<strong> Solomon Burke</strong> or <strong>Curtis Mayfield</strong>, and giants such as<strong> Aretha Franklin, Marvin Gaye, Ray Charles</strong> or <strong>James Brown,</strong> the Sixties was the decade which saw Afro-American musicians irrevocably tied to young white people, who couldn’t have asked for anything better. Afro-American productions had been plagiarized for years by white artists who attracted a mass audience, and after all kinds of censorship, procrastination and trial-and-error, some dazzling music originating in that culture came to the fore in the alarming context of racial segregation. The belated “blues boom” effect marked the decade, but the intensity of the soul trend marked popular music worldwide.</span><br /></p><p align=justify><span class=Texte>In the mid-Sixties The Stones recorded classics b<strong>y Otis Redding</strong> (“I’ve Been Loving You Too Long”),<strong> Marvin Gaye</strong> (“Hitch Hike”) and others, like <strong>Solomon Burke,</strong> whose first hit<strong> Cry to Me</strong> (included here) they also covered. The influence of Soul on The Beatles was even more massive: one of their first hits was their cover-version of the<strong> Isley Brothers</strong> song <strong>Twist and Shout </strong>which had already sold a million copies. In America a whole generation — Janis Joplin, Dr. John, Johnny Winter or Iggy Pop (“Search and Destroy”) — was marked by the emotional power in records by <strong>Otis Redding, Tina Turner</strong> or <strong>James Brown,</strong> but Afro-Americans of that same generation also reigned, as Soul gave birth to artists who were among the most essential talents of the century, like <strong>Aretha Franklin, </strong>Diana Ross, Al Green, Stevie Wonder, Michael Jackson, Prince and thousands of others. Soul was a branch of a family tree whose trunk was gospel and whose roots were Negro spirituals; as for its seeds, they became a whole forest, and this is how it grew…</span></p><p><span class=Texte><br /></span><span class=Soustitre><br />Negro Spirituals</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Lincoln abolished slavery in 1865. In the following century, there were “Jim Crow” segregationist laws and Afro-American music drank deeply at wells containing various ancient forms of ritual music, called “slave songs” or Negro spirituals, which had roots in Africa and the praises sung to God by slaves. Spirituality was prominent in 20th century recordings of Afro-American music, which had often been created out of the fervent, informal gatherings which provided a structure within their community. Here you’ll find a sermon from <strong>Reverend Benny Campbell</strong> which quickly takes on a very musical dimension, and many of its characteristics found their way into the beginnings of Soul in the Fifties, notably the presence of an audience chanting in chorus (the “call and response” aspect of the music). But “jubilee groups” in the Thirties had already adapted spirituals, and the influential Mills Brothers contributed to develop a new polyphonic vocal style — “barber shop” groups — which in turn paved the way for R&amp;B vocals (cf. <strong>Have Mercy Baby </strong>by <strong>Clyde McPhatter</strong>), the “bird group” style of vocals which later became known as “doo-wop”, and soon, Soul. The<strong> Golden Gate Jubilee Quartet</strong> sang these difficult vocal harmonies like masters.<strong> Blind Willie Johnson</strong> was a giant in the spirituals genre and sang for the faithful when they left church, playing slide guitar in a rural blues style. His<strong> Lord, I Just Can’t Keep</strong> <strong>From Cryin’</strong> was picked up by the great gospel singer <strong>Marie Knight </strong>in an R&amp;B style which prefigured Soul music (CD1). It typically had a secular R&amp;B, even country, arrangement and deliberately aimed at the mass market, with the word “Lord” removed from the title…<strong> I Just Can’t Keep From Crying Sometimes</strong>. </span></p><p><span class=Texte><br /></span><span class=Soustitre>Jazz &amp; Blues</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>The style they called Jazz was a concentrate of elements from Negro spirituals, except that it hardly treated the theme of spirituality at all. But jazz was indeed initially a form that expressed the human soul, and its improvisations were nourished by the glossolalic tradition, relating literally to “the gift of speaking with tongues” (i.e. talking with spirits). Like those who sang spirituals, the best jazz vocalists drew on intuition, spontaneity, spirituality (and the feeling of freedom) in transmitting their emotions: hope, sadness, or, as in <strong>Basin Street Blues,</strong> intense joy. With his cornet solos and extraordinary vocal improvisations using onomatopoeia (it became known as “scat” singing) <strong>Louis Armstrong </strong>was a 20th century colossus in popular music.<strong> Ray Charles</strong> also sang scat (here at his debuts, with <strong>Baby Let Me Hear You Call my Name</strong>). Early in the 20th century most Afro-Americans were religious; it was a majority which only rarely appreciated the blues, especially when blues artists resorted to spirituals to pull an audience’s emotional strings. That “black” majority saw it as a betrayal of God’s good cause. But two of the greatest jazz singers of all time transcended the genres: <strong>Dinah Washington </strong>and <strong>Billie Holiday,</strong> who were labelled “jazz singers” all their lives but had assimilated all the freedom of speech and pathos which breathed life into both spirituals and the blues. </span></p><p><span class=Texte><br /></span><span class=Soustitre>Gospel</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Negro spirituals are mysterious and anonymous; they are rarely credited to songwriters because they have generally come down to us from the dark days of slavery, and most of their original styles have long been lost. Jubilee groups restored them to fashion in the Thirties (without their original sound), but one thing is certain: they were all sung with fervour and a contagious emotion which spread to gospel, i.e. well-structured religious pieces — “holy pop songs” — which developed after 1930.<strong> Mahalia Jackson</strong> was one of gospel’s most extraordinary exponents post-war, and also a Civil-Rights militant. Her success gave <strong>Aretha Franklin</strong> her vocation (some of her first records appear here). <strong>Sam Cooke</strong> and his famous Soul Stirrers formed one of the best gospel vocal groups, and his first record <strong>Jesus Gave Me Water </strong>(1951) proves he was one of the most gifted performers in the genre. Simply divine. As for <strong>Ray Charles</strong>, in modifying the lyrics of <strong>It Must Be Jesus</strong>, a gospel by the <strong>Southern Tones </strong>included here, he transformed it into an enormous hit as<strong> I’ve Got a Woman, </strong>and he was even considered the founder of Soul music. The truth is that many R&amp;B and soul artists began in gospel groups, and Ray was merely one of them. </span></p><p><span class=Texte><br /></span><span class=Soustitre>Civil Rights and Rock &amp; Roll</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>When Rosa Parks refused to give up her seat to a white man in 1955 she triggered the struggle for Civil Rights; it led to voting-rights for millions of U.S. citizens of African origin, free access to schooling and the end of racial segregation. It was a historic movement and it sprang up just when “rock ‘n’ roll” and the highly controversial phenomenon named Elvis exploded over the airwaves in 1956. Presley and his kind were seen (correctly) as expressions of an inevitable racial conciliation, and let’s not forget that the movement towards integration was led by a Reverend, Martin Luther King, Jr., a Baptist preacher who obviously incarnated gospel and whose impassioned sermons were delivered in a more staid tone. In absorbing the popular R&amp;B, Black music and its emblematic gospel strongly penetrated US culture, and the music would be the soundtrack for Black Liberation in the Fifties. </span></p><p><span class=Texte><br /></span><span class=Soustitre>R&amp;B</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Ray Charles’ hits<strong> I’ve Got a Woman</strong> (1954) and<strong> Drown in my Own Tears</strong> (1955) marked a new chapter in R&amp;B history even though the use of gospel’s vocal language to non-religious ends wasn’t new: it appeared in many pre-war blues songs. R&amp;B/jump blues/rock’n’roll songs of the 40s had also assimilated this influence, as shown by Louis Jordan’s <strong>Do You Call That a Buddy,</strong> with the intensely dramatic feelings it expresses over a friend’s betrayal. Rock pioneer <strong>Roy Brown,</strong> formed as a gospel performer by a mother who played organ in church, was also radical example. </span><br /><span class=Texte>The first group led by the young James Brown was a gospel band created with fellow-detainees at the Georgia Juvenile Institute; he and <strong>Clyde McPhatter,</strong> one of the most influential Afro-American singers of the 50s, used irresistible gospel vocal techniques, but Brown was the one who proclaimed himself the Godfather of Soul. Little Richard had a Baptist deacon for a father and particularly appreciated the excitement of the Pentecostal Church whose services, unlike those of the Baptists, didn’t proscribe dancing. <strong>Little Richard</strong> had a huge influence on <strong>Otis Redding </strong>(cf. <strong>Shout Bamalama</strong>). Another soul singer before his time was<strong> Little Willie John, </strong>creator of the famous “Fever”, and his remarkable<strong> Need Your Love So Bad </strong>is an overwhelming vocal demonstration of this style. A new generation of R&amp;B singers had arrived: it would transform music into a new style which ruled over the 60s, Soul Music.</span></p><p><span class=Texte><br /></span><span class=Soustitre>Soul &amp; Funk</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>Solomon Burke reconciled spirituality and commercialism, sincerity and comedy, ecstasy and entertainment, salvation and sex, individualism and fellowship. Atlantic producer Jerry Wexler called him “the greatest singer of all time.” Burke was a paradox and his attributes melted into Sixties soul. He was also the first artist to claim to be a “Soul” singer, although others had appeared here and there with funky titles, like Ray Charles and Milt Jackson with their instrumental “Soul Meeting” in ‘58.</span><br /><span class=Texte>The term “Soul” became a fashion in 1962. Burke personified the genre and disputed the title ‘King of Rock and Soul’ which James Brown also claimed. As for the term “Funk”, it referred to anything “dirty”, whether you saw it, heard it or smelled it… The word “funky” eventually came to mean “authentic”, anything genuinely heartfelt, especially if it came off the street. Buddy Bolden’s “Funky Butt” was an early reference (1907) indicating jazz’ associations with work-songs, gospel and traditional sources. Paradoxically, “Soul” was music for the masses and it had to be polished, sophisticated and at the same time somehow genuine, i.e., funky.</span></p><p><span class=Texte><br /></span><span class=Soustitre>Soul Music</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>In 1959, artists needed something new to move on from multi-form rhythm and blues to the nascent Soul: they needed producers and musicians to create a professional, danceable sound. The Mar-Keys had seen their “Last Night” instrumental become a hit in 1961 and, led by their guitarist Steve Cropper, they provided the southern soul style with new rhythms and dynamic wind instruments. They were also the house-band for the best soul stable in the South, Stax Records1. <strong>These Arms of Mine</strong> by Otis Redding at Volt/Stax in Memphis heralded the immense success of soul/R&amp;B for Atlantic, King or Stax, the labels which had already opened the door to the refined Pop of Motown, where success came swiftly for its owner Berry Gordy. Here you can appreciate the first Motown hits from <strong>Smokey Robinson &amp; the Miracles,</strong> the <strong>Temptations</strong> and <strong>Marvin Gaye. </strong>Most of Motown’s early record-sleeves didn’t carry their artists’ photos to avoid racial discrimination; but the label produced both soul music and a “go-anywhere” form of rhythm and blues which projected an image of plentiful well-being and open, modern Christianity for teenagers that was the opposite of the “ghetto” reputation of the blues, whose performers often adopted a stance as victims of society. The phenomenally rich Soul genre is impossible to concentrate into a single album, and this set contents itself with presenting the major titles which explain its entrance into the world. All these magni-ficent artists, perhaps more than any others, were as many premonitions of a revolutionary new mind-set that was already on the march.</span></p><p><span class=Texte><strong> Bruno BLUM</strong><br />Adapted into English by <strong>Martin DAVIES</strong><br /></span><span class=Source>© FRÉMEAUX &amp; ASSOCIÉS 2014</span><span class=Texte><br />1. Listen to the Mar-Keys on “Last Night”, and Booker T and the M.G.’s on “Green Onions”, in Rock Instrumentals Story 1934-1962 (FA5426).<br /><strong>Thanks to Jean Buzelin, Stéphane Colin, Gilles Conte, Christophe Hénault, Kurt Mohr, Gilles Pétard, Soul Bag, Nicolas Teurnier, Michel Tourte and Terence Trent d’Arby.</strong><br /></span><span class=Soustitre2>Roots of Soul 1928-1962</span><span class=Texte><br /></span><span class=Soustitre>Disc 1 The Roots 1928-1954</span><span class=Texte><br /><strong>1. Lord I Just Can’t Keep From Cryin’ </strong><br />Blind Willie Johnson <br />(traditional, arranged by William Johnson aka Blind Willie Johnson)<br />William Johnson as Blind Willie Johnson-v, slide g; Willie B. Harris-v; Columbia 147570-2. Dallas, December 5, 1928.<br /><strong>2. Have Mercy on Me - The Reverend Benny Campbell</strong><br />(Benny Campbell)<br />Benny Campbell as The Reverend Benny Campbell-lead v; unknown congregation chorus. SC-113-1, Vocalion 04851, Cq 9772. “Meetin’ House in Dixie”, Columbia, South Carolina, November 8, 1938.<br /><strong>3. Rock my Soul - The Golden Gate Jubilee Quartet</strong><br />(traditional)<br />Henry Owens 1st tenor; William Langford-2nd tenor; Willie Johnson-baritone v, lead v; Orlandus Wilson-bass. New York City, August 10, 1938.<br /><strong>4. Do You Call That a Buddy (Dirty Cat)  </strong><br />Louis Jordan and his Tympani Five<br />(Louis Thomas Jordan)<br />Louis Thomas Jordan as Louis Jordan-v; backing v-Tympani Five; The Tympani Five: Kenneth Hollon-bv; Arnold Thomas-p, bv; Charlie Drayton-b, bv; Walter Martin-d, bv. Direction: Courtney Williams. W-68171-A. Decca 8500. New York City, September 30, 1940.<br /><strong>5. Basin Street Blues  </strong><br />Jack Teagarden &amp; Louis Armstrong <br />(Spencer Williams)<br />Louis Armstrong-v, tp; Jack Teagarden-v, tb; Barney Bigard-cl, Art Tatum-p; Coleman Hawkinf-ts; Al Casey-g; Oscar Pettiford-b; Sidney Catlett-d. New York City, January 13, 1944.<br /><strong>6. Beams of Heaven - Sister Rosetta Tharpe &amp; Marie Knight with the Sam Price Trio</strong><br />(Charles Albert Tindley)<br />Rosetta Tharpe-v, g; Samuel Blythe Price aka Sammy Price as Sam Price-p; George Foster as Pops Foster-b; Kenny Clarke-d. New York City, July 1, 1947.<br /><strong>7. Every Little Doggie Has Its Day - Mabel Scott</strong><br />(Simes, Neiberg, Levinson)<br />Bertha Williams as Mabel Scott-v; Maxwell Davis-ts; unknown tp, as, p, g, b, d. Exclusive 75x. Los Angeles, 1947.<br /><strong>8. Hard Luck Blues - Roy Brown</strong><br />(Roy James Brown aka Roy Brown)<br />Roy James Brown as Roy Brown-v; Wilbur Harden-tp; Jimmy Griffin-tb; Johnny Fontennette-ts; Harry Porter-bs; Willie Gaddy-g; Buddy Griffin-p; Ike Isaacs-b; Calvin Shields-d. Cincinnati, April 19, 1950.<br /><strong>9. Lost in a Dream - Little Esther</strong><br />(Ioannis Alexandres Veliotes aka Johnny Otis)<br />Esther Mae Jones aka Esther Phillips as Little Esther-v; Ioannis Alexandres Veliotes as Johnny Otis-director; possibly Hosea Sapp-tp; Don Johnson, Lee Graves, George Washington-tb; Walter Henry-as, bs; James Von Streeter, Lorenzo Holden-ts; Devonia Williams-p; Pete Lewis-g; Mario DeLagarde-b; Leard Bell-d. Chicago, June 20, 1950.<br /><strong><br />10. Do Something for Me  <br /></strong>Clyde McPhatter with the Dominoes<br />(Robert L. Williams aka Billy Ward, Rose Marks)<br />Clyde Lensley McPhatter-v; Charlie White-2nd tenor v; Joe Lamont-bar v; Robert L. Williams aka Billy Ward-p; Bill Brown-b. New York City, November 14, 1950.<br /><strong>11. Jesus Gave Me Water - The Soul Stirrers</strong><br />(Lucie E. Campbell)<br />Samuel Cook as Sam Cooke-v; Senior Roy Crain or Julius Cheeks, Paul Foster-tv; R.B. Robinson, Thomas L. Buster-bar vo; J.J. Farley-bass v. Specialty 802. Hollywood, March 1, 1951.<br /><strong>12. Try a Little Tenderness - Little Miss Cornshucks</strong><br />(James Campbell, Reginald Connelly, Harry M. Woods)<br />Mildred Cummings as Little Miss Cornshucks-v; unknown tp, ts, as, p, b, d. New York or Chicago, December 14, 1951.<br /><strong>13. Have Mercy Baby - The Dominoes</strong><br />(Robert L. Williams aka Billy Ward, Rose Marks)<br />Clyde Lensley McPhatter-lead tenor v; James Van Loan-tenor v; Joe Lamont-bar v; Bill Brown-bass v; Robert L. Williams as Billy Ward-p. Cincinnati, January 28, 1952.<br /><strong>14. Baby Let Me Hear You Call my Name  </strong><br />Ray Charles with the Rufus Beacham Orchestra. <br />(Ray Charles Robinson aka Ray Charles) <br />Ray Charles Robinson as Ray Charles-v, p; Otto McQueen-g; unknown b, d. Sittin’ in With 641. Possibly Miami, 1952.<br /><strong><br />15. Solitude - Billie Holiday</strong><br />(Edgar DeLange aka Eddie DeLange, Irving Mills, Edward Kennedy Ellington)<br />Eleanora Fagan as Billie Holiday-v; Joseph Edward Filipelli as Flip Phillips-ts; Charles Shavers-tp; Oscar Peterson-p; Barney Kessel-g; Ray Brown-b; Alvin Stoller-d. Los Angeles, March 26, 1952.<br /><strong>16. I Just Can’t Keep From Crying Sometimes  </strong><br />Marie Knight<br />(composer unknown, additional lyrics and arrangement by Marie Knight)<br />Marie Knight-v; Thomas Martin as Grady Martin, Jack Shook-g; James Roots-p; Ernie Newton-b; Farris Coursey-d. 83694A. Decca 48298 Nashville, December 6, 1952. <br /><strong><br />17. I’m Going to That City - Sister O.M. Terrell</strong><br />(Ola Mae Terrell )<br />Ola Mae Terrell as Sister O.M. Terrell-v, g. CO49047 - Columbia 21092. Nashville, February 2, 1953.<br /><strong>18. Feel Like I Wanna Cry - Dinah Washington</strong><br />(Thomas Kirkland)<br />Ruth Lee Jones as Dinah Washington-v; Paul Quinichette-ts; unknown-p; Jackie Davis-org; Keter Betts-b; Jimmy Cobb-d. New York City, June 10, 1953.<br /><strong>19. You Can’t Keep a Good Man Down  </strong><br />Jackie Wilson<br />(Robert L. Williams aka Billy Ward, Rose Marks)<br />Jack Leroy, Jr. as Jackie Wilson-lead tenor v; Milton Merle-tenor v; James Van Loan-bar v; David McNeil-b; Robert L. Williams as Billy Ward-p. New York City, June 27, 1953.<br /><strong>20. Lucille - The Drifters</strong><br />(Clyde Lensley McPhatter)<br />Clyde Lensley McPhatter as Clyde McPhatter -lead tenor v; David Boughan, William Anderson aka Chick-v; David Baldwin-tenor v; James Johnson-bass v; Freddy Mitchell-ts; Arleem Kareem aka Pinly Williams-bs; McHouston Baker as Mickey Baker-g; Lloyd Trotman-b; Harry Walls aka Piano Man-d. New York City, June 28, 1953.<br /><strong>21. Until I Die </strong><br />Hank Ballard and the Midnighters (aka The Royals)<br />(John Henry Kendricks aka Hank Ballard)<br />John Henry Kendricks as Hank Ballard-lead v; Charles Sutton, Henry Booth-v; Sonny Woods-bass v; Robert Darby-ts; Sonny Thompson-p; Arthur Porter-g; Alonzo Tucker-b; Robert Boswell-d. Cincinnati, January 14, 1954.<br /><strong>22. This May Be the Last Time </strong><br />The Five Blind Boys of Alabama<br />(traditional, arranged by Clarence Fountain, George Scott)<br />Clarence Fountain-lead v; Samuel K. Lewis as Reverend K. Lewis-lead v; George Scott-tenor; Olice Thomas-baritone; Johnny Fields-bass; unknown hand claps, g. Produced by Arthur N. Goldberg as Art Rupe. Possibly Los Angeles. 1954.<br /><strong><br />23. Oh Lord, Stand by Me  </strong><br />The Five Blind Boys of Alabama<br />(traditional, arranged by Clarence Fountain, Johnny Fields)<br />Clarence Fountain-lead v; Samuel K. Lewis as Reverend K. Lewis-lead v; George Scott-tenor; Olice Thomas-baritone; Johnny Fields-bass; unknown-d. Produced by Arthur N. Goldberg as Art Rupe. Possibly Los Angeles. 1954.<br /><strong><br />24. It Must Be Jesus (I’ve Got a Woman)  </strong><br />The Southern Tones <br />(Bob King)<br />Bob King-lead v, g; Leon Bingham, Rev. W. L. Richardson, Johnny Noble, Franklin Pouncy, Mac ?-v; unknown d. ACA2382 - Duke 205. Unknown location, January 1954.<br /></span><span class=Soustitre>Disc 2 Precursors 1954-1961</span><span class=Texte><br /><strong>1. I’ve Got a Woman - Ray Charles and his Orchestra</strong><br />(Ray Charles Robinson aka Ray Charles)<br />Ray Charles Robinson aka Ray Charles-v, p, arr; Joe Bridgewater, Charles Whitley aka Clanky-tp; Don Wilkerson-ts; David Newman aka Fathead-bs; Wesley Jackson-g; Jimmy Bell-b; Glenn Brooks-d. Atlanta, November 11, 1954.<br /><strong>2. Come Rain or Come Shine - Dinah Washington 2:28</strong><br />(Harold Arlen, Johnny Mercer)<br />Ruth Lee Jones as Dinah Washington-v; Junior Mance or Richie Powell; George Morrow or Keter Betts-b; Max Roach-d. Possibly Los Angeles, August 14, 1954.<br /><strong>3. There Is No Greater Love - Dinah Washington 2:57</strong><br />(Isham Jones, Marty Symes)<br />Same as above.<br /><strong><br />4. I’m Just a Lonely Guy - Little Richard</strong><br />(Robert Alexander Blackwell aka Bumps Blackwell, Dorothy LaBostrie)<br />Richard Wayne Penniman as Little Richard-v; Lee Allen-ts; Alvin Tyler aka Red-bs; Justin Adams-g; Huey Smith-p; Frank Fields-b; Earl Palmer-d. Produced by Robert Alexander Blackwell as Bumps Blackwell. Specialty 561. Cosimo Matassa’s J&amp;M Studio, 838 North Rampart St., New Orleans, September 9, 1955.<br /><strong><br />5. Need Your Love So Bad - Little Willie John</strong><br />(Mertis John)<br />William Edward John-v; Willis Jackson-ts; David Van Dyke-ts; Reuben Phillips-bs; McHouston Baker as Mickey Baker-g; Robert Johnson as Bubber Johnson-p; Milton Hinton-b; Calvin Shields-d. New York City, September 20, 1955.<br /><strong><br />6. Drown in my Own Tears </strong> <br />Ray Charles and his Orchestra<br />(Henry Glover)<br />Ray Charles Robinson aka Ray Charles-v, p, arr; female v: Mary Fisher; Boo; unknown; unknown male v; Joe Bridgewater, Joshua Willis aka Jack,-tp; Don Wilkerson-ts; Cecil Payne-bs; Paul West-b; David Francis aka Panama-d. New York City, November 11, 1955.<br /><strong>7. Please Please Please  </strong><br />James Brown and his Famous Flames<br />(James Joseph Brown, Jr. aka James Brown, John Terry)<br />James Joseph Brown, Jr. as James Brown-v; Bobby Byrd, John Terry as Johnny Terry, Nashville Knox, Sylvester Keels-v; Ray Felder-as; Clifford Scott, Wilbert Smith-ts; Bobby Byrd-p; Nafloyd Scott-g; Clarence Mack-el. b ; Edison Gore-d. King Studios, Cincinnati, February 4, 1956.<br /><strong><br />8. Take my Hand Precious Lord - Mahalia Jackson</strong><br />(Thomas Andrew Dorsey)<br />Mahalia Jackson-v; Midred Falls-p. New York City, March 23, 1956.<br /><strong>9. Take my Hand Precious Lord (Part One)  </strong><br />Aretha Franklin<br />(Thomas Andrew Dorsey)<br />Aretha Louise Franklin as Aretha Franklin-v, p; Baptist congregation-v. JVB/Ch 75. Recorded by Joe Von Battle, New Bethel Baptist Church, Detroit, 1956.<br /><strong>10. You Send Me - Sam Cooke</strong><br />(Samuel Cook aka Sam Cooke)<br />Samuel Cook as Sam Cooke; The Pied Pipers, Lee Gotch-bv; The Bumps Blackwell Orchestra: Cliff White-g; René Hall-rh g, arr.; Ted Brinson-b; Ear Palmer-d. Keen 44013. Radio Recorders, Hollywood, June 1, 1957.<br /><strong>11. My Baby Just Cares for Me - Nina Simone</strong><br />(Walter Donaldson, Gus Kahn)<br />Nina Simone-v, p; Jimmy Bond-b; Al Heath-d. New York City, December 1957.<br /><strong><br />12. Your Precious Love  </strong><br />The Impressions with Jerry Butler<br />(Jerry Butler Jr., Arthur Brooks)<br />Jerry Butler Jr. as Jerry Butler-lead tenor v; Curtis Lee Mayfield II as Curtis Mayfield-tenor v, possibly g; Richard Allidan Brooks as Richard Brooks-tenor v; Arthur Brooks-bar v; Samuel Gooden-bass v; unknown b, d. Vee-Jay 280. Chicago, April 18, 1958.<br /><strong>13. Wonderful World     </strong><br />- Sam Cooke <br />(Barbara Campbell aka Samuel Cook aka Sam Cooke, Lou Adler, Herbert Alpert aka Herb Alpert)<br />Samuel Cook as Sam Cooke-v; Cliff White-g; George Sylvester Callender as Red Callender-b; Earl Palmer or possibly Ronald Selico-d; arranged and conducted by     <br />René Hall. Keen 2112. Rex Productions, Hollywood, March 2, 1959.<br /><strong><br />14. Bad Girl - Smokey Robinson and the Miracles</strong><br />(William Robinson aka Smokey Robinson, Berry Gordy, Jr.)<br />William Robinson as Smokey Robinson-lead tenor v; Claudette Robinson née Rodgers-tenor v; Robert Rodgers as Bobby Rodgers-tenor v; Ronnie White-bar v; Warren Moore aka Pete aka Pee Wee-bass v; Thomas Bowles aka Beans-fl, bs; The Joe Hunter Band: Jesse-ts; Joe Hunter-p; Don Davis-g, unknown b; William Benjamin aka Benny-d. Motown G1/G2. Produced by Berry Gordy, Jr. Detroit, July 1959.<br /><strong>15. Blessed Are these Tears  </strong><br />Joe Tex and his X Class Mates<br />(Joseph Arrington, Jr. aka Joe Arrington aka Joe Tex)<br />Joseph Arrington, Jr. aka Joe Arrington as Joe Tex-v ;<br />Melvin Lastie-tp ; Robert Parker, Lee Allen-ts ; Red Tyler-bs ; Huey Smith-p ; Allen Toussaint-org ; Roy Montrell-g ; Frank Fields-b ; Earl Palmer-d. Ace 559. New Orleans, 1959.<br /><strong>16. The Right Time (Live) - Ray Charles</strong><br />(Napoleon Goodson Brown aka Nappy Brown, Osbourne Cadena aka Ozzie Cadena, Herman Lubinsky as L. Herman)<br />Ray Charles Robinson as Ray Charles-lead v, p; Majorie Hendricks-v solo; The Raelettes: Majorie Hendricks, Patricia Mosely Lyles aka Pat, Gwendolyn Berry, Darlene McCrea-bv; Marcus Belgrave, John Hunt-tp; David Newman, ts; Bennie Crawford, bs; Edgar Willis-b; Teagle Fleming-d. Morris Brown’s Herndon College Stadium, Atlanta, May 28, 1959.<br /><strong>17. That Certain Door - Snooks Eaglin </strong><br />(Dave Bartholomew)<br />Fird Eaglin, Jr. as Snooks Eaglin-v, g; possibly Frank Fields-b; Robert French-d. Imperial 5692. New Orleans, April 25, 1960.<br /><strong>18. I’ve Been Wrong So Long - Bobby Bland </strong><br />(Don D. Robey aka Deadric Malone)<br />Robert Calvin Brooks aka Robert Calvin Bland as Bobby Bland aka Bobby “Blue” Bland-v; Joe Scott, Melvin Jackson-tp; Pluma Davis-tb; L.A. Hill-ts; Jimmy Beck-ts, as; Rayfield Devers-bs; Teddy Reynolds-p; Wayne Bennett-g; Hamp Simmons-b; John Starks aka Jabo-d. Duke 327. Houston, 1960.<br /><strong>19. He Will Break Your Heart  </strong><br />Jerry Butler and the Impressions<br />(Calvin Carter, Curtis Lee Mayfield II aka Curtis Mayfield, Jerry Butler, Jr. aka Jerry Butler)<br />Jerry Butler, Jr. as Jerry Butler-v; Dee Clark-v; possibly Curtis Lee Mayfield as Curtis Mayfield-g; unknown b, d. Vee-Jay 354. Chicago, July, 1960.<br /><strong>20. Spanish Harlem - Ben E. King </strong><br />(Jerry Leiber, Phil Spector)<br />Benjamin Earl Nelson as Ben E. King-v; Myriam Workman, Elise Bretton, Lilian Clark-bv; Orchestra conducted by Stan Applebaum: Romeo Penque-reeds; Al Caiola, Charles McCracken-g; Lloyd Trotman-b; Gary Chester-d; Phil Kraus-perc. Arranged by Mike Stoller, produced by Jerry Leiber and Mike Stoller. Atco 6185. Bell Sound Studios, New York City, October 27, 1960.<br /><strong><br />21. Stand by Me - Ben E. King </strong><br />(Benjamin Earl Nelson aka Ben E. King, Jerry Leiber, Mike Stoller)<br />Benjamin Earl Nelson as Ben E. King-v; Myriam Workman, Elise Bretton, Lilian Clark-bv; Orchestra arranged and conducted by Stan Applebaum: Romeo Penque-reeds; Al Caiola, charles McCracken-g; Lloyd Trotman-b; Gary Chester-d; Phil Kraus-perc. Produced by Jerry Leiber and Mike Stoller. Atco 6194. Bell Sound Studios, New York City, October 27, 1960.<br /><strong>22. A Fool in Love    </strong> <br />Ike &amp; Tina Turner<br />(Ike Wister Turner aka Ike Turner)<br />Anna Mae Bullock as Tina Turner-lead v; The Ikettes: Sandra Harding, Frances Hodge, Robbie Montgomery-v; Eddie Silvers, Rasheed Ishmael-ts; Marvin Warwick-bs; Fred Samples-p; Ike Turner-g; Jesse Knight-b; “TNT”     Tribble-d. Sue 730. Saint Louis, 1960.<br /><strong><br />23. Are You Sure  </strong><br />Aretha Franklin With the Ray Bryant Combo<br />(Robert Meredith Wilson aka Meredith Wilson)<br />Aretha Louise Franklin as Aretha Franklin-v, p; John Leslie McFarland-arr.; Al Sears-ts; Lloyd Westbrook aka Chauncey Westbrook-g; Milt Hinton-b; Belton Evans aka Sticks-d. Columbia studios, 207 East 30th Street, New York City, January 10, 1961.<br /><strong>24. Shop Around - Smokey Robinson and the Miracles</strong><br />(William Robinson aka Smokey Robinson, Berry Gordy, Jr.)<br />William Robinson as Smokey Robinson-v; Ronald White-bar v; Warren Moore aka Pete aka Pee Wee-bass v; unknown p, b, d. Produced by Berry Gordy, Jr. Tamla TM-220. Detroit, August, 1961.<br /></span><span class=Soustitre>Disc 3 Early Soul 1961-1962</span><span class=Texte><br /><strong>1. Sinners Weep      </strong><br />Owen Gray with Herson and his City Slickers<br />(Owen Gray) <br />Owen Gray-v; Don Drummond-tb; unknown p, b, d. Produced by Clement Seymour Dodd aka Downbeat aka Coxsone. Federal Studio, Kingston, Jamaica, 1961.<br /><strong>2. Ya Ya - Lee Dorsey</strong><br />(Irving Lee Dorsey)<br />Irving Lee Dorsey as Lee Dorsey-v; Marcel Richardson-p; Melvin Lastie-tp; Harold Battiste-ts; Red Tyler-bs; Justin Adams-g; Chuck Badie-b; John Boudreaux-d. Produced and arranged by Allen Toussaint, coproduced by Marshall Seehorn. New Orleans, 1961.<br /><strong>3. Maybe I’m a Fool  </strong><br />Aretha Franklin with the Ray Bryant Combo<br />(John Leslie McFarland)<br />Aretha Louise Franklin as Aretha Franklin-v; John Leslie McFarland-arr.; Al Sears-ts; Lloyd Westbrook aka Chauncey Westbrook-g; Raphael Homer Bryant as Ray Bryant-p; Milton John Hinton aka Milt-b; Belton Evans aka Sticks-d. Produced by John Hammond. Columbia studios, 207 East 30th Street, New York City, January 10, 1961.<br /><strong>4. Down Now - B.B. King</strong><br />(Riley Ben King aka B.B. King, Julius Jeramiah Bihari as Jules Taub)<br />Riley Ben King as B.B. King -v, g; John Browning, Kenneth Sands-tp; Johnny Board-ts, bs; Milliard Lee-p; Marshall Lee-b; Sonny Freeman-d. Kent 388. Los Angeles, circa January 10, 1961.<br /><strong><br />5. Please Stay - The Drifters</strong><br />(Burt F. Bacharach, Bob Hilliard)<br />Rudy Lewis-lead tenor v; Charlie Thomas-tenor v; Doc Green-bar v; Tommy Evans-bass v; Della Mae Warwick as Dee Dee Warwick, Emily Houston as Cissy Houston, Doris Troy-bv; Bill Davis as Abdul Samad-g; Mort Shuman-p; arranged and conducted by Ray Ellis. Produced by Jerry Leiber and Mike Stoller. Atlantic 2105. New York City, February 1, 1961.<br /><strong><br />6. Gypsy Woman - The Impressions</strong><br />(Curtis Lee Mayfield II aka Curtis Mayfield)<br />Curtis Lee Mayfield as Curtis Mayfield-lead tenor v, possibly g; Arthur Brooks-tv; Richard Allidan Brooks-tv; Fred Cash-tv; Samuel Gooden-b; Roy Glover Orchestra arranged and conducted by Leroy Glover aka Roy Glover-d, perc. ABC-Paramount ABC 450. New York City, July 13, 1961.<br /><strong>7. Do-Re-Mi - Lee Dorsey</strong><br />(Earl Silas Johnson IV aka Earl King)<br />Irving Lee Dorsey as Lee Dorsey-v; Marcel Richardson-p; Melvin Lastie-tp; Harold Battiste-ts; Red Tyler-bs; Justin Adams-g; Chuck Badie-b; John Boudreaux-d. Produced and arranged by Allen Toussaint, coproduced by Marshall Seehorn. New Orleans, 1961.<br /><strong>8. Something’s Got a Hold on Me - Etta James</strong><br />(Jamesetta Hawkins aka Etta James, Leroy Kirkland, Pearl Woods)<br />Jamesetta Hawkins as Etta James-v; Matt Murphy-g; John Young-p; Reggie Boyd-b; Al Duncan-d; unknown bv, possibly The Ecuadors: Harvey Fuqua, Roquel Davis aka Billy Davis; arranged and directed by Riley C. Hampton. Argo 5409. Chicago, July 14, 1961.<br /><strong>9. Cry to Me - Solomon Burke</strong><br />(Bertrand Russell Berns aka Bert Russell)<br />James Solomon McDonald aka Solomon Vincent McDonald Burke as Solomon Burke-v; orchestra arranged and conducted by Klaus Ogerman; Leon Cohen-as; Jesse Powell-ts; Don Amone, Al Caiola, John Pizzarelli aka Bucky, Everett Barksdale-g; Hank Jones-p; Robert Mosley-org; Art Davis-b; Gary Chester-d; Phil Kraus-vib; Howard Roberts, David Vogel, Robert Spiro, Earl Rogers, Noah Hopkins, William Eaton, Sherman Sneed, Richard Kraus-bv. Atlantic 2131. New York City, December 6, 1961.<br /><strong>10. (You’re my) Dream Come True - The Temptations</strong><br />(Berry Gordy, Jr.)<br />Eddie Kendricks-falsetto lead v; Melvin Franklin-bass lead v; Paul Williams-tenor v; Albridge Bryant, Otis Williams-bar v; Musitron, Ondioline kb-Raymona Liles Gordy; The Funk Brothers: Robert White, Eddie Willis-g; Joe Hunter-p; James Jamerson-b; William Benjamin as Benny aka Papa Zita-d. Produced by Berry Gordy, Jr. Gordy 7001. Detroit, 1961.<br /><strong><br />11. You’re Gonna Miss Me - Shirley Raymond</strong><br />(Shirley Raymond)<br />Shirley Raymond-v; The AFO Co-operative backing group combo possibly includes: Melvin Lasite-tp; Harold Battiste-ts; Nat Perilliat-s; Alvin Tyler aka Red-bs; Roy Montrell-g; Mac Rebennack or James Booker-org; John Boudreaux-d. At Last 1001. New Orleans, March 20, 1962.<br /><strong>12. Minstrel and Queen - The Impressions</strong><br />(Curtis Lee Mayfield II aka Curtis Mayfield)<br />Curtis Lee Mayfield as Curtis Mayfield-lead tenor v, possibly g; Fred Cash-tv; Arthur Brooks-tv; Richard Allidan Brooks-tv; Samuel Gooden-b; Roy Glover Orchestra arranged and conducted by Maxwell Davis-d, perc. ABC-Paramount ABC 450. New York City, March 21, 1962.<br /><strong>13. I Don’t Care - James Brown and his Famous Flames</strong><br />(James Joseph Brown, Jr. aka James Brown)<br />James Joseph Brown, Jr. as James Brown-v; Bobby Byrd, Lloyd Stallworth aka Baby, Bobby Bennett- bv; Lewis Hamlin, Roscoe Patrick-tp; St. Clair Pinkney, Clifford McMillan aka Ace King-ts; Al Clark-bs; Les Buie-g; Bobby Byrd-org; Bernard Odum-b; Hubert Clayton Filyard-d; King 5922. King Studios, Cincinnati, March 21, 1962.<br /><strong>14. Twist and Shout     </strong><br />- The Isley Brothers<br />(Bertrand Russell Berns aka Bert Russell, Philip Medley)<br />Ronald Isley-lead v; O’Kelly Isley, Jr.-v; Rudolph Isley-v; Eric J. Gale-g; Trade Martin-g; Cornell Luther Dupree-g; Chuck Rainey-b; Paul Griffin-p; Curtis Ousley as King Curtis-ts; Cesario Gurciullo as Gary Chester-d. Produced by Bertrand Russell Berns as Bert Russell. Wand 124 released on June 16, 1962. New York City, 1962.<br /><strong>15. Shout Bamalama - Otis Redding and the Pinetoppers</strong><br />(Otis Ray Redding, Jr. as Otis Redding)<br />Otis Ray Redding, Jr. as Otis Redding-v; The Rocking Capris aka The Pinetoppers: John Edward Jenkins as Johnny Jenkins-g; Wayne Cochran-b; unknown male vocal group, possibly band members, unknown d. Confederate 135. PBS radio station (University of Georgia), Athens, Georgia, circa March 1962.<br /><strong><br />16. Mashed Potatoes U.S.A.  </strong><br />James Brown and his Famous Flames<br />(James Joseph Brown, Jr. aka James Brown)<br />James Joseph Brown, Jr. as James Brown-v; Teddy Washington, unknown-tp; Eldee Williams, St. Clair Pinkney-ts; Al Clark-bs; Les Buie-g; Bernard Odum-b; Hubert Clayton Filyard-d; King 5672. King Studios, Cincinnati, May 20, 1962.<br /><strong>17. I’ve Got Money - James Brown and his Famous Flames</strong><br />(James Joseph Brown, Jr. aka James Brown)<br />James Joseph Brown, Jr. as James Brown-v; Lewis Hamlin, Roscoe Patrick-tp; St. Clair Pinkney, Clifford McMillan aka Ace King-ts; Al Clark-bs; Les Buie-g; Bobby Byrd-org; Bernard Odum-b; Hubert Clayton Filyard-d; King 5701. King Studios, Cincinnati, May 21, 1962.<br /><strong><br />18. Home in Your Heart - Solomon Burke</strong><br />(Otis Blackwell, Winfield Scott)<br />James Solomon McDonald aka Solomon Vincent McDonald Burke as Solomon Burke-v; orchestra arranged and conducted by Bert Berns; Leon Cohen-as; Herb Wasserman-ts, fl; Bill Suyker, Chauncey Westbrook; Paul Griffin-p; Dick Hyman-org; Jimmy Lewis-b; Gary Chester-d, perc; Phil Kraus-xyl; Dorice Brown, Lillian Clark, Jerome Graff, Trudy Packer, Howard Roberts, David Vogel, Lois Winter-Helen Way, Albertine Robinson, Doryce Roberts, Robert Spiro, Elise Bretton-bv arranged and conducted by Jerry Ragovoy. Atlantic 2180. New York City, June 25, 1962.<br /><strong><br />19. Stubborn Kind of Fellow - Marvin Gaye</strong><br />(Marvin Pentz Gay, Jr. aka Marvin Gaye, George Weldon Gordy, Sr., William Stevenson aka Mickey Stevenson)<br />Marvin Pentz Gay, Jr. as Marvin Gaye-v; John Wilson-tp; Paul Risr-tb; Henry Cosby-ts; Thomas Bowles-fl, bs; Joe Hunter-p; Robert White-g; James Jamerson-b; Benny Benjamin-d; The Vandellas: Gloria Johnson, Martha Reeves, Annette Beard, Rosalyn Ashford-bv. Produced by William Stevenson aka Mickey Stevenson. Tamla 54068. Detroit, July 6, 1962.<br /><strong>20. Signed Sealed and Delivered - James Brown and his Famous Flames</strong><br />(Lloyd Estel Copas aka Cowboy Copas, Sydney Nathan)<br />James Joseph Brown, Jr. as James Brown-v; Eldee Williams, St. Clair Pinkney-ts; Al Clark-bs; Les Buie- or Sam Thomas-g; Hubert Perry-b; Hubert Clayton Filyard-d; King 884. King Studios, Cincinnati, July 31, 1962.<br /><strong>21. Meet You on a Saturday - Bo Diddley</strong><br />(Ellas Bates McDaniel aka Bo Diddley)<br />Ellas Bates McDaniel as Bo Diddley-g,v; Norma-Jean Wofford as The Duchess, 2nd g on 13, 15, 18, 19, 20; Lafayette Leake-p except 15 &amp; 18; Jesse James Johnson or Chester Lindsey-b; Bill Downing or Edell Robertson-d; Jerome Green-maracas; unknown-v on 12; unknown-tambourine on 13. Ter-Mar Recording Studio, Chicago, October 1962.<br /><strong><br />22. These Arms of Mine - Otis Redding </strong><br />(Otis Ray Redding, Jr. as Otis Redding)<br />Otis Ray Redding, Jr. as Otis Redding-v; possibly Booker T. Jones-org; John Edward Jenkins as Johnny Jenkins-g; Steven Lee Cropper as Steve Cropper-g; Lewis Steinberg-b; Al Jackson, Jr.-d. Volt, October 1962. Produced by Jim Stewart with Stax staff. Memphis, October, 1962.<br /><strong>23. Grow Closer Together - The Impressions</strong><br />(Curtis Lee Mayfield II aka Curtis Mayfield)<br />Curtis Lee Mayfield as Curtis Mayfield-lead tenor v, possibly g; Fred Cash-tv; Arthur Brooks-tv; Richard Allidan Brooks-tv; Samuel Gooden-b; Roy Glover Orchestra-d, perc. ABC-Paramount ABC 450. New York City, November 22, 1961.<br /><strong><br />24. I Found a Love - Wilson Pickett and the Falcons</strong><br />(Wilson Pickett)<br />Wilson Pickett, lead v; Eddie Floyd, Joe Stubbs, Mack Rice, Ben Night-bv; The Ohio Untouchables: cl, ts, p; Robert Ward-g, b, d. Lu-Pine 103. Detroit, 1961.<br /></span></p><p align=justify><span class=Texte>En fusionnant l’émotion et les mélodies du gospel avec les arran-gements et la sensualité du rhythm and blues, des musiciens afro-américains ont créé un langage universel qui a bouleversé le monde. Indissociable de la lutte pour les droits civiques, la soul rayonne par l’intensité de ses fabuleux interprètes. Raconté par Bruno Blum dans un livret fourni, cet album magnifique retrace ses origines, des negro spirituals au R&amp;B, ses précurseurs de Ray Charles à Sam Cooke — et réunit les premiers chefs-d’œuvre d’Otis Redding, Aretha Franklin ou Marvin Gaye.   <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Texte>In combining gospel’s emotion and melodies with the sensuality and arrangements of rhythm and blues, Afro-American musicians created a universal language which shook the world. Soul was inseparable from the Civil Rights struggle and it spread like wildfire in intense performances from the fabulous artists who adopted this style. With the tremendous songs included in this magnificent album, Bruno Blum tells the story of Soul’s origins, from Negro spirituals to R&amp;B, in retracing the work of its precursors, from Ray Charles to Sam Cooke — and including the first masterpieces from Otis Redding, Aretha Franklin or Marvin Gaye.   <br /><strong>Patrick FRÉMEAUX</strong></span></p><p><span class=Source><br />CD Roots of soul 1928-1962 © Frémeaux &amp; Associés 2014</span></p>"
      "dwf_titres" => array:72 [ …72]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/2/8/2/19282-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => []
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#632
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#729
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
  5 => ProductListingLazyArray {#697
    -imageRetriever: ImageRetriever {#727
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#725}
    -productColorsRetriever: ProductColorsRetriever {#724}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#693
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1340"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302542522"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5425"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "402"
      "date_add" => "2021-10-22 10:03:29"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p>D&eacute;c&eacute;d&eacute; dans un accident &agrave; 21 ans apr&egrave;s quelques disques fulgurants, le cr&eacute;ateur de Three Steps to Heaven, Twenty Flight Rock, C&rsquo;mon Every body, Jeannie, Jeannie, Jeannie, Somethin&rsquo; Else et Summertime Blues reste l&rsquo;une des grandes l&eacute;gendes du rock. <br />Brillant, sobre guitariste et chanteur au charme irr&eacute;sistible, son style original est un concentr&eacute; du meilleur son am&eacute;ricain de la fin des ann&eacute;es 1950. <br />Eddie Cochran a consid&eacute;rablement influenc&eacute; la musique populaire des ann&eacute;es 60 &mdash; et bien au-del&agrave;. Bruno Blum raconte, dans ce coffret triple CD, la carri&egrave;re &eacute;clair de ce surdou&eacute;. <br /><strong>Patrick FRÉMEAUX </strong><br /><em>Dead at 21 in an accident after a few records which came like flashes, the creator of Three Steps to Heaven, Twenty Flight Rock, C&rsquo;mon Every body, Jeannie, Jeannie, Jeannie, Somethin&rsquo; Else and Summertime Blues remains of one rock&rsquo;s greatest legends. A brilliant and sober guitarist, he was also an entertainer who had irresistible charm. <br />Eddie Cochran&rsquo;s original style epitomized the best sounds of late Fifties&rsquo; America; he substantially influenced the pop music of the Sixties and beyond. <br />In this definitive 3CD set Bruno Blum details the brief career of this incredibly gifted figure. </em><br /><strong>Patrick FRÉMEAUX</strong> <br /><p><strong>Droits : DP / Fr&eacute;meaux &amp; Associ&eacute;s.</strong></p></p><br><br>"
      "description_short" => null
      "link_rewrite" => "eddie-cochran-the-indispensable-1955-1960"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Eddie Cochran - The Indispensable 1955-1960"
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 402
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1340-19276"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1340&rewrite=eddie-cochran-the-indispensable-1955-1960&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:3 [ …3]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>FA5425 Eddie COCHRAN</h3><p align=justify><span class=Soustitre2>THE INDISPENSABLE<br />EDDIE COCHRAN</span><br /><span class=Soustitre>1955-1960</span><br /><span class=Texte>D&eacute;c&eacute;d&eacute; dans un accident &agrave; 21 ans apr&egrave;s quelques disques fulgurants, le cr&eacute;ateur de Three Steps to Heaven, Twenty Flight Rock, C&rsquo;mon Every-body, Jeannie, Jeannie, Jeannie, Somethin&rsquo; Else et Summertime Blues reste l&rsquo;une des grandes l&eacute;gendes du rock. Brillant, sobre guitariste et chanteur au charme irr&eacute;sistible, son style original est un concentr&eacute; du meilleur son am&eacute;ricain de la fin des ann&eacute;es 1950. Eddie Cochran a consid&eacute;rablement influenc&eacute; la musique populaire des ann&eacute;es 60 &mdash; et bien au-del&agrave;. Bruno Blum raconte, dans ce coffret triple CD, la carri&egrave;re &eacute;clair de ce surdou&eacute;.&nbsp;&nbsp;&nbsp; <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Texte>Dead at 21 in an accident after a few records which came like flashes, the creator of Three Steps to Heaven, Twenty Flight Rock, C&rsquo;mon Every-body, Jeannie, Jeannie, Jeannie, Somethin&rsquo; Else and Summertime Blues remains of one rock&rsquo;s greatest legends. A brilliant and sober guitarist, he was also an entertainer who had irresistible charm. Eddie Cochran&rsquo;s original style epitomized the best sounds of late Fifties&rsquo; America ; he substantially influenced the pop music of the Sixties and beyond. In this definitive 3CD set Bruno Blum details the brief career of this incredibly gifted figure.&nbsp;&nbsp; <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Soustitre2>Eddie Cochran<br />The Indispensable 1955-1960</span><br /><span class=Soustitre>Par Bruno Blum</span><br /><span class=Texte>Eddie Cochran ? Il est&hellip; [il montre sa guitare Gretsch, la m&ecirc;me que Cochran, et sa coiffure] Il est tout ! Il est mon meilleur pote. Le type qui m&rsquo;a le plus influenc&eacute; c&rsquo;est Eddie Cochran. Au d&eacute;but c&rsquo;&eacute;tait cette pochette de disque o&ugrave; il est debout comme &ccedil;a [il prend la guitare comme une mitrailleuse] et ses pantalons amples. Je me suis dit oh, ce type a l&rsquo;air vraiment cool et je veux lui ressembler &agrave; fond. Et puis je me suis pay&eacute; l&rsquo;album, je l&rsquo;ai apport&eacute; chez moi et il m&rsquo;a souffl&eacute;. Somethin&rsquo; Else c&rsquo;&eacute;tait comme un hymne, &laquo;&thinsp;Elle est vraiment tellement jolie, mec, elle n&rsquo;a rien &agrave; voir&thinsp;&raquo;. C&rsquo;&eacute;tait &ccedil;a. C&rsquo;&eacute;tait le meilleur.</span><br /><span class=Texte>&mdash; Brian Setzer, 19831.</span><br /><span class=Texte>Ray Edward Cochrane (3 octobre 1938-17 avril 1960) dit Eddie Cochran est n&eacute; dans le Minnesota &agrave; Albert Lea, une petite ville agricole prosp&egrave;re situ&eacute;e tout au nord de l&rsquo;Am&eacute;rique rurale profonde. &Agrave; une journ&eacute;e de route au nord ouest de Chicago, les chaleurs y &eacute;taient &eacute;touffantes en &eacute;t&eacute; et les temp&eacute;ratures quasi polaires en hiver. C&rsquo;est pendant la grande crise &eacute;conomique des ann&eacute;es 1930 que les parents d&rsquo;Eddie avait &eacute;t&eacute; contraints de d&eacute;m&eacute;nager si loin au nord de leur ville natale d&rsquo;Oklahoma City, o&ugrave; Frank travaillait en usine. Cette dramatique p&eacute;riode de r&eacute;cession avait &eacute;t&eacute; aggrav&eacute;e par des s&eacute;cheresses, temp&ecirc;tes et invasions d&rsquo;insectes &agrave; r&eacute;p&eacute;tition qui ont meurtri tout le sud du pays et pouss&eacute; les paysans ruin&eacute;s &agrave; affluer vers le nord et la Californie. Heureusement, Frank &eacute;tait parvenu &agrave; d&eacute;crocher un job d&rsquo;agent d&rsquo;entretien (m&eacute;nages) &agrave; Albert Lea, o&ugrave; avec son &eacute;pouse Alice il &eacute;leva Gloria, Bill, Bob, Patty et le petit dernier Eddie, plus jeune de six ans. Le grand fr&egrave;re Bill poss&eacute;dait une guitare Kay, puis une Martin, mais Eddie n&rsquo;y touchait pas souvent. Il voulut d&rsquo;abord jouer de la batterie, puis du trombone. Son autre fr&egrave;re, Bob, s&rsquo;int&eacute;ressera s&eacute;rieusement &agrave; la musique et composera plus tard avec Eddie <strong>Hammy Blues</strong> et les classiques<strong> Three Steps to Heaven</strong> et <strong>Somethin&rsquo; Else</strong>.</span><br /><span class=Texte>Frank Cochrane deviendra m&eacute;canicien en 1946. D&eacute;racin&eacute;e, la famille &eacute;tait tr&egrave;s attach&eacute;e &agrave; l&rsquo;Oklahoma o&ugrave; elle avait grandi. Comme d&rsquo;autres musiciens du Minnesota Bob Dylan et Prince (dont les quatre grand-parents &eacute;taient originaires de Louisiane), Eddie Cochran plongeait ses influences musicales dans le sud des États-Unis. En 1951 Eddie avait treize ans quand la famille Cochrane d&eacute;m&eacute;nagea &agrave; Los Angeles, o&ugrave; s&rsquo;&eacute;tait d&eacute;j&agrave; install&eacute; Bill l&rsquo;a&icirc;n&eacute;. Mais Eddie continuera toujours &agrave; revendiquer l&rsquo;identit&eacute; de sa famille Okie alors qu&rsquo;il n&rsquo;avait jamais mis les pieds dans l&rsquo;Oklahoma. Il la chantera m&ecirc;me en juin 1959 sur Boll Weevil, une chanson traditionnelle faisant allusion aux charan&ccedil;ons (l&rsquo;anthonome du cotonnier) qui ont d&eacute;vast&eacute; les plantations de coton du sud avant-guerre :</span><br /><span class=Texte>Si on vous demande/Qui vous a chant&eacute; cette chanson/Dites que c&rsquo;est un guitariste d&rsquo;Oklahoma City/Qui portait des blue jeans/Et cherchait son chez lui</span><br /><span class=Texte>&mdash; Eddie Cochran, <strong>Boll Weevil, </strong>Juin 1959</span><br /><span class=Texte>Le terme &laquo;&thinsp;boll weevil&thinsp;&raquo; &eacute;tait aussi employ&eacute; pour d&eacute;signer certains &eacute;lus du parti D&eacute;mocrate (la gauche am&eacute;ricaine) du sud qui soutenaient des id&eacute;es tr&egrave;s &agrave; droite et la s&eacute;gr&eacute;gation raciale en particulier. Pour ceux qui n&rsquo;appr&eacute;ciaient pas leurs opinions racistes, ces boll weevils n&rsquo;&eacute;taient qu&rsquo;une engeance, une maladie tr&egrave;s r&eacute;pandue, des tra&icirc;tres &agrave; la cause mod&eacute;r&eacute;e. Leurs positions de droite m&egrave;neront plus d&rsquo;un boll weevil &agrave; rejoindre l&rsquo;opposition, les R&eacute;publicains men&eacute;s par le pr&eacute;sident Eisenhower, un militaire conservateur au pouvoir (de 1953 &agrave; 1961, avec Richard Nixon comme vice-pr&eacute;sident) pendant toute la carri&egrave;re d&rsquo;Eddie Cochran. Bien d&eacute;cid&eacute; &agrave; r&eacute;ussir, Eddie chantera sur <strong>Cotton Picker</strong> qu&rsquo;on ne fera pas de lui un &laquo;&thinsp;ramasseur de coton&thinsp;&raquo;, une plante tr&egrave;s cultiv&eacute;e dans l&rsquo;Oklahoma.</span><br /><span class=Soustitre>Strollin&rsquo; Guitar</span><br /><span class=Texte>En 1951 Frank trouva un job dans une usine de missiles de Los Angeles. &Agrave; treize ans son fils Eddie &eacute;tait d&eacute;j&agrave; passionn&eacute; par sa guitare s&egrave;che, qu&rsquo;il ne l&acirc;chait pas d&rsquo;un millim&egrave;tre. Brutalement coup&eacute; de tous ses amis lors du d&eacute;m&eacute;nagement dans le modeste quartier de Bell Gardens (5539 Priory Street), son instrument devint son meilleur ami. C&rsquo;est au lyc&eacute;e Bell Gardens Junior High School &agrave; l&rsquo;est de Los Angeles qu&rsquo;&agrave; l&rsquo;&acirc;ge de quinze ans Eddie rencontra Conrad Smith, dit Connie, le contrebassiste de l&rsquo;orchestre de l&rsquo;&eacute;cole. Connie jouait aussi de la steel guitar et de la mandoline et partagea sa passion musicale avec son nouvel ami. Fin 1953, ils form&egrave;rent un trio avec un copain d&rsquo;&eacute;cole &agrave; la guitare solo et Connie &agrave; la basse. Eddie &eacute;tait &agrave; la rythmique. Ils r&eacute;p&eacute;taient dans l&rsquo;arri&egrave;re-boutique du Bell Garden Music Centre, un magasin de musique dont le propri&eacute;taire Bert Keither avait remarqu&eacute; les talents d&rsquo;Eddie et encourageait les adolescents. Il leur trouva leurs premiers engagements (soir&eacute;es &agrave; l&rsquo;&eacute;cole, ouverture de supermarch&eacute;, etc.), de pr&eacute;cieuses exp&eacute;riences. L&rsquo;ann&eacute;e suivante Eddie Cochran se consacra beaucoup &agrave; la musique dans son quartier, un bastion du rhythm and blues et de la country o&ugrave; vivaient nombre de musiciens qu&rsquo;il fr&eacute;quentait avec application. Il absorba diverses influences et r&ecirc;vait d&eacute;j&agrave; d&rsquo;une carri&egrave;re de professionnel. Marqu&eacute; tr&egrave;s t&ocirc;t par la difficile technique &laquo;&thinsp;fingerpicking&thinsp;&raquo; de Chet Atkins qu&rsquo;il essayait de ma&icirc;triser (comme Scotty Moore, le guitariste d&rsquo;Elvis &mdash; et litt&eacute;ralement tous les guitaristes de country music), le jeune Eddie travaillait beaucoup son instrument. On peut l&rsquo;&eacute;couter ici faire une d&eacute;monstration de picking sur <strong>Country Jam,</strong> un instrumental dans le style bluegrass tr&egrave;s particulier. Ses mains fines et de petite taille &eacute;taient souples, capables de couvrir une grande surface du manche. Il apprenait les difficiles parties country de Joe Maphis2, les techniques de thumbpick (onglet du pouce), flat pick (m&eacute;diator) et finger picking (plusieurs doigts, avec ou sans m&eacute;diator) et assimila le jazz (Johnny Smith, Jimmy Wyble). Tous les t&eacute;moignages confirment qu&rsquo;Eddie &eacute;tait tr&egrave;s curieux, ouvert, intelligent et qu&rsquo;il apprenait tr&egrave;s vite. Son adaptation de &laquo;&thinsp;The Third Man Theme&thinsp;&raquo; du viennois Anton Karas devint<strong> Fourth Man Theme</strong> et montre la diversit&eacute; de ses go&ucirc;ts. On trouve ici d&rsquo;autres exemples de son &eacute;clectisme, avec des influences allant du bluegrass &agrave; la country et du blues au rock. Les rocks instrumentaux &agrave; la guitare &eacute;taient &agrave; la mode depuis &laquo;&thinsp;The Hucklebuck&thinsp;&raquo; de Earl Hooker (1953) et le &laquo;&thinsp;Honky Tonk&thinsp;&raquo; de Bill Doggett en 1956&thinsp;; influenc&eacute; par le succ&egrave;s de Duane Eddy et son nouveau style de guitare &laquo;&thinsp;twang&thinsp;&raquo; Gretsch (&laquo;&thinsp;Rebel Rouser&thinsp;&raquo;, 1958) Cochran exp&eacute;rimentera dans cette veine instrumentale (fin du disque 3), notamment avec <strong>Strollin&rsquo; Guitar,</strong> caract&eacute;ristique de ce genre &agrave; part objet d&rsquo;une anthologie dans cette collection3.</span><br /><span class=Soustitre><br />The Cochran Brothers</span><br /><span class=Texte>C&rsquo;est en octobre 1954 qu&rsquo;Eddie fut pr&eacute;sent&eacute; &agrave; un certain Hank Cochran, un orphelin de son quartier au parcours ingrat, un prol&eacute;taire r&eacute;cemment pass&eacute; musicien semi-professionnel. Hank proposa vite &agrave; Eddie de l&rsquo;accompagner en tant que soliste et choriste. Les duos de fr&egrave;res &eacute;taient &agrave; la mode dans la musique country (McGee Brothers, Stanley Brothers, Monroe Brothers, Collins Kids, Louvin Brothers, Blue Sky Boys et bient&ocirc;t les Everly Brothers&hellip;). </span><br /><span class=Texte>Les deux copains portaient presque le m&ecirc;me patronyme et d&eacute;cid&egrave;rent de se produire sous le nom des Cochran Brothers. &Agrave; seize ans et quatre mois en janvier 1955, Eddie interrompit donc d&eacute;finitivement sa scolarit&eacute; pour accompagner Hank Cochran, un chanteur et guitariste rythmique d&eacute;cid&eacute;. Apr&egrave;s quelques r&eacute;p&eacute;titions ils tourn&egrave;rent en Californie mais le jeune &acirc;ge d&rsquo;Eddie leur interdisait de jouer dans les lieux vendant de l&rsquo;alcool, ce qui limita le nombre de leurs prestations.</span><br /><span class=Texte>En 1955 Eddie fit l&rsquo;acquisition du nouveau mod&egrave;le de guitare Gretsch &eacute;lectrique, la demi-caisse 6120 vendue au prix de 385 dollars au Bell Garden Music Centre. Sa 6120 &eacute;tait &eacute;quip&eacute;e d&rsquo;un syst&egrave;me de bras tr&eacute;molo Bigsby qui lui permettait des effets nouveaux (&eacute;couter <strong>Eddie&rsquo;s Blues</strong> au style d&rsquo;une grande originalit&eacute;) jusque-l&agrave; surtout utilis&eacute;s par Chet Atkins, lui aussi adepte du son Gretsch. Eddie la modifia, notamment en rempla&ccedil;ant le micro grave par un P-90 Gibson. </span><br /><span class=Texte>C&rsquo;est aussi au Bell Gardens Music Centre o&ugrave; tra&icirc;naient les musiciens du quartier que Bert Keither pr&eacute;senta Jerry Capehart &agrave; Eddie. Fils d&rsquo;un fermier ruin&eacute; dans les ann&eacute;es 1930 et &eacute;migr&eacute; en Ford T en Californie, Capehart appr&eacute;ciait la country music et jouait du violon dans un groupe semi-professionnel. Il avait &eacute;t&eacute; appel&eacute; pendant la guerre de Cor&eacute;e, et trop pauvre pour r&eacute;aliser son ambition de juriste, depuis 1953 il travaillait la nuit dans une usine d&rsquo;avions. Auteur compositeur &agrave; la pi&egrave;tre voix, il cherchait des musiciens capables de chanter et enregistrer ses morceaux. Les Cochran Brothers accept&egrave;rent d&rsquo;en interpr&eacute;ter quelques-unes pour l&rsquo;enregistrement d&rsquo;un disque de d&eacute;monstration.</span><br /><span class=Texte>En avril 55 les deux faux fr&egrave;res furent engag&eacute;s par Steve Stebbins (American Music Corporation), le principal agent de country music en Californie (Merle Travis, Tennessee Ernie Ford) qui allait bouleverser leur carri&egrave;re. Stebbins organisa aussit&ocirc;t leur promotion. Ils furent invit&eacute;s &agrave; jouer dans l&rsquo;importante &eacute;mission de t&eacute;l&eacute;vision Home Town Jamboree de son associ&eacute; Cliffe Stone, &agrave; la radio (populaire &eacute;mission Town Hall Party) et pr&eacute;sent&eacute;s &agrave; Red Matthews de la petite marque de disques ind&eacute;pendante Ekko. Leurs premiers enregistrements tr&egrave;s marqu&eacute;s par le style plaintif d&rsquo;Hank Williams Mr. Fiddle et <strong>Two Blue Singin&rsquo; Stars</strong> (un hommage &agrave; Jimmie Rodgers et Hank Williams), o&ugrave; l&rsquo;on peut entendre la voix d&rsquo;Eddie et sa guitare tr&egrave;s country, ouvrent cet album. Leur premier 45 tours est sorti pendant l&rsquo;&eacute;t&eacute;, occasionnant un concert au Big D Jamboree de Dallas diffus&eacute; sur la populaire radio locale KLRD. </span><br /><span class=Texte>Ils y avaient &eacute;t&eacute; pr&eacute;c&eacute;d&eacute;s quelques jours plus t&ocirc;t par Elvis Presley, dont le nouveau style m&eacute;langeant country et rhythm and blues avait fait tr&egrave;s forte impression sur le public country jusque-l&agrave; plut&ocirc;t p&eacute;p&egrave;re. Elvis &eacute;tait d&eacute;j&agrave; un ph&eacute;nom&egrave;ne avec son cort&egrave;ge d&rsquo;&eacute;vanouissements, de hurlements, de s&eacute;curit&eacute; d&eacute;bord&eacute;e et de musique fra&icirc;che et excitante qui contrastait avec la country conventionnelle. Les deux Cochran prirent alors conscience de la popularit&eacute; du rockabilly, un nouveau style de rock qui ajoutait une guitare aux racines country sur le rhythm and blues afro-am&eacute;ricain. Le rock &eacute;tait jusqu&rsquo;alors peu connu du grand public blanc. Pauvres, sans grand succ&egrave;s, les Cochran voyageaient dans des conditions difficiles et durent rentrer en stop d&rsquo;un voyage &agrave; Memphis o&ugrave; ils voulaient voir les bureaux d&rsquo;Exxo. De retour &agrave; L.A. ils accompagn&egrave;rent aussi Jerry Capehart pour un 45 tours assez quelconque, enregistr&eacute; avec des musiciens noirs (production de John Dolphin pour Cash Records). En janvier 1956 ils partirent en tourn&eacute;e sur toute la c&ocirc;te ouest, jusque dans l&rsquo;&eacute;tat de Washington. Invit&eacute;s r&eacute;guli&egrave;rement &agrave; la t&eacute;l&eacute;vision KORV en Californie, ils accompagn&egrave;rent aussi Jack Wayne, un DJ de la radio KVSM qui copiait Johnny Cash, et d&rsquo;autres artistes country. Leurs disques &eacute;taient publi&eacute;s sans aucun succ&egrave;s. Les invitations &agrave; la t&eacute;l&eacute;vision ont augment&eacute; leur notori&eacute;t&eacute; et Jerry Capehart, de plus en plus actif, chanta avec eux sur sc&egrave;ne en mars. Il organisa aussi d&rsquo;autres s&eacute;ances d&rsquo;accompagnement pour des artistes de hillbilly qu&rsquo;il pr&eacute;senta &agrave; Dolphin, et devint de fait le manager des Cochran Brothers. Capehart avait un bon contact avec leur agent American Music, une soci&eacute;t&eacute; importante qui avait cr&eacute;&eacute; les disques Crest afin d&rsquo;exploiter ses nombreux talents qu&rsquo;elle mettait sur la route &mdash; et dont elle &eacute;ditait les chansons en &eacute;change d&rsquo;une avantageuse partie des droits d&rsquo;auteur. Mais enracin&eacute; dans la country de papa, avec son gros catalogue de classiques hillbilly (Merle Travis, Roy Rogers, Delmore Brothers, etc.) American Music &eacute;tait de plus en plus d&eacute;pass&eacute; par les innovations du rock, qui prenait son envol dans le grand public.</span><br /><span class=Soustitre><br />Rockabilly</span><br /><span class=Texte>En 1956 apr&egrave;s dix-huit mois de succ&egrave;s avec la petite marque Sun, les disques RCA ont rachet&eacute; et massivement lanc&eacute; Elvis Presley. Le succ&egrave;s foudroyant de son premier 45 tours pour RCA &laquo;&thinsp;Heartbreak Hotel&thinsp;&raquo; bouleversa l&rsquo;industrie du disque en janvier 19564. Depuis plusieurs mois, cet artiste blanc interpr&eacute;tait avec grand succ&egrave;s des chansons de rock, un style jusque-l&agrave; r&eacute;serv&eacute; aux afro-am&eacute;ricains. Nombre d&rsquo;entre elles &eacute;taient compos&eacute;es par des artistes noirs/m&eacute;tis. Son producteur initial Sam Phillips lui avait adjoint Scotty Moore, un guitariste de hillbilly, le style embl&eacute;matique des Blancs du sud. M&eacute;lange de rhythm and blues et de hillbilly, ce nouveau style de rock &lsquo;n&rsquo; roll s&rsquo;appelait le rockabilly. Comme Eddie, Scotty Moore &eacute;tait tr&egrave;s influenc&eacute; par Chet Atkins5 et donnait une couleur &laquo;&thinsp;blanche&thinsp;&raquo; &agrave; des reprises comme le <strong>Milk Cow Blues</strong> de Kokomo Arnold (la version d&rsquo;Eddie Cochran incluse ici &eacute;tait inspir&eacute;e par celle d&rsquo;Elvis). Le succ&egrave;s hors de toute proportion d&rsquo;Elvis Presley a fait conna&icirc;tre le rock au grand public blanc. Excitant, lib&eacute;rateur, incitant &agrave; la danse libre, le rock &eacute;tait pl&eacute;biscit&eacute; par le public noir depuis longtemps sous le nom de jump blues, rock &lsquo;n&rsquo; roll, rhythm and blues, des termes racialement connot&eacute;s. Et dans une Am&eacute;rique o&ugrave; la s&eacute;gr&eacute;gation raciale &eacute;tait institu&eacute;e depuis des si&egrave;cles, d&egrave;s 1955 des artistes afro-am&eacute;ricains comme Ray Charles6, Bo Diddley7, Little Richard8 et Chuck Berry9 commen&ccedil;aient &agrave; percer aupr&egrave;s du grand public blanc en d&eacute;pit de leur couleur. Le rock &lsquo;n&rsquo; roll d&eacute;rangeait l&rsquo;Am&eacute;rique conservatrice mais avec ses petits groupes faciles &agrave; transporter, il rapportait gros. Les compositions afro-am&eacute;ricaines qui avaient fait leurs preuves &eacute;taient souvent inconnues du public blanc, et de nouvelles versions par des artistes blancs &eacute;taient garanties de vendre. Naturellement les concurrents de RCA cherchaient activement des artistes de rock blancs capables de rivaliser avec le ph&eacute;nom&egrave;ne Elvis Presley, qui &eacute;tait confirm&eacute; par le succ&egrave;s du pionnier Bill Haley10 and his Comets et leur hymne &laquo;&thinsp;Rock Around the Clock&thinsp;&raquo;. C&rsquo;est pile &agrave; ce moment-l&agrave; que Jerry Capehart a plac&eacute; une de ses chansons &agrave; Jack Lewis, dont les enregistrements &eacute;taient financ&eacute;s par les deux d&eacute;couvreurs de talent des disques Crest, Ray Stanley et Dale Fitzsimmons. La version de Jack Lewis n&rsquo;aura aucun succ&egrave;s mais la composition de Capehart provenait de la bande de d&eacute;monstration convaincante enregistr&eacute;e par les Cochran Brothers. Les deux acolytes de chez Crest n&rsquo;ont pas mis longtemps &agrave; comprendre qu&rsquo;Eddie Cochran valait de l&rsquo;or. Ils ont organis&eacute; une s&eacute;ance d&rsquo;enregistrement des Cochran Brothers o&ugrave; Eddie pourrait tenter sa chance seul au micro.</span><br /><span class=Texte>C&rsquo;est sous le nom du duo qu&rsquo;Eddie enregistra &agrave; dix-sept ans son premier titre fulgurant, un rockabilly d&rsquo;anthologie o&ugrave; il chante seul &agrave; la guitare, accompagn&eacute; par son ami contrebassiste et une lointaine percussion. Bas&eacute; sur le m&ecirc;me th&egrave;me vestimentaire que <strong>Blue Suede Shoes</strong>, un rockabilly de Carl Perkins qu&rsquo;Eddie gravera lui-m&ecirc;me un mois plus tard, <strong>Pink-Peg Slacks</strong> raconte son d&eacute;sir irr&eacute;pressible d&rsquo;un ample pantalon rose &agrave; pinces &laquo;&thinsp;zoot&thinsp;&raquo;, r&eacute;tr&eacute;cissant vers le bas jusqu&rsquo;&agrave; serrer la cheville. Dans la chanson il obtient la somme de sa copine, qui a demand&eacute; l&rsquo;argent &agrave; son p&egrave;re. Selon tous les t&eacute;moignages, Eddie &eacute;tait un grand s&eacute;ducteur. Son interpr&eacute;tation poss&eacute;d&eacute;e indiqua aussit&ocirc;t qu&rsquo;il &eacute;tait aussi un chanteur au charisme hors-pair. </span><br /><span class=Texte>L&rsquo;&eacute;chec du single Tired and <strong>Sleepy/Fool&rsquo;s Paradise</strong> acheva le duo Cochran Brothers. De dix ans son a&icirc;n&eacute;, le dominateur Jerry Capehart et Eddie ont d&eacute;finitivement adopt&eacute; le style rock &agrave; la mode et ont laiss&eacute; tomber la country music. Mari&eacute; et pas bien taill&eacute; pour le rock, apr&egrave;s quelques essais Hank Cochran n&rsquo;a pas eu envie de suivre la direction de Capehart. Lors de la s&eacute;ance suivante Eddie accompagna Hank Cochran &agrave; la guitare, une fin amiable pour le duo. Le seul enregistrement rock de Hank sortira sous le pseudonyme de Bo Davis11. </span><br /><span class=Soustitre>1956 Twenty Flight Rock</span><br /><span class=Texte>Aux &acirc;mes bien n&eacute;es, la valeur n&rsquo;attend point le nombre des ann&eacute;es.</span><br /><span class=Texte>&mdash; Pierre Corneille</span><br /><span class=Texte>Dans le sillage d&rsquo;Elvis surgirent des chanteurs majeurs comme Gene Vincent avec &laquo;&thinsp;Be-Bop-A-Lula&thinsp;&raquo;, mais comme l&rsquo;extravagant Little Richard, Gene Vincent n&rsquo;&eacute;tait pas un soliste&thinsp;; Elvis Presley avait un grand charisme, une voix d&rsquo;or et dansait magnifiquement mais ne composait pas (il a tout de m&ecirc;me sign&eacute; quelques morceaux qui n&rsquo;&eacute;taient pas de lui) et n&rsquo;&eacute;tait pas un bon guitariste&thinsp;; tous ces derniers avaient recours &agrave; des instrumentistes. Jerry Lee Lewis ne composait quasiment jamais ses chansons. Certes Carl Perkins composait et jouait de la guitare en soliste &mdash; mais le cr&eacute;ateur de <strong>Blue Suede Shoes</strong> (dont la version d&rsquo;Eddie figure ici) n&rsquo;avait pas l&rsquo;envergure de ses coreligionnaires. Le trio de Johnny Burnette trop vite s&eacute;par&eacute; &mdash; aucun parmi tous ces g&eacute;ants du rock ne poss&eacute;dait la totalit&eacute; des atouts du jeune homme. D&eacute;j&agrave; arrivait le rock &eacute;dulcor&eacute; et commercial de Pat Boone, Ricky Nelson, Frankie Avalon, Fabian ou Paul Anka&thinsp;; et si sous la pression de son producteur Eddie a enregistr&eacute; plusieurs morceaux doux avec un groupe vocal rappelant fortement la formule d&rsquo;Elvis Presley avec les Jordanaires (&eacute;couter le disque 2), le jeune homme a tenu une ligne rock sans compromis d&egrave;s qu&rsquo;on l&rsquo;a laiss&eacute; faire.</span><br /><span class=Texte>&Agrave; dix-sept ans, le pr&eacute;coce Eddie Cochran &eacute;tait donc un artiste solo de tout premier choix. Il avait un manager et parolier ambitieux (Jerry Capehart), un agent de premier plan pour les tourn&eacute;es, une maison de disques et l&rsquo;&eacute;quipe de compositeurs d&rsquo;American Music &mdash; dont Stanley et Fitzsimmons &mdash; pr&ecirc;ts &agrave; tout pour qu&rsquo;il enregistre leurs compositions dans le nouveau style rockabilly. Quoi qu&rsquo;on en dise, il avait d&eacute;j&agrave; tout pour lui, plus d&rsquo;atouts que tous ses concurrents. Beau, intelligent, ambitieux, &eacute;l&eacute;gant, charmant, s&eacute;duisant, chanteur irr&eacute;sistible et d&eacute;j&agrave; guitariste professionnel, il &eacute;tait en outre capable d&rsquo;&eacute;crire des classiques comme <strong>Twenty Flight Rock.</strong> L&rsquo;auteur compositeur interpr&egrave;te raconte dans cette chanson que comme l&rsquo;ascenseur est en panne, il doit monter &agrave; pied. Épuis&eacute;, il ne peut pas &laquo;&thinsp;rock&thinsp;&raquo; sa ch&eacute;rie une fois arriv&eacute; au vingti&egrave;me &eacute;tage &mdash; mais ne peut pas s&rsquo;emp&ecirc;cher de revenir encore et encore. Il &eacute;tait en quelque sorte le &laquo;&thinsp;Chuck Berry blanc&thinsp;&raquo;&thinsp;; mais en comparaison, lors de l&rsquo;enregistrement de ses premiers classiques en 1955-56 Chuck Berry avait l&rsquo;exp&eacute;rience d&rsquo;un adulte de trente ans &mdash; alors qu&rsquo;Eddie en avait seulement dix-sept. Si Buddy Holly, lui aussi disparu tr&egrave;s jeune (sa m&eacute;moire est chant&eacute;e ici par Eddie sur <strong>Three Stars</strong>), a grav&eacute; nombre de morceaux remarquables pendant cette p&eacute;riode, il n&rsquo;a pas eu suffisamment de temps pour s&rsquo;&eacute;panouir pleinement tandis qu&rsquo;en trois ans Eddie Cochran allait graver une s&eacute;rie de morceaux essentiels. Comme les immenses chanteurs-guitaristes Bo Diddley12 et Chuck Berry, il alliait l&rsquo;originalit&eacute; d&rsquo;un grand interpr&egrave;te &agrave; des compositions de premier choix. Cet &eacute;loge pourrait continuer longtemps : il devrait aussi louer la spontan&eacute;it&eacute;, la simplicit&eacute; esth&eacute;tique de tant d&rsquo;enregistrements majeurs o&ugrave; ne figurent m&ecirc;me pas une batterie, Capehart tapant des doigts sur un vieux carton.</span><br /><span class=Texte>En mai 1956 les Cochran Brothers avaient atteint le sommet de leur modeste carri&egrave;re en premi&egrave;re partie de Lefty Frizzell, une c&eacute;l&eacute;brit&eacute; country. Ils ont ensuite travaill&eacute; les week-ends de l&rsquo;&eacute;t&eacute; dans une bo&icirc;te d&rsquo;Escondido en Californie. R&eacute;put&eacute; comme guitariste dans la r&eacute;gion, Eddie a aussi enregistr&eacute; avec diff&eacute;rents artistes country comme Wynn Stewart (&laquo;&thinsp;Keeper of the Keys&thinsp;&raquo;) et rockabilly (Skeets McDonald &laquo;&thinsp;You Oughta See Grandma Rock&thinsp;&raquo;) pour Capitol. Homme de sc&egrave;ne et de studio d&eacute;j&agrave; exp&eacute;riment&eacute;, solide guitariste, capable d&rsquo;interpr&eacute;ter des chansons romantiques comme de futurs hymnes punk, Eddie Cochran allait &agrave; l&rsquo;essentiel, se d&eacute;marquait de la country et avait choisi le rock. L&rsquo;&eacute;chec de son rockabilly <strong>Skinny Jim,</strong> sorti peu apr&egrave;s en cet &eacute;t&eacute; 56, ne le d&eacute;couragea pas. Associ&eacute; &agrave; ses cr&eacute;ateurs afro-am&eacute;ricains le style rock restait sulfureux. Alors que Hank Cochran et d&rsquo;autres chanteurs de country enregistraient du rockabilly sous un pseudonyme de peur d&rsquo;&ecirc;tre mal per&ccedil;us par le public country conservateur, Eddie enregistra les succ&egrave;s rock afro-am&eacute;ricains du moment pour affirmer son appartenance au mouvement qui s&eacute;duisait la jeunesse, dont<strong> Long Tall Sally</strong> de Little Richard et <strong>I Almost Lost my Mind</strong> d&rsquo;Ivory Joe Hunter. Il grava aussi sa version de l&rsquo;un des premiers vrais succ&egrave;s du rockabilly, le <strong>Blue Suede Shoes</strong> tout frais de Carl Perkins.</span><br /><span class=Texte>Capehart apporta ces nouveaux enregistrements chez Liberty, la petite marque de disques du violoniste hongrois Simon &laquo;&thinsp;Si&thinsp;&raquo; Waronker qui venait de r&eacute;ussir un joli coup avec le &laquo;&thinsp;Cry Me a River&thinsp;&raquo; de Julie London accompagn&eacute;e par Barney Kessel. Tr&egrave;s conservateur, Waronker avait des liens avec Lionel Newman, directeur musical des studios de cin&eacute;ma Twentieth Century Fox, &agrave; qui il avait fourni des bandes de musique pour plusieurs films. Avec les Chipmunks et Henry Mancini, le choix des artistes de Liberty &eacute;tait tout aussi conservateur et comme &agrave; beaucoup, il manquait un chanteur de rock &agrave; leur &eacute;curie. Le ph&eacute;nom&egrave;ne Elvis Presley bouleversait toutes les conventions du m&eacute;tier. Capitol venait de sortir le premier disque de Gene Vincent, l&rsquo;&eacute;norme succ&egrave;s &laquo;&thinsp;Be-Bop-a-Lula&thinsp;&raquo; et il n&rsquo;y avait pas de temps &agrave; perdre. Waronker le savait et fut vite conquis par la maturit&eacute;, la s&eacute;duction et le talent de Cochran. Au m&ecirc;me moment (juillet 1956), alors qu&rsquo;Eddie travaillait sur l&rsquo;enregistrement de la bande son d&rsquo;un film &agrave; petit budget, son producteur Boris Petroff lui proposa de figurer dans son prochain film en tant que chanteur. Il demanda des chansons, ce qui donna <strong>Twenty Flight Rock,</strong> enregistr&eacute; aussit&ocirc;t avec Capehart tapotant sur une bo&icirc;te, avec Connie Smith &agrave; la contrebasse dans un style &laquo;&thinsp;slap&thinsp;&raquo; rappelant celui de Bill Black avec Elvis Presley. Eddie y pastiche les mani&eacute;rismes d&rsquo;Elvis avec assurance : un classique du rockabilly &eacute;tait n&eacute;. Il lui ouvrira la porte des studios de cin&eacute;ma, et bient&ocirc;t du succ&egrave;s. C&rsquo;est aussi l&rsquo;un des tout premiers morceaux que le jeune Paul McCartney apprit. Quand le 6 juillet 1957 John Lennon entendra McCartney chanter<strong> Twenty Flight Rock</strong> &agrave; la perfection &agrave; la f&ecirc;te de l&rsquo;&eacute;cole, il l&rsquo;engagera dans son groupe &mdash; les Beatles &eacute;taient n&eacute;s13.</span><br /><span class=Soustitre><br />1957 : Singin&rsquo; to my Baby</span><br /><span class=Texte>Apr&egrave;s d&rsquo;autres perles rockabilly comme <strong>Teenage Cutie,</strong> Eddie avait dix-huit ans quand Waronker lui proposa d&rsquo;enregistrer d&rsquo;urgence <strong>Sittin&rsquo; in the Bal-cony,</strong> dont la version de John D. Loudermilk (sortie sous le pseudo de Johnny Dee) avait d&eacute;j&agrave; du succ&egrave;s. Ballade sucr&eacute;e, commerciale et charmante, ce premier single chez Liberty se vendra &agrave; plus d&rsquo;un million d&rsquo;exem-plaires. Cochran ne l&rsquo;aimait pas, mais ne s&rsquo;est jamais plaint de son succ&egrave;s. Il montera au num&eacute;ro 18 en avril 1957, quatre mois apr&egrave;s la sortie du film La Blonde et Moi (The Girl Can&rsquo;t Help It, Frank Tashkin, 1956) o&ugrave; Eddie interpr&egrave;te <strong>Twenty Flight Rock,</strong> une de ses rares prestations film&eacute;es. Ce grand classique du cin&eacute;ma rock a emprunt&eacute; son titre &agrave; la chanson de Little Richard14 que l&rsquo;on peut voir sur sc&egrave;ne dans le film. Également au g&eacute;n&eacute;rique : Gene Vincent, les Platters15, les Treniers, Abbey Lincoln, Julie London, Fats Domino&hellip; et la vedette Jayne Mansfield.</span><br /><span class=Texte>D&eacute;but 1957 Eddie Cochran joua un r&ocirc;le dans un autre film, &laquo;&thinsp;Untamed Youth&thinsp;&raquo;, consacr&eacute; &agrave; la marginalit&eacute; des jeunes rockers. Il partit ensuite en tourn&eacute;e &agrave; travers les États-Unis, intervenant dans les plus grandes &eacute;missions de radio, de t&eacute;l&eacute;vision (Dick Clark Bandstand) et sur sc&egrave;ne. C&rsquo;est en avril 1957 au Mastbaum Theater de Philadephie qu&rsquo;il rencontra le chanteur Gene Vincent, avec qui il devint ami. </span><br /><span class=Texte>Le succ&egrave;s de <strong>Sittin&rsquo; in the Balcony</strong> incita logi-quement Si Waronker &agrave; produire d&rsquo;autres ballades commerciales dont on peut avoir un aper&ccedil;u ici sur notre disque n&deg;2. Le deuxi&egrave;me single <strong>One Kiss</strong> (mai 1957) fut un exercice auquel Eddie se plia sans enthousiasme &mdash; et ce fut un &eacute;chec total. &Agrave; la premi&egrave;re occasion, les ins&eacute;parables Jerry et Eddie enregistraient au petit studio Goldstar. C&rsquo;est l&agrave; qu&rsquo;ils grav&egrave;rent leur premier album, &laquo;&thinsp;Singin&rsquo; to my Baby&thinsp;&raquo;. Waronker imposa les ch&oelig;urs du groupe de Johnny Mann, et l&rsquo;album entier refl&egrave;te la tension entre le rockabilly nerveux, lib&eacute;rateur et ultra sobre dont Eddie &eacute;tait capable sur <strong>Am I Blue</strong> (qui ne figura pas sur l&rsquo;album am&eacute;ricain) ou <strong>Twenty Flight Roc</strong>k et le son vari&eacute;t&eacute; (<strong>I&rsquo;m</strong> <strong>Alone Because I Love You</strong>) majoritaire vers lequel tirait le producteur Simon Jackson recrut&eacute; par Liberty. L&rsquo;album n&rsquo;&eacute;tait donc pas repr&eacute;sentatif du style v&eacute;ritable de Cochran, &acirc;g&eacute; de dix-huit ans et emp&ecirc;tr&eacute; dans la direction artistique d&rsquo;un succ&egrave;s qu&rsquo;il ne ma&icirc;trisait pas. Sorti &agrave; la rentr&eacute;e 1957 au moment o&ugrave; le rock &eacute;tait au sommet de la mode, o&ugrave; les classements des meilleurs ventes &eacute;taient pilonn&eacute;s par des succ&egrave;s monstres comme &laquo;&thinsp;Let&rsquo;s Go to the Hop&thinsp;&raquo; de Danny &amp; the Juniors ou &laquo;&thinsp;Keep-a-Knocking&thinsp;&raquo; de Little Richard, le charmant single <strong>Drive-In Show </strong>n&rsquo;a pas eu grand succ&egrave;s mais se vendit suffisamment pour qu&rsquo;Eddie ne soit pas oubli&eacute; par les disc jockeys. </span><br /><span class=Texte>Eddie Cochran s&rsquo;habillait en tenue &laquo;&thinsp;sport&thinsp;&raquo; dans le style adopt&eacute; par les sportifs des grandes &eacute;coles am&eacute;ricaines&#8239;: mocassins &laquo;&thinsp;loafers&thinsp;&raquo;, pantalons larges, veste de tweed ample, cravate : des outils de s&eacute;duction efficaces dans le style &laquo;&thinsp;teen idol&thinsp;&raquo;, diff&eacute;rents des attributs plus &laquo;&thinsp;mauvais gar&ccedil;on&thinsp;&raquo; de Gene Vincent. Une belle tourn&eacute;e australienne en compagnie de Little Richard et Gene Vincent a eu lieu en octobre. Accompagn&eacute; par les Deejays, groupe de la vedette rock locale Johnny O&rsquo;Keefe, Eddie participa &agrave; ces concerts m&eacute;morables o&ugrave; Little Richard d&eacute;clencha des &eacute;meutes avec son jeu de sc&egrave;ne provocant. Les adolescents d&eacute;molissaient tout, arrachant les habits des artistes et faisant les titres des journaux. En t&ecirc;te d&rsquo;affiche, Gene Vincent avait fort &agrave; faire pour rivaliser avec le cr&eacute;ateur de <strong>Long Tall Sally,</strong> mais bien r&ocirc;d&eacute; par une ann&eacute;e de sc&egrave;ne, il d&eacute;clenchait lui aussi des sc&egrave;nes d&rsquo;hyst&eacute;rie &mdash; comme Elvis le faisait quotidiennement aux États-Unis. Rompu &agrave; la sc&egrave;ne mais moins d&eacute;monstratif, Eddie Cochran eut tout de m&ecirc;me sa part de succ&egrave;s, notamment aupr&egrave;s des adolescentes. C&rsquo;est aussi en plein milieu de cette tourn&eacute;e l&eacute;gendaire que Little Richard d&eacute;clara qu&rsquo;il abandonnait le rock pour se consacrer &agrave; la th&eacute;ologie, quittant brusquement la tourn&eacute;e sans la terminer, ce qui fit &agrave; nouveau les titres des journaux. &Agrave; peine rentr&eacute; Eddie partit en tourn&eacute;e avec Chuck Berry, Fats Domino, Paul Anka, Buddy Holly&hellip; et c&rsquo;est dans les loges du Paramount &agrave; New York que Phil Everly lui pr&eacute;senta Sharon Sheeley, sa future &eacute;lue. </span><br /><span class=Texte>De retour &agrave; Los Angeles Eddie &eacute;tait redevenu un musicien de studio, dirigeant des s&eacute;ances pour son ami Bob Bull (dit Bob Denton) pour Dot (trois singles), enregistrant nombre de maquettes pour Ray Stanley, aujourd&rsquo;hui disparues pour la plupart. Une dizaine de ces morceaux de Ray Stanley avec Eddie &agrave; la guitare sont sortis chez diff&eacute;rentes marques dont Crest et Argo. Outre ses nombreux atouts, le jeune Eddie &eacute;tait devenu un professionnel du studio, capable de sugg&eacute;rer des arrangements et de diriger des s&eacute;ances. Il y accompagna Lee Denson pour un obscur single paru chez Vik et Paula Morgan, Don Deal&hellip; </span><br /><span class=Soustitre>1958 : Summertime Blues</span><br /><span class=Texte>Les mauvaises ventes incit&egrave;rent Liberty &agrave; le laisser pour la premi&egrave;re fois diriger ses propres s&eacute;ances d&rsquo;enregistrement &agrave; partir de janvier 1958. Il n&rsquo;&eacute;tait pas courant qu&rsquo;un producteur se conduise de la sorte &agrave; cette &eacute;poque, a fortiori un conservateur comme Waronker &mdash; sans parler du jeune &acirc;ge de son prot&eacute;g&eacute;. D&eacute;barrass&eacute; de ce poids, Eddie put enfin donner toute sa mesure. Sans surprise, Cochran et Capehart choisirent d&rsquo;enregistrer du rock : l&rsquo;excellent <strong>Jeannie, Jeannie, Jeannie </strong>est pass&eacute; pr&egrave;s du succ&egrave;s, tout comme <strong>Pretty Girl </strong>enregistr&eacute; quelques semaines plus tard. Les 25 et 26 mars 1958 au studio Capitol, Eddie chanta aussi des harmonies basses sur quatre titres de Gene Vincent16, dont il &eacute;tait devenu proche.</span><br /><span class=Texte>Mais le rock &eacute;tait d&eacute;j&agrave; tr&egrave;s &agrave; part du reste du show business. Cette musique avait mauvaise r&eacute;putation. Infest&eacute; de chanteurs opportunistes utilisant des pseudonymes, de producteurs souvent malhonn&ecirc;tes, de disc jockeys corrompus et d&rsquo;arrivistes, le milieu du rock &eacute;tait m&eacute;pris&eacute; par la plupart des professionnels en place, qui pr&eacute;f&eacute;raient des musiques bien plus conservatrices. Les salles de concerts pr&eacute;f&eacute;raient des artistes beaucoup plus calmes et n&rsquo;accueillaient pas volontiers ce type de musique, consid&eacute;r&eacute;e vulgaire et r&eacute;serv&eacute;e aux adolescents mal &eacute;lev&eacute;s. &Agrave; cela s&rsquo;ajoutait un racisme g&eacute;n&eacute;ralis&eacute; : certains acceptaient mal que des Blancs soient influenc&eacute;s par un style caract&eacute;ristique des artistes noirs dont ils enregistraient les compositions &mdash; et encore moins que des chanteurs afro-am&eacute;ricains comme Bo Diddley ou Frankie Lymon percent dans le grand public avec ce genre jug&eacute; &laquo;&thinsp;inf&eacute;rieur&thinsp;&raquo;. Mais le rock rapportait gros, ce qui faisait passer la pilule et ouvrait des portes. Cependant personne ne pensait que le ph&eacute;nom&egrave;ne durerait : il fallait profiter de la mode le plus vite possible. Bombard&eacute; de critiques injustes, Elvis Presley lui-m&ecirc;me diversifiait d&eacute;j&agrave; beaucoup son r&eacute;pertoire &mdash; par go&ucirc;t personnel mais aussi par r&eacute;alisme17. En 1958 la tendance &eacute;tait au rock &eacute;dulcor&eacute;, &agrave; la vari&eacute;t&eacute; insipide, teint&eacute;e d&rsquo;imageries et d&rsquo;accents vaguement rock de teen idols comme Ricky Nelson, dont le succ&egrave;s &eacute;tait &eacute;norme. Secr&egrave;tement amoureuse d&rsquo;Eddie, la jeune Sharon Sheeley avait sign&eacute; l&rsquo;un des gros succ&egrave;s de Ricky Nelson (&laquo;&thinsp;Poor Little Fool&thinsp;&raquo;) et parvint &agrave; vendre sa balade romantique &laquo;&thinsp;Love Again&thinsp;&raquo; &agrave; Capehart, qui demanda &agrave; Eddie d&rsquo;enregistrer cette chansonnette monotone. Ce qu&rsquo;il fit aussit&ocirc;t, profitant de l&rsquo;occasion pour s&eacute;duire la jeune Sharon. Ne manquait plus qu&rsquo;une face B au nouveau single : bas&eacute; sur le riff d&rsquo;intro (jou&eacute;e sur une guitare Martin), le grand classique <strong>Summertime Blue</strong>s a &eacute;t&eacute; &eacute;crit en une heure pour figurer en face B de cette chanson tr&egrave;s ordinaire. Sorti le 11 juin 1958, un mois apr&egrave;s un nouvel &eacute;chec (<strong>Teresa</strong>), le single &eacute;crit et produit par Cochran et Capehart est mont&eacute; au num&eacute;ro 8 en deux mois. Bien entendu, la face B &eacute;tait pr&eacute;f&eacute;r&eacute;e par les DJ et elle est rapidement pass&eacute;e en face A. Tube de l&rsquo;&eacute;t&eacute; bien nomm&eacute;, <strong>Summertime Blues</strong> a d&eacute;fini le nouveau style rock cr&eacute;&eacute; par Eddie Cochran. Il a ensuite d&eacute;finitivement laiss&eacute; derri&egrave;re lui le rockabilly et a pu affirmer sa personnalit&eacute; pour de bon avec ce nouveau son. </span><br /><span class=Texte>En septembre 1958, les disques Liberty ont cr&eacute;&eacute; la sous-marque Freedom consacr&eacute;e au rock et donn&eacute; carte blanche &agrave; Jerry Capehart, impr&eacute;sario d&rsquo;Eddie Cochran, John Ashley et de l&rsquo;excellent Johnny Burnette and his Rock &lsquo;n&rsquo; Roll Trio18. Apr&egrave;s 26 singles pour la plupart m&eacute;diocres (Capehart devait fournir un quota de productions) auxquels Eddie a particip&eacute; en tant qu&rsquo;arrangeur et guitariste anonyme, Freedom sera dissous en 1959. En d&eacute;cembre, Eddie s&rsquo;est envol&eacute; pour un spectacle important &agrave; New York et revint en Californie participer au film &agrave; petit budget Go, Johnny Go (Paul Landres, 1959), tourn&eacute; en cinq jours aux studios d&rsquo;Hal Roach &agrave; Culver City. &Agrave; l&rsquo;affiche avec lui : les Cadillacs, les Moonglows, Jackie Wilson, Ritchie Valens et Chuck Berry. Alan Freed y jouait le r&ocirc;le principal du d&eacute;couvreur de talents et Eddie y chante<strong> Teenage Heaven</strong>.</span><br /><span class=Soustitre><br />1959 Somethin&rsquo; Else</span><br /><span class=Texte>S&ucirc;r de lui avec trois succ&egrave;s dans la poche (<strong>Sittin&rsquo; in the Balcony, C&rsquo;mon Everybody</strong> et <strong>Summertime Blues</strong>), Eddie Cochran avait beaucoup de recul sur sa carri&egrave;re et ne confondait pas ses vrais amis avec les gens du m&eacute;tier qu&rsquo;il &eacute;tait amen&eacute; &agrave; fr&eacute;quenter. Il leur pr&eacute;f&eacute;rait le tir, la p&ecirc;che &agrave; la ligne, passait du temps en famille, avec ses vieux amis et avait la t&ecirc;te sur les &eacute;paules. Son ami et bassiste Connie Smith s&rsquo;&eacute;tait mari&eacute; et avait raccroch&eacute;. Avec le succ&egrave;s de <strong>Summertime Blues,</strong> il lui fallait monter un groupe de sc&egrave;ne. Eddie partit en tourn&eacute;e avec de nouveaux venus : Mike Henderson (sax), Jim Stivers (piano), Dave Shrieber (basse) et Gene Ridgio (batterie), The Kelly Four au personnel interchangeable. Eddie ne croyait pas beaucoup au show business et arrivait volontiers en retard (il a m&ecirc;me loup&eacute; une invitation &agrave; l&rsquo;Ed Sullivan Show, le spectacle le plus regard&eacute; de la t&eacute;l&eacute;vision am&eacute;ricaine !). Sur la route il pr&eacute;f&eacute;rait faire du tir dans les bois. Avec une nouvelle tourn&eacute;e dans le Mid West et nombre de s&eacute;ances en studio, il ne quittait plus sa nouvelle &eacute;quipe. C&rsquo;est avec eux qu&rsquo;il enregistra<strong> Somethin&rsquo; Else</strong>, une chanson &eacute;crite par sa copine Sharon et son fr&egrave;re Bob &mdash; nouveau chef-d&rsquo;&oelig;uvre adolescent, mont&eacute; au num&eacute;ro 58 &agrave; l&rsquo;&eacute;t&eacute; et bient&ocirc;t repris par Johnny Hallyday (&laquo;&thinsp;Elle est terrible&thinsp;&raquo;), Sid Vicious, les Stray Cats&hellip; mais Eddie en avait assez de tout ce cirque. Le succ&egrave;s, les tourn&eacute;es loin de Sharon et de ses amis l&rsquo;ennuyaient. Il pr&eacute;f&eacute;rait le studio. Son tourneur American Music avait lanc&eacute; la marque Silver et finan&ccedil;ait des enregistrements du Kelly Four, Jewel Akens et Eddie Daniels (Jewel &amp; Eddie), John Ashley, Darry Weaver auquel Eddie a particip&eacute;. Capehart, son fid&egrave;le manager lui-m&ecirc;me se d&eacute;sint&eacute;ressait de son prot&eacute;g&eacute;. La derni&egrave;re s&eacute;ance d&rsquo;enregistrement fin 59 se d&eacute;roula avec les Crickets (ex groupe de Buddy Holly) mais sans Capehart. Elle donna le magistral <strong>Cut Across Shorty </strong>et le tube posthume ironiquement intitul&eacute; <strong>Three Steps to Heave</strong>n. Capehart ne l&rsquo;accompagna pas non plus en Angleterre, o&ugrave; Gene Vincent avait triomphalement pr&eacute;c&eacute;d&eacute; Eddie en d&eacute;cembre 1959 pour une tourn&eacute;e de douze dates sous la houlette de Larry Parnes (impr&eacute;sario vedette du rock anglais). Gene avait &eacute;t&eacute; invit&eacute; dans la populaire &eacute;mission de t&eacute;l&eacute;vision de Jack Good, Oh Boy!. Jack Good voulut capitaliser sur ce succ&egrave;s et invita Eddie et Gene &agrave; tourner ensemble. </span><br /><span class=Soustitre><br />1960 Three Steps to Heaven</span><br /><span class=Texte>Arriv&eacute; le 10 janvier &agrave; Londres, Eddie partit aussit&ocirc;t sur la route. Comme tous les musiciens il disposait d&rsquo;une chambre pour deux et partagea sa chambre d&rsquo;h&ocirc;tel avec son vieux copain Gene Vincent, qui avait commenc&eacute; &agrave; s&rsquo;habiller en cuir noir des pieds &agrave; la t&ecirc;te, une grosse m&eacute;daille autour du cou. Good le lui avait demand&eacute; pour son &eacute;mission de t&eacute;l&eacute;, et Gene garda ce costume sur toute la tourn&eacute;e. Ils &eacute;taient accompagn&eacute;s par les Wild Cats du rocker anglais Marty Wilde. Gene et Eddie &eacute;taient ins&eacute;parables&thinsp;; Gene Vincent, bo&icirc;teux &agrave; la suite d&rsquo;un accident de moto et affect&eacute; par les d&eacute;boires de sa carri&egrave;re en chute libre, s&rsquo;appuyait sur son ami Eddie, plus solide. Mais le succ&egrave;s &eacute;tait au rendez-vous : alors que les ersatz anglais n&rsquo;&eacute;taient pas &agrave; la hauteur, ce sont les deux amis qui les premiers ont v&eacute;ritablement fait d&eacute;couvrir aux Britanniques ce qu&rsquo;&eacute;tait le rock and roll. Pendant des mois, jusqu&rsquo;en avril, les pionniers Eddie Cochran et Gene Vincent ont parcouru les routes de Grande-Bretagne, partageant ensemble toutes sortes de probl&egrave;mes et d&rsquo;instants de gloire. Mais Eddie buvait beaucoup, et l&rsquo;Am&eacute;rique lui manquait. Il d&eacute;pensait de tr&egrave;s fortes sommes en coups de t&eacute;l&eacute;phone intercontinentaux &agrave; sa famille. Sharon arriva de Californie pour f&ecirc;ter ses vingt ans avec lui le 4 avril. Apr&egrave;s quatre mois de tourn&eacute;es et un ultime concert &agrave; Bristol, Sharon, Eddie, Gene et le r&eacute;gisseur Patrick Thompkins prirent enfin un taxi pour l&rsquo;a&eacute;roport de Londres, situ&eacute; &agrave; plus de cent cinquante kilom&egrave;tres de l&agrave;. Trop heureux de rentrer, ils avaient r&eacute;serv&eacute; un avion partant &agrave; une heure du matin, quelques heures apr&egrave;s la fin du concert. Roulant &agrave; toute allure sur les petites routes de campagne, le chauffeur de dix-neuf ans George Martin a soudain &eacute;t&eacute; inform&eacute; par le r&eacute;gisseur qu&rsquo;il s&rsquo;&eacute;tait tromp&eacute; de route. Un coup de frein plus tard, le taxi quittait la route. Le r&eacute;gisseur et le chauffeur sortirent indemnes. Gene et Sharon furent s&eacute;rieusement bless&eacute;s. Eddie Cochran, &eacute;ject&eacute; dans les tonneaux, d&eacute;c&egrave;dera de ses blessures &agrave; la t&ecirc;te &agrave; quatre heures ce matin du lundi de P&acirc;ques 1960 &agrave; l&rsquo;h&ocirc;pital St. Martin de Chippenham. Il avait vingt et un ans.</span><br /><span class=Texte><strong>Bruno Blum, </strong>lundi de P&acirc;ques 2013</span><br /><span class=Texte>Merci &agrave; Brian Setzer, Lee Rocker </span><span class=Texte>et Slim Jim Phantom.</span><br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2014</span><br /><span class=Texte>1. Extrait du documentaire Cool Cats: 25 Years of Rock &lsquo;n&rsquo; Roll Style, 1983.</span><br /><span class=Texte>2. Retrouvez Joe Maphis et Chet Atkins sur le triple album Electric Guitar Story 1935-1962 (FA5421) et Chet Atkins sur Guitare Country (FA5007) dans cette collection.</span><br /><span class=Texte>3. Retrouvez Eddie Cochran dans &laquo;&thinsp;Guybo&thinsp;&raquo; sur Rock Instrumental Story (FA5426), un triple album dans cette collection.</span><br /><span class=Texte>4. Écouter Elvis Presley face &agrave; l&rsquo;histoire de la musique am&eacute;ricaine - vol. 1 1954-1956 (FA5361) dans cette collection.</span><br /><span class=Texte>5. Écouter Scotty Moore et Chet Atkins dans le coffret Electric Guitar Story 1935-1962 (FA5421) dans cette collection.</span><br /><span class=Texte>6. Écouter Ray Charles - Brother Ray: The Genius 1949-1960 (FA5350) dans cette collection.</span><br /><span class=Texte>7. Écouter The Indispensable Bo Diddley 1955-1960 (FA5376) et 1960-1962 (FA5406) dans cette collection.</span><br /><span class=Texte>8. Écouter The Indispensable Little Richard 1951-1962 &agrave; para&icirc;tre dans cette collection.</span><br /><span class=Texte>9. Écouter The Indispensable Chuck Berry 1954-1961 (FA5409) dans cette collection.</span><br /><span class=Texte>10. Écouter The Indispensable Bill Haley 1946-1962 &agrave; para&icirc;tre dans cette collection.</span><br /><span class=Texte>11. &laquo;&thinsp;Let&rsquo;s Coast Awhile&thinsp;&raquo; de Bo Davis (alias Hank Cochran) avec Eddie Cochran &agrave; la guitare figure dans l&rsquo;anthologie Road Songs - </span><span class=Texte>Car Tune Classics 1942-1962 (FA5401) dans cette collection.</span><br /><span class=Texte>12. Écouter les deux volumes de The Indispensable Bo Diddley 1955-1960 (FA5376) et 1960-1962 (FA5406) dans cette collection.</span><br /><span class=Texte>13. Lire la biographie John Lennon par Bruno Blum (Hors Collection, Paris 2005).</span><br /><span class=Texte>14. Écouter The Indispensable Little Richard &agrave; para&icirc;tre dans cette collection.</span><br /><span class=Texte>15. Écouter The Indispensable Platters &agrave; para&icirc;tre dans cette collection.</span><br /><span class=Texte>16. Écouter Eddie Cochran chanter les ch&oelig;urs dans &laquo;&thinsp;Git It&raquo;, &laquo;Teenage Partner&thinsp;&raquo;, &laquo;&thinsp;Peace of Mind&thinsp;&raquo; et &laquo;&thinsp;Lovely Loretta&thinsp;&raquo; sur The Indispensable Gene Vincent (FA5402) dans cette collection. </span><br /><span class=Texte>17. Écouter Elvis Presley face &agrave; l&rsquo;histoire de la musique am&eacute;ricaine - vol. 2 1956-1957 (FA5383) dans cette collection.</span><br /><span class=Texte>18. Retrouvez Johnny Burnette, Eddie Cochran, Gene Vincent, Elvis Presley et bien d&rsquo;autres sur notre anthologie Rockabilly (FA5423) dans cette collection.</span><br /><span class=Soustitre2><br />Eddie Cochran<br />The Indispensable 1955-1960</span><br /><span class=Soustitre>By Bruno Blum</span><br /><span class=Texte>&ldquo;Eddie Cochran? He&rsquo;s a&hellip; [he shows his guitar, the same as Cochran&rsquo;s, and his hair style] He&rsquo;s it! He&rsquo;s my main man. The guy that really influenced me the most was Eddie Cochran. First it was just that album cover, standin&rsquo; like that with those big baggy pants. And then I said, ooh, this guy looks really cool, I want to look just like him. And then I bought the album and took it home, it just blew me away. I mean &lsquo;Somethin&rsquo; Else&rsquo;, that was just like a theme song, &lsquo;she sure fine lookin&rsquo; man, she&rsquo;s somethin&rsquo; else&rsquo;. That was it. It was the best.&rdquo;</span><br /><span class=Texte>&mdash; Brian Setzer, 1983.1</span><br /><span class=Texte>He was born Ray Edward &ldquo;Eddie&rdquo; Cochrane (with an &ldquo;e&rdquo;) on October 3, 1938 (d. April 17, 1960) in Albert Lea, Minnesota, a prosperous small farming community in the north of rural America whose population stifled in the summer and froze in winter. Eddie&rsquo;s parents were from Oklahoma City, where his father Frank worked in a factory. The economic crisis of the Thirties obliged them to move north where, fortunately, Frank had found work in a household. The dramatic recession was worsened by repeated droughts, storms and plagues of insects, causing ruined families to swarm either north or west to California. Frank Cochrane was lucky to find work as a cleaner, and he and his wife Alice raised Gloria, Bill, Bob, Patty and Eddie, by six years the youngest addition to the family. His elder brother Bill had a Kay guitar and then a model made by Martin, but Eddie didn&rsquo;t touch it often; he wanted to play drums at first, and then trombone. His other brother Bob took a serious interest in music and would later compose <strong>Hammy Blues</strong> with Eddie, together with the classics <strong>Three Steps to Heaven </strong>and<strong> Somethin&rsquo; Else</strong>.</span><br /><span class=Texte>Frank became a mechanic in 1946. His uprooted family was still very fond of Oklahoma and, like fellow major Minnesota musicians Bob Dylan and Prince (whose four grandparents came from Louisiana), Eddie had musical roots deep in the South. He was thirteen in 1951 when the Cochrane family moved to Los Angeles where Bill had already settled, but Eddie always took pride in their identity as Okies even though he&rsquo;d never set foot in Oklahoma. He&rsquo;d even sing about it in June 1959 in<strong> Boll Weevil,</strong> a traditional song named after the beetle which devastated southern cotton-plantations before the war: &ldquo;Well if anybody should ask you / Who it was that sang this song / Say a guitar picker from Oklahoma City / With a pair of blue jeans on / Just looking for a home.&rdquo;</span><br /><span class=Texte>The term boll weevil was also used to designate southern Democrats who had right-wing views (particularly concerning segregation). To those with little taste for such racist opinions, that kind of boll weevil was nothing more than pestilential, a widespread disease: they were traitors to the moderates&rsquo; cause. Such extremist views led more than one boll weevil to join the Republican Party led by President Eisenhower, the conservative General who remained in power throughout Eddie&rsquo;s career (from 1953 to 1961, with Richard Nixon as his Vice President); Eddie was determined to succeed, and sang that he&rsquo;d never be a Cotton Picker.</span><br /><span class=Soustitre>Strollin&rsquo; Guitar</span><br /><span class=Texte>In 1951 Frank Cochrane found work at a missile plant in Los Angeles. By the time Eddie was thirteen he already had a passion for the acoustic guitar, and was seemingly never without it. Separated from his friends by the family&rsquo;s sudden move to 5539 Priory Street in the modest neighbourhood of Bell Gardens, Eddie considered his guitar his new best friend. At 15 he went to Bell Gardens Junior High School in East Los Angeles and met Conrad &ldquo;Connie&rdquo; Smith, who played the double bass in the school orchestra. Connie also played steel guitar and mandolin, and his new buddy shared his passion. At the end of 1953 they formed a trio &mdash; Connie on bass, a school-friend on lead guitar, plus Eddie on rhythm &mdash; and rehearsed in a back-room at Bell Garden Music Centre, a music-store whose owner Bert Keither encouraged teenagers and saw Eddie&rsquo;s gifts. He found their first gigs for them (school dances, supermarket-openings, etc., all of them precious experiences) and Eddie spent the next year playing in his neighbourhood, where rhythm &amp; blues and country music was a stronghold; he spent a lot of time with local musicians, absorbing influences and already dreaming of turning professional. He tried to master Chet Atkins&rsquo; difficult finger-picking technique (as did Elvis&rsquo; guitarist Scotty Moore, and literally every other country guitarist), and here you can listen to a picking demonstration on<strong> Country Jam,</strong> an instrumental in the very special bluegrass style. Eddie&rsquo;s hands were small and delicate and could cover a large part of the fret board; he learned difficult country parts by Joe Maphis2 and techniques including the use of a thumbpick, as well as flat picks and several fingers (with or without a pick), assimilating the jazz played by Johnny Smith, Jimmy Wyble. People who knew him confirm he was curious, open, smart, and a quick learner. His adaptation of &ldquo;The Third Man Theme&rdquo; by Austrian composer Anton Karas became the <strong>Fourth Man Theme </strong>which shows how varied his tastes were. Other examples of Eddie&rsquo;s eclecticism appear here, with influences ranging from bluegrass and country to blues and rock. Rock guitar-instrumentals had been in fashion since Earl Hooker&rsquo;s &ldquo;The Hucklebuck&rdquo; (1953) and Bill Doggett&rsquo;s &ldquo;Honky Tonk&rdquo; in 1956; influenced by Duane Eddy&rsquo;s hit &ldquo;Rebel Rouser&rdquo; in 1958 and his new &ldquo;twang&rdquo; style played on a Gretsch guitar, Cochran investigates this instrumental vein at the end of CD3, notably on<strong> Strollin&rsquo; Guitar</strong>, which is characteristic of this quite separate genre.3</span><br /><span class=Soustitre>The Cochran Brothers</span><br /><span class=Texte>In October 1954 Eddie was introduced to Hank Cochran, an orphan and local boy who&rsquo;d been through hard times and had turned semi-professional; Hank quickly asked Eddie to play with him, taking solos and singing back-up. Duos featuring brothers weren&rsquo;t unusual in country music (the McGee or Stanley Brothers, the Monroes, and soon the Everly Brothers&hellip;); Hank and Eddie almost had the same surname and decided they&rsquo;d be the Cochran Brothers. In January 1955, aged exactly sixteen years and four months, Eddie quit school for good and went on the road. Hank was a determined singer/rhythm guitarist and after a few rehearsals they toured California, finding gigs even though Eddie wasn&rsquo;t old enough to play in places where alcohol was sold. That same year, Eddie acquired a Gretsch 6120, the firm&rsquo;s new hollow-body electric guitar. It cost him $385 at the Bell Garden Music Centre, and was equipped with a Bigsby tremolo arm which enabled him to play some new effects (cf. <strong>Eddie&rsquo;s Blues</strong> and its highly original style); until then, the sound had been the preserve of Chet Atkins, another Gretsch adept. Eddie modified his guitar, swapping its bass pick-up for a Gibson P-90. </span><br /><span class=Texte>The Bell Gardens Music Centre was one of the local musicians&rsquo; favourite haunts and it was there that Bert Keither introduced Eddie to Jerry Capehart. Jerry was a farmer&rsquo;s son (a man ruined in the Thirties who&rsquo;d immigrated to California in a Ford Model T), and he loved country music; he played violin in a semi-professional group, and had been mobilised during the Korean War. Too poor to realize his ambition to be an attorney, Jerry had been working a night-shift at an aircraft-plant since 1953; he wrote songs, but his voice wasn&rsquo;t good enough and he&rsquo;d been looking for musicians who could sing and record his compositions. The Cochran Brothers agreed to play a few of them and record a demo.</span><br /><span class=Texte>In April &lsquo;55 the two &ldquo;brothers&rdquo; were hired by Steve Stebbins of the American Music Corporation, California&rsquo;s principal country music agency (working also for Merle Travis, Tennessee Ernie Ford etc), and Stebbins totally changed their career. He got to work on their promotion and they were invited to appear on Home Town Jamboree, the TV show hosted by his associate Cliffie Stone, and on the popular radio show Town Hall Party. They were also introduced to Red Matthews at the independent record-</span><span class=Texte>label Ekko. Marked by Hank Williams&rsquo; plaintive style, their first recordings open this album: <strong>Mr. Fiddle</strong> and <strong>Two Blue Singing Stars</strong> (a tribute to Jimmie Rodgers and Hank Williams) feature Eddie&rsquo;s voice and some very country-sounding guitar. Their first single was released that summer, leading to a concert at the Big D Jamboree in Dallas aired by KLRD, the popular local station. </span><br /><span class=Texte>They had been preceded only a few days earlier by Elvis Presley, whose new style mixing country and rhythm &amp; blues had left a deep impression on audiences used to a more &ldquo;grandfatherly&rdquo; kind of music: Elvis was more than a singer, a Phenomenon, with all the accompanying screams and faints and security people &mdash; they couldn&rsquo;t cope &mdash; which one associates with it, plus music that was fresh and exciting and in total contrast with conventional country music. The Cochran Brothers suddenly realized how popular rockabilly was: a new rock style which added country-rooted guitar to African-American rhythm and blues. Until then, white audiences didn&rsquo;t know much about rock. Hank and Eddie were poor, and life was difficult on the road: they once had to hitch a ride home after a trip to Memphis to see Exxo&rsquo;s offices. Back in LA they accompanied Jerry Capehart on an (average) 45rpm single recorded with black musicians (produced by John Dolphin for Cash Records), and then in January 1956 they toured the West Coast, moving up as far as the state of Washington. In California they were regular guests on KORV TV, and also accompanied Jack Wayne, a DJ at KVSM radio who copied Johnny Cash, other country artists... Their records were failures but their TV appearances saw their popularity grow, and Jerry Capehart, who was more and more active, sang on stage with them in March. He also set up other sessions for them to accompany hillbilly artists he introduced to Dolphin, and he became the de facto manager of the Cochran Brothers. Capehart had good contacts with their agency American Music, a major firm which had created Crest Records as an outlet for the numerous talents they sent out on the road; and American Music didn&rsquo;t neglect to publish their songs in exchange for a substantial share of their royalties. Even so, bound to the cause of &ldquo;grandpa&rsquo;s&rdquo; country music by a catalogue filled with hillbilly classics (Merle Travis, Roy Rogers, Delmore Brothers, etc.), American Music found itself increasingly trailing behind the innovations in rock, which was now taking off and finding a mass audience.</span><br /><span class=Soustitre><br />Rockabilly</span><br /><span class=Texte>In 1956, after eighteen months of Elvis hits for the little Sun label, RCA Records bought Presley and gave him a massive boost. The instantaneous success of his first 45rpm single for RCA, &ldquo;Heartbreak Hotel&rdquo;, sent shock waves through the record-industry in January 1956.4 For several months, this white artist had been successfully singing rock songs, a style hitherto reserved for Afro-Americans. And a number of those songs had been composed by black and mixed-race writers. Elvis&rsquo; original producer Sam Phillips had paired him with Scotty Moore, a guitarist who played in the hillbilly style that was an emblem of southern Whites, and the resulting mixture of rhythm and blues and hillbilly was a new rock &lsquo;n&rsquo; roll style they called rockabilly. Like Eddie, Scotty Moore was very influenced by Chet Atkins5 and this gave a &ldquo;white&rdquo; colour to reprises like <strong>Milk Cow Blues</strong> written by Kokomo Arnold (the Eddie Cochran version here was inspired by Elvis&rsquo; cover). Elvis Presley&rsquo;s success was out of all proportion, and it brought rock to a white audience en masse. Exciting, liberating and urging people to dance freely, rock had long found favour with black audiences in forms known as jump blues, rock &lsquo;n&rsquo; roll, rhythm and blues&hellip; all of them terms with racial connotations. And in an America where racial segregation had been institutionalized for centuries, by 1955 Afro-American artists like Ray Charles6, Bo Diddley7, Little Richard8 and Chuck Berry9 were beginning to break through, despite their colour, to reach white audiences. Rock &lsquo;n&rsquo; roll disturbed conservative America but it was played by little groups who were easy to transport, and it hit the jackpot. Tried and trusted Afro-American tunes were often unknown to white audiences, and new versions by white artists were guaranteed to sell. RCA&rsquo;s competitors, naturally, actively sought out white artists capable of rivalling the Presley phenomenon, as confirmed by the success of the pioneering Bill Haley10 and his Comets with their &ldquo;anthem&rdquo; entitled &ldquo;Rock Around the Clock&rdquo;. It came at exactly the same time when Jerry Capehart was placing one of his songs with Jack Lewis, whose records were financed by two scouts for Crest Records, Ray Stanley and Dale Fitzsimmons. The version by Jack Lewis had no success at all, but Capehart&rsquo;s composition had been taken from the convincing demo recorded by the Cochran Brothers&hellip; and the two scouts from Crest were quick to see that Eddie was worth his weight in gold. They set up a recording-session for the Cochran Brothers so that Eddie could try his luck with a microphone all to himself.</span><br /><span class=Texte>Aged seventeen, Eddie made his first record under the &ldquo;Cochran Brothers&rdquo; name, and it was a flashing rockabilly masterpiece; he sang it alone, accompanying himself on the guitar, with backing from his friend Connie on double bass and a distant percussion. Based on the same vestimentary theme as<strong> Blue Suede Shoe</strong>s (the rockabilly tune by Carl Perkins which Eddie also recorded a month later), the subject of his first recording <strong>Pink-Peg Slacks</strong> is his irrepressible desire for a pair of loose (pink) trousers tapering to a tight fit around the ankles. In the song, his girlfriend asks her father to lend her the money so that he can buy himself this bottom half of a &ldquo;zoot&rdquo; suit&hellip; By all accounts, Eddie was a great seducer. His &ldquo;inhabited&rdquo; performance also shows that he was a singer of unmatched charisma. </span><br /><span class=Texte>The failure of the single <strong>Tired and Sleepy/Fool&rsquo;s Paradise </strong>brought the career of the Cochran Brothers duo to an end. The dominant Jerry Capehart was ten years his elder, and he and Eddie definitively adopted the fashionable rock style, completely abandoning country music. Hank Cochran was married and not made for rock; he didn&rsquo;t want to follow Capehart&rsquo;s new direction. At the following session, Eddie accompanied Hank Cochran on guitar, an amiable end for the duo. Hank Cochran&rsquo;s only rock record would be released under the pseudonym Bo Davis.11 </span><br /><span class=Soustitre><br />1956 Twenty Flight Rock</span><br /><span class=Texte>&ldquo;Merit counts not the years for souls who are well born.&rdquo;</span><br /><span class=Texte>&mdash; Pierre Corneille</span><br /><span class=Texte>In the wake of Elvis, some major singers sprang up, like Gene Vincent with &ldquo;Be-Bop-A-Lula&rdquo;, but Gene, like the extravagant Little Richard, was no soloist; Elvis had great charisma, a golden voice, and he was a great dancer, but he was no composer (even though he did sign a few pieces which weren&rsquo;t written by him), nor was he a good guitarist. All three of them needed instrumentalists. Jerry Lee Lewis hardly ever wrote his own songs. Carl Perkins was a composer, and also played lead guitar, but even though he was the creator of Blue Suede Shoes (Eddie&rsquo;s version is included here), he didn&rsquo;t have the calibre of his co-religionists. As for Johnny Burnette, his trio broke up too quickly. None of those rock giants possessed the totality of Eddie Cochran&rsquo;s gifts. The sweetened, commercial rock of Pat Boone, Ricky Nelson, Frankie Avalon, Fabian or Paul Anka was just around the corner; yielding to pressure from his producer, the young Eddie had already recorded several &ldquo;sweeter&rdquo; pieces with a vocal group reminiscent of the formula used by Elvis Presley with the Jordanaires (cf. CD2), but Eddie steered an uncompromising rock course as soon as he was allowed to do so.</span><br /><span class=Texte>So at 17 the precocious Eddie Cochran was a first-rate solo performer. He had an ambitious manager/lyricist (Jerry Capehart), a top-flight agent planning his tours, a record company, and a team of composers from American Music &mdash; among them Stanley and Fitzsimmons &mdash; who were ready to do anything for him to record their compositions in the new rockabilly style. Whatever else was said, Eddie Cochran already had everything going for him, and more trumps up his sleeve than any of his competitors. Not only was he handsome, intelligent, ambitious, elegant, charming and seductive; he was also an irresistible singer and a proficient guitarist, and to cap it all he could write a classic like <strong>Twenty Flight Rock</strong>. In this song, Cochran the singer/songwriter tells how he has to climb the stairs because the elevator is out of order, and when he gets to the 20th floor he&rsquo;s so exhausted he can&rsquo;t &ldquo;rock&rdquo; his girlfriend&hellip; but that doesn&rsquo;t stop him coming back again and again. In a way, Cochran was &ldquo;the white Chuck Berry&rdquo;; but if you actually compare them, when Chuck recorded his first classics in 1955-56 he had the experience of a thirty-year old male adult &mdash; whereas Eddie was a mere seventeen. Buddy Holly, who also died young (Eddie sings a song in his memory here, <strong>Three Stars</strong>), cut a number of remarkable records during this period, but didn&rsquo;t live long enough to reach full bloom; Eddie, on the other hand, recorded a whole series of essential titles in only three years. Like the immense singer-guitarists Bo Diddley12 and Chuck Berry, Eddie Cochran combined the originality of a great performer with first-rate compositions. Praise could he heaped on Cochran for a long time: one would have to vaunt the merits of his spontaneity, and the aesthetic simplicity of any number of major recordings without even a set of drums behind him: just Capehart tapping on an old box with his fingers.</span><br /><span class=Texte>In May 1956 the Cochran Brothers reached the peak of their modest career opening concerts for Lefty Frizzell, a country celebrity, and went on to work summer weekends in a club in Escondido, California. Eddie had an excellent reputation in the area as a guitarist and recorded for Capitol with different country artists like Wynn Stewart (&ldquo;Keeper of the Keys&rdquo;) or the rockabilly artist Skeets McDonald (&ldquo;You Oughta See Grandma Rock&rdquo;). As a stage- and studio-performer with a lot of experience, combined with gifts as a solid guitarist and singer whose range encompassed not only romantic songs but also future punk hymns, Eddie Cochran went straight to the essential, leaving country by the wayside when he chose rock. His rockabilly record Skinny Jim, released shortly afterwards in that summer of 1956, was a flop, but that didn&rsquo;t discourage him. When associated with its Afro-American creators, the rock style still reeked of the devil. While Hank Cochran and other country singers were recording rockabilly under pseudonyms for fear of being excluded by a conservative country audience, Eddie would record the current Afro-American rock hits to proclaim his belonging to the movement which was so seductive to young people, releasing<strong> Long Tall Sally </strong>by Little Richard and <strong>I Almost Lost my Mind</strong> by Ivory Joe Hunter. He also cut his own version of one of the first real rockabilly hits, the brand-new <strong>Blue Suede Shoes</strong> by Carl Perkins.</span><br /><span class=Texte>Capehart took these new recordings to Liberty, the little record-label owned by Hungarian violinist Simon &ldquo;Si&rdquo; Waronker, who&rsquo;d just had a nice little hit with Julie London (accompanied by Barney Kessel) singing &ldquo;Cry Me a River&rdquo;. Waronker was very conservative and had ties with Lionel Newman, the musical director at 20th Century Fox film-studios (he&rsquo;d provided Fox with tapes of music for several films). With The Chipmunks and Henry Mancini on its roster, the artist-choice at Liberty was just as conservative and, as with many other companies, the stable needed a rock singer&hellip; The Presley phenomenon was upsetting every habit in the business and Capitol had just released Gene Vincent&rsquo;s first single, the huge hit &ldquo;Be-Bop-a-Lula&rdquo;. There was no time to lose. Waronker could see all that, and he was quickly won over by the maturity, seductiveness and talent displayed by Cochran. At the same time (July &lsquo;56), while Eddie was working on the soundtrack for a film with a small budget, producer Boris Petroff offered him a role as a singer in his next film. He asked him for songs, and one was<strong> Twenty Flight Rock,</strong> recorded almost overnight with Capehart slapping a box and Connie Smith playing slap-style bass like Bill Black did with Elvis Presley. In the song, Eddie produced a pastiche of all Presley&rsquo;s mannerisms with great assurance: a rockabilly classic was born. It opened the doors to film-studios and success. The song was also one of the very first ones Paul McCartney learned, and when Lennon heard Paul sing<strong> Twenty Flight Rock </strong>to perfection at the school party (the day was July 6, 1957) he had him join his group &mdash; and The Beatles were born.13</span><br /><span class=Soustitre><br />1957: Singin&rsquo; to my Baby</span><br /><span class=Texte>After other rockabilly gems like Teenage Cutie, Eddie was just eighteen when Waronker urgently asked him to record <strong>Sittin&rsquo; in the Balcony,</strong> which had already been a success for John D. Loudermilk (under the pseudonym Johnny Dee). This sugary commercial ballad filled with charm was Eddie&rsquo;s first single for Liberty, and it would sell over a million copies. Cochran didn&rsquo;t like it but he never complained about its success: it went to N&deg;18 in April 1957, four months after the release of the film The Girl Can&rsquo;t Help It (Frank Tashlin, 1956) in which Eddie, in one of his rare screen performances, sang <strong>Twenty Flight Rock.</strong> Tashlin&rsquo;s rock-movie classic borrowed its title from the Little Richard song14 (and you can see the latter onstage in the film). Also in the credits were Gene Vincent, The Platters15, The Treniers, Abbey Lincoln, Julie London, Fats Domino&hellip; and the star of the film, Jayne Mansfield.</span><br /><span class=Texte>Early in 1957 Eddie Cochran played a role in another film, &ldquo;Untamed Youth&rdquo; (its subject was young rockers in the margins of society) and then went on a concert-tour across the United States, with appearances on major radio and TV shows (like Dick Clark&rsquo;s Bandstand). It was in April 1957 that he met singer Gene Vincent at the Mastbaum Theatre in Philadelphia, and the two became friends. </span><br /><span class=Texte>The success of <strong>Sittin&rsquo; in the Balcony </strong>logically led Si Waronker to produce other commercial ballads, and a glimpse of these appears on CD2. The second single, One Kiss (May 1957) was an exercise to which Eddie submitted without enthusiasm &mdash; and it was a total flop. The inseparable Jerry and Eddie jumped at their first chance to record at the little Goldstar studios, and it was there that they recorded their first album, &ldquo;Singin&rsquo; to my Baby&rdquo;. Waronker imposed the Johnny Mann Singers on them, and the whole album reflects the tension between the edgy, free, ultra-sober rockabilly of which Eddie was capable &mdash; cf. <strong>Am I Blue</strong> (which didn&rsquo;t appear on the American album-release) or <strong>Twenty Flight Rock </strong>&mdash; and the more &ldquo;poppy entertainment&rdquo; sound (<strong>I&rsquo;m Alone Because I Love You</strong>) of the majority of the titles (producer Simon Jackson had been recruited by Liberty, and was taking that direction). So the album wasn&rsquo;t representative of Cochran&rsquo;s true style; he wasn&rsquo;t yet nineteen and already entangled inside the artistic leanings of a success that escaped his control. Released in the autumn of 1957 when rock was at the height of fashion, and when the sales-charts were being hammered by monster hits such as &ldquo;Let&rsquo;s Go to the Hop&rdquo; (Danny &amp; The Juniors) or &ldquo;Keep-a-Knocking&rdquo; (Little Richard), the charming single <strong>Drive-In Show </strong>wasn&rsquo;t that successful, but sold enough for the DJs to remember it (and Eddie). </span><br /><span class=Texte>Eddie Cochran dressed like the sports-jocks in American colleges, and used to wear loafers, wide slacks, broad tweed jackets and a tie; they were useful equipment for a seductive &ldquo;teen idol&rdquo; to have, and quite different from the &ldquo;bad boy&rdquo; type of clothing worn by Gene Vincent. A fine Australian tour together with Gene and Little Richard took place that October. Accompanied by The Deejays, the group who backed local rock star Johnny O&rsquo;Keefe, Eddie played some memorable concerts where Little Richard would start a riot with his provocative stage-act. The Aussie teenagers demolished everything including the artists&rsquo; clothes, and the press had a field day. Gene Vincent topped the bill and had his work cut out to stave off the creator of<strong> Long Tall Sally</strong>, but he&rsquo;d had a year to get his own act together and he, too, created hysteria &mdash; as Elvis had been doing every day back home. Eddie Cochran had polished his stage-act also, although he wasn&rsquo;t as demonstrative, and he had his own share of success, particularly with the ladies. This was the last tour by Little Richard: right in the middle of it, he quit the tour to devote himself to theology, and that made headlines, too&hellip; Eddie had barely returned to the USA before he set off on another tour with Chuck Berry, Fats Domino, Paul Anka, Buddy Holly&hellip; and it was in his dressing-room at the Paramount in New York that Phil Everly introduced him to Sharon Sheeley, his future girlfriend. </span><br /><span class=Texte>On his return to Los Angeles Eddie went back to being a studio musician, running Dot sessions for his friend Bob Bull (aka Bob Denton); three singles came out of it, plus a number of demos he recorded for Ray Stanley, most of which are lost today. A dozen of the Ray Stanley titles with Eddie on guitar were released by various labels including Crest and Argo. Apart from his other numerous talents, the young Eddie had turned into a studio professional and was capable of suggesting various arrangements, not to mention leading sessions on his own; on one of them he accompanied Lee Denson, for an obscure single on the Vik label, and also played guitar for singers Paula Morgan or Don Deal&hellip; </span><br /><span class=Soustitre>1958: Summertime Blues</span><br /><span class=Texte>Poor sales moved Liberty to let Eddie direct his own sessions, beginning in January 1958. It was an unusual step for producers to take in those days &mdash; especially for a producer as conservative as Waronker. Nor was it a common opportunity for someone as young as Si Waronker&rsquo;s prot&eacute;g&eacute;. It took a weight off Eddie&rsquo;s mind and at last he could show what he could do. Unsurprisingly, Cochran and Capehart chose to record rock songs: the excellent <strong>Jeannie, Jeannie, Jeannie</strong> came very close to success, as did <strong>Pretty Girl</strong> which they recorded a few weeks later. On March 25-26 1958, at Capitol Studios, Eddie also sang bass harmony on four titles by his friend Gene Vincent.16</span><br /><span class=Texte>But rock was already set quite apart from the rest of show business. The music had a bad reputation: infested with opportunity-seeking singers who used pseudonyms, often dishonest and corrupt producers, careerist disc-jockeys, the rock milieu was disdained by most of the established professionals; they preferred music that was much more conservative. Concert venues preferred much calmer artists, too, so they didn&rsquo;t welcome rock music; they considered it vulgar, music for rude teenagers. And then there was racism, a commonplace: some people didn&rsquo;t take to Whites being so influenced by typically Black artists&rsquo; styles that they actually recorded their compositions; they liked even less the fact that Afro-American singers (Bo Diddley, Frankie Lymon&hellip;) had reached a mass audience playing in a genre they judged to be &ldquo;inferior&rdquo;. But rock was big business: it sweetened the pill, and doors were opening. Nobody, however, thought that this phenomenon would last; it was just a question of jumping on the bandwagon while there was money to be made. Under a hail of unfair criticism, Elvis Presley himself was already branching out into other repertoire, not only out of personal taste but also because he was realistic.17 In 1958 the tendency was for rock to be a sweetened form of insipid entertainment, tinted with vague rock imagery and the accents of teen idols like Ricky Nelson, who was an enormous hit with audiences. Secretly in love with Eddie, young Sharon Sheeley had put her name to one of Ricky&rsquo;s big hits (&ldquo;Poor Little Fool&rdquo;) and managed to sell her romantic ballad &ldquo;Love Again&rdquo; to Capehart, who asked Eddie to record this monotonous little ditty. And he did so promptly, taking advantage of the opportunity to seduce young Sharon. All that the new single needed was a B-side: based on the riff in its intro (played on a Martin guitar), the great classic <strong>Summertime Blues</strong> was written inside an hour as the B-side of the ordinary &ldquo;Love Again&rdquo;. Released on June 11th 1958, a month after another flop (<strong>Teresa</strong>), the single written and produced by Cochran and Capehart climbed to N&deg;8 on the charts in two months. Naturally, DJs preferred the B-side, and the single was flipped:<strong> Summertime Blues </strong>(an apt title for a summer hit) became the A-side and at the same time the definition of this new rock style created by Eddie Cochran. He would leave rockabilly behind him for good; the new sound became a statement of his personality. </span><br /><span class=Texte>In September 1958 Liberty Records created the sub-label Freedom devoted to rock, and they gave carte blanche to Jerry Capehart, the impresario for Eddie Cochran, John Ashley and the excellent Johnny Burnette and his Rock &lsquo;n&rsquo; Roll Trio.18 After 26 singles, most of which were mediocre (Capehart had to respect a production-quota), and in which Eddie participated as an arranger and anonymous guitarist, Freedom was dissolved in 1959. In December Eddie flew to New York for an important concert and then returned to California for the small-budget film Go, Johnny Go (Paul Landres, 1959), which was shot in five days at Hal Roach&rsquo;s Culver City studios; Eddie shared the billing with The Cadillacs and The Moonglows, Jackie Wilson, Ritchie Valens and Chuck Berry, with Alan Freed in the principal role as a talent scout. The film has Eddie singing<strong> Teenage Heaven.</strong></span><br /><span class=Soustitre>1959 Somethin&rsquo; Else</span><br /><span class=Texte>With three hits behind him <strong>(Sittin&rsquo; in the Balcony, C&rsquo;mon Everybody </strong>and <strong>Summertime Blues</strong>), Eddie Cochran was now a self-assured young man with could distinguish between true friends and the other people in the business with whom he came into contact; the latter took second place, with Eddie preferring fishing-trips, shooting, and spending time with his family and old friends. He had a head on his shoulders&hellip; His friend Connie Smith had married and given up playing bass, and after the success of <strong>Summertime Blues,</strong> Eddie had to get a stage-group together. He went on tour with some newcomers: Mike Henderson (sax), Jim Stivers (piano), Dave Shrieber (bass), Gene Ridgio (drums) and The Kelly Four, whose line-up varied. Eddie didn&rsquo;t believe in showbiz that much and deliberately turned up late, even missing an appearance on the Ed Sullivan Show, America&rsquo;s most-watched TV programme! When he was on the road, he preferred going shooting in the woods&hellip; But with a new tour in the Midwest and numerous record-sessions, he became inseparable from his new band and they recorded <strong>Somethin&rsquo; Else,</strong> a song written by his girl Sharon and his brother Bob. It was another teenage masterpiece, and went to N&deg;58 that summer. It was later picked up by Sid Vicious, The Stray Cats, and even French star Johnny Hallyday covered it as Elle est terrible [&ldquo;She&rsquo;s terrific&rdquo;&hellip;] But Eddie had had enough; he thought it was just a circus, and he was bored by his success and the tours that kept him away from Sharon and his friends. He preferred the studios. His agent American Music had set up its own Silver label and was financing the records by The Kelly Four, Jewel Akens and Eddie Daniels (aka Jewel &amp; Eddie), John Ashley and Darry Weaver in which Eddie Cochran took part. Even Capehart, his trusty manager, finally lost interest in his prot&eacute;g&eacute;. At the end of &lsquo;59 Cochran&rsquo;s last session took place with The Crickets (Buddy Holly&rsquo;s old group), but without Capehart. Out of that session came the masterly <strong>Cut Across Shorty</strong> and the posthumous hit entitled <strong>Three Steps to Heaven</strong>. Nor did Capehart go to England with him: Gene Vincent had accomplished a triumphant 12-date tour there in December 1959 under the aegis of Larry Parnes, a star impresario on the British rock scene, and Gene had been on Jack Good&rsquo;s popular TV show Oh Boy! Good wanted to capitalize on his success and had invited Eddie and Gene to tour together. </span><br /><span class=Soustitre>1960 Three Steps to Heaven</span><br /><span class=Texte>When he arrived in London on January 10th Eddie went straight back on the road. Like all of his musicians he shared a hotel room, and he and Gene stayed together. Gene had started wearing black leather (from head to foot), and wore a big medal around his neck; Good had asked him to dress that way for his TV show, and Gene kept the same costume throughout the tour, on which they were accompanied by English rock singer Marty Wilde&rsquo;s group The Wild Cats. Gene Vincent and Eddie Cochran were inseparable: Gene had a permanent limp after a motorcycle accident, and was affected by the mishaps which had sent his career into limbo; Eddie was more resistant, and he became a crutch for Gene to lean on. But they were very successful: their British clones didn&rsquo;t have the same calibre and the two friends were the first to really make Britain discover rock &lsquo;n&rsquo; roll. The pioneering Eddie Cochran and Gene Vincent spent months on the road sharing all kinds of misfortunes (and moments of glory). But Eddie was drinking a lot and he missed America; he spent a fortune on transatlantic phone-calls to his family. </span><br /><span class=Texte>Sharon flew in from California to spend his birthday with him on April 4th. After four months of touring and a final concert in Bristol, Sharon, Eddie, Gene and road-manager Patrick Thompkins finally took a taxi to the airport a hundred miles away; they were overjoyed at the prospect of going home, and had booked a plane due to leave at one in the morning, a few hours after the concert. The taxi driver was a 19 year-old named George Martin, and he was speeding through the countryside when he was told that they&rsquo;d taken a wrong turn; he stamped on the brakes and the taxi left the road and overturned. Thompkins and the driver were unhurt; Gene and Sharon were badly injured, but Eddie was thrown out of the car when it overturned and suffered serious head-injuries. He was taken to St. Martin&rsquo;s Hospital in Chippenham, where he died at four in the morning on Easter Monday, 1960. He was twenty-one.</span><br /><span class=Texte><strong>Bruno Blum, </strong>Easter Monday, 2013</span><br /><span class=Texte>Adapted into english by<strong> Martin Davies</strong></span><br /><span class=Texte>Thanks to Brian Setzer, Lee Rocker and Slim Jim Phantom.</span><br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2014</span><br /><span class=Texte>1. From the documentary Cool Cats: 25 Years of Rock &lsquo;n&rsquo; Roll Style, 1983.</span><br /><span class=Texte>2. Cf. Joe Maphis and Chet Atkins on the triple album Electric Guitar Story 1935-1962 (FA5421), and Chet Atkins on Guitare Country (FA5007).</span><br /><span class=Texte>3. Eddie Cochran also appears on &ldquo;Guybo&rdquo; in the triple album Rock Instrumental Story (FA5426).</span><br /><span class=Texte>4. Elvis Presley &amp; the American Music Heritage - vol. 1 1954-1956 (FA5361).</span><br /><span class=Texte>5. Listen to Scotty Moore and Chet Atkins in the set Electric Guitar Story 1935-1962 (FA5421).</span><br /><span class=Texte>6. Ray Charles - Brother Ray: The Genius 1949-1960 (FA5350).</span><br /><span class=Texte>7. The Indispensable Bo Diddley 1955-1960 (FA5376) and 1960-1962 (FA5406).</span><br /><span class=Texte>8. The Indispensable Little Richard 1951-1962 (future release).</span><br /><span class=Texte>9. The Indispensable Chuck Berry 1954-1961 (FA5409.</span><br /><span class=Texte>10. The Indispensable Bill Haley 1948-1962 (future release).</span><br /><span class=Texte>11. &ldquo;Let&rsquo;s Coast Awhile&rdquo; by Bo Davis (alias Hank Cochran), with Eddie Cochran on guitar, is included in the anthology Road Songs - Car Tune Classics 1942-1962 (FA5401).</span><br /><span class=Texte>12. Cf. the two volumes The Indispensable Bo Diddley 1955-1960 (FA5376) and 1960-1962 (FA5406).</span><br /><span class=Texte>13. Cf. John Lennon by Bruno Blum (publ. Hors Collection, Paris 2005)</span>.<br /><span class=Texte>14. Cf. The Indispensable Little Richard (future release).</span><br /><span class=Texte>15. Cf. The Indispensable Platters (future release).</span><br /><span class=Texte>16. Eddie Cochran sings back-up vocals on &ldquo;Git It&rdquo;, &ldquo;Teenage Partner&rdquo;, &ldquo;Peace of Mind&rdquo; and &ldquo;Lovely Loretta&rdquo; in The Indispen-sable Gene Vincent (FA5402). </span><br /><span class=Texte>17. Cf. Elvis Presley &amp; the American Music Heritage - vol. 2 1956-1957 (FA5383).</span><br /><span class=Texte>18. Johnny Burnette, Eddie Cochran, Gene Vincent, Elvis Presley and many others appear in the anthology Rockabilly (FA5423).</span><br /><span class=Soustitre2>Discography 1</span><br /><span class=Texte>The Cochran Brothers: Ray Edward Cochrane as Eddie Cochran-v, lead g; Garland Perry Cochran as Hank Cochran-v, g; Harold Hensley-fiddle; unknown steel g on 2, b. Produced by Charles Matthews aka Red Matthews. Ekko 1003. Sunset Recorders, Hollywood, May 1955:</span><br /><strong><span class=Texte>1. Mr. Fiddle</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Garland Perry Cochran aka Hank Cochran, Jerry Capehart)</span><br /><span class=Texte><strong>2. Two Blue Singin&rsquo; Stars -</strong> The Cochran Brothers</span><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Garland Perry Cochran aka Hank Cochran, Jerry Capehart)</span><br /><span class=Texte>The Cochran Brothers: Ray Edward Cochrane as Eddie Cochran-v, lead g; Conrad Smith as Guybo-b; unknown-perc. Goldstar Studio, Hollywood, April 4, 1956:</span><br /><strong><span class=Texte>3. Pink-Peg Slacks</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Garland Perry Cochran aka Hank Cochran, Jerry Capehart)</span><br /><strong><span class=Texte>4. Yesterday&rsquo;s Heartbreak</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><strong><span class=Texte>5. My Love to Remember</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>The Cochran Brothers: Ray Edward Cochrane as Eddie Cochran-v, g; Garland Perry Cochran as Hank Cochran-v, g; Conrad Smith as Guybo-b; unknown p, d. Sunset Studios, Hollywood, April or May 1956:</span><br /><strong><span class=Texte>6. Tired and Sleepy</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Garland Perry Cochran aka Hank Cochran, Jerry Capehart)</span><br /><strong><span class=Texte>7. Fool&rsquo;s Paradise</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Garland Perry Cochran aka Hank Cochran, Jerry Capehart)</span><br /><strong><span class=Texte>8. Slow Down</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Garland Perry Cochran aka Hank Cochran, Jerry Capehart)</span><br /><strong><span class=Texte>9. Open the Door</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Garland Perry Cochran aka Hank Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; Jerry Capehart-box slapping; 1960-1961 g overdub on 11, p, 1960-1961 cymbal overdub on 12. Hollywood, May or June 1956:</span><br /><strong><span class=Texte>10. Long Tall Sally</span></strong><br /><span class=Texte>(Richard Blackwell aka Bumps Blackwell, Enotris Johnson, Richard Penniman aka Little Richard)</span><br /><strong><span class=Texte>11. Blue Suede Shoes</span></strong><br /><span class=Texte>(Carl Perkins)</span><br /><strong><span class=Texte>12. I Almost Lost my Mind</span></strong><br /><span class=Texte>(Ivory Joe Hunter)</span><br /><strong><span class=Texte>13. That&rsquo;s my Desire</span></strong><br /><span class=Texte>(Helmy Kresa, Carroll Loveday)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; Jerry Capehart-box slapping on 14. Goldstar Studio, Hollywood, Summer of 1956:</span><br /><strong><span class=Texte>14. Twenty-Flight Rock</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Nelda Fairchild aka Ned Fairchild)</span><br /><strong><span class=Texte>15. Dark Lonely Street</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; Jerry Capehart-box slapping; possibly Ray Stanley-g, d overdub. Goldstar Studio, Hollywood, Summer of 1956:</span><br /><strong><span class=Texte>16. Ping-Peg Slacks</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Garland Perry Cochran aka Hank Cochran)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Ray Stanley-p; Conrad Smith as Guybo-b; Jessie Sailes-d. Master Recorders, Hollywood, Summer of 1956:</span><br /><strong><span class=Texte>17. Half Loved </span></strong><br /><span class=Texte>(Ray Stanley, Dale Fitzsimmons as Jaye Fitzsimmons)</span><br /><strong><span class=Texte>18. Skinny Jim</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; possibly Conrad Smith as Guybo-b.</span><br /><span class=Texte>Goldstar Studio, Hollywood, December 1956:</span><br /><strong><span class=Texte>19. Cotton Picker </span></strong><br /><span class=Texte>(Wortham Watts, Jiles Perry Richardson aka J. P. Richardson aka The Big Bopper)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; Jerry Capehart, box slapping. Goldstar Studio, Hollywood, January 1957:</span><br /><strong><span class=Texte>20. Sittin&rsquo; in the Balcony</span></strong><br /><span class=Texte>(John D. Loudermilk aka&nbsp; Johnny Dee)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; possibly Jerry Capehart, box slapping; possibly The Johnny Mann Singers-vocal chorus on 21. Goldstar Studio, Hollywood, late 1956 or early 1957:</span><br /><strong><span class=Texte>21. Sweetie Pie</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; unknown-d; The Johnny Mann Singers-vocal chorus. Goldstar Studio, Hollywood, March 1957:</span><br /><strong><span class=Texte>22. Mean When I&rsquo;m Mad </span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><strong><span class=Texte>23. One Kiss</span></strong><br /><span class=Texte>(Ray Edward Cochrane as Eddie Cochran, Jerry Capehart)</span><br /><span class=Soustitre2>Discography 2</span><br /><span class=Texte>Same as CD 1, track 21 except no vocal chorus:</span><br /><strong><span class=Texte>1. Teenage Cutie</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; Perry Botkin-rhythm g; unknown-d (no drums on 10); The Johnny Mann Singers-vocal chorus. Goldstar Studio, Hollywood, Summer of 1957:</span><br /><strong><span class=Texte>2. Drive-In Show</span></strong><br /><span class=Texte>(Fred Dexter)</span><br /><strong><span class=Texte>3. Am I Blue </span></strong><br /><span class=Texte>(Harry Akst, Grant Clarke)</span><br /><strong><span class=Texte>4. Completely Sweet</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><strong><span class=Texte>5. Undying Love</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><strong><span class=Texte>6. I&rsquo;m Alone Because I Love You</span></strong><br /><span class=Texte>(Ira Schuster, Joe Young)</span><br /><strong><span class=Texte>7. Lovin &lsquo; Time</span></strong><br /><span class=Texte>Jan Woolsey)</span><br /><strong><span class=Texte>8. Proud of You</span></strong><br /><span class=Texte>(Dale Fitzsimmons aka Jaye Fitzsimmons)</span><br /><span class=Texte><strong>9. Stockings and Shoes</strong> </span><br /><span class=Texte>(Lyle Gaston)</span><br /><strong><span class=Texte>10. Tell Me Why</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran)</span><br /><strong><span class=Texte>11. Have I Told You Lately That I Love You</span></strong><br /><span class=Texte>(Scott Wiseman as S. Wiseman)</span><br /><strong><span class=Texte>12. Cradle Baby</span></strong><br /><span class=Texte>(Terry Fell)</span><br /><strong><span class=Texte>13. Twenty Flight Rock</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Nelda Fairchild aka Ned Fairchild)</span><br /><span class=Texte><strong>14. A Pocketful of Hearts</strong> </span><br /><span class=Texte>(Fred Dexter)</span><br /><strong><span class=Texte>15. Never</span></strong><br /><span class=Texte>(Terry Fell)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; Earl Palmer-d; The Johnny Mann Singers-vocal chorus. Liberty Custom Recorders, Hollywood, April 7, 1958:</span><br /><strong><span class=Texte>16. Pretty Girl</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; possibly Ray Johnson-p; Earl Palmer-d; Liberty Custom Recorders, Hollywood, January 12, 1958:</span><br /><strong><span class=Texte>17. Jeannie Jeannie Jeannie</span></strong><br /><span class=Texte>(George Louis Motola, June E. Motola (n&eacute;e Kuykendall) as June Page)</span><br /><span class=Texte>George Motola</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; unknown-p; unknown-d; Liberty Custom Recorders, Hollywood, January 1958:</span><br /><strong><span class=Texte>18. Little Lou </span></strong><br /><span class=Texte>(Edward Daniels as Eddie Daniels, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; unknown-d; Liberty Custom Recorders, Hollywood, March 3, 1958:</span><br /><strong><span class=Texte>20. Teresa</span></strong><br /><span class=Texte>(Gary Carmody, Neel Marks)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; Earl Palmer-d; Probably Sharon K. Sheeley and Jerry Capehart-hand clapping. Goldstar Studio, Hollywood, May 1958:</span><br /><strong><span class=Texte>19. Summertime Blues</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; unknown-d; unknown vocal chorus. RCA Studio, Hollywood, July 7, 1958.</span><br /><strong><span class=Texte>21. Don&rsquo;t Ever Let Me Go</span></strong><br /><span class=Texte>(Dale Fitzsimmons aka Jaye Fitzsimmons)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g, d &amp; g overdub; Conrad Smith as Guybo-b; possibly Jerry Capehart-tambourine. Goldstar Studio, Hollywood, October 9, 1958.</span><br /><strong><span class=Texte>22. Let&rsquo;s Get Together</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g, d &amp; g overdub; possibly Mike Henderson, Mike Deasy-saxes; Jim Stivers-p; Dave Shrieber-b; Gene Ridgio-d; unknown vocal chorus on 5. Goldstar Studio, Hollywood, January 17, 1959:</span><br /><strong><span class=Texte>23. Teenage Heaven</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Soustitre2>Discography 3</span><br /><span class=Texte>Same as disc 2, track 22.</span><br /><span class=Texte>Note: the same backing track was used for both songs.</span><br /><strong><span class=Texte>1. C&rsquo;mon Everybody</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g, g overdub; Conrad Smith as Guybo-b; possibly Earl Palmer-d; possibly Jerry Capehart-hand clapping. Goldstar Studio, Hollywood, late 1958:</span><br /><strong><span class=Texte>2. Nervous Breakdown</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Mario Roccuzzo)</span><br /><span class=Texte>Same as disc 2, track 23 except no saxes on 3:</span><br /><strong><span class=Texte>3. I Remember</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>4. My Way</span><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><strong><span class=Texte>5. Rock &lsquo;n&rsquo; Roll Blues</span></strong><br /><span class=Texte>(Bede Kornstein, Margaret Mundy)</span><br /><span class=Texte>Ray Edward Cochrane aka Eddie Cochran-v, g; unknown-b. Goldstar Studio, Hollywood, February 5, 1959:</span><br /><strong><span class=Texte>6. Three Stars &nbsp;</span></strong><br /><span class=Texte>(Tom Donaldson as Tommy Dee)</span><br /><span class=Texte>Ray Edward Cochrane aka Eddie Cochran-v, g; Dave Shrieber or Conrad Smith as Guybo-b; Gene Ridgio-d; unknowwn vocal chorus, hand clapping. United Recorders, Los Angeles, April 23, 1959:</span><br /><strong><span class=Texte>7. WeekEnd</span></strong><br /><span class=Texte>(Bill Post, Doree Post)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; unknown-b, d, female vocal chorus. United Recorders, Los Angeles, April 23, 1959:</span><br /><strong><span class=Texte>8. Think of Me</span></strong><br /><span class=Texte>(Sharon K. Sheeley)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; unknown-b, d, vocal chorus. Goldstar Studio, Hollywood, June 1959:</span><br /><strong><span class=Texte>9. Three Steps to Heaven</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Robert Gene Cochrane, Sr. as Bob Cochran)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g, b overdub; possibly Jim Stivers-p; Gene Ridgio or Earl Palmer-d. Goldstar Studio, Hollywood, June 23, 1959:</span><br /><strong><span class=Texte>10. Somethin&rsquo; Else</span></strong><br /><span class=Texte>(Sharon K. Sheeley, Robert Gene Cochrane, Sr. as Bob Cochran)</span><br /><span class=Texte>Same as disc 3, track 10. Possibly Jim Stivers out, Dick d&rsquo;Agostin-p; possibly Dave Shrieber-b:</span><br /><strong><span class=Texte>11. Boll Weevil Song</span></strong><br /><span class=Texte>(Traditional, arranged by Ray Edward Cochrane aka Eddie Cochran)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Jim Stivers-p; Dave Shrieber-b; Gene Ridgio-d. Goldstar Studio, Hollywood, August 26, 1959:</span><br /><strong><span class=Texte>12. Little Angel</span></strong><br /><span class=Texte>(Hal Winn)</span><br /><span class=Texte>Same as disc 3, track 12. Add Mike Henderson, Mike Deasy-saxes.</span><br /><strong><span class=Texte>13. My Love to Remember</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; unknown-p, d, hand clapping; possibly The Johnny Mann Singers-vocal chorus. Goldstar Studio, Hollywood, Autumn of 1959:</span><br /><strong><span class=Texte>14. Jelly Bean </span></strong><br /><span class=Texte>(Maurice McCall)</span><br /><strong><span class=Texte>15. Don&rsquo;t Bye Bye Me</span></strong><br /><span class=Texte>(Maurice McCall)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g, p; Mike Henderson, Mike Deasy-saxes; Dave Shrieber-b; Gene Ridgio-d. Goldstar Studio, Hollywood, October 21, 1959:</span><br /><strong><span class=Texte>16. Hallelujah I Love Her So </span></strong><br /><span class=Texte>(Ray Charles Robinson aka Ray Charles)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Sonny Curtis-g; Conrad Smith as Guybo-b; Jerry Allison-d. Goldstar Studio, Hollywood, January 8, 1960.</span><br /><strong><span class=Texte>17. Cut Across Shorty </span></strong><br /><span class=Texte>(Marijohn Wilkin, Wayne P. Walker)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-g, overdubs. Goldstar Studio, Hollywood, late 1959:</span><br /><strong><span class=Texte>18. Fourth Man Theme</span></strong><br /><span class=Texte>(Jerry Capehart, adapted from &laquo;The Third Man Theme&raquo; by Anton Karas)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Jim Stivers-p; Dave Shrieber-b; Gene Ridgio-d; Goldstar Studio, Hollywood, August 25, 1959.</span><br /><strong><span class=Texte>19. Milk Cow Blues</span></strong><br /><span class=Texte>(James Arnold aka Kokomo Arnold)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-g; Jim Stivers-p; Dave Shrieber-b; Gene Ridgio-d. Goldstar Studio, Hollywood, August 25, 1959:</span><br /><strong><span class=Texte>20. Eddie&rsquo;s Blues</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-g, overdubbed g; unknown b. Goldstar Studio, Hollywood, August 26, 1959:</span><br /><strong><span class=Texte>21. Strollin&rsquo; Guitar</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-g; unknown p; unknown b. Hollywood, 1959:</span><br /><strong><span class=Texte>22. Country Jam</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-g, overdubs. Goldstar Studio, Hollywood, late 1959:</span><br /><strong><span class=Texte>23. Hammy Blues</span></strong><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Robert Gene Cochrane, Sr. as Bob Cochran)</span><br /><strong><span class=Texte>24. Cherished Memories</span></strong><br /><span class=Texte>(Sharon K. Sheeley )</span><br /><span class=Texte>Same as 17</span><br /><span class=Texte><br />Note: Gold Star Studio was located at 6252 Santa Monica Blv., Hollywood, California (at Santa Monica and Vine).<br /></span></p><span class=Texte><br />Note: several guitar and percussion overdubs were added on some </span><br /><span class=Source><br />CD Eddie Cochran 1955-1960, Eddie Cochran &copy; Fr&eacute;meaux &amp; Associ&eacute;s 20</span><span class=Source>14</span>.<br />"
      "dwf_titres" => array:70 [ …70]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/2/7/6/19276-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => array:1 [ …1]
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#665
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#736
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
  6 => ProductListingLazyArray {#726
    -imageRetriever: ImageRetriever {#734
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#732}
    -productColorsRetriever: ProductColorsRetriever {#414}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#413
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1344"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302546520"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5465"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "406"
      "date_add" => "2021-10-22 10:03:29"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>Pionnier, Bill Haley a &eacute;t&eacute; le premier musicien blanc &mdash; et l&rsquo;un des meilleurs&mdash; &agrave; trouver le succ&egrave;s en chantant du rock n&rsquo;roll. <br />Un an avant le premier succ&egrave;s d&rsquo;Elvis Presley, il avait d&eacute;j&agrave; vendu plus d&rsquo;un million de disques. <br />Chanteur de country puis fondateur du rockabilly, son parcours et son basculement vers le rock, sont expliqu&eacute;s ici par Bruno Blum. <br />Souvent m&eacute;connus, toujours &eacute;parpill&eacute;s, les meilleurs enregistrements de l&rsquo;interpr&egrave;te de &laquo; Rock Around the Clock &raquo; sont enfin r&eacute;unis dans cette anthologie fondamentale. <br /><strong>Patrick FRÉMEAUX </strong><br /><em>Bill Haley was a pioneer and the first white musician &mdash; no doubt one of the best &mdash; to achieve success with a rock &lsquo;n&rsquo; roll song: he&rsquo;d already sold a million records a year before Elvis had his first hit. <br />Bill Haley&rsquo;s career as a country singer who went on to create rockabilly and moved into rock is detailed here by Bruno Blum. <br />Often little-known, but always scattered here and there, the best recordings of Bill Haley, mostly known for his &ldquo;Rock Around the Clock&rdquo;, are all available here in this fundamental anthology. <br /></em><br /><strong>DIRECTION ARTISTIQUE : BRUNO BLUM</strong></p><p align=justify><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES<br /></strong><br /><strong>CD 1</strong> - 1948-1953 : BILL HALEY &amp; THE FOUR ACES OF WESTERN SWING : CANDY AND WOMEN &bull; BEHIND THE EIGHT BALL &bull; YODEL YOUR BLUES AWAY. BILL HALEY &amp; THE SADDLEMEN : TEN GALLON STETSON &bull; WHY DO I CRY OVER YOU? &bull; TEARDROPS FROM MY EYES &bull; MY SWEET LITTLE GIRL FROM NEVADA &bull; ROSE OF MY HEART &bull; ROCKET 88 &bull; JUKEBOX CANNONBALL &bull; SUNDOWN BOOGIE &bull; DANCE WITH A DOLLY &bull; ROCKIN&rsquo; CHAIR ON THE MOON &bull; STOP BEATIN&rsquo; &lsquo;ROUND THE MULBERRY BUSH &bull; REAL ROCK DRIVE &bull; ROCK THE JOINT. BILL HALEY &amp; THE COMETS : CRAZY MAN CRAZY &bull; WATCHA GONNA DO &bull; PAT-A-CAKE &bull; FRACTURED &bull; LIVE IT UP &bull; FAREWELL, SO LONG, GOODBYE &bull; I&rsquo;LL BE TRUE &bull; TEN LITTLE INDIANS &bull; YES INDEED<br /><strong>CD 2</strong> - 1954-1956 : ROCK AROUND THE CLOCK &bull; THIRTEEN WOMEN &bull; SHAKE RATTLE AND ROLL &bull; ABC BOOGIE &bull; HAPPY BABY &bull; DIM, DIM THE LIGHTS &bull; BIRTH OF THE BOOGIE &bull; MAMBO ROCK &bull; TWO HOUND DOGS &bull; RAZZLE-DAZZLE &bull; R-O-C-K &bull; ROCK-A-BEATIN&rsquo; BOOGIE &bull; THE SAINTS ROCK &lsquo;N&rsquo; ROLL &bull; BURN THAT CANDLE &bull; SEE YOU LATER, ALLIGATOR &bull; GOOFIN&rsquo; AROUND &bull; HOOK LINE AND SINKER &bull; CALLING ALL COMETS &bull; CHOO CHOO CH&rsquo;BOOGIE &bull; A ROCKIN&rsquo; LITTLE TUNE &bull; HOT DOG BUDDY BUDDY &bull; ROCKIN&rsquo; THROUGH THE RYE &bull; TEENAGER&rsquo;S MOTHER &bull; FORTY CUPS OF COFFEE. <br /><strong>CD 3</strong> - 1957 -1961 : RIP IT UP &bull; DON&rsquo;T KNOCK THE ROCK &bull; (YOU HIT THE WRONG NOTE) BILLY GOAT &bull; YOU CAN&rsquo;T STOP ME FROM DREAMIN&rsquo; &bull; IS IT TRUE WHAT THEY SAY ABOUT DIXIE? &bull; THE DIPSY DOODLE &bull; SOMEBODY ELSE IS TAKING MY PLACE &bull; PICCADILLY ROCK &bull; SKINNY MINNIE &bull; MARIE &bull; THE CATWALK &bull; I&rsquo;VE GOT A WOMAN &bull; WHERE &lsquo;D YOU GO LAST NIGHT &bull; SHAKY &bull; LOVE LETTERS IN THE SAND &bull; KANSAS CITY &bull; WHOLE LOTTA SHAKIN&rsquo; GOIN&rsquo; ON &bull; CRAZY MAN, CRAZY &bull; I DON&rsquo;T HURT ANYMORE &bull; AFRAID &bull; HAWK &bull; CHICK SAFARI &bull; LET THE GOOD TIMES ROLL, CREOLE &bull; SPANISH TWIST.<br /></p></p><br><br>"
      "description_short" => "<h3>ROCK AROUND THE CLOCK</h3>"
      "link_rewrite" => "bill-haley-the-indispensable-1948-1961"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Bill Haley - The Indispensable 1948-1961 "
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 406
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1344-18472"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1344&rewrite=bill-haley-the-indispensable-1948-1961&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:3 [ …3]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => null
      "dwf_titres" => array:73 [ …73]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/8/4/7/2/18472-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => array:1 [ …1]
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#629
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#741
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
  7 => ProductListingLazyArray {#733
    -imageRetriever: ImageRetriever {#739
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#439}
    -productColorsRetriever: ProductColorsRetriever {#738}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#737
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1347"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302549828"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5498"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "409"
      "date_add" => "2021-10-22 10:03:29"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>Quelles sont les origines du funk ? Depuis le d&eacute;but du XX&egrave; si&egrave;cle, ce terme signifie la transpiration, les mauvaises odeurs corporelles et par extension la musique de danse bien sentie. <br />Embl&eacute;matique du &laquo; Black Power &raquo; et de la culture de lib&eacute;ration afro-am&eacute;ricaine, le funk plonge ses racines profondes dans les intenses musiques afrocarib&eacute;ennes de Ha&iuml;ti, Cuba, la Jama&iuml;que et la Nouvelle-Orl&eacute;ans. <br />Du jazz am&eacute;ricain &laquo; funky &raquo; au &laquo; soul jazz &raquo; et de la soul jusqu&rsquo;aux musiques syncop&eacute;es des ann&eacute;es 1960, il a connu d&rsquo;illustres et excentriques pr&eacute;curseurs &agrave; l&rsquo;approche &laquo; rare groove &raquo; tels Bo Diddley ou Sun Ra dont l&rsquo;afro-futurisme a marqu&eacute; des artistes comme George Clinton ou Herbie Hancock. <br />Dans la lign&eacute;e de ses anthologies &laquo; Roots of Punk Rock &raquo;, &laquo; Roots of Ska &raquo; et &laquo; Roots of Soul &raquo;, Bruno Blum a r&eacute;uni cette &eacute;clectique s&eacute;lection aux racines du funk. <br />Il retrace l&rsquo;esprit et les influences &agrave; l&rsquo;origine des premiers succ&egrave;s de James Brown, des Meters, Eddie Bo ou Funkadelic.<br /><strong>Patrick FRÉMEAUX </strong><br /><em>What are the roots of funk? Since the early Twentieth Century, this term has come to mean sweat, unpleasant body odor and, by analogy, heartfelt dance music. <br />Symbolic of &ldquo;Black Power&rdquo; and African-American liberation culture, funk has deep roots embedded in the intense afro-caribbean musics of Haiti, Cuba, Jamaica, and New Orleans. <br />Starting with &ldquo;funky&rdquo; jazz, &ldquo;soul jazz&rdquo; and soul, up to the 1960&rsquo;s syncopated musics, it has had illustrious &ldquo;rare groove&rdquo; precursors such as Bo Diddley, or Sun Ra, whose afro-futurism left its mark on George Clinton, Herbie Hancock and the like. Keeping in line with his &ldquo;Roots of Punk Rock&rdquo;, &ldquo;Roots of Ska&rdquo; and &ldquo;Roots of Soul&rdquo; collections, Bruno Blum has gathered this eclectic selection from the roots offunk music. <br />He recounts here the spirit and influences that shaped the early hits of James Brown, The Meters, Eddie Bo, Funkadelic and others. </em><br /><strong>DIRECTION ARTISTIQUE : BRUNO BLUM</strong></p><p align=justify><strong>EDITION : AUGUSTIN BONDOUX</strong></p><p align=justify><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES<br /></strong><br /><strong>CD1 SYNCOPATED CREOLE MUSIC THE DEEP CARIBBEAN ROOTS OF FUNK :</strong> <br />TANGA (PART 1) MACHITO &bull; ABANIQUITO TITO PUENTE &bull; BABOULE DANCE (BAMBOULA RHYTHM) VAUDOU CONGREGATION &bull; BABALU SLIM GAILLARD &bull; HILL AND GULLY RIDE/MANDEVILLE ROAD LORD COMPOSER &bull; PO&rsquo; DRAPEAUX (PETRO MAZONNEI) VAUDOU CONGREGATION &bull; MAMBO BABY RUTH BROWN &bull; AYIZAN MARCHE (ZEPAULES) VAUDOU CONGREGATION &bull; EL LOCO CHA CHA RENÉ TOUZET &bull; LOUIE LOUIE RICHARD BERRY &bull; COMPAY CUCU DIORIS VALLADARES &bull; ME DOG CAN&rsquo;T BARK MONTY REYNOLDS &bull; BO DIDDLEY BO DIDDLEY &bull; LIMBO LORD TICKLER &bull; LIMBO THE WRIGGLERS W/ERNEST RANGLIN &bull; LIMBO BO DIDDLEY &bull; LIMBO REUBEN MCCOY &bull; JAVA ALLEN TOUSSAINT &bull; CONTRE DANSE N&deg;4 NEMOURS JEAN-BAPTISTE &bull; ME AND YOU ALLEN TOUSSAINT &bull; OLLA DE FOR OLLA MONGO SANTAMARÍA &bull; SEVERA MILITO PEREZ W/LUIS QUINTERO &bull; PAPA LEGBA INVOCATION VAUDOU CONGREGATION &bull; PANTALON ENSEMBLE DE QUADRILLE GUADELOUPÉEN. <br /><strong>CD2 FUNKY JAZZ, HARD BOP, SOUL JAZZ :<br /></strong>EARLY IN THE MORNING LOUIS JORDAN &bull; MANTECA DIZZY GILLESPIE &bull; TIN TIN DEO JAMES MOODY &bull; MOONDOG&rsquo;S SYMPHONY (PART 1 : TIMBERWOLF)- MOONDOG &bull; YO YO YO SLIM GAILLARD &bull; MONK&rsquo;S DREAM THELONIOUS MONK &bull; HAMBONE RED SAUNDERS &bull; OPUS DE FUNK HORACE SILVER &bull; MONTEVIDEO DUKE ELLINGTON &bull; OLD DEVIL MOON MICKEY BAKER &bull; CALL FOR ALL DEMONS SUN RA &bull; MOANIN&rsquo; ART BLAKEY/JAZZ MESSENGERS &bull; SLOP CHARLES MINGUS SEPTET &bull; THIS HERE BOBBY TIMMONS &bull; HOLD IT JAMES BROWN PRESENTS HIS BAND &bull; NEW DAY SUN RA &bull; FIRST GONE COUNT OSSIE/WAREIKAS &bull; WATERMELON MAN HERBIE HANCOCK &bull; DEM TAMBOURINES DON WILKERSON. <strong><br />CD3</strong> <strong>NEGRO SPIRITUALS, BLUES &amp; SOUL :<br /></strong>MARDI GRAS IN NEW ORLEANS PROFESSOR LONGHAIR &bull; I&rsquo;VE GOT A HOME THE BLIND BOYS OF ALABAMA &bull; HALF PINT OF WHISKEY JOHNNY &ldquo;GUITAR&rdquo; WATSON &bull; MARDI GRAS MAMBO THE HAWKETTS W/ART NEVILLE &bull; BO DIDDLEY BO DIDDLEY &bull; SHRIMP AND GUMBO DAVE BARTHOLOMEW &bull; CLOTHES LINE [SHOPPIN&rsquo; FOR CLOTHES] BOOGALOO AND THE GALLANT CREW &bull; BLUE FUNK RAY CHARLES &amp; MILT JACKSON &bull; MY BABY JUST CARES FOR ME NINA SIMONE &bull; CHA DOOKY-DOO ART NEVILLE &bull; CRAWFISH ELVIS PRESLEY &amp; KITTY WHITE &bull; ARABIAN LOVE CALL ART NEVILLE &bull; &lsquo;CAUSE I LOVE YOU CARLA THOMAS &amp; RUFUS THOMAS &bull; SIGNIFYING BLUES BO DIDDLEY &bull; BACK DOOR MAN HOWLIN&rsquo; WOLF &bull; AND I DO JUST WHAT I WANT JAMES BROWN &bull; CAN YOU SHIMMY? BO DIDDLEY &bull; MESSED AROUND (AND FELL IN LOVE) LEE DORSEY &bull; CHECK MR. POPEYE (PART I) EDDIE BO &bull; NOW LET&rsquo;S POPEYE (PART 2) EDDIE BO &bull; I FOUND YOU [I GOT YOU (I FEEL GOOD)] YVONNE FAIR AND THE JAMES BROWN BAND &bull; MASHED POTATOES U.S.A. JAMES BROWN &bull; I&rsquo;VE GOT MONEY JAMES BROWN &bull; ROAMIN&rsquo;-ITIS EDDIE BO.<br /></p></p><br><br>"
      "description_short" => "<h3>JAMES BROWN • MONGO SANTAMARIA • SUN RA / EDDIE BO • HERBIE HANCOCK…</h3>"
      "link_rewrite" => "roots-of-funk-1947-1962"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Roots Of Funk 1947-1962"
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 409
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1347-18508"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1347&rewrite=roots-of-funk-1947-1962&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:2 [ …2]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>Roots of funk FA5498</h3><span class=Soustitre2>1947-1962<br />ROOTS OF<br />FUNK</span><span class=Texte><br /></span><span class=Soustitre>JAMES BROWN<br />MONGO SANTAMARIA<br />SUN RA / EDDIE BO<br />HERBIE HANCOCK&hellip;</span><span class=Texte><br /></span><span class=Soustitre>par Bruno Blum</span><span class=Texte><br />Dans la culture afro-am&eacute;ricaine, funk signifie litt&eacute;ralement &laquo;&thinsp;mauvaise odeur corporelle&thinsp;&raquo;, salet&eacute; ou sperme. Il indique un lien avec la terre et parfois par extension une connexion avec les sages, les esprits sacr&eacute;s des anc&ecirc;tres &mdash; avec l&rsquo;authenticit&eacute;, la spontan&eacute;it&eacute; &mdash; l&rsquo;int&eacute;grit&eacute;. &laquo;&thinsp;Funky&thinsp;&raquo; peut &ecirc;tre l&rsquo;&eacute;pith&egrave;te d&rsquo;un objet artisanal rudimentaire, mais &agrave; la fonction essentielle. Vers 1900 le terme familier &laquo;&thinsp;funk&thinsp;&raquo; &eacute;tait d&eacute;j&agrave; utilis&eacute; pour d&eacute;crire la puanteur d&rsquo;un gaz corporel ou de la transpiration. C&rsquo;est ainsi que vers 1907 la composition &laquo;&thinsp;Funky Butt&thinsp;&raquo; de celui qui fut sans doute le plus essentiel des fondateurs du jazz, Buddy Bolden, donna son surnom &agrave; une petite bo&icirc;te de jazz de la Nouvelle-Orl&eacute;ans o&ugrave; le musicien s&rsquo;&eacute;tait illustr&eacute;. Au XIXe si&egrave;cle nombre d&rsquo;esclaves venus de Ha&iuml;ti et de Cuba avaient afflu&eacute; dans cette petite ville de Louisiane destin&eacute;e &agrave; devenir &laquo;&thinsp;la capitale des Cara&iuml;bes&thinsp;&raquo;1. Ils y avaient apport&eacute;, de fa&ccedil;on consistante, des traditions musicales afro-cr&eacute;oles jusque-l&agrave; interdites et peu d&eacute;velopp&eacute;es aux États-Unis, notamment des rythmes syncop&eacute;s employ&eacute;s dans leurs rituels animistes (vaudou, santería) incluant des musiques de transe : ces musiques liturgiques constituent les racines profondes du jazz comme de la musique funk. La s&eacute;lection des titres a ici &eacute;t&eacute; guid&eacute;e par cette tendance &agrave; la syncope, qui se d&eacute;veloppa aux États-Unis apr&egrave;s la guerre. Dans certains cas, la simple pr&eacute;sence d&rsquo;une volont&eacute; de cr&eacute;ation d&rsquo;une rythmique originale, dansante, a guid&eacute; notre choix. Comme dans le jazz et la soul music naissante, la volont&eacute; de lib&eacute;ration des &acirc;mes et des corps &eacute;tait ind&eacute;fectiblement li&eacute;e &agrave; cette intention rythmique, et &agrave; une volont&eacute; d&rsquo;exprimer des &eacute;motions de fa&ccedil;on enti&egrave;re, libre, d&eacute;complex&eacute;e2.<br />Le po&egrave;te choisit, &eacute;lit, dans la masse du monde, ce qu&rsquo;il lui faut pr&eacute;server, chanter, sauver, et qui s&rsquo;accorde &agrave; son chant. Et le rythme est force rituelle, aussi bien que levier de conscience.<br />&mdash; <strong>Édouard Glissant</strong>3<br />Ces musiques &laquo;&thinsp;proto-funk&thinsp;&raquo; lib&eacute;ratrices &eacute;taient le v&eacute;hicule d&rsquo;une attitude o&ugrave; la sexualit&eacute; avait une grande place. Elles &eacute;taient aussi souvent pleines d&rsquo;humour, affichant une extravagance propre aux futures vedettes du funk des ann&eacute;es 1960-70 comme James Brown, Betty Davis, Sly Stone, sans oublier l&rsquo;afrofuturisme de Bootsy Collins ou George Clinton&thinsp;; on retrouve ici une excentricit&eacute; analogue chez Slim Gaillard, Boogaloo, Thelonious Monk, Dizzy Gillespie, Bo Diddley, Sun Ra et Moondog, un aveugle blanc new-yorkais inspir&eacute; par les tambours arapaho. Les racines afro-antillaises (disque 1) et les &eacute;vocations de l&rsquo;Afrique habitent depuis longtemps les musiques afro-am&eacute;ricaines les plus essentielles, du funk au hip hop en passant par le rock et le reggae, mais aussi le jazz4. Les rythmes afro-carib&eacute;ens ont plus que tout autres marqu&eacute; la Louisiane et sa tr&egrave;s influente musique : ragtime, jazz dixieland d&rsquo;abord puis swing dans les ann&eacute;es 1900-1940, ensuite d&egrave;s 1948 &agrave; New York par les orchestres cubains jazzy de Machito, Tito Puente, James Moody ou Dizzy Gillespie5. Les bluesmen de Louisiane Professor Longhair et Dave Bartholomew ont eux aussi enregistr&eacute; sur le rythme du son cubain (appel&eacute; rumba par les Am&eacute;ricains). Puis dans les ann&eacute;es 1950-60 ces influences carib&eacute;ennes impr&eacute;gn&egrave;rent la soul d&rsquo;Allen Toussaint ou Eddie Bo et le funk proprement dit d&rsquo;Art Neville et ses futurs Meters, form&eacute;s en 1965.<br />&nbsp;<br />Au d&eacute;but des ann&eacute;es 1950, le terme funk (dans le sens &laquo;&thinsp;int&eacute;grit&eacute; artistique&thinsp;&raquo;) a &eacute;t&eacute; revendiqu&eacute; par des musiciens de jazz moderne souhaitant renouer avec le blues et les negro spirituals. Ils ont nourri la musique am&eacute;ricaine avec un style &agrave; la fois sophistiqu&eacute; et ostensiblement charg&eacute; d&rsquo;&eacute;motion. Le jazz tr&egrave;s senti auquel ils donnaient l&rsquo;adjectif &laquo;&thinsp;funky&thinsp;&raquo; cohabitait avec l&rsquo;influence cubaine, tr&egrave;s marqu&eacute;e dans les ann&eacute;es 1940-50 o&ugrave; diff&eacute;rents champs rythmiques nouveaux ont &eacute;t&eacute; explor&eacute;s dans le jazz (disque 2), laissant derri&egrave;re eux l&rsquo;&egrave;re du &laquo;&thinsp;swing&thinsp;&raquo; pour aller peu &agrave; peu vers ce que James Brown appelerait le &laquo;&thinsp;groove&thinsp;&raquo;. Naturellement, les musiques populaires afro-am&eacute;ricaines dominantes &eacute;taient le gospel, le blues, le rhythm and blues et la soul naissante. On y trouvait une recherche rythmique (et une influence cubaine) qui dura jusque dans les ann&eacute;es 1960 (&eacute;couter ici Bo Diddley ou le Louie Louie de Richard Berry). Quant au rap et &agrave; la culture hip hop, ils sont fondamentalement li&eacute;s &agrave; l&rsquo;influence des sound systems jama&iuml;cains sur les pistes de danse et les disc jockeys new yorkais des ann&eacute;es 19706. N&eacute; avec les sound systems jama&iuml;cains dans les ann&eacute;es 1950 avant d&rsquo;&ecirc;tre export&eacute; &agrave; New York, le rap est un h&eacute;ritage du quadrille, qui &eacute;tait jou&eacute; par les esclaves dans toutes les Antilles, de la Jama&iuml;que &agrave; la Nouvelle-Orl&eacute;ans. Enregistr&eacute; en Guadeloupe, le classique du genre Pantalon est un exemple de la pratique traditionnelle des commandeurs, qui avec leurs rimes improvis&eacute;es dirigeaient la danse quadrille dans les Cara&iuml;bes &mdash; ici sur une rythmique tr&egrave;s funky. Parall&egrave;lement, l&rsquo;utilisation de voix parl&eacute;es ou scand&eacute;es (Bo Diddley, Slim Gaillard, Boogaloo, Red Saunders) ont &eacute;t&eacute; une occasion suppl&eacute;mentaire de mettre en sc&egrave;ne des aspects profond&eacute;ment noirs de la culture am&eacute;ricaine : joutes verbales du signifying, improvisations vocales scat dans le jazz, humour/auto-d&eacute;rision, danses &eacute;rotiques ou tradition de jeux d&rsquo;enfants (Hambone et ses claquements de mains d&rsquo;enfants sur le corps, un morceau qui inspira la fameuse composition proto-funk Bo Diddley). <br />L&rsquo;&eacute;volution vers le funk proprement dit a &eacute;t&eacute; esquiss&eacute;e d&egrave;s le d&eacute;but des ann&eacute;es 1960 par des artistes du sud des États-Unis comme Rufus Thomas (Memphis), Lee Dorsey (avec le pianiste compositeur arrangeur Allen Toussaint) et Eddie Bo, tous trois de la Nouvelle-Orl&eacute;ans &mdash; et bien s&ucirc;r le monstre sacr&eacute; James Brown, dont le chant &eacute;tait tr&egrave;s marqu&eacute; par le gospel d&eacute;cha&icirc;n&eacute; d&rsquo;artistes comme les Blind Boys of Alabama.<br /></span><span class=Soustitre>Funk</span><span class=Texte><br />Dans les communaut&eacute;s noires, le terme d&rsquo;argot &laquo;&thinsp;funky&thinsp;&raquo; signifiait &agrave; l&rsquo;origine une forte odeur corporelle, et non &laquo;&thinsp;funk&thinsp;&raquo; dans le sens &laquo;&thinsp;peur&thinsp;&raquo; ou &laquo;&thinsp;panique&thinsp;&raquo;. Cette nuance noire semble &ecirc;tre d&eacute;riv&eacute;e de lu-fuki en langue kikongo, o&ugrave; il signifie &laquo;&thinsp;mauvaise odeur corporelle&thinsp;&raquo; [&hellip;]. Le mot kikongo est plus proche du jargon jazz &laquo;&thinsp;funky&thinsp;&raquo; dans sa forme comme dans son sens puisque les jazzmen utilisent &laquo;&thinsp;funky&thinsp;&raquo; et les Bakongo lu-fuki pour encenser des personnes en raison de leur int&eacute;grit&eacute; artistique, ceux qui ont &laquo;&thinsp;travaill&eacute; &agrave; fond [worked out]&raquo; afin d&rsquo;atteindre leurs objectifs. Au Congo aujourd&rsquo;hui il est possible d&rsquo;entendre un ancien glorifi&eacute; de cette fa&ccedil;on&#8239;: &laquo;&thinsp;On dirait que voil&agrave; une personne vraiment funky&#8239;! &mdash; mon &acirc;me s&rsquo;avance vers elle pour recevoir ses b&eacute;n&eacute;dictions (yati, nkwa lu-fuki ! Ve miela miami ikwenda baki) [&hellip;] Car au Congo, l&rsquo;odeur d&rsquo;une personne &acirc;g&eacute;e qui travaille dur porte chance. Ce signe d&rsquo;effort physique est identifi&eacute; avec l&rsquo;&eacute;nergie positive de la personne. Ainsi, dans le jargon du jazz, &laquo;&thinsp;funk&thinsp;&raquo; peut signifier &ecirc;tre terre-&agrave;-terre, un retour aux choses fondamentales.<br />&mdash; <strong>Robert Farris Thompson</strong>, 1983(7).<br />Compos&eacute;s en bonne partie de Bantous originaires du bassin du Congo, les esclaves ha&iuml;tiens arriv&eacute;s en masse &agrave; la Nouvelle-Orl&eacute;ans au d&eacute;but du XIXe si&egrave;cle (pendant les r&eacute;volutions fran&ccedil;aise et ha&iuml;tienne) ont consid&eacute;rablement pes&eacute; dans les r&eacute;unions musicales informelles qui se d&eacute;roulaient alors le dimanche sur Congo Square. Ce lieu privil&eacute;gi&eacute; &eacute;tait un havre pour les esclaves, les esclaves &eacute;mancip&eacute;s et les &laquo;&thinsp;hommes libres de couleur&thinsp;&raquo; qui pouvaient, fait unique sur le territoire des États-Unis, donner libre cours &agrave; leur inspiration : tambours rituels, chants, danses, improvisations (instruments &agrave; vent), etc8. Gr&acirc;ce &agrave; ce cadre de libert&eacute; d&rsquo;expression, des musiques cr&eacute;oles caract&eacute;ristiques des Cara&iuml;bes ont form&eacute; le socle du ragtime et du jazz qui prirent leur essor &agrave; la charni&egrave;re des XIXe et XXe si&egrave;cle.<br />Vers 1900-1907, le l&eacute;gendaire cornettiste Charles Joseph &laquo;&thinsp;Buddy&thinsp;&raquo; Bolden, r&eacute;put&eacute; &ecirc;tre le v&eacute;ritable fondateur du jazz, improvisait avec puissance et inspiration. Il jouait r&eacute;guli&egrave;rement &agrave; l&rsquo;Union Sons Hall sur Presidio Street &agrave; la Nouvelle-Orl&eacute;ans, bient&ocirc;t rebaptis&eacute; le Funky Butt en hommage &agrave; sa m&eacute;moire. La l&eacute;gende raconte que son tromboniste William &laquo;&thinsp;Willy&thinsp;&raquo; Cornish y improvisa un jour ces paroles sur une composition de Bolden : <br />Funky butt [cul malodorant], funky butt/enlevez &ccedil;a/ouvrez les fen&ecirc;tres et laissez le mauvais air sortir<br /></span><span class=Soustitre2>Disque 1</span><span class=Texte><br /></span><span class=Soustitre2>Cara&iuml;bes : les racines profondes du funk</span><span class=Texte><br />Dans son acception plus r&eacute;cente (ann&eacute;es 1970-90), le terme funk indique principalement une musique afro-am&eacute;ricaine, ou d&rsquo;essence afro-am&eacute;ricaine, qui incite fortement &agrave; la danse. Pour faire danser leur public, au cours de son &acirc;ge d&rsquo;or originel des ann&eacute;es 1965-1975 les musiciens de funk exploitaient diff&eacute;rentes formules rythmiques comme la syncope (accent sur certains contretemps), l&rsquo;h&eacute;miole (sch&eacute;matiquement, la superposition d&rsquo;un rythme binaire et d&rsquo;un rythme ternaire &laquo;&thinsp;swing&thinsp;&raquo;, comme ici lors du rituel vaudou ha&iuml;tien Po&rsquo; Drapeaux), la mise en avant de la batterie, de la basse, des percussions, l&rsquo;ex&eacute;cution de silences et syncopes &agrave; la guitare rythmique, etc. Ces proc&eacute;d&eacute;s sont pr&eacute;sents chez les pionniers du genre &mdash; comme le fondateur James Brown and his Famous Flames qui innova aussi en mettant l&rsquo;accent sur le premier temps, et d&rsquo;autres pr&eacute;curseurs comme les Meters en 1969, Funkadelic (George Clinton) en 1969, puis les Ohio Players ou Parliament. On retrouvera souvent ces pratiques en accompagnement d&rsquo;une improvisation (&laquo;&thinsp;jazz funk&thinsp;&raquo; instrumental de Defunkt, Eddie Harris ou Maceo Parker) comme ici le premier succ&egrave;s de Herbie Hancock, Watermelon Man sur un rythme syncop&eacute; qui annon&ccedil;ait son extraordinaire album jazz funk de 1975 Man-Child. La syncope &eacute;tait aussi pr&eacute;sente en support du rap d&rsquo;Alafia Pudim alias Lightnin&rsquo; Rod avec Kool and the Gang en 1973 (puis dans le hip hop du Sugarhill Gang, Grandmaster Flash and the Furious Five &mdash; et le gangsta funk de Snoop Doggy Dog, Dr. Dre, etc.). <br />Or comme on peut l&rsquo;appr&eacute;cier ici sur le disque 1, les afro-carib&eacute;ens ont utilis&eacute; ce langage musical longtemps avant la naissance du funk am&eacute;ricain proprement dit, dont on peut approximativement estimer la naissance &agrave; f&eacute;vrier 1965 avec l&rsquo;enregistrement des c&eacute;l&egrave;bres I Got You (I Feel Good) et &laquo;&thinsp;Papa&rsquo;s Got a Brand New Bag&thinsp;&raquo; de James Brown avec Melvin Parker &agrave; la batterie et Sam Thomas (ou Bernard Odum) &agrave; la guitare basse (d&rsquo;autres titres enregistr&eacute;s en 1964, dont &laquo;&thinsp;Out of Sight&thinsp;&raquo;, sont des concurrents recevables au titre de &laquo;&thinsp;premier funk&thinsp;&raquo; !). On observe aussi que le terme &laquo;&thinsp;funky&thinsp;&raquo; a tr&egrave;s t&ocirc;t &eacute;t&eacute; adopt&eacute; par le reggae jama&iuml;cain : d&egrave;s 1969, accompagn&eacute; par les fr&egrave;res Barrett qui &eacute;taient tr&egrave;s marqu&eacute;s par les Meters, Bob Marley enregistrait &laquo;&thinsp;Black Progress&thinsp;&raquo;, une adaptation reggae syncop&eacute;e du &laquo;&thinsp;(Say It Loud) I&rsquo;m Black and I&rsquo;m Proud&thinsp;&raquo; de James Brown. Citons &laquo;&thinsp;Funky Reggae&thinsp;&raquo; (1969) de Dave Barker, &laquo;&thinsp;Funky Chicken&thinsp;&raquo; (vers 1969) de Winston Groovy&thinsp;&raquo;, &laquo;&thinsp;Funky Duck&thinsp;&raquo; et &laquo;&thinsp;Funky Monkey&thinsp;&raquo; (bas&eacute;s sur le succ&egrave;s des Temptations &laquo;&thinsp;My Girl&thinsp;&raquo; et &laquo;&thinsp;Just my Imagination&thinsp;&raquo;) de Dice The Boss en 1971. Toujours en Jama&iuml;que, &laquo;&thinsp;The Funky Thang&thinsp;&raquo; de Dennis Alcapone &eacute;tait adapt&eacute; du &laquo;&thinsp;Woman of the Ghetto&thinsp;&raquo; de Marlena Shaw en 1971&thinsp;; le &laquo;&thinsp;Funky Broadway&thinsp;&raquo; du Jama&iuml;cain Delroy Wilson r&eacute;pondait au &laquo;&thinsp;Funky Nassau&thinsp;&raquo; (1971) des Baham&eacute;ens The Beginning of the End, suivi par le sublime &laquo;&thinsp;Funky Kingston&thinsp;&raquo; (1973) de Toots and the Maytals.<br />C&rsquo;est apr&egrave;s &laquo;&thinsp;Everything I Do Gonh Be Funky&thinsp;&raquo; de Lee Dorsey (1969), &laquo;&thinsp;Funky Fly&thinsp;&raquo; (1970) de Bo Diddley et &laquo;&thinsp;Make It Funky&thinsp;&raquo; de James Brown (1971) que le &laquo;&thinsp;Funky Worm&thinsp;&raquo; (1972) des Ohio Players a sans doute &eacute;t&eacute; le premier gros succ&egrave;s am&eacute;ricain au titre contenant le mot &laquo;&thinsp;funky&thinsp;&raquo;. Le premier morceau au titre funky fut peut-&ecirc;tre le &laquo;&thinsp;Funky Miracle&thinsp;&raquo; (1969) des Meters, un influent groupe instrumental de la Nouvelle-Orl&eacute;ans (dirig&eacute; par Art Neville). Cette pr&eacute;sence antillaise au c&oelig;ur du rayon funky est la suite logique du fourmillement rythmique caract&eacute;ristique de la Cara&iuml;be. Aux États-Unis comme aux Antilles l&rsquo;utilisation de tambours et l&rsquo;interpr&eacute;tation de musiques africaines &eacute;taient interdites aux esclaves. Ce n&rsquo;est qu&rsquo;au XIXe si&egrave;cle apr&egrave;s l&rsquo;arriv&eacute;e d&rsquo;esclaves ha&iuml;tiens et cubains &agrave; la Nouvelle-Orl&eacute;ans que la pratique de ces musiques s&rsquo;est d&eacute;velopp&eacute;e sur le continent. Nombre de leurs rythmes essentiels &eacute;taient utilis&eacute;s dans le vaudou&thinsp;; enregistr&eacute;s un si&egrave;cle plus tard, les rythmes vaudou sont classifi&eacute;s et d&eacute;crypt&eacute;s dans Haiti Voodoo &ndash; Folk Trance Possession Rituals 1937-1962 (&agrave; paraitre dans cette collection) &mdash; dont quatre titres sont extraits ici. Les rythmes afro-carib&eacute;ens se sont alors v&eacute;ritablement implant&eacute;s aux États-Unis. D&rsquo;autres enregistrements de rituels carib&eacute;ens anciens figurent dans Jamaica Folk Trance Possession &ndash; Roots of Rastafari 1939-1961 (FA 5384). D&rsquo;autres musiques analogues, notamment cubaines, sont disponibles dans Slavery in America &ndash; Redemption Songs 1914 &ndash; 1962 (FA 5467). Pr&eacute;cisons que si les rythmes sacr&eacute;s du vaudou ha&iuml;tien ont indiscutablement de solides racines africaines, ils ont n&eacute;anmoins une identit&eacute; cr&eacute;ole, distincte de leur origine. Bien qu&rsquo;ils aient peut-&ecirc;tre &eacute;t&eacute; alt&eacute;r&eacute;s ou modifi&eacute;s au fil du XXe si&egrave;cle, ce qui n&rsquo;est pas certain &mdash; ce sont des rythmes sacr&eacute;s &mdash; leur importance et influence a &eacute;t&eacute; capitale.<br />De nombreuses sources (dont le batteur Art Blakey) ont affirm&eacute; que le swing (rythme ternaire, essentiel dans le balancement du jazz) &eacute;tait une cr&eacute;ation &eacute;tats-unienne et non africaine. Mais il est vraisemblable que celui-ci soit en fait parvenu des Cara&iuml;bes &agrave; la Nouvelle-Orl&eacute;ans, comme le sugg&egrave;re ici Po&rsquo; Drapeaux (1953), un rythme sacr&eacute; de rituel vaudou ha&iuml;tien petro (bantou/kongo) transmis par des descendants d&rsquo;esclaves9. Certes cet enregistrement est bien ult&eacute;rieur &agrave; l&rsquo;arriv&eacute;e des Ha&iuml;tiens en Louisiane, et les musiques &eacute;voluent. Mais les pr&eacute;cieux rythmes sacr&eacute;s, qui ouvraient la porte aux transes des rites animistes, &eacute;taient l&rsquo;objet d&rsquo;une transmission appliqu&eacute;e &mdash; surtout pour des descendants d&rsquo;esclaves pour qui ces musiques &eacute;taient un rare lien tangible avec leurs anc&ecirc;tres, qu&rsquo;ils invoquaient pr&eacute;cis&eacute;ment au cours de leurs rites.<br />D&rsquo;autre part, selon l&rsquo;ethnomusicologue Harold Courlander en 1952, une danse sociale li&eacute;e &agrave; la danse juba (une danse &eacute;galement appel&eacute;e &laquo;&thinsp;Martinique&thinsp;&raquo; quand pratiqu&eacute;e lors de rites mortuaires), et appel&eacute;e bamboula, &eacute;tait r&eacute;pandue dans plusieurs &icirc;les des Antilles et &agrave; la Nouvelle-Orl&eacute;ans. Toujours selon lui, le rythme de la bamboula &eacute;tait phon&eacute;tiquement intitul&eacute; Baboule Dance (1950) &agrave; Ha&iuml;ti et serait &laquo;&thinsp;probablement&thinsp;&raquo; celui entendu ici10. On en retrouve la trace &agrave; la base du premier grand classique de la musique classique am&eacute;ricaine, le l&eacute;gendaire &laquo;&thinsp;Bamboula &ndash; Danse des n&egrave;gres&thinsp;&raquo; bas&eacute; sur un rythme entendu &agrave; Congo Square, compos&eacute; en 1845 par Louis Moreau Gottschalk11. En comparant &laquo;&thinsp;Baboule Dance&thinsp;&raquo; &agrave; la pi&egrave;ce classique &laquo;&thinsp;Bamboula&thinsp;&raquo;, on observe qu&rsquo;ils sont interpr&eacute;t&eacute;s sur le m&ecirc;me rythme &mdash; un rythme bien particulier, portant le m&ecirc;me nom malgr&eacute; un si&egrave;cle de distance.<br />D&rsquo;autres rythmes vaudous traditionnels, enregistr&eacute;s sur le terrain, figurent ici. L&rsquo;entra&icirc;nant Papa Legba Invocation &eacute;voque un peu le funk &agrave; venir&thinsp;; Ayizan Marche est le rythme de la danse vaudou z&eacute;paule, dont le principe est analogue &agrave; celui du shimmy am&eacute;ricain (agiter les &eacute;paules d&rsquo;avant en arri&egrave;re de fa&ccedil;on &eacute;rotique) &eacute;voqu&eacute; sur le Can You Shimmy? de Bo Diddley. Toujours &agrave; Ha&iuml;ti, la Contre danse n&deg;4 de l&rsquo;Ensemble aux Calebasses de Nemours Jean-Baptiste est un bon exemple d&rsquo;une musique moderne bas&eacute;e sur une contre danse fran&ccedil;aise de jadis, sur laquelle a &eacute;t&eacute; plaqu&eacute;e un rythme ternaire analogue au rythme utilis&eacute; dans le rituel de vaudou ha&iuml;tien petro mazonnei de Po&rsquo; Drapeaux12. Dans la localit&eacute; martiniquaise du Fran&ccedil;ois, la tradition d&rsquo;une m&ecirc;me musique, proche du quadrille, perdure de fa&ccedil;on vivace et y accompagne une danse appel&eacute;e haute taille. Contre danse n&deg;4 montre aussi comment sous l&rsquo;impulsion des percussionnistes, d&rsquo;un accord&eacute;oniste et du chanteur Julien Paul une musique fran&ccedil;aise du XVIIIe si&egrave;cle pouvait se m&eacute;tamorphoser en un cousin de la meringue13 tr&egrave;s dansante (appel&eacute; merengue &agrave; Saint Domingue, country dance en Angleterre, contre danse en France, danza &agrave; Cuba et &laquo;&thinsp;rythme habanera14&thinsp;&raquo; ailleurs). <br />Aux Antilles fran&ccedil;aises et en Louisiane, un traitement analogue &eacute;tait d&rsquo;ailleurs effectu&eacute; sur d&rsquo;autres musiques aux rythmes venus d&rsquo;Europe : javas, valses, mazurkas15 etc. On l&rsquo;entend sur le Me and You et le Java extraits du premier album du pianiste Allen Toussaint, qui dans les ann&eacute;es 1960-70 deviendrait l&rsquo;un des grands arrangeurs de la soul et du funk &agrave; la Nouvelle-Orl&eacute;ans. M&ecirc;me processus de cr&eacute;olisation syncop&eacute;e pour Severa par l&rsquo;orchestre de Luis Quintero et Compay Cucu de Dioris Valladares, deux titres enregistr&eacute;s &agrave; New York par des Dominicains16.<br />Comme le titre des Blind Boys of Alabama le montre explicitement, le gospel baptiste peut &ecirc;tre exub&eacute;rant. Il a marqu&eacute; un chanteur comme James Brown, qui a fait ses d&eacute;buts dans ce style intense. Les negro spirituals et le gospel (pentec&ocirc;tiste cette fois) ont aussi marqu&eacute; le mento jama&iuml;cain. Cette musique folk locale resta populaire avant d&rsquo;&ecirc;tre supplant&eacute;e par le d&eacute;veloppement du rhythm and blues dans les ann&eacute;es 195017. Quatre interpr&egrave;tes de mento utilisant des rythmiques syncop&eacute;es sont inclus ici : Lord Composer et Monty Reynolds chantent avec ferveur tandis que Lord Tickler et les Wrigglers (avec Ernest Ranglin &agrave; la guitare) interpr&egrave;tent diff&eacute;rentes versions de Limbo, une composition sans doute originaire de la Trinit&eacute;. On voit comment la m&ecirc;me composition traditionnelle et le m&ecirc;me rythme (&eacute;couter la percussion tibois &mdash; appel&eacute;e clave &agrave; Cuba) est &agrave; la base du style am&eacute;ricain de Bo Diddley (il joue ici la partie de tibois &agrave; la guitare &eacute;lectrique)18. Limbo donna naissance &agrave; des arrangements diff&eacute;rents, tous plus funky les uns que les autres, jusqu&rsquo;aux Bermudes britanniques (Reuben McCoy)19. <br /></span><span class=Soustitre><br />Santeriá, son, mambo, cha cha chá</span><span class=Texte><br />Une influence carib&eacute;enne majeure sur le futur funk est venue de Cuba. Le son cubain (appel&eacute; rumba aux USA) &eacute;tait &agrave; la mode dans les ann&eacute;es 1930-4020. Il a marqu&eacute; le mambo et parfois le blues, comme on peut le v&eacute;rifier en &eacute;coutant les pr&eacute;curseurs Louis Jordan sur Early in the Morning et Professor Longhair sur Mardi Gras in New Orleans o&ugrave; le tibois/clave caract&eacute;ristique de la rumba est pr&eacute;sent.<br />Marqu&eacute; par les grands orchestres de jazz (Count Basie, etc.) des ann&eacute;es 1940, l&rsquo;impact du mambo, un genre lanc&eacute; par Perez Prado en 1949, a &eacute;t&eacute; massif aux États-Unis. Les musiciens de vari&eacute;t&eacute;, de blues (ici Ruth Brown avec Mambo Baby) et de jazz se sont essay&eacute;s &agrave; son rythme, ses percussions, et se sont inspir&eacute;s des arrangements de ses th&egrave;mes jou&eacute;s par des instruments &agrave; vent incisifs, tr&egrave;s rythmiques, et l&rsquo;irruption d&rsquo;un nouveau groove &agrave; la contrebasse. Avec le merengue dominicain (dont les variantes carabinier entendues sur Severa et Compay Cucu pr&eacute;sentent quelques-uns des premiers exemples de basse syncop&eacute;e) et l&rsquo;influence portoricaine (plena, bomba), le mambo cubain est &agrave; la racine de la salsa new-yorkaise des ann&eacute;es 1970. Mais ses innovations stylistiques majeures avaient d&eacute;j&agrave; frapp&eacute; des musiciens am&eacute;ricains d&egrave;s l&rsquo;apr&egrave;s-guerre. Orient&eacute; vers la danse, vers la rythmique, par sa modernit&eacute; et son efficacit&eacute; le mambo annon&ccedil;ait le funk dix ou vingt ans avant &laquo;&thinsp;Sex Machine&thinsp;&raquo;, comme le montrent ici le new-yorkais Tito Puente avec Abaniquito ou le Cubain Machito avec l&rsquo;hypnotique Tanga. Sorti chez Chess sous le nom des Hawketts en 1955, Mambo Mardi Gras fut le premier disque d&rsquo;Art Neville le fondateur des Meters, groupe de r&eacute;f&eacute;rence du funk d&egrave;s 1969. Monstre sacr&eacute; du rhythm and blues de la Nouvelle Orl&eacute;ans, Dave Bartholomew fait rimer ici mambo et gumbo sur Shrimp and Gumbo, un exquis mambo de fanfare ultra funky. Rumba/son comme mambo plongent leurs racines dans les musiques utilis&eacute;es pour les rites animistes de la santeriá cubaine, repr&eacute;sent&eacute;e ici par le percussionniste Mongo Santamaria avec Olla De for Olla. &Agrave; New York, Slim Gaillard invoque d&rsquo;ailleurs le dieu vaudou/orisha yoruba Shango dans son bol&eacute;ro Babalu (de la m&ecirc;me &eacute;tymologie que &laquo;&thinsp;bamboula&thinsp;&raquo;/Baboule Dance ?). Apparu au milieu des ann&eacute;es 1950, le cha cha chá &eacute;tait un d&eacute;riv&eacute; du mambo, simplifi&eacute; et plus lent. Il a tout autant marqu&eacute; les musiciens am&eacute;ricains : l&rsquo;arrangement rythmique de El Loco Cha Chá par l&rsquo;orchestre cubain de Ren&eacute; Touzet a donn&eacute; l&rsquo;un des plus grands classiques du rock, le c&eacute;l&egrave;bre Louie Louie de Richard Berry, o&ugrave; un marin jama&iuml;cain sur le d&eacute;part raconte &agrave; un barman nomm&eacute; Louie qu&rsquo;il rentre chez lui retrouver son amour (&laquo;&thinsp;me gotta go&thinsp;&raquo;). Il est pr&eacute;sent&eacute; ici dans sa version originale de 1955 o&ugrave; les basses chant&eacute;es dans un style doo wop21 peuvent aussi faire penser aux premiers succ&egrave;s de funk psych&eacute;d&eacute;lique de Sly Stone comme &laquo;&thinsp;Dance to the Music&thinsp;&raquo; (1967). C&rsquo;est un exemple de plus de l&rsquo;influence cubaine sur le rhythm and blues, dont les artistes ont souvent &eacute;volu&eacute; vers le funk. <br /></span><span class=Soustitre2><br />Disque 2<br />Funky jazz, hard bop, soul jazz</span><span class=Texte><br />Funky, qui jusque-l&agrave; pour la plupart des Noirs, voulait dire simplement puant (et s&rsquo;employait d&rsquo;habitude dans un contexte sexuel), sert &agrave; d&eacute;signer une musique significative, ce qui implique que m&ecirc;me la vieille id&eacute;e pr&eacute;con&ccedil;ue de l&rsquo;Am&eacute;rique blanche, selon laquelle le Noir a une odeur particuli&egrave;re, r&eacute;elle ou non, devient l&rsquo;un des traits de la &laquo;&thinsp;n&eacute;gritude&thinsp;&raquo;. Et dans les ann&eacute;es 1950, la n&eacute;gritude &eacute;tait devenue pour beaucoup de Noirs (et de Blancs) la seule force que gardait la culture am&eacute;ricaine.<br />&mdash; <strong>Leroi Jones, Le Peuple du blues</strong>22<br />L&rsquo;id&eacute;e de trivialit&eacute; olfactive pouvait &ecirc;tre associ&eacute;e &agrave; une musique &eacute;mouvante, aux sentiments exprim&eacute;s sans retenue et d&rsquo;une sinc&eacute;rit&eacute; artistique absolue o&ugrave; la sueur &eacute;tait un symbole d&rsquo;implication totale. L&rsquo;essentiel &eacute;tait d&rsquo;utiliser un langage musical profond&eacute;ment &laquo;&thinsp;noir&thinsp;&raquo;. Comme nous venons de le voir, les Cara&iuml;bes en &eacute;taient donc logiquement l&rsquo;un des r&eacute;servoirs, l&rsquo;une des sources de funkitude. Les plus grands jazzmen puis&egrave;rent &agrave; leur source : ici Dizzy Gillespie (Manteca, premier standard du jazz bas&eacute; sur le rythme de clave &laquo;&thinsp;rumba&thinsp;&raquo;), Slim Gaillard (Yo Yo Yo et Ba Ba Lu), Duke Ellington (Montevideo) ou James Moody (Tin Tin Deo). Mais il existait d&rsquo;autres formes d&rsquo;expression radicalement noires. &Agrave; partir de 1952 le courant du jazz moderne hard bop reprit &agrave; son compte le terme &laquo;&thinsp;funk&thinsp;&raquo; afin de se d&eacute;marquer du son cool californien jug&eacute; moins &laquo;&thinsp;noir&thinsp;&raquo; puisqu&rsquo;il utilisait parfois des arrangements marqu&eacute;s par la tradition &eacute;crite classique europ&eacute;enne. L&rsquo;adjectif &laquo;&thinsp;funky&thinsp;&raquo; indiquait en 1952 un style de jazz encore tr&egrave;s marqu&eacute; par le be-bop virtuose, mais plus profond&eacute;ment ancr&eacute; dans les musiques populaires afro-am&eacute;ricaines&#8239;: spirituals, gospel, calypso et blues. Opus de Funk d&rsquo;Horace Silver est embl&eacute;matique de ce courant.<br />Par contraste avec l&rsquo;&eacute;cole &laquo;&thinsp;cool&thinsp;&raquo;, un autre mouvement s&rsquo;est lev&eacute; avec l&rsquo;&eacute;tiquette &laquo;&thinsp;hard bop&thinsp;&raquo; parce qu&rsquo;il r&eacute;affirmait la primaut&eacute; du rhythm and blues dans notre musique et te mettait en sueur funky pour le jouer. Avec un son plus terre &agrave; terre, plus proche de l&rsquo;&eacute;glise, le hard bop a attir&eacute; beaucoup de nouveaux amateurs noirs vers notre musique&hellip;<br />&mdash; <strong>Dizzy Gillespie, To Be or Not To Bop</strong>, 1979(23)<br />Sur un tempo tr&egrave;s lent, comme sur le Blue Funk de Ray Charles et Milt Jackson en 1957, ou le &laquo;&thinsp;Funky Blues&thinsp;&raquo; de Johnny Hodges avec Charlie Parker (1952), on entend des improvisations pleines de feeling sur une grille de blues ordinaire, et &agrave; la fois sur un tempo tr&egrave;s lent n&eacute;cessitant une forte implication, plus &eacute;motionnelle que technique. Par son sens implicite l&rsquo;&eacute;pith&egrave;te &laquo;&thinsp;funky&thinsp;&raquo; sous-entend ici une volont&eacute; de renouer avec les racines profondes de la communaut&eacute; afro-am&eacute;ricaine, avec les esprits des anc&ecirc;tres c&eacute;l&eacute;br&eacute;s dans les rites animistes &mdash; avec le blues, avec une culture noire d&eacute;valoris&eacute;e depuis des si&egrave;cles. Le jazz &laquo;&thinsp;funky&thinsp;&raquo; &eacute;tait annonciateur du mouvement des Droits Civiques, qui prit son essor fin 1955.<br />&nbsp;<br />Par essence tr&egrave;s senti, le jazz funky m&ecirc;le de nouvelles rythmi-ques moins swing et plus groovy d&rsquo;Art Blakey (Moanin&rsquo;), Bobby Timmons (This Here) ou The-lonious Monk (Monk&rsquo;s Dream), qui utilisaient volontiers des syncopes, des percussions et le langage m&eacute;lodique du blues. Cette recherche rythmique s&rsquo;est d&eacute;velopp&eacute;e dans le jazz de l&rsquo;excentrique Slim Gaillard, roi du chant improvis&eacute; scat et de l&rsquo;argot jive, du g&eacute;nial Duke Ellington (l&rsquo;extraordinaire Montevideo) ou de l&rsquo;insolite et non moins g&eacute;nial Sun Ra, dont les r&eacute;f&eacute;rences permanentes au cosmos et &agrave; l&rsquo;antiquit&eacute; africaine marqueraient consid&eacute;rablement le funk afrofuturiste de George Clinton dans les ann&eacute;es 1970. Quant au grand bassiste et leader hard bop Charles Mingus, comme ici sur Slop il agr&eacute;mentait parfois ses morceaux bluesy de parties de basse-batterie annon&ccedil;ant les futures rythmiques funk de Stanley Clarke ou Bootsy.<br />La circulation des musiciens et des enregistrements a tr&egrave;s t&ocirc;t diffus&eacute; ces musiques afro-carib&eacute;ennes et &eacute;tats-uniennes dans toutes les Cara&iuml;bes, sur les deux continents am&eacute;ricains &mdash; et notamment &agrave; New York o&ugrave; beaucoup d&rsquo;enregistrements ont pris place24 &mdash; et au-del&agrave;. Largement consid&eacute;r&eacute; comme une invention des États-Unis, le &laquo;&thinsp;jazz&thinsp;&raquo; est en r&eacute;alit&eacute; une cr&eacute;ation globale des Cara&iuml;bes, dont la Nouvelle-Orl&eacute;ans fait g&eacute;ographiquement et culturellement partie. Produit de la cr&eacute;olisation (une culture nouvelle, fruit de m&eacute;langes culturels et bien distincte de ses racines), au XXe si&egrave;cle le jazz et ses souches apparent&eacute;es sont apparus sous diff&eacute;rentes formes dans une multitude de lieux, dont la Jama&iuml;que. Influenc&eacute; ici par le hard bop et ses racines spirituals/gospel tr&egrave;s pr&eacute;sentes en Jama&iuml;que, le tr&egrave;s funky First Gone des rastas Count Ossie &amp; the Wareikas (enregistr&eacute; &agrave; Kingston vers 1961) en est un exemple limpide bas&eacute; sur une rythmique de tambours rituels nyahbinghi aux origines bantoues. <br />Les Am&eacute;rindiens sont pr&eacute;sents dans les racines du funk. Leurs rites pr&eacute;c&eacute;d&egrave;rent d&rsquo;ailleurs ceux des Afro-Am&eacute;ricains &agrave; Congo Square m&ecirc;me. <br />Les Indiens d&rsquo;Am&eacute;rique ont ce rythme de base, un battement du c&oelig;ur &agrave; deux vitesses &mdash; un walking beat &agrave; deux temps et un running beat &agrave; quatre temps. J&rsquo;utilise ces rythmes aujourd&rsquo;hui encore. En fait il m&rsquo;est apparu r&eacute;cemment que la musique indienne d&rsquo;Am&eacute;rique est tellement syncop&eacute;e que n&rsquo;importe quel musicien de jazz verrait une connexion &eacute;vidente entre jazz et musique indienne25. Ces chansons ne sont pas improvis&eacute;es &mdash; elles ont &eacute;t&eacute; transmises de g&eacute;n&eacute;ration en g&eacute;n&eacute;ration&hellip; elles sont extr&ecirc;mement anciennes.<br />&mdash; <strong>Moondog</strong>, 1995(26)<br />Aveugle, Moondog jouait en faisant la manche dans l&rsquo;apr&egrave;s-guerre habill&eacute; en viking sur la 52e rue &agrave; New York &mdash; la rue des clubs de jazz. Marqu&eacute; par les percussions des indiens Arapaho qu&rsquo;il fr&eacute;quenta enfant avant de perdre la vue &mdash; et dipl&ocirc;m&eacute; en musique &mdash;, ce Blanc &eacute;tait l&rsquo;ami de Charlie Parker, qui avait pr&eacute;vu d&rsquo;enregistrer avec lui27. L&rsquo;&eacute;tonnant Moondog Symphony de 1949 servit d&rsquo;indicatif &agrave; la c&eacute;l&egrave;bre &eacute;mission Moondog Rock &amp; Roll Show de l&rsquo;animateur Alan Freed, qui fit d&eacute;couvrir le rock au grand public am&eacute;ricain28. &Agrave; la fin des ann&eacute;es 1950, avec Call for All Demons de Sun Ra, Moanin&rsquo; des Jazz Messengers d&rsquo;Art Blakey, le divin soul jazz de Bobby Timmons sur son chef-d&rsquo;&oelig;uvre This Here ou le shuffle de My Baby Just Cares for Me de Nina Simone, certains grands musiciens de jazz basculaient du swing &agrave; un nouveau balancement, avec son groove de basse diff&eacute;rent (Jimmy Lewis avec Mickey Baker), alternant silences et croches, premiers temps et syncopes, anacrouses anticipant le temps et shuffle29 h&eacute;rit&eacute; des pas de danse religieux. <br />&laquo;&thinsp;Sa combinaison inhabituelle de formation classique, la qualit&eacute; extatique et s&eacute;rieuse de la musique religieuse n&egrave;gre qui a influenc&eacute; son interpr&eacute;tation vocale et les &eacute;coles de jazz moderne et &laquo;&thinsp;funky&thinsp;&raquo; avec lesquelles elle est entr&eacute;e en contact rapproch&eacute; contribuent &agrave; faire d&rsquo;elle une chanteuse et instrumentiste de jazz innovante capable de nous inspirer.&thinsp;&raquo;<br />&mdash; Joseph Muranyi (extrait du texte original de la pochette du premier album de Nina Simone, 1958).<br /></span><span class=Soustitre2>Disque 3<br />Negro Spirituals, Blues &amp; Soul</span><span class=Texte><br />Le mot funky m&rsquo;embarrasse toujours parce qu&rsquo;on l&rsquo;a utilis&eacute; &agrave; tort et &agrave; travers. Pour moi, c&rsquo;est une des formes de la sinc&eacute;rit&eacute;. Le terme funky est extr&ecirc;mement difficile &agrave; d&eacute;finir [&hellip;] Moi je pr&eacute;f&egrave;re dire soulful. <br />&mdash; <strong>Quincy Jones</strong>, 1958(30)<br />Sans doute plus encore que le jazz et ses instrumentistes virtuoses, certains interpr&egrave;tes inspir&eacute;s de gospel et de blues soulful m&eacute;ritent le label, l&rsquo;adjectif &laquo;&thinsp;funky&thinsp;&raquo;. Mieux que tous les autres, les influents Blind Boys of Alabama (avec un negro spirituals sur le d&eacute;part vers la terre promise de Sion), le bluesman Howlin&rsquo; Wolf et l&rsquo;inclassable Bo Diddley avaient des styles rock rugueux et poussaient leur voix &agrave; bloc. Leur son sale, &agrave; l&rsquo;&eacute;nergie punk, d&eacute;versait l&rsquo;ouragan musical afro-am&eacute;ricain sans fioritures31. Et dans le cas de Diddley ou Boogaloo, avec un humour jive parl&eacute; que l&rsquo;on retrouverait plus tard chez les icones funk Bootsy Collins, George Clinton, Johnny &laquo;&thinsp;Guitar&thinsp;&raquo; Watson (pr&eacute;sent ici avec un Half Pint of Whiskey esquissant son pur funk &agrave; venir) &mdash; et bien d&rsquo;autres. Clothes Line d&eacute;voile la rare version originale &mdash; par Boogaloo le cr&eacute;ateur de Cops and Robbers &mdash; du c&eacute;l&egrave;bre &laquo;&thinsp;Shoppin&rsquo; for Clothes&thinsp;&raquo; plagi&eacute; par les Coasters32. Sur Signifying Blues, Bo Diddley et Jerome Green &eacute;changent des invectives, offenses et outrages humoristiques dans la tradition du signifying, ou dozens, un jeu afro-am&eacute;ricain de joute verbale33 dont on retrouvera le principe dans le boasting du hip hop ou les clashes des deejays de sound systems jama&iuml;cains. Sur les deux versions du morceau Bo Diddley, l&rsquo;int&eacute;ress&eacute; utilise un rythme hypnotique, summum du proto-funk sur lequel il &eacute;voque en l&rsquo;occurrence un envo&ucirc;tement hoodoo34.<br />Parall&egrave;lement, avec leur m&eacute;lange de gospel et de rhythm and blues, des titres syncop&eacute;s comme &lsquo;Cause I Love You de Rufus &amp; Carla (Rufus Thomas et sa fille, future reine de la soul de Memphis), les deux d&eacute;licieux Check Mr. Popeye d&rsquo;Eddie Bo ou Messed Around (and Fell in Love) de Lee Dorsey, la naissance de la soul music &agrave; la fin des ann&eacute;es 1950 portait d&eacute;j&agrave; l&rsquo;embryon du funk proprement dit, c&rsquo;est &agrave; dire d&rsquo;une soul music &agrave; la fois syncop&eacute;e et charg&eacute;e d&rsquo;une expression de n&eacute;gritude35. Car la musique noire est une entit&eacute; culturelle, pas une question de couleur, comme le montre bien Crawfish, le duo Elvis Presley (Blanc) - Kitty White (Noire) &eacute;voquant la p&ecirc;che aux &eacute;crevisses dans le bayou de Louisiane. La Nouvelle-Orl&eacute;ans est tr&egrave;s pr&eacute;sente dans ce coffret&thinsp;; porte d&rsquo;acc&egrave;s entre les Cara&iuml;bes et les États-Unis, elle fusionna les deux cultures et nous offrit plusieurs artistes embl&eacute;matiques du th&egrave;me &laquo;&thinsp;Roots of Funk&thinsp;&raquo;&#8239;: Professor Longhair, Art Neville (Meters) avec ici Cha Dooky-Doo et Arabian Love Call, Allen Toussaint et son complice Lee Dorsey, Eddie Bo, le saxophoniste Don Wilkerson avec un rythme habanera digne de Bo Diddley &mdash; et Dave Bartholomew.<br />Le terme funk a par la suite pris une signification suppl&eacute;mentaire, celle d&rsquo;un style musical &agrave; part enti&egrave;re. La syncope h&eacute;rit&eacute;e des Cara&iuml;bes y a pris toute son irr&eacute;sistible dimension, un groove au sommet de l&rsquo;incitation &agrave; la danse. C&rsquo;est &agrave; partir de succ&egrave;s de James Brown comme I Got You (I Feel Good) (1965) dont la version originale chant&eacute;e par Yvonne Fair figure ici, &laquo;&thinsp;Papa&rsquo;s Got a Brand New Bag&thinsp;&raquo; (1965), &laquo;&thinsp;Cold Sweat&thinsp;&raquo; (1967), &laquo;&thinsp;There Was a Time&thinsp;&raquo; (1967) et l&rsquo;embl&eacute;matique &laquo;&thinsp;Get Up (I Feel Like Being a) Sex Machine&thinsp;&raquo; (1969) avec William Earl &laquo;&thinsp;Bootsy&thinsp;&raquo; Collins &agrave; la basse et John &laquo;&thinsp;Jabo&thinsp;&raquo; Starks qui a mis l&rsquo;essentiel accent sur le premier temps &agrave; la batterie &mdash; ou encore &laquo;&thinsp;Funky Drummer&thinsp;&raquo; avec le batteur Clyde Stubblefield &mdash; que le funk est officiellement n&eacute;. Mais son esprit &eacute;taient d&eacute;j&agrave; l&agrave; des ann&eacute;es plus t&ocirc;t, comme on l&rsquo;entend ici sur l&rsquo;instrumental Hold It avec J.C. Davis au sax, Mashed Potatoes U.S.A., And I Do Just What I Want et I&rsquo;ve Got Money du m&ecirc;me James. <br /></span><span class=Soustitre>Bruno BLUM</span><span class=Texte><br />&copy; 2015 FRÉMEAUX &amp; ASSOCIÉS <br />1. Ned Sublette, The World That Made New Orleans &ndash; From Spanish Silver to Congo Square (Chicago, Lawrence Hill Books, 2008).<br />2. Lire le livret et &eacute;couter Roots of Soul 1928-1962 (FA 5430) dans cette collection.<br />3. Édouard Glissant, L&rsquo;Intention po&eacute;tique (1969. Nouvelle &eacute;dition : Paris, Gallimard, 1997).<br />4. Lire le livret et &eacute;couter Africa in America &ndash; Rock, Jazz &amp; Calypso 1920-1962 (FA 5397) et Great Black Music Roots 1927-1962 (FA 5456) dans cette collection. <br />5. Lire le livret et &eacute;couter Mambo &ndash; Big Bands 1946-1957 (FA 5210) dans cette collection.<br />6. Bruno Blum, Le Rap est n&eacute; en Jama&iuml;que (Paris, Le Castor Astral, 2009), Le Reggae (Paris, Le Castor Astral, 2010).<br />7. Robert Farris Thompson, Flash of the Spirit, pages 104-105 (New York, Vintage Books, 1984).<br />8. Freddi Williams Evans, Congo Square (New Orleans, University of Louisiana at Lafayette Press, 2010. Édition fran&ccedil;aise : Paris, La Tour Verte, 2012).<br />9. On retrouve un rythme proche de Po&rsquo; Drapeaux sur les enregistrements de kumina jama&iuml;cain &laquo;&thinsp;Po&rsquo; Stranger&thinsp;&raquo;, &laquo;&thinsp;Bongo Man&thinsp;&raquo; et &laquo;&thinsp;Kongo Man, Delay&thinsp;&raquo; sur l&rsquo;album Jamaican Ritual Music (Lyrichord LLST 7394).<br />10. Harold Courlander, Drums of Haiti (Folkways Records FE 4403).<br />11. Lire le livret et &eacute;couter &laquo;&thinsp;Bamboula &ndash; danse des n&egrave;gres&thinsp;&raquo; de Louis Moreau Gottschalk sur Slavery in America &ndash; Redemption Songs 1914-1972 (FA 5384) dans cette collection.<br />12. Lire le livret et &eacute;couter Haiti &ndash; Voodoo 1937-1962 (&agrave; paraitre) dans cette collection, o&ugrave; figure le morceau &laquo;&thinsp;Po&rsquo; drapeaux&thinsp;&raquo;, sur un rythme ternaire petro mazonnei ancestral enregistr&eacute; en 1953.<br />13. Lire le livret et &eacute;couter Haiti &ndash; Meringue et Compas (&agrave; paraitre) dans cette collection.<br />14. Lire le livret et &eacute;couter Les genres dansants br&eacute;siliens et la habanera dans notre s&eacute;rie Anthologie des Musiques de danse du monde (FA 5342).<br />15. Lire le livret et &eacute;couter Biguine &ndash; L&rsquo;&acirc;ge d&rsquo;or des bals et cabarets antillais de Paris 1929-1940 (FA 007) et Vol. 2 (FA 027) dans cette collection.<br />16. Extrait de Dominican Republic &ndash; Merengue 1949-1962 (FA 5403) dans cette collection.<br />17. Lire le livret et &eacute;couter Jamaica Rhythm and Blues 1956-1961 (FA 5358) dans cette collection.<br />18. Lire le livret et &eacute;couter Jamaica &ndash; Mento 1951-1958 (FA 5275) dans cette collection, notamment la guitare et le tibois sur &laquo;&thinsp;Don&rsquo;t Fence Her In&thinsp;&raquo; de Lord Tickler.<br />19. Le titre de Reuben McCoy and the Hamiltonians est extrait de Bermuda &ndash; Gombey &amp; Calypso 1953-1960 (FA 5374) dans cette collection.<br />20. Lire le livret et &eacute;couter Amour, bananes et ananas 1932-1950 (FA 5079) dans cette collection.<br />21. Lire le livret et &eacute;couter Doo Wop &agrave; para&icirc;tre dans cette collection.<br />22. Leroi Jones (Amiri Baraka), Blues People, 1963 (New York, Harper Perennial, 2002. Édition fran&ccedil;aise : Le Peuple du blues, Gallimard-Folio, 1997).<br />23. Dizzy Gillespie, To Be or Not To Bop (New York, Doubleday/Random House, 1979).<br />24. Lire le livret et &eacute;couter Dominican Republic &ndash; Merengue, Haiti &ndash; Cuba &ndash; Virgin Islands &ndash; Bahamas - New York 1949-1962 (FA 5450) dans cette collection.<br />25. Écouter Les Indiens d&rsquo;Am&eacute;rique 1960-1961 (FA 5454) dans cette collection.<br />26. Moondog &agrave; Ken Ansell en 1995.<br />27. Lire Amaury Cornut, Moondog (Marseille, Le Mot et le Reste, 2014) et &eacute;couter l&rsquo;album Moondog - The Viking of Sixth Avenue (Londres, Honest Jon&rsquo;s, 2007).<br />28. Lire le livret et &eacute;couter la voix d&rsquo;Alan Freed sur fond de Moondog Symphony sur Race Records &ndash; Rock music forbidden on U.S. Radio 1942-1955 (FA 5600).<br />29. Lire le livret et &eacute;couter Jamaica-USA &ndash; Roots of Ska, Rhythm &amp; Blues Shuffle 1942-1962 (FA 5396) dans cette collection.<br />30. Entretien avec Quincy Jones paru dans Jazz Magazine en f&eacute;vrier 1958 et cit&eacute; par Jean-Pierre Levet dans Talkin&rsquo; That Talk (Hatier 1992).<br />31. Lire le livret et &eacute;couter The Roots of Punk Rock Music 1926-1962 (FA 5415) dans cette collection.<br />32. Écouter la version originale de &laquo;&thinsp;Cops and Robbers&thinsp;&raquo; par Boogaloo sur Road Songs &ndash; Car Tune Classics 1942-1962 (FA 5401) dans cette collection.<br />33. Lire le livret et &eacute;couter The Indispensable Bo Diddley 1955-1960 (FA 5376) dans cette collection.<br />34. Lire le livret et &eacute;couter Voodoo in America &ndash; Blues Jazz Rhythm and Blues Calypso 1926-1961 (FA 5375) dans cette collection.<br />35. Lire le livret et &eacute;couter Roots of Soul 1928-1962 (FA 5430) dans cette collection. <br />Merci &agrave; Olivier Albot, Steve Barrow, Augustin Bondoux, Dale Blade, Yves Calvez, Chris Carter, St&eacute;phane Colin, Bo Diddley, Les Fancourt, Jean-Pierre Levet, Bernard Loupias, Jean-Pierre Meunier, Rosalie Montlouis-Gabriel, Norbert Nobour, Maceo Parker, Fr&eacute;d&eacute;ric Saffar, Gilbert Shelton et Fabrice Uriac.<br /></span><span class=Soustitre2><br />Roots of FUNK 1947-1962</span><span class=Texte><br /></span><span class=Soustitre>by Bruno Blum </span><span class=Texte><br />In African-American culture, the term funk literally means &ldquo;bad body odor,&rdquo; dirt or sperm. It points out a link with the Earth, and, sometimes by analogy, some connection with the wise, as well as the sacred, spirits of long gone ancestors &mdash; really meaning authenticity, spontaneity &mdash; integrity. &ldquo;Funky&rdquo; can apply to any rustic, hand-crafted object with an essential function. Around 1900, the familiar &ldquo;funk&rdquo; word was already in use to describe the bodily stink of sweat or wind. <br />This is why, in 1907, &ldquo;Funky Butt,&rdquo; a song composed by Buddy Bolden, who was perhaps the most essential of jazz founders, gave its name to the Union Sons Hall on Presidio Street, a little New Orleans jazz club where the great musician once won fame. Legend has it that his trombone player, William Cornish, once improvised these words during a show:<br />Funky butt, funky butt, take it away,<br />Open up the windows and let the bad air out.<br />In the Nineteenth Century many slaves from Haiti and Cuba had converged on this small Louisiana town bound to become &ldquo;The capital city of the Caribbean1.&rdquo; Those slaves consistently brought along to catholic Louisiana some afro-creole traditions then forbidden elsewhere in the United States, including syncopated rhythms used in their animist rituals (voodoo, santería), which featured trances: it was these liturgical musics that formed the deep roots of jazz and funk music alike. <br />Our track selection here was guided through by this leaning towards syncopation, which took off in the United States after World War II. In some cases, the mere will to create an original, danceable rhythm was enough for inclusion here. As in jazz and nascent soul music, the will to free body and soul was unswervingly linked to the rhythmic substance, as well as with an intention to express emotions freely, with no compromise &mdash; and no apologies. <br />It is out of the world mass that the poet chooses, elects what he must preserve, sing, save, what fits his song. And the rhythm is ritual force, as well as a lever for conscience.<br />&mdash; <strong>Édouard Glissant</strong>2.<br />These liberating &ldquo;proto-funk&rdquo; musics were carrying attitudes where sexuality had great importance. Also, they were often humourous, displaying an extravagance later echoed in 1960&rsquo;s-70&rsquo;s funk stars, such as James Brown, Betty Davis, Sly Stone, while not forgetting Bootsy Collins or George Clinton&rsquo;s interest in afro-futurism. Similar eccentricity can be found here in Slim Gaillard, Boogaloo, Thelonious Monk, Dizzy Gillespie, Bo Diddley, Sun Ra and Moondog, a blind, white musician inspired by Arapaho drums.<br />Afro-Caribbean roots (disc 1) and evocations of Africa have long been part of some of the most essential African-American music, covering a wide range of styles, including funk, hip hop, through to reggae, rock and jazz3. More than any others, Afro-Caribbean rhythms left deep marks on Louisiana and its very influential music: ragtime, dixieland jazz at first, swing in the years 1900-1940, then, as early as 1948, on the Cuban jazz orchestras of Machito, Tito Puente, James Moody and Dizzy Gillespie in New York 4. <br />Louisiana bluesmen Professor Longhair and Dave Bartholomew also recorded Cuban son rhythms (called rumba in the USA). By the 1950&rsquo;s-60&rsquo;s, those caribbean influences had been assimilated by Allen Toussaint and Eddie Bo&rsquo;s soul music, as well as soul pioneer Art Neville &mdash; who formed his classic funk group, The Meters, in 1965.<br />In the early 1950&rsquo;s, the funk designation (meaning here &ldquo;artistic integrity&rdquo;) was claimed by musicians aiming to re-establish the spirits of blues and negro spirituals in modern jazz. They fed American music with a style conspicuously charged with both emotion and sophistication. The heartfelt jazz they called &ldquo;funky&rdquo; had to live with the Cuban trend that swept the world in the 1940&rsquo;s-50&rsquo;s, when several new rhythmic fields were being explored in jazz (disc 2), leaving the swing era behind, little by little, and moving forward to what James Brown would soon call &ldquo;the groove&rdquo;. <br />Of course, the dominant African-American popular musics of the time were gospel, blues, rhythm and blues and budding soul music5. All were inclined to rhythmic innovations, including a Cuban influence (hear Bo Diddley and Richard Berry&rsquo;s original version of Louie Louie, based on El Loco Cha Cha here) which lasted well into the 1960&rsquo;s. <br />Hip hop and rap were basically a consequence of the Jamaican sound systems influence on both New York dancefloors and deejays of the 1970&rsquo;s6. Really born with Jamaican sound systems in the 1950&rsquo;s, before getting exported to New York, rap music is a legacy of the quadrille, which was played by slaves in all of the Caribbean, including Jamaica and New Orleans. The classic Pantalon was recorded in Guadeloupe; based on a truly funky rhythm, it is a fine example of the traditional commandeurs practice found all over the Caribbean since at least the nineteenth century, when quadrille dances were being directed by the group host&rsquo;s improvised rhymes. <br />The use of spoken or chanted voice (Bo Diddley, Slim Gaillard, Boogaloo, Red Saunders) allowed greater opportunities to stage more deeply black facets of American culture: the verbal sparring of signifying, the scat vocal improvisations found in plenty of jazz, humour/self-derision, erotic dances and traditional children ringplay (with its kids body and hand clapping Hambone, inspired the famous proto-funk composition Bo Diddley). With Say Man and Can You Shimmy?, the great Diddley breathed both the &ldquo;signifying&rdquo; tradition and humour into R&amp;B.<br />Evolution towards proper funk was outlined by Deep South musicians such as Rufus Thomas (Memphis), Lee Dorsey (who featured pianist and composer-arranger Allen Toussaint) and Eddie Bo, all three from New Orleans &mdash; and, of course, by the towering funk giant James Brown, whose singing was very much influenced by demented gospel singers such as The Blind Boys of Alabama.<br /></span><span class=Soustitre>Funk</span><span class=Texte><br />The slang term &ldquo;funky&rdquo; in black communities originally referred to strong body odor, and not to &ldquo;funk,&rdquo; meaning fear or panic. The black nuance seems to derive from the Ki-Kongo lu-fuki, &ldquo;bad body odor&rdquo; [&hellip;]. But the Ki-Kongo word is closer to the jazz word &ldquo;funky&rdquo; in form and meaning, as both jazzmen and Bakongo use &ldquo;funky&rdquo; and lu-fuki to praise persons for the integrity of their art, for having &ldquo;worked out&rdquo; to achieve their aims. In Kongo today it is possible to hear an elder lauded in this way: &ldquo;like there is a really funky person ! &mdash; my soul advances toward him to receive his blessing&rdquo; (yati, nkwa lu-fuki ! Ve miela miami ikwenda baki). [&hellip;] For in the Kongo the smell of a hardworking elder carries luck. This Kongo sign of exertion is identified with the positive energy of a person. Hence &ldquo;funk&rdquo; in black American jazz parlance can mean earthiness, a return to the fundamentals.<br />&mdash; Robert Farris Thompson, Flash of the Spirit7, 1983.<br />Many Bantu slaves from Haiti were taken to New Orleans in the early 1800s. It was there that some of them contributed to the legendary Congo Square gatherings, where Afro-Caribbean music was played openly on U.S. soil for decades8. Much of the music included here is their legacy.<br /></span><span class=Soustitre2>Disc 1<br />Deep Caribbean roots of funk<br /></span><span class=Texte><br />Between 1970 and the 1990s, &ldquo;funk&rdquo; basically meant African-American dance music. In the 1965-1975 golden age of the genre, funk musicians, including The Meters, Funkadelic and countless others, used rhythm patterns that included syncopation (off-beat), polyrhythm, cross-beat/mixing swing time (accented triplets) and 4/4 (as heard here on the Haitian voodoo ritual Po&rsquo; Drapeaux), accent on the downbeat (James Brown), etc. As can be heard on disc 1, many Caribbean musicians routinely used this musical language, years ahead of early funk music like James Brown&rsquo;s 1965 &ldquo;Papa&rsquo;s Got a Brand New Bag&rdquo; and I Got You (I Feel Good) (the 1962 Yvonne Fair rendition included here is the original version of the latter). <br />In 1969, The Meters&rsquo; &ldquo;Funky Miracle&rdquo; featuring Art Neville, in New Orleans, was perhaps the first truly funk track containing a title bearing the word &ldquo;funky&rdquo;. 1960&rsquo;s Jamaican reggae music was also sharply at the cutting edge of funk, with many tunes bearing similar titles, such as Dave Barker&rsquo;s &ldquo;Funky Reggae&rdquo; circa 1969. This Caribbean presence at the heart of funk is a natural consequence of the Caribbean rhythms swarm. In the USA as well as the Caribbean, slaves were not allowed to play what was then described as African music. It was only after Cuban and Haitian slaves reached New Orleans circa 1800 that such caribbean musics started thriving on the continent. Several of their essential rhythms were in use in voodoo rituals. Voodoo rhythms recorded a century later, documented and included on Haiti Voodoo &ndash; Folk Trance Possession Rituals 1937-1962 (to be released), as well as other, similar rituals available in this series, show that sacred rhythms played in Haitian, Cuban and Jamaican rituals, had a substantial influence on Louisiana and American music9. <br />Many sources, including the great drummer Art Blakey, point out that swing, a key element of jazz, was an American creation - and not an African one. It is likely that swing was, in fact, brought over from Haiti to Louisiana, as Po&rsquo; Drapeaux (1953), a sacred Bantu/Kongo rhythm used in petro voodoo rituals, suggests. Musics evolve everywhere, but this was precious ritual music, carefully passed on orally through generations. <br />Also, according to Harold Coulander, the bamboula, a juba-related rhythm and dance from Haiti, also called &ldquo;Martinique&rdquo; when played at funerals, was widespread in all of the Caribbean when he recorded Baboule Dance (1950) included here, which was &ldquo;probably&rdquo; the same rhythm as the legendary bamboula. Composed in 1845 by Louis Moreau Gottschalk, the first classic composition in US classical music &ldquo;Bamboula &ndash; Danse des N&egrave;gres&rdquo; is based on a rhythm heard in New Orleans&rsquo; Congo Square10. When compared, &ldquo;Baboule Dance&rdquo; and Gottschalk&rsquo;s piece show the same specific, peculiar rhythm pattern. <br />Other traditional voodoo field recordings are included here. Papa Legba Invocation is reminiscent of funk; Ayizan Marche is played for the z&eacute;paule voodoo dance, which is similar to the American shimmy (hear Bo Diddley&rsquo;s irresistible Can You Shimmy?) &mdash; and Contre Danse n. 4 shows how, when given appropriate drum treatment, French high society dance music from the eighteenth century could turn into a compelling Haitian dancefloor tune of the 1950s. <br />European polkas, waltzes and javas were given much the same treatment throughout the Caribbean then (as heard on Me and You and Java from New Orleans pianist Allen Toussaint). This process is also found on Dominican carabinier pieces Severa and Compay Cucu, where early examples of syncopated bass are included11. As The Blind Boys of Alabama show, gospel could also be quite extroverted. It influenced Jamaican mento (Lord Composer, Monty Reynolds), which was sometimes syncopated as well, and left a mark on most of the deeply christian Caribbean: different versions of the song Limbo came from various islands, showing evidence that maverick Bo Diddley&rsquo;s famous beat (named cinquillo in Spanish) is of Caribbean origin.<br /></span><span class=Soustitre2>Disc 2 <br />Funky Jazz, Hard Bop, Soul Jazz</span><span class=Texte><br />Cuba exported the cinquillo clave rhythm used in son (aka rumba) all over the continent: the influential Louis Jordan and Professor Longhair used it as early as the 1940&rsquo;s. When the mambo craze hit the USA in 1949, it influenced everything: rhythm and blues (Dave Bartholomew, Ruth Brown on Mambo Baby), Dominican and Haitian merengue, jazz&hellip; Many Cuban-styled orchestras emerged in the post-war United States: New Yorkers like Tito Puente and Dizzy Gillespie mixed their improvisational mastery with Cuban and other Caribbean influences that permeated a wide range of artists, including Slim Gaillard, James Moody, Duke Ellington and, later, Herbie Hancock. <br />Hard bop jazzmen who, like Horace Siver (Opus de Funk) tried to express the close ties between Africa, spirituals, blues and modern jazz felt that Caribbean intensity, blackness and syncopation was intrinsic to their music. Art Blakey and weirdos like Sun Ra and Thelonious Monk incorporated syncopation in their idiosyncratic styles and dug into the deepest Black roots in the process. The bass came more to the fore with Charles Mingus (here trading bars with the drummer) and, in Jamaica, with Count Ossie&rsquo;s proto-reggae percussion group, which used local modern jazz soloists.<br /></span><span class=Soustitre2><br />Disc 3 <br />Negro Spirituals, Blues and Soul</span><span class=Texte><br />As part of the instrumental wave popular in the late 1950s, rhythm and blues master James Brown released several instrumental recordings where a different feel for syncopation was mixed with hard bop-oriented solos and R&amp;B horn riffs (Hold It) that would soon lead to another new direction, displayed in pioneering songs like Mashed Potatoes U.S.A.12<br />By then many black pop groups thrived on shuffle; it gave jazz singer and pianist Nina Simone her biggest hit, My Baby Just Cares for Me. Caribbean influences had soaked into rhythm and blues with the likes of Bo Diddley and syncopation had already become the new key to dancefloor popularity. Much of the funkiest output of the early 1960&rsquo;s came from New Orleans, with essential recordings by Art Neville, Eddie Bo, Dave Bartholomew and soul music great Lee Dorsey. Even Elvis Presley recorded a Louisiana influenced album, King Creole, which featured Crawfish, a bayou fishing account duet with black singer Kitty White.<br /></span><span class=Soustitre>Bruno BLUM</span><span class=Texte><br />(English adaptation : Bruno Blum)<br />&copy; FRÉMEAUX &amp; ASSOCIÉS 2015<br />1. Ned Sublette, The World That Made New Orleans &ndash; From Spanish Silver to Congo Square (Chicago, Lawrence Hill Books, 2008).<br />2. Édouard Glissant, Poetic Intention, 1969 (English edition: Nightboat, 2010). <br />3. Cf. Africa in America &ndash; Rock, Jazz &amp; Calypso 1920-1962 (FA 5397) and Great Black Music Roots 1927-1962 (FA 5456) in this series.<br />4. Cf. Mambo &ndash; Big Bands 1946-1957 (FA 5210) in this series.<br />5. Cf. Roots of Soul &ndash; 1928-1962 (FA 5430) in this collection.<br />6. Bruno Blum, Le Rap est n&eacute; en Jama&iuml;que (Paris, Le Castor Astral, 2009), Le Reggae (Paris, Le Castor Astral, 2010).<br />7. Robert Farris Thompson, Flash of the Spirit, pages 104-105 (New York, Vintage Books, 1984).<br />8. Freddi Williams Evans, Congo Square (New Orleans, University of Louisiana at Lafayette Press, 2010).<br />9. Cf. Jamaica Folk Trance Possession &ndash; Roots of Rastafari 1939-1961 (FA 5384) and Slavery in America &ndash; Redemption Songs 1914-1962 (FA 5467).<br />10. Louis Moreau Gottschalk&rsquo;s &ldquo;Bamboula &ndash; Danse des N&egrave;gres&rdquo; is included on Slavery in America &ndash; Redemption Songs 1914-1972 (FA 5384) in this series.<br />11. Severa and Compay Cucu are taken from Dominican Republic &ndash; Merengue 1949-1962 (FA 5403) in this series.<br />12. Cf. The Indispensable James Brown 1956-1961 (FA5378) in this series.<br />With thanks to Olivier Albot, Steve Barrow, Augustin Bondoux, Dale Blade, Yves Calvez, Chris Carter, St&eacute;phane Colin, Bo Diddley, Les Fancourt, Jean-Pierre Levet, Bernard Loupias, Jean-Pierre Meunier, Rosalie Montlouis-Gabriel, Norbert Nobour, Maceo Parker, Fr&eacute;d&eacute;ric Saffar, Gilbert Shelton et Fabrice Uriac.<br /></span><span class=Soustitre2>ROOTS OF FUNK 1947-1972<br />Disc 1 - SYNCOPATED CREOLE MUSIC: THE DEEP CARIBBEAN ROOTS OF FUNK</span><span class=Texte><br />We&rsquo;ve got a doggone beat now, we&rsquo;re gonna call our very own/Kingston rocks, and Kingston rolls/Kingston&rsquo;s got a whole lotta soul/Huh feel all right now/Mini skirts, maxi skirts and afro hairdo/People do their own thing don&rsquo;t care about me or you/Kingston&rsquo;s gone funky/Kingston&rsquo;s gone soul/ We&rsquo;ve got a doggone beat now, we&rsquo;re gonna take care of business, too/Listen to the drummer playing his beat/Listen to the bass man, want to get the same groovy beat<br />&mdash; <strong>Hopeton Lewis</strong>, Funky Kingston, 1971, adapted from The Beginning of the End&rsquo;s Funky Nassau.<br />1. TANGA (Part 1) - Machito &amp; his Afro-Cuban Orchestra<br />(Mario Bauzá)<br />Francisco Raúl Guti&eacute;rrez Grillo as Machito-maracas, leader; Mario Bauza, Bobby Woodlin, Frank Davila-tp; Gene Johnson, Freddie Skerritt-as; Jos&eacute; Madera-ts; Leslie Johnakis-bs; Ren&eacute; Hernandez-p; Bobby Rodriguez-b; Jos&eacute; Mangual-bongos; Luis Miranda-congas; Ubaldo Nieto-timbales. Verve 2610 047. New York, December 20, 1948.<br />2. Abaniquito - Tito Puente Orchestra<br />(Carbele, Escoto)<br />Possibly: Tito Puente-timbales, leader; Jimmy Frisaura, Frank Lo Pinto, Gene Pappetti-tp; Joseph Herde, Irving Butler, Edward Grimm, Sol Rabinowitz-saxes; Gil Lopez or Charlie Palmieri-p; Amado Visoso-b; Manny Oquendo-bongos; Frank Colon or Mongo Santamaria-congas. Riviera 6536. New York City, circa 1949-1951.<br />3. BABOULE DANCE (bamboula rhythm) - vaudou congregation<br />(traditional)<br />3 hand drums. Music of Haiti, Vol. 2: Drums of Haiti. Ethnic Folkways FE 4403. Recorded by Harold Courlander, Haiti, 1950.<br />4. BABALU - Slim Gaillard and his Internationally Famous Orchestra<br />(Margarita Lecuona, Sidney Keith Russell aka Bob Russell)<br />Bulee Gaillard as Slim Gaillard&ndash;v, g; George Holmes Tate as Buddy Tate-ts; Maceo Williams-p; Clyde Lombardi-b; Charlie Smith-d; Pepe Benque-congas. Clef 8950. New York, May 25, 1951.<br />5. Hill and GuLLy Ride/Mandeville Road - Lord Composer &amp; the Silver Seas Hotel Orchestra<br />(unknown)<br />Lord Composer-v; backing v, g, fife, clave, maracas, rhumba box. Produced by Stanley Motta. Motta&rsquo;s Recording Studio, Kingston, Jamaica, circa 1951-1956.<br />6. PO&rsquo; DRAPEAUX (petro mazonnei) - vaudou congregation<br />(traditional)<br />From the album Voices of Haiti. Elektra EKLP5. Vocals, drums ; Recorded by Eleanora Derenkowskaia as Maya Deren. Production supervisor-Jac Holzman. Haiti, possibly Port-au-Prince, 1953.<br />7. Mambo Baby - Ruth Brown and her Rhythmakers<br />(Charles Singleton aka Charlie &laquo;&thinsp;Hoss&thinsp;&raquo; Singleton, Rose Marie McCoy)<br />Ruth Brown-v; vocal group: The Rhythmakers; tp, ts, bs, p, b, d. <br />Atlantic 1044. New York, August 11, 1954.<br />8. AYIZAN MARCHE (zepaules) - vaudou congregation<br />(traditional)<br />Same as 6.<br />9. El Loco Cha ChA - Ren&eacute; Touzet and his Orchestra<br />(Rozendo Ruiz, Jr.)<br />Ren&eacute; Touzet y Monte as Ren&eacute; Touzet-p, arr.; Orchestra. GNP 113x. Produced by Gene Norman. Hollywood, 1955.<br />10. LOUIE LOUIE - Richard Berry and the Pharaohs<br />(Richard Berry) <br />Richard Berry, v; Godoy Colbert, Stanley Richardson, Noel Collins, Gloria Jones-v; Plas Johnson-ts; Jewell Grant-bs; Ernie Freeman-p; Irving Ashby-g;&nbsp; Red Callender-b; Earl Palmer-d. Flip 45-321. Los Angeles, April 1956.<br />11. Compay Cucu - Dioris Valladares y su Conjunto Típico<br />(traditional)<br />Isidro Valladares aka Dioris Valladares-v; possibly Tavito Vásquez-as; unknown acc., ts, tambora, g&uuml;ira. Produced by Rafael P&eacute;rez Dávila. New York City, circa 1956.<br />12. Me Dog Can&rsquo;t Bark - Monty Reynolds &amp; The Shaw Park Calypso Band<br />(R. Thompson)<br />Monty Reynolds-v; backing v, g, clave, 2 hand drums, maracas, rhumba box. Produced by Stanley Motta. Motta&rsquo;s Recording Studio, Kingston, Jamaica, circa 1951-1956.<br />13. BO DIDDLEY - Bo Diddley<br />(Ellas McDaniel aka Bo Diddley)<br />Ellas McDaniel as Bo Diddley-g,v; Willie Dixon-b; Clifton James-d; Jerome Green-maracas. Universal Recording, Chicago, March 2, 1955.<br />14. LIMBO - Lord Tickler with the Jamaican Calypsonians<br />(Harold Richardson) <br />Harold Richardson-v, g. bamboo sax, drums, clave<br />Produced by Ken Khouri. Kalypso Records, Jamaica. Kingston, circa 1955.<br />15. LIMBO - The Wrigglers<br />(traditional)<br />Denzil Laing (vocals, guitar), Ernest Ranglin (electric guitar), The Wrigglers (harmony vocals), (rumba box, maracas, bongos unknown). Released ca. 1958.<br />16. LIMBO - Bo Diddley<br />(Ellas McDaniel aka Bo Diddley)<br />Ellas Bates McDaniel as Bo Diddley-g, v; Peggy Jones as Lady Bo-g , v; Gene Barge-ts; Clifton James, d. Bo Diddley, Jerome Green, Lady Bo-overdubbed background vocals. Probably New York City, October 1959.<br />17. LIMBO - Reuben McCoy &amp; the Hamiltonians<br />&nbsp;(Reuben McCoy) <br />Reuben McCoy (vocals, guitar), saxophone, electric bass, percussions unknown. Produced by Quinton Edness. Recorded at ZBM Radio Bermuda Studios. Released in 1960 (Bermuda BLP 408). <br />18. Java - Allen Toussaint<br />(Allen Toussaint, Alvin Tyler, Marilyn Schack)<br />Allen Toussaint-p; Alvin Tyler as Red Tyler-bs; Nat Perrilliat-ts; Justin Adams or Roy Montrell-g; Frank Fields-b; Charles Williams as Hungry Williams-d. Produced by Danny Kessler. Cosimo&rsquo;s Studio, New Orleans, January 29, 1958.<br />19. COntre danse n&deg;4 - Nemours Jean-Baptiste et son Ensemble<br />(Nemours Jean-Baptiste)<br />Julien Paul-v&thinsp;; Nemours Jean-Baptiste-arr., leader, ts&thinsp;; Richard Duroseau-acc&thinsp;; b, graj scrape percussion, congas. Produced by Joe Anson, Port-au-Prince circa 1958.<br />20. Me and You - Allen Toussaint<br />(Allen Toussaint, Alvin Tyler, Marilyn Schack)<br />Allen Toussaint-p; Alvin Tyler as Red Tyler-bs; Nat Perrilliat-ts; Justin Adams or Roy Montrell-g; Frank Fields-b; Charles Williams as Hungry Williams-d. Produced by Danny Kessler. Cosimo&rsquo;s Studio, New Orleans, January 29, 1958.<br />21. Olla De For Olla - Mongo Santamaría<br />(Mongo Santamaria)<br />Carlos Embales, Mario Arenas, Finco, Armandi Raymact, Cheo Junco, Luis Santamaria, Mercedes Vald&eacute;s, Macuchu-v; Willie Bobo-bongo, timbales; Yeyito-bongos; Gustavito-g&uuml;iro; Ramón Santamaria as Mongo Santamaria-congas, leader. Fantasy 8055. Recorded in La Habana, Cuba, 1960.<br />22. Severa - Milito Perez W/ Luis Quintero Y Su Conjunto Alma Cibae&ntilde;a<br />(Palenque)<br />Milito Perez-v; vocal chorus; possibly Tavito Vásquez-as; acc., ts, b, g&uuml;ira; Luis Quintero-tambora, leader. Produced by Rafael P&eacute;rez Dávila. Possibly New York, 1962.<br />23. PAPA LEGBA INVOCATION<br />From the album C&eacute;r&eacute;monies Vaudou en Ha&iuml;ti. Pacific A1346. Vocal chorus, drums, percussion, whistle on Petro Rhythm, stone-filled calabash (gourd).<br />Recorded in Haiti or Tortuga Island by Maurice Bitter, circa 1962.<br />24. Pantalon - Ensemble de Quadrille Guadeloup&eacute;en<br />&nbsp;(traditional)<br />Ambroise Gouala-v (commandeur); Élie Cologer-v; Donnadi&eacute; Monpierre-b; g, perc. Produced by Raymond C&eacute;lini. Pointe-&agrave;-Pitre, Guadeloupe, 1972.<br /></span><span class=Soustitre2>Disc 2 - Funky Jazz, Hard Bop, Soul Jazz</span><span class=Texte><br />If you listen to a lot of old funk records, the drums are really small. But you don&rsquo;t perceive it like that because the groove is so heavy.<br />&mdash; <strong>Lenny Kravitz</strong><br />1. EARLY IN THE MORNING - Louis Jordan and his Tympany Five<br />(Leo Hickman, Louis Jordan, Dallas Bartley)<br />Louis Thomas Jordan as Louis Jordan-v, as, leader; Aaron Izenhall-t; Edwin Lawrence Johnson as Eddie Johnson-ts; William Strethen Davis as Wild Bill Davis-p; Carl Hogan-g; Dallas Bartley-b; Joseph Christopher Columbus aka Crazy Chris Columbo aka Joe Morris, as Chris Columbus-d; The Calypso Boys-maracas, clave. Decca 24155. New York, April 23, 1947.<br />2. Manteca - Dizzy Gillespie and his Orchestra<br />(John Birks aka Dizzy Gillespie, Chano Pozo, Walter Gilbert Fuller as Gil Fuller)<br />Benny Bailey, Dave Burns, Elmon Wright, Lamar Wright &ndash;tp ; Dizzy Gillespie-tp; Ted Kelly, William Shepherd-tb; John Brown, Howard Johnson-as; Joe Gayles, Big Nick Nicholas-ts; Cecil Payne-bs; John Lewis-p; Al McKibbon-b; Kenny Clarke-d; Chano Pozo-congas, bongos. RCA Victor 20-3023. New York City, December 30, 1947<br />3. TIN TIN DEO - James Moody and his Bopmen<br />(Chano Pozo, Gil Fuller)<br />Dave Burnes, Elmon Wright-tp; Ernie Henry-as; James Moody-ts, leader; Cecil Payne-bs; James Forman aka Men Gates-p; Nelson Boyd-b; Art Blakey-d; Chano Pozo-congas, v; Gil Fuller-arranger. Blue Note 5006. Apex Studios, New York City, October 25, 1948.<br />4. MOONDOG&rsquo;S SYMPHONY (Part 1: Timberwolf ) - Moondog <br />(Louis Thomas Hardin aka Moon-dog)<br />Louis Thomas Hardin as Moondog-all instruments: drums, maracas, claves, gourds, hollow log, bells, Chinese block, cymbals, dog howl samples, two tape recorders, arrangements, production. Recorded by Bob Crosley. SMC 287, 2526-A. New York City, 1949.<br />5. YO YO YO - Slim Gaillard<br />(Bulee Gaillard aka Slim Gaillard)<br />Bulee Gaillard as Slim Gaillard&ndash;v, g; George Holmes Tate as Buddy Tate-ts; Maceo Williams-p; Clyde Lombardi-b; Charlie Smith-d; Pepe Benque-congas. Clef 89075. New York, May 25, 1951.<br />6. MONK&rsquo;S DREAM - Thelonious Monk Trio<br />(Thelonious Sphere Monk)<br />Thelonious Sphere Monk as Thelonious Monk-p; Gary Mapp-b; Arthur Blakey as Art Blakey-d. Prestige 850. New York City, October 15, 1952.<br />7. HAMBONE - Red Saunders and his Orchestra with Dolores Hawkins and the Hambone Kids<br />(Horace McGrier, Theodore Dudley aka Red Saunders, Leon Washington)<br />Theodore Dudley as Red Saunders-d, leader; Dolores Hawkins-v, whistling; The Hambone Kids: Delecta Clarke aka Dee Clarke, Sammy McGrier, Ronny Strong-vocal ensemble, &laquo;&thinsp;hamboning&thinsp;&raquo; (hand and body percussion); Delecta Clarke aka Dee Clarke-heel percussion; Fortunatus Paul Ricard aka Flip Ricard as Fip Ricard-t; Sonny Cohn-tp; Harlan Floyd as Booby Floyd-tb; John Avant-tb; Riley Hampton-as; Leon Washington-ts; McKinley <br />Easton-bs; Earl Washington-p; g; Jimmy Richardson-b. Arranged by Le Sony&rsquo;r Ra aka Herman Poole Blount aka Sun Ra as Sonny Blount. Okeh 6862. Columbia Studio, Chicago, January 18, 1952.<br />8. OPUS DE FUNK - Horace Silver Trio <br />(Horace Ward Martin Tavares da Silva aka Horace Silver)<br />Horace Ward Martin Tavares da Silva as Horace Silver-p; Percy Heath-b; Art Blakey-d. November 23, 1952.<br />9. MONTEVIDEO - Duke Ellington<br />(Edward Kennedy Ellington)<br />Edward Kennedy Ellington as Duke Ellington-p; Wendell Marshall-b; Dave Black-d; Ralph Collier-congas. Capitol T637. New York City, December 3, 1953.<br />10. OLD DEVIL MOON - Mickey Baker<br />(Morris Hyman Kushner aka Burton Lane, Isidore Hochberg aka Edgar Yipsel Harburg)<br />McHouston Baker as Mickey Baker-g; James Eddie Lewis, Jr. As Jimmy Lewis-b; Ernest Hayes-p; Samuel David Bailey aka Dave Bailey as Specs Bailey-d. Rainbow 503. New York City, May 1955.<br />11. CAll for All Demons - Sun Ra<br />(Le Sony&rsquo;r Ra aka Sun Ra)<br />Arthur Hoyle as Art Hoyle-tp ; John Gilmore-ts ; James Scales-as; Pat Patrick-bs, bells from India; Julian Priester-tb, cathedral chimes; Le Sony&rsquo;r Ra aka Sonny Blount aka Herman Poole Blount as Sun Ra-p, leader; Richard Evans-b; Jim Herndon-tympani/kettledrum; Dave Young-tp, percussion. Produced by Tom Wilson. Transition TRLP J-10. Universal Recording Studio, Evanston, Illinois, July 7, 1956.<br />12. MOANIN&rsquo; -- Art Blakey and the Jazz Messengers<br />(Robert Henry Timmons aka Bobby Timmons)<br />Lee Morgan-tp; Benny Golson-ts; Robert Henry Timmons as Bobby Timmons-p ; Jymie Merritt-b : Art Blakey-d. Rudy Van Gelder Studio, Hackensack, New Jersey, October 30, 1958.<br />13. SLOP - Charles Mingus Septet <br />(Charles Mingus)<br />Donald Ellis-tp; John Handy-as; Booker Ervin-ts; James Knepper-tb; Roland Hanna-p; Charles Mingus-b, leader; Dannie Richmond-d. Columbia CL 1440. Columbia 30th Street Studios, New York City, November 13, 1959. <br />14. THIS HERE - Bobby Timmons<br />(Robert Henry Timmons aka Bobby Timmons)<br />Robert Henry Timmons as Bobby Timmons-p; Sam Jones-b; Jimmy Cobb-d. Produced by Orrin Keepnews. Riverside RLP 1164. Reeves Sound Studios, New York City, January 13, 1960.<br />15. HOLD IT - James Brown Presents his Band<br />(Clifford Scott, William Butler aka Billy Butler)<br />James Brown-v; Roscoe Patrick-tp; Alfred Corley-as; James Davis as JC Davis-lead ts; Les Buie-g; Hubert Perry-el. b; Nat Kendricks-d. United Recording Studios, Hollywood, October 4, 1960.<br />16. NEW DAY - Sun Ra<br />(Le Sony&rsquo;r Ra aka Sun Ra)<br />Le Sony&rsquo;r Ra aka Sonny Blount aka Herman Poole Blount as Sun Ra- leader;&nbsp; Marshall Allen-flute; Marshall Allen-as, percussion; John Gilmore-ts, percussion; Bernard McKinney-percussion; Pat Patrick-bs; Ronald Boykins-b; Willie Jones-percussion; Leah Ananda-congas. Recorded by Paul Cady. Produced by Tom Wilson. Medaillon Studio, Newark, New Jersey, October 10, 1961.<br />17. First Gone - Count Ossie and the Wareikas<br />(Oswald Williams aka Count Ossie, Wilton Gaynair, Harry A. Mudie)<br />Wilton Gaynair aka Bogey as Big Bra Gaynair-ts; Rico Rodriguez-tb; Oswald Williams as Count Ossie-kette drum or akete (&laquo;&thinsp;Ikety funde drum&thinsp;&raquo;), leader; The Wareikas: 4 repeater or funde hand drums, bass drum, percussion. Kingston, Jamaica, circa 1961.<br />18. WATERMELON MAN - Herbie Hancock<br />(Herbert Jeffrey Hancock aka Herbie Hancock)<br />Herbert Jeffrey Hancock aka Herbie Hancock-p; Frederick Dewayne Hubbard as Freddie Hubbard-tp; Dexter Gordon-ts; EdwardWarren as Butch Warren-b; Billy Higgins-d. Rudy Van Gelder Studio, Englewood Cliffs, New Jersey, May 28, 1962.<br />19. DEM TAMBOURINES - Don Wilkerson<br />(Don Wilkerson)<br />Don Wilkerson-ts; Grant Green-g; Sonny Clark-p; EdwardWarren as Butch Warren-b; Billy Higgins-d; Jual Curtis-tambourine. Produced by Alfred Lion. Blue Note 84107. Rudy Van Gelder Studio, Englewood Cliffs, New Jersey, June 18, 1962.<br /></span><span class=Soustitre2>DISC 3 - Blues, Gospel &amp; Soul<br /></span><span class=Texte><br />Funky is about the injustices, the things that go wrong, the hungry kids going to school trying to learn.<br />&mdash; James Brown<br />1. Mardi Gras in New Orleans - Professor Longhair and his Shuffling Hungarians<br />(Henry Roeland Byrd aka Roy Byrd aka Professor Longhair aka Fess)<br />Henry Roeland Byrd aka Roy Byrd aka Fess as Professor Longhair-v, p, whistling; Robert Parker-as; Charles Burbank-ts; possibly George Miller-b; possibly John Boudreaux-clave. Atlantic 897. New Orleans circa December, 1949.<br />2. I&rsquo;VE GOT A HOME - The Blind Boys of Alabama<br />(traditional, arr. George Scott)<br />George Scott-tnr v, g; Rev. George W. Warren-tnr v; Clarence Fountain,<br />Rev. Samuel K. Lewis, Olice Thomas-bar v; Johnny Fields-bass v. Specialty 2138. Chicago, September 28, 1953.<br />3. HALF PINT OF WHISKEY - Johnny &ldquo;Guitar&rdquo; Watson<br />(Rudy Toombs)<br />John Watson, Jr. as Young John Watson-v, g; Bill Gaither-ts; Devonia Williams-p; Mario Delagarde-b; Charles Pendergraph-d. Federal 12175. Los Angeles, February 1, 1954. <br />4. MARDI GRAS MAMBO - The Hawketts W/Art Neville<br />(Arthur Lannon Neville aka Art Neville)<br />Arthur Lannon Neville as Art Neville-v, p; Israel Bell, Auguste Fleuri-tp; Moe Bachemin, Jr.-ts; Carroll Joseph-tb; Alfred August-g; John Boudreaux-d; vocal ensemble. Chess 1591. New Orleans, January, 1955.<br />5. BO DIDDLEY - Bo Diddley<br />Ellas McDaniel aka Bo Diddley)<br />Ellas McDaniel as Bo Diddley-g,v; Willie Dixon-b; Clifton James-d; Jerome Green-maracas. Universal Recording, Chicago, March 2, 1955.<br />6. SHRIMP AND GUMBO - Dave Bartholomew<br />(Dave Bartholomew)<br />Dave Bartholomew-v, tp; Wendell Ducongs-as; Robert Hagans-ts; Edward Frank-p; Walter Nelson-g; William Diamond-b; Cornelius Coleman-d. Imperial 5373. New Orleans, November 30, 1955.<br />7. CLOTHES LINE (Wrap It Up) [Shoppin&rsquo; for Clothes] - Boogaloo and the Gallant Crew<br />(Kent Levaughn Harris) Kent Levaughn Harris as Boogaloo-v. Musicians unknown. Crest 1030. Hollywood, 1956.<br />8. BLUE FUNK - Ray Charles &amp; Milt Jackson<br />(Ray Charles Robinson aka Ray Charles)<br />Ray Charles Robinson as Ray Charles-p; Milton Jackson aka Bags as Milt Jackson- vibraharp; Billy Mitchell-ts; Clifton Best as Skeeter Best-g; Oscar Pettiford-b; Conrad Henry Kirnon as Connie Kay-d. New York City, September 12, 1957.<br />9. My Baby Just Cares for Me - Nina Simone<br />(Walter Donaldson, Gus Kahn)<br />Nina Simone-v, p; Jimmy Bond-b; Al Heath-d. New York City, December 1957.<br />10. CHA DOOKY-DOO - Art Neville <br />(Arthur Lannon Neville aka Art Neville)<br />Arthur Lannon Neville as Art Neville-v, p; Charles Fairley-ts; Alvin Tyler as Red Tyler-bs; Ervin Charles-g; Frank Fields-b; Charles Williams aka Hungry-d. Produced by Robert Alexander Blackwell as Bumps Blackwell. Specialty 637. New Orleans, April 2, 1958.<br />11. CRAWFISH - Elvis Presley &amp; Kitty White<br />(Fred Wise, Ben Weisman)<br />Elvis Aaron Presley as Elvis Presley-v; Jean Bilbrew as Kitty White-v; Winfield Scott Moore as Scotty Moore-g; Neal Matthews-b ; Dominic Joseph Fontana as D.J. Fontana-percussion; Gordon Stoker-bongos. RCA LPM 1884. Radio Recorders, Hollywood, January 15, 16 or 23, 1958.<br />12. ARABIAN LOVE CALL - Art Neville<br />(Arthur Lannon Neville aka Art Neville)<br />Arthur Lannon Neville as Art Neville-v, p; Alvin Tyler as Red Tyler-bs; Roy Montrell-g; Frank Fields-b ; Edward Blackwell-d. Specialty 656. New Orleans, September 18, 1958.<br />13. &lsquo;CAUSE I LOVE YOU - Carla &amp; Rufus<br />(Rufus Thomas, Jr. as Rufus Thomas)<br />Carla Venita Thomas as Carla Thomas -v; Rufus Thomas-v; Booker T Jones-bs; Marvell Thomas-p; Lewie Steinberg-b; d, others. Produced by Chips Moman. Satellite 102., Atco 6177. Memphis, 1960.<br />Note : Carla and Marvell Thomas are Rufus Thomas&rsquo; children.<br />14. SIGNIFYING BLUES - Bo Diddley<br />(Ellas McDaniel aka Bo Diddley)<br />Ellas McDaniel aka Bo Diddley-v, g ; Jerome Green- v, maracas ; Otis Spann, p; Bobby Baskerville-b ; Clifton James-d ; tambourine. Washington D.C., January, 1960.<br />15. BACK DOOR MAN - Howlin&rsquo; Wolf <br />(Chester Arthur Burnett aka Howlin&rsquo; Wolf)<br />Chester Burnett as Howlin&rsquo; Wolf-v; Otis Spann-p; Freddy Robinson, Hubert Sumlin-g; Willie Dixon-b; Fred Below-d. Chess 1777. Chicago, June 1960.<br />16. And I Do Just What I Want - James Brown<br />(James Joseph Brown aka James Brown)<br />James Joseph Brown as James Brown-v ; Alfred Corley-as; JC Davis-ts; Roscoe Patrick-tp; Les Buie-g; Hubert Perry-el. b; Nat Kendricks-d; Masters Studios, Los Angeles, September 29, 1960.<br />17. CAN YOU SHIMMY? - Bo Diddley<br />(Ellas McDaniel aka Bo Diddley)<br />Ellas McDaniel as Bo Diddley-g,v; Peggy Jones as Lady Bo-g; Jesse James Johnson-b; Frank Kirkland-d; Patricia Jones-maracas; Possibly Patricia Jones or Lady Bo-v on 14. Bo Diddley&rsquo;s home studio, Washington D.C., late 1960.<br />18. MESSED AROUND (and Fell in Love) - Lee Dorsey<br />&nbsp;(Allen Toussaint aka Naomi Neville)<br />Allen Toussaint-p, arrangement; as; organ; Roy Montrell-g; Richard Payne-b; John Boudreaux-d. Fury 1002. Produced by Marshall Seehorn and Allen Toussaint. New Orleans, 1961 or 1962.<br />19. CHECK MR. POPEYE (Part I) - Eddie Bo<br />(Edwin Joseph Bocage aka Eddie Bo)<br />Edwin Joseph Bocage as Eddie Bo-v, p; Melvin Lastie-tp; Harold Raymond Battiste, jr. As Harold Battiste-as; Nat Perriliat-ts; Alvin Tyler as Red Tyler-bs; Roy Montrell-g; Peter Badie as Chuck Badie-b; John Boudreaux-d; vocal chorus. Ric 987. New Orleans, late 1961.<br />20. NOW LET&rsquo;S POPEYE (Part 2) - Eddie Bo<br />(Edwin Joseph Bocage as Eddie Bo)<br />Same as above.<br />21. I FOUND YOU [I Got You (I Feel Good)] - Yvonne Fair and the James Brown Band<br />(James Brown) <br />JC Davis, Albrisco Clark-as, ts; St. Clair Pinkney-bs; possibly Les Buie-g; Bernard Odum-b; Nat Kendriks or Clayton Filyard-d. King 5594. Miami, January 8, 1962.<br />22. Mashed Potatoes U.S.A. - James Brown and his Famous Flames <br />(James Joseph Brown, Jr. aka James Brown)<br />James Joseph Brown, Jr. as James Brown-v; Teddy Washington, unknown-tp; Eldee Williams, St. Clair Pinkney-ts; Al Clark-bs; Les Buie-g; Bernard Odum-b; Hubert Clayton Filyard-d; King 5672. King Studios, Cincinnati, May 20, 1962.<br />23. I&rsquo;ve Got Money - James Brown and his Famous Flames<br />(James Joseph Brown, Jr. aka James Brown)<br />James Joseph Brown, Jr. as James Brown-v; Lewis Hamlin, Roscoe Patrick-tp; St. Clair Pinkney, Clifford McMillan aka Ace King-ts; Al Clark-bs; Les Buie-g; Bobby Byrd-org; Bernard Odum-b; Hubert Clayton Filyard-d; King 5701. King Studios, Cincinnati, May 21, 1962.<br />24. ROAMIN&rsquo;-ITIS - Eddie Bo<br />(Edwin Joseph Bocage as Eddie Bo)<br />Edwin Joseph Bocage as Eddie Bo-v, p; tp, ts, bs, g, b, d. Ric 989. New Orleans, spring 1962.<br />Quelles sont les origines du funk ? Depuis le d&eacute;but du XX&egrave; si&egrave;cle, ce terme signifie la transpiration, les mauvaises odeurs corporelles et par extension la musique de danse bien sentie. Embl&eacute;matique du &laquo;&thinsp;Black Power&thinsp;&raquo; et de la culture de lib&eacute;ration afro-am&eacute;ricaine, le funk plonge ses racines profondes dans les intenses musiques afro-carib&eacute;ennes de Ha&iuml;ti, Cuba, la Jama&iuml;que et la Nouvelle-Orl&eacute;ans. Du jazz am&eacute;ricain &laquo;&thinsp;funky&thinsp;&raquo; au &laquo;&thinsp;soul jazz&thinsp;&raquo; et de la soul jusqu&rsquo;aux musiques syncop&eacute;es des ann&eacute;es 1960, il a connu d&rsquo;illustres et excentriques pr&eacute;curseurs &agrave; l&rsquo;approche &laquo;&thinsp;rare groove&thinsp;&raquo; tels Bo Diddley ou Sun Ra dont l&rsquo;afro-futurisme a marqu&eacute; des artistes comme George Clinton ou Herbie Hancock. Dans la lign&eacute;e de ses anthologies &laquo;&thinsp;Roots of Punk Rock&thinsp;&raquo;, &laquo;&thinsp;Roots of Ska&thinsp;&raquo; et &laquo;&thinsp;Roots of Soul&thinsp;&raquo;, Bruno Blum a r&eacute;uni cette &eacute;clectique s&eacute;lection aux racines du funk. Il retrace l&rsquo;esprit et les influences &agrave; l&rsquo;origine des premiers succ&egrave;s de James Brown, des Meters, Eddie Bo ou Funkadelic. &nbsp;&nbsp;&nbsp; <br /><strong>Patrick FRÉMEAUX</strong><br />What are the roots of funk? Since the early Twentieth Century, this term has come to mean sweat, unpleasant body odor and, by analogy, heartfelt dance music. Symbolic of &ldquo;Black Power&rdquo; and African-American liberation culture, funk has deep roots embedded in the intense afro-caribbean musics of Haiti, Cuba, Jamaica, and New Orleans. Starting with &ldquo;funky&rdquo; jazz, &ldquo;soul jazz&rdquo; and soul, up to the 1960&rsquo;s syncopated musics, it has had illustrious &ldquo;rare groove&rdquo; precursors such as Bo Diddley, or Sun Ra, whose afro-futurism left its mark on George Clinton, Herbie Hancock and the like. Keeping in line with his &ldquo;Roots of Punk Rock&rdquo;, &ldquo;Roots of Ska&rdquo; and &ldquo;Roots of Soul&rdquo; collections, Bruno Blum has gathered this eclectic selection from the roots of funk music. He recounts here the spirit and influences that shaped the early hits of James Brown, The Meters, Eddie Bo, Funkadelic and others.&nbsp;&nbsp; <strong>&nbsp;Patrick FRÉMEAUX</strong><br /></span><span class=Soustitre2><br />CD 1 - SYNCOPATED CREOLE MUSIC - THE DEEP CARIBBEAN ROOTS OF FUNK: </span><span class=Texte>1. TANGA (Part 1) - Machito 3&rsquo;56 &bull; 2. Abaniquito - Tito Puente 2&rsquo;51 &bull; 3. BABOULE DANCE (bamboula rhythm) - vaudou congregation 1&rsquo;12 &bull; 4. BABALU - Slim Gaillard 3&rsquo;36 &bull; 5. Hill and GuLLy Ride/Mandeville Road - Lord Composer 3&rsquo;00 &bull; 6. PO&rsquo; DRAPEAUX (petro mazonnei) - vaudou congregation 5&rsquo;49 &bull; 7. Mambo Baby - Ruth Brown 2&rsquo;42 &bull; 8. AYIZAN MARCHE (zepaules) - vaudou congregation 3&rsquo;24 &bull; 9. El Loco Cha ChA - Ren&eacute; Touzet 3&rsquo;02 &bull; 10. LOUIE LOUIE - Richard Berry 2&rsquo;13 &bull; 11. Compay Cucu - Dioris Valladares 2&rsquo;54 &bull; 12. Me Dog Can&rsquo;t Bark - Monty Reynolds 2&rsquo;44 &bull; 13. BO DIDDLEY - Bo Diddley 2&rsquo;20 &bull; 14. LIMBO - Lord Tickler 3&rsquo;12 &bull; 15. LIMBO - The Wrigglers W/Ernest Ranglin 2&rsquo;08 &bull; 16. LIMBO - Bo Diddley 2&rsquo;37 &bull; 17. LIMBO - Reuben McCoy 2&rsquo;26&nbsp; &bull; 18. Java - Allen Toussaint 1&rsquo;54 &bull; 19. COntre danse n&deg;4 - Nemours Jean-Baptiste 2&rsquo;16 &bull; 20. Me and You - Allen Toussaint 2&rsquo;07 &bull; 21. Olla De For Olla - Mongo Santamaría 3&rsquo;50&nbsp; &bull; 22. Severa - Milito Perez W/Luis Quintero 3&rsquo;02 &bull; 23. PAPA LEGBA INVOCATION - vaudou congregation 1&rsquo;08 &bull; 24. Pantalon - Ensemble de Quadrille Guadeloup&eacute;en 3&rsquo;00.<br /></span><span class=Soustitre2>CD 2 -</span><span class=Soustitre2> Funky Jazz, Hard Bop, Soul Jazz:</span><span class=Texte> 1. EARLY IN THE MORNING - Louis Jordan 3&rsquo;25 &bull; 2. Manteca - Dizzy Gillespie 3&rsquo;07 &bull; 3. TIN TIN DEO - James Moody 2&rsquo;48 &bull; 4. MOONDOG&rsquo;S SYMPHONY (Part 1: Timberwolf)- Moondog 1&rsquo;55 &bull; 5. YO YO YO - Slim Gaillard 2&rsquo;47 &bull; 6. MONK&rsquo;S DREAM - Thelonious Monk 3&rsquo;07 &bull; 7. HAMBONE - Red Saunders 2&rsquo;37 &bull; 8. OPUS DE FUNK - Horace Silver 3&rsquo;27 &bull; 9. MONTEVIDEO - Duke Ellington 2&rsquo;33 &bull; 10. OLD DEVIL MOON - Mickey Baker 2&rsquo;27 &bull; 11. CAll for All Demons - Sun Ra 5&rsquo;12 &bull; 12. MOANIN&rsquo; - Art Blakey/Jazz Messengers 9&rsquo;33 &bull; 13. SLOP - Charles Mingus Septet 4&rsquo;42 &bull; 14. THIS HERE - Bobby Timmons 3&rsquo;32&nbsp; &bull; 15. HOLD IT - James Brown Presents his Band 2&rsquo;10 &bull; 16. NEW DAY - Sun Ra 5&rsquo;49 &bull; 17. First Gone - Count Ossie/Wareikas 2&rsquo;49 &bull; 18. WATERMELON MAN - Herbie Hancock 7&rsquo;08 &bull; 19. DEM TAMBOURINES - Don Wilkerson 5&rsquo;35.<br /></span><span class=Soustitre2>CD 3 - NEGRO SPIRITUALS, Blues &amp; Soul:</span><span class=Texte> 1. Mardi Gras in New Orleans - Professor Longhair 2&rsquo;53 &bull; 2. I&rsquo;VE GOT A HOME - The Blind Boys of Alabama 2&rsquo;13 &bull; 3. HALF PINT OF WHISKEY - Johnny &ldquo;Guitar&rdquo; Watson 3&rsquo;13&nbsp; &bull; 4. MARDI GRAS MAMBO - The Hawketts W/Art Neville 2&rsquo;18 &bull; 5. BO DIDDLEY - Bo Diddley 2&rsquo;30 &bull; 6. SHRIMP AND GUMBO - Dave Bartholomew 2&rsquo;09 &bull; 7. CLOTHES LINE [Shoppin&rsquo; for Clothes] - Boogaloo and the Gallant Crew 2&rsquo;24 &bull; 8. BLUE FUNK - Ray Charles &amp; Milt Jackson 8&rsquo;08 &bull; 9. My Baby Just Cares for Me - Nina Simone 3&rsquo;37 &bull; 10. CHA DOOKY-DOO - Art Neville 2&rsquo;34 &bull; 11. CRAWFISH - Elvis Presley &amp; Kitty White 1&rsquo;50 &bull; 12. ARABIAN LOVE CALL - Art Neville 2&rsquo;24 &bull; 13. &lsquo;CAUSE I LOVE YOU - Carla Thomas &amp; Rufus Thomas 2&rsquo;44 &bull; 14. SIGNIFYING BLUES - Bo Diddley 4&rsquo;28 &bull; 15. BACK DOOR MAN - Howlin&rsquo; Wolf 2&rsquo;51 &bull; 16. And I Do Just What I Want - James Brown 2&rsquo;25 &bull; 17. CAN YOU SHIMMY? - Bo Diddley 2&rsquo;45 &bull; 18. MESSED AROUND (and Fell in Love) - Lee Dorsey 2&rsquo;25 &bull; 19. CHECK MR. POPEYE (Part I) - Eddie Bo 2&rsquo;15 &bull; 20. NOW LET&rsquo;S POPEYE (Part 2) - Eddie Bo 2&rsquo;38 &bull; 21. I FOUND YOU [I Got You (I Feel Good)] - Yvonne Fair and the James Brown Band 2&rsquo;26 &bull; 22. Mashed Potatoes U.S.A. - James Brown 2&rsquo;51 &bull; 23. I&rsquo;ve Got Money - James Brown 2&rsquo;32 &bull; 24. ROAMIN&rsquo;-ITIS - Eddie Bo 2&rsquo;17.<br /></span>"
      "dwf_titres" => array:67 [ …67]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/8/5/0/8/18508-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => []
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#667
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#746
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
  8 => ProductListingLazyArray {#438
    -imageRetriever: ImageRetriever {#744
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#420}
    -productColorsRetriever: ProductColorsRetriever {#743}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#742
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1350"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302542324"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5423"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "412"
      "date_add" => "2021-10-22 10:03:29"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>Le rockabilly est d&eacute;riv&eacute; du bluegrass, du country boogie et du rock &lsquo;n&rsquo; roll afro-am&eacute;ricain auquel il a beaucoup emprunt&eacute;. <br />Son essor co&iuml;ncide avec le d&eacute;but de la popularit&eacute; du rock dans le grand public. Habit&eacute;, intense et incomparable, ce style &agrave; part est d&eacute;fini par une esth&eacute;tique d&rsquo;une grande puret&eacute; : simple et efficace.<br />Embl&eacute;matique de l&rsquo;Am&eacute;rique des ann&eacute;es 1950, sa l&eacute;gende et la qualit&eacute; exceptionnelle de ses enregistrements fondateurs et influents lui ont valu depuis plusieurs r&eacute;surrections. <br />Bruno Blum commente et r&eacute;unit ici la cr&egrave;me du rockabilly originel, un floril&egrave;ge chronologique essentiel. <br /><strong>Patrick FRÉMEAUX </strong><br /><em>Rockabilly derives from bluegrass, country boogie and the African-American rock &lsquo;n&rsquo; roll genre, borrowing much from the latter. <br />Its rise coincided with rock&rsquo;s early popularity with a mass audience. Intense, incomparable and spirited, rockabilly is a style apart, defined by an aesthetic of great purity that is both simple and efficient. <br />It was an emblem in 1950s America and the legendary recordings forming its foundations had exceptional quality. They were so influential that they led to several resurrections. <br />Compiled and annotated by Bruno Blum, this set&rsquo;s recordings represent the cream of original rockabilly in an essential anthology. </em><br /><strong>DIRECTION ARTISTIQUE : BRUNO BLUM</strong></p><p align=justify><strong>DROITS : FREMEAUX &amp; ASSOCIES<br /></strong><br /><strong>CD 1</strong> <br />1951-1956 : ROCKET 88 - BILL HALEY &bull; ROCK THE JOINT - BILL HALEY &bull; HOUND DOG - JACK TURNER &bull; THAT&rsquo;S ALL RIGHT - ELVIS PRESLEY &bull; JUST BECAUSE - ELVIS PRESLEY &bull; GOOD ROCKIN&rsquo; TONIGHT - ELVIS PRESLEY &bull; DRINKIN&rsquo; WINE SPO DEE-O-DEE - MALCOLM YELVINGTON &bull; BABY, LET&rsquo;S PLAY HOUSE - ELVIS PRESLEY &bull; CRY! CRY! CRY! - JOHNNY CASH &bull; MYSTERY TRAIN - ELVIS PRESLEY &bull; FOLSOM PRISON BLUES - JOHNNY CASH &bull; EVERYBODY NEEDS A LITTLE LOVIN&rsquo; - MERLE KILGORE &bull; WHOLE LOTTA SHAKIN&rsquo; GOIN&rsquo; ON - ROY HALL &bull; ROCKIN&rsquo; AND ROLLIN&rsquo; - SONNY FISHER &bull; LOVE ME - BUDDY HOLLY &bull; BLUE SUEDE SHOES - CARL PERKINS &bull; HONEY DON&rsquo;T - CARL PERKINS &bull; SLEEPY TIME BLUES - JESS HOOPER &bull; MAMA&rsquo;S LITTLE BABY - JUNIOR THOMPSON &bull; RAW DEAL - JUNIOR THOMPSON &bull; MIDNIGHT SHIFT - BUDDY HOLLY &bull; BLUE DAYS, BLACK NIGHTS - BUDDY HOLLY &bull; BLUE SUEDE SHOES - ELVIS PRESLEY &bull; MR. BLUES - MARVIN RAINWATER &bull; OOBY DOOBY - ROY ORBISON &bull; GO! GO! GO! DOWN THE LINE - ROY ORBISON &bull; BOPPIN&rsquo; THE BLUES - CARL PERKINS &bull; GET RHYTHM - JOHNNY CASH. <br /><strong>CD 2</strong><br />1956 : ROCKIN&rsquo; ROLLIN&rsquo; STONE - ANDY STARR &bull; TONGUE-TIED JILL - CHARLIE FEATHERS &bull; PINKPEG SLACKS - EDDIE COCHRAN &bull; DUCK TAIL - JOE CLAY &bull; SLIPPING OUT AND SNEAKING IN - JOE CLAY &bull; DOGGONE IT - JOE CLAY &bull; SIXTEEN CHICKS - JOE CLAY &bull; RED HEADED WOMAN - SONNY BURGESS &bull; RACE WITH THE DEVIL - GENE VINCENT &bull; BE-BOP-A-LULA - GENE VINCENT &bull; TEAR IT UP - JOHNNY BURNETTE &bull; WATCHIN&rsquo; THE 7:10 ROLL BY - BUCK GRIFFIN &bull; HOT DOG - BUCK OWENS &bull; YOU LOOK THAT GOOD TO ME - JOE CLAY &bull; DIXIE FRIED - CARL PERKINS &bull; GONNA BACK UP BABY - GENE VINCENT &bull; TWENTY-FLIGHT ROCK - EDDIE COCHRAN &bull; TRAIN KEPT A-ROLLIN&rsquo; - JOHNNY BURNETTE &bull; ALL BY MYSELF - JOHNNY BURNETTE &bull; HONEY HUSH - JOHNNY BURNETTE &bull; LONESOME TRAIN - JOHNNY BURNETTE &bull; ROCK BILLY BOOGIE - JOHNNY BURNETTE &bull; I&rsquo;M CHANGIN&rsquo; ALL THESE CHANGES - BUDDY HOLLY &bull; ONE HAND LOOSE - CHARLIE FEATHERS &bull; HONEY BOP - WANDA JACKSON &bull; CENTIPEDE - LEW WILLIAMS &bull; UBANGI STOMP - WARREN SMITH &bull; LATCH ON - RON HARGRAVE. <br /><strong>CD 3</strong><br />1956-1960 : BOP BOP BA DOO BOP - LEW WILLIAMS &bull; DOUBLE TALKIN&rsquo; BABY - GENE VINCENT &bull; I&rsquo;M COMING HOME - JOHNNY HORTON &bull; ROCK IT - GEORGE JONES &bull; ROCK AROUND WITH OLLIE VEE - BUDDY HOLLY &bull; ROCKIN&rsquo; DADDY - EDDIE BOND &bull; FLYING SAUCER ROCK &lsquo;N&rsquo; ROLL - BILLY LEE RILEY &bull; MATCHBOX - CARL PERKINS &bull; PUT YOUR CAT CLOTHES ON - CARL PERKINS &bull; PINK PEDAL PUSHERS - CARL PERKINS &bull; RED HOT - BOB LUMAN &bull; IT&rsquo;LL BE ME - JERRY LEE LEWIS &bull; TEENAGE CUTIE - EDDIE COCHRAN &bull; YOUR BABY BLUE EYES - JOHNNY BURNETTE &bull; ROCK AND ROLL FEVER - CECIL CAMPBELL &bull; LEWIS BOOGIE - JERRY LEE LEWIS &bull; WORRIED ABOUT YOU BABY - MAYLON HUMPHRIES &bull; RIP IT UP - THE EVERLY BROTHERS &bull; MY BUCKET&rsquo;S GOT A HOLE IN IT - RICKY NELSON &bull; HIGH SCHOOL CONFIDENTIAL - JERRY LEE LEWIS &bull; WILD ONE - JERRY LEE LEWIS &bull; LOBO JONES - JACKIE GOTROE &bull; ROCKIN&rsquo; BY MYSELF - SAMMY GOWANS &bull; MY BABE - DALE HAWKINS / DALE HAWKINS &bull; LOVE ME - THE PHANTOM &bull; THE WAY I WALK - JACK SCOTT &bull; DANCING DOLL - ART ADAMS &bull; LONG BLACK TRAIN - CONWAY TWITTY.<br /></p></p><br><br>"
      "description_short" => "<h3>ELVIS PRESLEY, BILL HALEY, ROY ORBISON, GENE VINCENT,…</h3>"
      "link_rewrite" => "rockabilly-the-indispensable-1951-1960"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Rockabilly The Indispensable 1951-1960 "
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 412
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1350-19274"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1350&rewrite=rockabilly-the-indispensable-1951-1960&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:2 [ …2]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>Rockabilly FA5423</h3><p align=justify><span class=Soustitre>THE INDISPENSABLE</span><br /><span class=Soustitre2><br />ROCKABILLY</span><br /><span class=Soustitre>1951-1960</span><br /><span class=Soustitre>Bill Haley, Elvis Presley, Johnny Cash, Buddy Holly, Carl Perkins, Roy Orbison, Gene Vincent, Johnny Burnette, Jerry Lee Lewis, Wanda Jackson</span><br /><span class=Soustitre2>ROCKABILLY 1951-1960</span><br /><span class=Soustitre>Par Bruno BLUM</span><br /><span class=Texte>Le rockabilly est un genre de rock d&eacute;terminant. Il fut la premi&egrave;re branche du rock v&eacute;ritablement et largement interpr&eacute;t&eacute;e par des artistes blancs. Lanc&eacute; par l&rsquo;immense succ&egrave;s d&rsquo;Elvis Presley qui cristallisa ce style en 1954, il repr&eacute;sente avant tout le triomphe d&rsquo;une fusion entre les musiques populaires noires et blanches aux États-Unis. La vogue du rockabilly, dont le pic se situe en 1956, favorisa une cruciale int&eacute;gration raciale. Cette mixit&eacute; musicale contribua beaucoup au scandale provoqu&eacute; par l&rsquo;irruption du rock &lsquo;n&rsquo; roll &agrave; la t&eacute;l&eacute;vision et sur certaines radios blanches. En effet en pleine s&eacute;gr&eacute;gation raciale, c&rsquo;est en bonne partie gr&acirc;ce &agrave; la popularit&eacute; de quelques titres de rockabilly que le grand public am&eacute;ricain a adopt&eacute; le rock, une musique jusque-l&agrave; essentiellement confin&eacute;e &agrave; une frange marginale de la communaut&eacute; afro-am&eacute;ricaine. </span><br /></p><span class=Texte><br /></span><p align=justify><span class=Soustitre><br />L&rsquo;impact du rockabilly</span><br /><span class=Texte>Apr&egrave;s l&rsquo;impact majeur de Bill Haley et d&rsquo;Elvis Presley en 1954-1956, le rock au sens large devint immens&eacute;ment populaire &mdash; ce qui a aussi favoris&eacute; le d&eacute;veloppement de la carri&egrave;re de plusieurs artistes afro-am&eacute;ricains. Au cours des d&eacute;cennies 1950, 1960, 1970 la musique rock est devenue un m&eacute;dium, un miroir sociologique et un vecteur central dans l&rsquo;importante &eacute;volution des mentalit&eacute;s de la deuxi&egrave;me moiti&eacute; du XX&egrave;me si&egrave;cle. L&rsquo;intense rockabilly, forme musicale originale &mdash; o&ugrave;, sch&eacute;matiquement, des guitares country ont &eacute;t&eacute; greff&eacute;es sur du &laquo;&thinsp;rock noir&thinsp;&raquo; chant&eacute; par des Blancs &mdash; a &eacute;t&eacute; extr&ecirc;mement influent. Il a ouvert la porte &agrave; nombre de sous-genres et de styles qui lui ont succ&eacute;d&eacute;, des Shadows1 aux Beatles, des Stray Cats aux Cramps, de Crazy Cavan &agrave; Robert Gordon jusqu&rsquo;au psychobilly des Meteors2. Les Beatles ont enregistr&eacute; pas moins de sept titres de <strong>Carl Perkins, </strong>dont les versions originelles de Honey Don&rsquo;t, Matchbox et Blue Suede Shoes sont incluses ici (la fameuse intro &laquo;one for the money, two for the show&raquo; de Perkins a &eacute;t&eacute; emprunt&eacute;e au &laquo;Rock Around the Clock&raquo; de Hal Singer paru en 1950). Les Beatles ont aussi &eacute;t&eacute; profond&eacute;ment marqu&eacute;s par <strong>Elvis Presley, Buddy Holly</strong> et les <strong>Everly Brothers</strong>. Apr&egrave;s les tourn&eacute;es triomphales d&rsquo;<strong>Eddie Cochran</strong> et <strong>Gene Vincent</strong> sur son territoire en 1960, la Grande-Bretagne a longtemps entretenu un culte du rock and roll des ann&eacute;es 1950, incarn&eacute; par les teddyboys et des groupes nos-talgiques comme Crazy Cavan and the Rhythm Rockers, Matchbox, Whirlwind et bien d&rsquo;autres.</span><br /><span class=Texte>Quand les Stray Cats venus de Long Island (New York) ont men&eacute; leur fulgurant renouveau du rockabilly en 1980-1983, ils ont enregistr&eacute; plusieurs titres dont les versions&nbsp; originales sont incluses dans cette anthologie : <strong>Ubangi Stomp</strong> de<strong> Warren Smith</strong> et<strong> Double Talkin&rsquo; Baby </strong>de <em>Gene Vincent</em> figurent sur leur premier album, et <strong>Your Baby Blue Eyes</strong> de Johnny Burnette sur leur deuxi&egrave;me. On reconnaitra aussi leur plagiat du <strong>Bop Bop Ba Doo Bop</strong> de <strong>Lew Williams, </strong>qui devint &laquo;&thinsp;Fishnet Stockings&thinsp;&raquo;, sans oublier le <strong>Pink Pedal Pushers </strong>de <strong>Carl Perkins </strong>qui inspira la m&eacute;lodie et les accords de leur grand succ&egrave;s de 1981, &laquo;&thinsp;Stray Cat Strut&thinsp;&raquo;. Les Rolling Stones les ont appr&eacute;ci&eacute;s et invit&eacute;s sur leur tourn&eacute;e am&eacute;ricaine de 1981, puis ont enregistr&eacute; le<strong> Twenty Flight Rock </strong>d&rsquo;<strong>Eddie Cochran </strong>en 1982. Soutenue par les disques Big Beat, une vague renouvelant le rockabilly a touch&eacute; la France dans le sillage des Stray Cats avec des artistes comme les Alligators ou l&rsquo;Anglais Vince Taylor. Quant aux Cramps, ils ont enregistr&eacute; <strong>The Way I Walk </strong>de J<strong>ack Scott</strong> et ont &eacute;t&eacute; tr&egrave;s marqu&eacute;s par le rockabilly, qui continue &agrave; influencer le rock depuis. Diff&eacute;rentes formes de rock &lsquo;n&rsquo; roll sont apparues dans les ann&eacute;es 1950. Les artistes pr&eacute;sents ici ont le plus souvent subi diff&eacute;rentes influences et m&eacute;lang&eacute; diff&eacute;rents styles au cours de leur carri&egrave;re. Mais cette anthologie s&rsquo;attache &agrave; montrer le rockabilly dans sa forme la plus pure, dans son esth&eacute;tique originelle. </span><br /><span class=Soustitre><br />Scandale</span><br /><span class=Texte>Dans le contexte obsol&egrave;te de l&rsquo;impitoyable s&eacute;gr&eacute;gation raciale qui asphyxiait l&rsquo;Am&eacute;rique des ann&eacute;es 1950, le rockabilly n&rsquo;a pas &eacute;t&eacute; le premier style de musique populaire &agrave; op&eacute;rer un rapprochement racial majeur sur le plan culturel. La mode du swing lanc&eacute;e en 1935 par l&rsquo;orchestre de Benny Goodman, un clarinettiste blanc, avait d&eacute;j&agrave; accompli un impact d&rsquo;int&eacute;gration raciale per&ccedil;u par le grand public. La vari&eacute;t&eacute; &laquo;&thinsp;jazz&thinsp;&raquo; de Bing Crosby et Frank Sinatra qui en d&eacute;coula a suivi, puis ce fut la &laquo;&thinsp;dance music&thinsp;&raquo; instrumentale de Glenn Miller, le boogie et le calypso des Andrew Sisters. Citons aussi le western swing, le country boogie et le jazz moderne interpr&eacute;t&eacute; par des Blancs comme Chet Baker ou Stan Getz&hellip; Ces musiques &eacute;taient significativement influenc&eacute;e par les fantastiques musiques afro-am&eacute;ricaines, qui insufflaient peu &agrave; peu rythme et inspiration &agrave; toute l&rsquo;Am&eacute;rique.</span><br /><span class=Texte>Mais avec l&rsquo;irruption du rockabilly au milieu des ann&eacute;es 1950, l&rsquo;&eacute;mergence du rock &lsquo;n&rsquo; roll aupr&egrave;s du grand public blanc fut un choc de g&eacute;n&eacute;rations, un clash racial, une confrontation o&ugrave; il fallait choisir son camp. Apr&egrave;s un quart de si&egrave;cle de r&eacute;cession s&eacute;v&egrave;re et de guerres, l&rsquo;Am&eacute;rique en proie &agrave; une croissance record s&rsquo;&eacute;tait embourb&eacute;e dans une mentalit&eacute; r&eacute;actionnaire que les progr&egrave;s techniques et sociaux ne parvenaient pas &agrave; d&eacute;poussi&eacute;rer. L&rsquo;intensit&eacute;, l&rsquo;&eacute;rotisme et l&rsquo;arrogance de certains classiques br&ucirc;lants entendus ici, comme&nbsp; la version de<strong> The Train Kept-a-Rollin&rsquo;</strong> par <strong>Johnny Burnette</strong> en disent plus long que tous les discours. L&rsquo;hymne rockabilly <strong>Blue Suede Shoes</strong> (chaussures en daim bleu) de<strong> Carl Perkins,</strong> repris par <strong>Elvis Presley</strong> d&eacute;fie quiconque de lui marcher sur les pieds&nbsp; (la c&eacute;l&egrave;bre intro du morceau a &eacute;t&eacute; plagi&eacute;e sur &laquo;&thinsp;Wat&rsquo;cha Gonna Do&thinsp;&raquo; de Bill Haley and the Comets). Sur le m&ecirc;me principe, le<strong> Duck Tail </strong>(queue de canard) de<strong> Joe Clay</strong> fait r&eacute;f&eacute;rence &agrave; sa houppe, qu&rsquo;il ne faut pas abimer. Excitant, insolent, charg&eacute; de fiert&eacute; masculine et de sexualit&eacute;, le rockabilly surgissait de sa bo&icirc;te de Pandore et bousculait l&rsquo;Am&eacute;rique conservatrice et pudibonde du g&eacute;n&eacute;ral Eisenhower. Il d&eacute;rangeait tout autant les contestataires de gauche &eacute;pris de folk et les beatniks amateurs de jazz, qui le m&eacute;prisaient. Les musiciens de rockabilly &eacute;taient souvent per&ccedil;us comme des fauteurs de trouble venus du sud, grossiers, ruraux, vulgaires et d&eacute;nu&eacute;s de talent. Ils furent abondamment et injustement critiqu&eacute;s et brocard&eacute;s. L&rsquo;histoire de la chasse aux sorci&egrave;res qui devint la plaie d&rsquo;Elvis Presley et du rock &agrave; partir de 1956 est d&eacute;taill&eacute;e dans le livret du volume 2 d&rsquo;Elvis Presley face &agrave; l&rsquo;histoire </span><span class=Texte>de la musique am&eacute;ricaine 1956-1958 (FA5383) o&ugrave; les versions originales (souvent des compositions d&rsquo;afro-am&eacute;ricains) sont juxtapos&eacute;es &agrave; ses propres enregistrements. Le rock, &agrave; commencer par sa mat&eacute;rialisation sous forme de rockabilly sera litt&eacute;ralement mis au pilori et progressivement &eacute;cart&eacute; des circuits radiophoniques en 1956-57. Il ne refera surface que dans une version &eacute;dulcor&eacute;e avec la mode du twist en 1960-1962, qui pr&eacute;c&eacute;da &laquo;&thinsp;l&rsquo;invasion britannique&thinsp;&raquo; rock men&eacute;e par les Beatles aux États-Unis en 1964.</span><br /><span class=Texte>Alors que la nouvelle g&eacute;n&eacute;ration succombait avec candeur &agrave; l&rsquo;excitation propag&eacute;e par Elvis Presley et ses suiveurs, d&rsquo;autres consid&eacute;raient cette musique comme un d&eacute;voiement qui appelait &agrave; un rejet sans &eacute;quivoque. Émoustillant les femmes, et jug&eacute;s suggestifs &agrave; juste titre, les mouvements d&rsquo;<strong>Elvis Presley</strong> sur sc&egrave;ne ont d&eacute;clench&eacute; un anath&egrave;me d&egrave;s ses premi&egrave;res apparitions t&eacute;l&eacute;vis&eacute;es (et en particulier sa version de<strong> Hound Dog</strong> au Milton Berle Show en juin 1956). Les st&eacute;r&eacute;otypes d&rsquo;une musique et d&rsquo;une danse trop libres associaient depuis longtemps les musiques afro-am&eacute;ricaines &agrave; la luxure, &agrave; la vulgarit&eacute; &mdash; et &agrave; une suppos&eacute;e inf&eacute;riorit&eacute; sur laquelle on fermait les yeux tant qu&rsquo;elle restait cantonn&eacute;e aux ghettos noirs mis&eacute;rables. Mais que des Blancs y succombent faisait scandale. Dans un contexte aussi lourd il n&rsquo;est pas &eacute;tonnant que des sommets comme<strong> Race With the Devil </strong>qui &eacute;voque une course poursuite avec le diable, ou le sauvage <strong>Love Me </strong>de <strong>The Phantom</strong> exultant le d&eacute;sir sexuel (le disque ne sortira qu&rsquo;en 1960) aient pu &ecirc;tre appr&eacute;ci&eacute;s comme des menaces &agrave; l&rsquo;ordre paternaliste, tartuffe, d&eacute;vot, consum&eacute;riste et puritain d&rsquo;un pr&eacute;sident Eisenhower tr&egrave;s &agrave; droite. &Agrave; cela s&rsquo;ajoutait le mouvement pour les droits civiques des Afro-am&eacute;ricains, qui sous l&rsquo;impulsion de Rosa Parks puis du pasteur Martin Luther King prit beaucoup d&rsquo;ampleur au fil de l&rsquo;ann&eacute;e 1956 (l&rsquo;ann&eacute;e phare du rockabilly), ce qui exacerbait les passions s&eacute;gr&eacute;gationnistes &mdash; et anti s&eacute;gr&eacute;gationnistes.</span><br /><span class=Texte>Musique du sud, le rockabilly &eacute;tait sulfureux &agrave; plusieurs titres. Le racisme &eacute;tait une cause entendue, profond&eacute;ment inscrite dans l&rsquo;identit&eacute; du sud o&ugrave; le d&eacute;dain des personnes &laquo;&thinsp;de couleur&thinsp;&raquo; et de leur culture &eacute;tait extr&ecirc;mement r&eacute;pandu. Le rock &eacute;tait consid&eacute;r&eacute; par beaucoup de Blancs comme une musique noire d&eacute;g&eacute;n&eacute;r&eacute;e et inconvenante qui d&eacute;vergondait la jeunesse. En cons&eacute;quence, ceux qui l&rsquo;adoptaient en osant y injecter un style sp&eacute;cifiquement country (guitare et guitare steel notamment) commettaient un double sacril&egrave;ge puisqu&rsquo;ils insultaient, en plus, la tradition populaire blanche. Le rockabilly &eacute;tait interpr&eacute;t&eacute; par des chanteurs de country comme <strong>Elvis Presley</strong> ou <strong>George Jones</strong> mais en raison de son pacte avec le diable afro-am&eacute;ricain, il ne pouvait class&eacute; dans la country music.</span><br /><span class=Texte>Si certains comme <strong>Gene Vincent</strong> ou <strong>Eddie Cochran </strong>ont adopt&eacute; et assum&eacute; leur &eacute;tiquette &laquo;rock&raquo; sans trop de retenue, nombre de chanteurs de country avaient mauvaise conscience d&rsquo;enregistrer dans le style rockabilly. En outre, ils craignaient &agrave; juste titre qu&rsquo;une fois la mode pass&eacute;e leur r&eacute;putation de rocker ne freine leur carri&egrave;re. Au d&eacute;sespoir des amateurs de rockabilly le fantastique <strong>Johnny Burnette</strong> se m&eacute;tamorphosera vite en crooner &agrave; succ&egrave;s.<strong> George Jones</strong> a enregistr&eacute;<strong> Rock It </strong>incognito sous le pseudonyme de Thumper Jones, et retournera vite &agrave; sa carri&egrave;re country naissante &mdash; qui fera de lui une &eacute;norme vedette. Le g&eacute;ant de la country music &eacute;voquera plus tard cet &eacute;cart comme un bon moment mais fera son mea culpa en le d&eacute;crivant comme &laquo;&thinsp;l&rsquo;une de ses plus mauvaises id&eacute;es&thinsp;&raquo;. Plus tard, certains disc jockeys refuseront effectivement de diffuser les disques de country de <strong>Conway Twitty</strong> parce qu&rsquo;il &eacute;tait connu comme chanteur de rock. Jimmie Logsdon enregistra sous le pseudonyme de Jimmy Lloyd&thinsp;; et Buck Owens a sorti<strong> Hot Dog </strong>sous le nom de Corky Jones. Ce fut aussi le cas d&rsquo;Hank Cochran, qui faisait ses d&eacute;buts sous le nom des Cochran Brothers en duo avec son homonyme<strong> Eddie Cochran</strong>3. &Agrave; l&rsquo;&eacute;t&eacute; 1956, accompagn&eacute; par son ami Eddie il a pr&eacute;f&eacute;r&eacute; sortir &laquo;&thinsp;Let&rsquo;s Coast a While&thinsp;&raquo; sous le nom de Bo Davis4. En revanche d&rsquo;autres, comme <strong>Johnny Horton</strong> (musicien conteur r&eacute;put&eacute; pour ses sagas de l&rsquo;ouest) et<strong> Johnny Cash</strong> n&rsquo;ont pas &eacute;t&eacute; affect&eacute;s par l&rsquo;image rockabilly car leur musique, moins tonique, a &eacute;t&eacute; class&eacute;e dans la country.</span><br /><span class=Soustitre><br />Hillbilly</span><br /><span class=Texte>Avant la Premi&egrave;re Guerre Mondiale dans le sud des États-Unis, les musiques populaires appr&eacute;ci&eacute;es par la majorit&eacute; blanche &eacute;taient enracin&eacute;es dans les cultures venues d&rsquo;Europe : chanson irlandaise, anglaise, reel &eacute;cossais, habanera hispanique, tarantelle italienne, sardane catalane, quadrille fran&ccedil;ais devenu &laquo;&thinsp;square dance&thinsp;&raquo;, lieders allemands, yodel tyrolien, mazurka, polka, etc. Dans le magma du chaudron culturel am&eacute;ricain, le folklore des cultures britanniques (galloises, &eacute;cossaises, irlandaises et anglaises) avec violon, instruments &agrave; vent, piano et autres se m&ecirc;laient progressivement. Ces musiques traditionnelles adoptaient diff&eacute;rents instruments venus du continent europ&eacute;en, comme l&rsquo;accord&eacute;on ou la guitare.<strong> Johnny Cash </strong>a par exemple &eacute;t&eacute; significativement marqu&eacute; par la chanson irlandaise. Cette grande diversit&eacute; euro-am&eacute;ricaine &eacute;tait concentr&eacute;e et m&eacute;lang&eacute;e sous diverses formes dans les musiques populaires rurales. On l&rsquo;appelait souvent le hillbilly, qui fut le parent de la country music n&eacute;e entre les deux guerres5. Le hillbilly comprend diff&eacute;rents styles folkloriques, notamment le bluegrass des Appalaches, o&ugrave; le banjo sans doute d&eacute;riv&eacute; du ngoni malien est tr&egrave;s pr&eacute;sent &mdash; et diverses musiques folk dont la chanson contestataire, notamment repr&eacute;sent&eacute;e par Woody Guthrie6.</span><br /><span class=Texte>Au d&eacute;but du XXe si&egrave;cle si l&rsquo;on excepte la d&eacute;cisive r&eacute;gion de Louisiane o&ugrave; les m&eacute;langes africains, carib&eacute;ens, espagnols, anglais et fran&ccedil;ais cajun7 ont model&eacute; des styles &agrave; part, et sans ignorer l&rsquo;influence mariachi mexicaine dans le sud-ouest, la musique populaire des États-Unis &eacute;tait domin&eacute;e par l&rsquo;influence des cultures anglo-saxonnes. Tr&egrave;s riches, elles comprenaient les chansons populaires, les musiques militaires, la musique classique, les berceuses, le music hall et l&rsquo;omnipr&eacute;sent &laquo;&thinsp;country&thinsp;&raquo; gospel blanc protestant8. <strong>Elvis Presley, Johnny Cash et Jack Scott </strong>enregistr&egrave;rent d&rsquo;ailleurs quantit&eacute; de gospel dans les ann&eacute;es qui ont suivi leur p&eacute;riode rockabilly initiale. De la rumba au calypso9, les musiques carib&eacute;ennes10 exerc&egrave;rent aussi une influence importante dans le d&eacute;veloppement des musiques du continent nord-am&eacute;ricain. Quant &agrave; la musique hawa&iuml;enne et ses guitares slide tr&egrave;s particuli&egrave;res11, elles influenc&egrave;rent tr&egrave;s significativement le hillbilly et la country music qui lui succ&egrave;da12, comme on peut l&rsquo;&eacute;couter ici avec les guitares pedal steel sur <strong>Drinkin&rsquo; Wine Spo-Dee-O-Dee</strong> par <strong>Malcolm Yelvington and the Star Rhythm Boys, Hound</strong> <strong>Dog </strong>par <strong>Jack Turner &amp; his Granger County Gang, Rock the Joint </strong>de<strong> Bill Haley and the</strong> <strong>Saddlemen </strong>ou encore <strong>Rock and Roll Fever de Cecil Campbell.</strong></span><br /><span class=Soustitre><br />Country &amp; Western</span><br /><span class=Texte>Originaire du Mississippi, c&rsquo;est dans les ann&eacute;es 1920 que Jimmie Rogers fonda la country music proprement dite. Il incorpora notamment &agrave; son style le yodel du Tyrol allemand et fut l&rsquo;un des premiers Blancs &agrave; adopter un style nettement influenc&eacute; par le blues. Notre anthologie Hillbilly Blues13 met en &eacute;vidence que, comme le jazz afro-am&eacute;ricain, d&egrave;s les ann&eacute;es 1920 le blues a profond&eacute;ment marqu&eacute; des musiciens blancs qui en avaient adopt&eacute; les styles et idiomes ruraux, et les chantaient en s&rsquo;accompagnant &agrave; la guitare s&egrave;che. Mais en int&eacute;grant les suites d&rsquo;accords blues &agrave; trois degr&eacute;s dans sa musique hillbilly, Jimmie Rodgers a fond&eacute; un nouveau genre &agrave; part : la country music. Il enregistra carr&eacute;ment avec des musiciens noirs &mdash; dont Louis Armstrong (&laquo;&thinsp;Blue Yodel #9&thinsp;&raquo;, 1930), un fait exceptionnel pour un chanteur blanc du sud &agrave; cette &eacute;poque. Monstre sacr&eacute; de la country music, Hank Williams (1923-1953) avait adopt&eacute; un style de chant tr&egrave;s marqu&eacute; par le blues. Avec ses compositions et ses interpr&eacute;tations remarquables, Hank Williams fut l&rsquo;un des p&egrave;res du rockabilly. Ricky Nelson, une des grandes stars du rock de la fin des ann&eacute;es 1950, reprend ici son <strong>My Bucket&rsquo;s Got a Hole in It,</strong> dont les paroles sont d&eacute;riv&eacute;es d&rsquo;une chanson pour enfants, &laquo;&thinsp;There&rsquo;s a Hole in my Bucket&thinsp;&raquo; (la m&eacute;lodie est un plagiat d&rsquo;un negro spiritual, &laquo;&thinsp;Midnight Special&thinsp;&raquo;). James Burton y brille &agrave; la guitare. </span><br /><span class=Texte>Dans les ann&eacute;es 1940, une autre branche de la musique country, le bluegrass rural des Appalaches dont le champion incontest&eacute; reste Bill Monroe &eacute;tait souvent plus &eacute;nergique que le hillbilly et chant&eacute; sur des tempos plus rapides, avec violon et banjo. Bill Monroe et ses Bluegrass Boys ont pr&eacute;c&eacute;d&eacute; le rockabilly auquel leur style est apparent&eacute;. Mais le v&eacute;ritable pr&eacute;curseur du rockabilly fut le boogie woogie. Musique afro-am&eacute;ricaine par excellence, le piano boogie &eacute;tait appr&eacute;ci&eacute; par le grand public d&egrave;s les ann&eacute;es 193014. Il a &eacute;t&eacute; incorpor&eacute; &agrave; tous les styles possibles : le jazz, le blues, le swing (vari&eacute;t&eacute; sans improvisations) jusqu&rsquo;&agrave; la musique du far west : le western swing des Blancs comme Bob Wills and his Texas Playboys oscillant entre country, jazz et blues dans les bals populaires du Texas fr&eacute;quent&eacute;s par les ouvriers des puits de p&eacute;trole15. Le boogie a consid&eacute;rablement influenc&eacute; la country music, inspirant d&rsquo;irr&eacute;sistibles morceaux sautillants &agrave; des artistes de country plus souvent enclins &agrave; la m&eacute;lancolie. Les perles de country boogie qui en r&eacute;sult&egrave;rent sont les plus &eacute;vidents pr&eacute;curseurs du rockabilly. Citons le &laquo;&thinsp;Play my Boogie&thinsp;&raquo; de Bill Mack (1953) et le &laquo;&thinsp;Guitar Boogie&thinsp;&raquo; d&rsquo;Arthur Smith (1948)16. Ils constituent un style distinct, mais nettement apparent&eacute; au rockabilly, o&ugrave; les guitares jouent un r&ocirc;le particuli&egrave;rement d&eacute;licieux17. La country &amp; western a &eacute;t&eacute; tr&egrave;s marqu&eacute;e par la guitare &eacute;lectrique, dont les g&eacute;ants incontestables sont Merle Travis et Chet Atkins, au style de finger picking difficile &agrave; ma&icirc;triser. Leur influence sur le rockabilly ne peut &ecirc;tre sous-estim&eacute;e. Les meilleurs guitaristes de rockabilly, comme Scotty Moore (avec <strong>Elvis Presley</strong>), Cliff Gallup (avec <strong>Gene Vincent</strong>), Carroll Dills (avec <strong>Cecil Campbell</strong>), James Burton (ici avec <strong>Bob Luman, Ricky Nelson,</strong> et plus tard Elvis Presley) ou Hal Harris (avec <strong>Joe Clay</strong>) ont tous &eacute;cout&eacute; et &eacute;mul&eacute; leurs styles18 de guitare au son clair. Chet Atkins en personne est d&rsquo;ailleurs pr&eacute;sent sur un titre tr&egrave;s country des <strong>Everly Brothers</strong> et celui de <strong>Jack Turner.</strong> Et tandis que les Blancs de l&rsquo;apr&egrave;s-guerre dansaient au son du country boogie dans le sud du pays, le versant afro-am&eacute;ricain de la musique de danse s&rsquo;appelait le jump blues. Ou, selon les disc jockeys, il &eacute;tait nomm&eacute; &laquo;&thinsp;rhythm and blues&thinsp;&raquo; et, &agrave; partir de 1950, &laquo;&thinsp;rock and roll&thinsp;&raquo;.</span><br /><span class=Soustitre>Rock Afro-Am&eacute;ricain</span><br /><span class=Texte>Les rocks originels d&rsquo;artistes afro-am&eacute;ricains comme Roy Brown, Tiny Bradshaw ou Wynonie Harris &eacute;taient appr&eacute;ci&eacute;s par une part grandissante du public blanc. &Agrave; la charni&egrave;re des ann&eacute;es 1940 et1950, des titres comme leurs &laquo;&thinsp;Good Rockin&rsquo; Tonight&thinsp;&raquo;, All She Wants to Do Is Rock&thinsp;&raquo; ou &laquo;&thinsp;Rockin&rsquo; at Home19&thinsp;&raquo; &eacute;taient de plus en plus largement appr&eacute;ci&eacute;s. Succ&eacute;dant aux musiciens de country boogie, des chanteurs blancs jusque-l&agrave; confin&eacute;s &agrave; la country &laquo;&thinsp;honky tonk&thinsp;&raquo;20, nettement plus d&eacute;tendue, ont &eacute;t&eacute; tent&eacute;s d&rsquo;enregistrer &agrave; leur tour ces morceaux &eacute;nergiques en studio. Ce fut le cas du fabuleux<strong> Hound Dog</strong> de Big Mama Thornton, repris ici par <strong>Jack Turner</strong> (avec une basse &eacute;lectrique) dans une tentative pionni&egrave;re de fusion rock et hillbilly. En 1956, la reprise d&rsquo;Elvis sera un succ&egrave;s majeur du rock n&rsquo; roll. D&rsquo;autres pr&eacute;curseurs ont cisel&eacute; l&rsquo;esth&eacute;tique rockabilly. La version originale du titre qui ouvre cet album a la r&eacute;putation d&rsquo;&ecirc;tre le &laquo;premier morceau de l&rsquo;histoire du rock&raquo;21. En r&eacute;alit&eacute; ce morceau a cette renomm&eacute;e car il a &eacute;t&eacute; enregistr&eacute; par <strong>Bill Haley,</strong> un des premiers artistes blancs &agrave; enregistrer une composition de rock &mdash; un cas d&rsquo;autant plus atypique qu&rsquo;il vivait dans le nord du pays. Et c&rsquo;est en ce sens qu&rsquo;il est un pr&eacute;curseur du rockabilly, un genre o&ugrave; l&rsquo;influence afro-am&eacute;ricaine est au c&oelig;ur du style. Inspir&eacute; par le Cadillac Boogie de Jimmy Liggins, le l&eacute;gendaire<strong> Rocket 88 </strong>est une composition du saxophoniste Jackie Brenston qui fut initialement enregistr&eacute;e avec le groupe d&rsquo;Ike Turner, les Kings of Rhythm&thinsp;; elle est typique du rock afro-am&eacute;ricain d&rsquo;apr&egrave;s-guerre. Ce succ&egrave;s c&eacute;l&egrave;bre les vertus de l&rsquo;Oldsmobile 88, un mod&egrave;le de 1949 rapide et solide mis &agrave; jour chaque ann&eacute;e. L&rsquo;arrangement du groupe de <strong>Bill Haley,</strong> les Saddlemen (avec leur contrebasse &laquo;&thinsp;slap&thinsp;&raquo; inspir&eacute;e par le country boogie des Maddox Brothers and Rose) apporta un son et un swing nouveau &agrave; cette composition22. Et quand ce n&rsquo;&eacute;tait pas des reprises de succ&egrave;s noirs par des Blancs, c&rsquo;&eacute;tait le style de chant impr&eacute;gn&eacute; de pathos blues qui s&rsquo;imposait dans le rockabilly.</span><br /><span class=Texte>En adoptant des compositions et une forte influence afro-am&eacute;ricaine, traduite dans un langage et un format accessibles au grand public blanc, ces artistes de country reconnaissaient implicitement leur respect pour ces musiciens d&rsquo;origine africaine. Une avanc&eacute;e spectaculaire &mdash; et souvent tr&egrave;s mal appr&eacute;ci&eacute;e dans le sud du pays o&ugrave; le scandale brisa nombre de carri&egrave;res en 1956-60. Les États-Unis et le monde attendaient pourtant cette cruciale int&eacute;gration depuis un si&egrave;cle, depuis la victoire des Nordistes sur les Sudistes, qui en 1865 avait arrach&eacute; l&rsquo;abolition de l&rsquo;esclavage promulgu&eacute;e quelques jours avant l&rsquo;assassinat du pr&eacute;sident abolitionniste Abraham Lincoln. Le succ&egrave;s de<strong> Bill Haley</strong> et le ph&eacute;nom&egrave;ne <strong>Elvis Presley </strong>ont &eacute;t&eacute; les premiers catalyseurs de ce rockabilly charni&egrave;re sociologique. Avide de libert&eacute;, la jeunesse a bascul&eacute; au son d&rsquo;Elvis et de son scandale. Les interactions entre musiques afro-am&eacute;ricaines et euro-am&eacute;ricaines ont toujours &eacute;t&eacute; tr&egrave;s pr&eacute;sentes aux Am&eacute;riques et sont &agrave; l&rsquo;origine de la richesse du rock &lsquo;n&rsquo; roll23. Mais la&nbsp; sulfureuse synth&egrave;se rockabilly a v&eacute;ritablement ouvert une br&egrave;che dans laquelle s&rsquo;engouffr&egrave;rent d&egrave;s les ann&eacute;es 1950 nombre de musiciens afro-am&eacute;ricains essentiels comme Ray Charles24, Bo Diddley25, Little Richard26, Chuck Berry27 ou James Brown28. Il a particip&eacute; &agrave; tourner peu &agrave; peu la page d&rsquo;une effroyable s&eacute;gr&eacute;gation &mdash; et insuffl&eacute; &agrave; la nouvelle g&eacute;n&eacute;ration un vent d&rsquo;anticonformisme, de libert&eacute; in&eacute;dit.</span><br /><span class=Soustitre><br />Le Rockabilly</span><br /><span class=Texte>Le rockabilly a connu quelques titres annonciateurs de <strong>Bill Haley</strong> et d&rsquo;autres, mais il est v&eacute;ritablement n&eacute; sous l&rsquo;impulsion cr&eacute;ative de Sam Phillips, producteur visionnaire s&rsquo;il en fut (et qui appelait ce style &laquo;&thinsp;rock &lsquo;n&rsquo; roll&thinsp;&raquo; et trouvait p&eacute;joratif le terme &laquo;&thinsp;rockabilly&thinsp;&raquo; impos&eacute; en 1956 par le magazine du nord, le Billboard). Phillips d&eacute;couvrit et lan&ccedil;a <strong>Malcolm Yelvington, Roy Orbison, Sonny Fisher, Jerry Lee Lewis, Carl Perkins, Johnny Cash </strong>et <strong>Elvis Presley</strong> &mdash; entre autres. Apr&egrave;s une s&eacute;rie rockabilly enregistr&eacute;e au studio Sun, et quelques pr&eacute;curseurs dont Carl Perkins, le succ&egrave;s d&eacute;mentiel d&rsquo;Elvis en 1956 a instantan&eacute;ment cr&eacute;&eacute; une demande en jeunes rockers blancs. Cette ann&eacute;e-l&agrave;, des centaines de jeunes artistes impressionn&eacute;s par le ph&eacute;nom&egrave;ne Elvis et ses innovations stylistiques ont r&eacute;pondu &agrave; la demande du march&eacute;, parmi lesquels Gene Vincent, Eddie Cochran, Buddy Holly, Marvin Rainwater ou Jess Hooper. Nourris de musique country conventionnelle qui leur semblait maintenant quelque peu appartenir &agrave; une autre g&eacute;n&eacute;ration, ils se tournaient peu &agrave; peu vers le rock noir si excitant et si extraordinairement riche, qu&rsquo;ils assimil&egrave;rent. Une foison de disques est parue, souvent sur de petites marques locales. Certains artistes comme <strong>Ron Hargrave,</strong> auteur de<strong> Latch On</strong> et<strong> High</strong> <strong>School Confidential,</strong> compos&egrave;rent quelques hymnes pour cet &acirc;ge nouveau qui commen&ccedil;ait. Notre anthologie r&eacute;unit d&rsquo;incontournables classiques du rockabilly comme <strong>Mystery Train, Blue Suede Shoes, Be-Bop-a-Lula, Rock Billy Boogie</strong> ou <strong>Folsom Prison Blues</strong>. Mais cette indispensable s&eacute;lection est largement compl&eacute;t&eacute;e par des 45 tours aussi lumineux qu&rsquo;obscurs, enregistr&eacute;s spontan&eacute;ment avec des musiciens aussi talentueux qu&rsquo;oubli&eacute;s, comme les guitaristes Grady Martin, Paul Burlison, Terry Thompson ou Roy Buchanan. Esp&eacute;rons que cet album contribuera &agrave; ce que les perles de <strong>Joe Clay, Lew Williams, Andy Starr, Sonny Fisher, Charlie Feathers, Buck Griffin, Junior Thompson</strong> ou l&rsquo;hyst&eacute;rique <strong>Sonny Burgess</strong> et leurs accompagnateurs ne soient pas totalement effac&eacute;es de l&rsquo;histoire. La version originale de <strong>Whole Lotta Shakin&rsquo; Goin&rsquo; On,</strong> qui rendra plus tard <strong>Jerry Lee </strong>Lewis c&eacute;l&egrave;bre, a &eacute;t&eacute; compos&eacute;e et enregistr&eacute;e le 21 mars 1955 par Big Maybelle (Mabel Smith). Elle est ici plagi&eacute;e par <strong>Roy Hall, </strong>qui s&rsquo;en est attribu&eacute; la paternit&eacute; alors qu&rsquo;il ne l&rsquo;a enregistr&eacute;e que six mois plus tard, cr&eacute;ant ainsi un titre de rockabilly. En d&eacute;couvrant les titres m&eacute;connus de <strong>Johnny Horton, Buck Owens, Eddie Bond</strong> ou <strong>Merle Kilgore</strong> on comprend que le r&eacute;servoir du rockabilly originel est tr&egrave;s vaste. S&eacute;lectionn&eacute; rigoureusement autour de crit&egrave;res de qualit&eacute;, cet album est &eacute;galement r&eacute;f&eacute;renc&eacute; avec soin. Il fournit ainsi un faisceau de pistes &agrave; suivre, qui vise &agrave; diffuser les cl&eacute;s pour d&eacute;couvrir et mieux appr&eacute;cier ce son particulier, authentique et excitant, fruit d&rsquo;une fusion musicale unique en son genre, t&eacute;moignage d&rsquo;une &eacute;poque.</span><br /><span class=Texte>Fusion du &laquo;&thinsp;rock&thinsp;&raquo; noir et du &laquo;&thinsp;billy&thinsp;&raquo; blanc chant&eacute; dans Rock Billy Boogie, l&rsquo;esth&eacute;tique rockabilly peut &ecirc;tre d&eacute;finie par quelques crit&egrave;res simples : rythmique swing entre country et boogie woogie, une tendance d&eacute;j&agrave; annonc&eacute;e par des artistes de country d&rsquo;apr&egrave;s-guerre comme Tennessee Ernie Ford, Moon Mullican ou les Delmore Brothers, plus une guitare au son clair caract&eacute;ristique de la country music, d&eacute;riv&eacute; des ma&icirc;tres blancs Chet Atkins, Joe Maphis, Grady Martin ou Merle Travis. Le style de guitare y est essentiel. Car s&rsquo;il en a subi l&rsquo;influence, le rockabilly est bien distinct du rock afro-am&eacute;ricain de Big Joe Turner, Jimmy McCracklin, Lloyd Price, Johnny Otis, Little Richard ou Jackie Brenston qui employaient beaucoup d&rsquo;instruments &agrave; vent. Il est &eacute;galement distinct de guitaristes rockers noirs comme Junior Parker avec Pat Hare (dont le &laquo;&thinsp;Love Me Baby&thinsp;&raquo; de 1953 a n&eacute;anmoins marqu&eacute; le rockabilly), Johnny &laquo;&thinsp;Guitar&thinsp;&raquo; Watson ou Chuck Berry, dont le style de guitare &eacute;tait essentiellement h&eacute;rit&eacute; du blues29. Mais c&rsquo;est avant tout la fa&ccedil;on de chanter tr&egrave;s sentie, souvent &eacute;raill&eacute;e et expuls&eacute;e avec force et le r&eacute;pertoire du rockabilly qui ont &eacute;t&eacute; emprunt&eacute;s au rock noir. Beaucoup de compositions incluses ici &eacute;taient d&eacute;j&agrave; des classiques avant d&rsquo;&ecirc;tre r&eacute;arrang&eacute;es en rockabilly : on retrouve sur ce floril&egrave;ge les compositeurs afro-am&eacute;ricains Jackie Brenston, Arthur Crudup, Roy Brown, Arthur Gunter, Junior Parker, Ivory Joe Hunter, Tiny Bradshaw, Fats Domino, Little Richard et Willie Dixon &mdash; sans oublier Jerry Leiber et Mike Stoller, deux Blancs qui &eacute;crivaient dans le style et pour des artistes afro-am&eacute;ricains (et compteront en 1956 parmi les compositeurs attitr&eacute;s d&rsquo;Elvis Presley). On trouve en revanche une forte influence country dans l&rsquo;image et les costumes des chanteurs (Elvis, lui, n&rsquo;h&eacute;sitait pas &agrave; s&rsquo;habiller chez Lansky&rsquo;s, une boutique de Memphis fr&eacute;quent&eacute;e par les Noirs). Ce rock noir chant&eacute; par des Blancs v&eacute;hiculait une aura, une arrogance et un son bien particulier qui faisait vibrer les adolescent(e)s. Cette influence country dans le rock marquera &agrave; son tour plusieurs artistes noirs&nbsp; dans les ann&eacute;es 1950. Mickey Baker, g&eacute;ant des s&eacute;ances Atlantic de la d&eacute;cennie, joue d&rsquo;ailleurs ici sur un titre de Joe Clay. Ce sera aussi une grande force de Chuck Berry que d&rsquo;avoir int&eacute;gr&eacute; cette influence dans son &oelig;uvre d&egrave;s 1955. Il sera suivi en ce sens par Roy Brown chez Imperial en 1956, Bo Diddley dans sa p&eacute;riode Gunslinger (1960), Ray Sharpe et d&rsquo;autres.</span><br /><span class=Texte>La contrebasse parfois &laquo;&thinsp;slap&thinsp;&raquo; (aux cordes claqu&eacute;es) caract&eacute;ristique du rockabilly (o&ugrave; Bill Haley l&rsquo;a introduite) est sans doute h&eacute;rit&eacute;e du country boogie des Maddox Brothers, mais c&rsquo;est le contrebassiste de Louisiane Wellman Braud, p&egrave;re de la tr&egrave;s influente &laquo;&thinsp;walking bass&thinsp;&raquo;, qui avait lanc&eacute; ce style des ann&eacute;es plus t&ocirc;t dans l&rsquo;orchestre jazz de Duke Ellington. La fameuse banane (duck tail, ou &laquo;&thinsp;queue de canard&thinsp;&raquo;) lanc&eacute;e par Elvis tranchait avec la coupe propre et tr&egrave;s courte des artistes de country qui n&rsquo;h&eacute;sitaient pas &agrave; s&rsquo;affubler de chapeaux de cow-boys. Les meilleurs repr&eacute;sentants du rockabilly &eacute;taient souvent d&rsquo;origine humble et rurale comme <strong>Charlie Feathers, Warren Smith</strong> (Mississippi), <strong>Carl Perkins </strong>(Tennessee), <strong>Billy Lee Riley</strong> (Arkansas), Jerry Lee Lewis ou le m&eacute;connu <strong>Joe Clay</strong> (Louisiane). Ils &eacute;taient capables d&rsquo;interpr&eacute;tations plus brutes, rudes et senties qui correspond &agrave; l&rsquo;esprit du rock originel nourri de gospel noir de Tiny Bradshaw, Roy Brown ou Little Richard. Les cris d&rsquo;excitation des musiciens (entendus ici chez<strong> Billy Lee Riley, Gene Vincent, Johnny Burnette, </strong>etc.) ajoutaient un cachet vraiment particulier. Issus d&rsquo;un milieu urbain, <strong>Elvis Presley, </strong>ses voisins<strong> Johnny Burnette </strong>et son fr&egrave;re Dorsey n&rsquo;en &eacute;taient pas moins des prol&eacute;taires &agrave; Memphis&thinsp;; spontan&eacute;s et peu instruits, il appartiennent eux aussi &agrave; cette cat&eacute;gorie capable d&rsquo;interpr&eacute;-tations &laquo;&thinsp;brutes&thinsp;&raquo; tr&egrave;s senties. Inversement, les <strong>Everly Brothers, Buddy Holly</strong> ou <strong>Lew Williams </strong>(ici avec le g&eacute;ant de la guitare jazz Barney Kessel parachut&eacute; dans cette s&eacute;ance rock) issus d&rsquo;un milieu urbain chantaient avec plus de sophistication et de douceur. Quant &agrave; <strong>Eddie Cochran,</strong> il vivait &agrave; Los Angeles et a vite r&eacute;v&eacute;l&eacute; une forte personnalit&eacute; de chanteur. Il n&rsquo;avait que dix-sept ans quand il a grav&eacute;<strong> Pink</strong> <strong>Pegged Slacks</strong>30.</span><br /><span class=Texte>La puret&eacute; esth&eacute;tique du rockabilly n&rsquo;a dur&eacute; que trois ans environ, de 1954 &agrave; 1957. Comme le fit <strong>Elvis Presley, Eddie Cochran, Buddy Holly</strong> ou <strong>Ricky Nelson</strong> &eacute;volu&egrave;rent vite vers de nouvelles influences d&egrave;s 1956, ouvrant de nouveaux horizons pour le rock &lsquo;n&rsquo; roll. Comme <strong>Roy Orbison</strong> qui enregistrera par la suite de v&eacute;ritables prouesses vocales, <strong>Johnny Cash </strong>et le pianiste <strong>Jerry Lee Lewis</strong> sont &agrave; l&rsquo;origine de leur propres styles, de v&eacute;ritables &eacute;coles. Mais &agrave; l&rsquo;exception de Jerry Lee &laquo;&thinsp;The Killer&thinsp;&raquo;, aucun d&rsquo;entre eux ne pers&eacute;v&egrave;rera dans la voie du rockabilly originel, comme le confirment les volumes 2 des coffrets consacr&eacute;s &agrave;<strong> Elvis Presley, Eddie Cochran </strong>et<strong> Gene Vincent </strong>dans cette collection. Leurs styles &eacute;volueront, le plus souvent dans une direction plus pr&eacute;sentable. Face &agrave; l&rsquo;opprobre et au scandale, beaucoup d&rsquo;artistes, parmi lesquels <strong>Wanda Jackson, Ricky Nelson, Johnny Burnette, Elvis Presley, Gene Vincent </strong>ou <strong>Conway Twitty</strong>, n&rsquo;auront d&rsquo;autre choix que de s&rsquo;&eacute;loigner du pr&eacute;cieux son sauvage que l&rsquo;on entend ici avec<strong> Maylon Humphries</strong> ou <strong>Sammy Gowans</strong>.</span><br /><strong><span class=Texte>Bruno Blum, 2013</span></strong><br /><span class=Texte>Merci &agrave; Muriel Blum, Yannick Blum, Yves Calvez, Jacky Chalard, Gilles Conte, Guillaume Gilles, Christophe H&eacute;nault, Youri Lenquette, Slim Jim Phantom, Patrick Renassia (Rock Paradise), Lee Rocker, Brian Setzer et Marc Zermati.</span><br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2014</span><br /><span class=Texte>1. Retrouvez les Shadows sur Rock Instrumentals Story 1934-1962 (FA5426) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>2. Lire le livret et &eacute;couter Roots of Punk Rock 1926-1962 (FA5415) dans cette collection.</span><br /><span class=Texte>3. Écouter The Indispensable Eddie Cochran 1955-1960 (FA5425) dans cette collection.&nbsp; <br />&nbsp; </span><br /><span class=Texte>4. Écouter &laquo;Let&rsquo;s Coast a While&raquo; d&rsquo;Hank Cochran alias Bo Davis avec Eddie Cochran &agrave; la guitare sur notre anthologie Road Songs - Car Tune Classics 1942-1962 (FA5401).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>5. Lire le livret et &eacute;couter Country - Nashville-Dallas-Hollywood 1927-1942 (FA015) dans cette collection.</span><br /><span class=Texte>6. Lire le livret et &eacute;couter Protest Songs (&agrave; para&icirc;tre) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>7. Lire le livret et &eacute;couter Cajun - Louisiane 1928-1939 (FA019) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>8. Lire le livret et &eacute;couter Country Gospel 1926-1946 (FA055) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>9. Écouter l&rsquo;influence internationale du calypso dans Calypso 1944-1958 (coffret Anthologie des Musiques de Danse du Monde FA5342) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>10. Lire le livret et &eacute;couter Trinidad - Calypso 1939-1959 (FA5348), Bahamas Gombey &amp; Calypso 1935-1960 (FA5374), Bahamas Goombay 1951-1959 (FA5302), Jamaica - Mento 1956-1961 (FA5358) et Virgin Islands 1956-1960 (FA5403).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>11. Lire le livret et &eacute;couter Electric Guitar Story - Country, Jazz, Blues, R&amp;B, Rock 1935-1962 (FA5421) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>12. Lire le livret et &eacute;couter Hawaiian Music 1927-1944 (FA035) et Hawaiians in Paris 1916-1926 (FA066) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>13. Lire le livret et &eacute;couter Hillbilly Blues 1928-1946 (FA065) dans cette collection.</span><br /><span class=Texte>14. Lire les livrets et &eacute;couter notre s&eacute;rie de trois albums Boogie Woogie Piano (FA036, FA5164, FA5226) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>15. Lire le livret et &eacute;couter Western Swing - Texas 1928-1944 (FA032) et Bob Wills &amp; his Texas Playboys 1932-1947 (FA164) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>16. Retrouvez Arthur Smith sur Rock Instrumentals 1934-1962 (FA5426, qui inclut &laquo;&thinsp;Guitar Boogie&thinsp;&raquo;) dans cette collection et sur Guitare Country - From Old Time to Jazz Times 1926-1950 (FA5007).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>17. Lire le livret et &eacute;couter Country Boogie 1939-1947 (FA160) dans cette collection.</span><br /><span class=Texte>18. Lire le livret et &eacute;couter Electric Guitar Story 1935-1962 (FA5421) et Guitare Country - From Old Time to Jazz Times 1926-1950 (FA5007) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>19. Écouter &laquo;&thinsp;Rockin&rsquo; at Home&thinsp;&raquo; par Floyd Dixon sur Roots of Ska - USA-Jamaica rhythm and blues shuffle 1942-1962 (FA5396) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>20. Lire le livret et &eacute;couter Honky Tonk Country Music 1945-1953 (FA 5087) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>21. La version originale de Rocket 88 par Jackie Brenston est incluse sur Road Songs - Classic Car Tunes 1942-1962 (FA5401). Les deux versions sont disponibles dans le volume Rock n&rsquo; Roll 1951 dans cette collection (FA357).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>22. Lire le livret et &eacute;couter The Indispensable Bill Haley 1948-1961 (FA5465) dans cette collection.</span><br /><span class=Texte>23. Lire les livrets et &eacute;couter notre s&eacute;rie d&rsquo;anthologies Rock n&rsquo; Roll : Volume 1 1927-1938 (FA 351), Volume 2 1938-1946 (FA352), Volume 3 1947 (FA353), Volume 4 1948 (FA354), Volume 5 1949 (FA355), Volume 6 1950 (FA356), Volume 7 1951 (FA357) et Volume 8 1952 (FA359)&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>24. Lire le livret et &eacute;couter Ray Charles - Brother Ray: The Genius 1949-1960 (FA5350) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>25. Lire le livret et &eacute;couter The Indispensable Bo Diddley 1955-1960 (FA5376) et 1959-1962 (FA5406).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>26. Lire le livret et &eacute;couter The Indispensable Little Richard 1955-1958 &agrave; para&icirc;tre dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>27. Lire le livret et &eacute;couter The Indispensable Chuck Berry 1954-1961 (FA5409) dans cette collection.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>28. Lire le livret et &eacute;couter The Indispensable James Brown 1956-1961 (FA5378) dans cette collection.</span><br /><span class=Texte>29. Retrouvez Johnny &laquo;&thinsp;Guitar&thinsp;&raquo; Watson, Chuck Berry et Junior Parker avec Pat Hare sur Electric Guitar Story - Country, Jazz, Blues, R&amp;B, Rock 1935-1962 (FA5421) dans cette collection.</span><br /><span class=Texte>30. Lire le livret et &eacute;couter The Indispensable Eddie Cochran 1955-1960 (FA5425) dans cette collection.</span><br /><span class=Soustitre2>ROCKABILLY 1951-1960</span><br /><span class=Soustitre>By Bruno Blum<br /></span><br /><span class=Texte>Rockabilly is a defining genre. In being the first of rock &rsquo;n&rsquo; roll branches to be played by white artists en masse, it critically inflected rock&rsquo;s course. Launched by the immense success of Elvis Presley, who crystallized the style in 1954, rockabilly was above all the triumph of the black- and white-style fusion in American popular music. It reached the peak of its popularity in 1956 and helped shaping crucial racial integration. Its musical mix contributed to the scandal caused when TV screens &mdash; and some white radio stations &mdash; where invaded by rock &lsquo;n&rsquo; roll: coming in the midst of segregation, a few rockabilly titles were largely successful enough for American mass audiences to adopt rock music, previously confined essentially to a fringe-audience in the Afro-American community. </span><br /><span class=Soustitre>The impact of rockabilly</span><br /><span class=Texte>After Presley&rsquo;s major impact in 1954-1956, rock in the larger sense became immensely popular, furthering the careers of several Afro-American artists along the way. In the Fifties to the Seventies, rock music became a medium: it was a sociological mirror and a central vector of the major evolution in mentality which took place in the second half of the 20th century. Rockabilly was an intense, original music-form &mdash; broadly speaking, &ldquo;country&rdquo; guitars were grafted onto &ldquo;black rock&rsquo;&rdquo; sung by white artists &mdash; and it opened doors to a number of sub-genres and subsequent styles played by groups from The Shadows1 to The Beatles, and from The Stray Cats, Cramps, Crazy Cavan and Robert Gordon to the &ldquo;psychobilly&rdquo; of The Meteors2. The Beatles recorded no fewer than seven <strong>Carl Perkins </strong>titles, and here you can find the original versions of his <strong>Honey Don&rsquo;t, Matchbox </strong>and<strong> Blue</strong> <strong>Suede Shoes</strong> (the famous &ldquo;one for the money, two for the show&rdquo; intro of the latter was borrowed from Hal Singer&rsquo;s 1950 &ldquo;Rock Around the Clock&rdquo;). The Beatles were also deeply marked by<strong> Presley, Buddy Holly</strong> and the<strong> Everly Brothers. </strong>After triumphant British tours by <strong>Eddie Cochran</strong> and <strong>Gene Vincent</strong> in 1960, the U.K. saw the birth of a 1950s rock &lsquo;n&rsquo; roll cult, as exemplified by teddy-boys and nostalgia-bands like Crazy Cavan and the Rhythm Rockers, Matchbox, Whirlwind and many others.</span><br /><span class=Texte>When The Stray Cats (from Long Island, New York) led their lightning rockabilly revival in 1980-1983, they recorded several titles whose original versions appear in this set:<strong> Ubangi Stomp</strong> by <strong>Warren Smith </strong>and <strong>Double Talkin&rsquo; Baby </strong>by <strong>Gene Vincent </strong>appeared on their first album and <strong>Your Baby Blue Eyes</strong> by<strong> Johnny Burnette</strong> on their second. You&rsquo;ll also recognize <strong>Bop Bop Ba Doo Bop</strong> by <strong>Lew Williams, </strong>which they plagiarized as &ldquo;Fishnet Stockings&rdquo;, and the <strong>Carl Perkins</strong> song <strong>Pink Pedal Pushers</strong> which inspired the melody and chords of their great 1981 hit &ldquo;Stray Cat Strut&rdquo;. The Rolling Stones were fans and invited them on their 1981 American tour, and then they recorded <strong>Twenty Flight Rock</strong> by <strong>Eddie Cochran </strong>in 1982. Backed by Big Beat Records, a new rockabilly wave swept France in the wake of The Stray Cats with artists like The Alligators or the English singer Vince Taylor. As for The Cramps, they recorded <strong>The Way I Walk</strong> by <strong>Jack Scott</strong> and were strongly influenced by rockabilly (which has continued to mark rock ever since). </span><br /><span class=Texte>Different forms of rock &lsquo;n&rsquo; roll appeared in the Fifties, and the artists featured here were most often subjected to various influences, mixing different styles in the course of their careers. The aim of this anthology, however, is to present rockabilly in its purest form and in its original aesthetic.</span><br /><span class=Soustitre><br />Scandal</span><br /><span class=Texte>In the obsolete context of the merciless racial segregation which asphyxiated America in the Fifties, rockabilly wasn&rsquo;t the first popular music style to operate a major racial reconciliation on a cultural level. The swing craze laun-ched in 1935 by White clarinetist Benny Goodman&rsquo;s orchestra had already made a visible impact on racial integration perceived by the mass audience. Bing Crosby and Frank Sinatra&rsquo;s &ldquo;jazz&rdquo; pop followed, and there was also Glenn Miller&rsquo;s instrumental &ldquo;dance music&rdquo; as well as The Andrews Sister&rsquo;s boogie and calypso. Western swing can also be mentioned, and the country boogie and modern jazz played by white artists like Chet Baker or Stan Getz&hellip; These genres were significantly influenced by fantastic Afro-American music styles which gradually breathed rhythm and inspiration into music across the whole of America.</span><br /><span class=Texte>When rockabilly broke through in the mid-Fifties, however, rock &lsquo;n&rsquo; roll awareness among the mass white audience coincided with the clash between generations &mdash; the shock was also racial &mdash; and people had to choose sides in this confrontation. After a quarter-century of war and severe recession, America, now prey to a record growth in population, was bogged down in a reactionary mentality which tried to resist all kinds of social and technical progress. The intensity, eroticism and arrogance in some red-hot classics contained in this set, like the version of <strong>The Train Kept-a-Rollin&rsquo; </strong>by <strong>Johnny Burnette, </strong>speak louder than any political discourse. The rockabilly anthem <strong>Blue Suede Shoes</strong> from <strong>Carl Perkins, </strong>covered by <strong>Elvis Presley,</strong> is a challenge to anyone who might step on his toes. The same applies to <strong>Duck Tail</strong> by<strong> Joe Clay, </strong>which refers to his haircut: his hair wasn&rsquo;t to be messed with. Exciting, insolent, and loaded with male pride and sexuality, rockabilly sprang out of its Pandora&rsquo;s Box and bowled over General Eisenhower&rsquo;s conservative, prudish America. It was just as upsetting for left-wing agitators who liked folk and beatnik jazz-fans who scorned it. Rockabilly musicians were often seen as Southern trouble-makers: crude and vulgar hicks who lacked talent. They were abundantly &mdash; and unfairly &mdash; criticized, and taunted constantly. The story of the witch-hunt which plagued Presley (and indeed rock) from 1956 onwards is explained in detail in the booklet enclosed with Vol. 2 of Elvis Presley &amp; the American Music Heritage 1956-1958 (FA5383), a set where original versions of songs (often composed by Afro-Americans) appear alongside Elvis&rsquo; own recordings of them. Rock, in its rockabilly incarnation, was sent to the pillory: slowly, between 1956 and &lsquo;57, radio networks began keeping it at a distance, and it only resurfaced, watered down, in 1960-62 with the twist craze preceding the Brit-rock &ldquo;invasion&rdquo; of the USA led by The Beatles in 1964.</span><br /><span class=Texte>While the new generation succumbed with candour to the excitement propagated by Presley and those who followed later, others perceived the music as corrupt, and unequivocally called for its rejection. Presley&rsquo;s stage behaviour titillated girls and was correctly deemed suggestive; his first television appearances were anathema to most, particularly his <strong>Hound Dog</strong> performance on the Milton Berle Show in June 1960. Music and dance stereotypes that were too &ldquo;free&rdquo; had associated Afro-American music with lewdness and vulgarity for a long time &mdash; not to mention a supposed inferio-rity to which people closed their eyes (as long as it remained contained inside the wretched ghettoes where black folk lived&hellip;). But the fact that Whites were succumbing to it was seen as scandalous. In such an oppressive context, it&rsquo;s not surprising that such fantastic titles as<strong> Race with the Devil</strong> or the wild <strong>Love Me</strong> by <strong>The Phantom</strong> &mdash; exulting sexual desire, the record didn&rsquo;t come out until 1960 &mdash; were perceived as threats to the paternalist, hypocritical, devoutly Puritan and consumerist order of society extolled by a right-wing President such as Eisenhower. To that could be added the Civil Rights movement which, spurred on by Rosa Parks and then the Reverend Martin Luther King Jr., took on major importance in the course of 1956 &mdash; a glorious year for rockabilly &mdash; and exacerbated passions in both camps: those for segregation and those against it.</span><br /><span class=Texte>Rockabilly was music from the South, and it reeked of sulphur for several reasons. Racism was an accepted cause, deeply written into a southern identity marked by widespread disdain for &ldquo;coloureds&rdquo; and their culture. Many Whites considered rock as unsuitable: it was &ldquo;degenerate&rdquo; Black music which led young people to debauchery. And consequently those who adopted it and dared to inject it with a specifically country style (notably with guitars and steel guitars) were committing a double sacrilege because they were also insulting a White popular tradition: it&rsquo;s true that rockabilly was performed by country singers like Elvis or <strong>George Jones, </strong>but they had supposedly sealed a pact with the Afro-American devil, and so it didn&rsquo;t qualify as country music.</span><br /><span class=Texte>If some singers like <strong>Gene Vincent </strong>or <strong>Eddie Cochran</strong> were quite easy with their &ldquo;rock&rdquo; label and adopted it without too much restraint, many country singers were very uncomfortable about recording in the rockabilly style. In addition, they (rightly) feared that, once the fad disappeared, their reputation as rockers would put their careers on hold. To the great despair of rockabilly fans, the fantastic <strong>Johnny Burnette</strong> quickly metamorphosed into a successful crooner. <strong>George Jones</strong> recorded <strong>Rock It</strong> incognito under the pseudonym Thumper Jones, and quickly returned to his nascent country career to become a huge star. This giant of country music would later refer to his &ldquo;sidestep&rdquo; as a good period&hellip; while making his confession at the same time: he said it was one of his &ldquo;worst ideas&rdquo;. Later, some disc-jockeys actually refused to play country records by <strong>Conway Twitty</strong> because he was known as a rock singer. Jimmie Logsdon would record as Jimmy Lloyd, and Buck Owens released <strong>Hot Dog</strong> under the pseudonym Corky Jones. Another was Hank Cochran: he started out as The Cochran Brothers, singing duets with his namesake<strong> Eddie Cochran</strong>3, but in the summer of 1956, accompanied by his friend Eddie, he preferred to release &ldquo;Let&rsquo;s Coast a While&rdquo; under the name Bo Davis.4 Others, however, like <strong>Johnny Horton </strong>(a musician known for his tales of western sagas), or <strong>Johnny Cash,</strong> weren&rsquo;t affected by the rockabilly image because their music, less invigorating, was classified as &ldquo;Country&rdquo;.</span><br /><span class=Soustitre>Hillbilly</span><br /><span class=Texte>In southern U.S. states before World War II, the music appreciated by the white majority had roots in European culture: Irish and English songs, Scottish reels, habaneras from Spain, Italian tarantellas, Catalan sardanas, the French quadrille which became the square dance, Germany&rsquo;s &ldquo;Lieder&rdquo;, yodelling from the Tyrol, mazurkas, polkas, etc. In the melting-pot of American culture, folk music originating in the British Isles (from Wales &amp; Ireland to England via Scotland) found its violins slowly mixing with pianos, wind instruments and others from the European mainland, like the accordion and the guitar. Irish songs made a deep impression on <strong>Johnny Cash,</strong> for example. This Euro-American diversity was mixed and concentrated under various forms in rural popular music, and it was often called hillbilly, the parent of the country music born between the wars. 5 Hillbilly contains different folk styles, notably Appalachian bluegrass music where the banjo, perhaps derived from the ngoni of Mali, is a mainstay, and other folk music including the protest songs represented by the like of Woody Guthrie.6</span><br /><span class=Texte>Early in the 20th century, apart from the importance of the Louisiana area where a mixture of African, Caribbean, Spanish, English and French Cajun7 influences modelled separate styles (not forgetting the Mexican mariachi influence in the northwest), popular music in The United States was dominated by rich Anglo-Saxon cultures: these included popular songs, military and classical music, lullabies, music-hall and the omnipresent &ldquo;country&rdquo; gospel of white Protestants.8 <strong>Elvis Presley, Johnny Cash </strong>and <strong>Jack Scott</strong> incidentally recorded many gospels in the years following their initial rockabilly period. From rumba to calypso,9 Caribbean music also wielded major influence over the development of music across the North American continent. As for the music of Hawaii and its very special slide guitars,10 it had a significant impact on hillbilly and the country music which succeeded it,11 as you can see here from the pedal steel guitars on <strong>Drinkin&rsquo; Wine Spo-Dee-O-Dee</strong> by<strong> Malcolm</strong> <strong>Yelvington and the Star Rhythm Boys, Hound Dog </strong>by <strong>Jack Turner &amp; his Granger County Gang, Rock the Joint </strong>by<strong> Bill Haley and the Saddlemen </strong>or again<strong> Rock and Roll Fever</strong> by <strong>Cecil Campbell.</strong></span><br /><span class=Soustitre><br />Country &amp; Western</span><br /><span class=Texte>Country music proper was founded in the 1920s by Jimmie Rodgers, who was originally from Mississippi. He incorporated the yodelling of the German Tyrol into his style, and was one of the first Whites to adopt a style with a clear blues influence. Our anthology Hillbilly Blues12 shows how the blues, like Afro-American jazz, deeply marked white musicians in that period; they adopted the styles and rural idioms of blues and jazz in their own songs, accompanying themselves on acoustic guitars. But when Jimmie Rodgers integrated three degrees blues chord progressions in his hillbilly music, he founded a new, distinct style: country music. Rodgers even recorded with black musicians &mdash; among them Louis Armstrong (&ldquo;Blue Yodel #9&rdquo;, 1930) &mdash; which was an exceptional feat for a White southern singer in that period. Another country-music great, Hank Williams (1923-1953), had adopted a song-style that carried a deep blues imprint; his remarkable compositions and performances made Hank one of the fathers of rockabilly. Ricky Nelson, one of rock&rsquo;s great stars at the end of the Fifties, here picks up his song<strong> My Bucket&rsquo;s Got a Hole in It, </strong>with lyrics derived from the children&rsquo;s song &ldquo;There&rsquo;s a Hole in my Bucket&rdquo; (its melody plagiarizes the Negro spiritual &ldquo;Midnight Special&rdquo;.) James Burton is the brilliant guitarist on this one. </span><br /><span class=Texte>In the 1940s, the rural bluegrass style of the Appalachians was another branch of country music with Bill Monroe as its uncontested champion. It often had a more energetic sound than hillbilly music and was sung over quick tempos with violins and banjos. Bill Monroe and his Bluegrass Boys came before rockabilly and their styles were related; but rockabilly&rsquo;s real precursor was boogie woogie. As Afro-American music par excellence, piano boogie was appreciated by audiences as early as the Thirties13 and has been incorporated into any number of styles: jazz, blues, swing (popular music without improvisations) and even the music of the far west; the western swing of White bands like Bob Wills and his Texas Playboys oscillated between country, jazz and blues in the Texas dance-halls where oil-workers used to let off steam.14 Boogie had a major influ-ence on country music, and inspired some compelling danceable numbers to country artists more often given to melancholy&hellip; The country boogie gems which resulted are rockabilly&rsquo;s most obvious precursors: there was &ldquo;Play my Boogie&rdquo; by Bill Mack (1953) for example, and Arthur Smith&rsquo;s &ldquo;Guitar Boogie&rdquo; in 1948.15 These formed a distinct style even though it bore an obvious relation to rockabilly with the guitars playing a particularly delicious role.16</span><br /><span class=Texte>Country &amp; Western was marked by the electric guitar, whose undisputed aces were Merle Travis and Chet Atkins. They played a finger-picking style that was extremely difficult to master. Their influence on rockabilly is not to be underestimated. The best rockabilly guitarists like Scotty Moore (with <strong>Elvis Presley</strong>), Cliff Gallup (with <strong>Gene Vincent</strong>), Carroll Dills (with<strong> Cecil Campbell</strong>), James Burton (here with B<strong>ob Luman, Ricky Nelson,</strong> and later Elvis Presley) or Hal Harris (with <strong>Joe Clay</strong>) all listened closely and emulated their clean-sound guitar styles.17 Incidentally, Chet Atkins in person plays here on one very &ldquo;country&rdquo; title by the<strong> Everly Brothers</strong> and on the <strong>Jack Turner</strong> title. Finally, while Whites of the post-war years were dancing in the South to the sounds of country boogie, the Afro-American dance-equivalent was known as jump blues or, depen-ding on which disc jockey you were listening to, &ldquo;rhythm and blues&rdquo; (and from 1950 onwards, &ldquo;rock and roll&rdquo;).</span><br /><span class=Soustitre>Afro-American Rock</span><br /><span class=Texte>The seminal rock songs of African-American artists like Roy Brown, Tiny Bradshaw or Wynonie Harris were liked by an increasingly large white audience, and when the 1940s moved into the 1950s, tunes such as &ldquo;Good Rockin&rsquo; Tonight&rdquo;, &ldquo;All She Wants to Do Is Rock&rdquo; or &ldquo;Rockin&rsquo; at Home&rdquo;18 found many new fans. Coming after country boogie musicians, white singers who had until then confined themselves to &ldquo;honky tonk&rdquo;19 country music, which was much more relaxed, were tempted in turn to record these energetic pieces in the studios. This was the case with the fabulous <strong>Hound Dog</strong> title by Big Mama Thornton, here picked up by J<strong>ack Turner</strong> (with an electric bass) in a pioneering attempt at a fusion of rock and hillbilly. Presley&rsquo;s 1956 version would be a major rock n&rsquo; roll hit. Other precursors put finishing touches to the rockabilly style: the original version of the track opening this set has the reputation of being &ldquo;the first piece of rock history&rdquo;,20 but in reality it owes its fame to the fact that it was recorded by<strong> Bill Haley </strong>&mdash; one of the first white artists to record a rock composition &mdash; whose situation was all the more atypical because Haley lived in the north of the country. And it&rsquo;s in this sense that he was a precursor of rockabilly: the genre had Afro-American influences at its heart. Inspired by Jimmy Liggins&rsquo; Cadillac Boogie, the legendary <strong>Rocket 88</strong> was written by saxophonist Jackie Brenston, who recorded it with Ike Turner&rsquo;s band The Kings of Rhythm. &ldquo;Rocket 88&rdquo; is typical of the African-American rock of the post-war era, and became a hit as a celebration of the virtues of the Oldsmobile 88, a 1949-model automobile which was fast and reliable, with new versions leaving the factory every year. The arrangement played by Haley&rsquo;s band The Saddlemen (with their &ldquo;slap&rdquo; bass inspired by the country boogie of The Maddox Brothers and Rose) brought an inspired sound with a new swing to the song21. And when Whites weren&rsquo;t covering Black hits, it was the song-style, impregnated with the pathos of the blues, which imposed itself in rockabilly.</span><br /><span class=Texte>In adopting compositions and a strong Afro-American influence, and in translating them into a language and format which could reach a mass white audience, these country artists were implicitly recognizing their respect for musicians of African descent. It was spectacular progress&hellip; and often very badly received in the South, where scandal destroyed many careers between 1956 and 1960. Even so, the USA (and the rest of the world) had been waiting over a century for this crucial integration to become reality, in fact ever since the Confederate defeat in 1865 which preserved the abolition of slavery promulgated a few days before the assassination of President Abraham Lincoln. <strong>Bill Haley</strong> and the<strong> Elvis Presley</strong> phenomenon were the first catalysts in this rockabilly which represented the change in society. Eager for freedom, young people fell under its sway to the sound of Elvis and the scandal surrounding him. Interaction between Afro-American and Euro-American music styles has always been present in the Americas, and lies at the origin of the richness of rock &lsquo;n&rsquo; roll.22 But this quasi-heretical rockabilly synthesis genuinely opened a breach, and into it jumped a number of essential African-American musicians of the 1950s: Ray Charles23, Bo Diddley24, Little Richard25, Chuck Berry26 and James Brown.27 Little by little, it contributed to put an end to appalling segregation &mdash; and caused a brand-new wind of nonconformist liberty to blow over the new generation.</span><br /><span class=Soustitre><br />Rockabilly</span><br /><span class=Texte>If rockabilly was announced by a few titles from<strong> Bill Haley</strong> and others, its genuine birth came under the creative impetus of Sam Phillips, a visionary producer if ever there was : Phillips discovered and launched <strong>Malcolm Yelvington, Roy Orbison, Sonny Fisher, Jerry Lee Lewis, Carl Perkins, Johnny Cash </strong>and, of course,<strong> Elvis Presley</strong> &mdash; and there were others. After a series of rockabilly titles recorded at Phillips&rsquo; Sun Studio, and a few precursors like Carl Perkins, the wild success of Elvis in 1956 created instant demand for more young white rockers. That year, literally hundreds of young artists impressed by the Elvis phenomenon (and his innovations in style), sprang up in answer to the demand, and among them were <strong>Gene Vincent, Eddie Cochran, Buddy Holly, Marvin Rainwater </strong>and<strong> Jess Hooper</strong>. Raised on the conventional forms of country music which now seemed to belong to another generation altogether, these artists gradually turned to the black rock music which was so exciting and rich; they all assimilated it. A flood of records came out, often released by little local labels; and from artists like<strong> Ron Hargrave, </strong>the author of<strong> Latch On </strong>and <strong>High School Confidential,</strong> came hymns for the dawning of this new age. </span><br /><span class=Texte>This anthology contains many indispensable rockabilly classics, like<strong> Mystery Train, Blue Suede Shoes, Be-Bop-a-Lula, Rock Billy Boogie</strong> or <strong>Folsom Prison Blues;</strong> but it is handsomely complemented by many 45rpm singles which are as illuminating as they are obscure, spontaneously recorded with musicians whose talents make their own relative obscurity all the more regrettable, like Grady Martin, Paul Burlison, Terry Thompson or Roy Buchanan, to name only the guitarists. So we hope this set will be useful in ensuring that these pearls by <strong>Joe Clay, Lew Williams, Andy Starr, Sonny Fisher, Charlie Feathers, Buck Griffin, Junior Thompson</strong> and the hysterical<strong> Sonny Burgess</strong> &mdash; and their companions &mdash; are not totally erased from the history books. The original version of<strong> Whole</strong> <strong>Lotta Shakin&rsquo; Goin&rsquo; On</strong> - the title which later made<strong> Jerry Lee Lewis</strong> a celebrity - was written and first recorded on March 21, 1955 by Big Maybelle aka Mabel Smith then plagiarized by <strong>Roy Hall, </strong>whose rendition is heard here. When you discover the little-known efforts of <strong>Johnny Horton, Buck Owens, Eddie Bond</strong> or <strong>Merle Kilgore,</strong> you realize that original rockabilly had an immense reservoir on which to draw. The recording quality of these pieces was just one criterion in their selection, and great care was taken in referencing them for this set; the result is a myriad of trails to follow, and each trail provides a key to the discovery of that special sound, authentic and exciting, which came from a musical fusion that was unique in its genre: it witnessed a whole era.</span><br /><span class=Texte>The rockabilly aesthetic &mdash; the fusion of black &ldquo;rock&rdquo; and white &ldquo;billy&rdquo; sung in<strong> Rock Billy Boogie</strong> &mdash; can be defined according to a few simple criteria: swing rhythms coming from country and boogie woogie (a trend already heralded by post-war country artists like Tennessee Ernie Ford, Moon Mullican or The Delmore Brothers), plus a guitar with the clear sound that characterizes country music and is derived from some white Masters: Chet Atkins, Joe Maphis, Grady Martin and Merle Travis. The guitar style is essential, because even though rockabilly was subjected to its influence, it still remains distinct from the Afro-American rock of Big Joe Turner, Jimmy McCra-cklin, Lloyd Price, Johnny Otis, Little Richard or Jackie Brenston, who used many wind instruments. The sound is also distinct from that of guitarists who were black rockers, like Junior Parker with Pat Hare (even if his 1953 title &ldquo;Love Me Baby&rdquo; had a definite influence on rockabilly), or Johnny &ldquo;Guitar&rdquo; Watson and Chuck Berry, whose guitar style was essentially inherited from the blues.28 </span><br /><span class=Texte>But the main borrowings from black rock were the vocal styles, full of feeling, often rasping and forcefully expressed, and the repertoire. Many compositions included here were already classics before they were rearranged as rockabilly titles: the works of Afro-American composers like Jackie Brenston, for example, along with Arthur Crudup, Roy Brown, Arthur Gunter, Junior Parker, Ivory Joe Hunter, Tiny Bradshaw, Fats Domino, Little Richard or Willie Dixon; and let&rsquo;s not forget Jerry Leiber &amp; Mike Stoller &mdash; two Whites who wrote in Black styles (mainly for African-American artists) &mdash; and turned out to compose hits for Elvis in 1956. On the other hand, you can find a strong country influence in the singers&rsquo; image and dress (whereas Elvis used to wear clothes from Lansky&rsquo;s, a Memphis boutique where Blacks were regular customers). This &ldquo;Black rock sung by Whites&rdquo; conveyed a special aura, a particular &ldquo;attitude&rdquo; and sound which had vibrating affinities with teens of both sexes. Several black artists were also marked by this country influence on Fifties rock: Mickey Baker, for example, a giant on Atlantic sessions in that decade, plays here on a title by <strong>Joe Clay. </strong>And one of Chuck Berry&rsquo;s great strengths was to have integrated this influence in his work as early as 1955. He was followed in this direction by Roy Brown at Imperial in 1956, Bo Diddley in his Gunslinger period (1960), Ray Sharpe et al.</span><br /><span class=Texte>The double bass (sometimes played &ldquo;slap bass&rdquo;, i.e. by smacking the strings) was a characteristic of rockabilly perhaps inherited from the country boogie of The Maddox Brothers (and introduced in Rockabilly by Bill Haley), but it was a Lousiana bassist named Wellman Braud &mdash; the father of the highly influential &ldquo;walking bass&rdquo; &mdash; who had launched this style years earlier in the jazz orchestra led by Duke Ellington. The famous duck tail worn by Elvis was very much at odds with the short, clean haircut of country artists, who didn&rsquo;t give a second thought to wearing a Stetson. The best rockabilly artists often came from humble, rural backgrounds, like <strong>Charlie Feathers, Warren Smith</strong> (Mississippi), <strong>Carl Perkins </strong>(Tennessee),<strong> Billy Lee Riley</strong> (Arkansas), <strong>Jerry Lee Lewis </strong>or the lesser--known <strong>Joe Clay</strong> (Louisiana). They were capable of performances that were much rougher, raw and emotional deliveries in tune with the seminal black gospel-nourished rock spirit of Tiny Bradshaw, Roy Brown or Little Richard; and excited cries coming from the musicians (as heard here from those accompanying<strong> Billy Lee Riley, Gene Vincent, Johnny Burnette </strong>etc.) added extra character. Those who came from an urban milieu &mdash; <strong>Presley </strong>and his neighbours, the brothers Dorsey and <strong>Johnny Burnette</strong> &mdash; were still Memphis proletarians: spontaneous, and little-educated, they also belonged to the same category, i.e. artists who could give raw, well-felt performances. Conversely, from the same milieu came the<strong> Everly Brothers, Buddy Holly </strong>o<strong>r Lew Williams</strong> (here alongside jazz guitar giant Barney Kessel, who&rsquo;d been dropped out of the sky into a rock session), and they were more urbane, singing softly and with more sophistication. As for<strong> Eddie Cochran, </strong>he used to live in Los Angeles and quickly showed his strong singing personality: he was only seventeen when he recorded<strong> Pink Pegged Slacks.</strong>29</span><br /><span class=Texte>The stylistic purity of rockabilly lasted only three years, from 1954 to 1957. As <strong>Elvis Presley</strong> did, <strong>Eddie Cochran,</strong> <strong>Buddy Holly </strong>or <strong>Ricky Nelson </strong>quickly evolved towards new influences as early as 1956, opening new horizons for rock &lsquo;n&rsquo; roll. Like <strong>Roy Orbison,</strong> who went on to show genuine vocal prowess,<strong> Johnny Cash</strong> and pianist Jerry Lee Lewis created their own styles (and they became schools). None of them, however (with the exception of Jerry Lee &ldquo;The Killer&rdquo;) would persevere and follow the original rockabilly road, as confirmed by the music heard in the second volumes of the sets devoted to<strong> Elvis Presley</strong>,<strong> Eddie Cochran </strong>and <strong>Gene Vincent</strong> in this series. Their styles would evolve, most often in a much more &ldquo;presentable&rdquo; direction. Faced with shame and scandal, many artists, among them<strong> Wanda Jackson, Ricky Nelson, Johnny Burnette, Elvis Presley, Gene Vincent </strong>and <strong>Conway Twitty</strong>, would have no choice but to distance themselves from the precious, wild sound you can hear in <strong>Maylon Humphries </strong>or<strong> Sammy Gowans</strong>.</span><br /><strong><span class=Texte>Bruno BLUM</span></strong><br /><span class=Texte>Adapted into English by <strong>Martin DAVIES</strong></span><br /><span class=Texte>Thanks to Muriel Blum, Yannick Blum, Yves Calvez, Jacky Chalard, Gilles Conte, Guillaume Gilles, Christophe H&eacute;nault, Youri Lenquette, Slim Jim Phantom, Patrick Renassia (Rock Paradise), Lee Rocker, Brian Setzer and Marc Zermati.</span><br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2014</span><br /><span class=Texte>1. The Shadows feature in Rock Instrumentals Story 1934-1962 (FA5426).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>2. Cf. Roots of Punk Rock 1926-1962 (FA5415).</span><br /><span class=Texte>3. Cf. The Indispensable Eddie Cochran 1955-1960 (FA5425).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>4. Cf. &ldquo;Let&rsquo;s Coast a While&rdquo; by Hank Cochran as Bo Davis, with Eddie Cochran on guitar, in Road Songs - Car Tune Classics 1942-1962 (FA5401).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>5. Cf. Country - Nashville-Dallas-Hollywood 1927-1942 (FA015).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>6. Cf. Protest Songs (to be released).</span><br /><span class=Texte>7. Cf. Cajun - Louisiane 1928-1939 (FA019.&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>8. Cf. Country Gospel 1926-1946 (FA055).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>9. The international influence is apparent in the volume Calypso 1944-1958 (boxed set Anthologie des Musiques de Danse du Monde, FA5342).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>10. Cf. Electric Guitar Story - Country, Jazz, Blues, R&amp;B, Rock 1935-1962 (FA5421).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>11. Cf. Hawaiian Music 1927-1944 (FA035) and Hawaiians in Paris 1916-1926 (FA066).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>12. Cf. Hillbilly Blues 1928-1946 (FA065).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>13. Cf. the three albums Boogie Woogie Piano (FA036, FA5164, FA5226).</span><br /><span class=Texte>14. Cf. Western Swing - Texas 1928-1944 (FA032) and Bob Wills &amp; his Texas Playboys 1932-1947 (FA164).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>15. Listen to Arthur Smith on Rock Instrumentals 1934-1962 (FA5426) which includes &ldquo;Guitar Boogie&rdquo;, and on Guitare Country - From Old Time to Jazz Times 1926-1950 (FA5007).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>16. Cf. Country Boogie 1939-1947 (FA160).&nbsp;&nbsp;&nbsp; <br /></span><span class=Texte>17. Cf. Electric Guitar Story 1935-1962 (FA5421) and Guitare Country - From Old Time to Jazz Times 1926-1950 (FA5007)&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>18. &ldquo;Rockin&rsquo; at Home&rdquo; by Floyd Dixon is included in Roots of Ska - USA-Jamaica rhythm and blues shuffle 1942-1962 (FA5396).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>19. Cf. Honky Tonk Country Music 1945-1953 (FA5087).</span><br /><span class=Texte>20. The original version of Rocket 88 by Jackie Brenston is included in Road Songs - Classic Car Tunes 1942-1962 (FA5401). Both versions appear in Rock n&rsquo; Roll 1951 (FA357).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>21. Cf. The Indispensable Bill Haley 1948-1961 (FA5465).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>22. Cf. Rock n&rsquo; Roll : Volume 1 1927-1938 (FA351), Volume 2 1938-1946 (FA352), Volume 3 1947 (FA353), Volume 4 1948 (FA354), Volume 5 1949 (FA355), Volume 6 1950 (FA356), Volume 7 1951 (FA357) &amp; Volume 8 1952 (FA359).</span><br /><span class=Texte>23. Cf. Ray Charles - Brother Ray: The Genius 1949-1960 (FA5350).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>24. Cf. The Indispensable Bo Diddley 1955-1960 (FA5376) et 1959-1962 (FA5406).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>25. Cf. The Indispensable Little Richard 1955-1958 (future release).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>26. Cf. The Indispensable Chuck Berry 1954-1961 (FA5409).&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>27. Cf. The Indispensable James Brown 1956-1961 (FA5378).</span><br /><span class=Texte>28. Johnny &ldquo;Guitar&rdquo; Watson, Chuck Berry and Junior Parker with Pat Hare appear in Electric Guitar Story - Country, Jazz, Blues, R&amp;B, Rock 1935-1962 (FA5421).</span><br /><span class=Texte>29. Cf. The Indispensable Eddie Cochran 1955-1960 (FA5425).</span><br /><span class=Soustitre2><br />Disc 1 : 1951-1956</span><br /><span class=Texte><strong>1. Rocket 88</strong> - Bill Haley and the Saddlemen</span><br /><span class=Texte>(Jackie Brenston)</span><br /><span class=Texte>William John Clifton Haley as Bill Haley-v, g; Danny Cedrone-lead g; Billy Williamson-steel g; Johnny Grande-p; Al Rex-b. WVCH Radio Station Studio, Chester, Pennsylvania, June 14, 1951.</span><br /><span class=Texte><strong>2. Rock the Joint</strong> - Bill Haley and the Saddlemen</span><br /><span class=Texte>(Harry Crafton, Wendell Keane aka Don Keane, Harry Bagby aka Doc Bagby)</span><br /><span class=Texte>William John Clifton Haley as Bill Haley-v, g; Billy Williamson-steel g; Johnny Grande-p; Marshall Lytle-b. Produced by Dave Miller. WVCH Radio Station Studio, Chester, Pennsylvania, April 1952.</span><br /><strong><br /></strong><span class=Texte><strong>3. Hound Dog</strong> - Jack Turner and his Granger County Gang</span><br /><span class=Texte>(Jerry Leiber, Mike Stoller)</span><br /><span class=Texte>Henry Doyle Haynes Jr. aka Henry Haynes aka Homer-v, g; Chester Burton Atkins as Chet Atkins-g; Kenneth Charles Burns aka Jethro-mandolin; Charles Green-electric bass; RCA Victor 47-5267, April 18, 1953. Probably WBAM Radio, Montgomery, Alabama circa March 1953.</span><br /><span class=Texte>Note: Jack Turner and his Granger County Gang is a pseudonym for Homer and Jethro.</span><br /><span class=Texte><strong>4. That&rsquo;s All Right</strong> - Elvis Presley </span><br /><span class=Texte>(Arthur Crudup) </span><br /><span class=Texte>The Blue Moon Boys: Elvis Aaron Presley aka Elvis Presley-v, g; Winfield Scott Moore II aka Scotty Moore-g; William Patton Black aka Bill Black-b. Produced by Sam Philips. Sun Studio, Memphis, Tennessee, July 5, 1954.</span><br /><span class=Texte><strong>5. Just Because</strong> - Elvis Presley</span><br /><span class=Texte>(Sydney Robin, Joe Shelton, Bob Shelton)</span><br /><span class=Texte>The Blue Moon Boys: Elvis Aaron Presley aka Elvis Presley-v, g; Winfield Scott Moore II aka Scotty Moore-g; William Patton Black aka Bill Black-b. Produced by Sam Philips. Sun Studio, Memphis, Tennessee, September 10, 1954.</span><br /><strong><br /></strong><span class=Texte><strong>6. Good Rockin&rsquo; Tonight </strong>- Elvis Presley</span><br /><span class=Texte>(Roy Brown)</span><br /><span class=Texte>Same as above.</span><br /><span class=Texte><strong>7. Drinkin&rsquo; Wine Spo-Dee-O-Dee</strong> - Malcolm Yelvington and the Star Rhythm Boys</span><br /><span class=Texte>(Granville Henry McGhee aka Sticks McGhee, Jay Mayo Williams aka Ink Williams)</span><br /><span class=Texte>Malcolm Yelvington-v, g; Gordon Washburn-g; Reece Fleming-p; Miles Winn aka Bubba-steel g; Jack Ryles-b. Produced by Sam Philips. Sun Studio, Memphis, Tennessee, November 11, 1954.</span><br /><strong><br /></strong><span class=Texte><strong>8. Baby, Let&rsquo;s Play House</strong> - Elvis Presley</span><br /><span class=Texte>(Arthur Gunter) </span><br /><span class=Texte>The Blue Moon Boys: Elvis Presley-v, g/Winfield Scott Moore II aka Scotty Moore-g/William Patton Black aka Bill Black-b. Produced by Sam Philips. Recorded at Sun Studio, Memphis, Tennessee, February 5, 1955.</span><br /><span class=Texte><strong>9. Cry! Cry! Cry!</strong> - Johnny Cash</span><br /><span class=Texte>(J. R. Cash aka Johnny Cash)</span><br /><span class=Texte>J. R. Cash as Johnny Cash-v, g; Luther Perkins-g; Marshall Grant-b. Produced by Sam Philips. Sun Studio, Memphis, Tennessee, May 1955.</span><br /><span class=Texte><strong>10. Mystery Train </strong>- Elvis Presley</span><br /><span class=Texte>(Herman Parker aka Junior Parker, Julius Jeramiah Bihari as Jules Taub) </span><br /><span class=Texte>Same as 4. The Blue Moon Boys: Elvis Presley-v, g/Winfield Scott Moore II aka Scotty Moore-g/ William Patton Black aka Bill Black-b/unknown-p/Johnny Bernero-d. Produced by Sam Philips. Sun Studio8, Memphis, Tennessee, July 11, 1955.</span><br /><span class=Texte><strong>11. Folsom Prison Blues</strong> - Johnny Cash</span><br /><span class=Texte>(J. R. Cash aka Johnny Cash)</span><br /><span class=Texte>J. R. Cash as Johnny Cash-v, g; Luther Perkins-g; Marshall Grant-b. Produced by Sam Philips. Sun Studio, Memphis, Tennessee, July 30, 1955.</span><br /><span class=Texte><strong>12. Everybody Needs a Little Lovin&rsquo;</strong> - Merle Kilgore</span><br /><span class=Texte>(Dorothy Lee Salley, L.F. Fowler)</span><br /><span class=Texte>Wyatt Merle Kilgore as Merle Kilgore-v; Jim Landry-g; Sony James-fiddle; unknown b, d. Produced by Lew Chudd. Jim Beck Studio, 1914 Forest Ave., Dallas, August 31, 1955.</span><br /><span class=Texte><strong>13. Whole Lotta Shakin&rsquo; Goin&rsquo; On</strong> - Roy Hall</span><br /><span class=Texte>&nbsp;(Mabel Smith aka Big Maybelle. However, the song was later credited to James Faye Hall aka Roy Hall aka Sunny David, Dave Williams aka Curlee Williams)</span><br /><span class=Texte>James Faye Hall as Roy Hall-v, p; Thomas Grady Martin as Grady Martin-el. g; possibly Walter L. Garland aka Hank aka Sugarfoot-el. g; Floyd T. Chance aka Lightnin&rsquo;-b; Murrey M. Harman, Jr. aka Buddy Harman-d. Owen Bradley&rsquo;s Bradley Film and Recording Studio, Nashville, 804 16th Avenue South, Nashville, September 15, 1955.</span><br /><span class=Texte><strong>14. Rockin&rsquo; and Rollin&rsquo;</strong> - Sonny Fisher</span><br /><span class=Texte>(Sonny Fisher)</span><br /><span class=Texte>Sonny Fisher-v, g; Joey Long-lead g; unknown b, d. Gold Star Studio, 5628 Brock St., Houston, circa October, 1955.</span><br /><strong><br /></strong><span class=Texte><strong>15. Love Me</strong> - Buddy Holly</span><br /><span class=Texte>(Sue Parrish, Charles Hardin Holley aka Buddy Holly)</span><br /><span class=Texte>Charles Hardin Holley as Buddy Holly-v; Sonny Curtis-lead g; Don Guess-b; Jerry Allison-d. Wichita Falls, December 7, 1955.</span><br /><span class=Texte><strong>16. Blue Suede Shoe</strong>s - Carl Perkins</span><br /><span class=Texte>(Carl Perkins)</span><br /><span class=Texte>Carl Perkins-v, g; Jay Perkins-rhythm g; Clayton Perkins-b; W.S. Holland-d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, December 17, 1955.</span><br /><span class=Texte><strong>17. Honey Don&rsquo;t</strong> - Carl Perkins</span><br /><span class=Texte>(Carl Perkins)</span><br /><span class=Texte>Same as above.</span><br /><strong><br /></strong><span class=Texte><strong>18. Sleepy Time Blues</strong> - Jess Hooper and the Daydreamers</span><br /><span class=Texte>(Jess Hooper, Lester Louis Bihari)</span><br /><span class=Texte>Doug Cox-lead g; Jess Hooper-v; Clyde Rush-g; Tommy Sealey-fiddle; Millard Yow-steel g; Bill Torrence aka Shorty-b. Meteor Studio, 1794 Chelsea Avenue, Memphis, 1955.</span><br /><strong><br /></strong><span class=Texte><strong>19. Mama&rsquo;s Little Baby </strong>- Junior Thompson with the Meteors</span><br /><span class=Texte>(Quinton Claunch)</span><br /><span class=Texte>Junior Thompson-v; Terry Thompson-lead g; Raymond Lovelace-lead g; Quinton Claunch-g; Don Moore-g; Monty Olive-p; Jimmy Lovelace-b; Johnny Bernero-d. Produced by Lester Bihari. Meteor Studio, 1794 Chelsea Avenue, Memphis, circa January 5, 1956.</span><br /><span class=Texte><strong>20. Raw Deal</strong> - Junior Thompson with the Meteors</span><br /><span class=Texte>(Quinton Claunch, William Cantrell)</span><br /><span class=Texte>Same as above.</span><br /><strong><br /></strong><span class=Texte><strong>21. Midnight Shift</strong> - Buddy Holly</span><br /><span class=Texte>(Jimmy Ainsworth, Earl Lee)</span><br /><span class=Texte>Charles Hardin Holley as Buddy Holly-v; Thomas Grady Martin as Grady Martin-g; Sonny Curtis-lead g; Don Guess-b; Doug Kirkham-percussion. Produced by Owen Bradley. Owen Bradley&rsquo;s Bradley Film and Recording Studio, Nashville, January 26, 1956.</span><br /><strong><br /></strong><span class=Texte><strong>22. Blue Days, Black Nights</strong> - Buddy Holly</span><br /><span class=Texte>(Ben Hall)</span><br /><span class=Texte>Same as above.</span><br /><span class=Texte><strong>23. Blue Suede Shoes </strong>- Elvis Presley</span><br /><span class=Texte>(Carl Perkins) </span><br /><span class=Texte>The Blue Moon Boys: Elvis Presley-v, g/Winfield Scott Moore II aka Scotty Moore-g/Shorty Long-p/William Patton Black aka Bill Black-b/Dominic Joseph Fontana aka D.J. Fontana-d. Recorded in RCA Studios, New York City, January 30, 1956.</span><br /><strong><br /></strong><span class=Texte><strong>24. Mr. Blues</strong> - Marvin Rainwater</span><br /><span class=Texte>(Marvin Rainwater, Anna Gartrell, Cindy Davis)</span><br /><span class=Texte>Marvin Rainwater-v; Roy Clark-g; Bill Badgett-steel g; unknown b, d. Ben Adelman Studio, Washington, D.C. or RCA RCA Victor Studio, Nashville, March, 1956.</span><br /><span class=Texte><strong>25. Oobie Doobie </strong>- Roy Orbison and the Teen Kings</span><br /><span class=Texte>(Allen Richard Penner aka Dick Penner, Wade Lee More)</span><br /><span class=Texte>Roy Orbison-v, g; James Emitt Morrow-electric mandolin; Johnny Wilson aka Peanuts Wilson-rhythm g; Jack Kennelly-b; Billy Pat Ellis-d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, March, 1956.</span><br /><em><br /></em><span class=Texte><strong>26. Go! Go! Go! Down the Line</strong> - Roy Orbison and the Teen Kings</span><br /><span class=Texte>(Roy Orbison)</span><br /><span class=Texte>Same as above.</span><br /><strong><br /></strong><span class=Texte><strong>27. Boppin&rsquo; the Blues </strong>- Carl Perkins</span><br /><span class=Texte>(Carl Perkins, Howard Griffin)</span><br /><span class=Texte>Carl Perkins-v, g; Jay Perkins-rhythm g; Clayton Perkins-b. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, March 1956.</span><br /><span class=Texte><strong>28. Get Rhythm </strong>- Johnny Cash</span><br /><span class=Texte>(Johnny Cash)</span><br /><span class=Texte>J.R. Cash as Johnny Cash-v, g; Luther Perkins-g; Marshall Grant-b. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, April 2, 1956.</span><br /><span class=Soustitre2>Disc 2 : 1956</span><br /><span class=Texte><strong>1. Rockin&rsquo; Rollin&rsquo; Stone</strong> - Andy Starr</span><br /><span class=Texte>(Frank Delano Gulledge aka Andy Starr, W.D. Patty)</span><br /><span class=Texte>Frank Delano Gulledge as Andy Starr-v, g; Larry Adair-g; Lyman Cracklin-b; William Pecchi-d. Produced by Joe Leonard. Herrings Sound Studio, 1705 W. 7th, Fort Worth, Texas, March 26, 1956.</span><br /><span class=Texte>&nbsp;</span><br /><span class=Texte><strong>2. Tongue-Tied Jill </strong>- Charlie Feathers</span><br /><span class=Texte>(Charles Arthur Feathers aka Charlie Feathers, Jody Chastain, Jerry Huffman)</span><br /><span class=Texte>Charles Arthur Feathers as Charlie Feathers-v, g; Jerry Huffman-d; Jody Chastain-b; Jimmy Swords-d. </span><br /><span class=Texte>Produced by Lester Bihari. Meteor Studio, 1794 Chelsea Avenue, Memphis, April 1, 1956.</span><br /><span class=Texte><strong>3. Pink-Peg Slacks</strong> - Eddie Cochran </span><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Garland Perry Cochran aka Hank Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, lead g; Conrad Smith as Guybo-b; unknown-perc. Goldstar Studio, Hollywood, April 4, 1956.</span><br /><span class=Texte><strong>4. Duck Tail</strong> - Joe Clay</span><br /><span class=Texte>(Rudy Grayzell)</span><br /><span class=Texte>Joseph Cheramie aka Joe Clay-v, g; Hal Harris, lead g; unknown b, d. Starday Records. Bill Quinn&rsquo;s Gold Star Studio, Houston, April 25, 1956.</span><br /><strong><br /></strong><span class=Texte><strong>5. Slipping Out and Sneaking In</strong> - Joe Clay</span><br /><span class=Texte>(Wes Williams)</span><br /><span class=Texte>Same as above.</span><br /><span class=Texte><strong>6. Doggone It </strong>- Joe Clay</span><br /><span class=Texte>(Wes Williams, Charles Stokely)</span><br /><span class=Texte>Same as above.</span><br /><span class=Texte><strong>7. Sixteen Chicks</strong> - Joe Clay</span><br /><span class=Texte>(Link Davis, Wayne Walker)</span><br /><span class=Texte>Same as above.</span><br /><span class=Texte><strong>8. Red Headed Woman </strong>- Sonny Burgess and the Pacers</span><br /><span class=Texte>(Albert Burgess aka Sonny Burgess)</span><br /><span class=Texte>Albert Burgess aka Sonny Burgess-v, g; Jack Nance-tp; Joe Lewis-g; Kern Kennedy-p; Johnny Ray Hubbard-b; Russ Smith-d. Sun Studio, 706 Union Ave., Memphis, May 2, 1956.</span><br /><span class=Texte><strong>9. Race With the Devil</strong> - Gene Vincent and his Blue Caps </span><br /><span class=Texte>(Vincent Eugene Craddock aka Gene Vincent, William Douchette aka Bill Beauregard Davis aka Sheriff Tex)</span><br /><span class=Texte>Vincent Eugene Craddock as Gene Vincent-v; Clifton E. Gallup as Cliff Gallup-lead g; Willie Williams aka Wee-rg; Jack Neal-b; Richard Harrell aka Dickie Harrell-d. Produced by Ken Nelson. Mort Thomasson, engineer. Owen Bradley&rsquo;s Bradley Film and Recording Studio, Nashville, Tennessee, May 4, 1956.</span><br /><span class=Texte><strong>10. Be-Bop-a-Lula</strong> - Gene Vincent and his Blue Caps </span><br /><span class=Texte>(Vincent Eugene Craddock aka Gene Vincent, William Douchette aka Bill Beauregard Davis aka Sheriff Tex)</span><br /><span class=Texte>(Same as above)</span><br /><span class=Texte><strong>11. Tear It Up</strong> - Johnny Burnette and the Rock &lsquo;n&rsquo; Roll Trio</span><br /><span class=Texte>(John Joseph Burnette aka Johnny Burnette, Dorsey Burnette, Paul Burlison)</span><br /><span class=Texte>John Joseph Burnette as Johnny Burnette-v, g; Dorsey Burnette-backing vocals, b. Pythian Temple, New York City, May 7, 1956.</span><br /><span class=Texte><strong>12. Watchin&rsquo; the 7:10 Roll By</strong> - Buck Griffin</span><br /><span class=Texte>(A.C. Griffin as Buck Griffin-v, g; possibly Merl Shelton-g; R.W. Perkins, Ray Yates, Harold Dean-g, b, d. Herrings Sound Studio, 1705 W. 7th, Fort Worth, Texas, May 9, 1956.</span><br /><span class=Texte><strong>13. Hot Dog </strong>- Buck Owens</span><br /><span class=Texte>(Alvis Edgar Owens, Jr. aka Buck Owens, Danny Dedmon)</span><br /><span class=Texte>The Schoolhouse Playboys: Alvis Edgar Owens, Jr. aka Buck Owens as Corky Jones-g, v; Roy Nichols-lead g; Lawrence Williams-p; Fuzzy Owen-b; Red Butler-perc; Ray Heath-d. Pep 107. Produced by Alvis Edgar Owens, Jr. aka Buck Owens as Corky Jones. Lu-Tal Recording Studio, 601E. 18th St., Bakersfield, CA, circa spring 1956.</span><br /><strong><br /></strong><span class=Texte><strong>14. You Look That Good to Me</strong> - Joe Clay</span><br /><span class=Texte>(Clyde Otis, Ivory Joe Hunter)</span><br /><span class=Texte>Joe Clay-v; McHouston Baker as Mickey Baker-lead g, leader; Skeeter Best-g; Leonard Gaskin-b; Bobby Donaldson-d; Joe Marshall-d. Produced by Herman Diaz. RCA Studio, New York, May 24, 1956.</span><br /><span class=Texte><strong>15. Dixie Fried</strong> - Carl Perkins</span><br /><span class=Texte>(Carl Perkins)</span><br /><span class=Texte>Carl Perkins-v, g; Jay B. Perkins-g; Jerry Lee Lewis-p; Clayton Perkins-b; W.S. Holland-d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, June 5, 1956.</span><br /><span class=Texte><strong>16. Gonna Back Up Baby</strong> - Gene Vincent and his Blue Caps</span><br /><span class=Texte>(Danny Wolfe)</span><br /><span class=Texte>Vincent Eugene Craddock as Gene Vincent-v; Clifton E. Gallup as Cliff Gallup-lead g; Willie Williams aka Wee-rg; Jack Neal-b; Richard Harrell aka Dickie Harrell-d. Produced by Ken Nelson. Mort Thomasson, engineer. Owen Bradley&rsquo;s Bradley Film and Recording Studio, Nashville, Tennessee, June 25, 1956.</span><br /><span class=Texte><strong>17. Twenty-Flight Rock</strong> - Eddie Cochran</span><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Nelda Fairchild aka Ned Fairchild)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; Jerry Capehart-box slapping on 14. Goldstar Studio, Hollywood, summer of 1956.</span><br /><strong><br /></strong><span class=Texte><strong>18. Train Kept-a-Rollin</strong>&rsquo; - Johnny Burnette and the Rock&rsquo;n&rsquo; Roll Trio</span><br /><span class=Texte>(Myron C. Bradshaw aka Tiny Bradshaw, Howard Kay, Lois Mann)</span><br /><span class=Texte>John Joseph Burnette as Johnny Burnette-v, g; Thomas Grady Martin as Grady Martin-lead g; Paul Burlison-rhythm g; Dorsey Burnette Jr. as Dorsey Burnette-b, backing v; Farris Coursey-d. Owen Bradley&rsquo;s Bradley Film &amp; Recording Studio, Nashville, July 2, 1956. </span><br /><span class=Texte><strong>19. All by Myself -</strong> Johnny Burnette and the Rock&rsquo;n&rsquo; Roll Trio</span><br /><span class=Texte>(Dave Bartholomew, Antoine Dominique Domino aka Fats Domino)</span><br /><span class=Texte>Same as above.</span><br /><span class=Texte><strong>20. Honey Hush -</strong> Johnny Burnette and the Rock &lsquo;n&rsquo; Roll Trio</span><br /><span class=Texte>(Joe Turner aka Big Joe Turner)</span><br /><span class=Texte>John Joseph Burnette as Johnny Burnette-v, g; Paul Burlison-g; Dorsey Burnette Jr. as Dorsey Burnette-b, backing v; Farris Coursey-d. Owen Bradley&rsquo;s Bradley Film &amp; Recording Studio, Nashville, July 3, 1956.</span><br /><span class=Texte><strong>21. Lonesome Train</strong> - Johnny Burnette and the Rock &lsquo;n&rsquo; Roll Trio</span><br /><span class=Texte>(Glen Moore, Milton Subotsky)</span><br /><span class=Texte>John Joseph Burnette as Johnny Burnette-v, g; Thomas Grady Martin as Grady Martin-lead g; Dorsey Burnette Jr. as Dorsey Burnette-b, backing v; Farris Coursey-d. Owen Bradley&rsquo;s Bradley Film &amp; Recording Studio, Nashville, July 3, 1956.</span><br /><strong><br /></strong><span class=Texte><strong>22. Rock Billy Boogie </strong>- Johnny Burnette and the Rock &lsquo;n&rsquo; Roll Trio</span><br /><span class=Texte>(Dorsey Burnette Jr. as Dorsey Burnette, John Joseph Burnette as Johnny Burnette, George Hawkins, Al Mortimer)</span><br /><span class=Texte>John Joseph Burnette as Johnny Burnette-v, g; Bob Moore-b; Farris Coursey-d. Owen Bradley&rsquo;s Bradley Film &amp; Recording Studio, Nashville, July 4, 1956. </span><br /><span class=Texte><strong>23. I&rsquo;m Changin&rsquo; All These Changes</strong> - Buddy Holly</span><br /><span class=Texte>(Charles Hardin Holley aka Buddy Holly)</span><br /><span class=Texte>Charles Hardin Holley as Buddy Holly-v, g; Sonny Curtis-lead g; Don Guess-b; Jerry Allison-d. Produced by Owen Bradley. Owen Bradley&rsquo;s Bradley Film &amp; Recording Studio, Nashville, July 22, 1956.</span><br /><strong><br /></strong><span class=Texte><strong>24. One Hand Loose</strong><em> </em>- Charlie Feathers With Jody and Jerry</span><br /><span class=Texte>(Charles Arthur Feathers aka Charlie Feathers, Jody Chastain, Jerry Huffman)</span><br /><span class=Texte>Charles Arthur Feathers as Charlie Feathers-v, g; Jerry Huffman-d; Jody Chastain-b; Jimmy Swords-d. Produced by Sydney Nathan. King Recording Studio, 1540 Brewster Ave., Cincinnati. August 18, 1956.</span><br /><strong><br /></strong><span class=Texte><strong>25. Honey Bop</strong> - Wanda Jackson</span><br /><span class=Texte>(Mae Boren Axton, Thomas Russell Durden aka Tommy Durden, Floyd Glenn Reeves aka Glenn Reeves)</span><br /><span class=Texte>Wanda Lavonne Jackson as Wanda Jackson-v; possibly Joe Maphis or Roy Clark-g; unknown b, d. Produced by Ken Nelson. Capitol F3941. Capitol Studios, Hollywood, September, 1956.</span><br /><strong><br /></strong><span class=Texte><strong>26. Centipede</strong> - Lew Williams</span><br /><span class=Texte>(Lew Williams)</span><br /><span class=Texte>Lew Williams-v; Barney Kessel-lead g; Ernie Freeman-p; unknown b, d. Produced by Jimmie Haskell. Hollywood, September 19, 1956.</span><br /><span class=Texte><strong>27. Ubangi Stomp </strong>- Warren Smith 1956</span><br /><span class=Texte>(Charles Underwood) </span><br /><span class=Texte>Warren Smith-v, g; Brad Suggs-g; Joe Baugh aka Smokey-b; Johnny Bernero-d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, September 24, 1956.</span><br /><span class=Texte><strong>28. Latch On </strong>- Ron Hargrave</span><br /><span class=Texte>(Ray Stanley, Dale Fitzsimmons as Jaye Fitzsimmons, Ron Hargrave, Kaye)</span><br /><span class=Texte>Ron Hargrave-v; orchestra conducted by Harry Geller. Radio Recorders, 7000 Santa Monica Boulevard, Hollywood 38. November 14, 1956.</span><br /><span class=Soustitre2>Disc 3 : 1956-1960</span><br /><span class=Texte><strong>1. Bop Bop Ba Doo Bop -</strong> Lew Williams</span><br /><span class=Texte>(Lew Williams)</span><br /><span class=Texte>Lew Williams-v; Barney Kessel-lead g; Ernie Freeman-p; unknown b, d. Produced by Jimmie Haskell. Hollywood, September 19, 1956.</span><br /><span class=Texte><strong>2. Double Talkin&rsquo; Baby</strong> - Gene Vincent and his Blue Caps</span><br /><span class=Texte>(Danny Wolfe)</span><br /><span class=Texte>Vincent Eugene Craddock as Gene Vincent-v; Clifton E. Gallup as Cliff Gallup-lg; Paul Peek aka Paul Edward Peek Jr. aka Red-rg; Jack Neal-b; Richard Harrell aka Dickie Harrell -d; The Jordanaires, v. Produced by Ken Nelson. Mort Thomasson, engineer. Owen Bradley&rsquo;s Bradley Film and Recording Studio, Nashville, October 16, 1956.</span><br /><span class=Texte><strong>3. I&rsquo;m Coming Home</strong> - Johnny Horton</span><br /><span class=Texte>(John Gale Horton aka Johnny Horton)</span><br /><span class=Texte>&nbsp;John Gale Horton as Johnny Horton-v, g; Thomas Grady Martin as Grady Martin-lead g; Harold Bradley-g; Bill Black-b. Produced by Don Law. Music City Recording, 804 16th Ave. South, Nashville, November 12, 1956 </span><br /><span class=Texte><strong>4. Rock It</strong> - Thumper Joe (George Jones)</span><br /><span class=Texte>(George Glenn Jones aka George Jones aka Thumper Joe)</span><br /><span class=Texte>George Glenn Jones aka George Jones as Thumper Joe-v; Hal Harris-lead g; unknown b, d. Starday 240. Texas, 1956.</span><br /><strong><br /></strong><span class=Texte><strong>5. Rock Around with Ollie Vee </strong>- Buddy Holly</span><br /><span class=Texte>(Sonny Curtis)</span><br /><span class=Texte>Charles Hardin Holley as Buddy Holly-v; Hal Bradley-g; Thomas Grady Martin-lead g; E.R. McMillin aka Dutch-as; Floyd Cramer-p; Don Guess-b; Farris Coursey-d. Produced by Owen Bradley. Owen Bradley&rsquo;s Bradley Film &amp; Recording Studio, Nashville, November 15, 1956.</span><br /><strong><br /></strong><span class=Texte><strong>6. Rockin&rsquo; Daddy</strong> - Eddie Bond and the Stompers</span><br /><span class=Texte>(Sonny Fisher)</span><br /><span class=Texte>Eddie Bond-v; Reggie Young-g; John Hughey-steel g; unknown b, d. WMPS Studio, Memphis, 1956.</span><br /><span class=Texte><strong>7. Flying Saucer Rock &lsquo;n&rsquo; Roll </strong>- Billy Lee Riley and the Little Green Men</span><br /><span class=Texte>(Ray Scott)</span><br /><span class=Texte>Billy Lee Riley-v, g; Roland Janes-g; Jerry Lee Lewis-p; Marvin Pepper-b; J. M. Van Eaton-d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, 1956.</span><br /><span class=Texte><strong>8. Matchbox</strong> - Carl Perkins</span><br /><span class=Texte>(Carl Perkins)</span><br /><span class=Texte>Carl Perkins-v, g; Jay B. Perkins-g; Jerry Lee Lewis-p; Clayton Perkins-b; W.S. Holland-d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, January 30, 1957.</span><br /><span class=Texte><strong>9. Put Your Cat Clothes On</strong> - Carl Perkins</span><br /><span class=Texte>(Carl Perkins)</span><br /><span class=Texte>Same as above.</span><br /><span class=Texte><strong>10. Pink Pedal Pushers </strong>- Carl Perkins</span><br /><span class=Texte>(Carl Perkins)</span><br /><span class=Texte>Carl Perkins-v, g; Velda Perkins-v; unknown musicians. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, January, 1957.</span><br /><span class=Texte><strong>11. Red Hot </strong>- Bob Luman</span><br /><span class=Texte>(William Robert Emerson aka Billy Emerson aka The Kid)</span><br /><span class=Texte>Robert Glynn Luman as Bob Luman-v; James Burton, g; James Kirkland-b; Butch White-d. Mira Smith&rsquo;s Ram Studios, Shreveport, Louisiana, early 1957.</span><br /><span class=Texte><strong>12. It&rsquo;ll Be Me </strong>- Jerry Lee Lewis</span><br /><span class=Texte>(Jack Clement)</span><br /><span class=Texte>Jerry Lee Lewis-v, p; Roland James-g; possibly Billy Riley-b; James M. Van Eaton-d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, February, 1957.</span><br /><span class=Texte><strong>13. Teenage Cutie</strong> - Eddie Cochran</span><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-v, g; Conrad Smith as Guybo-b; unknown-d. Goldstar Studio, Hollywood, March 1957.</span><br /><strong><br /></strong><span class=Texte><strong>14. Your Baby Blue Eyes</strong> - Johnny Burnette and the Rock &lsquo;n&rsquo; Roll Trio</span><br /><span class=Texte>(Paul Burlison, Dorsey Burnette, John Joseph Burnette aka Johnny Burnette-v; Al Mortimer)</span><br /><span class=Texte>John Joseph Burnette as Johnny Burnette-v, g; Thomas Grady Martin as Grady Martin-lead g; Bob Moore-b, backing v; unknown-d. Owen Bradley&rsquo;s Bradley Film &amp; Recording Studio, Nashville, March 22, 1957.</span><br /><span class=Texte><strong>15. Rock and Roll Fever </strong>- Cecil Campbell</span><br /><span class=Texte>(Lear, Campbell)</span><br /><span class=Texte>Cecil Campbell-v, possibly steel g; Caroll Dills-g; unknown b, d. Possibly Charlotte, North Carolina, April, 1957.</span><br /><strong><br /></strong><span class=Texte><strong>16. Lewis Boogie</strong><em> </em>- Jerry Lee Lewis</span><br /><span class=Texte>(Jerry Lee Lewis)</span><br /><span class=Texte>Jerry Lee Lewis-v, p. unknown g, b, d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, July, 1957.</span><br /><span class=Texte><strong>17. Worried About You Baby</strong> - Maylon Humphries</span><br /><span class=Texte>(Arthur Crudup)</span><br /><span class=Texte>Maylon Humphries-v; James Burton-g; James Kirkland-b; Ronnie Lewis-d. Produced by Stan Lewis. KWKH radio studio, Shreveport, Louisiana, 1957.</span><br /><strong><br /></strong><span class=Texte><strong>18. Rip it Up</strong> - The Everly Brothers</span><br /><span class=Texte>(Richard Penniman aka Little Richard)</span><br /><span class=Texte>Isaac Donald Everly as Don Everly-v, g; Philip Everly as Phil Everly-v, g; Chester Burton Atkins as Chet Atkins-el. g; Walter L. Garland aka Hank, aka Sugarfoot-el. g; Ray Edenton-g; Floyd Cramer-p; Floyd T. Chance aka Lightnin&rsquo;-b; Murray M. Harman, Jr. aka Buddy-d. Produced by Archie Bleyer. CEP 107. RCA Victor Studio, Nashville, November 3, 1957.</span><br /><span class=Texte><strong>19. My Bucket&rsquo;s Got a Hole in It</strong> - Ricky Nelson</span><br /><span class=Texte>(Hank Williams)</span><br /><span class=Texte>Eric Hilliard Nelson as Ricky Nelson-v, g; James Burton-lead g; Gene Garff-p; James Kirkland-b; Richie Frost-d. Master Recorders, 533 North Fairfax Ave., Hollywood, February 17, 1958</span><br /><span class=Texte><strong>20. High School Confidential </strong>- Jerry Lee Lewis</span><br /><span class=Texte>(Ron Hargrave)</span><br /><span class=Texte>Jerry Lee Lewis-v, p; Roland James-g; Billy Riley-b; James M. Van Eaton-d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, April 21, 1958.</span><br /><span class=Texte><strong>21. Wild One </strong>- Jerry Lee Lewis</span><br /><span class=Texte>(John Greenham, Danny O&rsquo;Keefe, Alvis Edgar Owens, Jr. aka Buck Owens)</span><br /><span class=Texte>Jerry Lee Lewis-v, p; Roland James-g; Billy Riley-b; James M. Van Eaton-d. Produced by Sam Philips. Sun Studio, 706 Union Ave., Memphis, April 21-23, 1958.</span><br /><span class=Texte><strong>22. Lobo Jones </strong>- Jackie Gotroe</span><br /><span class=Texte>(Jacques Gautreaux aka Jackie Gotro)</span><br /><span class=Texte>Jacques Gautreaux aka Jackie Powers as Jackie Gotro-v, g; George Salas-lead g; Willie Littlefield as Little Willie Littlefield-p; possibly Don Beton-b; possibly Len Alexander-d. Vortex 102. Produced by Don Barksdale. Keen Records Studio, San Francisco, circa April, 1958. </span><br /><span class=Texte><strong>23. Rockin&rsquo; by Myself</strong> - Sammy Gowans</span><br /><span class=Texte>(Cole Ghoens aka Samuel Gowans)</span><br /><span class=Texte>Cole Ghoens aka Samuel Gowans aka Danny Denver-v; unknown g, p, b, d. United Artists UA114X. Possibly South Carolina circa April, 1958.</span><br /><span class=Texte><strong>24. My Babe</strong> - Dale Hawkins</span><br /><span class=Texte>(William James Dixon aka Willie Dixon)</span><br /><span class=Texte>Delmar Allen Hawkins aka Dale Hawkins-v, Roy Buchanan-g; Willie Dixon-b; unknown-d. Checker 906. Produced by Stanley J. Lewis as Stan Lewis. KWKH Radio, Shreveport, Louisiana, 1958.</span><br /><span class=Texte><strong>25. Love Me </strong>- The Phantom </span><br /><span class=Texte>(Jerry Lott)</span><br /><span class=Texte>Jerry Lott as The Phantom-v; Frank Holmes-g; Bill Yates-p; Peter McCord-b; H.H. Brooks-d. Dot 16026. Gulf Coast Studio, Mobile, Alabama, 1958.</span><br /><span class=Texte><strong>26. The Way I Walk </strong>- Jack Scott</span><br /><span class=Texte>(Giovanni Dominico Scafone Jr. aka Jack Scott)</span><br /><span class=Texte>Jack Scott-g; Al Allen-lead g; The Fabulous Chantones: Jack Grenier (lead tenor), Jim Nantais (baritone), Roy Lesperance (bass), Larry Descargalais (bass)-harmony vocals; George Kazakas-ts; Stan Getz-b; Dominic Scafonie-d. United Sound Studio, Detroit, circa April 1959.</span><br /><strong><br /></strong><span class=Texte><strong>27. Dancing Doll </strong>- Art Adams and the Rhythm Knights</span><br /><span class=Texte>(Art Adams, Betty Stone)</span><br /><span class=Texte>Art Adams-v; Roy Robinette-g; Edwin Weil-g; Danny Cole-b; Bennie Abott as Kentucky Curly-d. Cherry 1019. Kentucky, May, 1960.</span><br /><span class=Texte><strong>28. Long Black Train </strong>- Conway Twitty 1960</span><br /><span class=Texte>(Harold Jenkins aka Conway Twitty)</span><br /><span class=Texte>Harold Jenkins as Conway Twitty-v; unknown g, b, d. Possibly Owen Bradley&rsquo;s Bradley Film and Recording Studio, Nashville, 804 16th Avenue South, Nashville, September 30, 1960.</span><br /><span class=Texte>Le rockabilly est d&eacute;riv&eacute; du bluegrass, du country boogie et du rock &lsquo;n&rsquo; roll afro-am&eacute;ricain auquel il a beaucoup emprunt&eacute;. Son essor co&iuml;ncide avec le d&eacute;but de la popularit&eacute; du rock dans le grand public. Habit&eacute;, intense et incomparable, ce style &agrave; part est d&eacute;fini par une esth&eacute;tique d&rsquo;une grande puret&eacute; : simple et efficace. Embl&eacute;matique de l&rsquo;Am&eacute;rique des ann&eacute;es 1950, sa l&eacute;gende et la qualit&eacute; exceptionnelle de ses enregistrements fondateurs et influents lui ont valu depuis plusieurs r&eacute;surrections. Bruno Blum commente et r&eacute;unit ici la cr&egrave;me du rockabilly originel, un floril&egrave;ge chronologique essentiel.</span><br /><strong><span class=Texte>Patrick FRÉMEAUX</span></strong><br /><span class=Texte>Rockabilly derives from bluegrass, country boogie and the African-American rock &lsquo;n&rsquo; roll genre, borrowing much from the latter. Its rise coincided with rock&rsquo;s early popularity with a mass audience. Intense, incomparable and spirited, rockabilly is a style apart, defined by an aesthetic of great purity that is both simple and efficient. It was an emblem in 1950s America and the legendary recordings forming its foundations had exceptional quality. They were so influential that they led to several resurrections. Compiled and annotated by Bruno Blum, this set&rsquo;s recordings represent the cream of original rockabilly in an essential anthology. &nbsp;&nbsp; <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Source><br />CD Rockabilly 1951-1960 The Indispensable,Bill Haley, Elvis Presley, Johnny Cash Buddy Holly, Carl Perkins, Roy Orbison,Gene Vincent,Johnny Burnette,Jerry Lee Lewis Wanda, Jackson &copy; Fr&eacute;meaux &amp; Associ&eacute;s 2014</span>.<br /></p>"
      "dwf_titres" => array:84 [ …84]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/2/7/4/19274-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => []
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#674
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#753
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
  9 => ProductListingLazyArray {#406
    -imageRetriever: ImageRetriever {#751
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#749}
    -productColorsRetriever: ProductColorsRetriever {#722}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#721
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1354"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302542621"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5426"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "416"
      "date_add" => "2021-10-22 10:03:29"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>Passage oblig&eacute; emprunt&eacute; par les plus grands noms, avec leurs ambiances &eacute;vocatrices, leurs th&egrave;mes accrocheurs et brillantes improvisations, les instrumentaux ont toujours tenu une place de choix dans l&rsquo;histoire du rock. <br />Cette anthologie retrace les diff&eacute;rentes facettes de leurs racines et leur &eacute;volution, du jazz &agrave; la country music jusqu&rsquo;au rock o&ugrave; la guitare &eacute;lectrique tient une place centrale. <br />Du boogie woogie au western swing, du rhythm and blues &agrave; la soul jusqu&rsquo;aux indicatifs radio, la musique de film et le surf rock, les premiers classiques du rock instrumental sont r&eacute;unis ici et comment&eacute;s par Bruno Blum, lui-m&ecirc;me guitariste et sp&eacute;cialiste du rock. <br /><strong>Patrick FRÉMEAUX </strong><br /><em>A compulsory exercise in the careers of the greatest, instrumentals, together with brilliant improvisations based on catchy themes, have always had pride of place in rock history. <br />This anthology retraces the different facets of their roots and evolution, from jazz and country music to the kind of rock where electric guitars play a central role. <br />From boogie woogie to western swing, and from rhythm and blues to soul music, radio jingles, film music and surf-rock, the earliest instrumental rock classics are compiled here with the detailed comments of Bruno Blum, himself a guitarist and rockspecialist.</em><br /><strong>Patrick FRÉMEAUX <br />DIRECTION ARTISTIQUE : BRUNO BLUM</strong></p><p align=justify><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES<br />CD 1 - 1934-1956</strong> : AN ORANGE GROVE IN CALIFORNIA SOL HOOPII &bull; BOOGIE WOOGIE STOMP ALBERT AMMONS &bull; BOB WILL&rsquo;S BOOGIE BOB WILLS &bull; CARAVAN LES PAUL &bull; CRAZY RHYTHM BOB WILLS &bull; CANNED HEAT CHET ATKINS &bull; GUITAR BOOGIE ARTHUR SMITH &bull; GUITAR BOOGIE HARRY CRAFTON &bull; CANNONBALL STOMP MERLE TRAVIS &bull; THE BIG THREE STOMP THE BIG THREE TRIO W/WILLIE DIXON &bull; STROLLIN&rsquo; WITH BONES T-BONE WALKER &bull; LONGHAIR STOMP PROFESSOR LONGHAIR &bull; ROCKIN&rsquo; THE BLUES AWAY TINY GRIMES &bull; KOHALA MARCH SOL HOOPII &bull; GUITAR SHUFFLE LOWELL FULSON &bull; MIDNIGHT RAMBLE SPEEDY WEST &amp; JIMMY BRYANT &bull; NUAGES DJANGO REINHARDT &bull; OH BY JINGO! CHET ATKINS &bull; THE HUCKLEBUCK EARL HOOKER &bull; SPACE GUITAR JOHNNY &ldquo;GUITAR&rdquo; WATSON &bull; WALKING THE STRINGS MERLE TRAVIS &bull; THE THING LAFAYETTE THOMAS. <br /><strong>CD 2 - 1955-1959</strong> : BOOGIE ROCK B.B. KING &bull; HONKY TONK (PARTS 1&amp;2) BILL DOGGETT &bull; SPINNIN&rsquo; ROCK BOOGIE MICKEY BAKER &bull; THE ROCKING GUITAR CECIL CAMPBELL W/CAROLL DILLS &bull; RAUNCHY BILL JUSTIS &bull; RUMBLE LINK WRAY AND HIS RAYMEN &bull; TEQUILA THE CHAMPS &bull; IN-GO CHUCK BERRY &bull; GUITAR BOOGIE CHUCK BERRY &bull; REBEL ROUSER DUANE EDDY &bull; DIXIE DOODLE LINK WRAY &bull; RAW-HIDE LINK WRAY &bull; GUITAR BOOGIE SHUFFLE THE VIRTUES &bull; STROLLIN&rsquo; GUITAR EDDIE COCHRAN &bull; RED RIVER ROCK JOHNNY AND THE HURRICANES &bull; MUMBLIN&rsquo; GUITAR BO DIDDLEY &bull; GUYBO EDDIE COCHRAN &bull; STORM WARNING DR. JOHN &bull; SLEEP WALK SANTO AND JOHNNY &bull; BONGO ROCK PRESTON EPPS &bull; PETER GUNN DUANE EDDY &bull; CHICKEN SHOT BLUES EDDIE COCHRAN. <br /><strong>CD - 3 1959-1962</strong> : WALK DON&rsquo;T RUN THE VENTURES &bull; TRAVELIN&rsquo; WEST BO DIDDLEY &bull; SILKY CLUE J AND HIS BLUES BLASTERS &bull; APACHE THE SHADOWS &bull; WHEELS THE STRING A LONGS &bull; (GHOST) RIDERS IN THE SKY THE RAMRODS &bull; QUICK DRAW BO DIDDLEY &bull; LULLABY OF THE LEAVES THE VENTURES &bull; HIDE AWAY FREDDIE KING &bull; BUMBLE BOOGIE B. BUMBLE AND THE STINGERS &bull; MASHED POTATO TWIST B.B. KING &bull; LAST NIGHT THE MAR-KEYS &bull; BULLDOG THE VENTURES &bull; MISERLOU DICK DALE &bull; SOUL TWIST KING CURTIS &bull; NUT ROCKER B. BUMBLE AND THE STINGERS &bull; GIVE ME A BREAK BO DIDDLEY &bull; FROSTY ALBERT COLLINS &bull; LET&rsquo;S GO (PONY) THE ROUTERS &bull; DIDDLING BO DIDDLEY &bull; GREEN ONIONS BOOKER T. AND THE M.G.&rsquo;S &bull; PIPELINE THE CHANTAYS.<br /></p></p><br><br>"
      "description_short" => "<h3>THE SHADOWS • LES PAUL • CHUCK BERRY • EDDIE COCHRAN • THE MAR-KEYS…</h3>"
      "link_rewrite" => "rock-instrumentals-story-1934-1962"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Rock Instrumentals Story 1934-1962 "
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 416
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1354-19277"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1354&rewrite=rock-instrumentals-story-1934-1962&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:2 [ …2]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>Rock instrumental story  FA5426</h3><span class=Soustitre2>ROCK INSTRUMENTALS STORY<br />1934-1962<br />THE SHADOWS LES PAUL CHUCK BERRY EDDIE COCHRAN THE MAR-KEYS</span><span class=Texte><br /></span><span class=Soustitre2>ROCK INSTRUMENTALS Story<br />1935-1962</span><span class=Texte><br /></span><span class=Soustitre>Par Bruno Blum</span><span class=Texte><br /></span><p align=justify><span class=Texte>Note : forc&eacute;ment non exhaustif, cet album peut &ecirc;tre compl&eacute;t&eacute; par plusieurs anthologies dans cette collection1.</span><br /><span class=Texte>La voix est vraisemblablement le premier instrument de musique jamais utilis&eacute; par nos anc&ecirc;tres les plus lointains. On peut d&rsquo;ailleurs entendre quelques br&egrave;ves interventions de voix ici, sur <strong>Crazy Rhythm, Give Me a Break, Tequila, (Ghost) Riders in the Sky,</strong> ou <strong>Let&rsquo;s Go.</strong> N&eacute;anmoins depuis la nuit des temps il existe dans toutes les cultures du monde des musiques instrumentales sans voix ou presque. Les instruments de musique peuvent produire des &eacute;motions et des sons inaccessibles aux cordes vocales : des d&eacute;licates musiques zen japonaises &agrave; la longue tradition juive du klezmer, des tambours ingoma du Burundi aux fanfares militaires allemandes, des comp&eacute;titions de la volcanique samba br&eacute;silienne &agrave; la d&eacute;licate sophistication des &laquo;&thinsp;Pr&eacute;ludes&thinsp;&raquo; dissonants d&rsquo;Achille-Claude Debussy, de la cacophonie d&eacute;mente des fl&ucirc;tes de Joujouka au Maroc jusqu&rsquo;aux sublimes improvisations de Jimi Hendrix (&laquo;&thinsp;Drivin&rsquo; South&thinsp;&raquo;, &laquo;&thinsp;Star Spangled Banner&thinsp;&raquo;, &laquo;&thinsp;Villanova Junction&thinsp;&raquo;) qui atteignaient le c&oelig;ur du r&eacute;acteur &mdash; des myriades de musiques instrumentales d&rsquo;une grande diversit&eacute; r&eacute;sonnent depuis des mill&eacute;naires sur les tympans des terriens. </span><br /></p><span class=Texte><br /></span><span class=Soustitre>Rock Instrumental</span><span class=Texte><br /></span><p align=justify><span class=Texte>Le rock a toujours connu un versant instrumental, une tendance qui devint une mode lanc&eacute;e &agrave; la fin des ann&eacute;es 1950. Elle se r&eacute;pandit sous l&rsquo;influence de guitaristes essentiels comme <strong>Sol Hoopii, T-Bone Walker, Charlie Christian, Arthur Smith, Chet Atkins, Earl Hooker, </strong>Billy Butler avec l&rsquo;organiste <strong>Bill Doggett,</strong> puis des formations enti&egrave;rement consacr&eacute;es au rock instrumental comme celles de<strong> Link Wray, Duane Eddy, Dick Dale </strong>et les <strong>Ventures</strong>. Devenu un style &agrave; part avec ces formations sans chanteur comme <strong>Johnny and the Hurricanes </strong>ou les Britanniques des<strong> Shadows, </strong>l&rsquo;instrumental rock deviendra un passage oblig&eacute; pour nombre de groupes chantants (&laquo;&thinsp;Stoned&thinsp;&raquo; ou &laquo;&thinsp;2120 South Michigan Avenue&thinsp;&raquo; des Rolling Stones en 1964, &laquo;&thinsp;Flying&thinsp;&raquo; des Beatles en 1967, &laquo;&thinsp;Woodchopper&rsquo;s Ball&thinsp;&raquo; de Ten Years After en 1967, etc.) et s&rsquo;essoufflera &agrave; la fin des ann&eacute;es 1960. Cette anthologie retrace les diff&eacute;rentes facettes de ses racines et son &eacute;volution, du jazz &agrave; la country music jusqu&rsquo;au rock, o&ugrave; la guitare &eacute;lectrique tient une place centrale.</span><br /><span class=Soustitre><br />Origines</span><br /><span class=Texte>Avec la popularit&eacute; du jazz, qui a commenc&eacute; &agrave; conqu&eacute;rir le grand public nord-am&eacute;ricain dans les ann&eacute;es 1930, des pi&egrave;ces instrumentales o&ugrave; l&rsquo;improvisation tient une grande place visaient &agrave; faire danser les auditeurs : ce fut la p&eacute;riode &laquo;&thinsp;swing&thinsp;&raquo; des ann&eacute;es 1930-1940. Ce lien conceptuel &agrave; la danse, s&rsquo;il est loin d&rsquo;&ecirc;tre exclusif aux musiques afro-am&eacute;ricaines, est indissociable du rock, une musique fondamentalement d&eacute;riv&eacute;e du jazz et de son incarnation &laquo;jump blues&raquo; des ann&eacute;es 1940 en particulier. </span><br /><span class=Texte>Si l&rsquo;improvisation existe dans nombre de musiques du monde entier, la mise en valeur des interpr&egrave;tes, des musiciens qui deviennent solistes le temps d&rsquo;une intervention, est un trait caract&eacute;ristique du jazz, de beaucoup de musiques afro-am&eacute;ricaines et carib&eacute;ennes, pour ne pas dire africaines. Cette richesse instrumentale plonge ses racines &agrave; la fois dans les traditions africaines et l&rsquo;histoire de l&rsquo;oppression des Afro-am&eacute;ricains. Les negro spirituals, ou chansons d&rsquo;esclaves, &eacute;taient &agrave; l&rsquo;origine l&rsquo;expression des exp&eacute;riences, des forces et des espoirs de millions d&rsquo;Africains d&eacute;port&eacute;s aux Am&eacute;riques et r&eacute;duits &agrave; la servitude2. C&rsquo;est dans diverses formes de transe 3, qu&ecirc;te de lien avec les anc&ecirc;tres dans nombre de religions animistes ouest africaines (Akan, Yoruba, Bantou notamment), que les musiques rythm&eacute;es induisaient une extase de nature spirituelle propice &agrave; improviser de myst&eacute;rieux messages chant&eacute;s, inspir&eacute;s par les esprits3. Sch&eacute;matiquement, apr&egrave;s l&rsquo;abolition de l&rsquo;esclavage en 1865, ces improvisations inspir&eacute;es, o&ugrave; l&rsquo;interpr&egrave;te &eacute;tait d&eacute;terminant, se sont fondues dans la musique populaire et ont &eacute;t&eacute; formul&eacute;es par des instruments de musique (initialement piano, orgue, trompette, saxophone, etc.), donnant ainsi naissance au jazz. La mode de la danse charleston des ann&eacute;es 1920 en fut une concr&eacute;tisation. Incitant le public &agrave; participer &agrave; l&rsquo;excitation collective, &agrave; la danse libre, &agrave; l&rsquo;expression des corps et des esprits unis et r&eacute;v&eacute;l&eacute;s par le rythme, le jazz &eacute;tait souvent chant&eacute;, mais des milliers de magnifiques enregistrements t&eacute;moignent de sommets musicaux instrumentaux &agrave; 100%. </span><br /><span class=Soustitre><br />Jazz Instrumental</span><br /><span class=Texte>Les origines du &laquo;&thinsp;rock instrumental&thinsp;&raquo; sont &agrave; chercher dans le jazz, musique instrumentale d&rsquo;improvisation par excellence4. Au cours de la Seconde Guerre Mondiale, la mode du &laquo;&thinsp;swing&thinsp;&raquo; dansant anticipait d&eacute;j&agrave; le rock. L&rsquo;une des formes de ce jazz &eacute;tait le boogie woogie, au rythme particuli&egrave;rement irr&eacute;sistible5 qui &agrave; l&rsquo;&eacute;vidence est &agrave; la racine du rock. Un exemple convaincant est ici le<strong> Boogie Woogie Stomp</strong> du pianiste <strong>Albert Ammons,</strong> dont le swing ou &laquo;&thinsp;groove&thinsp;&raquo; de 1936 rappellera &eacute;trangement, pr&egrave;s de trente ans plus tard, le &laquo;&thinsp;Now I&rsquo;ve Got a Witness&thinsp;&raquo; (1964) et autres &laquo;&thinsp;Andrew&rsquo;s Blues&thinsp;&raquo; des Rolling Stones d&eacute;butants. Apr&egrave;s le concert &laquo;&thinsp;From Spirituals to Swing&thinsp;&raquo; &agrave; Carnegie Hall (auquel Ammons participa en en 1938), le style boogie woogie fut particuli&egrave;rement populaire au cours de la p&eacute;riode &eacute;tiquet&eacute;e &laquo;&thinsp;swing&thinsp;&raquo; (balancement) dans le jazz d&rsquo;avant-guerre, puis pendant la Seconde Guerre Mondiale. Emport&eacute;s par le rythme, ses cr&eacute;ateurs &eacute;taient capables de r&eacute;aliser des enregistrements aux arrangements d&rsquo;une grande sophistication, con&ccedil;us par des musiciens comme Duke Ellington, qui &eacute;taient travers&eacute;s par des fulgurances g&eacute;niales o&ugrave; l&rsquo;improvisation fournissait des moments de gr&acirc;ce, d&rsquo;ivresse, de libert&eacute; &agrave; d&rsquo;anonymes musiciens soudain mis en valeur6 par un orchestre entier. </span><br /><span class=Texte>Le swing et le boogie woogie &eacute;volueront bient&ocirc;t vers le style jump blues, qui fut la forme originelle du rock (Louis Jordan, Jay McShann, Big Joe Turner, Doc Pomus, Wynonie Harris, etc.). La mode swing alimentera aussi des orchestres tr&egrave;s populaires aupr&egrave;s du public blanc, comme celui de Glenn Miller, qui n&rsquo;employaient pas ou peu de musiciens noirs (c&rsquo;&eacute;tait difficile en raison des pr&eacute;jug&eacute;s et lois de s&eacute;gr&eacute;gation raciale), n&rsquo;incluaient que rarement des improvisations dans leurs enregistrements et reprenaient &agrave; leur compte les id&eacute;es de cr&eacute;ateurs afro-am&eacute;ricains. Si leur amour du jazz &eacute;tait sinc&egrave;re et leurs enregistrements valables, l&rsquo;histoire a souvent retenu d&rsquo;eux cet aspect commercial de la &laquo;&thinsp;dance music&thinsp;&raquo; d&rsquo;alors.</span><br /><span class=Texte>Certains musiciens de jazz se sont tourn&eacute;s vers la guitare &eacute;lectrique. Bas&eacute; &agrave; Paris, l&rsquo;extraordinaire Manouche <strong>Django Reinhardt</strong> fut bien s&ucirc;r le guitariste qui domina l&rsquo;avant-guerre avec sa guitare s&egrave;che Selmer-Maccaferri. Son influence fut immense sur tout ce que le monde comptait alors comme guitaristes. La p&eacute;riode &eacute;lectrique de la fin de sa vie (1953) est moins connue mais elle a ajout&eacute; une pierre &agrave; l&rsquo;&eacute;difice des th&egrave;mes c&eacute;l&egrave;bres interpr&eacute;t&eacute;s &agrave; la guitare &eacute;lectrique. Suite logique, le rock instrumental prendra v&eacute;ritablement son essor peu apr&egrave;s cette p&eacute;riode tr&egrave;s jazz. L&rsquo;influence de T-Bone Walker7 et Charlie Christian8 pendant la Seconde Guerre Mondiale a sans doute le plus contribu&eacute; &agrave; populariser la guitare &eacute;lectrique, qui s&rsquo;est invit&eacute;e dans tous les styles de musique populaire d&egrave;s le d&eacute;but des ann&eacute;es 1940. L&rsquo;influence du jazzman virtuose <strong>Les Paul</strong> a aussi beaucoup jou&eacute; quand, au d&eacute;but des ann&eacute;es 1950, il est devenu une vedette de la t&eacute;l&eacute;vision en interpr&eacute;tant des sketchs et chansons de vari&eacute;t&eacute; o&ugrave; ses nombreuses innovations &agrave; la guitare &eacute;lectrique tenaient une grande place. L&rsquo;interpr&eacute;tation par des jazzmen de th&egrave;mes c&eacute;l&egrave;bres &agrave; la guitare &eacute;lectrique pr&eacute;c&egrave;de et annonce en fait le &laquo;&thinsp;rock instrumental&thinsp;&raquo; : <strong>Les Paul (Caravan), Django Reinhardt (Nuages) </strong>en sont des exemples de choix.</span><br /><span class=Soustitre><br />Country Music</span><br /><span class=Texte>Le boogie woogie et le jazz &laquo;&thinsp;swing&thinsp;&raquo; ont nourri des instrumentistes venus d&rsquo;autres horizons encore. Venu de l&rsquo;oc&eacute;an Pacifique, le Hawa&iuml;en <strong>Sol Hoopii </strong>exer&ccedil;a une influence centrale sur la guitare steel, qui sera tr&egrave;s pr&eacute;sente dans la country, le western swing (&eacute;couter ici <strong>Bob Wills</strong>) et le country boogie (ici <strong>Speedy West &amp; Jimmy Bryant</strong>) jusqu&rsquo;au &laquo;slow&raquo; <strong>Sleep Walk</strong> de <strong>Santo &amp; Johnny </strong>en 1959. Grand improvisateur sur un instrument bien &agrave; part, il fut sans doute le plus brillant de ceux qui firent d&eacute;couvrir la culture hawa&iuml;enne aux États-Unis, o&ugrave; il eut beaucoup de succ&egrave;s d&egrave;s 1925. Il enregistrait initialement sur une guitare d&rsquo;acier &laquo;&thinsp;lap steel&thinsp;&raquo; (&agrave; plat sur les genoux) non &eacute;lectrique que l&rsquo;on peut entendre ici sur le titre ouvrant ce coffret, le tr&egrave;s original <strong>An Orange Grove in California </strong>(1934). Sol Hoopii fut l&rsquo;un des premiers &agrave; se convertir en 1935 &agrave; la guitare lap steel &eacute;lectrique. Cet instrument r&eacute;volutionnaire donnera vite naissance &agrave; la guitare &eacute;lectrique proprement dite9. Son brillant<strong> Kohala March </strong>fut l&rsquo;un de ses titres &eacute;lectriques les plus influents sur les guitaristes steel de la country music qui a suivi10. D&egrave;s les ann&eacute;es 1930, des artistes de bal populaire comme Milton Brown &amp; his Musical Brownies e<strong>t Bob Wills &amp; his Texas Playboys</strong> ont eux aussi adopt&eacute; la lap steel et le swing tr&egrave;s dansant qu&rsquo;ils entendaient dans le jazz11. Leur style texan, le western swing, se diff&eacute;renciait de la country music ambiante par son &eacute;nergie et son incitation &agrave; danser &laquo;&thinsp;swing&thinsp;&raquo;. Il constitue l&rsquo;une des racines du rock comme on peut l&rsquo;entendre ici haut et fort. Des titres western swing comme<strong> Bob Wills&rsquo; Boogie et Crazy Rhythm</strong> participeront &agrave; inspirer plusieurs artistes de country qui se pencheront &agrave; leur tour sur des musiques &laquo;&thinsp;swing&thinsp;&raquo; comme le boogie woogie. Le style &laquo;hillbilly boogie&thinsp;&raquo; ou &laquo;&thinsp;country boogie&thinsp;&raquo; qui a r&eacute;sult&eacute; de ces influences fait l&rsquo;objet d&rsquo;une anthologie dans cette collection12. L&rsquo;un des grands classiques du country boogie est bien s&ucirc;r le c&eacute;l&egrave;bre <strong>Guitar Boogie</strong> d&rsquo;<strong>Arthur Smith and his Cracker-Jacks</strong>, dont il existe deux versions (la premi&egrave;re date de 1945 et la plus connue des deux, num&eacute;ro 9 des ventes country en 1948, est incluse ici). N&eacute; dans une famille de musiciens de Caroline du Sud puis install&eacute; en Caroline du Nord &agrave; 400km de Nashville, Arthur Smith a particip&eacute; &agrave; construire le son de la country music d&rsquo;apr&egrave;s-guerre. Une reprise de son gros succ&egrave;s par<strong> The Virtues</strong> (alias The Virtuoso Trio) dix ans apr&egrave;s est m&ecirc;me incluse ici : <strong>Guitar Boogie Shuffle</strong> obtint lui aussi de grosses ventes. Plusieurs titres de rock instrumental noir, sans rapport direct avec ce titre, porteront ensuite le nom de <strong>Guitar Boogie </strong>notamment par <strong>Henry Crafton </strong>en 1949 et<strong> Chuck Berry</strong> en 1957.</span><br /><span class=Texte>Le son country de Nashville dans l&rsquo;apr&egrave;s-guerre a &eacute;t&eacute; domin&eacute; par le monstre sacr&eacute; de la guitare<strong> Chet Atkins</strong>, qui fut &eacute;lev&eacute; dans la mis&egrave;re et chercha r&eacute;demption dans un travail acharn&eacute; sur son instrument. On peut l&rsquo;&eacute;couter ici briller sur <strong>Canned Heat </strong>(guitare s&egrave;che) et six ans plus tard sur sa Gretsch &eacute;lectrique dans l&rsquo;excellent <strong>Oh by</strong> <strong>Jingo!</strong>.Virtuose, Chet Atkins a form&eacute; son difficile style de finger picking &agrave; quatre doigts en se basant sur celui de <strong>Merle Travis </strong>(qui utilisait son pouce et son index), un autre g&eacute;ant de la country &eacute;lev&eacute; au Kentucky un peu au nord de Nashville. Merle Travis &eacute;tait tr&egrave;s influenc&eacute; par le ma&icirc;tre de la guitare ragtime, Blind Blake. L&rsquo;influence de ces trois guitaristes &agrave; la racine du rock est incalculable. Merle et Chet marqueront notamment Scotty Moore avec Elvis Presley13 ainsi que tout l&rsquo;influent rockabilly14 &mdash; et avec lui le rock qui suivra, des Beatles &agrave; Jeff Beck et de Creedence aux Stray Cats. On peut appr&eacute;cier ici la qualit&eacute; de leurs enregistrements remarquables et leur influence sur un titre de <strong>Carol Dills</strong> aussi obscur qu&rsquo;appr&eacute;ciable, <strong>The Rocking Guitar </strong>sorti en face B d&rsquo;un rockabilly de <strong>Cecil Campbell</strong> en 1956. </span><br /><span class=Soustitre>Blues &amp; Rock n&rsquo; Roll</span><br /><span class=Texte>Si l&rsquo;importance, l&rsquo;influence et le talent de musiciens de country comme <strong>Arthur Smith, Merle Travis, Chet Atkins</strong> ou <strong>Jimmy Bryant </strong>ne peuvent &ecirc;tre mis en question, la multiplication de morceaux instrumentaux de grande qualit&eacute; dans le jazz, le blues et le rhythm and blues affichent une richesse insurpassable, expression &eacute;minente d&rsquo;une culture afro-am&eacute;ricaine tourn&eacute;e vers le coup d&rsquo;&eacute;clat musical. Dans le domaine du rock instrumental comme dans d&rsquo;autres champs musicaux am&eacute;ricains, la contribution cr&eacute;ative de la minorit&eacute; afro-am&eacute;ricaine est incomparable. Il &eacute;tait courant dans les ann&eacute;es d&rsquo;apr&egrave;s-guerre qu&rsquo;une s&eacute;ance d&rsquo;enregistrement s&rsquo;ach&egrave;ve par la prise d&rsquo;un instrumental, souvent improvis&eacute; &agrave; l&rsquo;emporte-pi&egrave;ce sur douze mesures de blues. Le morceau suppl&eacute;mentaire pouvait ensuite servir pour la face B d&rsquo;un disque et, dans certains cas, pour la face A. C&rsquo;est peut-&ecirc;tre comme &ccedil;a que sont n&eacute;s le <strong>Guitar Boogie d&rsquo;Henry Crafton</strong> ou le <strong>Big Three Stomp </strong>du <strong>Big Three Trio </strong>(un des premiers groupes de Willie Dixon). En 1950, bien avant les premiers succ&egrave;s d&rsquo;Elvis Presley, le rock &eacute;tait d&eacute;j&agrave; &agrave; la mode dans la communaut&eacute; noire comme le rappelle<strong> Tiny Grimes</strong> et son splendide <strong>Rockin&rsquo; the Blues Away.</strong> Tiny Grimes et sa guitare &eacute;lectrique &agrave; quatre cordes ont enregistr&eacute; avec les plus grands jazzmen, de Charlie Parker &agrave; Art Tatum, mais Tiny &eacute;tait parall&egrave;lement le leader d&rsquo;un groupe de rock, les <strong>Rocking Highlanders,</strong> qui enregistr&egrave;rent souvent dans ce style autour de 1950. En r&eacute;alit&eacute; le &laquo;&thinsp;jazz&thinsp;&raquo; est un terme passe-partout qui inclut quantit&eacute; de diff&eacute;rents styles, &agrave; commencer par le rock lui-m&ecirc;me dans sa forme originelle, le &laquo;&thinsp;jump blues&thinsp;&raquo; d&rsquo;apr&egrave;s-guerre. Les cuivres &eacute;taient encore omnipr&eacute;sents dans le jump blues, comme on l&rsquo;entend ici chez les guitaristes<strong> T-Bone Walker, Harry Crafton, Tiny Grimes, Lowell Fulson</strong> ou <strong>B.B. King,</strong> qui excelle ici sur<strong> Boogie</strong> <strong>Rock</strong> et <strong>Mashed Potato Twist</strong>. L&rsquo;omnipr&eacute;sence d&rsquo;une guitare &eacute;lectrique n&rsquo;est pas pour autant indispensable pour qu&rsquo;un lien &laquo;&thinsp;rock&thinsp;&raquo; soit av&eacute;r&eacute;, comme en attestent ici les titres des pianistes<strong> Albert Ammons</strong> (d&egrave;s 1936), <strong>Professor Longhair, Bo Diddley </strong>avec Otis Spann (<strong>Travelin&rsquo; West)</strong> ou <strong>B. Bumble and the Stingers.</strong> Sur <strong>Last Night </strong>et <strong>Green Onions, </strong>c&rsquo;est plut&ocirc;t l&rsquo;orgue &eacute;lectrique qui domine. </span><br /><span class=Texte>Il n&rsquo;en reste pas moins qu&rsquo;apr&egrave;s quelques autres perles dans une veine bluesy comme le<strong> Guitar Shuffle</strong> de <strong>Lowell Fulson, </strong>c&rsquo;est &agrave; Chicago qu&rsquo;<strong>Earl Hooker</strong> a enregistr&eacute; son gros succ&egrave;s<strong> The Hucklebuck</strong>. En 1953, ce titre a v&eacute;ritablement ouvert la porte au rock instrumental et a contribu&eacute; &agrave; mettre la guitare &eacute;lectrique sur un pi&eacute;destal qu&rsquo;il ne quitterait plus jusqu&rsquo;au triomphe des claviers, samplers et autres appareils num&eacute;riques trente ans plus tard. Le rock instrumental s&rsquo;est r&eacute;pandu dans la musique populaire &eacute;tats-unienne et jama&iuml;caine au fil des ann&eacute;es 195015 et l&rsquo;histoire du rock s&rsquo;est construite essentiellement autour de l&rsquo;essor de la guitare &eacute;lectrique. Dans ces ann&eacute;es 1950 o&ugrave; elle prenait le dessus avec des sons nouveaux, le rock afro-am&eacute;ricain rayonnait dans diff&eacute;rentes directions, vari&eacute;es et inventives. Les improvisations instrumentales &agrave; la guitare sont devenues un passage oblig&eacute; pour les bluesmen solistes &mdash; comme pour les guitaristes de country d&rsquo;ailleurs. L&rsquo;un des plus &eacute;tonnants morceaux de ce coffret est le <strong>Space Guitar </strong>de <strong>Johnny &laquo;&thinsp;Guitar&thinsp;&raquo; Watson,</strong> la future star du funk qui fait ici usage d&rsquo;effets de son de mani&egrave;re radicale et tr&egrave;s innovante. Il est difficile de croire que ce tour de force a &eacute;t&eacute; grav&eacute; en f&eacute;vrier 1954, des mois avant que Chuck Berry ou Bo Diddley n&rsquo;aient encore fait leurs d&eacute;buts en studio. D&rsquo;autres perles ont surgi, comme le <strong>Spinnin&rsquo; Rock Boogie </strong>de <strong>Mickey Baker,</strong> guitariste de Ray Charles, des s&eacute;ances Atlantic en g&eacute;n&eacute;ral (et bien d&rsquo;autres) qui comme Les Paul avant lui a mont&eacute; un num&eacute;ro de music hall o&ugrave; la guitare &eacute;tait mise en valeur (Mickey &amp; Sylvia). Quant au guitariste <strong>Lafayette Thomas (The Thing), </strong>il enregistra d&egrave;s 1948 et tout au long des ann&eacute;es 1950 avec Jimmy McCracklin&rsquo;s Blues Blasters &mdash; qui outre leurs m&eacute;rites musicaux inspir&egrave;rent leur nom au groupe jama&iuml;cain <strong>Clue J and his Blues Blasters,</strong> repr&eacute;sent&eacute; ici avec une intervention du guitariste Ernest Ranglin, g&eacute;ant des studios jama&iuml;cains. On peut d&eacute;couvrir d&rsquo;autres instrumentaux (avec et sans Ernest Ranglin) de ce type sur plusieurs anthologies consacr&eacute;es &agrave; la Jama&iuml;que dans cette collection16. Le succ&egrave;s grand public (comprenez le public blanc) du <strong>Honky Tonk</strong> de l&rsquo;organiste<strong> Bill Doggett,</strong> o&ugrave; le m&eacute;connu Billy Butler brille &agrave; la guitare, rendait l&rsquo;enregistrement de morceaux instrumentaux de plus en plus incontournables. D&rsquo;autres artistes de ce que <strong>Chuck Berry </strong>appelait le boogie woogie (Berry pr&eacute;f&eacute;rait ce terme plus musicologique aux tr&egrave;s galvaud&eacute;s &laquo;&thinsp;rock&thinsp;&raquo; ou &laquo;&thinsp;rhythm and blues&thinsp;&raquo;) se sont donc essay&eacute;s &agrave; des morceaux sans voix. &Agrave; commencer par le ma&icirc;tre Chuck Berry lui-m&ecirc;me, notamment avec les exquis<strong> In-Go </strong>et<strong> Guitar Boogie</strong> (dont les Yardbirds avec Jeff Beck enregistreront plus tard une version inoubliable). Le prolifique <strong>Bo Diddley</strong> a accumul&eacute; les tours de force instrumentaux, comme en attestent ici ses irr&eacute;sistibles et tr&egrave;s originaux <strong>Mumblin&rsquo; Guitar, Travelin&rsquo; West, Quick Draw, Give Me a Break </strong>et <strong>Diddling</strong>. D&rsquo;autres instrumentaux de Chuck Berry et Bo Diddley (qui en 1964 enregistreront ensemble un album instrumental, Two Great Guitars) figurent sur les triples albums qui leur sont consacr&eacute;s chez Fr&eacute;meaux et Associ&eacute;s17. <strong>Storm Warning</strong> (avec <strong>Dr. John </strong>&agrave; la guitare) et le <strong>Guybo</strong> d&rsquo;<strong>Eddie Cochran</strong> sont bien s&ucirc;r tr&egrave;s influenc&eacute;s par Bo Diddley. D&rsquo;autres afro-am&eacute;ricains venus du blues ont enregistr&eacute; des instrumentaux &agrave; succ&egrave;s, parmi lesquels<strong> B.B. King,</strong> <strong>Freddie King</strong> et <strong>Albert Collins,</strong> qui ont tous trois influenc&eacute; Jimi Hendrix &mdash; tout comme<strong> Johnny &laquo;&thinsp;Guitar&thinsp;&raquo;</strong> <strong>Watson</strong>. Si l&rsquo;on &eacute;coute l&rsquo;instrumental &laquo;&thinsp;Drivin&rsquo; South&thinsp;&raquo; (1967) de l&rsquo;ultra influent Jimi Hendrix qui avait vingt ans en 1962, on y d&eacute;c&egrave;le une nette influence du Frosty et du &laquo;&thinsp;Tremble&thinsp;&raquo; d&rsquo;Albert Collins18, tous deux du d&eacute;but des ann&eacute;es 60. </span><br /><span class=Soustitre>Soul &amp; Funk</span><br /><span class=Texte>Le rock instrumental a aussi contribu&eacute; &agrave; nourrir la soul music naissante, et par extension le funk cr&eacute;&eacute; dans les ann&eacute;es 1960 par James Brown, les Meters et quelques autres. Tr&egrave;s populaire sur les pistes de danse,<strong> Last Night</strong> a &eacute;t&eacute; le premier succ&egrave;s compos&eacute; et interpr&eacute;t&eacute; par de jeunes musiciens, les<strong> Mar-Keys,</strong> qui par la suite ont beaucoup contribu&eacute; au d&eacute;veloppement du style soul. En s&rsquo;adjoignant Booker T. Jones, ils ont form&eacute; en 1962 <strong>Booker T. and the M.G.&rsquo;s,</strong> qui deviendra aussit&ocirc;t le groupe maison de la meilleure &eacute;curie soul du sud des États-Unis&#8199;: Stax Records. Avec l&rsquo;efficace Steve Cropper &agrave; la guitare, Al Jackson &agrave; la batterie et Duck Dunn &agrave; la basse, l&rsquo;organiste Booker T. n&rsquo;avait que dix-sept ans sur leur grand classique <strong>Green Onions</strong>. Avec Billy Butler &agrave; la guitare, le saxophoniste<strong> King Curtis</strong> est lui aussi devenu l&rsquo;un des leaders des musiciens de la soul. Son &eacute;quipe figure sur nombre de chefs-d&rsquo;&oelig;uvre du genre enregistr&eacute;s pour les disques Atlantic et comme Booker T. and the M.G.&rsquo;s, il a lui aussi &eacute;t&eacute; capable de trouver le succ&egrave;s avec quelques instrumentaux, dont le groovy <strong>Soul Twist.</strong> Quant &agrave; <strong>Preston Epps, </strong>son <strong>Bongo Rock</strong> a &eacute;t&eacute; produit par Art Laboe, le DJ qui a invent&eacute; l&rsquo;album compilation. Ce morceau sera repris sous le nom de &laquo;&thinsp;Bongo Rock &lsquo;73&thinsp;&raquo; par The Incredible Bongo Band, qui en a fait un classique du hip hop, sampl&eacute; par des dizaines d&rsquo;artistes, dont le Jama&iuml;cain Kool DJ Herc, fondateur du genre hip hop. Rappelons aussi que les rythmiques bizarres de <strong>Bo Diddley, </strong>comme ici <strong>Travelin&rsquo; West</strong> ou<strong> Diddling,</strong> ont aussi particip&eacute; &agrave; &eacute;laborer le style des rythmiques de la soul, un style pourtant d&eacute;riv&eacute; du gospel &mdash; donc fondamentalement chant&eacute;. </span><br /><span class=Soustitre><br />Musique de film</span><br /><span class=Texte>Les styles de piano ragtime, boogie woogie et stride &eacute;taient tr&egrave;s populaires entre-deux-guerres. Ils particip&egrave;rent notamment &agrave; l&rsquo;essor du cin&eacute;ma. D&egrave;s les ann&eacute;es 1920, des pianistes ou de petites formations de jazz &eacute;taient engag&eacute;s par les producteurs pour jouer au cours des tournages de films muets. Ils &eacute;taient charg&eacute;s de mettre les acteurs dans l&rsquo;ambiance requise par le r&eacute;alisateur &mdash; com&eacute;die ou drame &mdash; et avec leur musique, de rythmer la cadence du spectacle. Cette pratique s&rsquo;est vite &eacute;tendue &agrave; la projection des films en salle afin que le public soit lui aussi aid&eacute; &agrave; entrer dans l&rsquo;ambiance : les films muets sont depuis associ&eacute;s &agrave; ces styles de piano jazz qui entraient dans les salles pour y apporter un air de f&ecirc;te. Le principe s&rsquo;est d&eacute;velopp&eacute; pour devenir bient&ocirc;t une musique &laquo;&thinsp;d&rsquo;ambiance&thinsp;&raquo; que l&rsquo;on enregistrait et diffusait pendant le film en plus du th&egrave;me associ&eacute; au g&eacute;n&eacute;rique. &Agrave; partir de 1945 des &eacute;diteurs ont constitu&eacute; des sonoth&egrave;ques o&ugrave; des musiques pr&eacute;-enregistr&eacute;es pouvaient &ecirc;tre lou&eacute;es ou achet&eacute;es sur le champ pour &ecirc;tre utilis&eacute;es dans la bande musicale des films, ce qui &eacute;vitait tout le processus de production &agrave; leurs clients. Des disques de ce type sont apparus sous l&rsquo;&eacute;tiquette &laquo;&thinsp;mood music&thinsp;&raquo; et avec l&rsquo;apparition de l&rsquo;album vinyle microsillon dans les ann&eacute;es 1950, ce concept &laquo;&thinsp;ambient music&thinsp;&raquo; a &eacute;t&eacute; largement d&eacute;velopp&eacute; par le chef d&rsquo;orchestre Paul Weston (Music For Dreaming, Music For the Fireside), suivi par Jackie Gleason (Music for Lovers Only) et en Angleterre par Ray Martin, Mantovani et bien d&rsquo;autres. Cette musique de fond sans heurts appelait &agrave; une sophistication qui mena parfois &agrave; des exc&egrave;s o&ugrave; l&rsquo;utilisation d&rsquo;arrangements de violons atteint des summums de mauvais go&ucirc;t et d&rsquo;ennui (marques Musak, Reditune). Plus dynamiques, le jazz et le rock &eacute;taient parfois utilis&eacute;s comme alternative &agrave; ces st&eacute;r&eacute;otypes musicaux surann&eacute;s, notamment quand le film mettait en sc&egrave;ne la jeunesse. Le rock a logiquement servi d&rsquo;illustration musicale &agrave; de nombreux films et s&eacute;ries t&eacute;l&eacute;. Le rock instrumental s&rsquo;y pr&ecirc;tait particuli&egrave;rement. Citons Because They&rsquo;re Young (Paul Wendkos, 1960) avec <strong>Duane Eddy&thinsp;</strong>: extrait de la bande du film, le morceau du m&ecirc;me nom a &eacute;t&eacute; son plus gros succ&egrave;s et sa carri&egrave;re est li&eacute;e &agrave; ses musiques de films. Le rock instrumental de cette p&eacute;riode continuera &agrave; trouver par la suite une place cons&eacute;quente dans des longs m&eacute;trages d&eacute;peignant de jeunes personnages. Il restera un code musical &eacute;voquant la charni&egrave;re des ann&eacute;es 1950-60. Citons <strong>Miserlou</strong> de <strong>Dick Dale and the Del-Tones</strong> utilis&eacute; dans Pulp Fiction de Quentin Tarantino (1994) ou<strong> Nut Rocker</strong> de<strong> B. Bumble and the Stingers </strong>dans Big Momma&rsquo;s House de Raja Gosnell (2000).</span><br /><span class=Texte>Dans les ann&eacute;es 1960, l&rsquo;influent style de guitare au son clair avec effet de r&eacute;verb&eacute;ration entendu ici chez<strong> Duane Eddy </strong>(guitare Gretsch 6120), les<strong> Ventures (</strong>guitares Mosrite), <strong>Dick Dale</strong> (Fender Stratocaster) ou les<strong> Shadows</strong> (Fender Stratocaster) marquera les arrangements de plusieurs musiques de classiques du cin&eacute;ma. On le retrouvera par exemple dans le c&eacute;l&egrave;bre &laquo;&thinsp;James Bond Theme&thinsp;&raquo; (1962) de John Barry ou encore &laquo;&thinsp;Le Bon, la brute et le truand&thinsp;&raquo; (1966) d&rsquo;Ennio Morricone. </span><br /><span class=Soustitre>Far West</span><br /><span class=Texte>Comme on l&rsquo;a vu plus haut, la country music a &eacute;t&eacute; consid&eacute;rablement influenc&eacute;e par la musique hawa&iuml;enne (et <strong>Sol Hoopii </strong>en particulier) en vogue dans les ann&eacute;es 1920-1930, ce qui a impuls&eacute; et pr&eacute;c&eacute;d&eacute; l&rsquo;invention de la guitare lapsteel &eacute;lectrique puis de la pedal steel. Rappelons que le surf est une discipline n&eacute;e &agrave; Hawa&iuml;, o&ugrave; la guitare est jou&eacute;e assid&ucirc;ment depuis le XIX&egrave;me si&egrave;cle. Parall&egrave;lement la guitare &eacute;lectrique au son clair, jou&eacute;e sans distorsion en utilisant le micro aigu &agrave; simple bobinage (Fender, Teisco, Mosrite, Danelectro) est un h&eacute;ritage de la country music, notamment d&rsquo;<strong>Arthur Smith </strong>(ici &agrave; la guitare s&egrave;che),<strong> Merle Travis</strong> (ici une Gibson Super 400), Joe Maphis (double manche Mosrite), <strong>Jimmy Bryant,</strong> Grady Martin et <strong>Chet Atkins</strong> (guitares Gretsch &mdash; le mod&egrave;le 6120 &laquo;&thinsp;Chet Atkins&thinsp;&raquo; est sorti en 1955). Tous utilisaient ce type de son tranchant, net, propre, que l&rsquo;on retrouve dans le rockabilly19. Il contraste avec la distorsion &laquo;sale&raquo; pr&eacute;sente chez la plupart des bluesmen, de <strong>Johnny &laquo;Guitar&raquo; Watson</strong> &agrave; <strong>Mickey Baker </strong>et jusqu&rsquo;&agrave;<strong> B.B. King</strong> ou <strong>Albert Collins</strong>. C&rsquo;est sans doute<strong> Bill Justis</strong> qui avec <strong>Raunchy </strong>en 1957 a &eacute;t&eacute; le premier &agrave; &eacute;voquer avec succ&egrave;s l&rsquo;ambiance &laquo;&thinsp;far west&thinsp;&raquo; avec des instrumentaux country-rock. C&rsquo;est en jouant &laquo;&thinsp;Raunchy&thinsp;&raquo; &agrave; John Lennon que George Harrison a &eacute;t&eacute; engag&eacute; dans les Beatles. Les allusions au far west incluent ici le fameux T<strong>equila </strong>des <strong>Champs,</strong> les <strong>Quick Draw</strong> et <strong>Travelin&rsquo; West </strong>de <strong>Bo Diddley,</strong> le <strong>Wheels</strong> des <strong>String a Longs, Let&rsquo;s Go (Pony)</strong> des <strong>Routers </strong>et le <strong>(Ghost) Riders</strong> <strong>in the Sky </strong>des <strong>Ramrods,</strong> qui &eacute;voque une apparition de cavaliers fant&ocirc;mes dans le ciel &mdash; sans oublier le c&eacute;l&egrave;bre<strong> Apache</strong> des <strong>Shadows</strong>. </span><br /><span class=Soustitre>Surf rock</span><br /><span class=Texte>Quand elle a finalement d&eacute;ferl&eacute; sur le grand public blanc avec le succ&egrave;s ph&eacute;nom&eacute;nal d&rsquo;Elvis Presley en 1956-1957, la musique rock &eacute;tait tr&egrave;s connot&eacute;e &laquo;&thinsp;mauvais gar&ccedil;on&thinsp;&raquo;, ce qui posait beaucoup de probl&egrave;mes aux musiciens. Malgr&eacute; tout, sa popularit&eacute; a logiquement engendr&eacute; une vague de rock instrumental, initialement incarn&eacute;e par le s&eacute;duisant <strong>Duane Eddy </strong>dont le premier succ&egrave;s s&rsquo;appelait fort &agrave; propos <strong>Rebel Rouser </strong>en 1958. Peu apr&egrave;s, son adaptation du th&egrave;me d&rsquo;une s&eacute;rie t&eacute;l&eacute;vis&eacute;e polici&egrave;re, <strong>Peter Gunn,</strong> ajouta &agrave; son image superficiellement rebelle. Le son et le style originaux de<strong> </strong>Duane Eddy, d&eacute;riv&eacute;s de la guitare country tr&egrave;s propre et des succ&egrave;s &laquo;&thinsp;far west&thinsp;&raquo; pr&eacute;c&eacute;da la mode du surf rock, dont il fut en quelque sorte le pionnier. <strong>Link Wray </strong>en fut l&rsquo;outsider. Indien Shawnee amput&eacute; d&rsquo;un poumon (il ne pouvait donc pas chanter) &agrave; la suite d&rsquo;une tuberculose, son &eacute;tonnant <strong>Rumble</strong> (&laquo;&thinsp;bagarre de rue&thinsp;&raquo; en argot am&eacute;ricain) a secou&eacute; le monde du rock et s&rsquo;est vendu &agrave; des milliers d&rsquo;exemplaires. Son succ&egrave;s s&rsquo;est produit contre toute attente, car ce morceau mena&ccedil;ant allait &agrave; contresens de toute l&rsquo;industrie du disque qui en 1958 cherchait d&eacute;sesp&eacute;r&eacute;ment &agrave; donner au rock une image plus rassurante. Link Wray l&rsquo;influent inventeur du &laquo;&thinsp;power chord&thinsp;&raquo; a s&eacute;duit Pete Townshend des futurs Who, qui s&rsquo;est aussit&ocirc;t d&eacute;cid&eacute; &agrave; apprendre &agrave; jouer de la guitare &eacute;lectrique. Trois titres de ce musicien au style aussi brut que d&eacute;cisif, loin des </span><span class=Texte>st&eacute;r&eacute;otypes du &laquo;&thinsp;surf rock&thinsp;&raquo;, sont inclus ici.</span><br /><span class=Texte><strong>Eddie Cochran</strong> fut avec Bill Haley20 l&rsquo;un des premiers rockers blancs &agrave; s&rsquo;essayer au genre instrumental. Il jouait lui aussi sur une Gretsch 6120, le mod&egrave;le favori de Brian Setzer qui en 2011 a enregistr&eacute; un remarquable album de guitare rock enti&egrave;rement instrumental tr&egrave;s marqu&eacute; par les ann&eacute;es 1950<strong>. Eddie Cochran</strong>, le h&eacute;ros de jeunesse de Setzer, est repr&eacute;sent&eacute; ici avec trois morceaux. Son<strong> Strollin&rsquo; Guitar </strong>est caract&eacute;ristique du son &laquo;&thinsp;surf&thinsp;&raquo; de cette p&eacute;riode. Son <strong>Chicken Shot Blues </strong>n&rsquo;est en revanche qu&rsquo;une jam session r&eacute;v&eacute;lant un style de guitare tr&egrave;s agressif qui rappelle peut-&ecirc;tre celui de Jimmy Page avec Led Zeppelin dix ans plus tard. L&rsquo;association du rock instrumental avec le surf n&rsquo;est v&eacute;ritablement av&eacute;r&eacute;e qu&rsquo;&agrave; partir du succ&egrave;s de <strong>Dick Dale and his Del-Tones</strong> et leur morceau <strong>Miserlou</strong> en 1962. Marqu&eacute; par la musique orientale (plus une trompette mexicaine), ce titre est bas&eacute; sur une m&eacute;lodie traditionnelle du Moyen-Orient arrang&eacute;e en rock (sur le m&ecirc;me principe que les deux titres de <strong>Bumble and the Stingers</strong> adapt&eacute;s de th&egrave;mes de musique classique, comme le feront dix ans plus tard avec brio les N&eacute;erlandais de Ekseption). &Agrave; l&rsquo;&eacute;t&eacute; 1961 les concerts de Dick Dale (d&rsquo;origine libanaise) refusaient du monde au Rendezvous Ballroom de la plage de Balboa au sud de Los Angeles, pr&egrave;s du spot The Wedge, haut-lieu du surf. Dick Dale pratiquait le surf et une photo de lui en action sur une vague ornait la pochette de son premier album Surfer&rsquo;s Choice. D&rsquo;autres groupes, comme les Bel-Airs (&laquo;&thinsp;Mr. Moto&thinsp;&raquo;, 1961), les Challengers (album Surfbeat, 1962), les Surfaris (&laquo;&thinsp;Wipeout&thinsp;&raquo;, 1963) ou encore Eddie and the Showmen ont particip&eacute; &agrave; la vogue initiale du &laquo;&thinsp;surf rock&thinsp;&raquo; en Californie du Sud. Originaires de Santa Ana, &agrave; c&ocirc;t&eacute; de Balboa, avec leur &eacute;norme succ&egrave;s <strong>Pipe Line</strong> enregistr&eacute; selon la l&eacute;gende dans l&rsquo;arri&egrave;re-boutique d&rsquo;un magasin de surf, les <strong>Chantays </strong>faisaient allusion aux &laquo;&thinsp;pipelines&thinsp;&raquo;, ces tunnels form&eacute;s par les rouleaux de grandes vagues que les surfeurs les plus audacieux sont capables d&rsquo;emprunter. Mais tous, Dick Dale compris, devaient leur approche du son de guitare (clair avec r&eacute;verb et micro aigu) au groupe de rock instrumental le plus important de cette &eacute;poque, les c&eacute;l&egrave;bres<strong> Ventures</strong>. Avec <strong>Walk Don&rsquo;t Run </strong>(1960), &laquo;&thinsp;Perfidia&thinsp;&raquo;, &laquo;&thinsp;Driving Guitars&thinsp;&raquo;, <strong>Bulldog, Lullaby of the Leaves, </strong>les Ventures ont &eacute;t&eacute; les premiers &agrave; imposer la formule rock originale qui consiste &agrave; arranger en rock des m&eacute;lodies connues, venues de tous les horizons. Initialement chant&eacute; par Ina Hayward, &laquo;&thinsp;Lullaby of the Leaves&thinsp;&raquo; provient d&rsquo;une revue sans succ&egrave;s &agrave; Broadway, Chamberlain&rsquo;s Brown Scrap Book (1932). Il fut interpr&eacute;t&eacute;e &agrave; la radio par l&rsquo;orchestre de Freddie Berrens et enregistr&eacute; par Ben Selvin et Connie Boswell avant de devenir un standard du jazz. Originaires de Tacoma pr&egrave;s de Seattle, les Ventures enregistraient aussi des versions des rocks instrumentaux les plus populaires. Ils ont plus tard repris avec talent nombre de titres figurant ici.</span><br /><span class=Texte>Avec des dizaines d&rsquo;albums &agrave; leur actif et un succ&egrave;s aussi record qu&rsquo;increvable, ils restent sans doute le plus grand groupe de rock instrumental de l&rsquo;histoire. Les <strong>Shadows </strong>ont copi&eacute; leur son en Angleterre, tout comme <strong>Dick Dale</strong>, les <strong>Chantays, </strong>les <strong>Routers </strong>et tant d&rsquo;autres, dont les Beach Boys, un groupe vocal qui utilisait aussi ce son de guitare &laquo;surf&raquo; particulier.</span><br /><span class=Texte>Un nombre consid&eacute;rable d&rsquo;autres groupes de rock graveront des morceaux tr&egrave;s influenc&eacute;s par les Ventures de Bob Bogle et Nokie Edwards, parmi lesquels les Spotnicks (&laquo;&thinsp;Orange Blossom Special&thinsp;&raquo;, 1961) &agrave; Stockholm, les Trashmen (&laquo;&thinsp;Malaguena&thinsp;&raquo;, 1964) &agrave; Minneapolis, les Flying Padovanis (&laquo;&thinsp;Western Pasta&thinsp;&raquo;, 1981) &agrave; Londres et bien s&ucirc;r le premier enregistrement en studio des Beatles &agrave; Hambourg en 1961, &laquo;&thinsp;Cry for a Shadow&thinsp;&raquo; sorti en 1964.</span><br /><strong><span class=Texte>Bruno Blum</span></strong><br /><span class=Texte>Merci &agrave; Denis &laquo;&thinsp;Chourave&thinsp;&raquo; Bouillet, Yves Calvez, St&eacute;phane Colin, Gilles Conte, Bo Diddley, Henry Padovani, Vincent Palmer, J&eacute;r&ocirc;me Piel d&rsquo;Arc, Gilles P&eacute;tard, Brian Setzer et Michel Tourte.</span><br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2014</span><br /><span class=Texte>1. Electric Guitar Story - Country Jazz Blues R&amp;B Rock 1935-1962 (anthologie de Bruno Blum, FA5421) et Guitare Country - From Old Time to Jazz Times 1926-1950 (par G&eacute;rard Herzaft, FA5007) contiennent en partie des morceaux chant&eacute;s mais on y trouve aussi des instrumentaux de Chet Atkins, Merle Travis, Chuck Berry, Bob Wills, Speedy West &amp; Jimmy Bryant, Floyd Smith, Alvino Rey et bien d&rsquo;autres (consulter fremeaux.com). Notre s&eacute;rie de trois albums Boogie Woogie Piano pr&eacute;sent&eacute;e par Jean Buzelin (FA036, FA5164, FA5226) pr&eacute;sente aussi des liens th&eacute;matiques avec cet album.</span><br /><span class=Texte>2. Lire le livret et &eacute;couter Slavery in America - Redemption Songs 1914-1972 (FA5467) dans cette collection.</span><br /><span class=Texte>3. Lire le livret et &eacute;couter Jamaica Folk, Trance Possession 1939-1961 (FA5384) dans cette collection, et &laquo;Pukkumina Cymbal&raquo; en particulier.</span><br /><span class=Texte>4. Lire le livret et &eacute;couter The Best Small Jazz Bands 1936-1955 (FA5194) dans cette collection.</span><br /><span class=Texte>5. Lire les livrets et &eacute;couter nos trois volumes Boogie Woogie Piano (FA036, FA5164, FA5226) dans cette collection.</span><br /><span class=Texte>6. Lire le livret et &eacute;couter The Greatest Black Big Bands 1930-1956 (FA5287) dans cette collection.</span><br /><span class=Texte>7. Lire le livret et &eacute;couter T-Bone Walker &ndash; The Blues &ndash; Father of the Modern Blues Guitar 1929-1950 (FA 267) dans cette collection.</span><br /><span class=Texte>8. Lire le livret et &eacute;couter Charlie Christian - The Quintessence 1939-1941 (FA218) dans cette collection.</span><br /><span class=Texte>9. Voir Electric Guitar Story 1935-1962 (FA5421) dans cette collection.</span><br /><span class=Texte>10. Retrouvez Sol Hoopii sur l&rsquo;anthologie Electric Guitar Story (FA5421) dans cette collection, sur Hawaiian Music Honolulu-Hollywood-Nashville 1927-1944 (FA035) et sur Rock n&rsquo; Roll Vol. 1 - 1927-1938 (FA351).</span><br /><span class=Texte>11. Retrouvez Milton Brown et Bob Wills sur l&rsquo;anthologie Western Swing 1928-1944 (FA032) dans cette collection.</span><br /><span class=Texte>12. Lire le livret et &eacute;couter Country Boogie 1939-1947 (FA160) dans cette collection.</span><br /><span class=Texte>13. Lire le livret et &eacute;couter Elvis Presley face &agrave; la l&rsquo;histoire de la musique am&eacute;ricaine 1954-1956 (FA5361) dans cette collection. Les versions originales des morceaux repris par Elvis Presley y sont incluses mettent en &eacute;vidence ses influences.</span><br /><span class=Texte>14. Lire le livret et &eacute;couter Rockabilly 1951-1960 (FA5426) dans cette collection.</span><br /><span class=Texte>15. Lire les livrets et &eacute;couter dans cette collection Jamaica Rhythm and Blues 1956-1961 (FA5358) et Roots of Ska - Rhythm and Blues Shuffle USA &amp; Jamaica 1942-1962 (FA5396) qui contiennent plusieurs instrumentaux.</span><br /><span class=Texte>16. Lire le livret et &eacute;couter Jamaica - Rhythm and Blues 1956-1961 (FA5358), USA-Jamaica Roots of Ska &mdash; Rhythm and Blues Shuffle 1942-1962 (FA5396) et Jamaica - Mento 1951-1958 (FA5358) dans cette collection.</span><br /><span class=Texte>17. Lire les livrets et &eacute;couter The Indispensable Chuck Berry 1954-1961 (FA5409), The Indispensable Bo Diddley 1955-1960 (FA5376) et Volume 2 1959-1962 (FA5406) dans cette collection.</span><br /><span class=Texte>18. Retrouvez le &laquo;Tremble&raquo; d&rsquo;Albert Collins sur Electric Guitar Story - Country Jazz Blues R&amp;B Rock 1935-1962 (FA5421) dans cette collection.</span><br /><span class=Texte>19. Lire le livret et &eacute;couter Rockabilly 1951-1960 (FA5423) dans cette collection.</span><br /><span class=Texte>20. Lire le livret et &eacute;couter The Indispensable Bill Haley 1948-1962 &agrave; para&icirc;tre dans cette collection.</span><br /><span class=Soustitre2><br />ROCK INSTRUMENTALS Story<br />1935-1962</span><br /><span class=Soustitre>By Bruno Blum</span><br /><span class=Texte>Note: this selection is inevitably non-exhaustive but the album is complemented </span><br /><span class=Texte>by several other anthologies in this series.1</span><br /><span class=Texte>The voice was probably the first musical instrument ever used by our most distant ancestors. By the way you can actually find a few short vocal appearances here on instrumentals like<strong> Crazy Rhythm, Give Me a Break, Tequila, (Ghost) Riders in the Sky </strong>or <strong>Let&rsquo;s Go</strong>. Nevertheless since the dawn of time, in every culture in the world, instrumental music has existed without voices. Musical instruments can produce emotions and sounds which are beyond the reach of human vocal chords: from delicate Japanese zen music to the ancient Jewish klezmer tradition, and from the ingoma drums of Burundi, German military bands or the volcanic samba schools of Brazil to the delicate sophistication of Achille-Claude Debussy&rsquo;s dissonant &ldquo;Pr&eacute;ludes&rdquo;, the wild cacophony of flautists from Joujouka in Morocco or the magma stirred by Jimi Hendrix&rsquo;s sublime improvisations &mdash; which reached the heart of the reactor on &ldquo;Drivin&rsquo; South&rdquo;, &ldquo;Star Spangled Banner&rdquo; or &ldquo;Villanova Junction&rdquo; &mdash; myriad forms of instrumental music in all their diversity have been ringing in human ears for millennia. </span><br /><span class=Soustitre>Instrumental Rock</span><br /><span class=Texte>Rock has always had an instrumental side, and the tendency became a fashion at the end of the Fifties under the influence of essential guitarists like<strong> Sol Hoopii, T-Bone Walker,</strong> Charlie Christian,<strong> Arthur Smith, Chet Atkins, Earl Hooker </strong>and Billy Butler with organist <strong>Bill Doggett, </strong>followed by bands devoted entirely to instrumental rock such as the groups led by<strong> Link Wray, Duane Eddy </strong>or <strong>Dick Dale</strong> and <strong>The Ventures.</strong> Instrumentals became a separate style with groups that didn&rsquo;t have a singer, like <strong>Johnny and the Hurricanes </strong>or the British<strong> Shadows.</strong> Many vocals-oriented combos turned it into a mandatory exercise, like The Rolling Stones (&ldquo;Stoned&rdquo; or &ldquo;2120 South Michigan Avenue&rdquo; in 1964), The Beatles&rsquo; (&ldquo;Flying&rdquo; in 1967) or Ten Years After (&ldquo;Woodchopper&rsquo;s Ball&rdquo; in 1967) before it lost momentum in the late Sixties. This anthology traces the different steps in the evolution of instrumental rock from its jazz and country beginnings to rock, in which electric guitars play a central role.</span><br /><span class=Soustitre>Origins</span><br /><span class=Texte>When jazz became popular in North America in the 1930s, it conquered a mass audience with instrumental pieces featuring improvisations that made listeners get up and dance, i.e. the Swing Era. This conceptual link with dancing, which wasn&rsquo;t exclusive to African-American music, is inseparable from the notion of &ldquo;rock&rdquo;, a music form fundamentally derived from jazz (and from its 1940s &ldquo;jump blues&rdquo; incarnation in particular). </span><br /><span class=Texte>While improvisation exists in many music forms all over the world, the attention drawn to artists and musicians taking solos is a characteristic of jazz and many African-American and Caribbean, indeed African styles. This instrumental richness has roots deep in African traditions and the oppression of African-Americans. Negro spirituals or slave-songs were originally expressions of the experiences, strengths and hopes of millions of Africans deported to the Americas and reduced to slavery.2 In various forms of trance &mdash; the quest for ancestral ties in many West African animistic religions (notably among Akan, Yoruba &amp; Bantu ethnic groups) &mdash; rhythmical music induced a spiritual ecstasy that favoured the improvisation of mysterious vocal messages inspired by spirits.3 Broadly speaking, once slavery was abolished in 1865, these inspired improvisations where the performer&rsquo;s contribution was decisive merged together inside popular music and were formulated by musical instruments (initially piano, organ, trumpet and saxophone etc.), giving birth to jazz. The Charleston dance craze in the Twenties was just one of its manifestations. Inciting audiences to take part in the collective excitement, free dancing, and expressions of &ldquo;body and soul&rdquo; united and released by rhythm, jazz music was often vocal, but there are thousands of magnificent recordings in existence to testify to the musical peaks achieved by instrumentals. </span><br /><span class=Soustitre>Instrumental Jazz</span><br /><span class=Texte>The origins of &ldquo;instrumental rock&rdquo; are to be sought in jazz, the improvised instrumental music form par excellence.4 During World War II the dancing &ldquo;swing&rdquo; craze was already an anticipation of rock. One of those jazz forms was boogie-woogie, whose rhythms are particularly irresistible,5 and which evidently lie at the roots of rock. A striking example here is the <strong>Boogie Woogie Stomp</strong> by pianist <strong>Albert Ammons,</strong> whose 1936 swing or &ldquo;groove&rdquo; strangely recalls recordings made thirty years later by The Rolling Stones, such as &ldquo;Now I&rsquo;ve Got a Witness&rdquo; (1964) or &ldquo;Andrew&rsquo;s Blues&rdquo;. After the &ldquo;From Spirituals to Swing&rdquo; concert at Carnegie Hall (in which Ammons took part in 1938), the boogie woogie style became very popular in the pre-war jazz era they called &ldquo;Swing&rdquo;, and it continued during the war. Carried by the rhythm, its creators were capable of recording highly sophisticated arrangements (conceived by musicians such as Duke Ellington) and contained flashes of genius where improvisation lent moments of grace, euphoria and freedom to otherwise &ldquo;anonymous&rdquo; musicians who suddenly found themselves in the limelight, backed by a whole orchestra.6 </span><br /><span class=Texte>Swing and boogie woogie would soon evolve into the jump blues style, which was the original form of rock. The swing fashion would also give sustenance to orchestras which were very popular with white audiences, bands led by Glenn Miller for example, who hardly ever employed black musicians &mdash; it was difficult for them to do otherwise, due to prejudice and the segregation laws &mdash; and only rarely included improvisations in their recordings, even though they assimilated the concepts of Afro-American composers. Their love of jazz was sincere, and their recordings were definitely valid, but history has often remembered them for the &ldquo;commercial&rdquo; aspects of the dance-music they played in that period.</span><br /><span class=Texte>Some jazz musicians turned to the electric guitar. Based in Paris, the extraordinary manouche gypsy <strong>Django Reinhardt </strong>was evidently the guitarist who dominated the pre-war period with his Selmer-Maccaferri acoustic guitar and his influence over every guitarist in the world at that time was immense. His lesser-known &ldquo;electric period&rdquo; at the end of his life (1953) added another stone to the edifice represented by the repertoire of famous tunes played on the electric guitar. Instrumental rock, the next logical step, would take flight shortly after this very &ldquo;jazz&rdquo; period. The influence of <strong>T-Bone Walker</strong>7 and Charlie Christian8 during World War II no doubt contributed the most to making the electric guitar popular, and the instrument invited itself to be the guest of popular music as early as the Forties. The influence of virtuoso jazz-guitarist <strong>Les Paul</strong> was also decisive after he became a TV star late in the early 1950s, playing pop songs that featured the many innovations he brought to the instrument. Jazzmen playing famous themes on electric guitars were the heralds of &ldquo;instrumental rock&rdquo;: <strong>Les Paul (Caravan)</strong> and <strong>Django Reinhardt (Nuages)</strong> are two choice examples.</span><br /><span class=Soustitre><br />Country Music</span><br /><span class=Texte>Instrumentalists from even more distant horizons were also raised on boogie woogie and swing jazz, like the Hawaiian <strong>Sol Hoopii,</strong> a major influence on the steel guitar style which came to the forefront in country music, western swing (cf. <strong>Bob Wills </strong>here) and country boogie (viz. <strong>Speedy West</strong> &amp; <strong>Jimmy Bryant)</strong>, and even in the slow number <strong>Sleep Walk</strong> from <strong>Santo &amp; Johnny</strong> in 1959. As a great improviser on a quite different instrument, Hoopii was doubtless the most brilliant of those who caused America to discover the culture of Hawaii, and he had many U.S. hits from 1925 onwards. Sol first recorded using a non-electric &ldquo;lap steel&rdquo; metal guitar (laid flat on his lap). His highly original title <strong>An Orange Grove in California</strong> (1934) opens this set. Sol Hoopii was one of the first to convert to an electric lap steel guitar (in 1935), a revolutionary instrument which gave birth to the electric guitar as we know it (cf. Electric Guitar Story 1935-1962, FA 5421, in this collection). <strong>Kohala March </strong>much influenced the steel guitarists who followed him in country music.9 As early as the Thirties, popular dance hall artists like Milton Brown &amp; his Musical Brownies or <strong>Bob Wills &amp; his Texas Playboys</strong> also adopted the lap steel and the highly danceable swing music they heard in jazz.10 Their Texan style &mdash; western swing &mdash; was different from the usual country music around because it had so much energy that it made people get up and dance; it, too, was one of the roots of rock, as you can hear (loud and clear) from these pieces. Western swing titles like Bob Wills&rsquo; Boogie and Crazy Rhythm would inspire several country artists who turned to &ldquo;swing&rdquo; styles like boogie woogie. The &ldquo;hillbilly boogie&rdquo; or &ldquo;country boogie&rdquo; style resulting from these influences is the subject of a separate anthology in this collection.11 One great country boogie classic is of course the famous <strong>Guitar Boogie </strong>by <strong>Arthur Smith </strong>and his Cracker-Jacks, of which two versions exist; the better-known of the two is the second one, which went to N&deg;9 in the country charts in 1948 and appears here. Born into a family of musicians from South Carolina (he later settled in North Carolina some 250 miles from Nashville), Arthur Smith helped build the sound of country music after the war and <strong>Guitar Boogie Shuffle,</strong> a cover version of his great hit by <strong>The Virtues</strong> (alias The Virtuoso Trio) a decade later is also included here and was a best-seller, too. Although they were unrelated, several instrumental rhythm and blues tunes had the same title, notably<strong> Guitar Boogie</strong> by <strong>Henry Crafton </strong>in 1949, and a <strong>Chuck Berry </strong>recording made in 1957.</span><br /><span class=Texte>The post-war Nashville country sound was dominated by guitar giant <strong>Chet Atkins,</strong> who was raised in poverty and sought to change his life by working on his instrument like there was no tomorrow. Here you can listen to his brilliant work on <strong>Canned Heat</strong> (an acoustic version) and six years later with his electric Gretsch guitar on the excellent <strong>Oh by Jingo! </strong>Atkins was a virtuoso and developed his difficult finger-picking style &mdash; four fingers &mdash; based on the way<strong> Merle Travis </strong>played (using just his thumb and index finger). Travis was another country music giant, and he was raised in Kentucky to the north. His major inspiration was ragtime-guitar master Blind Blake, and the influence of these three on the roots of rock is incalculable. Merle and Chet would leave their mark on Scotty Moore (who played with Elvis Presley12) and indeed on the whole of the hugely influential rockabilly movement13 &mdash; and with it all the rock that followed, from The Beatles to Jeff Beck, Creedence Clearwater and The Stray Cats. Here you can appreciate the influence and quality of their remarkable recordings with the <strong>Carol Dills</strong> record (obscure but no less estimable), <strong>The Rocking Guitar,</strong> which was the B-side of a 1956 rockabilly record from <strong>Cecil Campbell. </strong></span><br /><span class=Soustitre><br />Blues &amp; Rock n&rsquo; Roll</span><br /><span class=Texte>If there&rsquo;s no argument over the importance, influence or talent of country musicians such as <strong>Arthur Smith, Merle Travis, Chet Atkins </strong>or <strong>Jimmy Bryant</strong>, the multiplication of great quality instrumentals in jazz, blues and rhythm and blues displayed an unsurpassable richness as eminent expressions of an Afro-American culture that leaned towards musical showmanship. In rock as in other fields in music, the contribution of the African American minority was matchless. In the post-war years it was common for a recording-session to close with an instrumental take, often improvised over a 12-bar blues chord progression. This extra title recorded at the session could later serve as the B-side of a single (and in some cases the A-side). This is perhaps how <strong>Guitar Boogie</strong> by <strong>Henry Crafton </strong>or the <strong>Big Three Stomp </strong>by the <strong>Big Three Trio </strong>(one of Willie Dixon&rsquo;s first groups) came into being. Well before Elvis Presley&rsquo;s first hits, rock was already in fashion by 1950, as <strong>Tiny Grimes </strong>reminds us with his splendid <strong>Rockin&rsquo; the Blues Away</strong>. Tiny Grimes and his four-string electric guitar appeared on records with the greatest jazzmen, from Charlie Parker to Art Tatum, but in parallel Tiny also led his own group the <strong>Rocking Highlanders,</strong> and often recorded in this style around 1950. In reality, &ldquo;Jazz&rdquo; was just a general-usage term covering a number of different styles, beginning with rock itself in its seminal form: the &ldquo;jump blues&rdquo; of the post-war era. Brass instruments were still omnipresent, as you can hear in recordings from the guitarists<strong> T-Bone Walker, Harry Crafton, Tiny Grimes, Lowell Fulson </strong>or <strong>B. B. King,</strong> who excels here <strong>on Boogie Rock</strong> and <strong>Mashed</strong> <strong>Potato Twist</strong>. Even so, the presence of an electric guitar wasn&rsquo;t indispensable in establishing a link with &ldquo;rock&rdquo; per se, as testified here on records from pianists <strong>Albert Ammons</strong> (as early as 1936), <strong>Professor Longhair, Bo Diddley </strong>with Otis Spann (Travelin&rsquo; West) or<strong> B. Bumble and the Stingers.</strong> On the tracks <strong>Last Night</strong> and <strong>Green Onions, </strong>the electric organ, rather than the piano, is the dominant instrument. </span><br /><span class=Texte>Nonetheless, after a few other gems in a bluesy vein such as <strong>Guitar Shuffle</strong> from<strong> Lowell Fulson,</strong> it was in Chicago that <strong>Earl Hooker </strong>recorded his big hit <strong>The Hucklebuck.</strong> In 1953 this tune opened wide the door for rock instrumentals, contributing to place the electric guitar on a pedestal; it would remain there for some thirty years, until the triumph of keyboards, sampling and other digital instruments. Instrumental rock spread through American and Jamaican popular music in the course of the 1950s,14 and rock history essentially wrote itself around the rise of the electric guitar. In the Fifties it came to the fore with new sounds, and Afro-American rock made its presence felt in different directions as varied as they were inventive. Improvisations on the electric guitar became an almost-compulsory exercise for blues soloists &mdash; and for country guitarists also. One of the most astonishing pieces in this set is <strong>Space Guitar</strong> by <strong>Johnny &ldquo;Guitar&rdquo; Watson,</strong> the future funk star, who uses sound-effects on this title in a radical, innovative manner; it&rsquo;s hard to believe that this tour de force was cut in February 1954, months before Chuck Berry or Bo Diddley made their studio debuts. Other gems sprang up, like <strong>Spinnin&rsquo; Rock Boogie</strong> by <strong>Mickey Baker,</strong> the guitarist who recorded with Ray Charles as well as on many other Atlantic sessions and more: like Les Paul before him, Mickey Baker had a television &ldquo;act&rdquo; &mdash; the &ldquo;Mickey &amp; Sylvia&rdquo; duo &mdash; where the guitar was prominently featured. As for the guitarist<strong> Lafayette Thomas (The Thing), </strong>he recorded from 1948 and throughout the Fifties with Jimmy McCracklin&rsquo;s Blues Blasters &mdash; who, apart from their musical merits, inspired the name of the Jamaican group <strong>Clue J and his Blues Blasters,</strong> here represented by a contribution from guitar-player Ernest Ranglin, a Jamaican studio ace. Other instrumentals of this type (with or without Ranglin) appear in several sets devoted to the music of Jamaica in this series.15 The welcome given by the general public &mdash; meaning white audiences &mdash; to <strong>Honky Tonk</strong> by organist <strong>Bill Doggett </strong>(on which the little-known Billy Butler brilliantly plays guitar) made instrumental recordings increasingly unavoidable. And so other artists playing what <strong>Chuck Berry </strong>called boogie woogie &mdash; Berry preferred that more musicolo-gical term to hackneyed labels like &ldquo;rock&rdquo; or &ldquo;rhythm and blues&rdquo; &mdash; began recording titles with no vocals, including Chuck himself. The Master cut the exquisite <strong>In-Go </strong>and<strong> Guitar Boogie</strong> (the Yardbirds with Jeff Beck later recorded an unforgettable version of the latter). The prolific <strong>Bo Diddley</strong> lined up one instrumental tour de force after another: listen to his irresistible, highly original pieces <strong>Mumblin&rsquo; Guitar, Travelin&rsquo; West, Quick Draw, Give Me a Break</strong> or <strong>Diddling</strong>. Other Chuck Berry and Bo Diddley instrumentals (they also did a whole instrumental album together in 1964 called Two Great Guitars) appear in the triple albums devoted to them on the Fr&eacute;meaux label.16 <strong>Storm Warning</strong> (with<strong> Dr. John</strong> on guitar) and <strong>Guybo</strong> by<strong> Eddie Cochran </strong>obviously show huge Bo Diddley influences. More African-Americans coming from blues backgrounds recorded hit instrumentals, among them <strong>B. B. King, Freddie King </strong>and <strong>Albert Collins,</strong> all three of whom had an influence on Jimi Hendrix &mdash; as did<strong> Johnny &ldquo;Guitar&rdquo; Watson.</strong> If you listen to the 1967 instrumental &ldquo;Drivin&rsquo; South&rdquo; by the mega-influential Hendrix, who was just twenty in 1962, you can clearly hear the influence of <strong>Frosty</strong> and &ldquo;Tremble&rdquo; by Albert Collins,17 both of which date from the early Sixties. </span><br /><span class=Soustitre><br />Soul &amp; Funk</span><br /><span class=Texte>Instrumental rock also contributed to help soul music grow, and by extension the funk created in the Sixties by James Brown, The Meters and a few others. <strong>Last Night</strong> was a dance-floor hit, and the first one written and played by the young musicians known as the<strong> Mar-Keys,</strong> who later did much to develop soul music: with the addition of Booker T. Jones in 1962 they became<strong> Booker T. and the MG&rsquo;s</strong>, the &ldquo;house&rdquo; band of the best soul stable in the southern USA, Stax Records. With the efficient Steve Cropper on guitar, Al Jackson on drums and Duck Dunn on bass, organist Booker T. was just 17 when he recorded their great classic <strong>Green Onions</strong>. Billy Butler played guitar with saxophonist <strong>King Curtis,</strong> who also became a great soul figure: his band is featured on many masterpieces recorded for Atlantic and, like Booker T. and the MG&rsquo;s, Curtis also had a number of instrumental hits including the groovy <strong>Soul Twist</strong>. As for <strong>Preston Epps</strong>, his <strong>Bongo Rock</strong> was produced by Art Laboe, the DJ who invented the compilation-album; this piece was picked up as &ldquo;Bongo Rock &lsquo;73&rdquo; by The Incredible Bongo Band, who turned it into a hip hop classic sampled by dozens of artists, among them the Jamaican Kool DJ Herc, who founded the hip hop genre. Even though soul music was derived from gospel &mdash; which was basically a vocal style &mdash; note also that the bizarre rhythms of<strong> Bo Diddley,</strong> which you can taste here on <strong>Travelin&rsquo; West </strong>or <strong>Diddling, </strong>helped shaping new soul rhythm-sections. </span><br /><span class=Soustitre>Film music</span><br /><span class=Texte>Ragtime, boogie woogie and stride piano styles were very popular between the wars and significantly took part in the rise of the film industry. As early as the Twenties, jazz pianists or small-groups were hired by the producers of silent films to play on film-sets; their job was to create the ambience required by the director &mdash; drama or comedy &mdash; and play music that would set a tempo for each scene. This practice quickly spread to cinemas/theatres where these films were projected, so that audiences might also capture the same atmosphere: and silent films became associated with these jazz piano styles, which lent a lively note to a night at the movies. The principle then developed into &ldquo;background music&rdquo; recorded to be played in cinemas (together with the theme used over the film&rsquo;s credits) during projections. As from 1945 publishers had started building sound libraries of music that could be hired (or purchased outright) for use as film soundtracks, which enabled their customers to avoid the whole complicated music production process. Records of this type appeared as &ldquo;mood music&rdquo;, and when microgroove LPs appeared in the 1950s, &ldquo;ambient music&rdquo; was a concept developed in America by conductor Paul Weston (Music For Dreaming, Music For the Fireside), followed by Jackie Gleason (Music for Lovers Only), and in England by Ray Martin, Mantovani and many others. This smooth background music called for a sophistication which sometimes led to excess, with arrangements for violins reaching high levels of bad taste and boredom (cf. brands like &ldquo;Musak&rdquo; and &ldquo;Reditune&rdquo;). Jazz and rock were (much) more dynamic, and were sometimes used as an alternative to these outdated musical stereotypes, especially if a film was aimed at young people&hellip; Rock logically came to musically illustrate many films and television series, and instrumental rock was particularly suitable; take Because They&rsquo;re Young (Paul Wendkos, 1960) with<strong> Duane Eddy:</strong> an excerpt from the film soundtrack, this eponymous title was his greatest hit and tied Duane&rsquo;s career to film music. During this period, instrumental rock gained increasing importance in full-length feature-films with young heroes; it would remain a musical code for the pivotal Fifties/Sixties years, as illustrated by <strong>Miserlou</strong> by <strong>Dick Dale and the Del-Tones, </strong>which Quentin Tarantino later used in Pulp Fiction (1994), or<strong> Nut Rocker </strong>by <strong>B. Bumble and the Stingers</strong> in Raja Gosnell&rsquo;s Big Momma&rsquo;s House (2000).</span><br /><span class=Texte>In the Sixties, the clear, clean sounding guitar style with reverb you could hear from <strong>Duane Eddy </strong>(playing a Gretsch 6120), <strong>The Ventures </strong>(Mosrite guitars),<strong> Dick Dale </strong>(Fender Stratocaster) or <strong>The Shadows</strong> (Fender Stratocaster) would put a stamp on several film classics&rsquo; musical arrangements, such as John Barry&rsquo;s famous &ldquo;James Bond Theme&rdquo; (1962) or Ennio Morricone&rsquo;s &ldquo;The Good, The Bad and The Ugly&rdquo; (1966). </span><br /><span class=Soustitre>The Far West</span><br /><span class=Texte>As seen above, country music was tremendously influenced by the music of Hawaii (and by <strong>Sol Hoopii</strong> in particular); fashionable in the Twenties and Thirties, it preceded and then accelerated the invention of the electric lap steel guitar and then the pedal steel. One should also remember that surfing was born in Hawaii, where people had been assiduously playing guitars since the 19th century. In parallel with this, electric guitars with their clear, undistorted sound obtained using a single coil pick up &mdash; from Fender, Teisco, Mosrite, Danelectro &mdash; was inherited from country music, notably<strong> Arthur Smith </strong>(here with an acoustic model), <strong>Merle Travis </strong>(playing a Gibson Super 400), Joe Maphis (a double-neck Mosrite), as well as <strong>Jimmy Bryant, </strong>Grady Martin and <strong>Chet Atkins</strong> (with Gretsch guitars, with the &ldquo;Chet Atkins&rdquo; model 6120 coming onto the market in 1955). All of them used the clear-cut type of sound also found in rockabilly18, which contrasted with the &ldquo;dirty sound&rdquo; distortion present in the work of most bluesmen, from <strong>Johnny &ldquo;Guitar&rdquo; Watson </strong>to <strong>Mickey Baker, B. B. King o</strong>r <strong>Albert Collins</strong>. With <strong>Raunchy </strong>in 1957, <strong>Bill Justis</strong> was no doubt the first to successfully recall the &ldquo;far west&rdquo; atmosphere with a country-rock instrumental. Let&rsquo;s not forget that George Harrison was hired as a Beatle after he played &ldquo;Raunchy&rdquo; to John Lennon&hellip; Far-west references here include the famous <strong>Tequila</strong> by <strong>The Champs,</strong> the titles <strong>Quick Draw </strong>and<strong> Travelin&rsquo; West</strong> by <strong>Bo Diddley,</strong> the title <strong>Wheels</strong> by the <strong>String a Longs, Let&rsquo;s Go (Pony) </strong>by the <strong>Routers </strong>and<strong> (Ghost) Riders in the Sky</strong> by <strong>The Ramrods</strong> (phantom horsemen&hellip;), and obviously <strong>The Shadows</strong> with <strong>Apache. </strong></span><br /><span class=Soustitre>Surf rock</span><br /><span class=Texte>When the rock music wave finally washed over a mass white audience in the wake of Elvis Presley&rsquo;s phenomenal success in 1956-1957, it was given a &ldquo;bad boy&rdquo; connotation which caused some musicians serious problems. Despite that, however, its popularity logically gave rise to another, instrumental rock wave, initially embodied by the seductive<strong> Duane Eddy</strong>, whose first hit (in 1958) was quite aptly entitled <strong>Rebel Rouser. </strong>Shortly after that, his adaptation of the main theme from the TV crime-series<strong> Peter Gunn </strong>added to his surface image as a rebel. The original style and sound of Duane Eddy was derived from country guitar and &ldquo;far west&rdquo; hits, which preceded the &ldquo;surf rock&rdquo; craze. If Eddy was its &ldquo;pioneer&rdquo;, in a manner of speaking,<strong> Link Wray </strong>was an outsider. He was a Shawnee Indian, and he&rsquo;d had one lung removed due to tuberculosis, so Wray couldn&rsquo;t sing. But his astonishing tune <strong>Rumble</strong> (American slang for a street-fight), shook the world of rock &lsquo;n&rsquo; roll and sold thousands of copies. Its success was totally unexpected, because the menace in the tune cut across the grain of the entire record-industry: in 1958, everyone in the business was trying to give rock a more reassuring image&hellip; Link Wray, the influential inventor of the &ldquo;power chord&rdquo;, instantly attracted the young Pete Townshend, the future leader of The Who, who decided there and then to learn to play the electric guitar. Wray, a guitarist whose raw style was decisive and far from any &ldquo;surf rock&rdquo; stereotype, is represented here by no fewer than three titles.</span><br /><span class=Texte>Like Bill Haley19, Eddie Cochran was one of the first white rockers to tackle the instrumental genre, and he also played a Gretsch 6120, the favourite guitar of Brian Setzer who in 2011 cut a remarkable guitar-rock album (nothing but instrumentals) which bore the Fifties&rsquo; stamp. Cochran was Setzer&rsquo;s youth hero, and three of Cochran&rsquo;s titles appear here.<strong> Strollin&rsquo; Guitar </strong>is characteristic of his &ldquo;surf&rdquo; sound in that period, while<strong> Chicken Shot Blues</strong> is a jam session bringing out a very aggressive guitar-style which is perhaps reminiscent of the way Jimmy Page would play with Led Zeppelin a decade later. The rock-instrumental/surf-rock analogy was only really sealed when <strong>Dick Dale and his Del-Tones</strong> scored a hit with <strong>Miserlou</strong> in 1962. Marked by the music of the Middle East (Dale had Lebanese origins), but with the addition of a Mexican trumpet, &ldquo;Miserlou&rdquo; is based on a traditional Oriental melody with a rock arrangement (on the same principle as the two titles by <strong>B. Bumble and the</strong> <strong>Stingers</strong> adapted from classical pieces as was, ten years later, the music produced with such brio by the Dutch group Ekseption). In the summer of 1961 Dick Dale&rsquo;s concerts were SRO at the Rendezvous Ballroom on Balboa Beach south of L.A., right next to the &ldquo;spot&rdquo; called The Wedge, the local surfers&rsquo; Mecca. Dale was a surfer, and the sleeve of his first album Surfer&rsquo;s Choice featured a photo of him in action. Other groups like the Bel-Airs (&ldquo;Mr. Moto&rdquo;, 1961), Challengers (the 1962 album Surfbeat) and Surfaris (&ldquo;Wipeout&rdquo; in 1963), or again Eddie and the Showmen, took part in the original &ldquo;surf rock&rdquo; fashion in southern California<strong>. The Chantays</strong> hailed from Santa Ana near Balboa, and their gigantic<strong> Pipe Line</strong> hit (legend has it that they made the record in the back-room of a surf store) was an explicit reference to the &ldquo;pipelines&rdquo; formed by the kind of wave only the bravest surfers can ride. But all of these bands, Dick Dale included, owed their guitar-sound (clear with reverb) to the most important instrumental-rock group of the whole period, the legendary Ventures. With <strong>Walk Don&rsquo;t Run </strong>(1960), &ldquo;Perfidia&rdquo;, &ldquo;Driving Guitars&rdquo;, <strong>Bulldog</strong> and <strong>Lullaby of the Leaves,</strong> the Ventures were the first to impose that original rock formula consisting of rock arrangements of familiar tunes coming from all horizons. Initially sung by Ina Hayward, &ldquo;Lullaby of the Leaves&rdquo; is taken from a Broadway revue (it was anything but a hit) obscurely called Chamberlain&rsquo;s Brown Scrap Book (1932). It was played on radio by Freddie Berrens&rsquo; orchestra and recorded by Ben Selvin and Connie Boswell before becoming a jazz &ldquo;standard&rdquo;. The Ventures came from Tacoma, near Seattle, and they also recorded (with great talent) their own versions of the most popular rock instrumentals, including many of the titles in this set. With dozens of albums in their discography and amazing success &mdash; plus a reputation for being indestructible &mdash; The Ventures remain the greatest instrumental-rock group in history. </span><br /><span class=Texte>In Britain their sound was copied by <strong>The Shadows,</strong> joining <strong>Dick Dale, The Chantays, Routers</strong> and many more (including The Beach Boys, a vocal group who also featured this special &ldquo;surf guitar&rdquo; sound) and no matter where the studio was located, a number of other groups were influenced by Bob Bogle and Nokie Edwards&rsquo; Ventures: in Stockholm, with the Spotnicks&rsquo; &ldquo;Orange Blossom Special&rdquo; (1961), the Trashmen in Minneapolis (&ldquo;Malaguena&rdquo;, 1964), the Flying Padovanis in London (&ldquo;Western Pasta&rdquo;, 1981) and, of course, the first studio recording made by The Beatles, in Hamburg in 1961, was &ldquo;Cry for a Shadow&rdquo;, released in 1964.</span><br /><strong><br /><span class=Texte>Bruno Blum</span></strong><br /><span class=Texte>Adapted into English by<strong> Martin DAVIES</strong></span><br /><span class=Texte>Thanks to Denis &ldquo;Glutzenbaum&rdquo; Bouillet, Yves Calvez, St&eacute;phane Colin, Gilles Conte, Bo Diddley, Henry Padovani, Vincent Palmer, J&eacute;r&ocirc;me Piel d&rsquo;Arc, Gilles P&eacute;tard, Brian Setzer and Michel Tourte.</span><br /><span class=Source><br />&copy; FRÉMEAUX &amp; ASSOCIÉS 2014</span><br /><span class=Texte>1. Bruno Blum&rsquo;s Electric Guitar Story - Country Jazz Blues R&amp;B Rock 1935-1962 (FA5421) and G&eacute;rard Herzaft&rsquo;s Guitare Country - From Old Time to Jazz Times 1926-1950 (FA5007) contain vocal pieces but also instrumentals by Chet Atkins, Merle Travis, Chuck Berry, Bob Wills, Speedy West &amp; Jimmy Bryant, Floyd Smith, Alvino Rey et al (cf. fremeaux.com), and Jean Buzelin&rsquo;s three-album series Boogie Woogie Piano (FA036, FA5164, FA5226) also has thematic ties with this Rock Instrumentals set.</span><br /><span class=Texte>2. Cf. Slavery in America (FA5467).</span><br /><span class=Texte>3. Listen to Jamaica Folk, Trance Possession 1939-1961 (FA5384), especially the title &ldquo;Pukkumina Cymbal&rdquo;.</span><br /><span class=Texte>4. Cf. The Best Small Jazz Bands 1936-1955 (FA5194).</span><br /><span class=Texte>5. Cf. all three volumes of Boogie Woogie Piano (FA036/FA5164/FA5226).</span><br /><span class=Texte>6. Cf. The Greatest Black Big Bands 1930-1956 (FA5287).</span><br /><span class=Texte>7. Cf. T-Bone Walker &ndash; The Blues &ndash; Father of the Modern Blues Guitar 1929-1950 (FA 267).</span><br /><span class=Texte>8. Cf. Charlie Christian - The Quintessence 1939-1941 (FA218).</span><br /><span class=Texte>9. Listen to Sol Hoopii in Electric Guitar Story (FA5421), Hawaiian Music Honolulu-Hollywood-Nashville 1927-1944 (FA035) and Rock n&rsquo; Roll Vol. 1 - 1927-1938 (FA351).</span><br /><span class=Texte>10. Milton Brown and Bob Wills feature in Western Swing 1928-1944 (FA032).</span><br /><span class=Texte>11. Cf. Country Boogie 1939-1947 (FA160).</span><br /><span class=Texte>12. Elvis Presley face &agrave; la l&rsquo;histoire de la musique am&eacute;ricaine 1954-1956 (FA5361) contains original versions alongside Presley&rsquo;s own recordings of them to show his influences.</span><br /><span class=Texte>13. Cf. Rockabilly 1951-1960 (FA5426).</span><br /><span class=Texte>14. Cf. Jamaica Rhythm and Blues 1956-1961 (FA5358) and Roots of Ska - Rhythm and Blues Shuffle USA &amp; Jamaica 1942-1962 which contain several instrumentals.</span><br /><span class=Texte>15. Cf. Jamaica - Rhythm and Blues 1956-1961 (FA5358), USA-Jamaica Roots of Ska &mdash; Rhythm and Blues Shuffle 1942-1962 (FA5396) and Jamaica - Mento 1951-1958 (FA5358).</span><br /><span class=Texte>16. Cf. The Indispensable Chuck Berry 1954-1961 (FA5409), The Indispensable Bo Diddley 1955-1960 (FA5376) and 1959-1962 (FA5406).</span><br /><span class=Texte>17. Albert Collins&rsquo; &ldquo;Tremble&rdquo; is included in Electric Guitar Story - Country Jazz Blues R&amp;B Rock 1935-1962 (FA5421).</span><br /><span class=Texte>18. Cf. Rockabilly 1951-1960 (FA5423).</span><br /><span class=Texte>19. Cf. The Indispensable Bill Haley 1948-1962 (futur release).</span><br /><span class=Soustitre><br />Discography - ROCK INSTRUMENTALS - CD 1 1934-1956</span><br /><span class=Texte><strong>1. An Orange Grove in california</strong> - Sol Hoopii</span><br /><span class=Texte>(Israel Isidore Berlin aka Irving Berlin)</span><br /><span class=Texte>Sol Ho&rsquo;opi&rsquo;i-National Hawaiian lap steel acoustic guitar; unknown bj, b. Possibly Los Angeles. 1934.</span><br /><span class=Texte><strong>2. Boogie Woogie Stomp</strong> - Albert Ammons and his Rhythm Kings</span><br /><span class=Texte>(Clarence Smith aka Pinetop Smith, arranged by Albert Ammons)</span><br /><span class=Texte>Guy Kelly-tp; Dalbert Bright-cl, as; Albert Ammons-p; Ike Perkins-g; Israel Crosby-b; Jimmy Hoskins-d. Chicago, February 13, 1936.</span><br /><span class=Texte><strong>3. Bob Will&rsquo;s Boogie</strong> - Bob Wills and his Texas Playboys</span><br /><span class=Texte>(James Robert Wills aka Bob Wills, Millard Kelso, Lester Barnard, Jr. aka Junior Barnard)</span><br /><span class=Texte>James Robert Wills aka Bob Wills-fiddle, v; Lester Barnard, Jr. aka Junior Barnard-electric g; Tiny Moore-electric mandolin; Herb Remington-steel g; Jimy Widener-bj; Joe Holley-fiddle; Millard Kelso-p; Billy Jack Wills-b; Johnny Cuviello-d. Hollywood, September 4, 1946.</span><br /><span class=Texte><strong>4. Caravan</strong> - Les Paul</span><br /><span class=Texte>(Edward Kennedy Ellington as Duke Ellington, Juan Tizol)</span><br /><span class=Texte>Lester William Polsfuss as Les Paul-lead g; Paul Smith, p; Bob Meyer-b; Tommy Rinaldo-d. New York City, January 9, 1947.</span><br /><strong><br /></strong><span class=Texte><strong>5. Crazy Rhythm</strong> - Bob Wills and his Texas Playboys </span><br /><span class=Texte>(Lee Julian Pockriss)</span><br /><span class=Texte>James Robert Wills aka Bob Wills-fiddle, v; Eldon Shamblin-electric g; Tiny Moore-electric mandolin; Herb Remington-steel g; Ocie Stockard-bj; Millard Kelso-p; Billy Jack Wills-b; Johnny Cuviello-d. Sound Recorders, San Francisco, September 6, 1947.</span><br /><span class=Texte><strong>6. Canned Heat</strong> - Chet Atkins</span><br /><span class=Texte>(Chester Burton Atkins as Chet Atkins)</span><br /><span class=Texte>Chester Burton Atkins as Chet Atkins-g; George Barnes-g; Harold Siegel-b; Charles Hurta-fiddle; Augie Klein-accordion. RCA Studios, Chicago, August 8, 1947.</span><br /><strong><br /></strong><span class=Texte><strong>7. Guitar Boogie</strong> - Arthur &ldquo;Guitar Boogie&rdquo; Smith with his Cracker-Jacks</span><br /><span class=Texte>(Arthur Smith)</span><br /><span class=Texte>Arthur Smith-lead g; possibly Don Reno-g: unknown b. 1948. MGM 10293, released in December, 1948.</span><br /><span class=Texte>Note: another version of this composition was recorded by Arthur Smith earlier and is not included in this set.</span><br /><span class=Texte><strong>8. Guitar Boogie</strong> - Harry Crafton and the Jivetones</span><br /><span class=Texte>(Harry Crafton)</span><br /><span class=Texte>Harry Crafton-g; possibly Joe Sewell-ts; unknown b, d. Philadelphia, 1949.</span><br /><span class=Texte><strong>9. Cannonball Stomp </strong>- Merle Travis</span><br /><span class=Texte>(Merle Travis)</span><br /><span class=Texte>Merle Travis-g. Capitol Recording Studio, 5515 Melrose Ave., Hollywood, July 7, 1949.</span><br /><strong><br /></strong><span class=Texte><strong>10. The Big Three Stomp </strong>- The Big Three Trio</span><br /><span class=Texte>(Leonard Caston, Ollie Crawford, William James Dixon aka Willie Dixon)</span><br /><span class=Texte>Ollie Crawford-g; Leonard Caston-p; William James Dixon as Willie Dixon-b; Hillard Brown-d. Chicago, February 18, 1949.</span><br /><strong><br /></strong><span class=Texte><strong>11. Strollin&rsquo; With Bones</strong> - T-Bone Walker and his Band</span><br /><span class=Texte>(Aaron Thibeaux Walker as T-Bone Walker, Eddie Davis, Jr. aka Lockjaw Davis)</span><br /><span class=Texte>Eddie Hutcherson-tp; Edward Hale-as; Eddie Davis, Jr. aka Lockjaw Davis-ts; Zell Kindred-p; Buddy Woodson-b; Snake Simms-d. Los Angeles, April 5, 1950.</span><br /><span class=Texte><strong>12. Longhair Stomp </strong>- Roy Byrd and his Blues Jumpers</span><br /><span class=Texte>(Henry Roeland Byrd aka Roy Byrd, Professor Longhair, Fess)</span><br /><span class=Texte>Henry Roeland Byrd aka Roy Byrd, Professor Longhair, Fess-p; possibly Lester Alexis aka Duke-d. New Orleans, July, 1950.</span><br /><span class=Texte><strong>13. Rockin&rsquo; The Blues Away </strong>- Tiny Grimes Quintet</span><br /><span class=Texte>(Lloyd Grimes as Tiny Grimes)</span><br /><span class=Texte>Lloyd Grimes as Tiny Grimes-tenor g; Wilbert Prysock aka Red Prysock-ts; Freddie Redd-p; unknown b; possibly Jerry Potter-d. Chicago, November 27, 1951.</span><br /><span class=Texte><strong>14. Kohala March </strong>- Sol Hoopii</span><br /><span class=Texte>(traditional)</span><br /><span class=Texte>Sol Ho&rsquo;opi&rsquo;i- electric lap steel g; unknown-g, b. Possibly Los Angeles. 1951.</span><br /><span class=Texte>1<strong>5. Guitar Shuffle</strong> - Lowell Fulson</span><br /><span class=Texte>(Lowell Fulson)</span><br /><span class=Texte>Lowell Fulson- g; Earl Brown-as; Lloyd Glenn-p; Billy Hadnottt-b; Bob Harvey-d. Swing Time 295. Los Angeles, ca. October, 1951.</span><br /><strong><br /></strong><span class=Texte><strong>16. Midnight Ramble</strong> - Speedy West &amp; Jimmy Bryant</span><br /><span class=Texte>(Ruby Rakes, Wesley Webb West as Speedy West)</span><br /><span class=Texte>Ivy J. Bryant, Jr. as Jimmy Bryant-lead g; Wesley Webb West as Speedy West-pedal steel g; Billy Strange-g; Billy Liebert-p; Cliffie Stone-b; Roy Harte-d. Hollywood, May 6, 1952.</span><br /><span class=Texte><strong>17. Nuages</strong> - Django Reinhardt</span><br /><span class=Texte>(Jean Reinhardt aka Django Reinhardt)</span><br /><span class=Texte>Jean Reinhardt as Django Reinhardt-electric g; Maurice Vander-p; Pierre Michelot-b; Jean-Louis Viale-d. Paris, March 10, 1953.</span><br /><span class=Texte><strong>18. Oh by Jingo!</strong> - Chet Atkins</span><br /><span class=Texte>(Albert Von Tilzer, Lew Brown)</span><br /><span class=Texte>Chester Burton Atkins as Chet Atkins-g; Thomas Grady Martin-g; Jerry Byrd-steel g; Charles Grean-b; Phil Kraus-d. Produced by Stephen Sholes. RCA Victor Studio 1, 155 East 24th St., Manhattan, New York City, March 18, 1953.</span><br /><span class=Texte><strong>19. The Hucklebuck </strong>- Earl Hooker</span><br /><span class=Texte>(Andy Gibson, Roy Alfred)</span><br /><span class=Texte>Earl Zebedde Hooker as Earl Hooker-g; Clarence Perkins as Pinetop Perkins-p; unknown b; possibly Willie Nix-d. Memphis, July 15, 1953.</span><br /><span class=Texte>Note: &ldquo;The Hucklebuck&rdquo; is based on the melody of Charlie Parker&rsquo;s &ldquo;Now&rsquo;s the Time&rdquo;.</span><br /><strong><br /></strong><span class=Texte><strong>20. Space Guitar</strong> - Young John Watson</span><br /><span class=Texte>(John Watson, Jr. aka Johnny &ldquo;Guitar&rdquo; Watson)</span><br /><span class=Texte>John Watson, Jr. as Johnny &ldquo;Guitar&rdquo; Watson-v, g; Bill Gaither-ts; Devonia Williams-p; Mario Delagarde-b; Charles Pendergraph-d. Federal 12175. Los Angeles, February 1, 1954.</span><br /><span class=Texte><strong>21. Walking the Strings</strong> - Merle Travis</span><br /><span class=Texte>(Merle Travis)</span><br /><span class=Texte>Merle Travis-g. Capitol Recording Studio, Hollywood, December 28, 1954.</span><br /><span class=Texte><strong>22. The Thing</strong> - </span><span class=Texte>Lafayette Thomas</span><br /><span class=Texte>(Jerry Thomas aka Jeri, Lafayette Thomas)</span><br /><span class=Texte>Jerry Thomas aka Jeri, Lafayette Thomas-g; </span><br /><span class=Texte>Al Prince Orchestra: unknown ts, bs, p, b, d. Trilyte 1100. Oakland, circa 1955.</span><br /><span class=Soustitre>Discography - ROCK INSTRUMENTALS - CD 2 : 1955 - 1959</span><br /><span class=Texte><strong>1. Boogie Rock </strong>- B.B. King</span><br /><span class=Texte>(Riley Ben King aka B.B. King, Joseph Bihari as Joe Josea)</span><br /><span class=Texte>Riley Ben King as B.B. King-v, g; Johnny Board-ts; Maxwell Davis, sax; unknown saxes, tp, b; Willard McDaniel-p; Ted Curry or Jesse Sailes-d. Los Angeles, 1955.</span><br /><span class=Texte><strong>2. Honky Tonk </strong>- Bill Doggett</span><br /><span class=Texte>(Henry Glover, Billy Butler, William Ballard Doggett as Bill Doggett, Clifford Scott, Berisford Shepherd aka Shep Shepherd)</span><br /><span class=Texte>William Ballard Doggett as Bill Doggett-org; Billy Butler-g; Clifford Scott-ts; Berisford Shepherd as Shep Shepherd-d. Cincinnati, 1956.</span><br /><span class=Texte><strong>3. Spinnin&rsquo; Rock Boogie</strong> - Mickey Baker</span><br /><span class=Texte>(Gibson, Bill Hendricks, Francis)</span><br /><span class=Texte>Mc Houston Baker as Mickey Baker-g; Bill Hendricks and his Orchestra: unknown p, b, d. Produced by James Vienneau aka Jim Vienneau. Coastal Studio, New York City, December 19, 1956. </span><br /><span class=Texte><strong>4. The Rocking Guitar</strong> - Cecil Campbell (feat. Caroll Dills)</span><br /><span class=Texte>(Caroll Dills, Cecil Campbell)</span><br /><span class=Texte>Cecil Campbell-g; Caroll Dills-lead g; unknown b, d. Charlotte, North Carolina, April, 1957.</span><br /><span class=Texte><strong>5. Raunchy </strong>- Bill Justis</span><br /><span class=Texte>(Willian Everett Justis aka Bill Justis)</span><br /><span class=Texte>Sidney Manker-g; Roland Janes-g; Willian Everett Justis as Bill Justis-ts; Jimmy Wilson-p; Sid Lapworth-b; James van Eaton-d. Sun Studio, 706 Union Avenue, Memphis, June 5, 1957.</span><br /><span class=Texte><strong>6. Rumble </strong>- Link Wray and his Raymen</span><br /><span class=Texte>(Fred Lincoln Wray aka Link Wray)</span><br /><span class=Texte>Fred Lincoln Wray as Link Wray-g; Shorty Horton-b; Douglas Wray as Doug Wray-d. Produced by Milton Grant aka Milt Grant. Washington D.C., 1957.</span><br /><span class=Texte><strong>7. Tequila</strong> - The Champs</span><br /><span class=Texte>(Danny Flores aka Chuck Rio)</span><br /><span class=Texte>Dave Burgess- electric g; Danny Flores as Chuck Rio-ts, v; Buddy Bruce-g; Cliff Hils aka Clifford Hils-b; Eugene Alden as Gene Alden-d. Gold Star Studios, Los Angeles, December 1957.</span><br /><span class=Texte><strong>8. In-Go</strong> - Chuck Berry</span><br /><span class=Texte>(Charles Edward Anderson Berry aka Chuck Berry)</span><br /><span class=Texte>Charles Edward Anderson Berry as Chuck Berry-g, v; Lafayette Leake-p; Willie Dixon-b; Fred Below, d. Produced by Lejzor Czyz as Leonard Chess and Fiszel Czyz as Phil Chess, Chicago, December 29 or 30, 1957.</span><br /><span class=Texte><strong>9. Guitar Boogie </strong>- Chuck Berry</span><br /><span class=Texte>(Charles Edward Anderson Berry aka Chuck Berry)</span><br /><span class=Texte>Charles Edward Anderson Berry as Chuck Berry-g, v; Lafayette Leake-p; Willie Dixon-b; Fred Below, d. Produced by Lejzor Czyz as Leonard Chess and Fiszel Czyz as Phil Chess, Chicago, December 29 or 30, 1957.</span><br /><span class=Texte><strong>10. Rebel Rouser</strong> - Duane Eddy and his &ldquo;Twangy&rdquo; Guitar</span><br /><span class=Texte>(Barton Lee Hazlewood aka Lee Hazlewood, Duane Eddy)</span><br /><span class=Texte>Duane Eddy-g; Gil Bernal-ts; Al Casey or Bobby Wheeler-b; Bob Taylor or Mike Bermani-d. The Rivingtons: Carl White, Al Frazier, Turner Wilson, Jr. as Rocky Wilson, John Harris as Sonny Harris-v, handclaps. Produced by Barton Lee Hazlewood as Lee Hazelwood and Lester Sill. Phoenix, Arizona, 1958. Released May 26, 1958.</span><br /><span class=Texte><strong>11. Dixie Doodle </strong>- Link Wray and his Raymen</span><br /><span class=Texte>(Fred Lincoln Wray aka Link Wray, Milton Grant aka Milt Grant)</span><br /><span class=Texte>Fred Lincoln Wray as Link Wray-g; Shorty Horton-b; Douglas Wray as Doug Wray-d; unknown-v. Produced by Milton Grant aka Milt Grant. Washington D.C., 1958. Epic 5-9300. Released on January 12, 1959.</span><br /><span class=Texte><strong>12. Raw-Hide</strong> - Link Wray and his Raymen</span><br /><span class=Texte>(Fred Lincoln Wray aka Link Wray, Milton Grant aka Milt Grant)</span><br /><span class=Texte>Fred Lincoln Wray aka Link Wray-g; unknown-p; Shorty Horton-b; Doug Wray-d. Washington D.C., 1958. Epic 5-9300. Released on January 12, 1959.</span><br /><span class=Texte><strong>13. Guitar Boogie Shuffle </strong>- The Virtues</span><br /><span class=Texte>(Arthur Smith)</span><br /><span class=Texte>Frank Virtue and His Virtuoso Trio: Jimmy Bruno-g; possibly Steve Rossi-g; Frank Virtue-b; Joe Vespe-d. 1958.</span><br /><span class=Texte><strong>14. Strollin&rsquo; Guitar</strong> - Eddie Cochran</span><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-g, overdubbed g; unknown b. Gold Star Studio, Hollywood, August 26, 1959.</span><br /><span class=Texte><strong>15. Red River Rock </strong>- Johnny and the Hurricanes</span><br /><span class=Texte>(Irving Micahnik aka Tom King, Harry Balk aka Ira Mack, Fred Mendelsohn, John Pocisk aka Johnny Paris)</span><br /><span class=Texte>John Pocisk as Johnny Paris-ts; Dave Yorko-g; Paul Tesluk-Hammond S-6 Chord organ; Butch Mattice-b; Bill Savich aka Little Bo-d. Produced by Mortimer Craft aka Morty Craft, Irving Micahnik aka Tom King, Harry Balk aka Ira Mack. New York City, 1959.</span><br /><span class=Texte>&nbsp;</span><br /><span class=Texte>Note: &ldquo;Red River Rock&rdquo; is derived from the traditional American folk song &ldquo;Red River Valley&rdquo;.</span><br /><span class=Texte><strong>16. Mumblin&rsquo; Guitar </strong>- Bo Diddley</span><br /><span class=Texte>(Ellas Bates McDaniel aka Bo Diddley )</span><br /><span class=Texte>Ellas Bates McDaniel as Bo Diddley-g, v; Peggy Jones as Lady Bo-g; Clifton James or Frank Kirkland-d; unknown-tambourine. Chess Studio, Chicago, spring 1959.</span><br /><span class=Texte><strong>17. Guybo</strong> - Eddie Cochran</span><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-g, g overdubs; Conrad Smith aka Guybo-b. Gold Star Studio, Hollywood, August 25, 1959.</span><br /><span class=Texte><strong>18. Storm Warning</strong> - Mac Rebennack (Dr. John)</span><br /><span class=Texte>(Mas Rebennack aka Dr. John)</span><br /><span class=Texte>Mas Rebennack aka Dr. John-g; Lee Allen-ts; Alvin Tyler as Red Tyler-bs; Melvin Lastie-tp; Allen Toussaint-p; Frank Fields-b; Charles Williams as Hungry Williams-d. Rex 1008, August 1959. New Orleans, 1959.</span><br /><strong><br /></strong><span class=Texte><strong>19. Sleep Walk</strong> - Santo and Johnny</span><br /><span class=Texte>(John Farina aka Johnny, Santo Farina)</span><br /><span class=Texte>Santo and Johnny aka Mike Dee and the Mello Tones: Santo Farina-steel g; John Farina as Johnny-g; unknown b. Mike Dee-d. Trinity Records Studio, Manhattan, New York City, circa Summer of 1959.</span><br /><span class=Texte>Note: The &ldquo;Sleep Walk&rdquo; melody was derived from Sigmund Romberg&rsquo;s 1929 &ldquo;Softly, As in the Morning Sunrise&rdquo;. Although credited as co-writer on the original record, A. Farina does not exist.</span><br /><span class=Texte><strong>20. Bongo Rock </strong>- Preston Epps</span><br /><span class=Texte>(Preston Epps, Arthur Egnoian aka Art Laboe)</span><br /><span class=Texte>Preston Epps-bongos; unknown g, b, d. Produced by Arthur Egnolian as Art Laboe. Hollywood, 1959. Released in April 1959.</span><br /><span class=Texte>Note: a famous version of the &ldquo;Bongo Rock&rdquo; composition was later recorded by The Incredible Bongo Band as &ldquo;Bongo Rock &lsquo;73,&rdquo; which became a hip hop classic, extensively sampled, among others, by DJ Kool Herc. </span><br /><span class=Texte><strong>21. Peter Gunn</strong> - Duane Eddy, his &ldquo;Twangy&rdquo; Guitar and the Rebels</span><br /><span class=Texte>(Enrico Nicola Mancini aka Henry Mancini)</span><br /><span class=Texte>Duane Eddy-g; Steve Douglas or Plas Johnson-ts; Al Casey or Bobby Wheeler-b; Bob Taylor or Mike Bermani-d. Produced by Barton Lee Hazlewood as Lee Hazelwood and Lester Sill. Phoenix, Arizona, 1959.</span><br /><strong><br /></strong><span class=Texte><strong>22. Chicken Shot Blues</strong> - Eddie Cochran</span><br /><span class=Texte>(Ray Edward Cochrane aka Eddie Cochran, Jerry Capehart)</span><br /><span class=Texte>Ray Edward Cochrane as Eddie Cochran-g; Jim Stivers-p; Dave Shrieber-b; Gene Ridgio-d. Gold Star Studio, Hollywood, August 25, 1959.</span><br /><span class=Soustitre>Discography - ROCK INSTRUMENTALS - CD 3 : 1959-1962</span><br /><span class=Texte><strong>1. Walk Don&rsquo;t Run</strong> - The Ventures</span><br /><span class=Texte>Robert Lenard Bogle as Bob Bogle-lead g; Don Wilson-g; Nole Floyd Edwards as Nokie Edwards-b; Skip Moore-d. Tacoma, Washington, late 1959.</span><br /><span class=Texte><strong>2. Travelin&rsquo; West </strong>- Bo Diddley</span><br /><span class=Texte>(Ellas Bates McDaniel aka Bo Diddley)</span><br /><span class=Texte>Ellas Bates McDaniel as Bo Diddley-v, g; Peggy Jones as Lady Bo-g; Bobby Baskerville-b; Clifton James-d; Jerome Green-maracas. Bo Diddley&rsquo;s home studio, Washington D.C., January, 1960.</span><br /><span class=Texte><strong>3. Silky</strong> - Clue J and his Blues Blasters</span><br /><span class=Texte>(Cluett Johnson aka Clue J)</span><br /><span class=Texte>Roland Alphonso-ts; Ernest Ranglin-g; Emmanuel Rodriguez aka Rico-tb; unknown-org; Cluett Johnson as Clue J-b; Arkland Parks aka Drumbago-d. Worldisc CR 133. Produced by Clement Dodd aka Coxsone, Federal Studio, Kingston, Jamaica, circa 1959-1960.</span><br /><span class=Texte><strong>4. Apache</strong> - The Shadows</span><br /><span class=Texte>(Jeremiah Patrick Lordan aka Jerry Lordan)</span><br /><span class=Texte>Brian Robson Rankin aka Hank Brian Marvin as Hank Marvin-lead g; Bruce Cripps as Bruce Welch-g; Terence Harris as Jet Harris-b; Daniel Joseph Anthony Meehan as Tony Meehan-d; Cliff Richard-Chinese drum (intro). Produced by Norrie Paramor. Abbey Road Studios, London, June 1960.</span><br /><strong><br /></strong><span class=Texte><strong>5. Wheels</strong> - The String a Longs</span><br /><span class=Texte>(Jimmy Torres, Richard Stephens)</span><br /><span class=Texte>Richard Stephens-lead g; Keith McCormack, Jimmy Torres-g; Aubrey de Cordova-b; Don Allen-d. Produced by Norman Petty. Norman Petty&rsquo;s studio, Clovis, Texas, 1960.</span><br /><span class=Texte><strong>6. (Ghost) Riders in the Sky</strong> - The Ramrods</span><br /><span class=Texte>(Stanley Davis Jones)</span><br /><span class=Texte>Vincent Bell Lee as Vinny Lee-lead g; Richard Litke-ts; Eugene Moore as Gene Moore-b; Claire Lane (born Claire Litke)-d, arr.; unknown overdubbed v, shouts, whistles, cattle calls. New York, late 1960.</span><br /><span class=Texte><strong>7. Quick Draw</strong> - Bo Diddley</span><br /><span class=Texte>(Ellas Bates McDaniel aka Bo Diddley)</span><br /><span class=Texte>Ellas Bates McDaniel as Bo Diddley-g,v; Peggy Jones as Lady Bo-g; Jesse James Johnson-b; Bill Downing or Edell Robertson-d; Jerome Green-maracas. Bo Diddley&rsquo;s home studio, Washington D.C., February 1961.</span><br /><span class=Texte><strong>8. Lullaby of the Leaves</strong> - The Ventures</span><br /><span class=Texte>(Bernice Petkere, Joe Young)</span><br /><span class=Texte>Robert Lenard Bogle as Bob Bogle-lead g; Don Wilson-g; Nole Floyd Edwards as Nokie Edwards-b; Skip Moore-d. Tacoma, Washington, Spring of 1960.</span><br /><span class=Texte><strong>9. Hide Away </strong>- Freddie King</span><br /><span class=Texte>(Frederick Christian aka Freddie King, Sonny Thompson)</span><br /><span class=Texte>Frederick Christian as Freddie King-g; Sonny Thompson-p; Bill Willis-b; Philip Paul-d. Federal Records studio, Cincinnati, August 26, 1960.</span><br /><span class=Texte>Note: &ldquo;Hideaway&rdquo; includes excerpts from Jimmy McCracklin&rsquo;s &ldquo;The Walk&rdquo; and Henry Mancini&rsquo;s &ldquo;Peter Gunn.&rdquo;</span><br /><span class=Texte><strong>10. Bumble Boogie</strong> - B. Bumble and the Stingers</span><br /><span class=Texte>(Nikolai Rimsky-Korsakov, arranged by Jack Fina)</span><br /><span class=Texte>Ernest Aaron Freeman as Ernie Freeman-grand p, upright p; Thomas J. Tedesco as Tommy Tedesco-g; George Sylvester Callender as Red Callender-b; Earl Palmer-d. Produced by Kim Fowley. Gold Star Studios, Hollywood, Circa Spring, 1961.</span><br /><span class=Texte><strong>11. Mashed Potato Twist </strong>- B.B. King</span><br /><span class=Texte>(Riley Ben King aka B.B. King)</span><br /><span class=Texte>Riley Ben King as B.B. King-g; Bobby Forte-saxophone; unknown saxes, tp, p, b, d. Unknown location, possibly Los Angeles, circa Summer of 1961</span><br /><span class=Texte>Note: &ldquo;Mashed Potato Twist&rdquo; is also titled &ldquo;38th Street Blues.&rdquo;</span><br /><strong><br /></strong><span class=Texte><strong>12. Last Night</strong> - The Mar-Keys </span><br /><span class=Texte>(Charles Axton aka Packy, Floyd Newman, Gilbert C. Staple, Jerry Lee Smith aka Smoochy, Lincoln Wayne Moman as Chips Moman)</span><br /><span class=Texte>Floyd Newman-v; Charles Axton aka Packy-ts; Wayne Jackson-tp; Don Nix-bs; Steve Cropper-org; Jerry Lee Smith aka Smoochy-p, org; Donald Dunn aka Donald Duck Dunn-b; James Terry Johnson as Terry Johnson-d. Produced by Lincoln Wayne Moman as Chips Moman. Memphis, September, 1961.</span><br /><span class=Texte><strong>13. Bulldog</strong> - The Ventures</span><br /><span class=Texte>(George Tomsco)</span><br /><span class=Texte>Robert Lenard Bogle as Bob Bogle-lead g; Don Wilson-g; Nole Floyd Edwards as Nokie Edwards-b; Skip Moore-d. Tacoma, Washington, 1961.</span><br /><span class=Texte><strong>14. Miserlou</strong> - Dick Dale and the Del-Tones</span><br /><span class=Texte>(traditional, adapted by Tauber, Wise, Rubanis, Leeds)</span><br /><span class=Texte>Richard Anthony Monsour as Dick Dale-g; unknown tp, b, d. Produced by Richard Anthony Monsour as Dick Dale and Jim Monsour. Possibly Rendezvous Ballroom, Balboa, Southern Los Angeles, 1962.</span><br /><span class=Texte>Note: popular since at least the early 20th Century and recorded as early as 1923, the traditional Middle East song &ldquo;Misirlou&rdquo; is spelled &ldquo;Miserlou&rdquo; on original Dick Dale and his Del-Tones releases and is credited to Tauber, Rubanis, Leeds.</span><br /><strong><br /></strong><span class=Texte><strong>15. Soul Twist </strong>- King Curtis and the Noble Knights</span><br /><span class=Texte>(Curtis Ousley aka King Curtis)</span><br /><span class=Texte>Curtis Ousley as King Curtis-ts; Billy Butler-g; George Stubbs-p; Jimmy Lewis-b; Ray Lucas-d. Produced by Morgan C. Robinson as Bobby Robinson and Danny Robinson. New York City, November, 1961.</span><br /><strong><br /></strong><span class=Texte><strong>16. Nut Rocker</strong> - B. Bumble and the Stingers</span><br /><span class=Texte>(Kim Fowley, adapted from Pyotr Ilyich Tchaikovsky)</span><br /><span class=Texte>Al Hazan-p; Ren&eacute; Hall-g; possibly George Sylvester Callender as Red Callender-b; Earl Palmer-d. Kim Fowley-arrangement. Produced by Kim Fowley and Rod Pierce. Rendezvous Records office, Los Angeles, late 1961.</span><br /><span class=Texte>Note: &ldquo;Nut Rocker&rdquo; was adapted from &ldquo;The March of the Wooden Soldiers&rdquo; included in Pyotr Ilyich Tchaikovsky&rsquo;s &ldquo;The Nutcracker Suite,&rdquo; itself a shorter arrangement of his own &ldquo;The Nutcracker.&rdquo;</span><br /><span class=Texte><strong>17. Give Me a Break</strong> - Bo Diddley</span><br /><span class=Texte>(Ellas Bates McDaniel aka Bo Diddley)</span><br /><span class=Texte>Ellas McDaniel as Bo Diddley-g,v; Norma-Jean Wofford as The Duchess, 2nd g; Jesse James Johnson or Chester Lindsey-b; Bill Downing or Edell Robertson-d; Jerome Green-maracas. Ter-Mar Recording Studio, Chicago, July 1962.</span><br /><span class=Texte><strong>18. Frosty </strong>- Albert Collins</span><br /><span class=Texte>(Albert Collins)</span><br /><span class=Texte>Albert Collins-g; Frank Mitchell-tp; Henry Hayes-as; Cleotis Arch as Big Tiny-ts; Walter McNeil-org; Bill Johnson-b; Herbert Henderson-d. Produced by Bill Hall. Houston, 1962.</span><br /><span class=Texte><strong>19. Let&rsquo;s Go (Pony) -</strong> The Routers</span><br /><span class=Texte>(Lanny Duncan- Robert Duncan)</span><br /><span class=Texte>Al Kait-lead g; Lynn Frasier-ts; Michael Zane Gordon-v, g; ScottWalker-b; Randy Viers-d; unknown overdubbed v. Los Angeles, 1962.</span><br /><span class=Texte>Note: Above is listed the original Routers line-up. However, studio musicians are likely to have been involved in the recording instead, including possibly Plas Johnson-ts and Earl Palmer-d.</span><br /><span class=Texte><strong>20. Diddling</strong> - Bo Diddley</span><br /><span class=Texte>(Ellas Bates McDaniel aka Bo Diddley)</span><br /><span class=Texte>Ellas McDaniel as Bo Diddley-g; Jesse James Johnson or Chester Lindsey-b; Bill Downing or Edell Robertson-d; unknown- tambourine. Ter-Mar Recording Studio, Chicago, July 1962.</span><br /><span class=Texte><strong>21. Green Onions </strong>- Booker T. and the M.G.&rsquo;s</span><br /><span class=Texte>(Booker T. Jones, Steve Cropper, Lewie Steinberg, Al Jackson, Jr.)</span><br /><span class=Texte>Booker T. Jones-org; Steve Cropper-g; Lewie Steinberg-b; Al Jackson, Jr.-d. Produced by Jim Stewart. Memphis, August 27, 1962.</span><br /><span class=Texte>Note : Booker T. Jones was named after Booker Taliaferro Washington aka Booker T. Washington, but he was given the middle initial &ldquo;T&rdquo;. Booker T. Jones is therefore his full name.</span><br /><strong><br /></strong><span class=Texte><strong>22. Pipeline</strong> - The Chantays</span><br /><span class=Texte>(Brian Carman, Bob Spickard)</span><br /><span class=Texte>Brian Carman-g; Bob Spickard-g; Rob Marshall-p; Warren Waters-b; Bob Welch-d. Produced by Dale Smallins. Downey 104-B, December, 1962. Santa Ana, December, 1962. </span><br /><span class=Texte>Passage oblig&eacute; emprunt&eacute; par les plus grands noms, avec leurs ambiances &eacute;vocatrices, leurs th&egrave;mes accrocheurs et de brillantes improvisations, les instrumentaux ont toujours tenu eu une place de choix dans l&rsquo;histoire du rock. Cette anthologie retrace les diff&eacute;rentes facettes de leurs racines et leur &eacute;volution, du jazz &agrave; la country music jusqu&rsquo;au rock o&ugrave; la guitare &eacute;lectrique tient une place centrale. Du boogie woogie au western swing, du rhythm and blues &agrave; la soul jusqu&rsquo;aux indicatifs radio, la musique de film et le surf rock, les premiers classiques du rock instrumental sont r&eacute;unis ici et comment&eacute;s par Bruno Blum, lui-m&ecirc;me guitariste et sp&eacute;cialiste du rock.&nbsp;&nbsp;&nbsp; <br /><strong>PATRICK FRÉMEAUX</strong></span><br /><span class=Texte>A compulsory exercise in the careers of the greatest, instrumentals, together with brilliant improvisations based on catchy themes, have always had pride of place in rock history. This anthology retraces the different facets of their roots and evolution, from jazz and country music to the kind of rock where electric guitars play a central role. From boogie woogie to western swing, and from rhythm and blues to soul music, radio jingles, film music and surf-rock, the earliest instrumental rock classics are compiled here with the detailed comments of Bruno Blum, himself a guitarist and rock-specialist.</span><br /><strong><span class=Texte>PATRICK FRÉMEAUX</span></strong><br /></p><br /><span class=Source>CD Rock instrumental story 1324-1962, The Shadows, Les Paul, Chuck Berry, Eddie Cochran, The Mar-keys &copy; Fr&eacute;meaux &amp; Associ&eacute;s 2014</span><br />"
      "dwf_titres" => array:66 [ …66]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/2/7/7/19277-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => []
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#709
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#762
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
  10 => ProductListingLazyArray {#750
    -imageRetriever: ImageRetriever {#760
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#758}
    -productColorsRetriever: ProductColorsRetriever {#757}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#756
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1359"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302543826"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5438"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "421"
      "date_add" => "2021-10-22 10:03:29"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>Apr&egrave;s une phase rockabilly aux paroles et m&eacute;lodies d&eacute;j&agrave; ambitieuses, Roy Orbison a &eacute;t&eacute; l&rsquo;inventeur d&rsquo;une nouvelle forme de rock sophistiqu&eacute;, aux arrangements raffin&eacute;s et &eacute;l&eacute;gants. <br />Cet ami et inspirateur des Beatles comme d&rsquo;Elvis Presley a &eacute;t&eacute; un grand pr&eacute;curseur de l&rsquo;explosion cr&eacute;ative des ann&eacute;es 1960 et l&rsquo;un des premiers &agrave; donner au rock une couleur orchestrale, luxuriante. <br />Extraordinaire chanteur, son oeuvre romantique, profond&eacute;ment originale, reste embl&eacute;matique de l&rsquo;Am&eacute;rique opulente et progressiste des ann&eacute;es Kennedy. <br />Son histoire est &eacute;voqu&eacute;e ici par Bruno Blum dans un livret de 28 pages. <br /><strong>Patrick FRÉMEAUX</strong><br /><em><br />After a rockabilly outset where his melodies and lyrics already showed ambition, Roy Orbison invented a new, sophisticated form of rock which had refined, elegant arrangements. <br />A friend and inspirer of The Beatles as well as Elvis Presley, he was one of the great precursors of the 1960s&rsquo; creative explosion, one of the first to give rock a lavish orchestral colour. <br />An extraordinary singer, his romantic, deeply original work still symbolizes the opulent and progressive America of the Kennedy era. <br />With a detailed 28-page booklet by Bruno Blum, this album tells the story of the great Roy Orbison</em>. <br /><strong>Patrick FRÉMEAUX</strong><br /><strong>DIRECTION ARTISTIQUE : BRUNO BLUM</strong></p><p align=justify><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES<br /></strong><br /><strong>CD 1 -</strong> 1956-1959 : OOBIE DOOBIE &bull; GO! GO! GO! (MOVIN&rsquo; ON DOWN THE LINE) &bull; TRYIN&rsquo; TO GET TO YOU &bull; YOU&rsquo;RE MY BABY &bull; ROCKHOUSE &bull; DOMINO &bull; SWEET AND EASY TO LOVE &bull; DEVIL DOLL &bull; THE CAUSE OF IT ALL &bull; CHICKEN HEARTED &bull; I LIKE LOVE &bull; FOOL&rsquo;S HALL OF FAME &bull; A TRUE LOVE GOODBYE &bull; A MEAN LITTLE MAMA &bull; PROBLEM CHILD &bull; YOU&rsquo;RE GONNA CRY &bull; THIS KIND OF LOVE &bull; IT&rsquo;S TOO LATE &bull; I NEVER KNEW &bull; LOVESTRUCK &bull; ONE MORE TIME &bull; I WAS A FOOL &bull; WITH THE BUG &bull; PAPER BOY. <br /><strong>CD 2 - </strong>1959-1962 : UPTOWN &bull; PRETTY ONE &bull; ONLY THE LONELY &bull; HERE COMES THAT SONG AGAIN &bull; BLUE ANGEL &bull; TODAY&rsquo;S TEARDROPS &bull; I&rsquo;M HURTIN&rsquo; &bull; I CAN&rsquo;T STOP LOVING YOU &bull; RUNNING SCARED &bull; LOVE HURTS &bull; SUMMER SONG &bull; LANA &bull; CRYING &bull; CANDY MAN &bull; LET THE GOOD TIMES ROLL &bull; BLUE BAYOU &bull; DREAM BABY &bull; THE ACTRESS &bull; THE CROWD &bull; MAMA &bull; WORKING FOR THE MAN &bull; LEAH.<br /></p></p><br><br>"
      "description_short" => "<h3>THE INDISPENSABLE 1956-1962</h3>"
      "link_rewrite" => "roy-orbison"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Roy Orbison"
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 421
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1359-19290"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1359&rewrite=roy-orbison&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:3 [ …3]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>Roy Orbison FA5438</h3><p align=justify><span class=Soustitre2>Roy Orbison</span><br /><p align=justify><p align=justify class=Soustitre2><span class=Soustitre><span class=Soustitre2>THE INDISPENSABLE<br /></span>1956-1962<br /></span><br /><span class=Soustitre2>Roy Orbison<br />The Indispensable 1956-1962</span><br /><span class=Soustitre>Par Bruno Blum</span><br /><span class=Texte>Il a une des meilleures voix de tous les temps dans la musique populaire.</span><br /><span class=Texte>&mdash; Son producteur Jeff Lynne (Electric Light Orchestra)1 </span><br /><span class=Texte>Red&eacute;couvert en 1987 quand David Lynch utilisa son &laquo;&thinsp;In Dreams&thinsp;&raquo; dans la bande son du chef-d&rsquo;&oelig;uvre d&eacute;jant&eacute; &laquo;&thinsp;Blue Velvet&thinsp;&raquo;, Roy Orbison (23 avril 1936 - 6 d&eacute;-cem-bre 1988) a brusquement &eacute;t&eacute; accueilli dans le prestigieux gotha du Rock and Roll Hall of Fame. Il apparut ensuite dans un fameux concert film&eacute; o&ugrave; il fut accompagn&eacute; par de c&eacute;l&egrave;bres admirateurs : Tom Waits, James Burton, Jackson Browne, T-Bone Burnett, Bonnie Raitt, k.d. Lang, Jennifer Warnes, Elvis Costello et Bruce Springsteen ! Contre toute attente, Orbison commen&ccedil;a peu apr&egrave;s &agrave; enregistrer un nouvel album, Mystery Girl, et fonda un nouveau groupe vocal avec rien moins que les chanteurs Jeff Lynne (Electric Light Orchestra), Tom Petty (Heartbreakers), son vieil ami l&rsquo;ex Beatles George Harrison &mdash; et Bob Dylan en personne. Les Traveling Wilburys ont ainsi enregistr&eacute; deux albums qui connurent un &eacute;norme succ&egrave;s. Roy Orbison &eacute;tait soudain assailli de propositions de concerts. Au cours de cet inimaginable retour qu&rsquo;il n&rsquo;esp&eacute;rait plus apr&egrave;s vingt ans d&rsquo;&eacute;checs et de drames personnels, c&rsquo;est avec le concours de Bono (U2), Elvis Costello et Jeff Lynne qu&rsquo;il termina son nouvel album solo. Un nouveau succ&egrave;s international dont le single &laquo;&thinsp;You Got It&thinsp;&raquo; monta au n&deg;9 aux États-Unis. Tragiquement, fin 1988 Roy Orbison d&eacute;c&eacute;da d&rsquo;une crise cardiaque due &agrave; sa tabagie (il avait subi un triple pontage en 1977), quelques jours seulement avant la sortie de l&rsquo;album, avant son succ&egrave;s magistral &agrave; venir &mdash; et avant de toucher les droits d&rsquo;auteur des Traveling Wilburys. Il avait 52 ans. Cinq jours avant sa disparition, le sort a voulu que je fusse le dernier &agrave; interviewer cette l&eacute;gende du rock am&eacute;ricain. Il me confia ce soir-l&agrave; dans les bureaux des disques Virgin :</span><br /><span class=Texte>&laquo;&thinsp;Il faut avoir confiance, c&rsquo;est tout. Dans mes voyages je rencontre plein de gens qui me demandent des conseils et je leur r&eacute;ponds &laquo;&thinsp;Ne laisse pas tomber. M&ecirc;me si tu le fais juste pour toi-m&ecirc;me. Je sais que dans ma propre carri&egrave;re&hellip; si je m&rsquo;&eacute;tais arr&ecirc;t&eacute; ne serait-ce qu&rsquo;une semaine trop t&ocirc;t&hellip; Certaines chosent arrivent. Avant certains &eacute;v&eacute;nements. Si j&rsquo;avais dit que je ne tournerais pas juste avant la tourn&eacute;e avec les Beatles, ou la tourn&eacute;e avec les Stones, la tourn&eacute;e avec les Beach Boys&hellip; ou si je n&rsquo;avais pas &eacute;t&eacute; &agrave; Nashville rencontrer ce type qui n&rsquo;avait encore jamais fait de disques de sa vie&hellip; il faisait de la promo pour Mercury. Il avait d&eacute;cid&eacute; de se lancer dans le disque, il a emprunt&eacute; de l&rsquo;argent et il a obtenu de Chet Atkins qu&rsquo;il l&rsquo;aide &agrave; faire mon disque. Qui est mont&eacute; au num&eacute;ro un. Alors il faut juste continuer et avoir confiance en soi.&thinsp;&raquo;2</span><br /><span class=Soustitre>The Wink Westerners </span><br /><span class=Texte>Roy Kelton Orbison (23 avril 1936-6 d&eacute;cembre 1988) est n&eacute; &agrave; Vernon, au nord du Texas &agrave; deux heures de Dallas. Cette petite ville &agrave; la fronti&egrave;re de l&rsquo;Oklahoma &eacute;tait sur le Chisholm trail, la piste emprunt&eacute;e par les cow-boys qui accompagnaient les bovins du Texas au Kansas. Souffrant du ch&ocirc;mage pendant la p&eacute;riode de la Grande D&eacute;pression, &agrave; la recherche de travail Nadine Schultz, Orbie Lee Orbison et leurs enfants s&rsquo;install&egrave;rent &agrave; Fort Worth (Texas) avant la Seconde Guerre Mondiale. Roy y fr&eacute;quenta l&rsquo;&eacute;cole &eacute;l&eacute;mentaire de Denver Avenue mais une &eacute;pid&eacute;mie de polio incita la famille &agrave; rentrer &agrave; Vernon. Ils partirent ensuite &agrave; Wink (Texas), une petite ville ennuyeuse que Roy r&ecirc;vait de quitter. Comme son futur ami Elvis Presley, qui deviendra l&rsquo;un de ses grands admirateurs, et comme tous les enfants bien &eacute;lev&eacute;s du sud des États-Unis, Roy &eacute;tait effac&eacute; et d&rsquo;une politesse exemplaire3. Il &eacute;tait aussi mal dans sa peau et, afflig&eacute; par une mauvaise vue comme tous les Orbison, ne quittait jamais ses lunettes aux verres &eacute;pais. Il re&ccedil;ut une guitare pour ses six ans.</span><br /><span class=Texte>Orbie le p&egrave;re de Roy &eacute;tait un m&eacute;canicien qui d&eacute;cida de s&rsquo;investir dans l&rsquo;industrie du p&eacute;trole et parvint progressivement &agrave; s&rsquo;en sortir en devenant technicien d&rsquo;un puits de forage. Il jouait de la guitare country (&laquo;&thinsp;surtout des chansons de Jimmie Rodgers&thinsp;&raquo;) et ensei-gna quelques accords &agrave; son fils. L&rsquo;enfant s&rsquo;est vite passionn&eacute; pour la musique. Peu s&ucirc;r de lui, il pensait que sa seule chance de r&eacute;ussir quelque chose &eacute;tait de travailler la guitare. Son oncle jouait du blues et lui a transmis ce qu&rsquo;il pouvait. Mais Roy pr&eacute;f&eacute;rait le style country de son p&egrave;re. La premi&egrave;re chanson qu&rsquo;il a ma&icirc;tris&eacute;e &eacute;tait &laquo;&thinsp;You Are my Sunshine&thinsp;&raquo;, une reprise d&rsquo;Oliver Hood rendue c&eacute;l&egrave;bre par Jimmy Davis, un chanteur de country qui devint par la suite gouverneur de Louisiane et fit de ce morceau l&rsquo;hymne de son &eacute;tat.</span><br /><span class=Texte>Le petit Roy Orbison admirait les chanteurs de country Bob Wills et Ernest Tubb, qu&rsquo;il vit &agrave; Fort Worth faire de la publicit&eacute; pour une marque de lait, debout &agrave; l&rsquo;arri&egrave;re d&rsquo;un camion. Il re&ccedil;ut sa premi&egrave;re guitare &agrave; six ans et prit l&rsquo;habitude de chanter avec ses oncles et cousins musiciens professionnels. Il n&rsquo;avait que huit ans &agrave; la fin de la guerre quand il a commenc&eacute; &agrave; participer &agrave; des &eacute;missions de radio o&ugrave; il chantait des reprises de country en direct, ainsi que &laquo;&thinsp;Joli Blon&thinsp;&raquo;, un titre de zydeco. Il appr&eacute;ciait aussi les chanteurs de blues et la musique tex-mex mais il avait une passion pour les vedettes de la country Lefty Frizzell et Hank Williams. &Agrave; dix ans il chanta dans un spectacle de camelot, un &laquo;&thinsp;medicine show&thinsp;&raquo; o&ugrave; l&rsquo;on vendait un &eacute;lixir de sant&eacute;. Il se tailla bient&ocirc;t un succ&egrave;s &agrave; l&rsquo;&eacute;cole en interpr&eacute;tant le &laquo;&thinsp;Mountain Dew&thinsp;&raquo; de Grandpa Jones et devint l&rsquo;animateur de sa propre &eacute;mission de radio sur KERB &agrave; Kermit vers l&rsquo;&acirc;ge de treize ans.</span><br /><span class=Texte>Il n&rsquo;aimait pas sa couleur de cheveux tr&egrave;s claire et a commenc&eacute; &agrave; se teindre les cheveux en noir. Il con-tinuera &agrave; le faire toute sa vie. Devenu &eacute;tudiant &agrave; Wink (Texas), Roy Orbison a form&eacute; en 1954 les Wink Westerners, qui reprenaient des compositions de Frizzell et Hank Williams. Il a puis&eacute; ses musiciens dans le groupe du lyc&eacute;e de Wink, parmi lesquels un mandoliniste amplifi&eacute;. Roy s&rsquo;accompagnait et jouait diff&eacute;rents succ&egrave;s de l&rsquo;&eacute;poque, dont &laquo;&thinsp;In the Mood&thinsp;&raquo;, &laquo;&thinsp;Moonlight in Vermont&thinsp;&raquo; et des compositions country de Webb Pierce. Ils ont jou&eacute; dans les bars honky-tonk (de modestes saloons), des bals et des f&ecirc;tes diverses dans la r&eacute;gion, notamment &agrave; la soir&eacute;e de soutien au directeur de son lyc&eacute;e dans sa campagne pour la pr&eacute;sidence du Lion&rsquo;s Club du district. Quand on lui a propos&eacute; 400 dollars pour un concert, Roy a r&eacute;alis&eacute; qu&rsquo;il pourrait s&rsquo;orienter vers une carri&egrave;re de musicien professionnel. Il a n&eacute;anmoins rejoint le North Texas State College o&ugrave; il envisageait de se sp&eacute;cialiser dans la g&eacute;ologie au cas o&ugrave; la musique ne serait pas rentable. Le moins qu&rsquo;on puisse dire est qu&rsquo;il avait un niveau d&rsquo;&eacute;tudes relativement &eacute;lev&eacute; si on le compare avec celui des autres vedettes du rock des ann&eacute;es 1950. Mais ses notes &eacute;taient de plus en plus mauvaises et &agrave; la fin de l&rsquo;ann&eacute;e scolaire 1954-1955 il envisageait de laisser tomber la g&eacute;ologie pour s&rsquo;orienter vers une carri&egrave;re d&rsquo;enseignant.</span><br /><span class=Soustitre><br />The Teen Kings</span><br /><span class=Texte>Quand il a entendu le premier disque d&rsquo;Elvis, une reprise de &laquo;&thinsp;That&rsquo;s All Right&thinsp;&raquo;, un blues rapide d&rsquo;Arthur Crudup, Roy n&rsquo;a &laquo;&thinsp;pas compris&thinsp;&raquo; o&ugrave; Elvis voulait en venir. Un Blanc interpr&eacute;tant du rock, musique noire par excellence, c&rsquo;&eacute;tait surprenant. La face B, &laquo;Blue Moon of Kentucky&raquo;, une reprise d&rsquo;un bluegrass archi-blanc de Bill Monroe, l&rsquo;a rassur&eacute;. Il r&eacute;sidait &agrave; Odessa (Texas) en 1955 quand, &eacute;tudiant &agrave; la North Texas State University de Denton, il d&eacute;couvrit Elvis Presley sur sc&egrave;ne &agrave; la ville voisine de Dallas. L&rsquo;hyst&eacute;rie collective qui entourait tous les d&eacute;placements de l&rsquo;idole avait commenc&eacute;. Tr&egrave;s marqu&eacute; par le chanteur d&eacute;butant qu&rsquo;il enviait, il forma un autre groupe, le nomma les Teen Kings et obtint une apparition dans un programme t&eacute;l&eacute;vis&eacute; de la cha&icirc;ne KMID &agrave; Midland (Texas) vers septembre 1955. C&rsquo;est Cecil &laquo;&thinsp;Pop&thinsp;&raquo; Holifield, un contributeur du magazine Billboard et dirigeant d&rsquo;un magasin de disques &agrave; Midland et un autre &agrave; Odessa, qui a arrang&eacute; cette pres-tation. Pop s&rsquo;occupait aussi d&rsquo;organiser des concerts pour les artistes Sun Johnny Cash et Elvis Presley&thinsp;; il invita Cash &agrave; cette m&ecirc;me &eacute;mission. C&rsquo;est ainsi que Johnny Cash a rencontr&eacute; et &eacute;cout&eacute; Roy Orbison, l&rsquo;a invit&eacute; &agrave; un de ses concerts le12 octobre 1955 au lyc&eacute;e de Midland et lui a pr&eacute;sent&eacute; Elvis Presley, alors vedette montante, en t&ecirc;te d&rsquo;affiche de la soir&eacute;e. Elvis et Johnny Cash ont alors essay&eacute; de convaincre leur producteur chez Sun d&rsquo;auditionner Roy Orbison, mais sans succ&egrave;s. </span><br /><span class=Texte>Bobbie Jean Oliver, une chanteuse et accord&eacute;oniste qui se produisait souvent avec Roy et les Teen Kings et sortait avec un de ses membres (James Morrow), a convaincu ses parents de financer un enregistrement du groupe. C&rsquo;est au studio de Norman Petty &agrave; Clovis (Nouveau-Mexique) qu&rsquo;ils enregistr&egrave;rent le 4 mars 1956 leur premier 45 tours <strong>Ooby Dooby,</strong> une chanson compos&eacute;e par deux camarades d&rsquo;universit&eacute;.<strong> Trying to Get to You</strong> figurait en face B4. Le disque a &eacute;t&eacute; publi&eacute; sous l&rsquo;&eacute;tiquette Je-Wel, cr&eacute;&eacute;e pour l&rsquo;occasion par Chester Oliver (le p&egrave;re de Jean Oliver) et le chanteur Weldon Rogers (ex-mari de la m&ecirc;me Jean). Il reste une pi&egrave;ce de collection introuvable : la bande a disparu du studio de Petty en 1984 et les enregistrements n&rsquo;ont pas &eacute;t&eacute; r&eacute;&eacute;dit&eacute;s. Le jour de sa sortie, Orbison a offert un exemplaire du disque de d&eacute;monstration &agrave; Pop Holifield, qui a appel&eacute; le studio Sun pour raconter &agrave; Sam Phillips que le disque se vendait bien. &Agrave; son insistance pour qu&rsquo;il auditionne Roy Orbison et ses Teen Kings, Phillips a rappel&eacute; quelques jours plus tard pour qu&rsquo;ils viennent directement enregistrer chez lui &agrave; Memphis, mais sans audition. Le p&egrave;re de Roy a d&ucirc; co-signer le contrat Sun : son fils n&rsquo;&eacute;tait pas encore majeur. Sign&eacute; par un mineur, le contrat avec Je-Wel n&rsquo;&eacute;tait donc pas valable et Sun a plac&eacute; une injonction afin que le premier disque des Teen Kings soit retir&eacute; de la vente &mdash; et ce malgr&eacute; un pressage de plusieurs milliers d&rsquo;exemplaires r&eacute;alis&eacute; en lien avec Norman Petty (alors manager et &eacute;diteur peu scrupuleux de Buddy Holly), ce qui co&ucirc;ta cher au papa de Jean Oliver. Le disque originel disparut alors de la circulation.</span><br /><span class=Soustitre>Sun Records</span><br /><span class=Texte>Sun avait lanc&eacute; Elvis Presley un an plus t&ocirc;t et la concurrence faisait rage au printemps 1956 chez les rockers blancs. En pleine s&eacute;gr&eacute;gation raciale, le brillant producteur Sam Phillips cherchait d&rsquo;autres interpr&egrave;tes blancs capables de chanter dans un style proche du rock afro-am&eacute;ricain auquel il donnait une couleur plus country. Et la formule fonctionnait. Les l&eacute;gendaires s&eacute;ances d&rsquo;enregistrement au petit studio Sun venaient de donner naissance &agrave; la d&eacute;ferlante rockabilly : elles avaient d&eacute;j&agrave; fait conna&icirc;tre Elvis, Johnny Cash, Carl Perkins et bient&ocirc;t Jerry Lee Lewis. Phillips avait v&eacute;ritablement ouvert le march&eacute; du rock au grand public blanc. </span><br /><span class=Texte>Moins populaire que ses pairs, Roy Orbison n&rsquo;en reste donc pas moins le cinqui&egrave;me sur la liste des grands classiques du rock chez Sun5. Il avait vingt ans et emm&eacute;nagea &agrave; Memphis chez Sam Phillips avec sa petite amie Claudette Frady, qui n&rsquo;avait que seize ans et faisait chambre &agrave; part. Fin mars 1956, il r&eacute;-enregistra <strong>Ooby Dooby </strong>(alors qu&rsquo;il en avait d&eacute;j&agrave; assez de cette chanson) et Go! Go! Go!<strong> (Movin&rsquo; on Down the Line)</strong> bient&ocirc;t repris par Jerry Lee Lewis. Ces deux nouvelles versions ouvrent cet album.</span><br /><span class=Texte>&laquo;&thinsp;Quand on enregistrait <strong>Ooby Dooby, </strong>Sam Phillips m&rsquo;a apport&eacute; une pile de gros 78 tours et a dit &laquo;&thinsp;Bon je veux que tu chantes comme &ccedil;a&thinsp;&raquo;. Il a pass&eacute; &laquo;&thinsp;That&rsquo;s All Right&thinsp;&raquo; d&rsquo;Arthur Crudup. Je n&rsquo;ai pas fait trop attention et il a dit &laquo;&thinsp;Chante comme ceci, comme cela&hellip;&thinsp;&raquo; et il a mis une chanson de Junior Parker, &laquo;&thinsp;Mystery Train&thinsp;&raquo;. Je n&rsquo;arrivais pas &agrave; le croire. J&rsquo;ai dit : &laquo;&thinsp;Écoute Sam, je veux chanter des ballades. Je suis un chanteur de ballades.&thinsp;&raquo; Et il a dit &laquo;&thinsp;Non, tu vas chanter ce que je veux que tu chantes. Tu t&rsquo;en sors tr&egrave;s bien&thinsp;&raquo;. Elvis voulait chanter comme les Ink Spots ou Bing Crosby. Sam avait fait la m&ecirc;me chose avec lui. Et la m&ecirc;me chose avec Carl Perkins&thinsp;&raquo;.</span><br /><span class=Texte>&mdash; Roy Orbison6</span><br /><span class=Texte>Roy Orbison et ses Teen Kings ont sign&eacute; un contrat avec l&rsquo;agent Bob Neal, ancien impr&eacute;sario de Presley et propri&eacute;taire de l&rsquo;agence Stars Incorporated. Ils se sont retrouv&eacute;s en tourn&eacute;e &agrave; jouer dans des dance halls et des drive-ins entre les films. Ils &eacute;taient &agrave; la m&ecirc;me affiche que Sonny James, Johnny Horton, Johnny Cash et plus tard Jerry Lee Lewis, Warren Smith et Carl Perkins l&rsquo;auteur de l&rsquo;hymne du rockabilly &laquo;&thinsp;Blue Suede Shoes&thinsp;&raquo;, et d&rsquo;autres artistes country et rockabilly encore. En pleine mode du rock, port&eacute; par le son Sun originel et une distribution confi&eacute;e aux disques Chess au nord du pays, <strong>Ooby Dooby</strong> est mont&eacute; jusqu&rsquo;au num&eacute;ro 59 des classements du Billboard et s&rsquo;est vendu &agrave; 200&thinsp;000 exemplaires. Imitant Elvis, Roy s&rsquo;agitait sur sc&egrave;ne en faisant de son mieux.</span><br /><span class=Texte>&laquo;&thinsp;On dansait et on remuait. On faisait tout ce qu&rsquo;on pouvait pour avoir des applaudissements parce qu&rsquo;on n&rsquo;avait qu&rsquo;un seul disque qui marchait, Ooby Dooby&thinsp;&raquo;.</span><br /><span class=Texte>&mdash; Roy Orbison</span><br /><span class=Texte>Mais concurrenc&eacute; par des dizaines d&rsquo;artistes qui enregistraient dans le style rockabilly en vogue, ses autres disques se sont mal vendus. Roy Orbison n&rsquo;avait qu&rsquo;un an de moins qu&rsquo;Elvis Presley, qui appr&eacute;ciait beaucoup sa voix et avec qui il est v&eacute;ritablement devenu ami. Comme Elvis et Little Richard, Chuck Berry ou Gene Vincent, Orbison faisait partie de la deuxi&egrave;me g&eacute;n&eacute;ration de rockers, celle qui a fait d&eacute;couvrir ce style au public blanc apr&egrave;s les rocks originels de Louis Jordan, Tiny Bradshaw ou Roy Brown et les fulgurances du country boogie7. Pourtant Orbison &eacute;tait bien &agrave; part. S&rsquo;il appr&eacute;ciait le rock noir, il est toujours rest&eacute; assez herm&eacute;tique aux influences afro qui ont contribu&eacute; au succ&egrave;s de ses copains de l&rsquo;&eacute;curie Sun. Son rockabilly, en principe un hybride des deux cultures, est rest&eacute; &eacute;loign&eacute; de l&rsquo;influence du gospel noir et du blues qui ont tant marqu&eacute; les premiers disques c&eacute;l&egrave;bres d&rsquo;Elvis, Carl Perkins ou Gene Vincent8. Comme Johnny Cash, Roy Orbison s&rsquo;inscrivait en droite ligne de l&rsquo;h&eacute;ritage country. Timide, doux, sensible, fin et intelligent, le jeune homme n&rsquo;&eacute;tait pas tr&egrave;s beau. Affubl&eacute; de grosses lunettes en permanence, il se teignait les cheveux secr&egrave;tement, ne buvait pas et n&rsquo;a jamais &eacute;t&eacute; &agrave; l&rsquo;aise parmi ses bruyants coll&egrave;gues rockers. </span><br /><span class=Texte>J&rsquo;aimerais &ecirc;tre un mauvais gar&ccedil;on/Mais j&rsquo;ai trop peur qu&rsquo;on me fasse mal./J&rsquo;ai un c&oelig;ur de trouillard.</span><br /><span class=Texte>&mdash; Roy Orbison, <strong>Chicken Hearted,</strong> 1957.</span><br /><span class=Texte>Tandis que ses coreligionnaires du rock frimaient avec arrogance et affichaient leur virilit&eacute; brute, le sensible Roy Orbison pr&eacute;f&eacute;rait chanter les tourments de l&rsquo;amour &agrave; corps perdu. Vuln&eacute;rable, complex&eacute; et travailleur, il soignait ses compositions (Jerry Lee Lewis et Elvis ne composaient pas eux-m&ecirc;mes la plupart de leurs chansons), creusait les m&eacute;lodies et exprimait ses d&eacute;ceptions et douleurs. Ses ballades &eacute;taient refus&eacute;es par Sam Phillips, qui ne voulait que du rock au tempo rapide. Jack Clement, le producteur et d&eacute;couvreur de Jerry Lee Lewis chez Sun, lui a m&ecirc;me dit qu&rsquo;il ne r&eacute;ussirait jamais avec des ballades. Un comble quand on conna&icirc;t sa future carri&egrave;re.</span><br /><span class=Texte>Son producteur ne s&rsquo;int&eacute;ressait pas &agrave; son orientation musicale et &agrave; ses id&eacute;es. Orbison estimait en outre que Sam Phillips, endett&eacute; malgr&eacute; la vente du contrat d&rsquo;Elvis Presley &agrave; RCA, n&rsquo;&eacute;tait pas assez professionnel puisque &laquo;&thinsp;L&rsquo;industrie l&rsquo;avait d&eacute;pass&eacute; du jour au lendemain et il ne s&rsquo;en &eacute;tait m&ecirc;me pas rendu compte&thinsp;&raquo;. Sa p&eacute;riode Sun a tout de m&ecirc;me donn&eacute; quelques classiques dont <strong>Ooby Dooby, Rockhouse</strong> (enregistr&eacute; plus tard par Bobby Fuller, les Stray Cats, etc.) et <strong>Go! Go! Go! </strong>(repris avec succ&egrave;s par Jerry Lewis sous le nom de &laquo;&thinsp;Down the Line&thinsp;&raquo; et &laquo;&thinsp;Movin&rsquo; on Down the Line&thinsp;&raquo;). Buddy Holly enregistra plusieurs de ses compositions : &laquo;&thinsp;You&rsquo;ve Got Love&thinsp;&raquo;, &laquo;&thinsp;A True Love Goodbye&thinsp;&raquo; et &laquo;&thinsp;An Empty Cup!&thinsp;&raquo;. Sans oublier &laquo;&thinsp;Claudette&thinsp;&raquo; (qu&rsquo;il &eacute;pousa en 1957), un grand succ&egrave;s interpr&eacute;t&eacute; par les Everly Brothers. Les futurs droits d&rsquo;auteur de ce disque, paru au printemps 1958, l&rsquo;ont probablement rassur&eacute;. Il a alors vers&eacute; un acompte pour une Cadillac et trouv&eacute; le courage de laisser tomber Sam Phillips. Sun &eacute;tait incapable de le suivre dans sa d&eacute;marche artistique, qui r&ecirc;vait d&rsquo;orchestrations, de sophistication et de romantisme, des chansons qui feraient r&ecirc;ver la princesse qui sommeille en chaque jeune fille. Phillips n&rsquo;a pas non plus compris son potentiel de compositeur. &Agrave; vrai dire il appr&eacute;ciait surtout Roy Orbison pour sa ma&icirc;trise de la guitare &eacute;lectrique. Les chanteurs qui s&rsquo;aventuraient &agrave; jouer en solistes &eacute;taient rares mais bosseur, Orbison avait un excellent niveau. Il est ironique que ses grands succ&egrave;s des ann&eacute;es 1960 (disque 2) aient mis en avant sa voix exceptionnelle (encore mal ma&icirc;tris&eacute;e en 1956) et qu&rsquo;il n&rsquo;ait jou&eacute; de guitare sur aucun de ses titres les plus c&eacute;l&egrave;bres. Mais &agrave; ses d&eacute;buts, ce sont ses parties de guitare &eacute;lectrique originales qui &eacute;taient remarqu&eacute;es.</span><br /><span class=Texte>J&rsquo;ai appris &agrave; jouer de la guitare en essayant de copier les solos des premiers disques de Roy Orbison.</span><br /><span class=Texte>&mdash; Lou Reed9</span><br /><span class=Soustitre>RCA Victor</span><br /><span class=Texte>En 1957 Roy Orbison gagnait mal sa vie avec des tourn&eacute;es incessantes. Mais il ne trouvait pas assez d&rsquo;engagements et incapable d&rsquo;en payer les traites, il a d&ucirc; rendre sa Cadillac. Il d&eacute;pendait de sa famille et de ses amis pour vivre avec sa jeune &eacute;pouse. En 1958 il a compl&egrave;tement arr&ecirc;t&eacute; la sc&egrave;ne pendant sept mois et l&rsquo;avenir lui semblait tr&egrave;s noir. Cramponn&eacute; &agrave; sa guitare dans son appartement minuscule, il continuait &agrave; composer des chansons et les proposait &agrave; la firme Acuff-Rose, un &eacute;diteur qui pla&ccedil;ait des compositions &agrave; des interpr&egrave;tes connus. Mais sans succ&egrave;s. En 1958 l&rsquo;Am&eacute;rique r&eacute;actionnaire s&rsquo;&eacute;tait mieux organis&eacute;e pour r&eacute;sister aux influences afro-am&eacute;ricaines incarn&eacute;es par le ph&eacute;nom&egrave;ne Elvis Presley dans le rock. Un son plus blanc, plus country, incarn&eacute; par Buddy Holly, les Everly Brothers et Elvis lui-m&ecirc;me, &eacute;tait en demande. C&rsquo;est &agrave; Nashville, situ&eacute; comme Memphis dans le Tennessee, &agrave; la fronti&egrave;re du sud et du nord, que le centre de gravit&eacute; du rock s&rsquo;&eacute;tait d&eacute;plac&eacute;. Roy essayait aussi de se placer comme interpr&egrave;te en proposant des chansons &eacute;crites par d&rsquo;autres, qu&rsquo;il enregistrait avec le g&eacute;ant de la guitare Chet Atkins10 &mdash; mais sans grand succ&egrave;s. Chet Atkins &eacute;tait un virtuose, adul&eacute; par Roy autant que par le guitariste attitr&eacute; d&rsquo;Elvis Presley, Scotty Moore. C&eacute;l&egrave;bre, Atkins avait accept&eacute; de participer &agrave; des enregistrements d&rsquo;Elvis pour RCA et avait des relations. Ils enregistr&egrave;rent notamment &laquo;&thinsp;Seems to Me&thinsp;&raquo;, une composition de Boudleaux Bryant. Bryant d&eacute;crira plus tard Roy Orbison comme un gar&ccedil;on timide, d&eacute;&ccedil;u et embrouill&eacute; par le m&eacute;tier du disque, qui chantait joliment, avec douceur et pudeur, comme s&rsquo;il d&eacute;rangeait. Mais RCA n&rsquo;accepta que deux chansons et Roy vivait toujours dans le d&eacute;nuement avec sa femme et son enfant en bas &acirc;ge. Souvent en d&eacute;placement pour des concerts mal pay&eacute;s, il &eacute;crivait des chansons seul, r&eacute;fugi&eacute; dans sa voiture. Roy avait aussi rencontr&eacute; Joe Melson, le chanteur du groupe de rockabilly les Cavaliers. Lui aussi originaire du nord du Texas, Melson avait grandi dans une ferme et se passionnait pour la musique. Ancr&eacute; dans la tradition country et rockabilly comme Roy, il avait n&eacute;anmoins commenc&eacute; &agrave; &eacute;crire dans un style marqu&eacute; par le rhythm and blues et poss&eacute;dait une ouverture d&rsquo;esprit encline &agrave; la cr&eacute;ativit&eacute;. C&rsquo;est d&rsquo;abord chez lui &agrave; Midland (ouest Texas) qu&rsquo;il a commenc&eacute; &agrave; collaborer avec Roy Orbison. Les deux amis ont alors con&ccedil;u quelques chansons aux m&eacute;lodies plus ambitieuses que les rockabillys basiques de Roy, construits autour de structures de blues &agrave; trois accords 1-4-5 en douze mesures. </span><br /><span class=Texte>&laquo;&thinsp;Écrire avec un partenaire c&rsquo;est vraiment bien quand tu arrives &agrave; un point o&ugrave; tu n&rsquo;as plus rien qui vient. Tu&hellip; quand tes id&eacute;es s&rsquo;arr&ecirc;tent quelqu&rsquo;un prend le relais. Et m&ecirc;me s&rsquo;il n&rsquo;apporte pas ce que tu veux, tu peux repartir de &ccedil;a et dire &laquo;&thinsp;oui, c&rsquo;est pas mal, mais j&rsquo;ai encore mieux&thinsp;&raquo;, et l&rsquo;autre dit &laquo;&thinsp;non attends, j&rsquo;ai quelque chose&thinsp;&raquo;. &Ccedil;a marche comme &ccedil;a.</span><br /><span class=Texte>&mdash; Et tu t&rsquo;arr&ecirc;tes quand ?</span><br /><span class=Texte>&mdash; (rires) En g&eacute;n&eacute;ral tu t&rsquo;arr&ecirc;tes quand &ccedil;a fait que tu te sens bien, et puis on est arrangeurs aussi et on sait quand un morceau a dit ce qu&rsquo;il avait &agrave; dire.&thinsp;&raquo;</span><br /><span class=Texte>&mdash; Roy Orbison11 </span><br /><span class=Soustitre>Monument Records</span><br /><span class=Texte>C&rsquo;est alors que Wesley Rose, son agent, le dirigea vers Fred Foster, le jeune producteur et directeur des disques Monument. N&eacute; en Caroline du Nord le 26 juillet 1931, apr&egrave;s le d&eacute;c&egrave;s de son p&egrave;re Fred Luther Foster avait d&ucirc; subvenir aux besoins de sa m&egrave;re dans la ferme familiale. Robuste, ambitieux et ind&eacute;pendant, &agrave; dix-sept ans il est parti tenter sa chance &agrave; la capitale, Washington D.C. Il a ensuite travaill&eacute; chez ABC-Paramount et Mercury. Ces deux maisons de disques &eacute;taient orient&eacute;es vers le grand public. Elles &eacute;taient capables de r&eacute;pondre &agrave; la demande des grosses radios et t&eacute;l&eacute;visions, de collaborer avec les plus grandes vedettes et de produire des enregistrements de grande qualit&eacute;. Tout en continuant la promo pour Mercury, Foster devint distributeur de disques &agrave; Baltimore. Ainsi form&eacute; aux m&eacute;tiers du disque, en mars 1958 &agrave; vingt-sept ans l&rsquo;intr&eacute;pide et ambitieux jeune homme a investi toutes ses &eacute;conomies pour fonder les disques Monument et sa soci&eacute;t&eacute; d&rsquo;&eacute;ditions musicales, Combine Music. Sa marque a imm&eacute;diatement d&eacute;coll&eacute; avec Billy Grammer (un grand guitariste de country), Billy Graves, Dick Flood (&laquo;&thinsp;The Three Bells&thinsp;&raquo;), Jerry Byrd (un guitariste de steel guitar country passionn&eacute; par la musique hawa&iuml;en-ne) et Bob Moore (un grand bassiste de country, responsable du grand succ&egrave;s instrumental &laquo;&thinsp;Mexico&thinsp;&raquo; en 1961). D&egrave;s ses premiers succ&egrave;s, Fred Foster a rachet&eacute; en 1959 les parts de son associ&eacute; Buddy Deane, un disc jockey de la radio new-yorkaise WITH. Il s&rsquo;est alors install&eacute; &agrave; Nashville, capitale de la country music o&ugrave; vivaient de grands musiciens &mdash; et o&ugrave; se d&eacute;veloppait le nouveau son am&eacute;ricain dominant de cette &eacute;poque. D&egrave;s son arriv&eacute;e &agrave; Nashville en 1959 Foster encore d&eacute;butant en mati&egrave;re de production a rencontr&eacute; Roy Orbison, qui cherchait les moyens de r&eacute;aliser ce qu&rsquo;il entendait dans sa t&ecirc;te. Arm&eacute; de ses id&eacute;es originales, de ses compositions et d&rsquo;une vision musicale innovante et sophistiqu&eacute;e, le chanteur n&rsquo;a pas eu de mal &agrave; convaincre l&rsquo;ambitieux Foster de lui donner une nouvelle chance. Avec deux titres caract&eacute;ristiques de cette p&eacute;riode (refus&eacute;s par RCA), Orbison exp&eacute;rimenta dans un format rock con&ccedil;u pour la radio, mais sans succ&egrave;s. Mais lors de cette nouvelle phase qui d&eacute;butait, son approche restait la m&ecirc;me, d&eacute;crivant des sc&egrave;nes et personnages tr&egrave;s cin&eacute;matographiques, mis en sc&egrave;ne par de la musique :</span><br /><span class=Texte>Je marche vers le c&ocirc;t&eacute; blues de la ville/O&ugrave; il n&rsquo;y a ni bonheur ni joie/Au bout d&rsquo;une longue rue sombre/J&rsquo;ai vu un petit marchand de journaux/Petit marchand, j&rsquo;ai de mauvais nouvelles pour toi/Petit marchand, ma ch&eacute;rie et moi c&rsquo;est fini</span><br /><span class=Texte>&mdash; Roy Orbison &amp; Joe Melson, <strong>Paper Boy, </strong>1959</span><br /><span class=Texte>Moins originale, la face B du 45 tours utilisait des st&eacute;r&eacute;otypes rock. Mais clairement, avec <strong>Paper Boy</strong> en face A, Orbison avait d&eacute;j&agrave; choisi la direction du m&eacute;lo-drame orchestr&eacute;. Son approche r&eacute;v&eacute;lait une vuln&eacute;-rabilit&eacute; d&eacute;sesp&eacute;r&eacute;e contrastant avec les professions de foi viriles de la plupart de ses pairs. Cette fragilit&eacute; ostensible, qui donnait toute leur importance &agrave; de myst&eacute;rieux personnages f&eacute;minins, des princesses romantiques pour lesquelles son c&oelig;ur se d&eacute;chirait, s&eacute;duisait les femmes et touchait discr&egrave;tement la sensibilit&eacute; des hommes.</span><br /><span class=Texte>Cette ind&eacute;niable originalit&eacute; laissait d&eacute;j&agrave; entrevoir que le rock pouvait v&eacute;hiculer des sentiments et images plus complexes que ce que l&rsquo;on connaissait jusque l&agrave; : le rock mettait tout &agrave; coup des personnages fictifs en sc&egrave;ne. Lou Reed et Bob Dylan, qui au milieu des ann&eacute;es 1960 introduiraient dans le rock des paroles d&rsquo;une grande maturit&eacute;, ont vite &eacute;t&eacute; suivis dans ce sens par les Anglais des Kinks, des Beatles, des Who. Tous &eacute;taient de grands admirateurs de Roy Orbison, qui utilisait d&eacute;j&agrave; cette musique comme une forme artistique au m&ecirc;me titre que le th&eacute;&acirc;tre, le cin&eacute;ma ou la litt&eacute;rature. </span><br /><span class=Texte>Outre ces qualit&eacute;s de fond, Orbison fut l&rsquo;un des pr&eacute;curseurs du nouveau son de Nashville cr&eacute;&eacute; par son alli&eacute; Fred Foster et les producteurs Owen Bradley, Chet Atkins et Sam Phillips. Il dirigeait lui-m&ecirc;me toutes ses s&eacute;ances de studio. Avec le crack Grady Martin &agrave; la guitare12, les Jordanaires ou les Anita Kerr Singers aux ch&oelig;urs, il utilisait une &eacute;quipe de musiciens chevronn&eacute;s, surnomm&eacute;e &agrave; Nashville &laquo;&thinsp;The A-Team&thinsp;&raquo; (voir disco-gra-phie). Ils avaient enregistr&eacute; avec des centaines d&rsquo;artistes de poids, comme Elvis Presley, Buddy Holly, Patsy Cline, Johnny Burnette, les Everly Brothers&hellip;</span><br /><span class=Texte>Les Drifters, groupe vocal afro-am&eacute;ricain &agrave; succ&egrave;s chez Atlantic, avaient r&eacute;cemment &eacute;t&eacute; les premiers &agrave; oser incorporer des cordes dans leurs enregistrements. Ils le firent dans le cadre d&rsquo;un style naissant, la soul music13. Outre ses compositions tr&egrave;s soign&eacute;es et sa voix unique, puissante, &eacute;voquant en m&ecirc;me temps la fragilit&eacute;, Orbison allait apporter des arrangements raffin&eacute;s o&ugrave; les cordes tenaient une place innovante. Sa fa&ccedil;on discr&egrave;te d&rsquo;utiliser les violons avec parcimonie, go&ucirc;t et l&eacute;g&egrave;ret&eacute; &eacute;voquent un mot :<strong> l&rsquo;&eacute;l&eacute;gance</strong>. Avec leurs nouvelles compositions, comme le classique Uptown, charg&eacute; de ch&oelig;urs inspir&eacute;s par des phrases issues du style &laquo;&thinsp;doo wop&thinsp;&raquo; et savamment &eacute;labor&eacute;s, avec leur son frais Orbison et Melson d&eacute;tenaient la formule musicale-cl&eacute; de la pop du d&eacute;but des ann&eacute;es 1960 : l&rsquo;arch&eacute;type de ce qu&rsquo;on appellerait bient&ocirc;t les ann&eacute;es Kennedy (1961-1963). Entre la dramaturgie des slows d&eacute;peignant des perdants terrass&eacute;s par la vie et des rocks aux paroles intelligentes, au tempo m&eacute;dium con&ccedil;u pour la danse et la radio, cette musique &eacute;mouvante, parfois m&ecirc;me d&eacute;chirante, &agrave; la fois l&eacute;g&egrave;re et lourde de sens faisait partie de la bande son de l&rsquo;Am&eacute;rique arrogante de la conqu&ecirc;te spatiale, du progr&egrave;s et de l&rsquo;opulence. Elle &eacute;tait l&rsquo;air du temps dans une abondance luxuriante propre aux États-Unis d&rsquo;alors. Mont&eacute; au num&eacute;ro 72 des ventes, son deuxi&egrave;me single pour Monument, &laquo;&thinsp;Uptown&thinsp;&raquo; o&ugrave; un jeune homme r&ecirc;ve des beaux quartiers, serait son dernier bide. Sa voix ph&eacute;nom&eacute;nale (trois octaves incluant une bonne ma&icirc;trise de la voix de fausset &mdash; une fausse voix de t&ecirc;te et une vraie voix de gorge selon Alan Clayson, son biographe &mdash; qui lui permettait de monter tr&egrave;s haut) allait prendre son envol. Elle servirait des compositions singuli&egrave;res, o&ugrave; ses envol&eacute;es audacieuses font bien souvent penser &agrave; l&rsquo;op&eacute;ra &mdash; comme dans le final de<strong> Only the Lonely</strong>, qui devint son premier titre &agrave; se vendre &agrave; vendre un million d&rsquo;exemplaires.</span><br /><span class=Soustitre>Only the Lonely</span><br /><span class=Texte>&laquo;&thinsp;Roy Orbison &eacute;tait le vrai ma&icirc;tre de l&rsquo;apocalypse roman-tique que tu redoutais, il savait ce qui allait se passer quand tu murmurais &laquo;&thinsp;Je t&rsquo;aime&thinsp;&raquo; &agrave; ta premi&egrave;re copine : tu allais mal. Roy &eacute;tait le plus cool des perdants pas cool. Avec ses lunettes noires couleur bouteille de Coke, ses trois octaves, on aurait dit qu&rsquo;il aimait remuer le couteau dans la plaie du manque d&rsquo;assurance adolescent.&thinsp;&raquo;</span><br /><span class=Texte>&mdash; Bruce Springsteen, South by Southwest 2012</span><br /><span class=Texte>Selon l&rsquo;&eacute;crivain am&eacute;ricain Ken Emerson, pendant les quatre ann&eacute;es suivantes ses disques ont &laquo;&thinsp;apport&eacute; une nouvelle splendeur au rock&thinsp;&raquo;. </span><br /><span class=Texte>&laquo;&thinsp;Ses m&eacute;lodrames orchestraux avaient pour seuls rivaux ceux de Phil Spector. Ils &eacute;taient en contraste frappant avec la musique des Everly Brothers, qui avec quasiment les m&ecirc;mes musiciens, et dans le m&ecirc;me studio, n&rsquo;of-fraient qu&rsquo;une musique au son tr&egrave;s l&eacute;ger si on les compare14&thinsp;&raquo;.</span><br /><span class=Texte>D&eacute;but 1960, Roy Orbison et Joe Melson &eacute;crirent <strong>Only the Lonely</strong>. Roy se mit en route pour Nashville afin de l&rsquo;enregistrer. Peu s&ucirc;r de lui, il n&rsquo;oublia pas qu&rsquo;il &eacute;tait surtout connu pour ses compositions et il s&rsquo;arr&ecirc;ta &agrave; Memphis pour proposer son morceau &agrave; Elvis Presley, devenu entretemps une absolue superstar. Mais il &eacute;tait t&ocirc;t le matin et Elvis dormait encore. Une fois arriv&eacute; &agrave; Nashville, Roy n&rsquo;a pas r&eacute;sist&eacute; &agrave; rendre visite aux Everly Brothers, qui par chance pour lui refus&egrave;rent sa chanson car ils venaient eux-m&ecirc;mes d&rsquo;en &eacute;crire une. Il se d&eacute;cida alors &agrave; l&rsquo;enregistrer lui-m&ecirc;me et y incorpora un passage final legato o&ugrave;, exploitant &agrave; fond sa voix, il s&rsquo;envola vers des hauteurs jusqu&rsquo;ici in&eacute;dites dans le rock. Abandonn&eacute; par son amour, il se lamentait une fois de plus sur son sort :</span><br /><span class=Texte>Seuls les solitaires/Savent comment je me sens ce soir/Seuls les solitaires/savent que ressentir cela n&rsquo;est pas juste</span><br /><span class=Texte>&mdash; Roy Orbison &amp; Joe Melson, <strong>Only the Lonely, </strong>1960</span><br /><span class=Texte>Roy Orbison dirigeait tout, concevait tout.</span><br /><span class=Texte>&laquo;&thinsp;Si tu fais une maquette et que tu obtiens quelque chose de vraiment bien tu ne peux pas&hellip; c&rsquo;est difficile de le retrouver en studio. Alors je fais des maquettes mais je fais attention &agrave; ce qu&rsquo;elles ne soient pas trop bonnes, juste assez pour donner une bonne id&eacute;e, comme &ccedil;a quand tu fais le disque tu te donnes &agrave; fond. Mais m&ecirc;me si tu n&rsquo;oublies pas de faire tr&egrave;s brut, tu peux te retrouver avec un r&eacute;sultat qui balance vraiment bien quand m&ecirc;me et quand tu le refais en studio c&rsquo;est un peu trop propre&hellip; mais enregistrer des bandes de d&eacute;monstration &ccedil;a t&rsquo;apprend &agrave; faire ce qu&rsquo;il faut en studio. Et si tu as un groupe, il va t&rsquo;aider, il va t&rsquo;apporter quelques id&eacute;es fra&icirc;ches. Dans les ann&eacute;es soixante je faisais toujours de la pr&eacute;-production, je savais exactement ce que je voulais avant d&rsquo;entrer en studio15.&thinsp;&raquo; </span><br /><span class=Texte>Le mixage de l&rsquo;ing&eacute;nieur du son Bill Porter &eacute;tait enti&egrave;rement ax&eacute; sur les voix : la rythmique &eacute;tait presque secondaire. Le r&eacute;sultat mettait en valeur la voix de Roy, et <strong>Only the Lonely</strong> monta au num&eacute;ro deux aux États-Unis, num&eacute;ro un en Angleterre et en Australie. Du jour au lendemain, Roy Orbison &eacute;tait une star en demande sur les sc&egrave;nes de trois continents. Il partit trois semaines en tourn&eacute;e avec Patsy Cline et installa sa famille &agrave; Nashville. <strong>Blue Angel</strong>, le single suivant, n&rsquo;est mont&eacute; qu&rsquo;au n&deg;9&thinsp;; D&eacute;cid&eacute;s &agrave; laisser derri&egrave;re eux l&rsquo;influence du doo-wop noir (<strong>I&rsquo;m Hurtin</strong>&rsquo;) un temps, les deux auteurs-compositeurs voulurent alors pousser leur logique jusqu&rsquo;au bout en s&rsquo;inspirant du &laquo;&thinsp;Bol&eacute;ro&thinsp;&raquo; de Maurice Ravel. La voix de Roy porterait ce cheval de bataille<strong> Running Scared </strong>jusqu&rsquo;au sommet &mdash; jusqu&rsquo;au n&deg;1 des ventes, et n&deg;9 en Angleterre : un triomphe. Accompagn&eacute; par un orchestre en studio, il ne parvint pas &agrave; atteindre le la trop haut pour sa voix de t&ecirc;te&thinsp;; Lors de la troisi&egrave;me prise, &agrave; la surprise g&eacute;n&eacute;rale c&rsquo;est avec sa voix naturelle qu&rsquo;il l&rsquo;atteint. La chanson d&eacute;crit un homme jaloux qui surveille son amour de crainte qu&rsquo;un autre homme ne lui d&eacute;robe. L&rsquo;intensit&eacute; monte au fil du morceau jusqu&rsquo;&agrave; l&rsquo;apoth&eacute;ose vocale finale. Partisan de la spontan&eacute;it&eacute;, il &eacute;tait capable d&rsquo;enregistrer sa voix ph&eacute;nom&eacute;nale en une ou deux prises.</span><br /><span class=Texte>&laquo;&thinsp;Je veux que les gens croient &agrave; ce que je chante. Dans mon cas, si j&rsquo;enregistre la chanson, je chante deux fois. Je chante une fois pour m&rsquo;&eacute;chauffer, et puis une deuxi&egrave;me fois, qui est souvent la prise qu&rsquo;on garde. Cette fra&icirc;cheur serait perdue si je la chantais plein de fois, je pense. &Ccedil;a sonnerait trop r&eacute;p&eacute;t&eacute;, trop planifi&eacute;, trop calcul&eacute;. En g&eacute;n&eacute;ral je fais comme &ccedil;a. Et puis de cette fa&ccedil;on c&rsquo;est aussi une surprise pour moi et une grande joie quand je r&eacute;&eacute;coute la prise. Je fais de mon mieux. Habituellement tu fais du mieux que tu peux, tu recommences &mdash; et c&rsquo;est fini ! Il y en a qui prennent des centaines et des centaines de prises. Je ne sais pas comment ils font !&thinsp;&raquo;16</span><br /><span class=Texte>D&rsquo;autres perles suivirent, comme <strong>Summer Song</strong>, le n&deg;30<strong> Candy Man</strong>, le n&deg;2 <strong>Crying</strong> et le n&deg;4<strong> Dream Baby.</strong> <strong>The Crowd, Working for the Man</strong> et <strong>Leah</strong> furent de nouveaux succ&egrave;s tandis que son deuxi&egrave;me fils naissait en 1962. </span><br /><span class=Texte>Un jour de 1962, Roy Orbison a oubli&eacute; ses &eacute;paisses lunettes de vue dans un avion et dut porter ses lunettes de soleil (de vue) sur sc&egrave;ne ce soir-l&agrave;. Ses verres fum&eacute;s Wayfarer semblaient prot&eacute;ger cet homme maladivement timide, qui souffrait de trac, et il d&eacute;cida de ne plus s&rsquo;en s&eacute;parer. Plus myst&eacute;rieux que jamais, habill&eacute; de noir, aux cheveux de jais, concentr&eacute; sur sa voix, immobile sur sc&egrave;ne, il cr&eacute;a spontan&eacute;ment un personnage &eacute;nigmatique. Il n&rsquo;&eacute;tait pas tr&egrave;s pr&eacute;sent dans la presse en raison de son phy-sique ingrat &mdash; il &eacute;tait pourtant une idole pour lesquelles les adolescentes se p&acirc;maient &agrave; tous ses concerts &mdash; et en cons&eacute;quence, sa photo n&rsquo;apparaissait pas sur ses 45 tours.</span><br /><span class=Texte>En 1963 il partit en tourn&eacute;e anglaise avec les Beatles, alors au tout d&eacute;but de leur succ&egrave;s, et devint amis avec eux. Admir&eacute; par Elvis comme par les Beatles, sa carri&egrave;re culminerait en 1965 avec son c&eacute;l&egrave;bre et &eacute;norme succ&egrave;s &laquo;&thinsp;Pretty Woman&thinsp;&raquo;, quelques jours avant qu&rsquo;il ne se brise le pied dans un accident de moto qui brisa aussi sa carri&egrave;re. D&eacute;pass&eacute; par les nouveaux sons &mdash; Beatles, psych&eacute;d&eacute;lisme &mdash; il signa avec MGM avec qui il ne parvint pas &agrave; retrouver le son si particulier qu&rsquo;il avait cr&eacute;&eacute;. Les disques Monument firent faillite et ses succ&egrave;s disparurent de la circulation pendant pr&egrave;s de vingt ans.</span><br /><span class=Texte>Il dut aussi supporter un &eacute;chec au cin&eacute;ma et le d&eacute;c&egrave;s dramatique de son &eacute;pouse dans un autre accident de moto (1966). Remari&eacute; avec Barbara, il endura l&rsquo;an-nonce de la mort de ses deux premiers fils (1968) dans l&rsquo;incendie de leur maison familiale &agrave; Henderson (Tennessee). Pendant les deux d&eacute;cennies qui ont suivi sa glorieuse p&eacute;riode Monument, Roy Orbison a gard&eacute; un profil bas, jouant occasionnellement, enregistrant quelques albums sans succ&egrave;s. Il lui fallut attendre 1988 pour faire un retour aussi fulgurant qu&rsquo;inattendu avec les Traveling Wilburys &mdash; et une fois de plus tragi-quement marqu&eacute; par la malchance, puisqu&rsquo;il n&rsquo;a pu vivre pour en profiter.</span><strong><br /><span class=Texte>Bruno BLUM</span></strong><br /><span class=Texte>Merci &agrave; Christian Lebrun, Barbara et Roy Orbison.</span><br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2014</span><br /><span class=Texte>1. Film documentaire des Traveling Wilburys, 1988.</span><br /><span class=Texte>2. Roy Orbison &agrave; l&rsquo;auteur, Paris, place des Vosges le 31 novembre 1988, cinq jours avant son d&eacute;c&egrave;s.</span><br /><span class=Texte>3. Lire la biographie de John Kruth Rhapsody in Black: The Life and Music of Roy Orbison (Backbeat Books, 2013).</span><br /><span class=Texte>4. Tryin&rsquo; to Get to You avait d&eacute;j&agrave; &eacute;t&eacute; enregistr&eacute; par Elvis Presley le 11 juillet 1955. Sa version, ainsi que la version originale grav&eacute;e en 1954 par les m&eacute;connus Eagles, figurent sur Elvis Presley face &agrave; l&rsquo;histoire de la musique am&eacute;ricaine vol. 1 - 1954-1956 (FA5361) dans cette collection.</span><br /><span class=Texte>5. Lire le livret et &eacute;couter dans cette collection l&rsquo;anthologie Rockabilly 1951-1960 (FA5423).</span><br /><span class=Texte>6. Cit&eacute; dans la notice de Ken Emerson in The Rolling Stone Illustrated History of Rock &amp; Roll, Rolling Stone Press/Random House, New York, 1976.</span><br /><span class=Texte>7. Lire le livret et &eacute;couter Country Boogie 1939-1947 (FA160) dans cette collection.</span><br /><span class=Texte>8. Lire le livret et &eacute;couter The Indispensable Gene Vincent 1956-1958 (FA5402) et le volume deux 1958-1962 (FA5422) dans cette collection.</span><br /><span class=Texte>9. Lou Reed &agrave; l&rsquo;auteur, Paris, 1989.</span><br /><span class=Texte>10. Retrouvez Chet Atkins sur les anthologies Rock Instrumentals Story 1934-1962 (FA5426), Electric Guitar Story - Country Jazz, Blues R&amp;B, Rock 1935-1962 (FA5421) et Guitare Country - From Old Time to Jazz Times 1926-1950 (FA5007) dans cette collection.</span><br /><span class=Texte>11. Roy Orbison &agrave; l&rsquo;auteur, Paris, place des Vosges le 31 novembre 1988.</span><br /><span class=Texte>12. Lire le livret et &eacute;couter Rockabilly 1951-1960 (FA5423) dans cette collection.</span><br /><span class=Texte>13. Écouter Roots of Soul Music 1928-1962 (FA5430) dans cette collection.</span><br /><span class=Texte>14. The Rolling Stone Illustrated History of Rock &amp; Roll (Rolling Stone Press, New York 1976).</span><br /><span class=Texte>15. Roy Orbison &agrave; l&rsquo;auteur, Paris, place des Vosges le 31 novembre 1988.</span><br /><span class=Texte>16. Roy Orbison &agrave; l&rsquo;auteur, Paris, place des Vosges le 31 novembre 1988.</span><br /><span class=Soustitre2>Roy Orbison<br />The Indispensable 1956-1962</span><br /><span class=Soustitre>By Bruno Blum</span><br /><span class=Texte>He has got one of the best voices ever in pop music.</span><br /><span class=Texte>&mdash; His producer Jeff Lynne (Electric Light Or-chestra)1 </span><br /><span class=Texte>Rediscovered in 1987 when David Lynch used his song &ldquo;In Dreams&rdquo; on the soundtrack of his off-beat film masterpiece &ldquo;Blue Velvet&rdquo;, Roy Orbison (b. April 23rd 1936, d. December 6th 1988) suddenly found himself inducted into The Rock and Roll Hall of Fame. Then he appeared in the film of a famous concert where he was accompanied by a few well-known admirers: Tom Waits, James Burton, Jackson Browne, T-Bone Burnett, Bonnie Raitt, k. d. lang, Jennifer Warnes, Elvis Costello, and Bruce Springsteen! Against all expectations, shortly afterwards Orbison began recording a new album, Mystery Girl, and he founded a new vocal group fea-turing none other than the singers Jeff Lynne (Electric Light Orchestra), Tom Petty (Heartbreakers), his old friend and ex-Beatle George Harrison &mdash; and Bob Dylan in person. Calling themselves The Traveling Wilburys they recorded two albums which were smash hits, and Roy Orbison was suddenly besieged by offers to play concerts. In the course of this unthinkable return to the scene after some twenty years of setbacks and personal tragedies, Roy also finished a new solo album with the aid of Bono (U2), Elvis Costello and Jeff Lynne. It was another international hit, and the single &ldquo;You Got It&rdquo; taken from the album went to N&deg;9 in the U.S. charts. Tragically, at the end of 1988, Roy Orbison died of a heart-attack (he smoked heavily despite undergoing triple bypass surgery in 1977). His death came just days before the record&rsquo;s release, and he never saw it become yet another hit; nor did he have time to receive the royalties due to him as a member of the Traveling Wilburys. He was only 52. Five days before his death, Fate would have it that I was the last person to interview this legend of American rock&hellip; and this is what he said to me in the offices of Virgin Records: </span><br /><span class=Texte>&ldquo;Faith, that&rsquo;s all it takes. A lot of people I meet in my travels, they say &lsquo;What&rsquo;s your advice?&rsquo;, and I say, &lsquo;Don&rsquo;t give up; even if you do it just for yourself.&rsquo; But I know in my own career&hellip; had I stopped a week before&hellip; certain things happen. Before certain events. If I&rsquo;d said, &lsquo;No, I&rsquo;m not going to tour before the Beatles tour, or the Stones tour, the Beach Boys tour&hellip;&rsquo; Or if I had not gone to Nashville to meet with this guy who&rsquo;d never made records before&hellip; he was promotion man for Mercury. He decided he&rsquo;d try to make records and he borrowed some money, and got Chet Atkins to help him make a record. It went to number one. So you just keep doing it and have faith in yourself.&rdquo;2</span><br /><span class=Soustitre>The Wink Westerners </span><br /><span class=Texte>He was born Roy Kelton Orbison in Vernon, north Texas, some two hours away from Dallas, a little town on the Oklahoma border situated on the Chisholm Trail along which drovers used to take livestock into Kansas. His parents Nadine Schultz and Orbie Lee Orbison were seeking work during the Great Depression and had taken their children to settle in Fort Worth, Texas, before World War II. Roy went to Denver Avenue Primary School in Fort Worth but a polio epidemic caused the family to return to Vernon. Their next stop was the Texan town of Wink, which Roy dreamed of leaving due to pure boredom. Like his future friend Elvis Presley, who later became one of his great admirers, and like all well-raised children in the South, Roy was self-effacing and showed exemplary politeness.3 He was also unhappy and, plagued with poor sight like all the Orbisons, he never went without his thick lenses. He was given a guitar for his sixth birthday.</span><br /><span class=Texte>Orbie, Roy&rsquo;s father, was a mechanic; he decided that his future lay in the oil industry and slowly worked his way up to become a technician at an oil-well. He used to play country guitar &mdash; &ldquo;Jimmie Rodgers songs especially&rdquo; &mdash; and taught his son to play a few chords. The boy quickly discovered a passion for music, and, lacking in confidence, he believed that his only chance of success was to work hard on his guitar. His uncle played blues and taught him what he could. But Roy preferred his father&rsquo;s country style: the first song he mastered was &ldquo;You Are my Sunshine&rdquo;, a cover of an Oliver Hood song made famous by Jimmy Davis, the country singer who later became Governor of Louisiana (and made it the State&rsquo;s official song).</span><br /><span class=Texte>Little Roy Orbison admired country singers Bob Wills and Ernest Tubb, whom he saw in Fort Worth when they came to advertise a brand of milk, standing on the back of a truck. Roy was acquiring a habit of singing with his uncles and cousins, who were professional musicians; he was only eight at the end of the war, but began appearing on radio shows where he sang covers of country records &lsquo;live&rsquo; over the air, or &ldquo;Joli Blon&rdquo;, a zyde-co number. He also liked blues singers and Tex-Mex music, but most of all he had a passion for the country stars Lefty Frizzell and Hank Williams. When he was ten, Roy sang on a medicine show selling health elixirs, and soon he was a hit at school when he sang Grandpa Jones&rsquo; &ldquo;Mountain Dew&rdquo;. When he was thirteen he hosted his own show on Radio KERB in Kermit.</span><br /><span class=Texte>Roy didn&rsquo;t like his very light hair-colour and began dyeing it black, something he would continue to do for the rest of his life. After he became a student in Wink, Roy formed the Wink Westerners (1954) &mdash; they played compositions by Frizzell and Hank Williams &mdash;, choosing them from members of the group at Wink High School, including a teenager who played an amplified mandolin. Roy accompanied himself on guitar, playing various hits of the period, among them &ldquo;In the Mood&rdquo;, &ldquo;Moonlight in Vermont&rdquo;, and country numbers by Webb Pierce. His group played in honky-tonk bars, dance-halls and various parties in the area, (notably at a fund-raising event for his High School Principal, who was campaigning to be President of the local Lion&rsquo;s Club.) When someone offered Roy $400 for a concert, he realized he might turn to a career as a professional, but even so, he still went to North Texas State College to study geology in the event that music didn&rsquo;t turn out to be profitable. The least you can say about his education is that Roy, when compared with other Fifties rock stars, had already gone much further&hellip; But his grades were getting worse, and at the end of the &lsquo;54/&rsquo;55 school-year he was already thinking about dropping Geology to become a teacher instead.</span><br /><span class=Soustitre><br />The Teen Kings</span><br /><span class=Texte>When he heard Elvis&rsquo; first record &mdash; a cover of Arthur Crudup&rsquo;s fast blues &ldquo;That&rsquo;s All Right&rdquo; &mdash; Roy &ldquo;didn&rsquo;t understand&rdquo; what Elvis was trying to do: a White man playing rock (i.e. the music par excellence of Black people) took him by surprise. The B-side was more reassuring: &ldquo;Blue Moon of Kentucky&rdquo;, a version of Bill Monroe&rsquo;s supremely-White bluegrass number. Roy was living in Odessa, Texas, in 1955 (he was a student at North Texas State University in Denton), and he discovered Presley onstage in nearby Dallas. The collective hysteria which surrounded Elvis when he travelled had begun, and Roy was impressed by the young singer: he envied him. So he formed another group, called it The Teen Kings, and set up an appearance on a show televised by KMID in Midland, Texas, in around September 1955 (he arranged it through Cecil &ldquo;Pop&rdquo; Holifield, a contributor to Billboard magazine who also ran record-stores in Midland and Odessa.) &ldquo;Pop&rdquo; Holifield also promoted concerts for Sun artists Johnny Cash and Elvis Presley, and he had Cash as a guest on the same show. So Johnny Cash met Roy Orbison; he listened to him, and invited Roy to one of his concerts on October 12th 1955 at Midland High School, where Elvis, a rising star, was topping the bill. He introduced him to Elvis, and Cash and Presley tried to persuade their producer at Sun to give Roy an audition. In vain. </span><br /><span class=Texte>Bobbie Jean Oliver, a singer/accordionist who often appeared with Roy and the Teen Kings (she was dating James Morrow, a member of the group), convinced her parents to finance a record by Roy and his Teen Kings. At Norman Petty&rsquo;s studio in Clovis, New Mexico, they recorded their first 45rpm single <strong>Ooby Dooby</strong> on March 4th 1956, a song written by two fellow-students. <strong>Trying to Get to You</strong> was the B-side.4 The record was issued on the Je-Wel label created for the occasion by Chester Oliver (Jean Oliver&rsquo;s father) and singer Weldon Rogers (Jean&rsquo;s ex-husband). It just can&rsquo;t be found these days, and it remains a legendary collectors&rsquo; item: the tapes disappeared from Petty&rsquo;s studio in 1984, and the recordings have never been reissued. On the day it was released, Orbison gave a copy of this demo record to Pop Holifield, who called Sun studios to tell Sam Phillips it was selling well. He insisted that Sam should audition Roy and his Teen Kings, and Phillips called him back a few days later to have them come and make a record at his studio in Memphis. There was no audition. Roy&rsquo;s father had to sign the Sun contract for him: his son was still under-age. Since Roy had signed his Je-Wel contract while still a minor, it wasn&rsquo;t valid, and so Sun took out an injunction to have his first disc with the Teen Kings removed from sale &mdash; despite the fact that several thousand copies had been pressed via Norman Petty &mdash; at the time, Petty was also the less-than-scrupulous manager/publisher of Buddy Holly &mdash; so the whole business cost Jean Oliver&rsquo;s poppa a lot of money&hellip; The original record vanished from the shelves.</span><br /><span class=Soustitre>Sun Records</span><br /><span class=Texte>Sun had launched Elvis Presley a year earlier and by the spring of 1956, competition was rife amongst white rockers. In the midst of racial segregation, the brilliant producer Sam Phillips was seeking out other white artists capable of singing in a style close to Afro-Ame-rican rock, to which he added a more &ldquo;country&rdquo; flavour. And the formula worked. The little Sun Studio&rsquo;s legendary recording-sessions had just given birth to the rockabilly boom: they&rsquo;d made stars of Elvis, Johnny Cash, Carl Perkins, and soon Jerry Lee Lewis. Phillips had genuinely broken into the great, white rock-market. </span><br /><span class=Texte>Less popular than his peers, Roy Orbison still remained N&deg;5 on the list of Sun&rsquo;s classic rock artists.5 At the age of 20 he moved into Sam Phillips&rsquo; Memphis home with his girlfriend Claudette Frady, who was only 16 and had a room of her own. At the end of March 1956 Roy re-recorded <strong>Ooby Dooby</strong> (even though he&rsquo;d had enough of the song by then), and<strong> Go! Go! Go! (Movin&rsquo; on Down the Line),</strong> which was soon picked up by Jerry Lee Lewis. These two new versions are the ones which open this set.</span><br /><span class=Texte>&ldquo;When we were recording &ldquo;Ooby Dooby&rdquo;, Sam Phillips brought me out a set of thick 78 records and said &lsquo;Now, this is the way I want you to sing.&rsquo; And he played &lsquo;That&rsquo;s All Right&rsquo; by Arthur Crudup. I sort of took a little notice and he said &lsquo;Sing just like that&hellip; and like this.&rsquo; And he put on a song called &lsquo;Mystery Train&rsquo; by Junior Parker. And I couldn&rsquo;t believe it&hellip; And I said, &lsquo;Now Sam, I want to sing ballads. I&rsquo;m a ballad singer.&rsquo; And he said &lsquo;No, you&rsquo;re gonna sing what I want you to sing. You&rsquo;re doing fine. Elvis was wanting to sing like the Ink Spots or Bing Crosby,&rsquo; and he did the same thing for him, did the same thing for Carl Perkins.&rdquo;</span><br /><span class=Texte>&mdash; Roy Orbison6</span><br /><span class=Texte>Roy Orbison and his Teen Kings signed with agent Bob Neal, Presley&rsquo;s former impresario and the owner of the Stars Incorporated agency. They found themselves touring dance-halls, and they played in movie drive-ins between films. They appeared on the same bill as Sonny James, Johnny Horton and Johnny Cash, and later Jerry Lee Lewis, Warren Smith and Carl Perkins, the creator of the rockabilly anthem &ldquo;Blue Suede Shoes&rdquo;, plus other country and rockabilly artists. In the midst of the rock wave, carried by Sun&rsquo;s original sound and distributed by Chess in the north of the country, Ooby Dooby reached N&deg;59 in the Billboard charts, selling 200,000 copies. Imitating Elvis, Roy shook his way across the stage as best he could:</span><br /><span class=Texte>&ldquo;We all danced and shaked and did everything we could do to get applause because we had only one hit record, &lsquo;Ooby Dooby.&rsquo;&rdquo;</span><br /><span class=Texte>&mdash; Roy Orbison</span><br /><span class=Texte>His other records, however, didn&rsquo;t sell: there was enormous competition from dozens of artists who were recording rockabilly like there was no tomorrow. Roy Orbison was only a year younger than Elvis, who liked his voice a lot and became a genuine friend. Like Elvis and Little Richard, Chuck Berry or Gene Vincent, Orbison belonged to the second generation of rockers, the vintage which caused white audiences to discover the style after the seminal rock of Louis Jordan, Tiny Bradshaw or Roy Brown, and after some country boogie highlights.7 Yet Orbison was some-one quite apart. While he appreciated black rock, he always remained rather impervious to the Afro influ-ences which contributed to the success of his Sun stable-mates. Orbison&rsquo;s rockabilly, in theory a hybrid of both cultures, stayed distant from the influence of the black gospel and blues which marked the first, famous recordings of Elvis, Carl Perkins or Gene Vincent.8 Like Johnny Cash, Roy Orbison followed the same direct line down from country-music&rsquo;s legacy. Shy, quiet, sensitive, refined and intelligent, the young man wasn&rsquo;t that handsome: his glasses with thick lenses were a perma-nent fixture; he dyed his hair in secret; he didn&rsquo;t drink; and he was never comfortable when surrounded by noisy rockers&hellip; </span><br /><span class=Texte>I&rsquo;d like to be a bad boy but I&rsquo;m afraid to get hurt/I&rsquo;m chicken hearted</span><br /><span class=Texte>&mdash; Roy Orbison, <strong>Chicken Hearted,</strong> 1956</span><br /><span class=Texte>While his rocker-coreligionists strutted in arrogance with displays of raw virility, the sensitive Roy Orbison preferred singing the torments of hopeless, despairing love. He was vulnerable, hard-working, and he had complexes. But he took great care over his compositions (unlike Roy, Jerry Lee Lewis and Elvis didn&rsquo;t write most of their songs themselves), going deeper into melodies which expressed his disappointments and chagrin. His ballads were turned down by Sam Phillips, who only wanted up-tempo rock. Jack Clement, the producer (and discoverer) of Jerry Lee Lewis at Sun, even told Roy that he&rsquo;d never have a hit with a ballad. Given Roy&rsquo;s career, that was a serious error&hellip;</span><br /><span class=Texte>Roy&rsquo;s producer wasn&rsquo;t interested in Roy&rsquo;s musical leanings or his ideas. And Roy thought that Sam Phillips, deeply in debt despite the sale of Presley&rsquo;s contract to RCA, wasn&rsquo;t professional enough because, &ldquo;The industry passed him by from one day to the next and he didn&rsquo;t even notice.&rdquo; Even so, his Sun years produced a few classics, like <strong>Ooby Dooby, Rockhouse</strong> (later recorded by Bobby Fuller, The Stray Cats, etc.) and Go! Go! Go! (which was successfully picked up by Jerry Lewis under the titles &ldquo;Down the Line&rdquo; and &ldquo;Movin&rsquo; on Down the Line&rdquo;). Buddy Holly would record several of Roy&rsquo;s compositions: &ldquo;You&rsquo;ve Got Love&rdquo;, &ldquo;A True Love Goodbye&rdquo; and &ldquo;An Empty Cup!&rdquo; Not to mention &ldquo;Claudette&rdquo; (the girl he married in 1957), a great hit for The Everly Brothers. The royalties that would come in from that release (spring 1958) probably restored Roy&rsquo;s confidence. He made a down-payment on a Cadillac and found the courage to leave Sam Phillips. Sun was incapable of following him artistically: Roy had sophisticated, romantic orchestrations in mind, for songs that would bring dreams to the princess who slept inside every young girl. Nor did Phillips understand his potential as a composer. The truth was, he appreciated Roy Orbison mostly for his mastery of the electric guitar. Singers who ventured forward to play solos were rare, but Orbison, a hard worker, was an excellent guitarist. It&rsquo;s ironic that his great hits of the Sixties (cf. CD2) featured his exceptional voice &mdash; he hadn&rsquo;t completely mastered it in 1956 &mdash;, and that he didn&rsquo;t play guitar on any of his most famous songs. But when he was just beginning, it was his original guitar-playing which people noticed the most.</span><br /><span class=Texte>I learned to play guitar by trying to copy the solos on Roy Orbison&rsquo;s first records.&nbsp;&nbsp;&nbsp; &mdash; Lou Reed9</span><br /><span class=Soustitre>RCA Victor</span><br /><span class=Texte>In 1957 Roy Orbison was constantly touring, but it didn&rsquo;t provide a decent living. He couldn&rsquo;t find enough gigs to pay his instalments and had to return the Cadillac. Dependent on his family and friends to find a roof for himself and his young bride, in 1958 he abandoned the stage completely for seven months; his future looked bleak. Keeping a tight grip on his guitar, he continued to write songs in his tiny apartment and offered them to the publishers Acuff-Rose, who placed songs with well-known artists. He had no success there either. In 1958, reactionary America was better-organized to resist the Afro-American influences incarnated by rock and the Elvis phenomenon. A whiter sound with a stronger country feel &mdash; incarnated by Buddy Holly, the Everly Brothers and Elvis himself &mdash; was in demand, and rock&rsquo;s centre of gravity had moved to Nashville, Tennes-see, on the border dividing south from north. Roy also tried to position himself as a singer, with songs written by others, and he recorded those with guitar-giant Chet Atkins,10 although they met with little success. Atkins was a virtuoso guitar player revered by Roy and also by Elvis Presley&rsquo;s regular guitarist Scotty Moore. Atkins was a celebrity and accepted to play on Elvis&rsquo; records for RCA; he also had contacts. They recorded &ldquo;Seems to Me&rdquo;, a Boudleaux Bryant composition, and Bryant would later describe Orbison as &ldquo;a timid, shy kid who seemed to be rather befuddled by the whole music scene. I remember the way he sang then: softly, prettily but almost bashfully, as if someone might be disturbed by his efforts and reprimand him.&rdquo; But RCA only took two songs, and Roy continued to live poorly, together with his wife and young child. He was often away, giving badly-paid concerts, and wrote his songs alone, taking refuge in his car. Roy had also met Joe Melson, the singer with the Cavaliers rockabilly group. Melson was also from north Texas, where he was raised on a farm and developed a passion for music. Anchored in the country and rocka-billy traditions like Roy, Melson had started composing in a style influenced by rhythm and blues, and he was an open-minded character inclined to be creative. It was at his home in Midland, west Texas, that he teamed up with Roy Orbison. The two friends came up with songs whose melodies were more ambitious than Roy&rsquo;s basic rocka-billy numbers, which were constructed around three-chord blues formats (1-4-5) in twelve bars. </span><br /><span class=Texte>&ldquo;Writing with a partner is really good when you get to a point where you&rsquo;ve got nothing going. You just kind of&hellip; your ideas just kind of stop and someone else will just pick it up. And even if it&rsquo;s not what you want, you can go from there and say &lsquo;Yeah, that&rsquo;s pretty good, but this is better&rsquo;, and the other guy says &lsquo;No, wait a minute, I&rsquo;ve got something!&rsquo; So it works that way.&rdquo;</span><br /><span class=Texte>&mdash; Where do you stop?</span><br /><span class=Texte>&mdash; (laughs) &ldquo;You stop usually when there&rsquo;s a good feeling going, and we&rsquo;re all arrangers as well, and kind of know when a piece has said what it needs to say.&rdquo;</span><br /><span class=Texte>&mdash; Roy Orbison11 </span><br /><span class=Soustitre>Monument Records</span><br /><span class=Texte>It was then that Wesley Rose, his agent, sent Roy to Fred Foster, the young producer who ran Monument Records. Foster was born in North Carolina on July 26th 1931, and after the death of his father he had to take care of his mother and the family&rsquo;s farm. Robust, ambitious and independent, at the age of seventeen he left to try his luck in Washington D.C. and later worked for ABC-Paramount and Mercury. Those two record-companies had catalogues aimed at large audiences, and they were capable of meeting demands from major radio and television stations, working with great stars and producing high-quality records. While continuing to work in promotion for Mercury, Foster became a record-distributor in Baltimore. By the age of 27 he had a solid background in the industry, and in March 1958 the intrepid and ambitious young man invested all his savings to found Monument and its publishing-arm Combine Music. His label took off at once with Billy Grammer (a great country guitarist), Billy Graves, Dick Flood (&ldquo;The Three Bells&rdquo;), Jerry Byrd (a country steel-guitarist who loved Hawaiian music) and Bob Moore (a great country bassist who was behind the 1961 instrumental hit &ldquo;Mexico&rdquo;.) As soon as he had his first hit (1959) Fred Foster bought out his associate Buddy Deane (a DJ with radio station WITH in New York) and became sole owner. He established his business in Nashville, the country music capital where great mu-sicians also lived &mdash; and out of which evolved the new sound that dominated America in that period. As soon as he arrived in Nashville, Foster, still a novice in production matters, met Roy Orbison, who was still looking for the means to turn what he could hear in his head into something tangible. Armed with his original ideas, his compositions, and a musical vision that was excitingly new and sophisticated, Roy Orbison had little trouble convincing the ambitious Fred Foster to give him a new chance. With two titles characteristic of this period (both refused by RCA), Orbison experimented unsuccessfully with a rock format intended for radio; but during this phase still in its infancy, Roy&rsquo;s approach stayed the same, with material describing scenes and characters as if this was cinematography, and his music the filmmaker:</span><br /><span class=Texte>I walk down to the blue side of town / Where there&rsquo;s no happiness no joy / Down at the end of a long dark street / I saw a little paper boy / Paper boy, paper boy I&rsquo;ve got bad news for you / Paper boy, paper boy, me and my baby are through.</span><br /><span class=Texte>&mdash; Roy Orbison &amp; Joe Melson, <strong>Paper Boy,</strong> 1959</span><br /><span class=Texte>The B-side was less original, resorting to rock stere-otypes, but visibly, with <strong>Paper Boy </strong>as the record&rsquo;s A-side, Orbison had already chosen the direction of orchestrated melodrama. His approach revealed a despairing vulnerability which contrasted with the virile professions of faith declaimed by most of his peers. This ostensible fragility &mdash; which gave mysterious female characters, romantic princesses for whom his heart was breaking, all their importance &mdash; was something which women found very seductive, and which discreetly reached out to masculine sensibilities.</span><br /><span class=Texte>This undeniable originality was already giving a glimpse of the fact that rock could convey feelings and images which were more complex than any seen up until then: suddenly, rock was staging fictional characters. Lou Reed and Bob Dylan, who introduced extremely mature lyrics into rock in the mid-Sixties, were quickly followed in this direction by the writers in the British bands The Kinks, The Beatles, The Who&hellip; All of them were great admirers of Roy Orbison, who was already using this music as an art form in the same way as theatre, film or literature. </span><br /><span class=Texte>Apart from those basic qualities, Orbison was also one of the precursors of the new Nashville sound created by his ally Fred Foster and producers Owen Bradley, Chet Atkins and Sam Phillips. Orbison ran his own studio-sessions. With guitar-ace Grady Martin,12 and with The Jordanaires or the Anita Kerr Singers as back-up vocalists, he fronted a team of renowned musicians &mdash; nicknamed &ldquo;The A-Team&rdquo; in Nashville (cf. discography) &mdash; who recorded with hundreds of heavyweight artists, including Elvis, Buddy Holly, Patsy Cline, Johnny Bur-nette and the Everly Brothers.</span><br /><span class=Texte>The Drifters, a hit Afro-American vocal group with Atlantic, had recently been the first to dare using strings on their recordings, and they did so because of the budding soul music-style.13 Roy Orbison, in addition to his careful compositions and unique voice, an instrument that had power and evoked fragility at the same time, would bring refined arrangements to recordings in which he innovated with strings. His discreet way of using violins sparingly, lightly and with taste, could be summed up in a word: elegance. With their new recordings &mdash; like the classic <strong>Uptown,</strong> laden with vocal backing inspired by phrases that came from the &ldquo;doo wop&rdquo; style and were skilfully elaborate &mdash; Orbison and Melson had a fresh sound which was the key music-formula in early Sixties&rsquo; pop: it was an archetype in what would soon be known as the Kennedy Years (1961-1963). Situated in between dramatic slow numbers &mdash; depicting losers struck down by life&rsquo;s misfortunes &mdash; and rock songs with intelligent lyrics &mdash; medium-tempo numbers intended for dancing and radio &mdash; this moving, sometimes even heartrending music, simultaneously light and yet heavy with meaning, formed the soundtrack of an arrogant America whose preoccupations seemed to be the conquest of Space, progress and opulence. It was the prevailing mood in the period of lush abundance which was proper to America in that period. Reaching N&deg;72 in the sales-charts, his second single for Monument, &ldquo;Uptown&rdquo; &mdash; the tale of a young man&rsquo;s dream of living in a fine neighbourhood &mdash; would be Roy&rsquo;s last flop. He had a phenomenal voice. It covered three octaves and showed he could handle a falsetto &mdash; his biographer Alan Clayson said he had a falsetto voice and that it &ldquo;came not from his throat but deeper within&rdquo; &mdash; and it allowed Roy to climb high in the register. Roy would climb higher, too: his voice would serve some very singular compositions where he took flight daringly &mdash; if often made you think you were at the opera &mdash; as in the ending to <strong>Only the Lonely,</strong> which became the first Roy Orbison song to sell a million copies.</span><br /><span class=Soustitre><br />Only the Lonely<br /></span><span class=Texte>&ldquo;[Roy Orbison] was the true master of the romantic apocalypse you dreaded, and knew what was coming after the first night you whispered &lsquo;I Love You&rsquo; to your first girlfriend. You were going down. Roy was the coolest uncool loser you&rsquo;d ever seen. With his Coke-bottle black glasses, his 3-octave range, he seemed to take joy sticking his knife deep into the hot belly of your teenage insecurities.&rdquo;&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>&mdash; Bruce Springsteen, South by Southwest 2012</span><br /><span class=Texte>According to American writer Ken Emerson, over the next four years his records &ldquo;brought a new splendour to rock&rdquo;. </span><br /><span class=Texte>&ldquo;His orchestral melodramas, rivalled only by Phil Spector&rsquo;s, were in striking contrast to the comparatively thin music the Everly Brothers made in the same studio with much the same personnel&rdquo;.14</span><br /><span class=Texte>Early in 1960, Roy Orbison and Joe Melson wrote<strong> Only the Lonely</strong>. Roy went off to Nashville to record it but, lacking in confidence, he remembered he was known mostly for his compositions, and stopped in Memphis en route to offer his new song to Elvis Presley, who by then was by now an absolute superstar. But it was early morning and Elvis was still sleeping. Once he arrived in Nashville, Roy couldn&rsquo;t resist paying the Everly Brothers a visit, and luckily they turned the song down (they&rsquo;d just written one of their own&hellip;) So Roy decided to go ahead and record it himself, adding a final legato passage where, making use of his voice to the limit, he soared into the stratosphere, a first in rock. Abandoned by the woman he loved, he mourned his loss yet again:</span><br /><span class=Texte>Only the lonely / Know the way I feel tonight / Only the lonely / Know this feeling ain&rsquo;t right.</span><br /><span class=Texte>&mdash; Roy Orbison &amp; Joe Melson,<strong> Only the Lonely,</strong> 1960</span><br /><span class=Texte>Roy Orbison controlled everything, conceived every-thing: &ldquo;If you make a demo and you get something really wonderful, you can&rsquo;t&hellip; it&rsquo;s hard to get back in the studio so&hellip; so demos, I make pretty good ones, but not super good, just give them a good idea, so that when you make the record you can really punch through. [&hellip;] It does get tricky, but that&rsquo;s a lot of fun, too. If you keep in mind when you make a demo to make it very raw, even then sometimes you&rsquo;ll get a real rough cut that really swings and you get in the studio and it&rsquo;s a little too good&hellip; but making a demo teaches you what to do in the studios. That&rsquo;s why if you have a band, you have a group, that&rsquo;s what helps you in the studio, a few fresh ideas. I used to always do pre-production, I had everything figured out before I went into the studio.&rdquo;15 </span><br /><span class=Texte>Sound-engineer Bill Porter centred his mix entirely on the voices; the rhythm parts were almost secondary. The result highlighted Roy&rsquo;s vocal and Only the Lonely reached N&deg;2 in The United States, topping the charts in Britain and Australia. Overnight, Roy Orbison was a star, and venues clamoured for him on three continents. He went on tour for three weeks with Patsy Cline, and moved his family to Nashville. <strong>Blue Angel,</strong> his next single, only reached N&deg;9 and, deciding to rest the black doo-wop influence <strong>(I&rsquo;m Hurtin</strong>&rsquo;) for a while, the two singer-songwriters opted to follow their logic to the limit, inspired by Maurice Ravel&rsquo;s &ldquo;Bolero&rdquo;: Roy&rsquo;s voice took the war-horse <strong>Running Scared</strong> to the summits &mdash; it was a N&deg;1 seller, and N&deg;9 in Britain. A triumph. Roy was accompanied by a studio-orchestra, but he couldn&rsquo;t reach a high A, a note beyond his falsetto voice; on the third take, to everyone&rsquo;s surprise, he made it&hellip; using his normal voice. The song describes a jealous man keeping an eye on his love for fear another man will steal her away. The intensity mounts throughout the piece until the vocal apotheosis of the finale. Always a man with a taste for the spontaneous, Roy was capable of recording his phenomenal voice in one or two takes.</span><br /><span class=Texte>&ldquo;I want people to believe what I sing. In my case, if I sing the song, I sing twice. I sing once as a warm-up, and then I sing it one more time, which is often the one we keep. So the freshness of that would be lost had I sung it a lot of times, I think. I would sound too rehearsed, too planned and too calculated. I mostly do that. So then it&rsquo;s also a surprise to me and it&rsquo;s also a great joy to hear it. As best I can do it. And you usually do it the best you can, then you do it once more over the top. Then you&rsquo;ve done it. There are people who take hundreds and hundreds of takes. I don&rsquo;t know how they do it!&rdquo;16</span><br /><span class=Texte>Other gems followed, like <strong>Summer Song</strong>, the N&deg;30 hit <strong>Candy Man, </strong>the N&deg;2 Crying and <strong>Dream Baby </strong>which went to N&deg;4. <strong>The Crowd, Working for the Man </strong>and Leah were as many hits, coming as Roy&rsquo;s second son was born in 1962. </span><br /><span class=Texte>One day in 1962, Roy Orbison forgot his thick lenses on an aeroplane and had to wear sun-glasses onstage that night (they had prescription-lenses). His dark Wayfarer glasses seemed to protect this chronically shy man from stage-fright, and he decided he&rsquo;d never go without them. Now more mysterious than ever, dressed in black with jet-black hair, concentrating on his voice while mo-tion-less onstage, Roy spontaneously created an enigmatic character. He wasn&rsquo;t very visible in the media due to his unprepossessing physique &mdash; although girls swooned in the presence of their idol &mdash; and one consequence was that his photo didn&rsquo;t appear on the covers of his singles.</span><br /><span class=Texte>In 1963 Roy went on tour with The Beatles, then at the very outset of their fame, and they became friends. Admired by both Elvis and The Beatles, Roy saw his career come to an end in 1965, after his enormous hit &ldquo;Pretty Woman&rdquo;, only days before he broke his foot in a motorcycle accident &mdash; which also broke his career. Out of his depth amidst the new sounds in music &mdash; Beatles, psychedelics &mdash; Orbison signed with MGM but was unable to rediscover the extraordinary sound he&rsquo;d created. Monument Records went bankrupt and Roy Orbison&rsquo;s hits disappeared from circulation for almost twenty years.</span><br /><span class=Texte>Roy also had to endure failure in films and the dramatic death of his wife in another motorcycle accident (1966). After his new marriage to Barbara Jakobs, he had to endure another tragedy when his first two sons died in a fire at their family home in Henderson, Tennes-see. During the two decades following his glorious Monument era, Roy Orbison kept a low profile, occasionally playing and recording a few albums which didn&rsquo;t sell well. He had to wait until 1988 before making a comeback &mdash; as dazzling as it was unexpected &mdash; with the Traveling Wilburys, but again, it was marked by tragedy: Roy Orbison didn&rsquo;t live long enough to enjoy it.</span><strong><br /><span class=Texte>Bruno BLUM</span></strong><br /><span class=Texte>English adaptation: <strong>Martin DAVIES</strong></span><br /><span class=Texte>Thanks to Christian Lebrun, Barbara and Roy Orbison.</span><br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 201</span><span class=Source>4</span><br /><span class=Texte>1. Jeff Lynne, Traveling Wilburys documentary, 1988.</span><br /><span class=Texte>2. Roy Orbison speaking to the author, Paris, Place des Vosges, November 31st 1988, five days before his death.</span><br /><span class=Texte>3. Cf. John Kruth&rsquo;s biography Rhapsody in Black: The Life and Music of Roy Orbison (Backbeat Books, 2013).</span><br /><span class=Texte>4. Tryin&rsquo; to Get to You had already been recorded by Elvis Presley on July 11th 1955. His version, together with the original recorded in 1954 by the little-known Eagles, appears on Elvis Presley face &agrave; l&rsquo;histoire de la musique am&eacute;ricaine vol. 1 - 1954-1956 (FA5361) in the same collection.</span><br /><span class=Texte>5. Cf. the anthology Rockabilly 1951-1960 (FA5423).</span><br /><span class=Texte>6. Quoted by Ken Emerson in The Rolling Stone Illustrated History of Rock &amp; Roll, Rolling Stone Press/Random House, New York, 1976.</span><br /><span class=Texte>7. Cf. Country Boogie 1939-1947 (FA160).</span><br /><span class=Texte>8. Cf. The Indispensable Gene Vincent 1956-1958 (FA5402) and its second volume 1958-1962 (FA5422).</span><br /><span class=Texte>9. Lou Reed talking to the author in Paris in 1989.</span><br /><span class=Texte>10. Chet Atkins appears in the anthologies Rock Instrumentals Story 1934-1962 (FA5426), Electric Guitar Story - Country Jazz, Blues R&amp;B, Rock 1935-1962 (FA5421) and Guitare Country - From Old Time to Jazz Times 1926-1950 (FA5007).</span><br /><span class=Texte>11. Roy Orbison talking to the author, Place des Vosges, Paris, November 31st, 1988.</span><br /><span class=Texte>12. Cf. Rockabilly 1951-1960 (FA5423).</span><br /><span class=Texte>13. Cf. Roots of Soul Music 1928-1962 (FA5430).</span><br /><span class=Texte>14. The Rolling Stone Illustrated History of Rock &amp; Roll (Rolling Stone Press, New York 1976).</span><br /><span class=Texte>15. Roy Orbison talking to the author, Place des Vosges, Paris, November 31st, 1988.</span><br /><span class=Texte>16. Roy Orbison talking to the author, Place des Vosges, Paris, November 31st, 1988.</span><br /><span class=Soustitre2><br />Discography 1 : 1956-1959</span><br /><strong><span class=Texte>1. Ooby Dooby</span></strong><br /><span class=Texte>(Allen Richard Penner aka Dick Penner, Wade Lee Moore)</span><br /><span class=Texte>The Teen Kings: Roy Orbison-v, g; James Emitt Morrow-electric mandolin; Johnny Wilson aka Peanuts Wilson-rhythm g; Jack Kennelly-b; Billy Pat Ellis-d. Produced by Samuel Cornelius Phillips as Sam Phillips. Sun 242. Sun Studio, 706 Union Ave., Memphis, March 27, 1956.</span><br /><strong><br /><span class=Texte>2. Go! Go! Go! (Down the Line)</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison)</span><br /><span class=Texte>Same as disc 1, track 1.</span><br /><strong><span class=Texte>3. Tryin&rsquo; to Get to You</span></strong><br /><span class=Texte>(Rose Marie McCoy, Charles Singleton) </span><br /><span class=Texte>Same as disc 1, track 1. Sun 1260.</span><br /><strong><br /><span class=Texte>4. You&rsquo;re my Baby</span></strong><br /><span class=Texte>(J.R. Cash aka Johnny Cash )</span><br /><span class=Texte>Same as disc 1, track 1. Sun 251. September 24, 1956.</span><br /><strong><br /><span class=Texte>5. Rockhouse</span></strong><br /><span class=Texte>(Harold Jenkins aka Conway Twitty)</span><br /><span class=Texte>Same as disc 1, track 1. Sun 251. September 24, 1956.</span><br /><strong><br /><span class=Texte>6. Domino</span></strong><br /><span class=Texte>(Samuel Cornelius Phillips as Sam Phillips)</span><br /><span class=Texte>Same as disc 1, track 1. Sun 251. 1956.</span><br /><strong><span class=Texte>7. Sweet and Easy to Love</span></strong><br /><span class=Texte>(Sam Phillips)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v, eg; Roland Janes-g; James M. Van Eaton-d; The Roses-bv. Produced by Samuel Cornelius Phillips as Sam Phillips. Sun 265. Sun Studio, 706 Union Ave., Memphis, December 14, 1956.</span><br /><strong><span class=Texte>8. Devil Doll</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Samuel Cornelius Phillips as Sam Phillips)</span><br /><span class=Texte>Same as above.</span><br /><strong><span class=Texte>9. The Cause of it All</span></strong><br /><span class=Texte>(Samuel Cornelius Phillips aka Sam Phillips)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v, eg; unknown g, b, d. Produced by Samuel Cornelius Phillips as Sam Phillips. Sun Studio, 706 Union Ave., Memphis, 1956.</span><br /><strong><span class=Texte>10. Chicken Hearted</span></strong><br /><span class=Texte>(William Justis aka Bill Justis)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v, eg; Roland Janes-g; Jimmy Wilson ou Jimmy Smith-p; Martin Willis-s; Stan Kesler-b; Otis Jett-d; C. Buehl-percussion. Produced by Samuel Cornelius Phillips as Sam Phillips. Sun 284. Sun Studio, 706 Union Ave., Memphis, October 16, 1957.</span><br /><strong><br /><span class=Texte>11. I Like Love</span></strong><br /><span class=Texte>(Jack H. Clement)</span><br /><span class=Texte>Same as above.</span><br /><strong><span class=Texte>12. Fool&rsquo;s Hall of Fame</span></strong><br /><span class=Texte>(Danny Wolfe, Jerry Freeman)</span><br /><span class=Texte>Same as 10.</span><br /><strong><span class=Texte>13. A True Love Goodbye</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Norman Petty)</span><br /><span class=Texte>Same as 10.</span><br /><strong><span class=Texte>14. A Mean Little Mama</span></strong><br /><span class=Texte>(Samuel Cornelius Phillips aka Sam Phillips)</span><br /><span class=Texte>Same as 10.</span><br /><strong><span class=Texte>15. Problem Child</span></strong><br /><span class=Texte>(Samuel Cornelius Phillips aka Sam Phillips)</span><br /><span class=Texte>Same as 10.</span><br /><strong><span class=Texte>16. You&rsquo;re Gonna Cry</span></strong><br /><span class=Texte>(Samuel Cornelius Phillips aka Sam Phillips)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v, eg; unknown personnel, possibly same as 10. Produced by Samuel Cornelius Phillips as Sam Phillips. Sun Studio, 706 Union Ave., unknown date.</span><br /><strong><span class=Texte>17. This Kind of Love</span></strong><br /><span class=Texte>(Samuel Cornelius Phillips aka Sam Phillips)</span><br /><span class=Texte>Same as 16.</span><br /><strong><span class=Texte>18. It&rsquo;s Too Late</span></strong><br /><span class=Texte>(Harold Willis aka Chuck Willis)</span><br /><span class=Texte>Same as 16.</span><br /><strong><span class=Texte>19. I Never Knew</span></strong><br /><span class=Texte>(Samuel Cornelius Phillips aka Sam Phillips)</span><br /><span class=Texte>Same as 16.</span><br /><strong><br /><span class=Texte>20. Lovestruck</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v, eg. Produced by Samuel Cornelius Phillips as Sam Phillips. Sun Studio, 706 Union Ave., March 4, 1958.</span><br /><strong><br /><span class=Texte>21. One More Time</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v, acoustic g. Produced by Samuel Cornelius Phillips as Sam Phillips. Sun Studio, 706 Union Ave., March 4, 1958.</span><br /><strong><br /><span class=Texte>22. I Was a Fool</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison)</span><br /><strong><br /><span class=Texte>23. With the Bug</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Homer Louis Randolph III as Boots Randolph-s; Hank Garland-g; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Foster. Monument 409. Nashville, RCA Studio, June 3, 1959.</span><br /><strong><br /><span class=Texte>24. Paper Boy</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison)</span><br /><span class=Texte>Same as above.</span><br /><span class=Soustitre2><br />Discography 2 : 1959-1962</span><br /><strong><span class=Texte>1. Uptown</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Hank Garland, Harold Bradley-g; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 401. Nashville, RCA Studio, September 18, 1959.</span><br /><strong><span class=Texte>2. Pretty One</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison)</span><br /><span class=Texte>Same as above.</span><br /><strong><span class=Texte>3. Only the Lonely</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Joe Melson, The Anita Kerr Singers: Anita Jean Grilli as Anita Kerr-sop v, arr.; possibly Gil Wright-tv; Louis Nunley-bar v; Dottie Dillard-alto v; Hank Garland, Harold Bradley-g; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 421. Nashville, RCA Studio, March 25, 1960.</span><br /><strong><span class=Texte>4. Here Comes That Song Again</span></strong><br /><span class=Texte>(Dick Flood)</span><br /><span class=Texte>Same as above.</span><br /><strong><span class=Texte>5. Blue Angel</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Homer Louis Randolph III as Boots Randolph-s; Hank Garland, Harold Bradley-g; Floyd Cramer or Marvin Hughes-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 425. Nashville, RCA Studio, August 8, 1960.</span><br /><strong><span class=Texte>6. Today&rsquo;s Teardrops</span></strong><br /><span class=Texte>(Eugene Francis Alan Pitney aka Gene Pitney, Aaron Harold Schroeder aka Aaron Harold Schr&ouml;der)</span><br /><span class=Texte>Same as above.</span><br /><strong><span class=Texte>7. I&rsquo;m Hurtin&rsquo;</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Hank Garland, Thomas Martin as Grady Martin, Harold Bradley-g; Floyd Cramer-p; Bob Loyce Moore-b; Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 433. Nashville, RCA Studio, September 15-17, 1960.</span><br /><strong><span class=Texte>8. I Can&rsquo;t Stop Loving You</span></strong><br /><span class=Texte>(Donald Eugene Gibson aka Don Gibson)</span><br /><span class=Texte>Same as above.</span><br /><strong><span class=Texte>9. Running Scared</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Hank Garland, Harold Bradley-g; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 438. Nashville, RCA Studio, February 27, 1961.</span><br /><strong><span class=Texte>10. Love Hurts</span></strong><br /><span class=Texte>(Diadorus Boudleaux Bryant)</span><br /><span class=Texte>Same as above.</span><br /><strong><span class=Texte>11. Summer Song</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Carl Garvin, Cam Mullins-tp; Homer Louis Randolph III as Boots Randolph-ts; Harry Johnson-s; Ray Edenton, Thomas Martin as Grady Martin, Harold Bradley-g; Floyd Cramer-p; Bob Loyce Moore-b; Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 939. Nashville, RCA Studio, May 27, 1961.</span><br /><strong><br /><span class=Texte>12. Lana</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; The Anita Kerr Singers: Anita Jean Grilli as Anita Kerr-sop v, arr.; possibly Gil Wright-tv; Louis Nunley-bar v; Dottie Dillard-alto v; Hank Garland, Harold Bradley-g; Homer Louis Randolph III as Boots Randolph-ts; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 939. Nashville, RCA Studio, June 14, 1961.</span><br /><strong><span class=Texte>13. Crying</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Harold Bradley, Diadorus Boudleaux Bryant, Winfield Scott Moore II aka Scotty Moore-g; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 447. Nashville, RCA Studio, June 26, 1961.</span><br /><strong><span class=Texte>14. Candy Man</span></strong><br /><span class=Texte>(Beverly Ross aka Ruby Ross, Fred Neil)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Charles Ray McCoy as Charlie McCoy-harmonica; Homer Louis Randolph III as Boots Randolph-ts; Harold Bradley, Winfield Scott Moore II aka Scotty Moore-g; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 447. Nashville, RCA Studio, June 27, 1961.</span><br /><strong><br /><span class=Texte>15. Let the Good Times Roll</span></strong><br /><span class=Texte>(Shirley Mae Goodman aka Shirley Pixley, Leonard Lee)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Charles Ray McCoy as Charlie McCoy-harmonica; Fred Carter, Jr., Wayne Moss, Joe Tanner-g; Bob Loyce Moore-b; John Greubel-d. Produced by Fred Luther Foster as Fred Foster. Monument 906. Nashville, RCA Studio, November 15, 1961.</span><br /><strong><span class=Texte>16. Blue Bayou</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Charlie McCoy-harmonica; Fred Carter, Jr., Wayne Moss, Joe Tanner-g; Bob Loyce Moore-b; John Greubel-d. Produced by Fred Luther Foster as Fred Foster. Monument 906. Nashville, RCA Studio, November 15, 1961.</span><br /><strong><span class=Texte>17. Dream Baby</span></strong><br /><span class=Texte>(Cindy Walker)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Homer Louis Randolph III as Boots Randolph-s; Thomas Martin as Grady Martin, Fred Carter, Jr., Ray Edenton-g; Floyd Cramer-p; Bob Loyce Moore-b; John Greubel-d. Produced by Fred Luther Foster as Fred Foster. Monument 456. Nashville, RCA Studio, January 9, 1962.</span><br /><strong><br /><span class=Texte>18. The Actress</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Same as above. Nashville, RCA Studio, January 10, 1962.</span><br /><strong><br /><span class=Texte>19. The Crowd</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Harold Bradley, Ray Edenton-g; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 461. Nashville, RCA Studio, April 17, 1962. </span><br /><strong><br /><span class=Texte>20. Mama</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison, Joe Melson, Ray Rush)</span><br /><span class=Texte>Same as above.</span><br /><strong><span class=Texte>21. Working for the Man</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison)</span><br /><span class=Texte>Roy Kelton Orbison as Roy Orbison-v; Homer Louis Randolph III as Boots Randolph-s; Harold Bradley-g; Floyd Cramer-p; Bob Loyce Moore-b; Murrey Mizell Harman, Jr. as Buddy Harman-d. Produced by Fred Luther Foster as Fred Foster. Monument 467. Nashville, RCA Studio, August 14, 1962.</span><br /><strong><br /><span class=Texte>22. Leah</span></strong><br /><span class=Texte>(Roy Kelton Orbison aka Roy Orbison)</span><br /><span class=Texte>Same as above.</span><br /><span class=Texte>On disc 2, Brenton Banks, George Binkley III, Cecil Brower, Aline Fentress, Solie Fott, Kenneth Goldsmith, Pamela Goldsmith, Mary Hicks, Martin Kathan, Shelly Kurland, Jane Norris, Vernal Richardson, Wilda Tinsley, Lilian Van Hunt, Dorothy Walker, others-violin; Howard Carpenter-viola; Byron Bach-cello. </span><br /><span class=Texte>Apr&egrave;s une phase rockabilly aux paroles et m&eacute;lodies d&eacute;j&agrave; ambitieuses, Roy Orbison a &eacute;t&eacute; l&rsquo;inventeur d&rsquo;une nouvelle forme de rock sophistiqu&eacute;, aux arrangements raffin&eacute;s et &eacute;l&eacute;gants. Cet ami et inspirateur des Beatles comme d&rsquo;Elvis Presley a &eacute;t&eacute; un grand pr&eacute;curseur de l&rsquo;explosion cr&eacute;ative des ann&eacute;es 1960 et l&rsquo;un des premiers &agrave; donner au rock une couleur orchestrale, luxuriante.</span><br /><span class=Texte>Extraordinaire chanteur, son &oelig;uvre romantique, profond&eacute;ment originale, reste embl&eacute;matique de l&rsquo;Am&eacute;rique opulente et progressiste des ann&eacute;es Kennedy. Son histoire est &eacute;voqu&eacute;e ici par Bruno Blum dans un livret de 32 pages. &nbsp;&nbsp;&nbsp; <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Texte>After a rockabilly outset where his melodies and lyrics already showed ambition, Roy Orbison invented a new, sophisticated form of rock which had refined, elegant arrangements. A friend and inspirer of The Beatles as well as Elvis Presley, he was one of the great precursors of the 1960s&rsquo; creative explosion, one of the first to give rock a lavish orchestral colour. An extraordinary singer, his romantic, deeply original work still symbolizes the opulent and progressive America of the Kennedy era. With a detailed 32-page booklet by Bruno Blum, this album tells the story of the great Roy Orbison.&nbsp;&nbsp;&nbsp; <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Source><br />CD Roy Orbison The Indispensable 1956-1962, Roy Orbison &copy; Fr&eacute;meaux &amp; Associ&eacute;s 2014.</span><br /></p></p></p>"
      "dwf_titres" => array:46 [ …46]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/2/9/0/19290-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => array:1 [ …1]
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#702
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#715
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
  11 => ProductListingLazyArray {#759
    -imageRetriever: ImageRetriever {#769
      -link: Link {#163}
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#767}
    -productColorsRetriever: ProductColorsRetriever {#766}
    -translator: TranslatorComponent {#55}
    #settings: ProductPresentationSettings {#765
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
      "id_product" => "1360"
      "id_supplier" => "0"
      "id_manufacturer" => "0"
      "id_category_default" => "97"
      "id_shop_default" => "1"
      "id_tax_rules_group" => "6"
      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3561302542126"
      "isbn" => null
      "upc" => null
      "ecotax" => "0.000000"
      "quantity" => 10000
      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
      "price" => "39,95 €"
      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA5421"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
      "available_for_order" => "1"
      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
      "cache_default_attribute" => "422"
      "date_add" => "2021-10-22 10:03:29"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p><p align=justify>Cette anthologie r&eacute;alis&eacute;e (et comment&eacute;e dans un livret de 32 pages) par Bruno Blum est indispensable &agrave; tous les guitaristes &ndash; et &agrave; quiconque appr&eacute;ciant cet instrument. <br />Des premiers enregistrements historiques de lap steel &eacute;lectrique d&egrave;s 1935 au triomphe de la guitare dans le rock, la plupart des meilleurs et plus influents guitaristes sont r&eacute;unis ici chronologiquement. <br />Ils interpr&egrave;tent des morceaux repr&eacute;sentatifs de leurs styles tr&egrave;s diff&eacute;rents dans ce floril&egrave;ge retra&ccedil;ant l&rsquo;&eacute;volution de la guitare &eacute;lectrique. <br />D&rsquo;une diversit&eacute; et d&rsquo;une richesse musicale &eacute;tonnante, cet essentiel triple album tr&egrave;s document&eacute; juxtapose les pionniers, innovateurs et stylistes d&rsquo;un instrument qui a domin&eacute; la musique populaire occidentale pendant un demi-si&egrave;cle. <br /><strong>Patrick FRÉMEAUX</strong><br /><em>The indispensable collection for all guitar players and anyone interested in the instrument. </em><br /><em>In chronological order, starting with the first historic recordings of an amplified lap steel guitar in 1935 up to the triumph of rock guitar, most of the best and most influential guitarists can be found here. </em><br /><em>They are heard showing astonishing musical diversity in this anthology recounting the evolution of the electric guitar. </em><br /><em>This highly-documented triple album is an essential work and features not only the pioneers and innovators but also the stylists who contributed to make the guitar the dominant instrument in western popular music for over five decades. Told by Bruno Blum, himself a guitarist, this epic includes truly dazzling recordings.</em><br /><strong>Patrick FRÉMEAUX</strong><br /><strong>DIRECTION ARTISTIQUE : BRUNO BLUM</strong></p><p align=justify><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES<br /></strong><br /><strong>CD 1/1935-1949 : </strong>1. SOME OF THESE DAYS MILTON BROWN W/BOB DUNN &bull; 2. IDA (SWEET AS APPLE CIDER) PAPPY O&rsquo;DANIEL W/WILSON PERKINS &bull; 3. ROSE ROOM DERWOOD BROWN W/WILSON PERKINS &bull; 4. IT&rsquo;S A LOW DOWN DIRTY SHAME BIG BILL BROONZY W/GEORGE BARNES &bull; 5. LAUGHING AT LIFE THE KANSAS CITY FIVE W/EDDIE DURHAM &bull; 6. MY WINDOW FACES SOUTH BOB WILLS&nbsp; W/ELDON SHAMBLIN &bull; 7. JUNGLE DRUMS SIDNEY BECHET W/LEONARD WARE &bull; 8. LIZA, PULL DOWN THE SHADES BOB WILLS W/HERMANARNSPIGER &bull; 9. FLOYD&rsquo;S GUITAR BLUES ANDY KIRK W/FLOYD SMITH &bull; 10. ROSE ROOM BENNY GOODMAN SEXTET W/CHARLIE CHRISTIAN &bull; 11. HOT AND BOTHERED CLARENCE PROFIT TRIO W/JIMMY SHIRLEY &bull; 12. SWING TO BOP (TOPSY) CHARLIE CHRISTIAN &bull; 13. I GOT A BREAK BABY T-BONE WALKER &bull; 14. BLUE SKIES LES PAUL &bull; 15. AIN&rsquo;T THAT JUST LIKE A WOMAN LOUIS JORDAN W/CARL HOGAN &bull; 16. SWEET JENNIE LEE BOB WILLS W/JUNIOR BARNARD &bull; 17. I CAN&rsquo;T GIVE YOU ANYTHING BUT LOVE GEORGE BARNES &bull; 18. I DON&rsquo;T KNOW IT ARTHUR CRUDUP &bull; 19. BUMBLE BOOGIE ALVINO REY AND HIS ORCHESTRA &bull; 20. PAPA TREE TOP BLUES ALBENNIE JONES W/BILLY BUTLER &bull; 21. HAPPY NEW YEAR, DARLING LONNIE JOHNSON &bull; 22. THIS TRAIN SISTER ROSETTA THARPE &bull; 23. UNTRUE BLUES LIGHTNIN&rsquo; HOPKINS &bull; 24. INTUITION LENNIE TRISTANO W/BILLY BAUER. <br /><strong>CD 2/1948-1955 :</strong> 1. JOHN LEE&rsquo;S ORIGINAL BOOGIE (BOOGIE CHILLUN) JOHN LEE HOOKER &bull; 2. STANDIN&rsquo; HERE TREMBLIN&rsquo; MUDDY WATERS &bull; 3. SUGARFOOT BOOGIE HANK GARLAND &bull; 4. HONOLULU MARCH SOL HOOPII &bull; 5. NOBODY&rsquo;S SWEETHEART CHET ATKINS &bull; 6. NUMBER 000 OTIS BLACKWELL W/RENE HALL &bull; 7. BLIND LOVE B.B. KING &bull; 8. BRYANT&rsquo;S BOUNCE SPEEDY WEST &amp; JIMMY BRYANT &bull; 9. ROCK THE JOINT BILL HALEY W/DANNY CEDRONE &bull; 10. OOH MIDNIGHT PETE &ldquo;GUITAR&rdquo; LEWIS &bull; 11. BLUES FOR IKE DJANGO REINHARDT &bull; 12. BOOTLEGGIN&rsquo; BABY ROY BROWN W/JIMMY DAVIS &bull; 13. OSCAR&rsquo;S BLUES OSCAR MOORE QUARTET &bull; 14. GUITAR SLIM GUITAR SLIM &bull; 15. LOVE MY BABY JUNIOR PARKER W/PAT HARE &bull; 16. YOU KNOW YEAH PEE WEE CRAYTON &bull; 17. SATURDAY NIGHT SHUFFLE MERLE TRAVIS &bull; 18. THAT&rsquo;S ALL RIGHT ELVIS PRESLEY W/SCOTTY MOORE &bull; 19. GIBSON BOY TAL FARLOW &bull; 20. LIVING THE LIFE I LOVE MEMPHIS SLIM W/MATT &ldquo;GUITAR&rdquo; MURPHY &bull; 21. RECONSIDER BABY LOWELL FULSON &bull; 22. TINY&rsquo;S BOOGIE TINY GRIMES &bull; 23. DUST MY BLUES ELMORE JAMES &bull; 24. ROLY POLY CHUCK BERRY.<br /><strong>CD 3/1954-1962 : </strong>1. SPACE GUITAR JOHNNY &ldquo;GUITAR&rdquo; WATSON &bull; 2. MIDNIGHT HOURS LARRY DALE W/MICKEY BAKER &bull; 3. BI-BICKEY-BI-BO-BO-GO GENE VINCENT W/CLIFF GALLUP &bull; 4. MINOR MOOD BARNEY KESSEL &bull; 5. HURRICANE LARRY COLLINS &amp; JOE MAPHIS &bull; 6. PEGGY SUE BUDDY HOLLY &bull; 7. THE CRAWL LONNIE BROOKS &bull; 8. SUSIE-Q DALE HAWKINS W/JAMES BURTON &bull; 9. JACK AND JILL SHUFFLE THEOPHILUS BECKFORD W/ERNEST RANGLIN &bull; 10. RUMBLE LINK WRAY AND HIS RAY MEN &bull; 11. CAROL CHUCK BERRY &bull; 12. THIS IS THE END BUDDY GUY &bull; 13. SCHOOL DAY BLUES JOHNNY WINTER &bull; 14. EASY LIVING HOWARD ROBERTS &bull; 15. WELL YOU NEEDN&rsquo;T KENNY BURRELL &bull; 16. ROUND MIDNIGHT WES MONTGOMERY &bull; 17. YOURS TRULY SNOOKS EAGLIN &bull; 18. WALK DON&rsquo;T RUN THE VENTURES W/BOB BOGLE &bull; 19. APACHE THE SHADOWS W/HANK MARVIN &bull; 20. BO DIDDLEY IS LOOSE BO DIDDLEY W/LADY BO &bull; 21. HELP OUT BO DIDDLEY &bull; 22. CALIFORNIA BLUES ALBERT KING &bull; 23. TREMBLE ALBERT COLLINS &bull; 24. WILLOW WEEP FOR ME ELEK BACSIK.<br /></p></p><br><br>"
      "description_short" => "<h3>ROCK COUNTRY JAZZ BLUES R&B (1935-1962)</h3>"
      "link_rewrite" => "electric-guitar-story"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Electric Guitar Story"
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 422
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "1360-19272"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Roots of Rock'n'roll"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "roots-of-rock-n-roll"
      "category_name" => "Roots of Rock'n'roll"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=1360&rewrite=electric-guitar-story&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:2 [ …2]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [ …1]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => null
      "dwf_livret" => "<h3>Electric guitar story FA5421</h3><span class=Soustitre2>Electric Guitar Story<br />Country Jazz, Blues R&amp;B Rock 1935-1962</span><span class=Soustitre><br />Electric Guitar Story <br />Country, Jazz, Blues, R&amp;B, Rock 1935-1962</span><span class=Texte><br /></span><p align=justify><span class=Texte>Forc&eacute;ment non exhaustif, cet album peut &ecirc;tre compl&eacute;t&eacute; dans cette collection par les anthologies Guitare Country - From Old Time to Jazz Times 1926-1950 et Rock Instrumentals Story 1934-1962 qui contient notamment des morceaux d&rsquo;Earl Hooker, Eddie Cochran, Duane Eddy, Dick Dale, Freddie King et bien d&rsquo;autres (consulter fremeaux.com).</span><br /><span class=Texte>Quand je serai mort, continuez &agrave; passer les disques.</span><br /><span class=Texte>&mdash; Jimi Hendrix</span><br /><span class=Texte>Enregistr&eacute;e d&egrave;s 1935 &mdash; le piano &eacute;lectrique devra attendre 1955 &mdash; la guitare amplifi&eacute;e par un dispositif &eacute;lectrique s&rsquo;est r&eacute;pandue dans les ann&eacute;es d&rsquo;apr&egrave;s-guerre et a progressivement supplant&eacute; le piano, le saxophone et la trompette en tant qu&rsquo;instrument soliste dominant dans la musique populaire. Plus facile &agrave; ma&icirc;triser que les instruments &agrave; vent et le violon, le premier instrument &eacute;lectrique de l&rsquo;histoire &eacute;tait capable de produire un son suffisamment puissant pour figurer dans un orchestre avec batterie &mdash; contrairement &agrave; la guitare s&egrave;che. Tr&egrave;s versatile, la guitare &eacute;lectrique est un instrument polyphonique &agrave; la fois rythmique et soliste. Elle permet aussi de chanter tout en jouant et de s&rsquo;accompagner seul. L&eacute;g&egrave;re, pratique, bon march&eacute; elle pouvait compl&eacute;ter, voire remplacer l&rsquo;encombrant et on&eacute;reux piano dont le r&ocirc;le harmonique avait longtemps &eacute;t&eacute; indispensable. Sa popularit&eacute; grandissante au d&eacute;but des ann&eacute;es 1950 fut parall&egrave;le &agrave; l&rsquo;expansion du rock, du blues et d&rsquo;un nouveau support, le disque microsillon (45 tours, 33 tours) qui a rendu le 78 tours obsol&egrave;te. Elle a boulevers&eacute; le son et le style des musiques populaires du monde entier. Les premiers effets audio artificiels (r&eacute;verb, tr&eacute;molo, distorsion, &eacute;cho, etc.) apparus &agrave; cette &eacute;poque ont encore accentu&eacute; son charme et sa s&eacute;duction.</span><br /><span class=Texte>De brillants musiciens se sont massivement appropri&eacute;s ces nouveaux sons excitants qui surgirent dans la country, le blues, le jazz, la vari&eacute;t&eacute; et le rock. En 1962 &agrave; la veille de la Beatlemania et quatre ans avant l&rsquo;irruption de Jimi Hendrix, qui d&eacute;cupleraient encore son immense popularit&eacute;, la guitare &eacute;lectrique tenait d&eacute;j&agrave; une place d&eacute;terminante dans le paysage musical. Elle s&rsquo;inscrit depuis dans la s&eacute;miotique du mythe am&eacute;ricain, repr&eacute;sentation symbolique de la virilit&eacute; &mdash; entre gratte-ciel et arme &agrave; feu, entre fus&eacute;e spatiale et automobile1. La guitare fut un instrument f&eacute;tiche des nomades pionniers des États-Unis&thinsp;; une fois &eacute;lectrifi&eacute;e et devenue l&rsquo;outil d&rsquo;improvisations &eacute;blouissantes, sans retenue, extravagantes, d&eacute;brid&eacute;es et exaltantes, elle devint un symbole de libert&eacute;, d&rsquo;ind&eacute;pendance, de jouissance et de libre expression. Elle est rest&eacute;e un code culturel de l&rsquo;identit&eacute; moderne des États-Unis. </span><br /><span class=Texte>En r&eacute;unissant quelques-uns de ses pionniers et premiers innovateurs, cet album juxtapose les styles tr&egrave;s diff&eacute;rents des meilleurs instrumentistes originels de la guitare &eacute;lectrique, qui ont largement influenc&eacute; tous ceux qui ont suivi. Chacun d&rsquo;entre eux a particip&eacute; &agrave; exprimer et d&eacute;finir les contours esth&eacute;tiques de cet id&eacute;al de libert&eacute; proclam&eacute; par les États-Unis. Avec des g&eacute;ants comme <strong>Sol Hoopii, Lonnie Johnson, Django Reinhardt, T-Bone Walker, Charlie Christian, John Lee Hooker, Muddy Waters, Les Paul, B.B. King, Mickey Baker, Barney Kessel, Jimmy Bryant, Bo Diddley, Chet Atkins, Chuck Berry, Wes Montgomery</strong> ou les influences sur Jimi Hendrix que furent <strong>Mickey Baker, Johnny &laquo;&thinsp;Guitar&thinsp;&raquo; Watson </strong>ou <strong>Albert Collins</strong> &mdash; sans oublier<strong> Link Wray </strong>l&rsquo;inventeur du power chord &mdash; l&rsquo;essentiel n&rsquo;avait-il pas d&eacute;j&agrave; &eacute;t&eacute; dit en 1962 ?</span><br /><span class=Soustitre><br />La Guitare</span><br /><span class=Texte>Une multitude d&rsquo;instruments &agrave; cordes est apparue en cinq mill&eacute;naires. La guitare est sans doute n&eacute;e d&rsquo;un m&eacute;lange de cithare grecque (un type de lyre apport&eacute; par les Romains en Espagne vers l&rsquo;an 40) et d&rsquo;une forme d&rsquo;oud (fond bomb&eacute;) introduit en Europe au VIIIe si&egrave;cle par les Maures. Maures et Espagnols ont d&eacute;velopp&eacute; diff&eacute;rentes familles de guitares, dont les types baroque, espagnol (guitare &laquo;&thinsp;classique&thinsp;&raquo;) et flamenco. Avec son fond plat et un manche plus fin, vers le XIe si&egrave;cle la guitare latine &agrave; quatre cordes &eacute;tait d&eacute;j&agrave; une guitare moderne. <strong>Tiny Grimes </strong>joue ici de sa fameuse guitare t&eacute;nor &agrave; quatre cordes, survivance de ce type de mod&egrave;le. La premi&egrave;re guitare &agrave; six cordes a &eacute;t&eacute; dat&eacute;e de 1779, fabriqu&eacute;e en Italie par une famille de luthiers sp&eacute;cialistes de la mandoline. Tr&egrave;s r&eacute;pandue en Espagne, la guitare s&rsquo;est notamment propag&eacute;e en Am&eacute;rique du Nord avec la colonisation espagnole. Cette guitare europ&eacute;enne a aussi &eacute;t&eacute; adopt&eacute;e aux &icirc;les Hawa&iuml;, dans l&rsquo;oc&eacute;an Pacifique o&ugrave; s&rsquo;est d&eacute;velopp&eacute; un style local original (avec accords ouverts &agrave; l&rsquo;espagnole, appel&eacute;s plus r&eacute;cemment le &laquo;&thinsp;slack-key&thinsp;&raquo;). Fond&eacute;e en 1833 &agrave; Nazareth (Pennsylvanie) par Christian Frederick Martin, fils d&rsquo;un luthier allemand, la marque &eacute;tats-unienne Martin produisait des guitares de qualit&eacute;. D&rsquo;autres soci&eacute;t&eacute;s, dont Washburn, Schmidt &amp; Maul, Stucke et Tilton r&eacute;pondaient &agrave; une demande croissante. Li&eacute;e &agrave; l&rsquo;esprit des pionniers de l&rsquo;ouest itin&eacute;rants, la populaire guitare s&rsquo;est d&rsquo;abord propag&eacute;e dans les territoires initialement espagnols : une partie du Colorado, du Wyoming et dans les &eacute;tats de l&rsquo;Arizona, de Californie, du Nevada, de l&rsquo;Utah, du Nouveau-Mexique &mdash; et du Texas, ce qui explique peut-&ecirc;tre la forte tradition guitaristique dans cet &eacute;tat2 (dont sont originaires <strong>Lightnin&rsquo; Hopkins, Buddy Holly, Johnny Winter</strong>). En 1850 ces territoires ont &eacute;t&eacute; achet&eacute;s au Mexique par les États-Unis. La Louisiane et le Mississippi avaient &eacute;galement connu des p&eacute;riodes espagnoles, et l&rsquo;instrument a prosp&eacute;r&eacute; dans ces r&eacute;gions du sud o&ugrave; des traditions de musique folk &laquo;&thinsp;old time&thinsp;&raquo;, de hillbilly (populaires chez les nomades d&rsquo;origine europ&eacute;enne, comme les pionniers et cow boys) et de folk blues se sont d&eacute;velopp&eacute;es chez les Afro-am&eacute;ricains et les Europ&eacute;ens d&rsquo;origine irlandaise, anglaise, fran&ccedil;aise, allemande, autrichienne, italienne et portugaise notamment. Orville H. Gibson (1856-1918), dont le p&egrave;re &eacute;tait d&rsquo;origine anglaise, a longtemps &eacute;t&eacute; un luthier amateur passionn&eacute;. Puis il a commenc&eacute; &agrave; vendre ses mandolines et guitares &agrave; la fin du XIXe si&egrave;cle dans son atelier de Kalamazoo (Michigan). Sa fortune &eacute;tait faite en 1902. </span><br /><span class=Soustitre>Guitare Acoustique</span><br /><span class=Texte>La guitare espagnole (cordes en boyau, manche large) &eacute;tait utilis&eacute;e pour la musique classique par des musiciens comme le virtuose andalou Andr&eacute;s Segovia. En raison d&rsquo;un niveau de son insuffisant, elle ne pouvait figurer dans les orchestres de musiques populaires du XXe si&egrave;cle accueillant de puissants instruments &agrave; vent, une batterie ou un piano. La guitare &eacute;tait souvent r&eacute;duite &agrave; un r&ocirc;le d&rsquo;instrument rythmique, aux accords capables de produire un soutien harmonique. Le banjo, beaucoup plus puissant mais au son tr&egrave;s sec et court, lui &eacute;tait pr&eacute;f&eacute;r&eacute; et figure dans nombre d&rsquo;enregistrements de jazz dixieland des ann&eacute;es 1920. Visant &agrave; augmenter le niveau sonore, la guitare &laquo;&thinsp;folk&thinsp;&raquo; &agrave; cordes de m&eacute;tal (steel string guitar) s&rsquo;est d&eacute;velopp&eacute;e dans les ann&eacute;es 1920. La sous-marque Stella (Harmony) &eacute;tait appr&eacute;ci&eacute;e en raison de son prix bas. Plus agressive, la guitare folk a connu de nombreux ma&icirc;tres, parmi lesquels le premier guitariste de jazz important Eddie Lang et en France <strong>Django Reinhardt</strong>3 (1910-1953), adepte d&rsquo;un mod&egrave;le puissant et singulier de guitare acoustique, con&ccedil;u par le concertiste de guitare classique et luthier italien Mario Maccaferri, fabriqu&eacute; &agrave; Mantes-la-Ville (France) par la marque Selmer. On peut &eacute;couter ici un blues sublime de Django, enregistr&eacute; en 1953 &agrave; la fin de sa vie sur sa guitare Maccaferri &eacute;quip&eacute;e d&rsquo;un micro amovible. Mais les guitaristes acoustiques &eacute;taient g&eacute;n&eacute;ralement contraints de jouer seuls, comme le ma&icirc;tre de la guitare ragtime Arthur &laquo;&thinsp;Blind&thinsp;&raquo; Blake, ou dans de petites formations et des duos comme ceux, fameux, enregistr&eacute;s par Lonnie Johnson et Eddie Lang (&laquo;&thinsp;Handful of Riffs&thinsp;&raquo;, 19294). Le chanteur guitariste et banjo&iuml;ste <strong>Lonnie Johnson </strong>(1899-1970) est le premier &agrave; avoir enregistr&eacute; des improvisations &agrave; la guitare effectu&eacute;es sur une seule corde &agrave; la fois. Surtout connu pour ses &oelig;uvres &agrave; la guitare s&egrave;che, ce musicien influent figure ici sur un enregistrement de 1951 &agrave; la guitare &eacute;lectrique5. </span><br /><span class=Soustitre>Guitare &laquo;&thinsp;Slide&thinsp;&raquo;</span><br /><span class=Texte>Les travaux de l&rsquo;ethnomusicologue Gerhard Kubik ont montr&eacute; qu&rsquo;il existe des instruments (cithares &agrave; une corde idiochord) utilisant le principe de la guitare &laquo;&thinsp;slide&thinsp;&raquo; chez des Bantous de la R&eacute;publique Centrafricaine6. Le guitariste slide am&eacute;ricain Big Joe Williams a observ&eacute; des instruments analogues dans son enfance : une petite bouteille de whisky &eacute;tait gliss&eacute;e sur la corde pour d&eacute;finir les notes. Le cornettiste W.C. Handy t&eacute;moigna avoir &eacute;cout&eacute; un guitariste de blues jouer de la slide avec un couteau &agrave; Tutwiler (Mississippi) en 1903. N&eacute;anmoins la technique de guitare &laquo;&thinsp;slide&thinsp;&raquo; a &eacute;t&eacute; parall&egrave;lement invent&eacute;e en 1889 sur l&rsquo;&icirc;le de O&rsquo;ahu &agrave; Hawa&iuml; par Joseph Kekuku (1874-1932), qui s&rsquo;installa aux États-Unis en 1904 o&ugrave; il la popularisa dans le spectacle Bird of Paradise. Comme d&rsquo;autres Hawa&iuml;ens en vogue, il eut beaucoup de succ&egrave;s au sein des Hawaiian Singers and Dancers o&ugrave; il jouait d&rsquo;une guitare de type espagnol pos&eacute;e &agrave; plat sur ses genoux. Cette approche lap steel guitar &laquo;&thinsp;slide&thinsp;&raquo;, o&ugrave; les notes sont jou&eacute;es en glissando sur le manche &agrave; l&rsquo;aide d&rsquo;une pi&egrave;ce de m&eacute;tal (le &laquo;&thinsp;steel&thinsp;&raquo;), &eacute;tait une extension des m&eacute;lodies de voix hawa&iuml;ennes analogues. Elle rendait un son original, &agrave; la forte pr&eacute;sence7. Dans les ann&eacute;es folles 1910-1930 les guitares hawa&iuml;ennes jou&eacute;es &agrave; plat &eacute;taient tr&egrave;s &agrave; la mode (&eacute;couter Frank Ferera, enregistr&eacute; d&egrave;s 19168). Kekuku parcourut l&rsquo;Europe triomphalement de 1919 &agrave; 1927. Dans les ann&eacute;es 1910-1930, au confluent de la tradition hawa&iuml;enne/country et afro-am&eacute;ricaine, de grands bluesmen comme Son House, Charlie Patton, Blind Willie Johnson, Bukka White ou Robert Johnson9 pratiquaient la technique &laquo;&thinsp;slide&thinsp;&raquo; en vogue et l&rsquo;appliquaient au blues (avec une guitare jou&eacute;e contre le corps et non &agrave; plat sur les genoux). Avec un canif, un tuyau de cuivre ou manche de bouteille sci&eacute; et enfil&eacute; sur le doigt, leurs guitares produisaient un son tranchant qui leur permettaient de s&rsquo;accompagner seuls et d&rsquo;animer des bars bruyants. </span><br /><span class=Texte>Les disques de guitare hawa&iuml;enne, et du virtuose <strong>Sol Hoopi</strong>10 en particulier (enregistr&eacute; &agrave; partir de 1927), ont consid&eacute;rablement marqu&eacute; la musique hillbilly/country, o&ugrave; la lap steel s&rsquo;est impos&eacute;e sous cette influence. Mais ces guitares manquaient toujours d&rsquo;amplitude sonore, un probl&egrave;me que voulut r&eacute;soudre George Beauchamp, un entrepreneur, violoniste lui-m&ecirc;me guitariste de lap steel. C&rsquo;est en 1927 &agrave; Los Angeles qu&rsquo;il s&rsquo;est associ&eacute; aux fr&egrave;res John et Rudy Dopyera, des luthiers sp&eacute;cialis&eacute;s dans les violons, guitares et banjos avec qui il cr&eacute;a une puissante guitare acoustique en t&ocirc;le d&rsquo;acier emboutie, &eacute;quip&eacute;e de trois c&ocirc;nes r&eacute;sonateurs internes. L&rsquo;instrument &eacute;tait enti&egrave;rement construit avec l&rsquo;acier produit par leurs partenaires National Steel, qui d&eacute;pos&egrave;rent les brevets et la marque National String Instrument Corporation. Le mat&eacute;riel utilis&eacute; dans leur petite usine provenait de la toute proche boutique d&rsquo;outillage d&rsquo;Adolph &laquo;&thinsp;Rick&thinsp;&raquo; Rickenbacker, un artisan d&rsquo;origine suisse allemande. Certains musiciens de blues, comme Casey Bill Weldon11, ont utilis&eacute; ce puissant mod&egrave;le National, la tricone &agrave; resonator en jouant &agrave; plat sur leurs genoux, dans la tradition &laquo;&thinsp;lap steel&thinsp;&raquo; hawa&iuml;enne. L&rsquo;&eacute;pouse de Weldon, Memphis Minnie12, pr&eacute;f&eacute;rait en jouer dans la position espagnole, plus courante. D&egrave;s 1941 <strong>Muddy Waters</strong>13 sera l&rsquo;un des premiers &agrave; enregistrer sur une guitare &eacute;lectrique dans le style slide populaire dans le Mississippi o&ugrave; il naquit. Muddy figure ici sur un titre de 1948 o&ugrave; il donne toute la mesure de son style magnifique. Mais c&rsquo;est <strong>Floyd Smith</strong>, accompagn&eacute; par l&rsquo;orchestre swing d&rsquo;Andy Kirk en 1939, qui sera le premier guitariste &agrave; obtenir un gros succ&egrave;s avec un instrumental jou&eacute; &agrave; la lap steel &eacute;lectrique (une Epiphone Electar). Chuck Berry plagiera son <strong>Floyd&rsquo;s Guitar Blues</strong> en 1958 sous le nom de &laquo;&thinsp;Blues for Hawaiians&thinsp;&raquo;14. Berry l&rsquo;enregistra sur une electraharp Gibson, une lap steel am&eacute;lior&eacute;e par <strong>Alvino Rey.</strong> La guitare slide a fait depuis de tr&egrave;s nombreux adeptes, dont Ry Cooder avec les Rolling Stones et le collectionneur de 78 tours anciens Jeff Healey qui en 1988 conna&icirc;tra le succ&egrave;s avec sa technique lap steel. En 1980, le luthier fran&ccedil;ais James Trussart commencera &agrave; cr&eacute;er une gamme de guitares &eacute;lectriques enti&egrave;rement en acier, propices &agrave; la slide et adopt&eacute;es depuis par les plus grands noms. </span><br /><span class=Soustitre><br />Guitare Électrique</span><br /><span class=Texte>Apr&egrave;s s&rsquo;&ecirc;tre s&eacute;par&eacute; de National et des fr&egrave;res Dopyera qui en 1928 fond&egrave;rent aussit&ocirc;t la marque Dobro (DOPyera BROthers) et le mod&egrave;le Dobro en acier &agrave; un seul r&eacute;sonateur invers&eacute;, c&rsquo;est encore George Beauchamp qui en 1931 &agrave; Los Angeles cr&eacute;a la premi&egrave;re guitare &eacute;lectrique vendue dans le commerce. Exp&eacute;rimentant d&egrave;s 1925, il avait cr&eacute;&eacute; un mod&egrave;le d&rsquo;essai &agrave; une corde &eacute;quip&eacute; d&rsquo;un microphone de phonographe Brunswick. Il fabriqua ensuite son propre micro &agrave; bobinage, qu&rsquo;il enroula avec le moteur de sa machine &agrave; coudre en 1931. C&rsquo;est un ancien artisan du mod&egrave;le National Steel, Harry Watson, qui fabriqua avec lui la premi&egrave;re guitare enti&egrave;rement &eacute;lectrique sans caisse de r&eacute;sonance (solid body), nomm&eacute;e The Frying Pan (la po&euml;le &agrave; frire). Beauchamp s&rsquo;associa alors &agrave; Rick Rickenbacker qui fabriqua cette lap steel en quelques exemplaires en 1934. Grav&eacute; en janvier 1935 lors de la toute premi&egrave;re s&eacute;ance d&rsquo;enregistrement d&rsquo;une guitare &eacute;lectrique, <strong>Some of These Days</strong> r&eacute;v&egrave;le pourtant le son d&rsquo;un autre mod&egrave;le, une guitare lap steel de bois plein &laquo;&thinsp;achet&eacute;e au Mexique&thinsp;&raquo; par <strong>Bob Dunn</strong>. Branch&eacute;e dans un ampli achet&eacute; au Woodward Music Store de Mineral Wells (Texas) qui l&rsquo;&eacute;quipa d&rsquo;un myst&eacute;rieux micro, en deux jours Dunn enregistra trente-cinq titres remarquables avec le groupe western swing de Milton Brown. Tromboniste de jazz &agrave; l&rsquo;origine, l&rsquo;excellent et influent Bob Dunn cherchait &agrave; reproduire les effets glissando du trombone &agrave; coulisse avec sa guitare. Il se consid&eacute;rait &ecirc;tre un musicien de jazz et en partie gr&acirc;ce &agrave; lui, l&rsquo;impact du western swing, versant blanc du rock en gestation, fut important. C&rsquo;est en 1935 que Rickenbacker a lanc&eacute; son mod&egrave;le de lap steel &eacute;lectrique, la Spanish Electro cr&eacute;&eacute;e par Beauchamp. La marque Dobro a sorti la m&ecirc;me ann&eacute;e une lap steel &eacute;lectrique solid body (sans caisse r&eacute;sonante) du m&ecirc;me type. Le guitariste suivant de cette anthologie (<strong>Wilson Perkins</strong>), jouait dans la m&ecirc;me veine que Dunn mais avec un son bien distinct. Il utilisait sans doute l&rsquo;un de ces deux mod&egrave;les artisanaux r&eacute;alis&eacute;s en peu d&rsquo;exemplaires. La distorsion &eacute;tait d&eacute;j&agrave; pr&eacute;sente en raison des pr&eacute;amplis surchauff&eacute;s de son mat&eacute;riel de petite taille. Des mandolines furent aussi &eacute;lectrifi&eacute;es peu apr&egrave;s.</span><br /><span class=Texte>La guitare &eacute;lectrique a une dette &agrave; l&rsquo;&eacute;gard de la tradition des luthiers sud&egrave;tes, qui vivaient dans une r&eacute;gion germanophone de l&rsquo;actuelle R&eacute;publique Tch&egrave;que. Juxtapos&eacute;e &agrave; l&rsquo;Allemagne, la Boh&ecirc;me/Moravie &eacute;tait situ&eacute;e au c&oelig;ur d&rsquo;une immense for&ecirc;t, notamment d&rsquo;&eacute;pic&eacute;as idoines pour fabriquer des tables d&rsquo;harmonie de guitare. Les artisans sud&egrave;tes (qui fuirent en Bavi&egrave;re apr&egrave;s 1945) se sp&eacute;cialisaient chacun dans une seule pi&egrave;ce, qu&rsquo;ils affinaient &agrave; la perfection. Les excellentes guitares allemandes &eacute;taient ensuite assembl&eacute;es par des fabricants qui disposaient des meilleures pi&egrave;ces au monde. Les marques am&eacute;ricaines Gretsch et Martin ont &eacute;t&eacute; fond&eacute;es par des Allemands, et Roger Rossmeisl, le luthier qui d&eacute;veloppa les mod&egrave;les de Rickenbacker modernes &agrave; partir de l&rsquo;essor des guitares &eacute;lectriques en 1954 &eacute;tait originaire de Kiel, au nord de Hambourg. Sans oublier les marques allemandes tr&egrave;s r&eacute;put&eacute;es comme Lang, H&ouml;fner, Neubauer, Framus, Hoyer, Hopf et d&rsquo;autres. Quant &agrave; l&rsquo;essentiel fabricant de micros Willi Lorenz Stich, qui changeait de nom avec chaque employeur (Bela Lorentovsky, Billy Lorento chez Framus, Bill Lawrence en 1968 chez Dan Armstrong, puis chez Gibson), il venait de Cologne.</span><br /><span class=Texte>La grande maison Gibson, dont les guitares s&egrave;ches &eacute;taient r&eacute;put&eacute;es depuis 1902, a vendu en 1935 ses premi&egrave;res lap steels &eacute;quip&eacute;es de micros (peu performants). Vite vendus comme accessoires, ces micros ont &eacute;t&eacute; bri&egrave;vement mont&eacute;s sur des guitares folk L-00 et L-1. Leur succ&egrave;s a &eacute;t&eacute; tel que Gibson fit appel &agrave; Alvin McBurney (alias <strong>Alvino Rey,</strong> 1908-2004) pour concevoir un vrai micro de guitare &eacute;lectrique. Depuis 1925 environ Rey amplifiait parfois son banjo et sa guitare lap steel sur sc&egrave;ne. Il participa &agrave; l&rsquo;&eacute;laboration du prototype, la Gibson 1270 qui devint en d&eacute;cembre 1936 le premier mod&egrave;le de guitare &eacute;lectrique de la marque, la l&eacute;gendaire &laquo;&thinsp;Electric Spanish&thinsp;&raquo; ES-150 (car vendue au prix de $150, ampli compris). L&rsquo;ES-150 n&rsquo;&eacute;tait pas une lap steel mais une guitare espagnole (sans rosace) &eacute;quip&eacute;e de micros qui se jouait appuy&eacute;e contre le corps. Alvino Rey sera aussi un pionnier de l&rsquo;electraharp Gibson, une am&eacute;lioration de la lap steel qui en 1940 pr&eacute;c&eacute;da la console pedal steel guitar &agrave; plusieurs manches accord&eacute;s diff&eacute;remment. Plusieurs titres incluant une guitare pedal steel sont inclus ici, dont <strong>Bryant&rsquo;s Bounce </strong>avec <strong>Speedy West </strong>en plus de la guitare de <strong>Jimmy Bryant </strong>(1925-1980), et Don Davis avec <strong>Hank Garland</strong>. Solide guitariste, <strong>Alvino Rey </strong>enregistrera en 1946 une version du &laquo;&thinsp;Vol du Bourdon&thinsp;&raquo; de Nikola&iuml; Rimsky-Korsakoff accompagn&eacute; par un orchestre swing. Sa version inspirera celle des <strong>Ventures</strong> et le &laquo;&thinsp;<strong>Bumble Boogie</strong>&thinsp;&raquo; de B. Bumble and the Stingers15. </span><br /><span class=Texte>Le son &eacute;lectrique de l&rsquo;ES-150 s&rsquo;est propag&eacute; pendant la guerre et a particip&eacute; &agrave; rendre obsol&egrave;te les grandes formations de jump blues et swing aux encombrantes sections d&rsquo;instruments &agrave; vent. Avec la sortie des Gibson L5-CES (&laquo;&thinsp;Cutaway Electric Spanish&thinsp;&raquo;) en 1951 et le mod&egrave;le de luxe Super 400 CES avec ses excellents micros P-90 (utilis&eacute;e ici par <strong>Merle Travis</strong> et<strong> Scotty Moore</strong> avec Elvis Presley), deux &laquo;&thinsp;semi-acoustiques&thinsp;&raquo; (avec table bomb&eacute;e, ou &laquo;&thinsp;archtop&thinsp;&raquo;), Gibson dominait compl&egrave;tement le march&eacute; de la guitare jazz, laissant les miettes aux remarquables Epiphone. L&rsquo;arriv&eacute;e en 1951 des Gretsch 6030 et 6031 &eacute;quip&eacute;es de micros DeArmond, puis de la 6192 a &eacute;branl&eacute; leur quasi monopole, notamment avec le concours de l&rsquo;immense <strong>Chet Atkins</strong>, grande vedette de la guitare country qui &agrave; partir de 1954 fera la promotion de la marque Gretsch et aura un mod&egrave;le &agrave; son nom lanc&eacute; en 1955. Gretsch produisait diff&eacute;rents instruments de qualit&eacute; depuis 1883 et, en se lan&ccedil;ant sur le march&eacute; de la guitare &eacute;lectrique et de l&rsquo;ampli, multiplia les innovations visuelles (couleurs vives, paillettes, designs magnifiques et originaux) et techniques, exp&eacute;rimentant toutes sortes de m&eacute;canismes bizarres qui contribu&egrave;rent &agrave; leur &acirc;ge d&rsquo;or. Sans surprise, les extravagantes Gretsch &eacute;taient populaires chez les jeunes artistes de rock comme Eddie Cochran. Dot&eacute;es d&rsquo;un son original et per&ccedil;ant, diff&eacute;rent, elles trouveraient la faveur de musiciens innovants comme<strong> Cliff Gallup</strong> (1930-1988), <strong>Bo Diddley</strong> ou George Harrison. Elles connurent un regain de popularit&eacute; en 1981 &agrave; la faveur du succ&egrave;s des Stray Cats avec Brian Setzer. </span><br /><span class=Soustitre>Guitare Jazz</span><br /><span class=Texte>[Quand je joue,] tout ce que j&rsquo;entends, c&rsquo;est le son de l&rsquo;accord, pas son nom. C&rsquo;est comme si je portais un bandeau et qu&rsquo;on me donnait un morceau de g&acirc;teau &agrave; go&ucirc;ter. Est-ce du chocolat, de la cerise, de la citrouille&#8199;? Voil&agrave;, je go&ucirc;te cet accord, et ce qu&rsquo;il se passe en moi, c&rsquo;est &laquo;&thinsp;quel est mon commentaire musical ?&thinsp;&raquo; Ce n&rsquo;est pas une phrase toute pr&ecirc;te, ni une succession de notes, c&rsquo;est une d&eacute;claration. C&rsquo;est &agrave; &ccedil;a que je pense. Si je devais penser &agrave; ce que George Russell dit dans son livre sur le lydien chromatique, ou &agrave; ce que John Coltrane ferait, j&rsquo;aurais trop d&rsquo;informations, &ccedil;a m&rsquo;intimiderait. [&hellip;] La seule mani&egrave;re d&rsquo;&ecirc;tre bon en improvisation c&rsquo;est d&rsquo;improviser avec ce qui est en toi.&thinsp;&raquo;</span><br /><span class=Texte>&mdash; Barney Kessel</span><br /><span class=Texte>Une Gibson ES-150, premi&egrave;re guitare &eacute;lectrique r&eacute;ellement populaire, a &eacute;t&eacute; achet&eacute;e par <strong>Eddie Durham</strong> (1906-1987) en 1937. Il participa au tout premier morceau de jazz enregistr&eacute; avec une guitare &eacute;lectrique, <strong>Laughing at Life</strong> en mars 1938 &mdash; suivi de peu par <strong>Leonard Ware </strong>(1909-1974) avec Bechet. <strong>Charlie Christian</strong> (1916-1942) se procura lui aussi une ES-150 en 1937. Vite engag&eacute; par Benny Goodman avec qui il bouleversa le jazz, le tr&egrave;s influent Charlie Christian figure dans ce floril&egrave;ge avec son premier enregistrement, <strong>Rose Room,</strong> et son extraordinaire improvisation informelle <strong>Topsy </strong>(alias &laquo;Swing to Bop&raquo;)16 qui annon&ccedil;aient le son clair omnipr&eacute;sent dans le jazz moderne. Son ami <strong>T-Bone Walker </strong>(1910-1975) jouait lui aussi sur une ES-150 d&egrave;s 1937. Influenc&eacute;s par <strong>Lonnie Johnson </strong>(1899-1970), les enregistrements de T-Bone en 1942-1947 ont impos&eacute; un blues urbain sophistiqu&eacute; ancr&eacute; dans le jump blues, un style de rhythm and blues jazzy (beaucoup d&rsquo;instruments &agrave; vent) qui accoucherait du rock dans les ann&eacute;es 1940. Soliste et chanteur d&eacute;terminant, T-Bone Walker fut aussi influent chez les bluesmen et les rockers que Christian le fut chez les jazzmen. Il a notamment beaucoup marqu&eacute; <strong>B.B. King</strong> et <strong>Chuck Berry</strong>.</span><br /><span class=Texte>En 1937 Gibson lan&ccedil;a aussi une guitare t&eacute;nor &agrave; quatre cordes, la EST-150 adopt&eacute;e par <strong>Tiny Grimes </strong>(1916-1989), qui enregistra avec Charlie Parker, Art Tatum et d&rsquo;autres monstres sacr&eacute;s du jazz avant de se consacrer partiellement au rhythm and blues, comme ici sur <strong>Tiny&rsquo;s Boogie </strong>o&ugrave; il joue sciemment en pr&eacute;curseur de la distorsion (toujours accord&eacute; en DGBE, et non en quinte). &Agrave; l&rsquo;oppos&eacute; de ce son &laquo;&thinsp;sale&thinsp;&raquo;, <strong>Les Paul</strong> (1915-2009) fut l&rsquo;un des premiers guitaristes &eacute;lectriques &agrave; &eacute;blouir les m&eacute;lomanes, et ce d&egrave;s 1945. Ses premiers enregistrements (1936) &eacute;taient dans le style hillbilly mais son admiration pour <strong>Django Reinhardt</strong> l&rsquo;a pouss&eacute; vers le jazz. Inventeur, bricoleur, il modifiait sans arr&ecirc;t ses instruments, exp&eacute;rimentant une guitare amplifi&eacute;e par une aiguille de tourne-disque et une radio d&egrave;s 1932. Les Paul utilisait dans les ann&eacute;es 1940 une Epiphone Broadway personnalis&eacute;e rebaptis&eacute;e &laquo;&thinsp;Clunker&thinsp;&raquo;. <strong>Barney Kessel </strong>(1923-2004) a lui aussi enregistr&eacute; avec Charlie Parker &mdash; et nombre des plus illustres musiciens du pays. Apr&egrave;s la disparition en 1942 de son ami Charlie Christian (sur qui il avait initialement calqu&eacute; son style), Kessel est vite devenu l&rsquo;un des guitaristes de studio les plus demand&eacute;s des États-Unis, et l&rsquo;un des tout meilleurs. En plus de centaines de s&eacute;ances alimentaires, il a accompli une somptueuse carri&egrave;re solo de jazzman, comme on peut l&rsquo;entendre ici. Ma&icirc;tre des renversements, ce titan du jazz incluait souvent des passages en accords dans ses improvisations (ce qui influencera beaucoup le rock de Pete Townshend avec les Who). Sa pr&eacute;cieuse Gibson ES-350 de 1946 &eacute;tait &eacute;quip&eacute;e d&rsquo;un rare micro Gibson d&rsquo;ES-150 de 1939 (et d&rsquo;un chevalet de type violon), mais il se d&eacute;finissait comme &laquo;&thinsp;un musicien&thinsp;&raquo; et non &laquo;&thinsp;un guitariste&thinsp;&raquo; et avait retir&eacute; le logo de la marque de son instrument, refusant le f&eacute;tichisme li&eacute; &agrave; l&rsquo;objet. Ce qui n&rsquo;a pas emp&ecirc;ch&eacute; qu&rsquo;en hommage &agrave; son talent, trois mod&egrave;les de guitares fussent cr&eacute;&eacute;s &agrave; son nom par Kay, puis Gibson (en 1961) et Ibanez. <strong>Oscar Moore</strong> (1916-1981), guitariste bluesy du fameux trio jazz de Nat &laquo;&thinsp;King&thinsp;&raquo; Cole, enregistra de splendides disques tr&egrave;s personnels en solo avec son ES-150, tout comme l&rsquo;excellent musicien de studio <strong>Georges Barnes </strong>(1921-1977), entendu ici &agrave; la fois avec Big Bill Broonzy et &agrave; la t&ecirc;te de son propre groupe17. Broonzy et Barnes enregistr&egrave;rent ainsi l&rsquo;historique <strong>It&rsquo;s a Low Down Dirty Shame </strong>(premier solo &eacute;lectrique non-slide jamais grav&eacute;) le lendemain de la sanglante nuit de cristal nazie. Peu salu&eacute; par l&rsquo;histoire du jazz, peut-&ecirc;tre en raison de ses activit&eacute;s d&rsquo;arrangeur et de country picker, Barnes &eacute;tait pourtant l&rsquo;un des meilleurs, comme on peut l&rsquo;entendre ici.</span><br /><span class=Texte>L&rsquo;immense <strong>Wes Montgomery</strong> (1923-1968) a &eacute;t&eacute; la r&eacute;v&eacute;lation de la fin des ann&eacute;es 1950 avec son style doux, sans m&eacute;diator, et ses notes doubl&eacute;es &agrave; l&rsquo;octave. Nombre d&rsquo;autres guitaristes de jazz significatifs auraient pu figurer ici, dont Carl Kress, Freddie Green, Dick Mc-Donough, Slim Gaillard, Al Casey, Jimmy Gourley, Jimmy Raney, Grant Green, Joe Pass ou Jim Hall, mais il n&rsquo;&eacute;tait pas possible de tous les inclure ici. Ce recueil est n&eacute;anmoins l&rsquo;occasion de saluer des stylistes de premier plan comme <strong>Jimmy Shirley</strong> (1913-1989), l&rsquo;oubli&eacute;<strong> Howard Roberts </strong>(1929-1992) qui plus tard tiendra brillamment la rubrique &laquo;&thinsp;jazz improvisation&thinsp;&raquo; du magazine Guitar Player,<strong> Kenny Burrell</strong> (1931 -) ou <strong>Tal Farlow </strong>(1921-1998), qui pr&eacute;f&eacute;ra vite retourner &agrave; sa carri&egrave;re de dessinateur de panneaux publicitaires tant la vie de musicien &eacute;tait difficile. Le versatile Rom hongrois <strong>Elec Bacsik </strong>(1926-1993) a enregistr&eacute; &agrave; Paris avec Jeanne Moreau, Claude Nougaro et Serge Gainsbourg (dont &laquo;&thinsp;Elaeudanla T&eacute;&iuml;t&eacute;&iuml;a&thinsp;&raquo;), avec qui il enregistra aussi sur sc&egrave;ne en 1963 avant de partir vivre une carri&egrave;re de jazzman aux États-Unis. Violoniste, son style &agrave; part &eacute;tait nourri par la tradition tzigane o&ugrave; l&rsquo;&eacute;motion tenait une grande place. Quant &agrave; <strong>Billy Bauer </strong>(1915-2005), il enregistra avec Charlie Parker en 1947-1954 lors de quatre s&eacute;ances diff&eacute;rentes o&ugrave; son associ&eacute; Lennie Tristano &eacute;tait au piano. C&rsquo;est avec Tristano qu&rsquo;il enregistra Intuition, morceau pr&eacute;curseur et fondateur de ce qu&rsquo;on appellerait dix ans plus tard le free jazz. Cette improvisation enti&egrave;rement libre a &eacute;t&eacute; enregistr&eacute;e &agrave; l&rsquo;oreille, spontan&eacute;ment, sans m&eacute;lodie ni arrangement pr&eacute;existant. La pr&eacute;sence d&rsquo;une guitare &eacute;lectrique dans ce morceau charni&egrave;re est significative de l&rsquo;importance qu&rsquo;avait d&eacute;j&agrave; pris l&rsquo;instrument en 1949.</span><br /><span class=Soustitre>Guitare Solid Body</span><br /><span class=Texte>Les premi&egrave;res guitares solid body (bois plein, sans caisse de r&eacute;sonance) ont &eacute;t&eacute; les lap steels &laquo;&thinsp;Frying Pan&thinsp;&raquo; Rickenbacker et Dobro apparues en 1935, et un mod&egrave;le unique de basse &eacute;lectrique construit par Paul Tutmarc chez Audiovox la m&ecirc;me ann&eacute;e. L&rsquo;absence de caisse &eacute;vitait l&rsquo;ind&eacute;sirable effet larsen et le chevalet &eacute;tait fix&eacute; sur la table pour assurer une longueur de note suffisante. En 1940 avec un bout de pin Les Paul a construit lui-m&ecirc;me un prototype jou&eacute; en position espagnole, &laquo;&thinsp;The Log&thinsp;&raquo;, mais n&rsquo;a pas su convaincre Gibson de d&eacute;velopper un mod&egrave;le. D&egrave;s 1948 <strong>Merle Travis</strong> jouait sur une solid body unique de sa conception construite par Paul A. Bigsby. Mais c&rsquo;est Leo Fender, un Am&eacute;ricain r&eacute;parateur de radios et de mat&eacute;riel de sonorisation, qui le premier a commercialis&eacute; un mod&egrave;le de solid body tr&egrave;s au point, l&rsquo;Esquire (rebaptis&eacute;e Broadcaster puis Telecaster en 1952). Fender avait d&eacute;j&agrave; commercialis&eacute; une lap steel &eacute;lectrique en 1944. L&rsquo;un des deux micros de la Telecaster &eacute;tait ins&eacute;r&eacute; dans le chevalet. D&egrave;s la sortie de l&rsquo;Esquire &agrave; un micro en 1950, le concurrent Gibson accepta finalement la proposition de <strong>Les Paul,</strong> devenu entretemps un grand nom du jazz. Promue par son concepteur, la Gibson Les Paul &agrave; deux micros est sortie en 1952, concurren&ccedil;ant la Fender Telecaster. Les duos de vari&eacute;t&eacute; et sketches de Les Paul avec la guitariste Mary Ford ont fait leur fortune, et ses innovations dans le domaine de l&rsquo;enregistrement multipiste (d&egrave;s les ann&eacute;es 30) lui ont assur&eacute; une place de choix dans l&rsquo;histoire, faisant de l&rsquo;ombre &agrave; son fabuleux talent de guitariste. Avec le d&eacute;veloppement des mod&egrave;les solid body Gretsch, Rickenbacker et l&rsquo;apparition de la Fender Stratocaster &agrave; trois micros en 1954 (sans oublier la basse &eacute;lectrique Fender Precision lanc&eacute;e en 1951), les guitares solid body deviendront peu &agrave; peu les instruments dominants de la musique populaire am&eacute;ricaine.</span><br /><span class=Soustitre><br />Guitare Blues &amp; Rhythm and Blues</span><br /><span class=Texte>&laquo;&thinsp;Il faut &eacute;mouvoir, pas impressionner.&thinsp;&raquo;</span><br /><span class=Texte>&mdash; Le guitariste de blues Jean-Marc Pernon</span><br /><span class=Texte>Les plus grands musiciens de jazz enregistraient souvent du rhythm and blues &mdash; et inversement. Les jazzmen<strong> Django Reinhardt</strong> et <strong>Oscar Moore</strong> (1916-1981) interpr&egrave;tent ici des blues&thinsp;; et <strong>Tiny Grimes</strong> joue dans un style blues sur un rythme boogie. Pour beaucoup, les deux styles &eacute;taient perm&eacute;ables, voire indistincts. Le R&amp;B, plus simple m&eacute;lodiquement et harmoniquement que le jazz orient&eacute; vers l&rsquo;improvisation, &eacute;tait surtout consid&eacute;r&eacute; plus vendeur car dansant et populaire. <strong>Elmore James </strong>(1918-1963), dont le <strong>Dust my Blues</strong> a fortement marqu&eacute; le style de Chuck Berry, jouait dans un style rhythm and blues pur et dur, tr&egrave;s simple et efficace, loin de la sophistication du jazz. En revanche l&rsquo;autre influence principale de Berry, le bluesman<strong> T-Bone Walker</strong> enregistrait avec des musiciens de jazz. </span><br /><span class=Texte>Champion du jump blues hybride des ann&eacute;es 1940, l&rsquo;essentiel <strong>Louis Jordan </strong>fut le g&eacute;nial musicien cl&eacute; qui m&eacute;tamorphosa v&eacute;ritablement le swing en R&amp;B &mdash; c&rsquo;est &agrave; dire le jazz en rock. L&rsquo;intro et le solo de son guitariste oubli&eacute; <strong>Carl Hogan </strong>sur <strong>Ain&rsquo;t That Just Like a Woman</strong> (1946) ont &eacute;t&eacute; copi&eacute;s presque note pour note par <strong>Chuck Berry</strong>18 sur l&rsquo;intro de &laquo;&thinsp;Johnny B. Goode&thinsp;&raquo; et le solo de &laquo;&thinsp;Maybellene&thinsp;&raquo;. Berry rendra hommage &agrave; son inspirateur en enregistrant lui aussi ce morceau. Sans doute le guitariste plus influent du XXe si&egrave;cle, Chuck Berry (1926 -) encha&icirc;ne une &agrave; une les phrases de guitare qui ont fait son style sur l&rsquo;instrumental <strong>Roly Poly</strong>. Sur son irr&eacute;sistible <strong>Carol </strong>caract&eacute;ristique de son style, la richesse m&eacute;lodique de ses interventions, exprim&eacute;es en r&eacute;ponse &agrave; sa propre voix, est mise ici en &eacute;vidence. Ce morceau montre bien comment il pouvait lui-m&ecirc;me orner son chant &agrave; l&rsquo;aide de phrases de guitare impro-vis&eacute;es, ce qui &eacute;tait impossible aux saxophonistes et trompettistes solistes qui dominaient alors la musique pop mais ne pouvaient chanter en m&ecirc;me temps qu&rsquo;ils jouaient. Au milieu des ann&eacute;es 1950 ce type d&rsquo;orchestration faisait d&eacute;j&agrave; les sommets du rock et du blues, de <strong>T-Bone Walker</strong> &agrave; <strong>B.B. King</strong>. Et cette approche continuera sa domination, de Jimi Hendrix &agrave; Alvin Lee et de Brian Setzer &agrave; Stevie Ray Vaughan ou encore <strong>Johnny Winter</strong> (1944 -), dont on peut &eacute;couter ici le premier disque chant&eacute;, interpr&eacute;t&eacute; &agrave; l&rsquo;&acirc;ge de quinze ans. Son style de guitariste &eacute;tait d&eacute;j&agrave; form&eacute; et restera intact. </span><br /><span class=Texte>Le grand guitariste jama&iuml;cain<strong> Ernest Ranglin </strong>avait longtemps travaill&eacute; avec des orchestres de jazz avant d&rsquo;enregistrer du mento et du rhythm and blues &agrave; Kingston &mdash; et bient&ocirc;t du ska et du reggae19. <strong>Mickey Baker</strong> (1925-2012), pr&eacute;sent dans l&rsquo;ombre sur tant de s&eacute;ances de studio de la grande &eacute;poque des disques Atlantic, jouait dans diff&eacute;rents styles avec un brio incroyable. Guitariste sur nombre des grands chefs-d&rsquo;&oelig;uvre de Ray Charles20, il a aussi copi&eacute; avec succ&egrave;s la formule du duo avec une femme guitariste (Mickey &amp; Sylvia) emprunt&eacute;e aux sketches t&eacute;l&eacute;vis&eacute;s de <strong>Les Paul </strong>et Mary Ford. Comme <strong>Johnny &laquo;&thinsp;Guitar&thinsp;&raquo; Watson</strong> (1935-1996), future star du funk dont le visionnaire rock instrumental <strong>Space Guitar</strong> &eacute;tait trop en avance sur son temps (enregistr&eacute; plusieurs mois avant le premier disque d&rsquo;Elvis Presley !), Mickey Baker a sans doute marqu&eacute; Jimi Hendrix, qui surgira &agrave; Londres en 1966. L&agrave; encore l&rsquo;approche tr&egrave;s jazz d&rsquo;Hendrix l&rsquo;improvisateur supr&ecirc;me sera nourrie d&rsquo;un bagage blues et rhythm and blues. On observe qu&rsquo;<strong>Albert </strong>Collins (1932-1993) l&rsquo;a sans aucun doute marqu&eacute; si l&rsquo;on compare &laquo;&thinsp;Drivin&rsquo; South&thinsp;&raquo;, un des chefs-d&rsquo;&oelig;uvre d&rsquo;Hendrix, au <strong>Tremble </strong>de Collins en 1962, o&ugrave; l&rsquo;on retrouve le toucher et le placement des notes particulier du Voodoo Chile. </span><br /><span class=Texte>Le style &laquo;&thinsp;down home&thinsp;&raquo; blues pur est ancr&eacute; dans la tradition fondatrice des chanteurs itin&eacute;rants solitaires comme Blind Lemon Jefferson, Robert Johnson ou Willie Brown. Il a connu une incarnation &eacute;lectrique avec les influents <strong>John Lee Hooker </strong>(1927-2001, ici dans une version de &laquo;&thinsp;Boogie Chillun&thinsp;&raquo; diff&eacute;rente de son succ&egrave;s de 1948) et <strong>Lightnin&rsquo; Hopkins</strong> (1912-1982) l&rsquo;&eacute;l&egrave;ve de Blind Lemon Jefferson. Si Hooker privil&eacute;giait le rythme et Lightnin&rsquo; la m&eacute;lodie, l&rsquo;intimit&eacute; et l&rsquo;&eacute;motion sont concentr&eacute;es ici, m&ecirc;lant voix et guitare dans une forme d&rsquo;expression sensuelle, essentielle. Cette simplicit&eacute; fondamentale et ce senti primordial se retrouvent dans le style d&rsquo;<strong>Arthur Crudup </strong>(1905-1974) qui est d&eacute;riv&eacute; de cette matrice, mais accompagn&eacute; par deux musiciens. Elvis Presley emprunta un couplet de son<strong> I Don&rsquo;t Know It,</strong> qu&rsquo;il inclut dans sa version de <strong>That&rsquo;s All Right</strong> &eacute;galement incluse ici. Comme Hooker avec son talking blues, &laquo;&thinsp;Big Boy&thinsp;&raquo; mettait l&rsquo;accent sur la guitare rythmique, ce qui peut para&icirc;tre rudimentaire &agrave; premi&egrave;re vue mais est en r&eacute;alit&eacute; le fruit d&rsquo;une technique de main droite tr&egrave;s accomplie (et un accordage en E-B-E-G-B-E selon la tradition Bentonia School du Mississippi, comme Skip James et bient&ocirc;t Albert Collins). M&ecirc;me orientation rythmique pour <strong>Bo Diddley</strong>21 (1928-2008), qui &eacute;tait capable d&rsquo;alterner une multitude de trouvailles rythmiques et de passages m&eacute;lodiques dans un flot constant de pure &eacute;nergie. On peut &eacute;couter son style tr&egrave;s original ici sur un sommet du genre, l&rsquo;instrumental <strong>Help Out</strong>, et sur un second titre o&ugrave; la sous-estim&eacute;e <strong>Lady Bo</strong> (1939 -) r&eacute;pond &agrave; la voix de Diddley avec sa guitare. Une autre guitariste soliste f&eacute;minine figure ici, la l&eacute;gendaire chanteuse de gospel et guitar heroine <strong>Sister Rosetta Tharpe</strong>22 (1915-1973) qui comme Memphis Minnie connut une belle carri&egrave;re dans un style marqu&eacute; par le blues. </span><br /><span class=Texte>Le succ&egrave;s du blues de<strong> B.B. King</strong> (1925 -) au d&eacute;but des ann&eacute;es 1950 participa &agrave; cr&eacute;er une demande en solistes de tous styles. La naissance de nombreux mod&egrave;les &eacute;lectriques a encourag&eacute; cette mode. King a encha&icirc;n&eacute; les succ&egrave;s et consid&eacute;rablement marqu&eacute; cette &eacute;poque23 o&ugrave; coexistaient Earl King, <strong>B.B. King,</strong> Freddie King et<strong><em> </em>Albert King</strong> (1923-1992), qui marqua profond&eacute;ment Hendrix. Le chant et le jeu de guitare toujours tendus de B.B. ont particuli&egrave;rement marqu&eacute; les styles d&rsquo;Otis Rush et<strong> Buddy Guy</strong> (1936-), dont on peut &eacute;couter ici un des tout premiers enregistrements, caract&eacute;ristique de cette tension. Tout comme <strong>Matt &laquo;&thinsp;Guitar&thinsp;&raquo; Murphy </strong>(n&eacute; en 1927 - ici avec Memphis Slim), <strong>Johnny &laquo;&thinsp;Guitar&thinsp;&raquo; Watson, Mickey &laquo;&thinsp;Guitar&thinsp;&raquo; Baker et Guitar Slim</strong> (1926-1959), <strong>Pete &laquo;&thinsp;Guitar&thinsp;&raquo; Lewis</strong> compte parmi les g&eacute;ants afro-am&eacute;ricains qui faisaient vivre l&rsquo;excitation propag&eacute;e par le rock and roll bien avant l&rsquo;irruption d&rsquo;Elvis Presley en 1954. Pete Lewis est repr&eacute;sent&eacute; ici avec un morceau moins connu que l&rsquo;indispensable version originale de &laquo;&thinsp;Hound Dog&thinsp;&raquo; par Big Mama Thornton, o&ugrave; il se distingua. D&rsquo;autres cracks noirs plus obscurs mais toujours brillants sont inclus ici : le futur guitariste de Bill Doggett, <strong>Billy Butler </strong>(1925-1991), <strong>Ren&eacute; Hall</strong> (1912-1988), <strong>Jimmy Davis, Pat Hare, Pee Wee Crayton</strong> (1914-1985), <strong>Lowell Fulson</strong> (1921-1999), sans oublier les Louisianais<strong> Lonnie Brooks </strong>(1933 -) et <strong>Snooks Eaglin</strong> (1936-2009) qui adapte ici librement le gospel &laquo;&thinsp;It Must Be Jesus&thinsp;&raquo; des Southern Tones d&eacute;j&agrave; repris par Ray Charles pour &laquo;&thinsp;I Got a Woman&thinsp;&raquo;24. Comme <strong>Chuck Berry</strong> ou <strong>Bo Diddley </strong>plus tard, ils ont contribu&eacute; &agrave; l&rsquo;&acirc;ge d&rsquo;or du rock and roll, qui &agrave; la fin des ann&eacute;es 1940 a commenc&eacute; &agrave; int&eacute;grer fortement l&rsquo;influence de la musique country.</span><br /><span class=Soustitre><br />Guitare Country &amp; Rockabilly</span><br /><span class=Texte>La guitare &eacute;lectrique s&rsquo;est impos&eacute;e dans la musique hillbilly/country de tradition euro-am&eacute;ricaine, qui inclut le style country boogie25, sous l&rsquo;influence de guitaristes de lap steel comme <strong>Sol Hoopii, </strong>des essentiels pionniers de la lap steel &eacute;lectrique dans le western swing26 (<strong>Bob Dunn</strong> puis <strong>Wilson Perkins, </strong>d&eacute;but CD 1), de <strong>Django Reinhardt</strong> et de grands techniciens au son clair et tranchant du western swing comme <strong>Herman Arnspiger, Eldon Shamblin, Junior Barnard,</strong> puis de country <strong>Hank Garland,</strong> <strong>Chet Atkins ou Jimmy Bryant.</strong> Une solide anthologie de G&eacute;rard Herzaft consacr&eacute;e &agrave; la guitare country est disponible dans cette collection27 et compl&egrave;te cet album. En partie d&eacute;riv&eacute; du country boogie, le rockabilly28 est repr&eacute;sent&eacute; ici par les tr&egrave;s influents Elvis Presley avec <strong>Scotty Moore </strong>(1931 -) et Gene Vincent avec <strong>Cliff Gallup</strong> (deux guitaristes tr&egrave;s marqu&eacute;s par Atkins). <strong>Merle Travis</strong> (1917-1983) devint le premier g&eacute;ant de la guitare country en cr&eacute;ant un style difficile de finger picking d&eacute;riv&eacute; de la guitare ragtime (Blind Blake) qui fascina le jeune <strong>Chet Atkins</strong> (1924-2001) et nombre d&rsquo;autres suiveurs. Marqu&eacute; aussi par Andr&eacute;s Segovia et Django, Atkins fut le grand guitariste de la musique populaire am&eacute;ricaine des ann&eacute;es 1950. Sa technique de fingerpicking impeccable lui a permis d&rsquo;enregistrer de magnifiques morceaux arrang&eacute;s dans ce style exigeant. Son utilisation du son clair et de la r&eacute;verb a aussi marqu&eacute; profond&eacute;ment les premiers musiciens blancs de rock instrumental : Duane Eddy, les <strong>Ventures </strong>(<strong>Bob Bogle</strong> joue ici sur une Fender Jazzmaster) et leurs suiveurs les <strong>Shadows,</strong> premier groupe de rock britannique &agrave; conna&icirc;tre le succ&egrave;s &mdash; ou encore Dick Dale. Une anthologie consacr&eacute;e &agrave; l&rsquo;histoire du rock instrumental (qui deviendra le &laquo;&thinsp;surf rock&thinsp;&raquo;) est disponible dans cette collection et compl&egrave;te elle aussi cet album29.</span><br /><span class=Texte>Comme le blues, la country a produit des musiques calmes mais aussi des morceaux au tempo tr&egrave;s rapide comme le<strong> Hurricane</strong> de <strong>Larry Collins</strong> (n&eacute; en 1944, il a enregistr&eacute; ceci &agrave; l&rsquo;&acirc;ge de treize ans et onze mois) en duo avec son mentor <strong>Joe Maphis </strong>(1921-1986). Apr&egrave;s quelques ann&eacute;es pass&eacute;es &agrave; chanter la country et le western swing, Bill Haley a incorpor&eacute; des guitaristes solistes de country sur des rythmiques tr&egrave;s influenc&eacute;es par le rock noir. Dans le contexte de s&eacute;gr&eacute;gation raciale de l&rsquo;&eacute;poque, la mixit&eacute; des styles musicaux &eacute;tait &agrave; la fois un risque commercial et un enjeu majeur. Le solo historique de <strong>Danny Cedrone</strong> (1920-1954) sur <strong>Rock the Joint</strong> en 1952 sera reproduit presque note pour note par Cedrone lui-m&ecirc;me trois ans plus tard sur le c&eacute;l&egrave;bre &laquo;&thinsp;Rock Around the Clock&thinsp;&raquo; mais Cedrone ne conna&icirc;tra jamais le succ&egrave;s de sa contribution puisqu&rsquo;il est d&eacute;c&eacute;d&eacute; dix jours apr&egrave;s la s&eacute;ance de studio. Elvis Presley, Gene Vincent et Dale Hawkins tant&ocirc;t avec J<strong>ames Burton</strong> ou Roy Buchanan reprendront cette fusion des styles noir/blanc avec talent &mdash; et avec le succ&egrave;s qu&rsquo;on sait puisque le rock touchera pour de bon le grand public blanc. <strong>Buddy Holly,</strong> un remarquable m&eacute;lodiste et interpr&egrave;te initialement marqu&eacute; par le bluegrass, les a suivis dans cette direction rock. Avec le solo en accords rythm&eacute;s de <strong>Peggy Sue</strong> il anticipa le power chord (accord en puissance), une nouvelle approche de la guitare &eacute;lectrique qu&rsquo;utilisera &eacute;galement <strong>Link Wray</strong> (venu du western swing), grand inspirateur initial de Pete Townshend (The Who) quelques ann&eacute;es plus tard. On peut aussi entendre sur son<strong> Rumble </strong>un effet tr&eacute;molo (dont le pionnier fut Bo Diddley).</span><br /><strong><span class=Texte>Bruno BLUM</span></strong><br /><span class=Texte>Merci &agrave; Klaus Blasquiz, Jean Buzelin, les luthiers de DNG Dominique Caillerez, Nicolas Petibon et Gr&eacute;goire Alain, Yves Calvez, Stephane Colin, Nadine Deichtmann, Guillaume Gilles, Christophe H&eacute;nault, Prague Frank, Henry Padovani, Gilles P&eacute;tard, Gilles Riberolles, Brian Setzer, Michel Tourte et James Trussart.</span><br /><span class=Source>&copy; 2014 FRÉMEAUX &amp; ASSOCIÉS</span><br /><span class=Texte>1. Lire le livret (fremeaux.com) et &eacute;couter l&rsquo;anthologie Road Songs - Car Tunes Classics 1942-1962 (FA5401) dans cette collection.</span><br /><span class=Texte>2. Lire le livret de G&eacute;rard Herzaft et &eacute;couter Texas Down Home Blues 1948-1952 (FA5062) dans cette collection.</span><br /><span class=Texte>3. L&rsquo;&oelig;uvre int&eacute;grale de Django Reinhardt L&rsquo;Édition du Centenaire est disponible en trois coffrets de quatorze (FA321, FA322) et douze disques (FA323) dans cette collection.</span><br /><span class=Texte>4. Lire le livret de Jean Buzelin et &eacute;couter &laquo;&thinsp;Handful of Riffs&thinsp;&raquo; par Lonnie Johnson et Eddie Lang sur l&rsquo;anthologie de quatre disques Le Petit Dictionnaire du jazz classique en 80 musiciens (FA5084) dans cette collection.</span><br /><span class=Texte>5. Lire le livret de G&eacute;rard Herzaft (fremeaux.com) et &eacute;couter l&rsquo;anthologie Lonnie Johnson - The First of the Guitar Heroes 1925-1947 (FA262) dans cette collection.</span><br /><span class=Texte>6. Lire le livre Africa and the Blues de Gerhard Kubik (University Press of Mississippi, 1999) et &eacute;couter le disque inclus.</span><br /><span class=Texte>7. Lire le livret de G&eacute;rard Herzaft et &eacute;couter l&rsquo;anthologie Hawaiian Music Honolulu-Hollywood-Nashville 1927-1944 (FA035) dans cette collection.</span><br /><span class=Texte>8. Lire le livret de Jean-Yves Patte et &eacute;couter Hawaiians in Paris 1916-1926 (FA 066) dans cette collection.</span><br /><span class=Texte>9. Lire le livret de G&eacute;rard Herzaft et &eacute;couter l&rsquo;anthologie Robert Johnson - San Antonio - Dallas 1936-1937 (FA251) dans cette collection.</span><br /><span class=Texte>10. Retrouvez Sol Hoopii dans &laquo;&thinsp;An Orange Grove in California&thinsp;&raquo; (1934) sur l&rsquo;anthologie Rock Instrumentals Story (FA5426) &agrave; para&icirc;tre dans cette collection, sur Hawaiian Music Honolulu-Hollywood-Nashville 1927-1944 (FA035) et dans l&rsquo;un de ses premiers enregistrements &eacute;lectriques, &laquo;&thinsp;Fascinating Rhythm&thinsp;&raquo; (1938) sur Rock n&rsquo; Roll Vol. 1 - 1927-1938 (FA351). </span><br /><span class=Texte>11. Lire le livret de G&eacute;rard Herzaft et &eacute;couter l&rsquo;anthologie Casey Bill Weldon - Slide Guitar Swing 1927-1938 (FA268) dans cette collection.</span><br /><span class=Texte>12. Lire le livret de G&eacute;rard Herzaft et &eacute;couter l&rsquo;anthologie Memphis Minnie - The Queen of the Blues 1929-1941 (FA259) dans cette collection.</span><br /><span class=Texte>13. Lire le livret de G&eacute;rard Herzaft et &eacute;couter les deux anthologies Muddy Waters - Rolling Stone 1941-1950 (FA266) et Muddy Waters - King of the Chicago Blues 1951-1961 (FA273) dans cette collection.</span><br /><span class=Texte>14. &laquo;&thinsp;Blues for Hawaiians&thinsp;&raquo; est inclus sur The Indispensable Chuck Berry 1955-1961 (FA5409) dans cette collection.</span><br /><span class=Texte>15. Écouter &laquo;&thinsp;Bumble Boogie&thinsp;&raquo; par B. Bumble and the Stingers sur l&rsquo;anthologie Rock Instrumentals Story 1934-1962 (FA5426) &agrave; para&icirc;tre dans cette collection.</span><br /><span class=Texte>16. Retrouvez Charlie Christian sur The Quintessence - Los Angeles-New York 1939-1941 (FA218) dans cette collection.</span><br /><span class=Texte>17. Retrouvez Big Bill Broonzy sur The Blues - Chicago 1937-1945 (FA252) dans cette collection.</span><br /><span class=Texte>18. Lire le livret et &eacute;couter The Indispensable Chuck Berry 1954-1962 (FA5409) dans cette collection.</span><br /><span class=Texte>19. Lire le livret et &eacute;couter Jamaica-USA - Roots of Ska 1942-1962 (FA5396) dans cette collection. Retrouvez &eacute;galement Ernest Ranglin sur Jamaica - Mento 1951-1958 (FA5275) et Jamaica - Rhythm and Blues 1956-1961 (FA5358).</span><br /><span class=Texte>20. Lire le livret et &eacute;couter Ray Charles - Brother Ray: The Genius 1949-1960 (FA5350) dans cette collection.</span><br /><span class=Texte>21. Écouter les deux volumes de The Indispensable Bo Diddley, 1955-1960 (FA5376) et 1960-1962 (FA5406)</span>.<br /><span class=Texte>22. L&rsquo;&oelig;uvre int&eacute;grale de Sister Rosetta Tharpe est disponible chez Fr&eacute;meaux et Associ&eacute;s.</span><br /><span class=Texte>23. Lire le livret et &eacute;couter The Indispensable B.B. King 1949-1962 (FA5414) dans cette s&eacute;rie.</span><br /><span class=Texte>24. Écouter &ldquo;It Must be Jesus&rdquo; et &ldquo;I&rsquo;ve Got a Woman&rdquo; dans Roots of Soul Music 1928-1962 (FA5430) dans cette collection.</span><br /><span class=Texte>25. Lire le livret et &eacute;couter Country Music 1940-1948 (FA173), Honky Tonk 1945-1953 (FA5087) et Country Boogie 1939-1947 (FA160) dans cette collection.</span><br /><span class=Texte>26. Lire le livret et &eacute;couter Western Swing 1928-1944 (FA032) dans cette collection.</span><br /><span class=Texte>27. Lire le livret et &eacute;couter Guitare Country - From Old Time to Jazz Times 1926-1950 (FA5007) dans cette collection.</span><br /><span class=Texte>28. Lire le livret et &eacute;couter Rockabilly 1954-1962 (FA5423) dans cette collection.</span><br /><span class=Texte>29. Écouter Rock Instrumentals Story 1934-1962 (FA5426) dans cette collection.</span><br /><span class=Soustitre><br />Electric Guitar Story <br />Country, Jazz, Blues, R&amp;B, Rock 1935-1962</span><br /><span class=Texte>&ldquo;When I die, just keep playing the records.&rdquo; </span><br /><span class=Texte>&mdash; Jimi Hendrix</span><br /><span class=Texte>Recorded as early as 1935 &mdash; electric pianos had to wait until 1955 &mdash; electrically-amplified guitars developed over the post-war years and gradually replaced pianos, saxophones and trumpets as the dominant solo instruments in popular music. Easier to master than a wind instrument or violin, and unlike its acoustic counterpart, the guitar, the first &ldquo;electric&rdquo; instrument in history, was capable of producing a sound sufficiently powerful for it to be included in an orchestra with a drummer. The electric guitar&rsquo;s versatility made it a polyphonic instrument capable both of playing solo and providing rhythm, harmony, and it also allowed singers to accompany themselves. Lightweight, practical and inexpensive, it could complement or even replace the more cumbersome piano whose harmonic role had long been indispensable. In the early Fifties it grew in popularity in parallel with the expansion of rock, blues and a new sound-carrier called the &ldquo;microgroove&rdquo; disc (45 or 33rpm) which made 78rpm records obsolete. And so the electric guitar revolutionized the sounds and styles of popular music throughout the world. The first &ldquo;artificial&rdquo; sound effects (reverb, tremolo, distortion, echo etc.), which appeared at this time, did even more to accentuate the guitar&rsquo;s charm and seduction.</span><br /><span class=Texte>Brilliant musicians made these new sounds their own, en masse, in genres ranging from country music and blues to jazz, pop and rock. By 1962, on the eve of Beatlemania and four years before Jimi Hendrix exploded onto the scene to increase its popularity tenfold, the electric guitar was already playing a decisive role in music and had become part of American myth, a symbol of virility along with skyscrapers and firearms, missiles and automobiles.1 Each of the musicians represented here &ndash; whatever the style &ndash; contributed to express and define the aesthetic contours of the American ideal of Liberty. And by 1962 it could be argued that the essential had already been said, thanks to such giants as Sol Hoopii, Lonnie Johnson, Django Reinhardt, T-Bone Walker, Charlie Christian, John Lee Hooker, Muddy Waters, Les Paul, B.B. King, Mickey Baker, Barney Kessel, Jimmy Bryant, Bo Diddley, Chet Atkins, Chuck Berry, Wes Montgomery&hellip; not to mention those who influenced Jimi Hendrix (Mickey Baker, Johnny &ldquo;Guitar&rdquo; Watson or Albert Collins for example), and especially not forgetting Link Wray, the inventor of the famous &ldquo;power chord&rdquo;.</span><br /><span class=Soustitre>The Guitar</span><br /><span class=Texte>The guitar was probably born of a mixture of the Greek zither (a type of lyre brought to Spain by Romans in around 40 A.D.) and the convex-bodied oud which Moors introduced in Europe during the 8th century A.D. Moors and Spaniards developed different guitar-families, and with its flat body and slimmer neck, the four-string Latin guitar of the 9th century was already a modern instrument. The famous four-string tenor guitar played here by <strong>Tiny Grimes</strong> is a survivor of that model. The first six-string guitar has been dated back to 1779, manufactured by an Italian family who were mandolin specialists. Quite widespread in Spain, the guitar spread to North America with Spanish colonists, and this European guitar-type was also adopted in the Hawaiian islands where a local style originated (with Spanish-type open chords), known more recently as &ldquo;slack-key&rdquo; guitar. In America, the guitar first became popular in territories that were originally Spanish, including Texas2, which perhaps explains the strong guitar-tradition there (Lightnin&rsquo; Hopkins, Buddy Holly, Johnny Winter). </span><br /><span class=Soustitre><br />Acoustic Guitar</span><br /><span class=Texte>The Spanish guitar with gut strings and a broad neck was used in classical music by such virtuosos as Andr&eacute;s Segovia, but its sound wasn&rsquo;t loud enough for it to be included in popular orchestras of the 20th century, where it would have to compete with powerful wind instruments, drums or piano. It was often reduced to a rhythm role, playing chords that could provide harmonic support. The banjo, much more powerful albeit with a short, dry sound, was preferred to the guitar and it appears on many Dixieland jazz recordings of the &lsquo;20s. To increase sound-volume, folk &ldquo;steel string&rdquo; guitars were introduced at the same time; more aggressive, these had many masters, among them the first major jazz guitarist Eddie Lang. Cheaper guitars appeared, among them the popular Stella brand (made by Harmony). In France, Django Reinhardt3 (1910-1953) was an adept of a powerful, exceptional acoustic model conceived by an Italian classical concert-performer and guitar-maker named Mario Maccaferri (Selmer manufactured it in France). Here you can listen to a sublime blues piece played by Django, recorded in 1953 using a Maccaferri with an attached pick up (microphone). Acoustic guitarists were generally obliged to play unaccompanied or in duos like the famous one recorded by Lonnie Johnson &amp; Eddie Lang (&ldquo;Handful of Riffs&rdquo;, 1929).4 Also a banjo-player, Lonnie Johnson was the first to record improvisations using one string at a time; known mainly for his acoustic work, Lonnie plays an electric guitar here in a recording dating from 1951.5 </span><br /><span class=Soustitre>Slide Guitar</span><br /><span class=Texte>Ethnomusicologist Gerhard Kubik has shown that Bantus from the Central African Republic played one-string zither-like instruments using the &ldquo;slide guitar&rdquo; principle6, and Big Joe Williams observed instruments like them as a child: a bourbon-bottle was slid over the strings to obtain a similar sound. In Hawaii, under the influence of Joseph Kekuku (1874-1932), musicians played a Spanish-type guitar laid flat on their knees (known as &ldquo;lap steel guitar&rdquo;, with glissandi obtained by rubbing a piece of metal over the strings as an extension of Hawaiian vocal melodies)7; they were very popular in the Twenties (cf. Frank Ferera, recorded as early as 1916).8 In the same period, in America, great bluesmen like Son House, Charlie Patton or Robert Johnson9 used the same technique except that they held their guitars instead, resorting to a knife-blade, copper tubing (or a sawn-off bottle-neck with a finger inserted) to produce a keening sound which allowed them to make themselves heard amidst the uproar of bars&hellip; </span><br /><span class=Texte>Hawaiian guitar virtuoso Sol Hoopii10 &mdash; he recorded from 1927 onwards &mdash; considerably influenced hillbilly/country music, but these &lsquo;lap steel&rsquo; guitars still lacked volume, a problem solved by an entrepreneur named George Beauchamp, who played a violin as well as a lap steel guitar: In partnership with two guitar makers, Dopyera brothers John and Rudy (later of DoBro fame), Beauchamp created a powerful acoustic model stamped out of sheet metal, with three internal resonators shaped like cones. The steel used came from his associates&rsquo; company named the National Steel Instrument Corporation, with other materials provided by a neighbour of German descent, Adolph &ldquo;Rick&rdquo; Rickenbacker. By 1941<strong> Muddy Waters</strong>11 was one of the first to record using a slide electric guitar in the style popular in his native Mississippi (cf. the 1948 title included here). But the first musician to have a hit with an instrumental played on an electric lap steel guitar (an Epiphone Electar) was <strong>Floyd Smith,</strong> backed by Andy Kirk&rsquo;s swing orchestra in 1939. In 1958 <strong>Chuck Berry </strong>plagiarized his <strong>Floyd&rsquo;s Guitar Blues</strong> under the name &ldquo;Blues for Hawaiians&rdquo;12. Berry recorded it on a Gibson electraharp, a lap steel guitar improved by <strong>Alvino Rey</strong>. Among the slide guitar&rsquo;s modern adepts are Ry Cooder, who played one with The Rolling Stones. In 1980 French guitar craftsman James Trussart started creating a series of slide-friendly electric steel guitars used by the biggest names ever since.</span><br /><span class=Soustitre>Electric Guitar</span><br /><span class=Texte>George Beauchamp returned to the scene in Los Angeles in 1931 when he created the first electric guitar to go on sale to the public. He&rsquo;d been experimenting since 1925, first creating an experimental guitar &mdash; with one string whose sound was picked up by a pick up taken from a Brunswick phonograph &mdash; and six years later he made his own single-coil pick up, winding the coil using the motor of his own sewing-machine. Together with Harry Watson, who&rsquo;d worked on National Steel&rsquo;s guitars, George invented the first, entirely electric solid-body guitar (not a hollow body) named The Frying Pan, and became Rick Rickenbacker&rsquo;s associate to manufacture other guitars like it in 1934. Recorded in January 1935 at the very first electric-guitar record-session, <strong>Some of These Days</strong> actually has the sound of another model, a wooden solid-body lap-steel instrument &ldquo;bought in Mexico&rdquo; by <strong>Bob Dunn</strong>. Plugged into an amplifier bought in Texas &mdash; the Woodward Music Store in Mineral Wells (Texas) fitted it with a mysterious pick up &mdash; the guitar was used by Dunn to record 35 remarkable titles in just two days, backed by the western swing group of Milton Brown. Bob Dunn was originally a jazz trombonist &mdash; an excellent musician &mdash; and he used to reproduce the slide-trombone&rsquo;s glissando effects on his guitar. He considered himself a jazz musician anyway and, partly thanks to his efforts, the impact of western swing (the &ldquo;white&rdquo; side of pro-to-rock) was considerable. Rickenbacker brought out his own electric lap steel guitar in 1935, the Spanish Electro created by Beauchamp, and the Dobro Company released a lap steel solid-body guitar the same year. The next guitarist in this anthology, <strong>Wilson Perkins,</strong> plays in the same vein as Dunn, albeit with a different sound. He probably used one of the latter two models, of which not many were manufactured. Distortion was already common due to the small amplifiers available (they overheated). </span><br /><span class=Texte>The electric guitar owes plenty to the tradition of Sudetes (Czech Republic) and nearby German guitar makers. Bohemia and Moravia were immense forests where spruces used to build guitar bodies grew. Local craftsmen specialized in manufacturing a single guitar piece to perfection. Pieces crafted by many such masters were later put together by guitar makers using the best available anywhere. Several German brands rank among the best, including Lang, H&ouml;fner, Neubauer, Framus, Hoyer, Hopf and others. As from 1954, Rickenbacker electric guitars were developed by Roger Rossmeisl, who originated in Kiel, North of Hamburg ; Essential guitar pick up engineer Willi Lorenz Stich (a.k.a. Bela Lorentovsky, Billy Lorento at Framus and Bill Lawrence at Dan Armstrong and Gibson) was from Cologne. And fine American brands Gretsch and Martin were founded by Germans.</span><br /><span class=Texte>Founded in 1833, the Martin brand supplied fine instruments that turned the spirit of the Far West into sound. Other early American brands include Washburn, Schmidt &amp; Maul, Stucke and Tilton. Of British descent, Guitar and mandolin maker Orville H. Gibson (1856-1918) was based in Kalamazoo (Michigan). Gibson was already a great manufacturer &mdash; its acoustic guitars had been famous since 1902 &mdash; and the firm sold its first lap steel guitars equipped with (not very good) pick ups in 1935; quickly sold as accessories, their pick ups were successful and Gibson asked Alvin McBurney (alias <strong>Alvino Rey</strong>, 1908-2004, see above) to develop a genuine electric-guitar pick up. His first prototype (the Gibson 1270) became Gibson&rsquo;s first true electric guitar in December &lsquo;36, the legendary &ldquo;Electric Spanish&rdquo; ES-150 (due to its $150 price including the amp). Rey also pioneered the 1940 Gibson electraharp, one step up from the lap steel, which later became the pedal steel guitar console and its several necks tuned differently. A few titles with a pedal steel are also included here, among them<strong> Bryant&rsquo;s Bounce</strong> with <strong>Speedy West </strong>as well as the guitar of <strong>Jimmy Bryant </strong>(1925-1980), and Don Davis with <strong>Hank Garlan</strong>d. A solid guitarist, <strong>Alvino Rey</strong> recorded a 1946 version of Rimsky-Korsakov&rsquo;s &ldquo;Flight of the Bumble Bee&rdquo; with a swing band; it inspired the Ventures to do their own version, not to mention the famous<strong> Bumble Boogie</strong> by B. Bumble and the Stingers.13 </span><br /><span class=Texte>The amplified Gibson ES-150 helped turn obsolete big swing and jump blues bands featuring several wind instruments. The firm&rsquo;s L5-CES (&ldquo;Cutaway Electric Spanish&rdquo;) in 1951, and their de luxe Super 400 CES with excellent P-90 pick-ups (played here by <strong>Merle Travis</strong> and by<strong> Scotty Moore</strong> with Elvis) &mdash; two &ldquo;semi-acoustic&rdquo; guitars with a curved &ldquo;arch top&rdquo; body &mdash; helped Gibson dominate the jazz guitar market leaving mere crumbs to the (remarkable) instruments made by Epiphone. Their quasi-monopoly wasn&rsquo;t shaken until 1951, when Gretsch released its 6030 &amp; 6031 guitars &mdash; equipped with DeArmond pick ups &mdash; with the assistance of the immense Chet Atkins, a great country star who began promoting Gretsch in 1954. A model was released bearing his own name in 1955. Gretsch had been a quality instrument manufacturer since 1883, and when it launched electric guitars and amplifiers, it introduced many visual innovations &mdash; vivid colours, sequins, highly original designs &mdash; and experimented with all kinds of bizarre mechanisms. Unsurprisingly, Gretsch&rsquo;s extravagant guitars were instantly popular with young rock artists like Eddie Cochran. With an original, piercing sound, Gretsch guitars found favour with innovative musicians like <strong>Cliff Gallup </strong>(1930-1988), Bo Diddley and George Harrison. The popularity of the Stray Cats with Brian Setzer in 1981 brought Gretsch back into the limelight. </span><br /><span class=Soustitre><br />Jazz</span><br /><span class=Texte>&ldquo;All I hear is how the chord sounds, not its name. It&rsquo;s very much like if I was blindfolded and somebody said they wanted me to taste a piece of cake and tell them what flavour it is. Chocolate, cherry, pumpkin? Well, I&rsquo;m tasting that chord&hellip; That&rsquo;s what I think about. If I have to think about what George Russell said in his Lydian Chromatic Concept book [&hellip;] then I&rsquo;d be filled with too much data&hellip; The only way that you get good at improvising is to improvise on what&rsquo;s in you.&rdquo;</span><br /><span class=Texte>&mdash; Barney Kessel</span><br /><span class=Texte>A Gibson ES-150, the first really popular electric guitar, was bought in 1937 by <strong>Eddie Durham</strong> (1906-1987). He played on the first jazz piece recorded with an electric guitar, <strong>Laughing at Life,</strong> in March 1938 &mdash; closely followed by<strong> Leonard Ware</strong> (1909-1974) with <strong>Sidney Bechet. Charlie Christian</strong> (1916-1942) also acquired an ES-150 in 1937; quickly hired by<strong> Benny Goodman, </strong>Christian stood jazz on its head. His influence was enormous and he naturally appears here with his first recording <strong>Rose Room </strong>and his extraordinary, informal improvisation on <strong>Topsy</strong> (a.k.a. &ldquo;Swing to Bop&rdquo;)14 which heralded the limpid sound that became omnipresent in modern jazz. His friend <strong>T-Bone Walker </strong>(1910-1975) also played an ES-150 as early as 1937; influenced by <strong>Lonnie Johnson</strong> (1899-1970), T-Bone&rsquo;s records in 1942-1947 established a sophisticated urban blues style anchored in jump blues, a jazzy kind of rhythm and blues (with reeds and brass) which gave birth to rock in the Forties. A decisive soloist and singer, T-Bone Walker had as much influence on bluesmen and rockers as Charlie Christian had on the jazz world. <strong>B. B. King </strong>and<strong> Chuck Berry</strong> owed much to him.</span><br /><span class=Texte>In 1937 Gibson also launched a four-string tenor guitar called the EST-150 which was adopted by <strong>Tiny Grimes</strong> (1916-1989), who recorded with Charlie Parker, Art Tatum and other jazz giants before branching into R&amp;B, as here on <strong>Tiny&rsquo;s Boogie</strong>, where he deliberately plays as a precursor of distortion (with the guitar tuned D-G-B-E, not in fifths). At the other extreme of that &ldquo;dirty&rdquo; sound,<strong> Les Paul </strong>(1915-2009) was one of the first electric guitarists to dazzle music-buffs as early as 1945. His first recordings in 1936 were in the hillbilly style, but his admiration for<strong> Django Reinhardt</strong> moved him firmly towards jazz. He was an inventor and a handyman, constantly changing his instruments (he experimented with a guitar amplified by a phonograph-needle connected to a radio as early as 1932). In the Forties, Les Paul used a customized Epiphone Broadway he christened the &ldquo;Clunker&rdquo;. <strong>Barney Kessel </strong>(1923-2004) also recorded with Charlie Parker &mdash; and indeed many of America&rsquo;s most famous jazzmen &mdash; and after his friend Charlie Christian died in 1942, Kessel quickly became one of the most sought-after studio-musicians in the country (and one of the best). He did hundreds of &ldquo;alimentary&rdquo; sessions and enjoyed a sumptuous career as a jazz soloist in parallel. Kessel&rsquo;s precious ES-350 made in 1946 had one of Gibson&rsquo;s rare 1939 microphones (and a violin-type bridge), but Kessel always said he was &ldquo;a musician&rdquo; and not &ldquo;a guitarist&rdquo;, and he removed the Gibson logo from his instrument to avoid the fetishism which people attached to the guitar as an object. Even so, three different guitars were created and given his name, first by Kay, then Gibson (in 1961) and later Ibanez. <strong>Oscar Moore</strong> (1916-1981) was the bluesy guitarist with Nat &ldquo;King&rdquo; Cole&rsquo;s jazz trio, and he made some splendid solo records with a Gibson ES-150, as did studio-ace <strong>Georges Barnes</strong> (1921-1977), heard here with <strong>Big Bill Broonzy</strong> and also leading his own group.15 Broonzy and Barnes recorded their historic <strong>It&rsquo;s a Low Down Dirty Sham</strong>e (the first non-slide electric guitar solo ever cut) the night after the murderous Crystal Night Nazi pogrom of November 1938. Jazz history has little to say about Barnes, maybe because he was a country picker and arranger, but he was one of the genre&rsquo;s best guitarists, as you can hear from his performance here.</span><br /><span class=Texte>At the end of the Fifties <strong>Wes Montgomery</strong> (1923-1968) brought about a revolution with his soft style (he didn&rsquo;t use a pick) and notes doubled on the octave. Many other significant musicians might have been included here &mdash; Freddie Green, Slim Gaillard, Jimmy Gourley, <strong>Jimmy Raney, </strong>Grant Green, Jim Hall &mdash; but sadly there wasn&rsquo;t room for them all. This set is still the occasion to present such first-rate stylists as Jimmy Shirley (1913-1989), <strong>Howard Roberts</strong> (1929-1992, now forgotten but long a brilliant contributor to Guitar Player magazine), <strong>Kenny Burrell</strong> (b. 1931) or again <strong>Tal Farlow</strong> (1921-1998), who found life as a musician so hard that he quickly returned to a career designing advertisements&hellip; The versatile Hungarian gypsy <strong>Elec Bacsik</strong> (1926-1993) recorded in Paris with Jeanne Moreau or Serge Gainsbourg (cf. &ldquo;Elaeudanla T&eacute;&iuml;t&eacute;&iuml;a&rdquo;), with whom he also recorded onstage in 1963 before moving to the USA; Bacsik was also a violinist, and has a particular style nourished by Romani traditions where the emotions take pride of place. As for <strong>Billy Bauer </strong>(1915-2005), he recorded with Parker in 1947-1954 over four different sessions with Lennie Tristano on piano. <strong>Intuition</strong> has the latter playing a title that pioneered free jazz (although that didn&rsquo;t come along for another decade). This entirely free improvisation was recorded playing by ear, quite spontaneously, without any written melody or arrangement. The presence of an electric guitar on this landmark recording shows just how much importance the instrument had achieved by 1949.</span><br /><span class=Soustitre><br />Solid Body Guitar</span><br /><span class=Texte>In 1940 Les Paul built his own prototype according to the advantages of not having a hollow body: it circumvented undesirable Larsen effects, and a bridge fixed to the soundboard provided sufficient sound sustain. Les Paul played his prototype holding it like a Spanish guitar, calling it &ldquo;The Log&rdquo;, but he couldn&rsquo;t convince Gibson to invest in it. As early as 1948 <strong>Merle Travis</strong> played a solid body he&rsquo;d conceived himself (built by Paul Bigsby) but the first to sell a perfected solid body guitar was Leo Fender, an American radio repairman familiar with sound-equipment who called his guitar the Esquire. It was rechristened the Broadcaster, and then in 1952 it became famous as the Fender Telecaster. One of its two pick ups was inserted inside the bridge. As soon as the single-pick up Esquire appeared in 1950, Gibson accepted Les Paul&rsquo;s original proposal: Paul was now a great jazz name and, promoted by its designer, the &ldquo;Gibson Les Paul&rdquo; with two pick ups was released in 1952 to compete against the Fender Telecaster. Les Paul and Mary Ford went on to make a fortune with their pop duets, and Les Paul&rsquo;s innovations in multi-track recording sent him into the history-books, putting his fabulous talents as a guitarist in the shade. Guitars made by Gretsch, Rickenbacker and Fender (the three-pick ups Stratocaster in 1954), not forgetting the Fender Precision electric bass launched in 1951, gradually caused solid body guitars to dominate American popular music.</span><br /><span class=Soustitre>Blues and Rhythm &amp; Blues Guitar</span><br /><span class=Texte>&ldquo;You have to move people, not impress them.&rdquo;</span><br /><span class=Texte>&mdash; Blues guitarist Jean-Marc Pernon</span><br /><span class=Texte>Great jazz musicians often recorded R&amp;B, and vice versa. Here, jazzmen<strong> Django Reinhardt</strong> and<strong> Oscar Moore</strong> (1916-1981) play blues numbers, and<strong> Tiny Grimes</strong> plays in a blues style over a boogie rhythm. For many, the two styles merged or were even indistinguishable. Above all, R&amp;B, melodically and harmonically simpler than jazz with an orientation towards improvising, was considered more commercial because it was danceable and popular. <strong>Elmore James</strong> (1918-1963), whose<strong> Dust my Blues</strong> made a deep impression on <strong>Chuck Berry</strong>&rsquo;s style, played a hard and fast rhythm and blues far from the sophistication of jazz. On the other hand, Berry&rsquo;s other influence, bluesman <strong>T-Bone Walker </strong>often recorded with jazz musicians. </span><br /><span class=Texte><strong>Louis Jordan </strong>championed the hybrid jump-blues of the Forties. A musician of genius, he played a key role in metamorphosing swing into R&amp;B &mdash; or jazz into rock. The intro and solo played by his forgotten guitarist <strong>Carl Hogan</strong> on <strong>Ain&rsquo;t That Just Like a Woman </strong>(1946) were copied almost note for note by <strong>Chuck Berry</strong>16 in his intro to &ldquo;Johnny B. Goode&rdquo;, and in his solo on &ldquo;Maybellene&rdquo;; Berry later recorded this Jordan composition as a tribute to his inspirator. Chuck Berry (b. 1926) was probably the most influential guitar-player of the 20th century, linking his classic licks one after the other on the instrumental <strong>Roly Poly</strong> included here. His irresistible Carol characterizes his style, with the melodic richness of his contributions, responding to his own voice, totally evident here. It was impossible for the solo sax and trumpet-players who then dominated pop to do so, as they obviously couldn&rsquo;t sing and play at the same time&hellip; By the mid-Fifties this type of orchestration had already sent many artists to the top of the rock and blues charts, from <strong>T-Bone Walker</strong> to <strong>B.B. King</strong>, and this approach would continue to dominate thanks to the likes of Hendrix, Alvin Lee, Brian Setzer, Stevie Ray Vaughan or again<strong> Johnny Winter</strong> (b. 1944), featured here with his first record as a singer, made at the age of fifteen&hellip; by which time his guitar-style had nearly fully developed. It would remain intact. </span><br /><span class=Texte>The great Jamaican guitarist Ernest Ranglin long worked with jazz bands before recording mento and rhythm and blues in Kingston &mdash; and soon ska and reggae.17 <strong>Mickey Baker</strong> (1925-2012) &mdash; the guitarist in the background on an incredible number of studio-sessions made in the heyday of Atlantic Records &mdash; could play in many styles and showed amazing brio in all of them. He played guitar on many masterpieces by the great Ray Charles18 and, partnered by the female guitarist Sylvia Robinson &mdash; they called themselves &ldquo;Mickey &amp; Sylvia&rdquo; &mdash; he also successfully copied the duet-formula borrowed from <strong>Les Paul</strong>&rsquo;s TV appearances alongside Mary Ford. Like <strong>Johnny &ldquo;Guitar&rdquo; Watson </strong>(1935-1996), a future funk star whose visionary rock instrumental <strong>Space Guitar</strong> was too far ahead of its time (he played it several months before Elvis made his first record!), <strong>Mickey Baker</strong> no doubt also marked Jimi Hendrix, who burst onto the scene in London in 1966, seemingly from nowhere. There again, the very &ldquo;jazzy&rdquo; approach of Hendrix &mdash; a superlative improviser &mdash; came straight from his R&amp;B and blues background. You can also see that <strong>Albert Collins </strong>(1932-1993) was no doubt another influence if you compare &ldquo;Drivin&rsquo; South&rdquo;, a Hendrix masterpiece, with Collins&rsquo; <strong>Tremble </strong>of 1962, which has the particular &ldquo;feel&rdquo; for notes you can find in the Voodoo Chile&rsquo;s style. </span><br /><span class=Texte>The pure &ldquo;down home&rdquo; blues style is anchored in the founding tradition of solitary itinerant vocalists such as Blind Lemon Jefferson, Robert Johnson or Willie Brown. The style had an electric incarnation in the influential singers<strong> John Lee Hooker</strong> (1927-2001, here in a version of &ldquo;Boogie Chillun&rdquo; that is different from his 1948 hit) and <strong>Lightnin&rsquo; Hopkins</strong> (1912-1982), who was Blind Lemon Jefferson&rsquo;s pupil. Whereas Hooker gave preference to rhythm, Hopkins favoured melody and intimacy so emotion are concentrated here with the voice and guitar blending together in a form of expression that is sensual and fundamental. That basic simplicity and primordial feeling reappear in <strong>Arthur Crudup</strong> (1905-1974), whose style comes from that matrix even though he&rsquo;s backed by two musicians. Elvis Presley borrowed a verse from his<strong> I Don&rsquo;t Know It</strong> and included it in this version of <strong>That&rsquo;s All Right</strong>. Like Hooker and his &ldquo;talking blues&rdquo;, &ldquo;Big Boy&rdquo; Crudup put the accent on rhythm guitar, which might seem rudimentary at first, but is actually the result of a highly-accomplished right-hand technique (and an E-B-E-G-B-E tuning in the Bentonia School tradition of Mississippi, like Skip James and later <strong>Albert Collins</strong>). Bo Diddley19 (1928-2008) had the same rhythmical orientation, and he was capable of alternating a host of rhythm-findings with melodic passages in a constant flow of pure energy. Here you can listen to his very original style in the instrumental <strong>Help Out,</strong> an exemplary piece, and on a second title in which the underestimated guitarist<strong> Lady Bo</strong> (b. 1939) responds to Diddley&rsquo;s vocals. </span><br /><span class=Texte>The success of <strong>B. B. King</strong> (b. 1925) in the early Fifties helped create demand for all kinds of solo stylists, and the arrival of numerous electric guitars encouraged that fashion. King had one hit after another and made a consi-derable mark on this period,20 one which saw the coexistence of Earl King, <strong>B. B. King, </strong>Freddie King and <strong>Albert King</strong> (1923-1992), who deeply marked Hendrix. B. B. and his permanently tense vocals and guitar marked Otis Rush and <strong>Buddy Guy</strong> (b. 1936), one of whose earliest recordings appears here. Like <strong>Matt &ldquo;Guitar&rdquo; Murphy</strong> (b. 1927, playing here with Memphis Slim), J<strong>ohnny &ldquo;Guitar&rdquo; Watson, Mickey &ldquo;Guitar&rdquo; Baker </strong>and <strong>Guitar Slim</strong> (1926-1959), <strong>Pete &ldquo;Guitar&rdquo; Lewis</strong> counts as another Afro-American giant who brought life to the excitement propagated by rock and roll well before Presley appeared on the scene in 1954. Pete Lewis is represented here by a piece less well-known than the vital, original version of &ldquo;Hound Dog&rdquo; by Big Mama Thornton, where he also shone. Other more obscure but no less brilliant black aces were <strong>Billy Butler </strong>(1925-1991), <strong>Ren&eacute; Hall </strong>(1912-1988), <strong>Jimmy Davis, Pat Hare, Pee Wee Crayton </strong>(1914-1985) and <strong>Lowell Fulson </strong>(1921-1999), together with Louisiana-born <strong>Lonnie Brooks</strong> (b. 1933) and<strong> Snooks Eaglin </strong>(1936-2009), who here freely adapts the Southern Tones&rsquo; gospel &ldquo;It Must Be Jesus&rdquo;, which Ray Charles had already picked up for &ldquo;I&rsquo;ve Got a Woman&rdquo;21. </span><br /><span class=Soustitre>Country &amp; Rockabilly Guitar</span><br /><span class=Texte>Electric guitars dominated hillbilly/country music in the Euro-American tradition, including country boogie,22 under the influence of lap steel guitarists like <strong>Sol Hoopii,</strong> essential pioneers of electric lap steel guitar in western swing23 (<strong>Bob Dunn </strong>and then <strong>Wilson Perkins,</strong> cf. CD1), <strong>Django Reinhardt</strong> and clear-sounding musicians with great technique like <strong>Eldon Shamblin,</strong> and also country artists like <strong>Hank Garland, Chet Atkins </strong>or <strong>Jimmy Bryan</strong>t. Derived partly from country boogie, rockabilly24 is represented here by its two major influences <strong>Elvis Presley,</strong> whose guitarist was <strong>Scotty Moore </strong>(b. 1931), and <strong>Gene Vincent,</strong> whose featured guitarist was <strong>Cliff Gallup.</strong> Both these guitarists owe a debt to Chet Atkins. <strong>Merle Travis</strong> (1917-1983) became the first country guitar-giant in creating a difficult finger-picking style derived from ragtime guitarists (Blind Blake). He also fascinated <strong>Chet Atkins</strong> (1924-2001) and many who came later. Atkins was also marked by Andr&eacute;s Segovia and Django, and became the great guitarist in Fifties American popular music. His impeccable fingerpicking technique allowed him to record magnificent pieces arranged in his demanding style. His clear, clean sound and the use of reverb also left a mark on the first white musicians to play rock instrumentals: Duane Eddy, the <strong>Ventures</strong> (<strong>Bob Bogle </strong>plays a Fender Jazzmaster here) and their followers the <strong>Shadows,</strong> the first British rock band to be a hit, or again Dick Dale. </span><br /><span class=Texte>Like the blues, country music could feature calmer sounds, but it could also kick into much faster tempos, like<strong> Hurricane </strong>by Larry Collins. Born in &lsquo;44, Collins recorded this tune only a month before his 14th birthday alongside his mentor<strong> Joe Maphis</strong> (1921-1986). After singing country and western swing for a few years, Bill Haley hired country guitarists and rhythm sections with a strong &ldquo;black-rock&rdquo; influence: in the prevailing context of racial segregation, mixing such musical styles was both a commercial risk and a major challenge. The historic solo by <strong>Danny Cedrone</strong> (1920-1954) on <strong>Rock the Joint</strong> in 1952 would be reproduced almost note for note by the same Cedrone three years later on Haley&rsquo;s famous &ldquo;Rock Around the Clock&rdquo;, but Cedrone never saw the result: he died ten days after the session. <strong>Buddy Holly</strong>, a performer with a remarkable sense of melody who was initially marked by bluegrass music, followed them in this rock direction. With his rhythmical chord-solo in <strong>Peggy Sue</strong> he anticipated the new power chord approach to electric guitar adopted a few years later by <strong>Link Wray, </strong>who came from western swing and was one of the first great inspirations of guitarist Pete Townshend (see above). On this version of <strong>Rumble </strong>you can hear the tremolo effects pioneered by<strong> Bo Diddley</strong>.</span><br /><strong><span class=Texte>Bruno BLUM</span></strong><br /><span class=Texte>Adapted into English by <strong>Martin DAVIES</strong></span><br /><span class=Texte>Thanks to Klaus Blasquiz, Jean Buzelin, DNG instrument-makers Dominique Caillerez, Nicolas Petibon and Gr&eacute;goire Alain, Yves Calvez, Stephane Colin, Nadine Deichtmann, Guillaume Gilles, Christophe H&eacute;nault, Prague Frank, Henry Padovani, Gilles P&eacute;tard, Gilles Riberolles, Brian Setzer, Michel Tourte and James Trussart.</span><br /><span class=Source>&copy; 2014 FRÉMEAUX &amp; ASSOCIÉS</span><br /><span class=Texte>1. Cf. Road Songs - Car Tunes Classics 1942-1962 (FA5401) in the same collection.</span><br /><span class=Texte>2. Cf. G&eacute;rard Herzhaft&rsquo;s notes and the titles in Texas Down Home Blues 1948-1952 (FA5062).</span><br /><span class=Texte>3. Reinhardt&rsquo;s complete recordings are available in two 14CD sets (FA321, FA322) and one 12CD set (FA323) in this collection.</span><br /><span class=Texte>4. &ldquo;Handful of Riffs&rdquo; appears in the the 4CD set released under FA5084.</span><br /><span class=Texte>5. Cf; Lonnie Johnson - The First of the Guitar Heroes 1925-1947 (FA262).</span><br /><span class=Texte>6. Africa and the Blues by Gerhard Kubik (University Press of Mississippi, 1999).</span><br /><span class=Texte>7. See Hawaiian Music Honolulu-Hollywood-Nashville 1927-1944 (FA035) in this series.</span><br /><span class=Texte>8. Cf. Hawaiians in Paris 1916-1926 (FA 066).</span><br /><span class=Texte>9. Cf. Robert Johnson - San Antonio - Dallas 1936-1937 (FA251).</span><br /><span class=Texte>10. Listen to Sol Hoopii on &ldquo;An Orange Grove in California&rdquo; (1934) in the anthology Rock Instrumentals Story (FA5426); other titles feature in Hawaiian Music Honolulu-Hollywood-Nashville 1927-1944 (FA035), and one of his first electric recordings, &ldquo;Fascinating Rhythm&rdquo; (1938), is in Rock n&rsquo; Roll Vol. 1 - 1927-1938 (FA351). </span><br /><span class=Texte>11. Cf. the two anthologies Muddy Waters - Rolling Stone 1941-1950 (FA266) &amp; Muddy Waters - King of the Chicago Blues 1951-1961 (FA273).</span><br /><span class=Texte>12. &ldquo;Blues for Hawaiians&rdquo; appears on The Indispensable Chuck Berry 1955-1961 (FA5409).<br /></span><span class=Texte>13. Featured in Rock Instrumentals Story 1934-1962 (FA5426).</span><br /><span class=Texte>14. Charlie Christian is the subject of Quintessence - Los Angeles-New York 1939-1941 (FA218).</span><br /><span class=Texte>15. Big Bill Broonzy is featured in The Blues - Chicago 1937-1945 (FA252).</span><br /><span class=Texte>16. Cf. The Indispensable Chuck Berry 1954-1962 (FA5409).</span><br /><span class=Texte>17. Cf. Jamaica-USA - Roots of Ska 1942-1962 (FA5496); Ernest Ranglin also appears on Jamaica - Mento 1951-1958 (FA5275) &amp; Jamaica - Rhythm and Blues 1956-1961 (FA5358).<br /></span><span class=Texte>18. Cf. Ray Charles - Brother Ray: The Genius 1949-1960 (FA5350).</span><br /><span class=Texte>19. Listen to both volumes of The Indispensable Bo Diddley, 1955-1960 (FA5376) and 1960-1962 (FA5406).</span><br /><span class=Texte>20. Cf. The Indispensable B.B. King 1949-1962 (FA5414).</span><br /><span class=Texte>21. Hear both &ldquo;It Must be Jesus&rdquo; and &ldquo;I&rsquo;ve Got a Woman&rdquo; on Roots of Soul Music 1928-1962 (FA5430) in this series.</span><br /><span class=Texte>22. Cf. Country Music 1940-1948 (FA173), Honky Tonk 1945-1953 (FA5087) &amp; Country Boogie 1939-1947 (FA160).</span><br /><span class=Texte>23. Cf. Western Swing 1928-1944 (FA032).</span><br /><span class=Texte>24. Cf. Rockabilly 1954-1962 (FA5423).</span><br /><span class=Soustitre>Disc 1 : 1935-1949</span><br /><span class=Texte><strong>1. Some of These Days</strong> - Milton Brown and his Musical Brownies </span><br /><span class=Texte>(Shelton Brooks)</span><br /><span class=Texte>Milton Brown-v; Robert Lee Dunn as Bob Dunn-electric lap steel g; Derwood Brown-g; Fred Calhoun-p; Ocie Stockard-tb; Wanna Coffman-b. Chicago, January 27, 1935.</span><br /><span class=Texte><strong>2. Ida (Sweet as Apple Cider)</strong> - Pappy O&rsquo;Daniel and his Hillbilly Boys</span><br /><span class=Texte>(Eddie Leonard, Eddie Munson)</span><br /><span class=Texte>Wilbert Lee O&rsquo;Daniel aka W. Lee O&rsquo;Daniel as Pappy O&rsquo;Daniel-leader; Leon Huff-v, g; Wilson Perkins- electric lap steel g; William Perrin-g; Carroll Hubbard-fiddle; Pete O&rsquo;Daniel-bj; Wallace Griffin-b; San Antonio, Texas, November 21, 1936.</span><br /><span class=Texte><strong>3. Rose Room</strong> - Derwood Brown and his Musical Brownies</span><br /><span class=Texte>(Arthur G. Hickman aka Art Hickman, Harry Hiram Williams)</span><br /><span class=Texte>Melvin Derwood Brown as Derwood Brown-g; Wilson Perkins aka Lefty-electric lap steel guitar; Robert Buchanan aka Buck Ochanan, Johnny Borowski-fiddle; Fred Calhoun-p; Ocie Stockard-tenor bj. Dallas, February 19, 1937.</span><br /><span class=Texte><strong>4. It&rsquo;s a Low Down Dirty Shame</strong> - Big Bill Broonzy</span><br /><span class=Texte>(Lee Conley Bradley aka Big Bill Broonzy, Lester Franklin Melrose)</span><br /><span class=Texte>Lee Conley Bradley as Big Bill Broonzy-v, g; George Barnes-lead g; John Davis-p; Bill Owsley-ts; Ransom Knowling-b; Chicago, March 1, 1938.</span><br /><strong><br /></strong><span class=Texte><strong>5. Laughing at Life</strong> - The Kansas City Five</span><br /><span class=Texte>(Nick Kenny, Charles Kenny, Cornell Todd, Bobo Todd)</span><br /><span class=Texte>The Kansas City Five: Eddie Durham-g; Buck Clayton-tp; Freddie Green-g; Walter Page-b; Jo Jones-d. Produced by John Hammond. Kansas City, March 16, 1938.</span><br /><span class=Texte><strong>6. My Window Faces South</strong> - Bob Wills and his Texas Playboys</span><br /><span class=Texte>Bob Wills-v, fiddle; Estel Eldon Shamblin as Eldon Shamblin-lead g; Leon McAuliffe- steel g; Jesse Ashlock-fiddle; C.G. Johnson aka Sleepy-g; Johnnie Lee Wills-bj; Son Lansford-b; William E. Stover aka Smokey-d. Dallas, November 11, 1938.</span><br /><strong><br /></strong><span class=Texte><strong>7. Jungle Drums</strong> - Sidney Bechet</span><br /><span class=Texte>(Sidney Bechet, Arthur James Singleton aka Zutty Singleton)</span><br /><span class=Texte>Sidney Bechet-cl, ss; Ernie Caceres-bar s; Dave Bowman-p; Leonard Ware-g; Henry Turner-b; Arthur James Singleton as Zutty Singleton. Vocalion 4537. New York City, November 16, 1938.</span><br /><span class=Texte><strong>8. Liza, Pull Down the Shades</strong> - Bob Wills and his Texas Playboys</span><br /><span class=Texte>Bob Wills-v, fid, Leon McAuliffe-st g, Sleepy Johnson-fid; Herman Arnspiger-g; Johnnie Lee Wills-bj; Al Stricklin-p; Joe Ferguson or Sonny Langsford-b; Smokey dacus-d. Chicago, November 30, 1938.</span><br /><span class=Texte><strong>9. Floyd&rsquo;s Guitar Blues</strong> - Andy Kirk and his Clouds of Joy</span><br /><span class=Texte>(Floyd Smith)</span><br /><span class=Texte>Andy Kirk and his Clouds of Joy: Floyd Smith-lap steel g; Harry Lawson, Paul King, Earl Thompson-tp; Ted Donnelly-tb; Don Byas-ts; John Harrington-as, cl; Dick Wilson-ts; Andy Kirk-bar s; Mary Lou Williams-p; Booker Collins-b; Ben Thigpen-d.</span><br /><span class=Texte>New York City, March 16, 1939.</span><br /><strong><br /></strong><span class=Texte><strong>10. Rose Room</strong> - Benny Goodman Sextet</span><br /><span class=Texte>(Arthur G. Hickman aka Art Hickman, Harry Hiram Williams)</span><br /><span class=Texte>Benjamin David Goodman as Benny Goodman-cl; Lionel Leo Hampton as Lionel Hampton-vib; James Fletcher Hamilton Henderson, Jr. as Fletcher Henderson-p; Charles Henry Christian as Charlie Christian-g; Artie Bernstein-b; Nick Fatool-d. Columbia 35254. Produced by John Hammond, New York City, October 2, 1939.</span><br /><span class=Texte><strong>11. Hot and Bothered</strong> - Clarence Profit Trio</span><br /><span class=Texte>(Edward Kennedy Ellington aka Duke Ellington)</span><br /><span class=Texte>Clarence Profit-p; Jimmy Shirley-g; Benjamin Brown-b. New York City, September 11, 1940.</span><br /><strong><br /></strong><span class=Texte><strong>12. Swing to Bop</strong> (aka Topsy, Charlie&rsquo;s Choice) - Charlie Christian</span><br /><span class=Texte>(Eddie Durham, Edgar Battle)</span><br /><span class=Texte>Charles Henry Christian as Charlie Christian-g; Joe Guy-tp; Kenny Kersey-p; Nick Fenton-b; Kenny Clarke-g. Minton&rsquo;s Playhouse, New York City, May 12, 1941.</span><br /><strong><br /></strong><span class=Texte><strong>13. I Got a Break Baby</strong> - T-Bone Walker</span><br /><span class=Texte>(Aaron Thibeaux Walker as T-Bone Walker)</span><br /><span class=Texte>Aaron Thibeaux Walker as T-Bone Walker-v, g; Frederick Charles Slack as Freddie Slack-p; George M. De Naut as Jud De Naut-b; David Coleman as Dave Coleman -d; Hollywood, circa July 20, 1942.</span><br /><span class=Texte><strong>14. Blue Skies</strong> - Les Paul</span><br /><span class=Texte>(Israel Isidore Beilin aka Irving Berlin)</span><br /><span class=Texte>Lester William Polsfuss as Les Paul-lead g; Milton William Raskin as Milt Raskin-p; Cal Gooden, Jr.-g; Clint Nordquist-b. Hollywood, December 12, 1944.</span><br /><span class=Texte><strong>15. Ain&rsquo;t That Just Like a Woman</strong> - Louis Jordan and his Tympani Five</span><br /><span class=Texte>(Claude Demetrius, Fleecie Moore)</span><br /><span class=Texte>Louis Jordan-v, as, leader; Aaron Izenhall-tp; Josh Jackson-ts; Bill Davis as Wild Bill Davis-p; Carl Hogan g; Jesse Simpkins aka Po-b; Eddie Byrd-d. New York City, January 23, 1946.</span><br /><strong><br /></strong><span class=Texte><strong>16. Sweet Jennie Lee</strong> - Bob Wills and his Texas Playboys</span><br /><span class=Texte>(Walter Donaldson)</span><br /><span class=Texte>Tommy Duncan-lead v; Lester Robert Barnard Jr. aka Junior Barnard-g; Bob Wills-v, fiddle; Joe Holley-fiddle; Roy Honeycutt-steel g; Millard Kelso-p; Jack Wills-b; Louis Tierney-fiddle/sax; Alex Brashear-tp; Johnny Cuviello-d. Universal Studio, San Francisco, May 20, 1946.</span><br /><span class=Texte><strong>17. I Can&rsquo;t Give You Anything But Lov</strong>e - George Barnes</span><br /><span class=Texte>(James Francis McHugh aka Jimmy McHugh, Dorothy Fields)</span><br /><span class=Texte>George Barnes-lead g; Bob Morton, Eddie Swan-cl, bass cl; Phil Wing-horn, cl, oboe; Tommy Miller-cl, alto fl, fl, piccolo; Jack Fascinato-p; Earl Backus-g; Hal Taylor-b; Frank Rullo-d, vibes. 1946.</span><br /><strong><br /></strong><span class=Texte><strong>18. I Don&rsquo;t Know It</strong> - Arthur Crudup</span><br /><span class=Texte>(Arthur Crudup)</span><br /><span class=Texte>Arthur Crudup aka Big Boy v, g; Ransom Knowling-b; Lawrence Riley aka Judge-d. Chicago, September 6, 1946.</span><br /><span class=Texte><strong>18. Bumble Boogie</strong> - Alvino Rey and his Orchestra</span><br /><span class=Texte>(Nikolai Andreyevich Rimsky-Korsakov, arr. Deane Kincaide)</span><br /><span class=Texte>Alvin McBurney as Alvino Rey-g; personnel includes: Stan Fishilson, Jake Gerheim, Russ Granger, Roger Ellick, Chuck Peterson, Frank Nelson-tp; Dave Bowman, Bob McReynolds, Bob Swift, Sam Levine, Johnny Mandel-tb; Hal McKusick, John Gruey, Bud Estes, Herbie Stewart, Al Cohn, Zoot Sims, Deane Kincaide, Jimmy Wise-reeds; Joe Mondragon-b; Rocky Coluccio aka Cole-p; Don Lamond or Dave Tough-d. Produced by Wally Heider, Los Angeles, 1946.</span><br /><span class=Texte><strong>19. Papa Tree Top Blues</strong> - Albennie Jones W/Sam Price and his Trio</span><br /><span class=Texte>(Albinia Jones aka Albennie Jones, Sam Price, Milt Gabler)</span><br /><span class=Texte>Albinia Jones as Albennie Jones-v; Sammy Price aka Sam Price-p; Billy Butler-g; Percy Joel-b; Dorothea Smith-d. Decca 48048B. New York City, July 6, 1947.</span><br /><span class=Texte><strong>20. Happy New Year, Darling </strong>- Lonnie Johnson</span><br /><span class=Texte>(Alonzo Johnson aka Lonnie Johnson, Sam Coslow)</span><br /><span class=Texte>Alonzo Johnson as Lonnie Johnson-v, g; Oran Page as Hot Lips Page-tp; Harold Singer as Hal Singer, possibly Tom Archia-ts; Joe Knight-p; Carl Wilson aka Flat Top-b; Clarence Donaldson aka Bobby Donaldson-d. Cincinnati, circa December 13 or 14, 1947.</span><br /><strong><br /></strong><span class=Texte><strong>21. This Train</strong> - Sister Katy Marie</span><br /><span class=Texte>(traditional)</span><br /><span class=Texte>Rosetta Nubin aka Sister Rosetta Tharpe as Sister Katy Marie-v, g; unknown p, b, d. Los Angeles, July 1947.</span><br /><span class=Texte><strong>23. Untrue Blues</strong> - Lightnin&rsquo; Hopkins</span><br /><span class=Texte>(Sam Hopkins)</span><br /><span class=Texte>Sam John Hopkins as Lightnin&rsquo; Hopkins-v, g. Gold Star Studios, Houston, Texas, 1949.</span><br /><strong><br /></strong><span class=Texte><strong>24. Intuition</strong> - Lennie Tristano</span><br /><span class=Texte>(Lennie Tristano)</span><br /><span class=Texte>Leonard Joseph Tristano as Lennie Tristano-p; Billy Bauer-g; Warne Marsh-ts; Lee Konitz-as; Arnold Fishkin-b; Denzil Best-d. New York City, May 16, 1949.</span><br /><span class=Soustitre>Disc 2 : 1948-1954</span><strong><br /></strong><span class=Texte><strong>1. Johnny Lee&rsquo;s Original Boogie </strong>- John Lee Hooker</span><br /><span class=Texte>(John Lee Hooker)</span><br /><span class=Texte>John Lee Hooker-v, g. Detroit, circa September, 1948.</span><br /><strong><br /></strong><span class=Texte><strong>2. Standin&rsquo; Here Tremblin&rsquo;</strong> - Muddy Waters</span><br /><span class=Texte>(McKinley Morganfield)</span><br /><span class=Texte>McKinley Morganfield as Muddy Waters-v, slide g; Ernest Crawford aka Big-b; Leroy Foster-g; Chicago, November 30, 1948</span><br /><strong><br /></strong><span class=Texte><strong>3. Sugarfoot Boogie</strong> - Hank Garland</span><br /><span class=Texte>(Hank Garland)</span><br /><span class=Texte>Hank Garland-lead g; Billy Byrd-g; Don Davis-steel g; Elbert McEwen-acc; unknown b; Nashville, May 2, 1949.</span><br /><span class=Texte><strong>4. Honolulu March </strong>- Sol Hoopii </span><br /><span class=Texte>(traditional)</span><br /><span class=Texte>(Solomon Ho&rsquo;opi&rsquo;i Ka&rsquo;ai&rsquo;a aka Sol Ho&rsquo;opi&rsquo;i aka Sol Hoopi)</span><br /><span class=Texte>Solomon Ho&rsquo;opi&rsquo;i Ka&rsquo;ai&rsquo;a aka Sol Ho&rsquo;opi&rsquo;i as Sol Hoopii-electric lap steel g-possibly unknown-g, b. Possibly Los Angeles, 1951.</span><br /><span class=Texte><strong>5. Nobody&rsquo;s Sweetheart </strong>- Chet Atkins</span><br /><span class=Texte>(Elmer Schoebel, Ernie Erdman, Gus Kahn, Billy Meyers)</span><br /><span class=Texte>Chester Burton Atkins as Chet Atkins-g. Nashville, May 5, 1952.</span><br /><strong><br /></strong><span class=Texte><strong>6. Number 000</strong> - Otis Blackwell W/Ren&eacute; Hall</span><br /><span class=Texte>(Otis Blackwell)</span><br /><span class=Texte>Otis Blackwell-v; Ren&eacute; Hall-lead g; Napoleon Allen aka Snags-g; Sammy Watkins-tp; Frank Culley aka Floorshow-ts; Budd Johnson-bar; Freddy Redd-p; Gene Smith-b; Roland Jefferson-d. New York City, October 22, 1952.</span><br /><span class=Texte><strong>7. Blind Love</strong> (Who Can Your Good Man Be) - B.B. King</span><br /><span class=Texte>(Riley Ben King aka B.B. King, Julius Jeramiah Bihari as Jules Taub)</span><br /><span class=Texte>Riley Ben King as B.B. King-v, g; Floyd Jones-tp; George Coleman-as, ts; Bill Harvey-ts; unknown bs; Connie Mack Booker-p; James Walker-b; Ted Curry-d; Charles Crosby-cg. Produced by Bill Holford and B.B. King for the Bihari Brothers, A.C.A. Studio, Houston, 1952/1953.</span><br /><span class=Texte><strong>8. Bryant&rsquo;s Bounce </strong>- Speedy West &amp; Jimmy Bryant</span><br /><span class=Texte>(Ivy J. Bryant, Jr. aka Jimmy Bryant)</span><br /><span class=Texte>Ivy J. Bryant, Jr. as Jimmy Bryant-lead g; Wesley Webb West as Speedy West-pedal steel g; Billy Strange-g; Cliffie Stone-b; Roy Harte-d. Hollywood, November 25, 1952</span><br /><span class=Texte><strong>9. Rock the Joint</strong> - Bill Haley and the Saddlemen</span><br /><span class=Texte>(Harry Crafton, Wendell Keene aka Don Keene, Harry Bagby aka Doc Bagby)</span><br /><span class=Texte>Bill Haley-v, g; Donato Joseph Cedrone as Danny Cedrone-lead g; Billy Williamson-steel g; Johnny Grande-p; Marshall Lytle-b. WVCH Radio Station Studio, Chester, Pennsylvania, circa July or August, 1952.</span><br /><span class=Texte><strong>10. Ooh Midnight</strong> - Pete &ldquo;Guitar&rdquo; Lewis</span><br /><span class=Texte>(Pete Lewis)</span><br /><span class=Texte>Esther Phillips-v; Pete Lewis as Pete &ldquo;Guitar&rdquo; Lewis-g; Don Johnson-tp; George Washington-tb; James Von Streeter-ts; Fred Ford-bar s; Devonia Williams-p; Albert Winston-b; Leard Bell-d. Los Angeles, August 28, 1952.</span><br /><span class=Texte><strong>11. Blues for Ike </strong>- Django Reinhardt et ses Rythmes</span><br /><span class=Texte>(Jean Reinhardt aka Django Reinhardt)</span><br /><span class=Texte>Jean Reinhardt aka Django Reinhardt-g; Maurice Vander-p; Pierre Michelot-b; Jean-Louis Viale-d. Paris, March 10, 1953.</span><br /><span class=Texte>&nbsp;</span><br /><span class=Texte><strong>12. Bootleggin&rsquo; Baby</strong> - Roy Brown</span><br /><span class=Texte>(Roy James Brown aka Roy Brown)</span><br /><span class=Texte>Roy James Brown as Roy Brown-v; Jimmy Davis-g; Joe Bridgewater-tp; Sammy Parker, Victor Thomas-ts; Jimmy Thomas-p or James C. Harris-p; Clarence Jones-,b; Albert Gardner aka June-d. Miami, December, 1953.</span><br /><span class=Texte><strong>13. Oscar&rsquo;s Blues</strong> - Oscar Moore Quartet</span><br /><span class=Texte>(Oscar Moore)</span><br /><span class=Texte>Oscar Moore-g; Carl Perkins-p; Joe Comfort-b; George Jenkins-d. Location unknown, September 2, 1953.</span><br /><span class=Texte><strong>14. Guitar Slim</strong> - Guitar Slim and his Band</span><br /><span class=Texte>Eddie Jones as Guitar Slim-v, g; Roosevelt Brown-tp; Gus Fontenette-as; Joe Tillman-ts; Lawrence Cotton-p; Lloyd Lambert-b; Oscar Moore-d. Los Angeles, September 28, 1954.</span><br /><span class=Texte><strong>15. Love my Baby</strong> - Little Junior&rsquo;s Blue Flames</span><br /><span class=Texte>(Herman Parker, Jr. aka Little Junior Parker)</span><br /><span class=Texte>Herman Parker, Jr. as Little Junior Parker -v; Auburn Hare as Pat Hare-g; William Johnson-p; Kenneth Banks-b; John Bowers-d. Memphis, circa October, 1953.</span><br /><span class=Texte><strong>16. You Know Yeah</strong> - Pee Wee Crayton</span><br /><span class=Texte>(Esther Rose Crayton, Dave Bartholomew)</span><br /><span class=Texte>Connie Curtis Crayton as Pee Wee Crayton-g, v; Salvador Doucette-p; Wendell Duconge-as; Clarence Hall-ts; Herb Hardesty-ts; possibly Frank Fields-b; Cornelius Coleman-d. Imperial 5321. J&amp;M Studio, 823 North Rampart Street, New Orleans, September 9, 1954.</span><br /><span class=Texte><strong>17. Saturday Night Shuffle</strong> - Merle Travis</span><br /><span class=Texte>(Merle Travis)</span><br /><span class=Texte>Merle Travis-g. Capitol Recording Studio, Hollywood, December 28, 1954.</span><br /><span class=Texte><strong>18. That&rsquo;s All Right</strong> - Elvis Presley </span><br /><span class=Texte>(Arthur Crudup) </span><br /><span class=Texte>The Blue Moon Boys: Elvis Aaron Presley aka Elvis Presley-v, g; Winfield Scott Moore II aka Scotty Moore-g; William Patton Black aka Bill Black-b. Produced by Sam Philips. Recorded at Sun Studio, Memphis, July 5, 1954.</span><br /><span class=Texte><strong>19. Gibson Boy</strong> - Tal Farlow</span><br /><span class=Texte>(Talmage Holt Farlow aka Tal Farlow)</span><br /><span class=Texte>Talmage Holt Farlow as Tal Farlow-lead g; Barry Galbraith-g; Oscar Pettiford-b; Joe Morello-d. Location unknown, April 11, 1954.</span><br /><span class=Texte><strong>20. Living the Life I Love</strong> - Memphis Slim and his House Rockers</span><br /><span class=Texte>(John Len Chatman aka Peter Chatman aka Memphis Slim aka L.C. Frasier)</span><br /><span class=Texte>John Len Chatman aka Peter Chatman aka L.C. Frasier as Memphis Slim-v, p; Matt Murphy as Matt &ldquo;Guitar&rdquo; Murphy-g; Neil Green, Jimmy Conley-ts; Henry Taylor-b; Otto Allen-d.</span><br /><span class=Texte>United 238. United Recording Studio, Chicago, March 16, 1954.</span><br /><span class=Texte><strong>21. Reconsider Baby</strong> - Lowell Fulson</span><br /><span class=Texte>(Lowell Fulson)</span><br /><span class=Texte>Lowell Fulson-v, g; David Newman-ts; unknown-bar s, p, b, d. Los Angeles, September 27, 1954.</span><br /><span class=Texte><strong>22. Tiny&rsquo;s Boogie</strong> - Tiny Grimes and his Rocking Highlanders</span><br /><span class=Texte>(Lloyd Grimes aka Tiny Grimes)</span><br /><span class=Texte>Lloyd Grimes as Tiny Grimes-tenor g; Red Prysock-ts; possibly Laverne Baker b; Philly Joe Jones-d. United U-170. Released in 1955.</span><br /><span class=Texte><strong>23. Dust my Blues</strong> - Elmore James</span><br /><span class=Texte>(Elmore Brooks aka Elmore James)</span><br /><span class=Texte>Elmore Brooks as Elmore James-v, g; unknown p, b, d. Flair 1074. Possibly Memphis, 1955. </span><br /><span class=Texte><strong>24. Roly Poly</strong> - Chuck Berry</span><br /><span class=Texte>Charles Edward Berry as Chuck Berry-g, v; Otis Spann-p; Willie Dixon-b; Ebby Hardy-d. Produced by Lejzor Czyz as Leonard Chess, Chicago, December 20, 1955.</span><br /><span class=Soustitre><br />Disc 3 : 1954-1962</span><br /><span class=Texte><strong>1. Space Guitar</strong> - Young John Watson</span><br /><span class=Texte>(John Watson, Jr. aka Johnny &ldquo;Guitar&rdquo; Watson)</span><br /><span class=Texte>John Watson, Jr. as Johnny &ldquo;Guitar&rdquo; Watson-v, g; Bill Gaither-ts; Devonia Williams-p; Mario Delagarde-b; Charles Pendergraph-d. Federal 12175. Los Angeles, February 1, 1954.</span><br /><span class=Texte><strong>2. Midnight Hours</strong> - Larry Dale</span><br /><span class=Texte>(Ennis Lowery aka Larry Dale)</span><br /><span class=Texte>Ennis Lowery as Larry Dale-v: McHouston Baker as Mickey Baker-g; Jack Dupree-p; Haywood Henry-sx; Lesley Johnakins; Leroy Taylor aka Sam &ldquo;The Man&rdquo; Taylor; Lloyd Trotman-b; David A. Francis as Panama Francis-d. Produced by Danny Kessler. RCA Victor Studio 1, New York City, June 21, 1954.</span><br /><span class=Texte><strong>3. Bi-Bickey-Bi-Bo-Bo-G</strong>o - Gene Vincent and his Blue Caps</span><br /><span class=Texte>(Don Carter, Dub Nalls, Jack Rhodes)</span><br /><span class=Texte>Vincent Eugene Craddock as Gene Vincent-v; Clifton E. Gallup as Cliff Gallup-lg; Paul Peek aka Paul Edward Peek Jr. aka Red-rg; Jack Neal-b; Richard Harrell aka Dickie Harrell -d; Produced by Ken Nelson. Mort Thomasson, engineer. Owen Bradley&rsquo;s Studio, Nashville, Tennessee, October 15, 1956.</span><br /><span class=Texte><strong>4. Minor Mood</strong> - Barney Kessel</span><br /><span class=Texte>(Barney Kessel)</span><br /><span class=Texte>Barney Kessel-g; Ray Brown-b; Shelly Manne-d. Los Angeles, March 18 or 19, 1957.</span><br /><span class=Texte><strong>5. Hurricane</strong> - Larry Collins &amp; Joe Maphis</span><br /><span class=Texte>(Lawrence Collins aka Larry Collins)</span><br /><span class=Texte>Lawrence Collins as Larry Collins-lead g; Otis W. Maphis as Joe Maphis-lead g; Johnny Bond-g; Leon Silby-g; Skeets McDonald-b; Marian Adams aka Pee Wee Adams-d. Produced by Don Law. Radio Recorders, 7000 Santa Monica Boulevard, Hollywood. September 25, 1957.</span><br /><span class=Texte><strong>6. Peggy Sue</strong> - Buddy Holly</span><br /><span class=Texte>(Charles Hardin Holley aka Buddy Holly, Jerry Allison, Norman Petty)</span><br /><span class=Texte>Charles Hardin Holley as Buddy Holly-v, g, lead g; Joe B. Mauldin-b; Jerry Allison-d. Norman Petty Studio, 1313 West 7th Street, Clovis, New Mexico, June 29 &amp; July 1, 1957.</span><br /><span class=Texte><strong>7. The Crawl </strong>- Guitar Junior</span><br /><span class=Texte>(Wayne Shuler, Raymond Victoria aka Ray Vict)</span><br /><span class=Texte>Lee Baker, Jr. aka Lonnie Brooks as Guitar Junior-v, lead g; Joe Joseph as Boogie Joe Joseph-p; Clarence Garlow-g; Willie Chason-b; &ldquo;Little Brother&rdquo; Griffin-d. Goldband 1076. Lake Charles, Louisiana, late 1957. </span><br /><span class=Texte><strong>8. Susie-Q</strong> - Dale Hawkins</span><br /><span class=Texte>(Delmar Allen Hawkins aka Dale Hawkins, Stanley J. Lewis, Eleanor Broadwater)</span><br /><span class=Texte>Delmar Allen Hawkins as Dale Hawkins-v; James Burton-g; &ldquo;Sonny&rdquo; Trammell-b, Francis Donald Lewis-d. Checker 863. KWKH Radio, Shreveport, Louisiana, 1957.</span><br /><span class=Texte><strong>9. Jack and Jill Shuffle </strong>- Theophilus Beckford </span><br /><span class=Texte>(Theophilus Beckford) </span><br /><span class=Texte>Theophilus Beckford-v/Ernest Ranglin-g/Roland Alphonso-ts/Emmanuel Rodriguez aka Rico-tb/possibly Aubrey Adams-p/Cluett Johnson-b/Arkland Parks aka Drumbago-d. Produced by Clement Seymour Dodd aka Coxsone. Possibly recorded in 1958. Released in 1959.</span><br /><span class=Texte><strong>10. Rumble</strong> - Link Wray and his Ray Men</span><br /><span class=Texte>(Fred Lincoln Wray Jr. aka Link Wray)</span><br /><span class=Texte>Fred Lincoln Wray aka Link Wray-g; Shorty Horton-b; Doug Wray aka Lucky-d. Washington D.C., late 1957.</span><br /><span class=Texte><strong>11. Carol </strong>- Chuck Berry</span><br /><span class=Texte>(Charles Edward Anderson Berry aka Chuck Berry)</span><br /><span class=Texte>Charles Edward Anderson Berry as Chuck Berry-g, v; G. Smith-b; Johnnie Johnson-p; Ebby Hardy-d; unknown perc. Produced by Lejzor Czyz as Leonard Chess and Fiszel Czyz as Phil Chess, Chicago, Illinois, May 2, 1958.</span><br /><span class=Texte><strong>12. This Is the End</strong> - Buddy Guy</span><br /><span class=Texte>(Ike Wister Turner aka Ike Turner)</span><br /><span class=Texte>George Guy as Buddy Guy-v, g; Carlson Oliver, Eddie Jones-ts; Jackie Brenston-bar s; Harold Burrage-p; Willie Dixon-b; Odie Payne-d. Artistic 1061. Chicago, 1958.</span><br /><span class=Texte><strong>13. School Day Blues</strong> - Johnny and the Jammers</span><br /><span class=Texte>(John Dawson Winter III aka Johnny Winter)</span><br /><span class=Texte>John Dawson Winter III as Johnny Winter-v, g; Edgar Holland Winter as Edgar Winter-ts; unknown b, d. Dart 131. Bill Hall&rsquo;s Studio, Beaumont, Texas, 1959.</span><br /><span class=Texte><strong>14. Easy Living</strong> - Howard Roberts </span><br /><span class=Texte>(Ralph Rainger, Leo Robin)</span><br /><span class=Texte>Howard Roberts-g; Red Mitchell-b; Stan Levey-d. Los Angeles, 1959.</span><br /><span class=Texte><strong>15. Well You Needn&rsquo;t</strong> - Kenny Burrell</span><br /><span class=Texte>(Thelonious Sphere Monk aka Thelonious Monk)</span><br /><span class=Texte>Kenneth Earl Burrell as Kenny Burrell-g; Richard Davis-p; Roy Haynes-d. Village Vanguard, New York City, September 1959.</span><br /><span class=Texte><strong>16. Round Midnight</strong> - Wes Montgomery </span><br /><span class=Texte>(Thelonious Sphere Monk aka Thelonious Monk)</span><br /><span class=Texte>John Leslie Montgomery as Wes Montgomery-g; Melvin Rhyne-org; Paul Parker-d. Produced by Orrin Keepnews. New York City, October 5 or 6, 1959.</span><br /><span class=Texte><strong>17. Yours Truly</strong> - Snooks Eaglin</span><br /><span class=Texte>(Fird Eaglin Jr. aka Snooks Eaglin)</span><br /><span class=Texte>Fird Eaglin Jr. as Snooks Eaglin-v, g; Frank Fields-b; Robert French-d. New Orleans, April 25, 1960.</span><br /><strong><br /></strong><span class=Texte><strong>18. Walk Don&rsquo;t Run</strong> - The Ventures</span><br /><span class=Texte>(John Henry Smith aka Johnny Smith)</span><br /><span class=Texte>Robert Lenard Bogle as Bob Bogle-lead g; Don Wilson-g; Nole Floyd Edwards as Nokie Edwards-b; Skip Moore-d. Tacoma, Washington, Spring of 1960.</span><br /><span class=Texte><strong>19. Apache</strong> - The Shadows</span><br /><span class=Texte>(Jeremiah Patrick Lordan aka Jerry Lordan)</span><br /><span class=Texte>Brian Robson Rankin aka Hank Brian Marvin as Hank Marvin-lead g; Bruce Cripps as Bruce Welch-g; Terence Harris as Jet Harris-b; Daniel Joseph Anthony Meehan as Tony Meehan-d; Cliff Richard-Chinese drum (intro). Produced by Norrie Paramor. Abbey Road Studios, London, June 1960.</span><br /><span class=Texte><strong>20. Bo Diddley Is Loose</strong> - Bo Diddley </span><br /><span class=Texte>(Ellas McDaniel aka Bo Diddley)</span><br /><span class=Texte>Ellas McDaniel as Bo Diddley-v, g; Peggy Jones as Lady Bo-lead g; Jesse James Johnson-b; Bill Downing or Edell Robertson-d; Jerome Green-maracas. Bo Diddley&rsquo;s home studio, Washington D.C., February 1961.</span><br /><strong><br /></strong><span class=Texte><strong>21. Help Out</strong> - Bo Diddley</span><br /><span class=Texte>(Ellas McDaniel aka Bo Diddley)</span><br /><span class=Texte>Ellas McDaniel as Bo Diddley-v, lead g; Norma Jean Wofford as The Duchess, g; Lafayette Leake-p; Jesse James Johnson or Chester Lindsey-b; Bill Downing or Edell Robertson-d; Jerome Green-maracas. Ter-Mar Recording Studio, Chicago, October 1962.</span><br /><span class=Texte><strong>22. California Blues</strong> - Albert King</span><br /><span class=Texte>(Albert Nelson aka Albert King)</span><br /><span class=Texte>Albert Nelson as Albert King-v, g; Wilbur Thompson-tp; Hal White-ts; Freddie Robinette-bar s; Sam Wallace-p; Lee Otis -b; Thiotis Morgan-d. Saint Louis, March 1, 1961.</span><br /><span class=Texte><strong>23. Tremble</strong> - Albert Collins</span><br /><span class=Texte>(Albert Collins)</span><br /><span class=Texte>Albert Collins-v, g; Frank Mitchell-tp; Henry Hayes-as; Big Tiny-ts; Walter McNeil-organ; Bill Johnson-b; Herbert Henderson-d. Produced by Bill Hall. Houston, 1962.</span><br /><span class=Texte><strong>24. Willow Weep for Me</strong> - Elek Bacsik</span><br /><span class=Texte>(Ann Rosenblatt aka Ann Ronell)</span><br /><span class=Texte>Elek Bacsik-g, g overdub; Pierre Michelot-b; Kenny Clarke-d. Paris, 1962.</span><br /><span class=Texte>Cette anthologie r&eacute;alis&eacute;e (et comment&eacute;e dans un livret de 32 pages) par Bruno Blum est indispensable &agrave; tous les guitaristes &ndash; et &agrave; quiconque appr&eacute;ciant cet instrument. Des premiers enregistrements historiques de lap steel &eacute;lectrique d&egrave;s 1935 au triomphe de la guitare dans le rock, la plupart des meilleurs et plus influents guitaristes sont r&eacute;unis ici chronologiquement. Ils interpr&egrave;tent des morceaux repr&eacute;sentatifs de leurs styles tr&egrave;s diff&eacute;rents dans ce floril&egrave;ge retra&ccedil;ant l&rsquo;&eacute;volution de la guitare &eacute;lectrique. D&rsquo;une diversit&eacute; et d&rsquo;une richesse musicale &eacute;tonnante, cet essentiel triple album tr&egrave;s document&eacute; juxtapose les pionniers, innovateurs et stylistes d&rsquo;un instrument qui a domin&eacute; la musique populaire occidentale pendant un demi-si&egrave;cle. &nbsp;&nbsp;&nbsp; <br /><strong>P. FRÉMEAUX</strong></span><br /><span class=Texte>The indispensable collection for all guitar players and anyone interested in the instrument. In chronological order, starting with the first historic recordings of an amplified lap steel guitar in 1935 up to the triumph of rock guitar, most of the best and most influential guitarists can be found here. They are heard showing astonishing musical diversity in this anthology recounting the evolution of the electric guitar. This highly-documented triple album is an essential work and features not only the pioneers and innovators but also the stylists who contributed to make the guitar the dominant instrument in western popular music for over five decades. Told by Bruno Blum, himself a guitarist, this epic includes truly dazzling recordings. &nbsp;&nbsp;&nbsp; <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Source>CD Electric guitar story - Country jazz, blues R&amp;B rock 1935-1962 &copy; Fr&eacute;meaux &amp; Associ&eacute;s 2013.</span><br /></p>"
      "dwf_titres" => array:72 [ …72]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/2/7/2/19272-home_default.jpg"
      "cover" => array:9 [ …9]
      "authors" => []
      "performers" => []
      "images" => array:1 [ …1]
      "has_discount" => false
      "discount_type" => null
      "discount_percentage" => null
      "discount_percentage_absolute" => null
      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40}
    -arrayAccessList: ArrayObject {#689
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [ …143]
    }
    -arrayAccessIterator: ArrayIterator {#778
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      storage: array:143 [ …143]
    }
    -methodCacheResults: []
  }
]

Aretha Franklin The Indispensable

INTEGRALE 1956-1962

Version CD

29,99 €

Version Numérique

19,95 €

Ray Charles - The Complete 1961 Paris Recordings

THE ONLY LIVE RECORDINGS WHERE RAY CHARLES PLAYED ORGAN...

Version CD

29,99 €

Version Numérique

19,95 €

Ray Charles - In Antibes 1961

INCLUDING 13 PREVIOUSLY UNRELEASED TRACKS, PLUS 14 BONUS...

Version CD

29,99 €

Version Numérique

19,95 €

Jerry Lee Lewis - The Indispensable

1956-1962

Version CD

29,99 €

Version Numérique

19,95 €

Roots Of Soul 1928-1962

OTIS REDDING • ARETHA FRANKLIN • JAMES BROWN • MARVIN...

Version CD

29,99 €

Version Numérique

19,95 €

Eddie Cochran - The Indispensable 1955-1960

Version CD

29,99 €

Version Numérique

19,95 €

Bill Haley - The Indispensable 1948-1961

ROCK AROUND THE CLOCK

Version CD

29,99 €

Version Numérique

19,95 €

Roots Of Funk 1947-1962

JAMES BROWN • MONGO SANTAMARIA • SUN RA / EDDIE BO •...

Version CD

29,99 €

Version Numérique

19,95 €

Rockabilly The Indispensable 1951-1960

ELVIS PRESLEY, BILL HALEY, ROY ORBISON, GENE VINCENT,…

Version CD

29,99 €

Version Numérique

19,95 €

Rock Instrumentals Story 1934-1962

THE SHADOWS • LES PAUL • CHUCK BERRY • EDDIE COCHRAN •...

Version CD

29,99 €

Version Numérique

19,95 €

Roy Orbison

THE INDISPENSABLE 1956-1962

Version CD

29,99 €

Version Numérique

19,95 €

Electric Guitar Story

ROCK COUNTRY JAZZ BLUES R&B (1935-1962)

Version CD

29,99 €

Version Numérique

19,95 €