#Jazz et Blues

[ruemorinpointcom]

Festival Jazz et Blues de Saguenay

[remittere-momentum]

(Remittere Momentum)

[stardust-swan]

The Kind of Girl I Want To Be

Buys herself pink peonies and roses

Wears scents like Parfums De Marly Delina and Oriana, Miss Dior, YSL Paris, Prada Candy, Mon Guerlain and Chanel Chance Eau Tendre (she sprays it in the morning, after showers, and before going to bed)

Bakes heart shaped sugar cookies and macarons

Spends rainy days sipping rose tea from floral china while reading beautifully bound classic novels

Has a bookshelf filled with first edition poetry books, gilded editions of fairytale books, volumes of the Little Books of Fashion series, leatherbound classics, and Harlequin romance novels

Drinks peppermint tea in the morning and camomile tea at night

Sleeps on pink silk sheets and has a satin kimono robe

Plays Brigitte Bardot, classical music, and soft jazz in the background

Takes ballates or yogalates classes

Plays the violin or cello

Watches Audrey Hepburn and Anna Karina films

Adds sweet almond oil and rose bath tea to her vanilla bubble bath

Has a seasonal pass to the ballet and regularly visits the theatre, old bookshops, botanical gardens, and art galleries

Keeps things like French Girl lip tints/Glossier lip balms/Too Faced lip glosses, a hand mirror, a comb, some bonbons, a book, a rollerball of perfume, hand cream, a piece of rose quartz, a scrunchie, a nail file, spray on SPF and bubblegum in her bag at all times

Is always up to date with Fashion Week

Writes in her diary daily in swirly writing using coloured gel pens, pressing flowers between the pages and spraying perfume samples on it

Lights Yankee Candle Fresh Cut Roses or Rainbow Cookie, keeps soap and lavender in her wardrobe, and has vanilla diffusers around the house

Lives in a cosy home filled with beautiful things, like paintings by local artists, lots of cushions and throws, soft lighting from salt lamps and fairy lights, potted herbs and succulents, vintage vases filled with floral arrangements, DIY macramé and embroidery projects, a bowl of different crystals, signature Barbies on a shelf, rattan furniture, fluffy towels in white, pink, baby blue, and lavender, pink Dove or rose Roger et Gallet soap and Jurlique rose hand cream on the bathroom sink, pictures of her loved ones in antique frames, floral patterns everywhere, antique mirrors, and beautiful porcelain teasets

Goes to French cafés to enjoy a vanilla oat latte with a millefeuille or almond croissant

Always wears diamond or pearl earrings (often paired with a charm bracelet or gold heart locket)

Enjoys rosé wine, champagne, and strawberry daiquiris at lunchtime occasionally

Snacks on strawberries, sugared almonds, dried fruit and nuts, and Turkish Delight

Applies powder, rosy blush, lipgloss, and puts ribbons in her hair at her vanity table, which is decorated with a ballerina music box, vintage perfume bottles, and trinkets shaped like swans, angels and shepherdesses

Has her morning and evening routines down pat: waking up to melodic music, opening the windows, making the bed, doing gentle yoga, simple skincare, getting dressed, applying makeup, and eating a simple but delicious breakfast in the morning, and having a warm shower, doing more decadent skincare, putting on comfy cotton or satin pyjamas, journalling, enjoying a calming cup of herbal tea, reading, looking out the window at the moon, and falling asleep to relaxing sounds like ocean waves, gentle rainfall, and white noise at night. Her life runs like clockwork.

Is gentle, sweet, romantic, and full of love to give

[canmom]

Animation Night 191 - Yuzuru Tachikawa

this is what it's like to play jazz.

OK, so, you know Mob Psycho 100? Maybe I don't even need to say more than that...

Yuzuru Tachikawa! If you're a sakuga type, perhaps a familiar name... if not, let's take a moment to rewind the clock to the strange ancient times of 2013, where there was a certain something called the Young Animators Training Project. Which was a project to train young animators. More substantially, as kvin writes here, it was a project designed to address the collapsing training processes of the anime industry... a project which fell rather short of its aims in many ways.

But in its earlier days, it did fund a couple of very interesting, unique short films. One of them was the original Little Witch Academia, which went on to expand into one of Trigger's flagship series. And the other... was Death Billiards, directed and written by a certain Yuzuru Tachikawa, rising episode director star, at Madhouse.

The premise of Death Billiards, and the later expanded esries Death Parade, is that the dead find their way into bars whose bartenders judge whether they should be reincarnated based on 'death games'. What's a death game? Well, standard bar stuff: billiards, darts... the title is in fact very literal. And it slapped. kVin writes:

Death Billiards was nothing short of a passion project for Tachikawa, who wrote, directed, and storyboarded it all. It was his opportunity to make a stance. To prove he wasn’t just a great ally for other creators, or even a suitable second in command, but rather someone deserving of helming his own titles as he pleased. In his second showing as director—the one fan of the 2012 multimedia project Arata-naru Sekai happens to be a friend of mine and he’ll kill me if I don’t mention it—Tachikawa held nothing back. Death Billiards’ exploration of ambiguity and moral failings that had always intrigued Tachikawa stuck with people all around the world too, and its presentation was so stylish that not even Yoh Yoshinari’s dazzling LWA managed to overshadow it. The OVA immediately put Tachikawa on the map, but truth to the told, that’s far from the extent of its success.

And indeed, Tachikawa - and producer Takuya Tsunoki - went on to do many great things, building up a strong gang of animators around them, many of them associated with the young Studio NUT. Of course, their best known project is Mob Psycho 100, a popular comedy-shōnen manga by One (same mangaka as One Punch Man) which plays around with chuunibyou (in the original sense) ideas of psychic powers in, ultimately, a very grounded, affirming way - and to this Tachikawa et al. brought a slightly sketchy, experimental style which led to some pretty crazy action animation. Mob was a crazy hit; later came their long-term passion project DECA-DENCE, a very fun scifi piece about humans trapped in an elaborate physicalised game, rebelling against the system and staging prison breaks, full of slick zero-g action sequences...

Course while we're talking about NUT, we gotta mention their first work Youjo Senki, perhaps the most outright loathsome anime I've ever seen. Not to beat this dead horse. I can only imagine that the staff working on it were like... somehow oblivious to the blatant nazi barely-even-subtext of what they were adapting? (In keeping with the unfortunate ways that otaku culture plays with nazi imagery.) I just can't square it with any of the other stuff they've made, Deca-Dence in particular. Tachikawa at least was only peripherally involved in that hot mess.

We're not actually here to talk about Mob or Deca-Dence though - they're both way too long for Animation Night. Instead we'll be rolling the clock forward to Tachikawa's most recent project at NUT: an adaptation of Blue Giant, about boys playing jaazzzzzz.

also eating burger.

Blue Giant follows Dai, an aspiring saxophonist, as he grows up and toots despite the hostility of the patrons of his local music shop. The film adapts some of the later volumes of the manga, in which Dai has already made some progress in his playing. Dai falls in with two other jazz players: the experienced and arrogant Yukinori and novice drummer Shunji as they form a band. Before long, conflict brews over just how hardcore you should go.

The film is, naturally, a celebration of jazz, full of elaborate scenes of performance, described as being like "a full-blown music video" to really sell you on how moving and awesome jazz movie can be. Jazz and anime can be a great combo (just ask anyone who's seen Cowboy Bebop or Gundam Thunderbolt) and I am pretty curious to see what they come up with here.

Honestly, while I've enjoyed Mob and Deca-Dence, I definitely feel like I'm sleeping a bit on Tachikawa - so tonight I hope to remedy it by checking out where he came from and where he's currently going, with a night of Death Billiards and Blue Giant! NUT's animation is always lively and stylish - they're also the studio where the master of anime-industry animation tutorials, Dong Chang, works - so I think we'll surely see something cool.

Animation Night 191 will be going live shortly at twitch.tv/canmom, I hope to see you there! And apologies for the late start - without going into too much of what's happening behind the scenes here, we should (touch wood) soon be able to get back to an earlier schedule, but for now we're still on witching hours.

[itsyoung8]

Lucky De Luca headcanons

Bonjour à toutes et à tous! As you probably know, Rockstar Games didn't put Lucky very much in the spotlight in the game, even making him almost invisible. Also, I see that there isn't a lot of content on Lucky here either. That's why I'm offering you headcanons on it so that people have the vision on it!

Lucky never rests. He's always working on something

Even when he's having lunch, he's doing something on the side. Other greasers are worried about his health

He's not very talkative. He'd rather listen than talk

That's why most greasers will confide in him. But when he speaks, he always gives good advice.

With Ricky and Johnny, he often races bikes through Bullworth

Like Tom, where the others will rush headlong, Lucky will first analyze the situation before acting

While repairing cars or bicycles, he can be heard humming along to sounds of jazz, blues, rock, etc. It relaxes him

He is a very good dancer but he only likes to dance in front of people other than his family and friends

Her denim jacket is a gift from her family. Since he got it, he never leaves it, even in winter

He only takes off his jacket at home or to put it around a girl's shoulders if she is cold

He's very lucky (lol) with the ladies. He must be a very great gentleman

He doesn't like video games because he sucks. Often he watches others play

He watches westerns or movies or series with action on television

He rarely drinks alcohol. He prefers to drink water

He reads crime novels

End of my headcannons on Lucky! While writing them, I imagined a one-shot about him, don't ask me why. Maybe one day I'll make one, who knows?

[red-bat-arse]

I Got a Problem 🎸🎶🎻

AO3

Chapter One

Eddie 'The Freak' Munson, famous for bringing rock to new heights with his band Hellfire, listens to everything but Country. 'King' Steve Harrington, leading light of the new generation of traditional Country artists, has a few thoughts about that.

=<+>=

Eddie Munson did not normally find himself accused of being musically pigeonholed.

He'd played alongside punk bands in his early touring days, and grew up on jazz and the blues from his mum and uncle. His hits on the pop charts prompted a few collaborations with electronic and indie artists, and his sophomore album featured a few rappers who wanted to get experience with rock. Metal was his bread and butter, he had a soft spot for soulful folk ballads, and given his close friendship with Argyle he was more than familiar with reggae and funk and all varieties of stoner music.

Of course, you could probably guess that the exception to all that was the ever contentious genre of country. However that wouldn't be a problem, wouldn't even be on Eddie's radar, if not for the batshit insane decision Hopper made in a diner three blocks away from the studio the week prior.

Eddie scowled and shot Jeff another look when his vocalist snickered at his expense. On the other side of the room this party was happening in, he could see Steve Harrington talking with Dustin and laughing at whatever the kid was frantically gesturing about.

He was dressed in a embroidered beige western shirt with pearls on the long cuffs, blue jeans with a brown belt and a big copper buckle, and honest to god cowboy boots that matched the ensemble. His hair was styled high and his biceps strained the shirt sleeves a little, and when he turned on his heel to follow Dustin's pointer figure Eddie was briefly overcome with lust at the amazing ass in his direct line of sight.

"I don't care," he pronounced finally, twitching as Harrington spun back and ruffled Dustin's hair, grinning wide when the kid squawked in outrage. Jeff outright snorted and Eddie glared harder. "I think doing this before we move to a bigger space is stupid, but all power to the Chief if he thinks we can make it work."

"Don't care at all, got it," Gareth said, coming up beside him. "It's just business concerns. Like, our assets."

"See, why can't you be more like Gareth, Jeffery? He knows exactly what i'm talking about," Eddie slung an arm over Gareth's shoulders -and he must be in a good mood because he didn't duck away. "Business assets."

"More like his ass-et," Jeff muttered, and Eddie valiantly ignored him.

Five days ago Hopper walked into the studio's monthly brunch and introduced them all to one Joyce 'Mama' Byers -which, okay, even Eddie knew who she was -and dropped the bombshell that she signed on with them two days prior. Once the commotion died down she was the one who dropped the next one, informing them all that they'd soon be sharing close quarters with nine other artists from her former label, preeminent among them the one who convinced them all to walk out, that being Steve Harrington.

All ten of them were country artists. Prison Break Records hadn't put out any music that wasn't solely rock or metal in it's entire eight years of existence. To say there was a bit of culture shock going around was an understatement.

"Give them a chance, Ed," Grant passed by with a few cans of coke tucked into the crook of his arm and slapped him on the shoulder, making Eddie stumble. "Half of them are in the middle of doing the bar circuit right now, and it's not like we need the studio space anyway. It's all good."

Eddie huffed, trying not to let Grant's comment sting -he knew he didn't mean anything by it. But at nearly six months to the day, even though the guys would never rush him, maybe Eddie was getting a little bit worried about the future.

"I was talking with the Byers, apparently it's mainly gonna be Joyce and Harrington recording for the next month at least," Gareth piped up again, jabbing a thumb in the direction of country music's leading family -Argyle had somehow struck up a conversation with them and while the younger brother seemed confused, the elder was paying rapt attention to whatever their resident stoner was explaining. "Everyone else is taking a break or doing small shows or one off songs, like Grant said."

"Fine, fine, I get it," Eddie held up his hands in surrender. "But if they start blasting fucking honky-tonk bullshit-"

"Oh come on, Munson, don't tell me you're one of those."

Eddie paused, then slowly turned around, feeling his face heat up only partly in embarrassment to see Harrington standing just behind him, having apparently been abandoned by Dustin in the last few minutes. He had his hip cocked and a hand casually resting with the thumb hooked in his belt, and up close Eddie could see little moles scattered all over his face and neck like flecks of paint. Next to them, Jeff turned and coughed a laugh into his elbow, muffled.

"What, pray tell, are you talking about?" Eddie quashed the instinct to puff up for a fight. Just because Harrington was a good old jock with arms that could bench him didn't mean he had to have his back up, and he reasoned that this was his home turf here. He and Hopper may not always see eye to eye, but if Eddie asked he'd take his side in a heartbeat.

Harrington gave a funny little smirk, the kind you'd give to the family dog who was doing something cute but ultimately futile.

"You're the type who hates Trace Adkins but's never heard of David Allan Coe," he raised an eyebrow, then nodded to Jeff and Gareth, holding out a hand to shake with each of them. "Name's Steve. Good to meet you guys."

"Jeff," "Gareth," his bandmates parroted back, easy as breathing, while Eddie was still stuck on Harrington's little dig about the artists he was or wasn't aware of.

"You do most of the song work, don't you Munson?" he was asked, and Eddie belatedly realized he hadn't actually accepted Harrington's handshake. It was too late now, so he kind of awkwardly answered in the affirmative and watched that hand get pulled back and settled onto Harrington's other hip, so the man was standing almost like a judgy mother hen as he kept talking. "I've been kind of obsessed with Dark Sheep lately -especially the way you captured sexuality in 'Something On Your Tongue'; like how it's all about being confident, and whether it's a stranger at a club or working a job, the narrator's attracted to them in a way that's not gross to listen to. I mean, 'I love the way you dance with anybody' as a line is pretty refreshing when you think about it and... oh. Sorry," Harrington trailed off and turned a little pink, ducked his head. "Didn't mean to ramble on there."

Steve Harrington listened to Hellfire's music? Eddie blinked and the guy was still in front of him, looking earnest as a slice of apple pie or whatever the fuck, and he mentally shook himself. 'King' Steve Harrington listened to his music enough to have an opinion on it, on specific songs from their last record, and he came out the end of it liking his lyrics?

"Dude, get it together," Gareth whispered and elbowed him in the ribs, jolting him out of his fugue.

"Didn't think that was your thing, Harrington," Eddie ran his mouth with the first thought that came to mind, even if it was kind of dickish. "Sexual liberation ain't exactly very prayerful of you," he made the sign of the cross on that last part.

Far from what he expected, that got Harrington to bark out a big, surprised laugh. "Oh, c'mon," he rolled his eyes. "You can't seriously think I'm in with the god squad? They were most of why we left Tiger Studios in the end. Besides," Harrington flashed a charming smile, pearly whites matching the pearl buttons below on his shirt. "It'd be pretty hypocritical of me to preach against sexual lib, considering."

What the hell did that mean? Was it just his brain pulling tricks on him, or did Harrington's eyes flick up and down Eddie's body right then -and where the hell had Gareth and Jeff gone? They were supposed to be his buffer against his least favourite genre, not -ah, there they were -not chatting up the other members of Harrington's little ensemble across the room.

"Consider me told, then. You ain't godly whatsoever, I'll be sure not to disparage your sterling reputation again with that mistake, my liege, cross my heart," Maybe he was laying it on thick here, but there was something about Steve Harrington that got his pulse up; when the other man tilted his head with a baffled smile at Eddie's statement, he had to clench his fist hard so he didn't just -well, he wasn't actually sure. "But I think without the god talk that just makes you a hick, big boy, sexually liberated or otherwise. Is that better or worse?"

Maybe Harrington was just pissing him off with his... everything. His shit genre and his cocky attitude and the way he dressed to impress, it was cringey at best and edging on pretentious at worst. Eddie crossed his arms and scowled, annoyed with this damn situation of having to navigate a whole new set of people in the studio when he was already behind in his work and had no fucking clue how to fix-

"Hicks make some good music, Munson," Harrington said, sounding all kinds of condescending about it. "Especially these days, if you know where to look. Sounds to me like you're a little musically pigeonholed," Eddie went ramrod straight as Harrington threw that accusation in his face, and he felt his cheeks go hot in offense. Harrington smirked, noticing. "But hey, I'm always down to help out if you wanted to explore your options."

Musically. Pigeonholed. Musically pigeonholed!

"Fat chance of that, boots," Eddie swung his foot forward and knocked toes with Harrington, fancy brown tops against Eddie's scuffed workman's. "Sounds to me like the crown's too tight on your head after dropping contract. When you can write a song that's not about beer and trucks and girls, give me a shout, okay? Maybe I'll even give it a listen."

Steve's smirk turned a shade meaner, and he was probably going to say something really nasty -figures -when he got clapped on the back by a big man in a hawaiian shirt and with a thick beard, holding a martini of all things.

"Woah, kids, tone it down a notch. We're here to have a good time," the guy said, part patronizing and part stern -it was a weird combination. "Especially you, Discount Dio. Take it easy on the new guys or I'll ask Wayne to break out the baby photos, tout de suite."

Oh, so this was Murray. Wayne's mysterious drinking buddy who just so happened to be one of the artists who bailed along with Harrington. Eddie had no doubt he'd make good on the threat -not that he needed it, exactly. The interruption seemed to have taken the wind out of both his and Harrington's sails, if the way the guy looked embarrassed was any indication.

"Sorry, Murray," Harrington said, and Murray rolled his eyes.

"Just relax, kid. None of these guys are Hargrove, or even Carver Jr for that matter," he shook Harrington's shoulder a little, and shot Eddie an odd look. "Even the ones that growl and snap at you are just Chihuahuas. And you, puppy," he snapped his fingers in Eddie's face, making him flinch back in surprise. Also, offended -puppy? "I think you've got a hot head right now, so you should remember you know better than to shit on music you've never listened to. Don't you?"

Fuck, damn his big mouth. He felt his cheeks go tight with embarrassment, and he cut a look at Harrington. They were both close to thirty and yet here they were feeling like scolded children.

"Shouldn't have said that, Harrington. Sorry," he offered, ash in his throat. The guy looked surprised, but nodded, accepting, and Murray threw his hands up, sarcastically relieved.

"Thank god! Now come on, join the party," he hooked a hand around Eddie's neck and used his martini arm to bump Harrington forward.

The country boy looked at him one last time before seeming to shrug off their entire interaction, a fake expression of cheer getting plastered on after a flash of disappointment. Why he was disappointed was anybody's guess; maybe he'd thought Eddie would be more repentant in his apology.

Fat chance of that. Musically pigeonholed his ass.

Eddie sighed, flexing his hand, and readied himself to push through a few more hours of socializing. Internally he apologized to Hopper, too -a productive working relationship with the country club didn't seem like it was in the cards for him.

=<+>=

I keep a running list of songs referenced in the notes on AO3 -I don't do tag lists!

[jazzstandardspoll]

Descriptions & Propaganda

St. Louis Blues

Composed by W. C. Handy

Notable versions: Bessie Smith (x), Django Reinhardt (x), Louis Armstrong (x)

Propaganda: None submitted.

After You've Gone

Composed by Turner Layton , with lyrics written by Henry Creamer

Notable versions: Marion Harris (x), Charleston Chasers (x), Bessie Smith (x)

Propaganda: It is a romance/heartbreak song but it is also just an incredible bittersweet ballad that could be applied to so many feelings. As for me personally, this song helped me cope with the loss of my grandmother. Such a beautiful (and genderless song!) with so many iconic versions from Ella Fitzgerald, to Louis Armstrong, Marion Harris, Ruth Etting and more. Quite possibly one of the first modern jazz standards as well.

[oompahmuzik]

Hugo & the Astronoms

Quoi de mieux pour un premier post que mon artiste de coeur ?

Hugo & the Astronoms a été créé en 2015 et a bouleversé le milieu du jazz fusion. Touche-à-tout virtuose, il nous transporte avec sa musique qu'il qualifie lui-même de "spatiale" pour un voyage à travers sa galaxie sonore.

Son meilleur album : Space Circus

Son meilleur morceau : Cutlass Blue? Cutlass Red

[soulmusicsongs]

Soul Around The World in 25 tracks

Soul music became popular around the world, influencing countless artists across the world. We’ve put together a list with 25 awesome soul tracks form Africa, Asia, Europa and Latin America.

African Hustle - Geraldo Pino (Boogie Fever, 1978) - Sierra Leone

Ahl Jedba - Fadoul (Al Jedba / Al Hayra, 197?) - Maroc

Durban Bump Jive - Thomas Motshwane (Pretoria Bump Jive / Durban Bump Jive, 1975) - South Africa

Funky But… - Mads Vinding Group (Danish Drive, 1974) - Denmark

Gandjal Kessoum - Hamad Kalkaba And The Golden Sounds (Gandjal Kessoum / Toufle, 1975) - Cameroon

Hot Pot - Francois de Louville (La Complainte Du Partisan / Hot Pot, 1969) - France

Jazz Goes to Beat I - Václav Zahradník Big Band (Jazz Goes to Beat, 1970) - The Czech Republic

Jangolo (Les Mangues) - Jo Tongo ( Jangolo, 1976) - Cameroon

Lagos Sisi - Bola Johnson & His Easy Life Top Beats (Lagos Sisi / Jeka Dubu, 1973) - Nigeria

Major Minor - Crazy Casey (The Beast And I, 1967) - The Netherlands

Malombo Blues - Malombo (Pele Pele, 1976) - South Africa

Matshatsha - Trio Madjesi & Orchestre Sosoliso (Matshatsha / Good Bye Yuna, 1973) - Zaïre

Mbaye Sasu - Le Xalam (Daïda, 1975) - Senegal

Nadim - Freh Khodja (Bachar Fi Leil, 1978) - Algeria

Na Man Pass Man (Na Iron De Cut Iron) - Pasteur Lappe (a Man Pass Man, 1979) - Cameroon

Nana - The Lulus Band (Nana / Ndiregete Twendane, 1976) - Kenya

N'Zambi - Lilly Tchiumba (N'Zambi É Deus, 1973) - Angola

Passage To Prerov - Jack van Poll Tree-Oh (Hi Jackin', 1972) - The Netherlands

Ray Mbelle - Orchestre Baobab Gouye Guy De Dakar (Ken Dou Werente, 1983) - Senegal

Roll On The Left Side - Knut Kiesewetter Train (Stop! Watch! And Listen!, 1970) - Germany

Sesion Verde - Toño Quirazco (Soul Makossa, 1973) - Mexico

Streap-Tease In The Stars - Sirarcusa (Give Me Your Love / Streap-Tease In The Stars, 1977) - Spain

Wait… No Hurry - Grotto-II (Wait… No Hurry, 1978) - Nigeria

Waqtach Tef'hem - Les Frères Mégri (Younes Et Mahmoud, 1977) - Marocco

Way Back Fifties - The Drive (Can You Feel It, 1975) - South Africa

More Soul Around the World

Soul Around the World in 24 tracks

Soul Around The World

Soul Around The World in 34 songs

Soul Around The World in 27 Songs

Soul Around the World in 20 tracks

Soul Around The World in 22 tracks

Soul Around The World in 33 songs

Soul Around The World in 20 tracks

[omegaremix]

Omega Radio for December 29, 2014 #71.

Power Of Zeus “Sorceror Of Isis”

Cybotron “Aries Boogie”

Atomic Crocus, The “Ombilic Effect”

Rimshots, The “Neighbor! Get Your Own”

Jimmy “Bo” Horne “Dance Across The Floor”

Donald Austin “Crazy Legs”

Little Sonny “Eli’s Pork Chop”

Albert King “Cold Feet”

Richard Groove Holmes “You’ve Got It Bad”

Don Powell “Troubled Mind” (ver. A)

Second Direction “Praeludium”

Linda Tillery “Freedom Time”

Baron Von Ohlen Quartet, The “Runaway Heart”

Pete Kelly “Beachcomber”

Veit Marvos & Hid Red Point Orchestra “The Way You Look At Me”

Bobbi Humphrey “Chicago, Damn”

Roy Budd “Diamonds”

Hubert Laws “Undecided”

Frank Strazerri “Cloudburst”

Gil-Scott Heron “Home Is Where The Hatred Is”

Siegfried Shwab “Feel It”

People’s Choice, The “Soft And Tender”

Larry Willis “Journey’s End”

Mighty Joe Young “As The Years Go Passing By”

Banks & Hampton “Passion And Promises”

Samuel Jonathan Johnson “My Music”

Billy Preston “I Wonder”

Weldon Irvine “Morning Sunrise”

J.O.B. Orchestra “Govinda”

Tony Ansell “Softly As In A Morning Sunrise”

Jay Beliner “I Just Want To Be There”

Les Baxter “Black Mass”

Francois Betti “Brass Blues”

Marc Moulin “Tohu Bohu I”

Riff Raff “Original Man”

Pierre Bachalet & Mathias Camison “O’ Et L’Amour A Trois”

Pekka Pohjola “Sekoilu Seestyy (Madness Subsides)”

Bonus broadcast; jazz, soul, fusion, funk, vinyl treasures, crate-digging, and sampling.

[queermtl]

Queer MTL : quoi faire en juillet 2024 // Queer MTL things to do: July 2024

(Photo by Eva Blue)

Queer MTL things to do: July 2024

The summer festival season is in full swing, and things are queerer in MTL than ever this July! This month, Montréal is stuffed to the brim with events, parties and unique experiences painted in all the colours of the LGBTQ+ rainbow. From drag to community, circuit to underground, here’s some of our picks for the best LGBTQ+ things to do in the city. For further announcements, including those not announced at time of publication, follow QueerMTL on Instagram, Twitter, Facebook and Tumblr! Got an event coming up? DM it our way!

LEGEND

🎥 Cinema 👑 Drag 🥳 Parties 🎶 Concert ✊ Activism 🏳️‍⚧️ Trans 🏳️‍🌈 Community 😆 Comedy 🎭 Performance 💪 Sports 👯‍♀️ Dance 🎤 Karaoke 🎨 Arts 📚 Literary / Educational 👠 Ballroom / Vogue

Lundi 1 juillet / Monday, July 1

🥳 DramaQueen presents DramaQueen on the river with Dracvla, Wiltbarn and Rakehell, Riverside Bar Terrasse St Henri 🎨 VITRINE Festival 2024 : VISION art market and film screenings, Union Française de Montréal 🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest 👑 C’est ma toune! : Edition Divas, a drag show where you pick the playlist, with Sasha Baga, Jessie and Bobépine, Cabaret Mado

Mardi 2 juillet / Tuesday, July 2

👑 Full Gisèle : Oh Canada ! with Gisèle Lullaby, Rawbin, Carmen Sutra, Bobépine and Kitana, Cabaret Mado 😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 3 juillet / Wednesday, July 3

🎭 The Poly Mic open mic, Bar Notre-Dame-des-Quilles 😆 Ace Pride Comedy Show with Heathcliff, Bar Notre-Dame-des-Quilles 🎨 Drink & Draw by @Hommehomo, Bar Le Cocktail 👑 Mercredi Drag Live with Victoire de Rockwell, Jessie Précieuse, Lady Guidoune, and Rock Bière, Cabaret Mado

Jeudi 4 juillet / Thursday, July 4

🎭 Cup of Tease and Velvet Pistol present Red, White & Boobs with Yikes Macaroni, Foxy Lexxi Brown, Baron Von Styck, Butterscotch Blondie, Charli Deville and Miss Behave, The Wiggle Room 🥳 L’Orage presents Jeudi diversité !, L’Orage Club 👑 Girls' Night Out: Battle of the Decades with Lady Boom Boom, Pétula Claque, Daisy Wood and Krystella Fame, Cabaret Mado 👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

Vendredi 5 juillet / Friday, July 5

🎶 Orville Peck, Festival International de Jazz de Montréal, TD Stage, Place des Festivals 🎨 Montréal Comiccon, Palais des congrès de Montréal 👑 Mado Reçoit with Mado Lamotte, Kiara, Jimmy Moore, Nana and Sasha Baga, Cabaret Mado 👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Samedi 6 juillet / Saturday, July 6

🥳 Sweet Like Honey hosts a Block Party with DJ Honeybunn, Glowzi and Po, Marché des Possibles 🎨 Montréal Comiccon, Palais des congrès de Montréal 🎤 Queer Karaoke MTL hosts a Trans March Fundraiser, followed by a trans-forward queer dance party, Blue Dog 🎤 Bareoke: Strip Karaoke, Café Cléopatra 🥳 Parallel Vol. 9 featuring Arab/SWANA region-based music, Cabaret Berlin 👑 Mado Reçoit with Mado Lamotte, Kiara, Jimmy Moore, Nana and Sasha Baga, Cabaret Mado 👑 Jimmy Moore personnifie Lady Gaga, Cabaret Mado 👑 Late Night with Jessie Précieuse, Cabaret Mado 👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

Dimanche 7 juillet / Sunday, July 7

📚 The Violet Hour Book Club reads Henry Hoke’s Open Throat, Librairie Pulp Books & Cafe 🥳 Sweet Like Honey with DJ Lax, DJ Tokyo and DJ Playgirl, Village au Pied du Courant 🎨 Montréal Comiccon, Palais des congrès de Montréal 🏳️‍🌈 Afterglo hosts Slow Dating #13 Gay for men identifying as gay, Le Central 🎭 On the Blvd Multi-Mic, Bar Bifteck 💪 The International Wrestling Syndicate presents IWS vs GCW, focusing on underrepresented athletes including LGBTQ+ fighters, L’Olympia 👑 Le Tracy Show with Tracy Trash and special guests, Cabaret Mado 🏳️‍🌈 Aimé Chartier : 60 ans de carrière et 80 ans de vie, Bar Le Cocktail

Lundi 8 juillet / Monday, July 8

🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest

Mardi 9 juillet / Tuesday, July 9

👑 Full Gisèle : Extravaganza with Gisèle Lullaby, Saltina Shaker, Sunshine Glitterchild, Adriana The Bombshell, Sasha Baga and Nick Saanto, Cabaret Mado 😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 10 juillet / Wednesday, July 10

🎭 The Poly Mic open mic, Bar Notre-Dame-des-Quilles 😆 Tony McIntyre is a Time Traveller with Merry Kringles, Bar Notre-Dame-des-Quilles 👑 Celes and Marc-André Caron present Loreen vs Sia, Cabaret Mado

Jeudi 11 juillet / Thursday, July 11

🎭 Lust Cove presents The Lust Cove Sex(y) Education Show with Miss Scarlet Knife, Yaya Havana, Mina Minou, Mei, Kaya Koko and Carmen Mayhem, The Wiggle Room 🥳 L’Orage presents Jeudi diversité !, L’Orage Club 👑 Le Sami Party with Sami Landri, Cabaret Mado  👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

Vendredi 12 juillet / Friday, July 12

🥳 BIMBO with DJs Diskommander and DJ G3MINI, Le Livart  🥳 Cerise Noire goth night, Bar NDQ 👑 Mado Reçoit with Mado Lamotte, Bobépine, Peggy Sue, Nana and Aizysse Baga, Cabaret Mado 👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Samedi 13 juillet / Saturday, July 13

🥳 FRKY presents FRKY x 2 Year Anniversary with Manclaudy, Moka, Rawsoul and Sexnobe, La Sotterenea 🥳 Soirées Velours presents Trouve ta Muse, a special lesbo-queer party, Bar le P2 🎭 Voulez Vous Productions presents Bootcamp: Séduis toi pour les fat babes with Rosie Bourgeoisie, Centre Strathearn 👑 Mado Reçoit with Mado Lamotte, Bobépine, Peggy Sue, Nana and Aizysse Baga, Cabaret Mado 👑 Jimmy Moore personnifie Céline Dion, Cabaret Mado 👑 Late Night with Jessie Précieuse, Cabaret Mado 👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

Dimanche 14 juillet / Sunday, July 14

🎭 Voulez Vous Productions presents Bootcamp: Séduis toi pour personnes avec experience scénique with Rosie Bourgeoisie, Centre Strathearn 👑 Afternoon Drag Café with all-ages, neurodivergent-friendly and sober, with Itsh and Timothy Toxic, L’Orbite 👑 Le Tracy Show with Tracy Trash and special guests, Cabaret Mado 👑 Happy Birthday Miss Butterfly with Miss Butterfly, Michel Dorion and Chouchoune, Bar Le Cocktail

Lundi 15 juillet / Monday, July 15

📚 Fierté Montréal and Fierté littéraire presents Queer académie : La sélection with Barbada, Théâtre La Comédie 🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest 👑 Da-Lulu with Enigma, Woody Fungi, Asmalix and Vulverine, Cabaret Mado

Mardi 16 juillet / Tuesday, July 16

👑 Full Gisèle : Disney with Gisèle Lullaby, Marla Deer, Bambi Dextrous, Tracy Trash and Prudence, Cabaret Mado 😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 17 juillet / Wednesday, July 17

🎭 The Poly Mic open mic, Bar Notre-Dame-des-Quilles 🎥 Jane Fonda stars in Barbarella, Cinémathèque québécoise 😆 The Crochet Comedy Show with Shosho, Bar Notre-Dame-des-Quilles

Jeudi 18 juillet / Thursday, July 18

🎥 Queer Cinema Club of Montréal hosts a screening of But I'm a Cheerleader starring RuPaul and Natasha Lyonne, Cinema Moderne 🎭 Them Fatale presents Summer Heat with Amnesia, EnvyTheClown, Kitty Catcher, MX. Quest, Rosie Bourgeoisie and Xénia, The Wiggle Room 🥳 L’Orage presents Jeudi diversité !, L’Orage Club 👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

Vendredi 19 juillet / Friday, July 19

🥳 Studio ZX presents Festival Ctrl+Alt with Afrotonik, Place du Village 🥳 SUPER TASTE MTL presents We Can’t Stop! 2010’s Dance Party, Cabaret Berlin 🥳 Dark Area and Techno Haute Couture present Dark Area x THC with Special K, Rögue, LAPA XII and Deaf, Collectif MTL 🥳 Strawberry Gothcake rave with 99jakes, Kilbourne, FortifiedStructures, Outback and Mowie B2B The Bald Girl, La Sotterenea 👑 Mado Reçoit with Mado Lamotte, Kitana, Velma Jones and Celes, Cabaret Mado 👑 Vendredi Fou : Soirée sans pantalon with Michel Dorion, Bar Le Cocktail

Samedi 20 juillet / Saturday, July 20

🥳 Studio ZX presents Festival Ctrl+Alt with ElleLui, Hauterageous and Discoño, Place du Village 🎶 La ferme coopérative aux champs qui chantent presents Rae Spoon with KY, La ferme coopérative aux champs qui chantent 🥳 GTR—Girls Theys Rave with Broodmare, Faneva and Dracvla, La Poubelle Magnifique 🥳 SUPER TASTE MTL presents Voulez-Vous Disco & New Wave Dance Party: Girls Just Wanna Have Fun, Bar Le Ritz PDB 🎤 Bareoke: Strip Karaoke, Café Cléopatra 👑 Mado Reçoit with Mado Lamotte, Kitana, Velma Jones and Celes, Cabaret Mado 👑 Jimmy Moore personnifie Taylor Swift, Cabaret Mado  👑 Late Night with Jessie Précieuse, Cabaret Mado 👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

Dimanche 21 juillet / Sunday, July 21

🥳 Studio ZX presents Festival Ctrl+Alt with Blush and Unikorn, Place du Village 🏳️‍🌈 Italo Queer Montréal hosts Picnic Estivo, Parc Jarry 👑 Le Tracy Show with Tracy Trash and special guests, Cabaret Mado 👑 Dimanche Show with Michel Dorion, Bar Le Cocktail

Lundi 22 juillet / Monday, July 22

🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest 👑 Tout le monde en drag pour REZO with Pétula Claque, Cabaret Mado

Mardi 23 juillet / Tuesday, July 23

👑 Full Gisèle : The Matrix with Gisèle Lullaby, Esirena, Fabien L’Amour, Kelly Torrieli and Celes, Cabaret Mado  😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 24 juillet / Wednesday, July 24

🎭 The Poly Mic open mic 1-year Anniversary, Bar Notre-Dame-des-Quilles 😆 Max Higgins is The Underdog with Raquel Maestre, Bar Notre-Dame-des-Quilles

Jeudi 25 juillet / Thursday, July 25

👑 Cult of AnarchKey presents the Drag Open Stage Fundraiser for “Native Women’s Shelter of Montréal” with Korra AnarchKey, Champs Bar 🥳 BLUSH presents Salade de Fruits : Happy Hour Queer, an event by and for FLINT+, Bar La Marche à côté 😆 World’s Smallest Comedy Festival presents World’s Queerest Comedy Night, Hurley’s Irish Pub 🥳 L’Orage presents Jeudi diversité !, L’Orage Club 👑 Jimmy Moore personnifie Taylor Swift, Cabaret Mado 👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

Vendredi 26 juillet / Friday, July 26

👑 Mado Reçoit with Mado Lamotte, Marla Deer, Tracy Trash and Pétula Claque, Cabaret Mado 👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Samedi 27 juillet / Saturday, July 27

🥳 Rubber Electric queer dark electronic fetish rave with Vicky Devika, Mushin and Nori, Cabaret Berlin 👑 Mado Reçoit with Mado Lamotte, Marla Deer, Tracy Trash and Pétula Claque, Cabaret Mado 👑 Jimmy Moore personnifie Rihanna, Cabaret Mado 👑 Late Night with Jessie Précieuse, Cabaret Mado 👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

Dimanche 28 juillet / Sunday, July 28

👑 Le Tracy Show with Tracy Trash and special guests, Cabaret Mado 👑 Happy Birthday Crystal Starz with Crystal Starz, Michel Dorion and Chouchoune, Bar Le Cocktail

Lundi 29 juillet / Monday, July 29

🎭 La Curieuse—Ligue d’improvisation estivale, Chez Ernest

Mardi 30 juillet / Tuesday, July 30

👑 Full Gisèle : Femme fatale with Gisèle Lullaby, Victoire de Rockwell, Jessie Précieuse, Kiara and Foxy Lexxi Brown, Cabaret Mado 👑 Le cirque de Teddy Boop with Teddy Boop, Sally D, Sarah Winters and Mister Boogie, Bar Le Cocktail 😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 31 juillet / Wednesday, July 31

🎭 The Poly Mic open mic, Bar Notre-Dame-des-Quilles 😆 The Poly Showcase with Raquel Maestre and Tranna Wintour, Bar Notre-Dame-des-Quilles 👑 Sitcom Bonanza : Spécial Friends, Cabaret Mado

OTHERS / LES AUTRES

🤠 Club Bolo—Danse Country Montréal meet on Fridays at the Association sportive et communautaire du Centre-Sud.

👯 Tango/Salsa Queer holds lessons every Saturday, visit queertangomtl.com for information or contact tango.queer@hotmail.com or call +1 (514) 709-4678 for prices and signup information, Espaces des Arts.

🏐 Les Ratons-Chasseurs (Montréal’s LGBTA dodgeball group) holds regular events. Keep an eye on their Facebook for upcoming opportunities to join in and play. 

🕹Montréal Gaymers hosts regular gatherings including board game nights and gaming gatherings. Check their Facebook for what’s next!

🏃🏾Join the Out-Run run and workout club for people relating to the queer / sapphic experience. Details on their Instagram!

🐦 Bird lovers should keep their eye on Queer Birders' regularly scheduled birdwatching events and excursions. Join the Facebook group and get those binoculars at the ready.

👠 Twice a month on every second Tuesday, Bring It! hosts an OTA night of ballroom and vogue with commentator and DJ. Follow their Instagram for dates and details.

[hannahhook7744]

The Bad Apples!;

Band Poster I made based off of this and this.

Pictures I made.

Diego de Vil musician outfit board.

Album Cover:

The Bad Apple Songs (so far):

We're The Brunos.

You're Dead (To Me).

Don't Talk About The Dead Kids.

(Don't Talk About) The Isle Kids.

Wilted Petals.

Don’t Get Shot.

Rough House Rumble.

Where Are You, Peter Pan?

Who Made You King?

Where’s My Happy Ending?

Fuck Your Fairytale!

Bruised The Apple, Made It Rot.

What Did I Ever Do (To You?).

Wild Childs.

Bad Kids.

The Real Lost Kids.

Isle Life.

Santa Hates Isle Kids.

Afraid Of A Little Bad Luck.

LOl, Go to Hell.

Devil Child.

Bad, Bad Apples.

Monsters.

Cruella de Vil.

Kill the Beast.

Narcissus.

For All of You to See.

Whatever Happened to the Heroes.

(This Is Our) Swan Song.

Want You (Dead).

Under The Gloom.

Not Gonna Follow (Your Rules).

Never Gonna Be (Royalty).

Finders Keepers.

Got No Mom And Dad.

Don’t Choke.

The Crown.

For Real This Time.

Daddy (Mommy) Didn’t Love Me.

Poison Me Slowly.

A Warning To The Prophet.

It's A Brave New World.

Call Me Never.

Acid Trip.

Black And White.

We Will Fight To The Death!

I Hate You.

Smelling Flowers From Bellow.

Ain’t I A Rotter.

Saint Cyriacus (written to honor her brother of the same name).

God Help the Outcasts!

A Warning To The People.

Hellfire!

I Miss You.

Father, Why Have You Forsaken Me?

Not A Perfect Man, But A Good One (written by Claudine to honor her brother, Cesare).

Love is Love (Written to honor her brother, Cornel).

Bad Reputation.

Bow Before Me.

Respect Thy Name.

Veni, vidi, vici.

Alea iacta est.

Carpe diem.

Et tu, Brute?

If curious about any of the songs, lmk and I'll try to write a snippet of them. Thanks @panthera-tigris-venenata for the help coming up with the titles.

Also I headcanon that they do several different generes (Rock, Metal, Pop, Jazz, Blues, etc). Oh and that they have a band tattoo.

[didierleclair]

A jazz lady with charisma and multiple talents. Dinah Washington was a jazz singer and pianist who could sing many genres, from blues to pop including gospel. She had a high pitched voice with varied intonations and extremely distinctive.

She had many hits, including "Ain't misbehavin'", the Fats Waller song. But everybody knows the pop and romantic song "What a difference a day made".

What characterized her greatness is her soulful way of singing. One of my favorite is "Cold, cold heart". She called herself "Queen of the blues" for a reason.

Une chanteuse de jazz avec du charisme et un talent multiple. Dinah Washington chantait plusieurs genres de musique, du blues au pop, en passant par le gospel. Sa voix était haute avec des intonations variées et très distincte. Elle a eu de nombreux succès comme "Ain't misbehavin'", le morceau de Fats Waller. Mais tout le monde connaît la chanson pop et romantique "What a difference a day made". Ce qui caractérise son talent est sa façon très "soul" de chanter. Une de mes préférées est "Cold, Cold heart". Elle s'est surnommée "La reine du blues" pour une raison.

[melancholicflat]

03.10.24 | things done today:

📚 English

read In The Heart of The Sea by Nathaniel Philbrick (ch. 1)

clozemaster

📚 Spanish

clozemaster

read Diarios Completos de Sylvia Plath (p.195-201)

writing challenge

📚 French:

read le trésor du moine ; 6th episode (textbook parcours civilisation)

read an article | les jardins et le parcs de la france

clozemaster

📚 German

unit review (textbook vol. I)

reading & translation | Peace of Augsburg (textbook literature & history)

📌 Extra activities

🍄: how mushrooms grow | mycology 101

📖: L'Impavida by Rita Coruzzi

📻: ► FNV Old World Blues DLC: Mysterious Broadcast Instrumentals (Jazz)

[jpbjazz]

LÉGENDES DU JAZZ

MARTIAL SOLAL, LE VISIONNAIRE

« Je n’écoutais jamais de disques. Je ne voulais ressembler à personne, même à ceux que j’admirais. Je me sentais isolé, mal-aimé, prétentieux, j’étais celui qui n’avait rien compris, celui qui ne jouait pas comme X ou Y, que je n’appréciais pas moins pour autant. J’avais des progrès à faire, c’est certain. J’estimais n’être qu’au début d’une longue route. Mais j’étais heureusement mon meilleur critique, conscient de mes faiblesses, mais confiant en ce que je comptais fermement devenir. »

- Martial Solal

Né le 23 août 1927 à Alger, en Algérie, Martial Solal était le fils de parents algériens d’origine juive. Issu d’une famille musicale, Solal était le fils d’un pianiste et d’une chanteuse d’opéra. Solal avait commencé à jouer du piano sur l’insistance de sa mère, qui se cherchait un accompagnateur pour pratiquer. C’est aussi à la recommandation de sa mère que Solal avait commencé à étudier la clarinette et le saxophone.

Mais il n’est pas toujours facile d’être juif à l’époque. En 1942, Solal avait même été expulsé de l’école en raison des origines juives de ses parents. À l’époque, l’Algérie était toujours une colonie française, et le régime de Vichy qui avait été mis en place après la conquête de la France par les Allemands, appliquait les politiques des Nazis. Après avoir étudié la musique classique à l’école, Solal avait poursuivi ses études en autodidacte en imitant les disques qu’il entendait à la radio.

Solal avait commencé à jouer du piano à l’âge de six ans. Même s’il était considéré comme très prometteur, Solal détestait déchiffrer les partitions, ce qui lui avait valu d’être rejeté par le conservatoire d’Alger, car il n’avait pu réussir la partie solfège de l’examen d’entrée. II  précisait: "J'étais faible en solfège, je regardais vaguement les partitions qu'elle me confiait en inventant un accompagnement adéquat. Ça m'a donné le goût de l'improvisation". 

C’est en se rendant dans une brasserie d’Alger avec ses parents que Solal découvre le jazz en écoutant  pour la première fois des pianistes comme Fats Waller et Art Tatum. Grand amateur du chef d’orchestre et tromboniste Glenn Miller, Solal apprend même tous ses thèmes par coeur. Avec l’aide d’une célébrité locale, le saxophoniste Lucky Starway (de son véritable nom Lucien Séror), qui lui fait connaître les disques de Louis Armstrong, Fats Waller, Teddy Wilson et Benny Goodman, Solal décide en 1945 de devenir musicien de jazz. Il expliquait: ‘’Ce qui me plaisait, c’était cette manière de prendre une mélodie, même sans intérêt, et de la modifier à sa guise. Ce fut une révélation.’’

Mais doté d’une forte personnalité, Solal n’a rien d’un imitateur et cherche d’abord et avant tout à bâtir son propre style. Commentant ses débuts dans la musique, Solal écrivait dans le premier volume de son autobiographie intitulée Mon siècle de Jazz, autobiographie de Martial Solal publiée en août 2024: ‘’Je n’écoutais jamais de disques. Je ne voulais ressembler à personne, même à ceux que j’admirais. Je me sentais isolé, mal-aimé, prétentieux, j’étais celui qui n’avait rien compris, celui qui ne jouait pas comme X ou Y, que je n’appréciais pas moins pour autant. J’avais des progrès à faire, c’est certain. J’estimais n’être qu’au début d’une longue route. Mais j’étais heureusement mon meilleur critique, conscient de mes faiblesses, mais confiant en ce que je comptais fermement devenir.’’

DÉBUTS DE CARRIÈRE

Devenu musicien professionnel en 1945, Solal joue en Algérie et au Maroc avant de s’installer à Paris en 1950. Arrivé en plein hiver en France, Solal connaît des débuts difficiles. Mais il refuse d’abandonner et réussit à se faire engager dans un club de Pigalle. La reconnaissance aidant, Solal devient le pianiste attitré du célèbre Club Saint-Germain et du non moins légendaire club Blue Note.  Solal commence alors à travailler avec de grands noms du jazz comme Django Reinhardt et des musiciens américains en exil comme Kenny Clarke, Sidney Bechet et Don Byas ou simplement de passage comme Dizzy Gillespie et Sonny Rollins. 

À la fin des années 1950, Solal avait formé un premier quartet (il dirigeait aussi un big band à l’occasion), même s’il avait commencé à enregistrer comme leader en 1953. En 1958, Solal écrit sa première musique de film pour le long-métrage Manhattan de Jean-Pierre Melville. Mais il se rend surtout célèbre pour la la bande sonore du premier film de Jean-Luc Godard, À bout de souffle, mettant en vedette Jean-Paul Belmondo, en 1960.

En 1960, sous le pseudonyme de Jo Jaguar, Solal aide son ami,  le saxophoniste Guy Lafitte, à terminer une de ses compositions. Intitulée ‘’Twist à Saint-Tropez’’, la chanson deviendra le premier ‘’tube’’ du chanteur Dick Rivers avec le groupe les Chats sauvages. Les droits d’auteur tirés de la chanson permettront éventuellement à Solal de boucler ses fins de mois lorsque les contrats commenceront à se faire plus rares.

Le début des années 1960 avait été une période très productive pour Solal. Invité à venir aux États-Unis pour jouer avec Teddy Kotick et Paul Motian,  il développe ses talents d’improvisateur et d’arrangeur et s’approprie les plus grands standards en y combinant son style très personnel. Pendant quelques mois, Solal se produit même à Hickory House, un club de New York. Il avait également fait des apparitions aux festivals de jazz de Newport, au Rhode Island, de Montréal, au Canada, et de Berlin, en Allemagne. Sa participation au Festival de jazz de Newport en 1963 avait été particulièrement remarquée, et avait donné lieu à la parution d’un album ‘’live’’ réalisé en studio sur lequel des applaudissements avaient été ajoutés. À l’époque, le trio de Solal comprenait le contrebassiste Guy Pedersen et le batteur Daniel Humair. Mais après avoir passé cinq mois aux États-Unis, Solal avait le mal du pays. Il avait donc décidé de rentrer en France, ce qui ne l’empêchera pas de retourner à de nombreuses reprises aux États-Unis par la suite.

Lorsqu’on avait demandé à Solal dans les années 1960 de prédire l’avenir du jazz, il avait expliqué: "I said that in order for jazz to survive it had to have a repertoire, jazz musicians had to write important works. Just after that stupid declaration everyone did exactly the opposite, playing totally improvised music. Presently there is a return to traditionalism, and I persist in believing that the future of jazz lies in written music, in longer and longer written sequences, which does not exclude improvisation, of course. I also believe that once one has a very definite style, the only way to evolve is through composing."

En 1965, Solal avait formé un nouveau trio avec  Gilbert Rovere à la contrebasse et Charles Bellonzi à la batterie.

À partir de 1968, Solal avait également joué et enregistré avec Lee Konitz en Europe et aux États-Unis. De 1974 à 1980, Solal avait aussi enregistré en duo avec Sidney Bechet, Lee Konitz et Stéphane Grappelli. Ces duos seront suivis par la suite de nombreux autres, avec de grandes pointures comme Jean-Louis Chautemps, Toots Thielemans (1992), Michel Portal (1992 et 1999), Didier Lockwood (1993), Eric Le Lann (1999), Johnny Griffin (1999) et Dave Douglas (2005). Solal avait même enregistré en duo avec d’autres pianistes comme Hampton Hawes (1968), John Lewis et Joachim Kühn (1991).

Déterminé à améliorer sa technique, Solal avait décidé de retourner à la musique classique et de se perfectionner. En pratiquant rigoureusement à chaque jour, Solal avait réussi à développer une véritable technique de virtuose qui lui avait permis d’exprimer tout ce qu’il cherchait à dire musicalement. Comme Solal l’avait expliqué plus tard dans son autobiographie: ‘’Le piano, ça se travaille physiquement, avec des exercices.’’

Lorsqu’il improvisait, Solal explorait souvent les mélodies dans une suite interminable de variations, plus particulièrement en solo, ce qui l’avait rapidement établi comme un grand maître de la technique. Décrivant sa technique impeccable, Solal avait déclaré:  "You have to make people believe that it's very easy, even when it's very difficult. If you look to have trouble with the technique, it is no good. You must play the most difficult thing like this."

Au début des années 1980, le gouvernement français avait commandé à Solal un concerto pour piano et orchestre qui avait été interprété par un big band qui avait éventuellement donné naissance à l’Orchestre National de Jazz.

DERNIÈRES ANNÉES

Après avoir créé son propre big band en 1980, Solal décide de former deux ans plus tard le Dodecaband, un ensemble de douze musiciens qui comprenait trois saxophones, trois trompettes, trois trombones et une section rythmique. Bien qu’il ait existé durant une décennie, le groupe avait publié un seul album: Martial Solal Dodecaband Plays Ellington, en 2000. Le groupe avait été suivi d’une seconde mouture en 2006, le Newdecaband.

À la fin de sa vie, Solal avait continué de jouer et d’enregistrer avec son trio. Il s’était aussi produit en solo à de nombreuses reprises. En 1993-94, Solal avait même présenté une série de trente concerts solo pour la radio française. Ses meilleures performances avaient par la suite été publiées sur étiquette JMS Records dans le cadre d’une série de deux CD intitulés Improvise Pour Musique France.

Dans les années 1990, Solal avait également animé une émission de radio hebdomadaire à l’antenne de France Musique dans laquelle il invitait de jeunes musiciens à improviser avec lui.

Par son travail de compositeur, d’arrangeur et de musicien, Solal avait contribué à assurer la crédibilité du jazz en Europe. Il expliquait: "Even if it doesn't sound modest, I think that one must listen to my music several times because of its density. If you are surprised by the technical aspect, then the musical content may escape you on the first listening. I have always had very high hopes for jazz. I want people who love classical music to find that same perfection in jazz, and 90 percent of jazz doesn't satisfy that demand."

Martial Solal est décédé le 12 décembre 2024 durant son transport à l’hôpital de Versailles, en France. Solal, qui était âgé de quatre-vingt-dix-sept ans, habitait avec sa famille à Chatou (Yvelines). Le décès de Solal avait été annoncé par son fils Éric. Au moment de sa mort, Solal travaillait sur le deuxième volume de son autobiographie qui était donc demeurée inachevée. Solal avait présenté son dernier concert à la Salle Gaveau le 23 janvier 2019. 

Même s’il était très malade, Solal avait continué de jouer du piano sur une base quotidienne. Il expliquait: "J'étais très fatigué, je me demandais si je pourrais donner ce concert. Mais quand on est responsable et qu'on sait qu'on doit y aller : au front ou sur un piano, on a une énergie insoupçonnable". Solal avait ajouté: ‘’Je suis content quand j’ai un concert parce que je me dis que je vais enfin entendre la musique que j’aime.’’ L’album publié à l’issue du concert, intitulé ‘’Coming Yesterday : Live at Salle Gaveau 2019’’, s’était d’ailleurs mérité le grand prix de l’Académie du jazz la même année. Commentant la mort de Solal sur le réseau social X, la ministre démissionnaire de la Culture, Rachida Dati, l’avait qualifié de ‘’pianiste et {...} compositeur de légende, dont le nom brille au firmament du jazz aux côtés des Oscar Peterson, des Bill Evans, des Ahmad Jamal.’’

Au cours de sa carrière, Solal avait enregistré plus d'une centaine de disques dans différents formats, allant du solo (il avait enregistré son premier album solo en 1956), au duo, au trio en passant par le big band. Parmi les membres successifs du trio de Solal, on remarquait notamment Pierre Michelot et Jean-Louis Viale, Guy Pedersen et Daniel Humair (1960-1964), Gilbert Rovère et Charles Bellonzi (1965-1968), Marc Johnson et Peter Erskine (1995), Gary Peacock et Paul Motian (1997) et François Moutin et Bill Stewart (2001).

Solal avait aussi décroché plusieurs commandes d’orchestres de musique classique et contemporaine. Parmi ses oeuvres symphoniques les plus importantes, on remarquait la Suite no 1 en ré bémol pour quartet de jazz (1959) et le Concerto pour trio et orchestre (1981). Solal avait aussi collaboré avec des interprètes de musique classique comme Marius Constant.

Constamment à la recherche de nouvelles sonorités, Solal expliquait ainsi son incessant désir de renouvellement:  "Je m'ennuie trop vite. Plus le thème qu'on emploie pour improviser est simple et ancien, et plus vous avez le mérite à jouer quelque chose d'intéressant. C'est un challenge." Véritable passionné de musique, Solal avait toujours détesté les étiquettes et les catégories et n’avait jamais cessé de dénoncer les frontières entre le jazz et la musique classique. Il précisait: "Je pensais que la musique, c'est la musique. Je voulais rompre ces barrages. Je pensais que le jazz méritait une meilleure destinée que celle qu'on lui réservait, et pour cela, il fallait de grandes oeuvres".

Décrivant sa passion pour l’improvisation, Solal avait déclaré au cours d’une entrevue accordée en 2019: "Ça a été un long chemin. On ne devient pas improvisateur de talent du jour au lendemain. On commence par improviser méchamment, gentiment ou timidement, puis on apprend, on se nourrit de toutes les musiques qui existent. Je crois que je suis assez doué pour l'éparpillement de mes idées, les choisir un peu partout et en faire une synthèse." Il avait ajouté:  "Je peux m'emparer d'une note qui m'arrive n'importe où dans le cerveau et à partir de là, je suis capable de la développer, de donner le change même si l'inspiration n'est pas là, j'ai toujours de la ressource. {...} Dans l'improvisation, tous les accidents sont prévisibles, permis, inévitables. Mais ils doivent être transformés en quelque chose de prévu. Prévoir l'imprévisible ou effacer le passé pour en faire un avenir meilleur !.’’ Solal avait ensuite conclu avec le sens de l’humour qui lui était caractéristique: ‘’Je fais un peu de poésie, mais je ne l'ai pas fait exprès !"

Solal avait également composé plus de trente musiques de film. Malheureusement, avec l’avènement de la musique pop et du free jazz à la fin des années 1960, les contrats de musiques de film étaient devenus beaucoup plus rares.

Contrairement à plusieurs musiciens de jazz qui avaient poursuivi parrallèlement une carrière dans l’enseignement, Solal n’avait jamais été professeur même si il avait servi de mentor à de nombreuses ‘’jeunes pousses’’ de la relève, comme Manuel Rocheman, Jean-Michel Pilc, Baptiste Trotignon et Franck Avitabile. Il expliquait: "Aujourd'hui, il y a des tas de musiciens grâce aux nombreuses écoles qui existent, mais ils ne vont pas dans la direction que j'aurais espéré pour le jazz. J'avais ambitionné que le jazz devienne beaucoup plus écrit, qu'on prépare des œuvres, qu'on innove, qu'on cherche dans la difficulté plutôt que dans la facilité." Lorsqu’on avait demandé à Solal quel conseil il donnerait aux jeunes pianistes, il avait répondu simplement: "Continuez à faire des gammes".

Travailleur infatigable, Solal continuait de pratiquer de deux à trois heures par jour, même à l’âge avancé de quatre-vingt-dix ans. Ce n’est donc peut-être par hasard si ce véritable marathonien était un passionné d’athlétisme et de courses de chevaux. Mais Solal savait aussi faire preuve d’humour, comme le démontrent le titre de ses compositions qui empruntaient souvent la forme de calembours.

Paradoxalement, Solal croyait que l’improvisation ne devait jamais être laissée au hasard et devait toujours être préparée à l’avance. Il précisait:

"Freedom, for me, means being able to go as far as possible in a certain direction, established and prepared in advance. But I don't like the idea of 'anything goes.' That's why I play jazz standards, which give the audience something they can follow more easily and which will perhaps entertain them while having to put up with my, shall we say, busy style. Even when playing my own pieces, a major part of my performance consists of humourous musical citations I'll throw in as they pop into my head. But this humorous aspect can only be appreciated if the audience knows the standards I'm quoting. I like music that can surprise you at any given moment, not to show off, but in order to produce something different each time."

Même s’il était très peu connu aux États-Unis, Solal avait travaillé avec les plus grands noms du jazz au cours de sa carrière: Sidney Bechet, Oscar Peterson, Sonny Rollins, Django Reinhardt (il avait même participé à l’enregistrement de son dernier album), Stan Getz, Paul Motian, Gary Peacock, Peter Erskine, Toots Thielemans, Michel Portal, Johnny Griffin, Dave Douglas, Hampton Hawes, John Lewis, Lee Konitz, Lucky Thompson, Kenny Clarke, Eric Dolphy, Dizzy Gillespie, ainsi qu’avec ses compatriotes français Pierre Michelot, Roger Guérin, Paul Rovère, Guy Pedersen, Daniel Humair, Stéphane Grappelli et Didier Lockwood.

Musicien français le plus important à être apparu sur la scène du jazz depuis Django Reinhardt (qui était belge de naissance mais issu de parents français) et Michel Petrucciani, Solal était à la fois vénéré par ses pairs musiciens et encensé par les critiques. Le critique Alain Gerber le considérait comme ‘’l’un des plus grands musiciens du monde, tous styles, tous genres et toutes cultures confondues’’. Quant au pianiste français Jean-Michel Pilc, il avait déclaré à son sujet: ‘’Il a complètement changé ma vision de la musique.’’

Lauréat de nombreux prix, Solal avait remporté en 1999 le prestigieux prix danois JazzPar Prize, considéré comme une sorte de prix Nobel du jazz. Solal s’était également mérité le Grand Prix de l’Académie du jazz en 2021. La Ville de Paris a rendu hommage à Solal en 1998 en créant un concours international de piano jazz à son nom.

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

[posttexasstressdisorder]

'Evenin', everyone...Mr. Baggins back with you, with a set to soothe your achin' nerves and help ease us all into a good night. We start this evening off with Lenny and the NY in their classic 1967 complete recording of Borodin's "Polovstian Dances" from Prince Igor, the ballet music from Gounod's "Faust", Dance of the Hours from Ponchieli's "La Giocanda", the Dance of the Tumblers (!) from Rimsky Korsakov's "The Snow Maiden", the Bachanalle from Saint-Saens' "Samson et Dalila", the dances from Verdi's "Aida", and finallyj, the waltz from Tchaikovsky's "Eugene Onegin".

I thought it might be interesting to hear the VERY FIRST recording of Gershwin's "Rhapsody In Blue", with Gershwin at the piano, recorded in Aeolian Hall, June 10, 2024: This is a 100-year-old recording! You will notice right off that the delivery is MUCH DIFFERENT, much much JAZZIER than the way it is played today! There was much more of a yawning/laughing/growling "HOT JAZZ" kind of phrasing to the horn lines and to everything else that is just not there in modern performances, which attempt a very "European Classical" feel...it's really quite eye-opening!

Since we're back here in the 1920s, let's take in Sir Edward Elgar's first recording of his "Enigma Variations", recorded in Royal Albert Hall, with Elgar himself conducting, in April and August 1926.

Next we turn to the music of a teen-aged Chopin, his Variations in B-flat on "Là ci darem la mano" from Mozart's "Don Giovanni" for piano and orchestra, Op. 2. The London Philharmonic Orchestra is conducted by Eliahu Inbal, and our pianist is the great Claudio Arrau.

Here's another little treat from the world of opera, we hear Bruno Walter conducting The Columbia Symphony Orchestra in a studio recording made in Hollywood in 1961, in several Mozart opera overtures. We hear the overtures to Der Schauspieldirektor K.486, Così fan tutte K.588, Le nozze di Figaro K.492, and Die Zauberflöte K.620. Sit back and listen to A Master conduct Mozart!

Next we hear the Paris Wind Ensemble in music of Haydn, his Divertimento in B-flat for Flute, Oboe, Clarinet, Horn and Bassoon. Taken from a rare 1958 recording released on Epic, which we know as more of a pop/rock/soul label.

Staying with Haydn for moment, we hear another historic recording, this one by The London Baroque Ensemble, directed by conductor Karl Haas, in this 1954 recording of Haydn's Scherzando in F major. This is another "classical" recording made on a mostly pop label, this time Westminster.

We're going back to 1926-38 for this next little while, as we hear legendary violinist Fritz Kreisler playing his favorite encore pieces, with pianists Carl Lamson and Franz Rupp. Fritz Kreisler is another performer whose style of playing is no longer considered "fashionable" or "correct". I love his tone, myself...it's like honey!

And we wind up this evening's program with the delightful Wind Sextet, Op. 201 of Carl Reinecke, written in 1904. It is performed for us here by Soni Ventorum Wind Quintet, recorded live, 16 February 1980, Meany Theatre.

And that's all the time we have for this evening's program, I do hope you've enjoyed the selections and possibly heard something new to your ear. This is Mr. Baggins signing off for tonight, I'll return at 8am Pacific with our Morning Coffee Music.

Until then, dream sweet dreams, babies, dream sweet dreams.

Baggins out.