{"id":584,"date":"2021-09-18T17:58:27","date_gmt":"2021-09-18T15:58:27","guid":{"rendered":"http:\/\/jipiz.fr\/boussaguet\/?page_id=584"},"modified":"2023-11-12T12:43:56","modified_gmt":"2023-11-12T10:43:56","slug":"meetingpoint","status":"publish","type":"page","link":"http:\/\/jipiz.fr\/boussaguet\/meetingpoint\/","title":{"rendered":"Meeting\u00a0point"},"content":{"rendered":"<div class=\"wp-block-image\">\r\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/2mceditions.com\/meetingpoint\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-620\" src=\"http:\/\/jipiz.fr\/boussaguet\/wp-content\/uploads\/2021\/09\/Meeting-Point-P.Boussaguet.jpg\" alt=\"Meeting Point Envol\u00e9es 1 &amp; 2 Les nouveaux CD de Pierre Boussaguet\" width=\"500\" height=\"392\" srcset=\"http:\/\/jipiz.fr\/boussaguet\/wp-content\/uploads\/2021\/09\/Meeting-Point-P.Boussaguet.jpg 500w, http:\/\/jipiz.fr\/boussaguet\/wp-content\/uploads\/2021\/09\/Meeting-Point-P.Boussaguet-250x196.jpg 250w, http:\/\/jipiz.fr\/boussaguet\/wp-content\/uploads\/2021\/09\/Meeting-Point-P.Boussaguet-125x98.jpg 125w, http:\/\/jipiz.fr\/boussaguet\/wp-content\/uploads\/2021\/09\/Meeting-Point-P.Boussaguet-220x172.jpg 220w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/a>\r\n<figcaption>Meeting Point Envol\u00e9es 1 &amp; 2<\/figcaption>\r\n<\/figure>\r\n<\/div><center><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/i0kFkUwNCY0\" width=\"640\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/center>\r\n<p>&nbsp;<\/p>\r\n<center><\/center>\r\n<h3 style=\"text-align: center;\"><a href=\"https:\/\/tiare-productions.com\/index.html\" target=\"_blank\" rel=\"noopener\">Disponible chez Tiar\u00e9 productions<\/a><\/h3>\r\n<h2 style=\"text-align: center;\"><strong>Liner Notes<\/strong><\/h2><div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\"><div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><p class=\"has-drop-cap\">La vie professionnelle en tant que contrebassiste-accompagnateur m\u2019a amen\u00e9 naturellement \u00e0 c\u00f4toyer des artistes si diff\u00e9rents, chacun avec leur temps, leur espace, leur po\u00e9sie, leur musique, bref, leur caract\u00e8re. Le r\u00f4le du bassiste consiste \u00e0 se mettre au service des autres, de \u00ab\u00a0trouver des bonnes notes et une pulsation ad\u00e9quate\u00a0\u00bb pour aider \u00e0 leur discours; difficile et passionnant.<br \/>Du bal musette \u00e0 Michel Legrand, du duo au symphonique, en passant par de la chanson et du free-jazz, et m\u00eame un tout petit peu de rock, j\u2019ai toujours constat\u00e9 que chaque musique est difficile \u00e0 bien jouer.<br \/>Et ce sont les morceaux ou passages \u00e0 priori simples qui posent souvent probl\u00e8me.<\/p>\r\n\r\n<p>Le Jazz a \u00e9t\u00e9 mon choix de c\u0153ur, certes, mais j\u2019ai toujours \u00e9crit de la musique, souvent autre chose que du jazz, et ai \u00e9cout\u00e9 beaucoup de musique classique et de la chanson, cet idiome o\u00f9 c\u2019est le texte, l\u2019histoire qui pr\u00e9vaut.<br \/>Pendant ce temps mes tiroirs se remplissent de musique, de notes qui dorment, couch\u00e9es sur le papier.<\/p>\r\n\r\n<p>Alors aujourd\u2019hui, fort de toutes ces exp\u00e9riences et du stock (!) j\u2019ai choisi d\u2019enregistrer et de jouer des choses que j\u2019aime, avec des musiciens que j\u2019aime, et surtout de ne pas me pr\u00e9occuper de savoir si c\u2019est du jazz, de la chanson, du classique, du funk, de la valse, du tango, ou une quelconque \u00e9tiquette : Ils constituent un vrai patchwork musical.<br \/>Pour les pi\u00e8ces classique, l\u2019int\u00e9r\u00eat est de changer leur garde-robe, et de proposer une autre mise en lumi\u00e8re. Chaque concert devant des amateurs a \u00e9t\u00e9 tr\u00e8s chaleureusement re\u00e7u.<\/p>\r\n\r\n<p>Un tel projet m\u00ealant plein de \u00ab\u00a0styles\u00a0\u00bb peut d\u00e9router le public qui me conna\u00eet, voire d\u00e9clencher des passions. Des amis de longues dates m\u2019ont m\u00eame accus\u00e9 d\u2019avoir reni\u00e9 leur amour\u2026<br \/>Dur d\u2019entendre cela.<br \/>Mais alors suis-je condamn\u00e9 \u00e0 ne jouer que du jazz, d\u2019\u00eatre strictement le disciple, le prot\u00e9g\u00e9 de Ray Brown ? C\u2019est dr\u00f4le mais le dernier conseil que Ray m\u2019a donn\u00e9, c\u2019est de me rendre au milieu d\u2019un champ et de br\u00fbler tous ses albums. Authentique !<br \/>Et il a pr\u00e9cis\u00e9 : \u00ab Tu n\u2019en as plus besoin.\u00a0Tu dois maintenant voyager, explorer, et c\u2019est cela qui r\u00e9v\u00e8lera le bassiste, le musicien que tu es. Et pas d\u2019inqui\u00e9tude, tu ne perdras pas ton swing, l\u2019injection a \u00e9t\u00e9 trop profonde.\u00a0\u00bb<br \/>Vingt ans avec Lalo Schifrin et dix ans avec Michel Legrand ont achev\u00e9 de me convaincre.<br \/>Meeting Point j\u2019ai commenc\u00e9 \u00e0 y travailler en 2010 pour une cr\u00e9ation de musique originale au festival de Beynes (78) r\u00e9unissant le quatuor \u00e0 cordes d\u2019Anne Gravoin et un quartet de jazz. Tiens, encore un album \u00e0 r\u00e9aliser\u2026<br \/>En 2013 je reprends cette id\u00e9e mais \u00e0 partir d\u2019\u0153uvres du r\u00e9pertoire, et choisis une instrumentation bien sp\u00e9cifique et originale, sans piano.<br \/>Mais de concert en concert j\u2019ai d\u00fb accepter que des musiciens ne veuillent pas franchir un certain cap : Il faut tellement d\u2019ann\u00e9es pour parvenir \u00e0 un langage personnel qu\u2019il est logique de ne pas vouloir quitter cette zone de relatif confort et d\u2019aboutissement. Ajout\u00e9 \u00e0 cela, il faut beaucoup de travail personnel, de temps, pour passer au-del\u00e0 des parties \u00e9crites et se retrouver soi-m\u00eame.<br \/>Pour ma part les parties de basse que je m\u2019\u00e9cris m\u2019ont donn\u00e9 du fil \u00e0 retordre\u2026<\/p>\r\n\r\n<p>En septembre 2020, autour d\u2019une table, des amis me proposent de m\u2019aider \u00e0 r\u00e9aliser un disque; c\u2019est inesp\u00e9r\u00e9. Alors je fonce.<br \/>Ainsi na\u00eet Tiar\u00e9 Productions.<\/p>\r\n\r\n<p>Entre les disponibilit\u00e9s, les comp\u00e9tences, les n\u00e9cessit\u00e9s musicales, me voil\u00e0 en studio avec trois pianistes (!)<br \/>Le mat\u00e9riel musical est pr\u00eat, il y a donc Sharman Plesner au violon, Andr\u00e9 Ceccarelli \u00e0 la batterie, Herv\u00e9 Sellin et Giovanni Mirabassi au piano, mais aussi Jean-Michel Bernard alias JMB que je souhaite non seulement pour le piano, mais aussi pour tous les claviers dont il dispose.<br \/>Face \u00e0 cette nouvelle instrumentation, je ne sais pas ce que vont donner toutes ces nouvelles combinaisons, mais par intuition je l\u00e2che totalement prise et laisse les choses se faire.<br \/>Du coup chaque morceau prend une nouvelle couleur que je d\u00e9couvre au fur et \u00e0 mesure des prises en trois jours merveilleux mais trop intenses.<br \/>Trois jours seulement et j\u2019\u00e9tais certain de ne pas parvenir \u00e0 tout enregistrer. Raisonnablement il fallait au moins trois jours de r\u00e9p\u00e9titions et cinq d\u2019enregistrement.<br \/>Mais bon, la r\u00e9alit\u00e9 se pr\u00e9sente ainsi, je me fie uniquement \u00e0 mon intuition et \u00e0 mon enthousiasme et fonce.<br \/>Premi\u00e8re chance : La veille du premier jour, apr\u00e8s avoir install\u00e9 du mat\u00e9riel, r\u00e9gl\u00e9 mille d\u00e9tails, JMB sauve d\u00e9j\u00e0 le projet. Au pas de la porte il me dit :<br \/>\u00ab\u00a0Ne perds pas de temps sur les d\u00e9tails, seule la mise en bo\u00eete du trio compte; trois jours, cela passe si vite. Tout le reste, tu peux le faire tranquillement par la suite.\u00a0\u00bb<br \/>Ajout\u00e9 \u00e0 cela, il y a aussi les invit\u00e9s pour certains morceaux : Natalie Dessay, Eric Giausserand, Claude Eg\u00e9a.<br \/>Surtout ne pas les faire trop attendre. Heureusement c\u2019est l\u2019\u00e9t\u00e9 indien, le jardin est somptueux, du coup les musiciens inactifs en profitent pour discuter derechef. Un immense merci \u00e0 JMB et Dame Kimiko pour leur accueil on ne peut plus chaleureux et pour la logistique.<br \/>Le dernier jour, dernier morceau, c\u2019est le scherzo-tarentelle de Wieniawski; long et difficile partition aux changements incessants et irr\u00e9guliers de temps. Ma raison me dit que l\u2019on n\u2019y arrivera pas, mon intuition que si.<br \/>Miracle, section apr\u00e8s section, tout se r\u00e8gle, s\u2019encha\u00eene, et on en vient \u00e0 bout.<br \/>Ouf ! Encore une fois un immense merci \u00e0 chaque musicien.<br \/>Et pas un seul probl\u00e8me d\u2019ego, juste des artistes de haut vol qui veulent faire de la musique.<\/p>\r\n\r\n<p>Quelques jours plus tard, Sharman refait certaines parties de son choix, puis je refais quelques basses car occup\u00e9 \u00e0 diriger le projet, je n\u2019avais pas le temps de m\u2019appliquer.<br \/>Puis avec JMB, on passe des semaines enti\u00e8res, \u00e0 \u00e9couter, \u00e0 couper, \u00e0 ajouter du piano, du Rhodes, du synth\u00e9tiseur, des percussions, on essaie des montages diff\u00e9rents etc.<br \/>Je commence \u00e0 m\u2019impatienter. Deuxi\u00e8me conseil de JMB : \u00ab\u00a0Ta musique que je d\u00e9couvre est tellement aboutie et de qualit\u00e9, que tu vas prendre le temps n\u00e9cessaire\u00a0! Tu ne b\u00e2cles rien, car sinon, tu le regretteras toute ta vie.\u00a0\u00bb<\/p>\r\n\r\n<p>Plus tard je d\u00e9cide d\u2019ajouter de la guitare, et du vibraphone.<br \/>Tiar\u00e9 Productions me dit en riant :\u00a0\u00ab\u00a0D\u2019accord, mais apr\u00e8s c\u2019est termin\u00e9\u00a0\u00bb.<br \/>Philippe Hervou\u00ebt \u00e0 peine crois\u00e9 chez JMB \u00e9coute et veut le faire, et se met au travail d\u2019arrache-pied car les deux partitions que je lui confie sont ardues. Bravo !<br \/>Jean-Fran\u00e7ois \u00ab\u00a0Padre\u00a0\u00bb\u00a0Durez vient enregistrer le vibraphone et quelques percussions. Une prise, c\u2019est excellent, quel m\u00e9tier !<\/p>\r\n\r\n<p>Puis on d\u00e9couvre un probl\u00e8me technique, il faut refaire les trompettes\u2026Eric et Claude reviennent avec le sourire.<br \/>Natalie Dessay revient faire une voix, elle n\u2019est jamais auto-satisfaite, qualit\u00e9 merveilleuse, et du coup j\u2019\u00e9cris aussi pour laurent Naouri (cf. Mother Land)<\/p>\r\n\r\n<p>Puis arrive le temps du mixage, interminable \u00e0 cause de la covid. Guillaume est \u00e0 Bruxelles, moi \u00e0 Paris.<br \/>Troisi\u00e8me conseil de JMB : \u00ab\u00a0Quoique tu fasses, l\u2019important c\u2019est que cela te plaise \u00e0 toi car chacun aura un mixage diff\u00e9rent dans sa t\u00eate.\u00a0\u00bb<\/p>\r\n\r\n<p>Pour chaque morceau, Guillaume fait un premier essai, me l\u2019envoie, j\u2019\u00e9coute puis commente par \u00e9crit \u00e0 la seconde pr\u00e8s ce qu\u2019il manque ou qui est trop pr\u00e9sent; cela prend beaucoup de temps.<br \/>Je lui envoie ces observations, il r\u00e9\u00e9coute, rep\u00e8re, corrige, et rebelote me renvoie le tout\u2026j\u2019\u00e9coute, affine, note et renvoie \u2026 Infernal mais on s\u2019y tient.<br \/>Merci Guillaume.<br \/>Entretemps, nous d\u00e9cidons de changer le panoramique, c\u2019est-\u00e0-dire la disposition des instruments; il faut presque tout recommencer\u2026<br \/>Il y a aussi des semaines o\u00f9 rien ne se fait car soit Guillaume n\u2019est pas disponible, soit c\u2019est moi qui suis occup\u00e9 \u00e0 autre chose.<\/p>\r\n\r\n<p>Bien s\u00fbr Tiar\u00e9 Productions \u00e9coute chaque \u00e9tape, puis valide. J\u2019adore ne plus \u00eatre seul et de construire avec une \u00e9quipe.<\/p>\r\n\r\n<p>Tout cela nous am\u00e8ne au 23 Mars 2021.<\/p>\r\n\r\n<p>C\u2019est fini ? Non, JMB et moi d\u00e9cidons de rajouter quelques pi\u00e8ces. Et hop, re-studio, montages, mix\u2026<br \/>La musique a pris encore une autre direction, j\u2019adore et Tiar\u00e9 Productions\u2026aussi.<\/p>\r\n\r\n<p>Maintenant il faut choisir un ordre. Mais comment faire lorsqu\u2019il y a des pi\u00e8ces classiques remani\u00e9es en y incorporant un ou des \u00e9l\u00e9ments totalement \u00e9trangers \u00e0 l\u2019\u0153uvre originale, des morceaux de jazz, une chanson, des compositions sans \u00e9tiquette, un th\u00e8me tr\u00e8s connu de musique de film, et m\u00eame une valse musette-jazz ?<br \/>Publie-t-on un album avec la partie plus classique, et un autre avec celle plus jazz ?<br \/>Dans ce cas-l\u00e0 o\u00f9 met-on une chanson, et les morceaux dits \u00ab\u00a0World music\u00a0\u00bb parce que je ne vois pas d\u2019autre mot ?<\/p>\r\n\r\n<p>Et bien non, l\u2019ordre (le sequencing) consistera \u00e0 juste se pr\u00e9occuper de comment on passe d\u2019un titre \u00e0 un autre, de b\u00e2tir une histoire coh\u00e9rente.<\/p>\r\n\r\n<p>Mai 2021<br \/>J\u2019ai en t\u00eate un morceau entendu une fois en fin de r\u00e9p\u00e9tition il y a trois ans.<br \/>C\u2019est reparti, arrangement, enregistrement, mix et re-mix.<br \/>20 Mai 2021, c\u2019est bon, le disque on l\u2019arr\u00eate l\u00e0.<\/p>\r\n\r\n<p>Si je raconte tout cela, c\u2019est pour exprimer le bonheur de cette nouvelle exp\u00e9rience pleine de surprises.<br \/>J\u2019ai retrouv\u00e9 des musiciens un peu perdus de vue, en ai rencontr\u00e9 d\u2019autres, ai provoqu\u00e9 des associations in\u00e9dites, et trouv\u00e9 un nouvel ami.<\/p>\r\n\r\n<p>C\u2019est bien un Meeting Point.<\/p>\r\n\r\n<p>Meeting Point, envol\u00e9e 1<\/p>\r\n\r\n<p>1- Mother Land : Assis un matin du printemps 2008 au bord du Gave d\u2019Oloron, en B\u00e9arn, le temps s\u2019arr\u00eate; je reste l\u00e0 immobile, m\u00e9ditatif au bord de l\u2019onde. Et Je pense qu\u2019en ce m\u00eame instant il y a de par le Monde beaucoup de gens dans la m\u00eame situation : l\u2019\u00e9merveillement face \u00e0 la Nature.<br \/>Une m\u00e9lodie simple, cette ode \u00e0 notre m\u00e8re Terre me passe par la t\u00eate, vite je la note. Au fil du temps et des concerts je l\u2019orchestre de plein de fa\u00e7ons, et, pour cet album, je d\u00e9cide d\u2019harmoniser avec des cordes, d\u2019ajouter une harpe, et la voix de Natalie Dessay.<br \/>Pour les cordes, pris par le temps, la logistique, je demande \u00e0 Sharman d\u2019enregistrer le violon solo, puis un violon 1 et un violon 2, puis un alto 1, et enfin un alto 2.<br \/>Et bien oui, elle joue des deux instruments et lit indiff\u00e9remment les parties de l\u2019un et de l\u2019autre, m\u00e9langeant les clefs de sol, d\u2019Ut 3, d\u2019Ut 4 et de Fa\u2026\u00e9c\u0153urant.<\/p>\r\n\r\n<p>Juste avant de partir au studio, Laurent Naouri, mari de Natalie a la m\u00eame id\u00e9e que moi; puisqu\u2019il vient au studio, pourquoi ne pas chanter ? Vite je griffonne quatre voix que je double, pour la coda, c\u2019est-\u00e0-dire la derni\u00e8re partie du morceau.<br \/>Le ch\u0153ur de quatre Dessay et de quatre Naouri, et les violons et alti de Sharman, le vibraphone, la harpe\u2026miam miam\u2026j\u2019en veux encore.<\/p>\r\n\r\n<p>Pour la harpe, la personne choisie m\u2019apprend la veille qu\u2019elle est malade et que quelques jours avant dans son entourage proche, il y a un cas de covid.<br \/>Putain, ce virus, en plus, n\u2019aime pas la musique, m\u00eame confin\u00e9e\u2026<br \/>Que faire ?<br \/>JMB : \u00ab\u00a0Connais-tu Lady Joyenval ?\u00a0\u00bb<br \/>Moi : \u00ab\u00a0De nom oui, Lalo Schifrin m\u2019en a souvent parl\u00e9 mais elle doit \u00eatre tr\u00e8s \u00e2g\u00e9e, et vivre certainement \u00e0 Los Angeles ?\u00a0\u00bb<br \/>JMB : \u00ab\u00a0Erreur\u00a0: elle vit pas loin de chez moi, je l\u2019ai rencontr\u00e9 chez des amis communs. On l\u2019appelle ?\u00a0\u00bb<br \/>Moi :\u00a0\u00ab\u00a0Chiche !\u00a0\u00bb<br \/>Quelques jours plus tard, la dame arrive, partition en main, on lui installe sa harpe, elle met son casque, et hop, une prise, c\u2019est fait, puis une deuxi\u00e8me voix en re-recording.<br \/>Elle range ses affaires, son aide s\u2019occupe de la harpe, et elle nous dit de son bel accent Anglais : \u00ab\u00a0Mes enfants, je ne joue plus professionnellement, mais votre pi\u00e8ce m\u2019a plu, et puis, nous avons un ami commun : Lalo Schifrin.<br \/>It was a very pleasant moment, thank you, good bye\u00a0\u00bb<br \/>Elle part et je dis \u00e0 JMB : \u00ab\u00a0Dans Out of Africa, il y a cette r\u00e9plique extraordinaire : Lorsque les Dieux veulent vous punir, ils exhaussent vos v\u0153ux.\u00a0\u00bb<\/p>\r\n\r\n<p>2- Apr\u00e8s un r\u00eave : Combien de fois ai-je entendu cette somptueuse m\u00e9lodie, par des chanteurs, des violonistes, des violoncellistes, et des contrebassistes ? Beaucoup.<br \/>Mais d\u00e8s la premi\u00e8re \u00e9coute je m\u2019ennuie de cet accompagnement sage. Attention je ne parle que de la forme car le sens de l\u2019harmonie de Faur\u00e9 est un enchantement.<br \/>Dans ma t\u00eate jeune j\u2019entends autre chose; j\u2019imagine ce que Hank Jones ou Oscar Peterson jouerait; je le visualise vraiment.<br \/>Alors quelques d\u00e9cennies plus tard, eh bien faisons-le\u00a0!<br \/>A. C. Jobim aurait pu \u00e9crire ce th\u00e8me et la bossa nova est naturelle sur cet air.<br \/>Mais j\u2019ai tenu \u00e0 commencer par la partition originale, puis entra\u00eener le morceau vers une nouvelle lecture, en passant par un hommage inconscient \u00e0 Lalo Schifrin, et, revenir au classique \u00e0 la fin comme l\u2019on rentre chez soi apr\u00e8s un bon voyage. Herv\u00e9 Sellin est imp\u00e9rial, trouvant l\u2019\u00e9quilibre entre l\u2019\u00e9criture originale, et la libert\u00e9 du jazzman.<br \/>Plus tard, en travaillant au montage JMB me dit : \u00ab\u00a0c\u2019est bien, mais \u00e7a ne suffit pas\u00a0\u00bb Alors on retravaille ce morceau.<br \/>Mention sp\u00e9ciale \u00e0 Giovanni Mirabassi pour la derni\u00e8re note, ce do que nous pla\u00e7ons parfaitement ensemble, \u00e0 chaque prise, sans se voir, chacun dans sa cabine. Le Temps est le m\u00eame, \u00e9vident.<\/p>\r\n\r\n<p>3- South West : Ayant r\u00e9uni Claude Eg\u00e9a et Eric Giausserand pour Legrand Enchanteur et Bach + 6, et pr\u00e9senter en soliste Claude pour C. T. je fais de m\u00eame pour Eric.<br \/>Au-del\u00e0 de l\u2019\u00e9quit\u00e9, je souhaite lui permettre d\u2019exprimer sa sensibilit\u00e9 et son go\u00fbt car on le conna\u00eet surtout pour son \u00ab\u00a0m\u00e9tier\u00a0\u00bb de premier trompette, sp\u00e9cialiste de l\u2019aigu, oubliant qu\u2019il adore jouer tranquille dans le grave et le m\u00e9dium; Eric est un Chet Baker cach\u00e9.<br \/>J\u2019ai pens\u00e9 \u00e0 South West, composition de jeunesse (1987) signifiant ma r\u00e9cente arriv\u00e9e \u00e0 Paris, d\u00e9chir\u00e9 entre l\u2019aventure de la capitale o\u00f9 tout se passe, et l\u2019abandon de ma terre, mon Sud-Ouest. Je propose le morceau \u00e0 Eric qui l\u2019adore tout de suite, en partage l\u2019histoire, car comme il le dit \u00ab\u00a0Nous les provinciaux, on arrive tous \u00e0 Paris par une gare, quittant sa province\u00a0\u00bb.<br \/>Ok, on d\u00e9cide de l\u2019enregistrer en duo \u00ab\u00a0tranquille\u00a0\u00bb<br \/>On fait trois prises, puis on \u00e9coute; laquelle choisir ? Aucune id\u00e9e.<br \/>C\u2019est Guillaume le preneur de son qui trouve \u00ab\u00a0laissez-moi quelques secondes\u00a0\u00bb<br \/>Puis il nous fait \u00e9couter une version vraiment mieux. \u00ab\u00a0Comment as-tu fait ?\u00a0\u00bb<br \/>\u00ab\u00a0Ben, j\u2019ai pris le th\u00e8me d\u2019une version, un chorus d\u2019une autre etc\u2026\u00a0\u00bb<br \/>Bravo. C\u2019est l\u00e0 o\u00f9 la technique d\u2019enregistrement, tous les outils du studio prennent leur place musicale. J\u2019adore.<\/p>\r\n\r\n<p>4- Bach + 4 : Comment r\u00e9aliser un tel projet sans c\u00e9l\u00e9brer ce n\u2019est par le patriarche Universel de la musique ?<br \/>Cette invention n\u00b04 que j\u2019ai beaucoup jou\u00e9e avec Boulou Ferr\u00e9, je l\u2019ai naturellement associ\u00e9e \u00e0 la guitare et \u00e0 l\u2019Espagne; sans r\u00e9fl\u00e9chir ni conceptualiser, la partition s\u2019est \u00e9crite comme une dict\u00e9e. Comme j\u2019ai ajout\u00e9 quatre voix, le titre m\u2019est apparu\u2026<\/p>\r\n\r\n<p>5- Bach + 6 : Un jour Sharman et moi nous amusons \u00e0 lire toutes les inventions de Bach.<br \/>L\u2019invention n\u00b06 me coupe le souffle. C\u2019est incroyable comment Bach joue sur le rythme, avec une voix sur le temps, l\u2019autre presque toujours \u00e0 contretemps; l\u2019harmonie se trouve donc \u00e0 cheval sur deux notes. Et Il se d\u00e9gage une telle gaiet\u00e9 \u00e0 mon sens que j\u2019ai l\u2019impression d\u2019\u00eatre \u00e0 un mariage Mexicain, une fiesta.<br \/>Tiens\u2026et pourquoi pas ?<br \/>Alors j\u2019ajoute quatre voix, guitare, vibraphone, et deux trompettes; d\u2019o\u00f9 le titre tr\u00e8s intelligent !<br \/>C\u2019est l\u2019occasion de r\u00e9unir deux immenses trompettistes Eric Giausserand, et Claude Eg\u00e9a.Je suis particuli\u00e8rement heureux du rapport violon-trompette.<br \/>Pour l\u2019interlude de deuxi\u00e8me fois, apr\u00e8s l\u2019enregistrement, je demande \u00e0 Eric et \u00e0 Claude la faveur d\u2019oser faire les fous et de s\u2019abandonner dans le suraigu. Ils me regardent les yeux grand ouverts, et se pr\u00e9cipitent vers leur poste comme deux garnements que l\u2019on vient d\u2019autoriser \u00e0 aller jouer dehors.<br \/>Eric se retourne et me demande : \u00ab\u00a0Dis, L\u2019Espagnol (c\u2019est ainsi qu\u2019il me surnomme)<br \/>une question : est-ce qu\u2019on a le droit de vibrer ?\u00a0\u00bb<br \/>\u00ab\u00a0Vous avez ma b\u00e9n\u00e9diction\u00a0\u00bb je r\u00e9ponds.<br \/>\u00ab\u00a0Super, parce que cela fait quarante ans de studio o\u00f9 on nous l\u2019interdit\u00a0\u00bb<br \/>Ils enregistrent puis l\u2019on r\u00e9\u00e9coute en cabine. Je f\u00e9licite Claude pour cette derni\u00e8re phrase tr\u00e8s tr\u00e8s haute, et il me montre Eric du doigt en pr\u00e9cisant : \u00ab\u00a0C\u2019est pas moi, c\u2019est lui; ce type est fou\u00a0\u00bb<br \/>Eclat de rire g\u00e9n\u00e9ral.<\/p>\r\n\r\n<p>6- Running Water : Encore une histoire d\u2019eau. Rien \u00e0 faire, la voir couler, \u00e9couter le clapotis, cela m\u2019\u00e9merveille. Enfant, lorsque les cantonniers ouvraient les vannes pour nettoyer les caniveaux, je restais longtemps hypnotis\u00e9 par ce mouvement, les reflets, et le son. C\u2019est grave, docteur ?<br \/>C\u2019est donc une m\u00e9ditation. Sharman a d\u00e9cid\u00e9 d\u2019improviser et fait entendre ses origines Texanes.<\/p>\r\n\r\n<p>7- Legrand Enchanteur : J\u2019ai rencontr\u00e9 Michel Legrand pour un concert \u00e0 Cassis en 1993, o\u00f9 jeunesse oblige, je l\u2019avais invit\u00e9 pour jouer (!) et il avait accept\u00e9, en sugg\u00e9rant cependant de venir avec son batteur Andr\u00e9 Ceccarelli\u2026j\u2019avais accept\u00e9, ha ha !<br \/>Concert r\u00e9ussi, Michel est ravi de notre rencontre; puis je me \u00ab\u00a0cache\u00a0\u00bb; je ne veux pas qu\u2019il me rappelle lui ayant fait croire que je ne lisais pas la musique.<br \/>En novembre 2009, retrouvailles et jam-session \u00e0 Saint-Germain-des-pr\u00e8s (cf. Jazz Caf\u00e9 Chez Papa)<br \/>Deux jours apr\u00e8s son agent m\u2019appelle pour jouer un concert t\u00e9l\u00e9vis\u00e9 \u00e0 Varsovie.<br \/>Le lendemain Michel appelle lui-m\u00eame pour deux concerts en France et un autre en G\u00e9orgie\u2026bref cela a dur\u00e9 dix ans jusqu\u2019\u00e0 ce qu\u2019il nous quitte.<br \/>D\u00e8s le retour de Tbilissi j\u2019ai l\u2019id\u00e9e d\u2019\u00e9crire un th\u00e8me tr\u00e8s \u00ab\u00a0Legrand\u00a0\u00bb mais impossible de trouver une deuxi\u00e8me partie, un pont dans notre jargon, qui me convienne. J\u2019y reviens r\u00e9guli\u00e8rement, mais rien ne me satisfait.<br \/>Quelques jours apr\u00e8s son d\u00e9part fin janvier 2019, hop, l\u2019id\u00e9e jaillit. Peut-\u00eatre est-ce la peur d\u2019oser le lui montrer qui m\u2019emp\u00eachait de le terminer ?<br \/>Je pr\u00e9f\u00e8re croire qu\u2019il me l\u2019a dict\u00e9.<br \/>Je propose la maquette \u00e0 Natalie qui veut le chanter, sans paroles, et pour l\u2019arrangement j\u2019ajoute les deux trompettes qui viennent dialoguer avec la voix et le violon.<br \/>Ce morceau doit \u00eatre \u00e0 l\u2019image de sa musique : une m\u00e9lodie d\u2018apparence simple, du mouvement, des envol\u00e9es, du s\u00e9rieux recouvert de l\u00e9g\u00e8ret\u00e9, au bon sens du terme.<\/p>\r\n\r\n<p>8- Pr\u00e9lude (Maurice Ravel) : Que faire ? Je ne vois que deux solutions. Soit comme un Picasso, d\u00e9monter compl\u00e8tement la partition et la reconstruire de fa\u00e7on totalement diff\u00e9rente, soit rester au plus pr\u00e8s et jouer sur les timbres et les voix, la lumi\u00e8re. La premi\u00e8re option permettrait de s\u2019amuser follement, mais d\u2019une part, je l\u2019ai d\u00e9j\u00e0 fait sur les inventions de J. S. Bach et donc, je tomberais dans le pi\u00e8ge de la r\u00e9p\u00e9tition d\u2019une id\u00e9e. Non, je ne veux pas \u00ab\u00a0d\u00e9cliner une recette\u00a0\u00bb<br \/>Et d\u2019autre part, c\u2019est Ravel ! C\u2019est-\u00e0-dire le point culminant de la Musique Fran\u00e7aise, l\u2019aboutissement absolu d\u2019un esth\u00e9tisme, d\u2019une finesse, d\u2019une \u00e9l\u00e9gance parfaite.<br \/>Je demande donc au pianiste Jean-Michel Bernard (JMB) de prendre juste un peu de libert\u00e9, mais de fa\u00e7on \u00e0 ce qu\u2019on la ressente, sans vraiment l\u2019entendre; tout est dans ce dosage d\u00e9licat. Pour ma part je fais expr\u00e8s de m\u2019approprier la voix de basse de la main gauche du piano et de la grossir. Et puis j\u2019inverse parfois les voix. En somme je fais comme si j\u2019accrochais un tableau de ma\u00eetre pour une exposition et construit un cadre et un \u00e9clairage.<br \/>Passionnant exercice.<\/p>\r\n\r\n<p>9- Valse de l\u2019Amiral : C\u2019est ma premi\u00e8re composition en 1978; j\u2019ai seize ans et suis accord\u00e9oniste de bal. Sans le savoir, le pont (refrain) c\u2019est du Legrand\u2026pr\u00e9monition ?<br \/>A peine \u00e9crit, je cache la partition dans un tiroir et ne la sort qu\u2019en 2000 pour l\u2019album en duo avec Christian Escoud\u00e9 \u00ab\u00a0Express 137 A\u00a0\u00bb pour lequel nous construisions une r\u00e9pertoire.<br \/>C\u2019est \u00e0 Christian que j\u2019ose montrer ce morceau car je sais qu\u2019il conna\u00eet la valse musette, et il me convainc de l\u2019enregistrer. Une fois r\u00e9p\u00e9t\u00e9e il a ce commentaire fraternel: \u00ab\u00a0Ta valse, c\u2019est quand m\u00eame un os !\u00a0\u00bb En jargon cela signifie que c\u2019est difficile \u00e0 jouer sur la guitare.<br \/>Sharman l\u2019a adopt\u00e9 tout de suite. Herv\u00e9 est parfait malgr\u00e9 un m\u00e9chant arp\u00e8ge : \u00ab\u00a0Dis-donc tu aurais d\u00fb appeler Michel pour ce morceau, les arp\u00e8ges, c\u2018est sa sp\u00e9cialit\u00e9.\u00a0\u00bb<br \/>Quand \u00e0 Andr\u00e9, je pourrais \u00e9couter que la piste enregistr\u00e9e de la batterie : le grand art de la valse musette au balais.<\/p>\r\n\r\n<p>10- Bouss Lope : Un jour, en tourn\u00e9e avec Two Bass Hits, projet \u00e0 deux contrebasses avec mon mentor Ray Brown, et Jacky Terrasson au piano, succ\u00e9dant \u00e0 Dado Moroni, nous sommes en coulisse et pendant que je me chauffe, je joue ce riff de basse.<br \/>Ray m\u2019apostrophe : \u00ab\u00a0J\u2019aime \u00e7a, Bouss; c\u2019est tellement toi. c\u2019est ton lope\u00a0\u00bb<br \/>Je ne connaissais pas encore ce mot \u00ab\u00a0lope\u00a0\u00bb<br \/>En 2002, je suis \u00e0 Pittsburgh, sa ville natale, Ray est chez lui \u00e0 L. A., et nous passons une heure au t\u00e9l\u00e9phone. Il me dit : \u00ab\u00a0Le jour o\u00f9 tu apprendras que je suis parti, fais-moi plaisir, prends ta basse, et joues ton pattern, ton Lope\u00a0\u00bb. Quelques mois plus tard en juillet, le t\u00e9l\u00e9phone a sonn\u00e9\u2026<br \/>Plus tard nous l\u2019avons jou\u00e9 avec Niels Lan Doky, Daniel Humair, Rick Margitza, et Randy Brecker.<br \/>D\u00e8s le morceau d\u00e9chiffr\u00e9 Randy se retourne et dit : \u00ab\u00a0Ray Brown a raison, c\u2019est ton lope, Bouss\u00a0\u00bb.<br \/>Dans cette version, JMB s\u2019est saisi du morceau, parfaite occasion de s\u2019amuser avec le jouet, pardon les jouets de son choix; et il en a beaucoup ! Il a retenu le piano Rhodes. Nuit apr\u00e8s nuit, je re\u00e7ois une nouvelle version, chaque fois plus belle. Lorsqu\u2019on sent que c\u2019est la bonne version, je sugg\u00e8re qu\u2019il ajoute une piste avec son tout nouveau jouet, le synth\u00e9tiseur Moog One 16. Le lendemain, j\u2019\u00e9coute : Magique\u00a0!<br \/>Quant au couple basse-batterie, vraiment, soit on est sourd ou fou, ou les deux, mais \u00e7a sonne terrible.<br \/>Andr\u00e9 Ceccarelli\u2026souplesse, aisance, puissance\u2026une Rolls.<\/p>\r\n\r\n<p>11- Scherzo-Tarentelle : Depuis 1981, ce morceau entendu sur France Musique me trotte dans la t\u00eate mais impossible d\u2019en trouver le titre car je ne parviens qu\u2019\u00e0 murmurer ou grogner quelques notes aux violonistes interrog\u00e9s. D\u00e9but 2020, Eur\u00eaka !<br \/>Le violoniste Hugues Borsalero m\u2019en donne le titre : Scherzo-tarentelle de Henryk Wieniawski.<br \/>J\u2019en parle \u00e0 Sharman Plesner qui me dit \u00ab\u00a0Mais tu es fou, ce morceau de concert m\u2019terroris\u00e9 quand j\u2019\u00e9tais enfant. tu veux vraiment le jouer ? \u00bb<br \/>Lorsque je lui fais \u00e9couter la version \u00e9poustouflante de J. Heifetz, puis celle, \u00e0 mes oreilles magnifique, de D. O\u00efstrakh\u2026elle se met \u00e0 le retravailler !<br \/>Je n\u2019ai pas chang\u00e9 une seule note de la partition de violon, mais en revanche j\u2019ai voulu montrer ce que j\u2019entends comme accompagnement, sur des pulsations diff\u00e9rentes : Jazz, Afro, Bossa Nova, Samba.<br \/>C\u2019est le dernier morceau enregistr\u00e9 par le groupe et tout de suite apr\u00e8s la derni\u00e8re note, Andr\u00e9 Ceccarelli s\u2019est lev\u00e9, \u00e9puis\u00e9 et a dit :\u00a0\u00ab\u00a0Ton truc, wow, c\u2019est aussi difficile que du Martial Solal.\u00a0\u00bb<br \/>Et la difficult\u00e9 pour Sharman au violon, est qu\u2019il n\u2019est plus question de disposer d\u2019un pianiste qui accompagne, qui suit, mais d\u2019interagir avec un trio de jazz qui joue sans retenue. C\u2019est cela mon id\u00e9e de r\u00e9unir le classique et le Jazz; d\u2019o\u00f9 la difficult\u00e9 de trouver des musiciens qui ont la capacit\u00e9 et la volont\u00e9 d\u2019abandonner la zone de confort et d\u2019habitude pour tenter une aventure. Les deux albums sont dans cet esprit-l\u00e0. Pour ma propre partition je ne me suis pas \u00e9pargn\u00e9 non plus.<br \/>Herv\u00e9 Sellin, lui, a r\u00e9sum\u00e9 la chose apr\u00e8s l\u2019enregistrement par \u00ab\u00a0Tu sais maintenant pourquoi je te d\u00e9teste\u2026\u00a0\u00bb<\/p>\r\n\r\n<p>Meeting Point, envol\u00e9e 2<\/p>\r\n\r\n<p>1- Dr Bitino : Mai 2021. |es deux albums sont finis, mix\u00e9s, l\u2019ordre des morceaux est termin\u00e9, mais un matin : \u201dAll\u00f4, Jean-Michel, c\u2019est quoi ce morceau que tu as jou\u00e9 il y a quelques ann\u00e9es \u00e0 la fin d\u2019une r\u00e9p\u00e9tition chez toi ?\u201d<br \/>JMB : \u00ab\u00a0C\u2019est une de mes compositions qui tra\u00eene sur mon piano.\u00a0\u00bb<br \/>Moi : \u00ab\u00a0Peux-tu me faire passer la partition s\u2019il te pla\u00eet ?\u00a0\u00bb<br \/>A peine re\u00e7u, je l\u2019\u00e9coute plusieurs fois; je veux l\u2019enregistrer; donc je dois l\u2019arranger. Mais comment ? Sur l\u2019instant, pas d\u2019id\u00e9e valable.<br \/>Le lendemain, \u00e7a y est, je sais : ce sera un dialogue non sym\u00e9trique entre violon et piano, puis l\u2019orgue prend la parole, et enfin la contrebasse met son grain de sel; la fin prend son temps pour tous se quitter tranquille.<br \/>Je remonte \u00e0 Paris vite, on l\u2019enregistre et mixe en suivant.<br \/>Ce morceau, c\u2019est un bol d\u2019air frais; c\u2019est l\u2019envie de prendre la route t\u00f4t le matin, soleil levant, de partir en voiture pour une journ\u00e9e \u00e0 la campagne.<br \/>Ces deux solos d\u2019orgue et de piano me font penser \u00e0 Nougaro annon\u00e7ant Eddy Louis et Maurice Vander; superbe; bravo JMB.<\/p>\r\n\r\n<p>2- KB 19 : C\u2019est la r\u00e9f\u00e9rence d\u2019un avion de voltige, un monoplace de 300cv, une merveille de conception et de fabrication Fran\u00e7aise (Avions Mudry \u00e0 Bernay en Normandie)<br \/>Entre 1992 et 1998 j\u2019ai eu le virus de l\u2019aviation et de la voltige a\u00e9rienne.<br \/>Un jour je m\u2019installe dans la b\u00eate au repos dans son hangar, r\u00eavant de voler avec. Je sens qu\u2019elle bouge; l\u2019instructeur Gimenes (Gim) et Michel le m\u00e9cano sont chacun \u00e0 un bout d\u2019aile. Gim me dit \u00ab\u00a0chut, ne bouge pas\u00a0\u00bb. Ils sortent l\u2019avion, Gim vient au bord du cockpit, me donne les instructions pour la mise en route moteur, quelques param\u00e8tres de vol pour le d\u00e9collage et l\u2019atterrissage, descends de l\u2019aile et ajoute :\u00a0\u00ab\u00a0je te suis \u00e0 la radio\u00a0\u00bb<br \/>J\u2019ai \u00e9t\u00e9 l\u00e2ch\u00e9 sur le CAP 231 par surprise; un magnifique cadeau. Merci Gim et Michel.<br \/>Alors j\u2019ai compos\u00e9 ce morceau pour c\u00e9l\u00e9brer cet avion exceptionnel que j\u2019ai beaucoup observ\u00e9 faisant de la calligraphie dans le ciel.<br \/>Le pilote acrobate ici est Giovanni Mirabassi.<\/p>\r\n\r\n<p>3- C. T. : Ce sont les initiales de Clark Terry, trompettiste de g\u00e9nie, et un grand monsieur. Maurice Andr\u00e9 dit de lui que \u00ab\u00a0c\u2019est la plus belle embouchure\u00a0qu\u2019il a jamais entendue. \u00bb<br \/>J\u2019ai eu la chance de jouer avec lui, y compris un concert en duo (!) et j\u2019ai ador\u00e9 son disque original en quintet \u00ab\u00a0Serenade to a Bus Seat\u00a0\u00bb en quintet avec Johnny Griffin.<br \/>Je lui chante cette composition, lors de notre derni\u00e8re rencontre au festival de Monte-Carlo, et presqu\u2019imm\u00e9diatement, il la chante aussi et me demande de l\u2019enregistrer pour qu\u2019il l\u2019entende.<br \/>Le temps a pass\u00e9, Clark est parti, mais je crois qu\u2019il l\u2019entend par la voix de Claude Eg\u00e9a.<\/p>\r\n\r\n<p>4- Valse du Luxe : il n\u2019est pas question ici de marques prestigieuses.<br \/>Si tout se passe bien, on na\u00eet et on grandit avec l\u2019amour d\u2019une maman. J\u2019ai eu cette chance, ce luxe.<br \/>Ce morceau est mon hommage \u00e0 toutes les Mamans du Monde.<\/p>\r\n\r\n<p>5- Victor et Hugo : Premier confinement, mars 2021\u2026<br \/>Sarah Mckenzie me propose que l\u2019on \u00e9crive chacun une composition une fois par semaine et que l\u2019on se l\u2019envoie. Excellente id\u00e9e, mais on n\u2019a tenu trop peu de temps.<br \/>En 2013, j\u2019ai rencontr\u00e9 avec Sharman un petit ours en peluche \u00e0 Copenhague, que depuis, je trimbale partout (!)<br \/>Pour No\u00ebl 2018, Sarah et Burkhard sont \u00e0 Paris, et nous d\u00eenons ensemble. Alors eux qui voient tout le temps Victor depuis des ann\u00e9es, m\u2019offre un autre tout petit ours.<br \/>Comment l\u2019appeler ? Hugo Lippi le guitariste sugg\u00e8re \u00ab\u00a0Hugo\u00a0\u00bb et pr\u00e9cise :<br \/>\u00ab\u00a0Ainsi cela fait Victor Hugo !\u00a0\u00bb<br \/>Pour ce morceau l\u2019id\u00e9e \u00e9tait d\u2019\u00e9crire un th\u00e8me simple, comme le sont les standards de jazz; je n\u2019ai pu r\u00e9sister \u00e0 une introduction et une fin Be-bop, on ne se refait pas.<\/p>\r\n\r\n<p>6- Pavane de la belle au bois dormant (M. Ravel) : Sharman Plesner m\u2019a fait d\u00e9couvrir cette pi\u00e8ce.<br \/>Impossible de toucher \u00e0 une note, de triturer; ce n\u2019est pas de la pudeur envers M. Ravel, mais je ne vois aucun int\u00e9r\u00eat \u00e0 ajouter des improvisations incertaines par exemple, ou de modifier des harmonies. Cette musique est telle qu\u2019elle est, magnifique et aboutie.<br \/>Alors le travail a \u00e9t\u00e9 la discipline de l\u2019adaptation (passionnant) en ne jouant que sur les timbres. J\u2019ajoute toutefois un ostinato de basse qui me semble ne pas interf\u00e9rer avec l\u2019\u0153uvre originale. Me permettez-vous M. Ravel ?<\/p>\r\n\r\n<p>7- Mission impossible : En 2010 je publie un album de contrebasse solo jazz<br \/>(Pour ou Contrebasse) projet hautement commercial !<br \/>J\u2019y montre diff\u00e9rents aspects de l\u2019instrument, jouant des th\u00e8mes, improvisant, montrant des lignes de basse, m\u00fb par l\u2019envie de partager mon amour du pizzicato jazz, la conscience de remercier mes mentors, et de montrer ce merveilleux instrument qu\u2019est la contrebasse.<br \/>Pour ce morceau, je me suis amus\u00e9 \u00e0 jouer toutes les parties (m\u00e9lodie, accompagnement, harmonies, et m\u00eame percussion) seul, en enregistrant voix par voix, puis en les empilant; cela s\u2019appelle du re-recording.<br \/>Lalo Schifrin et sa femme Donna ont ador\u00e9; c\u2019est ma mission impossible.<br \/>Tiar\u00e9 Productions souhaitaient une pi\u00e8ce en solo; j\u2019ai pens\u00e9 que ce morceau compl\u00e8te bien cet album patchwork.<\/p>\r\n\r\n<p>8- Mimi and June : Ce sont deux amis Am\u00e9ricano-Japonais qui m\u2019ont spontan\u00e9ment et maintes fois pr\u00eat\u00e9 leur maison dans le B\u00e9arn \u00e0 un moment difficile. J\u2019ai \u00e9crit ce Blues et ai laiss\u00e9 la partition sur leur r\u00e9frig\u00e9rateur en 2007\u2026<br \/>JMB propose de l\u2019enregistrer au Wurlitzer, piano \u00e9lectrique des ann\u00e9es 70, bien trafiqu\u00e9 toutefois. Puis j\u2019ai l\u2019id\u00e9e de lui faire ajouter de l\u2019orgue Hammond B3. Une fois enregistr\u00e9, je lui dis qu\u2019il manque une ligne de basse pour accompagner mon solo. En effet, le plus souvent lorsque la basse joue un solo il n\u2019y a plus de trio rythmique derri\u00e8re; ce n\u2019est pas juste. \u00ab\u00a0Ah bon, tu veux ressortir ta contrebasse, maintenant que tu as tout rang\u00e9 ?\u00a0\u00bb<br \/>Non, je vais la jouer \u00e0 l\u2019orgue !<br \/>Quant \u00e0 JMB et son sens du Blues, que je d\u00e9couvre, pas \u00e9tonnant qu\u2019il est fait le tour du monde dans l\u2019orchestre de Ray Charles, cqfd.<\/p>\r\n\r\n<p>9- Jazz Caf\u00e9 Chez Papa : J\u2019ai jou\u00e9 bien des ann\u00e9es dans ce restaurant \u00e0 Saint-Germain-des-Pr\u00e9s et ce lieu, d\u00e8s le premier jour m\u2019a touch\u00e9. On est \u00e0 Paris tout en imaginant que l\u2019on pourrait \u00eatre n\u2019importe o\u00f9 en France. La musique doit y \u00eatre fra\u00eeche, naturelle, impromptue, ouverte aux rencontres. Le patron Michel Dassaut en est l\u2019\u00e2me et impose cet esprit. Ce morceau est dans cet esprit; une m\u00e9lodie simple, du jazz \u00ab\u00a0tout droit\u00a0\u00bb, direct.<br \/>Comme par hasard JMB me sugg\u00e8re de compl\u00e9ter l\u2019album avec des morceaux simples, car il a raison, tout est tr\u00e8s \u00e9crit et tr\u00e8s dense. Et bien oui, vingt avec Lalo Schifrin, dix ans avec Michel Legrand, cela fait trente ans d\u2019orchestrations denses et subtiles, remplies de contre-chants en tous sens.<br \/>Jazz Caf\u00e9 Chez Papa, c\u2019est d\u2019ailleurs l\u00e0 qu\u2019un soir nous nous sommes retrouv\u00e9s avec Michel Legrand, perdu de vue apr\u00e8s une premi\u00e8re rencontre dix ans plus t\u00f4t<br \/>(cf. Legrand Enchanteur). Il passait dans la rue, a entendu des notes de notre duo avec le pianiste Ahmet G\u00fclbay, et il est entr\u00e9 pour voir.<br \/>\u00ab\u00a0Bonsoir messieurs; ohhh\u00a0! Pierre Boussaguet, \u00e7a fait longtemps\u2026je peux jouer un morceau ?\u00a0\u00bb<br \/>La t\u00eate des clients attabl\u00e9s\u2026<br \/>Quand je pense que mon entourage me disait que je m\u2019endormais dans un resto de Saint-Germain\u2026quelle analyse.<br \/>Bref, je tiens \u00e0 rendre hommage \u00e0 ce lieu sp\u00e9cial, et par extension \u00e0 ce quartier o\u00f9 dans les ann\u00e9es 90 il y avait six clubs de jazz : Chez Papa, le Bilboquet, H\u00f4tel Latitude, La Villa, le Montana, et Le Village.<br \/>Arriv\u00e9 en 1985 \u00e0 Paris, je partageais mes nuits entre le Bilboquet, \u00e0 Saint-Germain, et le Petit Opportun, au Chatelet. Marc Hemmeler, qu\u2019aimait beaucoup St\u00e9phane Grappelli, Guy Lafitte, Michel Legrand, Ray Brown, Milt Jackson, et Lavelle, entre autres, m\u2019a beaucoup appris, sans cadeau certes.<br \/>Luigi Trussardi, le bassiste du trio, m\u2019a pouss\u00e9 \u00e9norm\u00e9ment, comme un grand fr\u00e8re,<br \/>et le batteur Fifi Combelle toujours bienveillant.<br \/>Tant de musiciens, de com\u00e9diens, de peintres, de cin\u00e9astes, d\u2019artistes en tous genres sortent de la rue Saint-Beno\u00eet, de Saint-Germain.<br \/>Aujourd\u2019hui il ne demeure que Chez Papa\u2026Le reste ce sont des h\u00f4tels s\u00e9lect, des restos s\u00e9lect, des boutiques s\u00e9lect, alors que nous tous on a connu la rue de la musique\u2026 select. La nuit a \u00e9t\u00e9 tu\u00e9e; c\u2019est ainsi, mais comme le dit le proverbe Espagnol : \u00ab\u00a0On ne peut pas enlever ce que j\u2019ai d\u00e9j\u00e0 dans\u00e9\u00a0. \u00bb<\/p>\r\n\r\n<p>10- NH\u00d8P : Ce sont les initiales de Niels Henning \u00d8rsted Pedersen, le contrebassiste Danois.<br \/>Le jour de son d\u00e9part pr\u00e9matur\u00e9 en avril 2005, j\u2019ai pris conscience de l\u2019amour que j\u2019ai toujours eu pour cet immense musicien qui joue de la contrebasse comme personne n\u2019en joue, m\u00eame aujourd\u2019hui. Outre sa technique et sa virtuosit\u00e9 in\u00e9gal\u00e9es, j\u2019adore le legato qu\u2019il a sur toute la tessiture de la basse, \u00e0 l\u2019oppos\u00e9 du pic-pic-pic habituel dans l\u2019aigu. Cela lui permet de phraser un solo comme n\u2019importe quel autre instrument de l\u2019orchestre tout en donnant du poids dans le r\u00f4le de bassiste.<br \/>On oppose souvent Ray Brown et NH\u00d8P.<br \/>Je ne connais rien de mieux que l\u2019attaque de l\u2019un, si ce n\u2019est le lyrisme et legato de l\u2019autre. Comme par hasard, ils ont \u00e9t\u00e9 le bassiste du patron\u2026Oscar Peterson; no comment.<br \/>Ce jour d\u2019avril 2005, j\u2019\u00e9tais tellement mal que je me suis assis au piano ai compos\u00e9 cette balade d\u2019un trait.<\/p>\r\n\r\n<p>11- Tales : C\u2019est une m\u00e9lodie que j\u2019ai voulue comme un standard, c\u2019est-\u00e0-dire avec un verse (un r\u00e9citatif).<br \/>C\u2019est une version instrumentale. Plus tard Deborah Brown a \u00e9crit de belles paroles, l\u2019histoire d\u2019un amour qui se r\u00e9v\u00e8le \u00e0 Barcelone\u2026D\u2019accord ce sera pour le prochain disque !<\/p>\r\n\r\n<p>12- Mother Land : Assis un matin du printemps 2008 au bord du Gave d\u2019Oloron, en B\u00e9arn, le temps s\u2019arr\u00eate; je reste l\u00e0 immobile, m\u00e9ditatif au bord de l\u2019onde. Et Je pense qu\u2019en ce m\u00eame instant il y a de par le Monde beaucoup de gens dans la m\u00eame situation : l\u2019\u00e9merveillement face \u00e0 la Nature.<br \/>Une m\u00e9lodie simple, cette ode \u00e0 notre m\u00e8re Terre me passe par la t\u00eate, vite je la note. Au fil du temps et des concerts je l\u2019orchestre de plein de fa\u00e7ons, et, pour cet album, je d\u00e9cide d\u2019harmoniser avec des cordes, d\u2019ajouter une harpe, et la voix de Natalie Dessay.<br \/>Pour les cordes, pris par le temps, la logistique, je demande \u00e0 Sharman d\u2019enregistrer le violon solo, puis un violon 1 et un violon 2, puis un alto 1, et enfin un alto 2.<br \/>Et bien oui, elle joue des deux instruments et lit indiff\u00e9remment les parties de l\u2019un et de l\u2019autre, m\u00e9langeant les clefs de sol, d\u2019Ut 3, d\u2019Ut 4 et de Fa\u2026\u00e9c\u0153urant.<\/p>\r\n\r\n<p>Juste avant de partir au studio, Laurent Naouri, mari de Natalie a la m\u00eame id\u00e9e que moi; puisqu\u2019il vient au studio, pourquoi ne pas chanter ? Vite je griffonne quatre voix que je double, pour la coda, c\u2019est-\u00e0-dire la derni\u00e8re partie du morceau.<br \/>Le ch\u0153ur de quatre Dessay et de quatre Naouri, et les violons et alti de Sharman, le vibraphone, la harpe\u2026miam miam\u2026j\u2019en veux encore.<br \/>Quant \u00e0 JMB, quelques semaines plus tard, c\u2019est parti : et je trafique le son du Rhodes, et je refais un chorus, et j\u2019ajoute des effets de toutes les sortes, et je fais tel montage, et je corrige ceci, cela, bref le garnement est dans sa salle remplie de ses jouets; plusieurs fois je me suis endormi sur le fauteuil pendant qu\u2019il s\u2019amusait !<br \/>Pour la harpe, la personne choisie m\u2019apprend la veille de la s\u00e9ance d\u2019enregistrement qu\u2019elle est malade; dans son entourage proche, il y a un cas de covid.<br \/>Putain, ce virus, en plus, n\u2019aime pas la musique, m\u00eame confin\u00e9e\u2026<br \/>Que faire ?<br \/>JMB : \u00ab\u00a0Connais-tu Lady Joyenval ?\u00a0\u00bb<br \/>Moi : \u00ab\u00a0De nom oui, Lalo Schifrin m\u2019en a parl\u00e9 mais elle doit \u00eatre tr\u00e8s \u00e2g\u00e9e, et vivre certainement \u00e0 Los Angeles ?\u00a0\u00bb<br \/>JMB : \u00ab\u00a0Erreur\u00a0: elle vit pas loin de chez moi, je l\u2019ai rencontr\u00e9 chez des amis communs. On l\u2019appelle ?\u00a0\u00bb<br \/>Moi :\u00a0\u00ab\u00a0Chiche !\u00a0\u00bb<br \/>Quelques jours plus tard, la dame arrive, partition en main, on lui installe sa harpe, elle met son casque, et hop, une prise, c\u2019est fait, puis une deuxi\u00e8me voix en re-recording.<br \/>Elle range ses affaires, son aide s\u2019occupe de la harpe, et elle nous dit de son bel accent Anglais : \u00ab\u00a0Mes enfants, je ne joue plus professionnellement, mais votre pi\u00e8ce m\u2019a plu, et puis, nous avons un ami commun : Lalo Schifrin.<br \/>It was a very pleasant moment, thank you, good bye\u00a0\u00bb<br \/>Elle part et je dis \u00e0 JMB : \u00ab\u00a0Dans Out of Africa, il y a cette r\u00e9plique extraordinaire : Lorsque les Dieux veulent vous punir, ils exhaussent vos v\u0153ux.\u00a0\u00bb<\/p><\/div>\r\n\r\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><p class=\"has-drop-cap\">Professional life as a double bassist-accompanist naturally brought me to rub shoulders with many different artists, each with their time, their space, their poetry, their music, in short, their personality. The role of the bassist is to put himself at the service of others, \u201cto find good notes and an adequate pulse\u201d to help their expression; it is difficult and exciting.<br \/>From bal musette (accordion dance music) to Michel Legrand, from duos to symphonic works, through song and free jazz, and even a little bit of rock, I have always found that each piece of music is difficult to play well.<br \/>And it is the seemingly simple pieces or passages that often pose a problem.<\/p>\r\n\r\n<p>Jazz has been my heartfelt choice, of course, but I have always written music, often something other than jazz, and have listened to a lot of classical music and french songs (chanson Fran\u00e7aise), a idiom in which the music is there to serve the text.<br \/>During this time my drawers filled with music scores waiting to exist.<\/p>\r\n\r\n<p>So today, with all these experiences and unused music, I chose to record and play things that I love, with musicians that I love.<br \/>I decided not to worry about it being stamped as jazz, song, classical, funk, waltz, tango, or any label: They are a real patchwork.<br \/>For classical pieces, the interesting thing is to change their wardrobe, and to offer another outfit. Each concert that we gave for connaisseurs was very warmly received.<\/p>\r\n\r\n<p>Such a project mixing many styles could confuse the public who knows me, triggering passions. Longtime friends have even accused me of denying their love \u2026 hard to hear that.<br \/>But then am I condemned to play only jazz, to be strictly the disciple, the prot\u00e9g\u00e9 of Ray Brown? Funny, but the last piece of advice Ray gave me was to go out into the middle of a field and burn all of his albums. Authentic!<br \/>And he clarified, \u201cYou don&rsquo;t need it anymore. Now you have to travel, explore, and that\u2019s what will reveal the bassist, the musician that you are. And don&rsquo;t worry, you won&rsquo;t lose your swing, the injection was too deep.\u201d<br \/>Twenty years with Lalo Schifrin and ten years with Michel Legrand have convinced me that he was right.<br \/>I started working on the \u201cMeeting Point\u201d project in 2010 for the creation of original music at the Beynes festival in France, bringing together Anne Gravoin\u2019s string quartet and a jazz quartet. Hey, another album to make!<br \/>In 2013 I took up this idea, but based it on works from the classical repertoire, and chose a very specific and original instrumentation, without piano.<br \/>But from concert to concert I had to accept that musicians do not want to cross a certain line: It takes so many years to achieve a personal language that it is logical not to want to leave this zone of relative comfort and achievement. Added to that, it takes a lot of personal work and time to get past the written parts and to be oneself.<br \/>For me, the bass parts that I have written give me a hard time \u2026<\/p>\r\n\r\n<p>In September 2020 during a dinner, some friends offered to help me make a record; this was an unexpected surprise. So I went for it!<br \/>Thus, TIAR\u00c9 Productions was born.<\/p>\r\n\r\n<p>Between availability, skills, musical needs, here I am in the studio with three pianists(!)<br \/>The musical material is ready, so there is Sharman Plesner on violin, Andr\u00e9 Ceccarelli on drums, Herv\u00e9 Sellin and Giovanni Mirabassi on piano, but also Jean-Michel Bernard (JMB) whom I wish not only for the piano, but for the many keyboards that he has.<br \/>Faced with this new instrumentation, I didn\u2019t know what all these new combinations would sound like, but by intuition I let go completely and let things happen.<br \/>Suddenly each piece took on a new color that I discovered while presiding over three wonderful but too intense days.<br \/>We only had three days in the studio and I was sure that we couldn\u2019t record everything. Reasonably it would take at least three days of rehearsals and five days of recording.<br \/>But hey, reality check, I relied on everyone\u2019s enthusiasm and we went for it.<br \/>First stroke of luck: The day before the first recording session, after having installed equipment and sorted out a thousand details, JMB had already saved the project. At the doorstep he said to me:<br \/>\u201cDon&rsquo;t waste time on the details, only focus on recording the trio; three days goes by so quickly. Everything else you can do quietly afterwards.\u201d<br \/>Added to that, there were also guests artists for some songs: Natalie Dessay, Eric Giausserand, Claude Eg\u00e9a.<br \/>I didn\u2019t want them to wait too long at the studio while waiting for their turn. Fortunately, it was Indian summer, the garden was sumptuous, so the inactive musicians took the opportunity to chat. A huge thank you to JMB and Dame Kimiko for their warm welcome and for the logistics.<br \/>On the last day, the last piece was Wieniawski&rsquo;s Scherzo-Tarantella, a long and difficult score with incessant and irregular changes of tempo and pulse. My reason told me that we would not succeed, my intuition said that it would.<br \/>Miracle, section after section, everything sorted itself out, linked itself together, and we finally completed it.<br \/>Phew! Once again a huge thank you to each musician.<br \/>And not a single ego problem, just top-notch artists who want to make music.<\/p>\r\n\r\n<p>A few days later, Sharman came back to finish some of her parts, and then I did some bass parts again because I was busy leading the project and didn&rsquo;t have time to apply myself.<br \/>Then with JMB, we spent entire weeks listening, cutting, adding piano, Rhodes, synthesizer, percussion; we tried many different edits etc.<br \/>I was then starting to get impatient. Second piece of advice from JMB: \u201cYour music that I am discovering is so accomplished and of quality, that you will take the necessary time. You should not botch anything, because otherwise you will regret it all your life.\u201d<\/p>\r\n\r\n<p>Later I decide to add guitar, and vibraphone.TIAR\u00c9 Productions said to me with a laugh, \u201cOkay, but after that it&rsquo;s over.\u201d<br \/>Philippe Hervou\u00ebt whom I had barely met at JMB\u2019s studio, heard a track and wanted to participate. He set to work with diligence because the two scores I entrusted him with are difficult. Well done!<br \/>Jean-Fran\u00e7ois \u201cPadre\u201d Durez came in to record the vibraphone and some percussions. With only one take it was excellent, what a job!<\/p>\r\n\r\n<p>Then we discovered a technical problem and had to redo the trumpets\u2026 Eric and Claude came back with a smile.<br \/>Natalie Dessay returned to do her voice; she is a perfectionist and rarely satisfied (a wonderful quality)<br \/>Then came the idea to write for Laurent Naouri, Natalie\u2019s husband and famous baryton (cf. Mother Land)<\/p>\r\n\r\n<p>Then came the time of mixing, which was interminable because of the covid; Guillaume, the sound engineer, was in Brussels, I in Paris.<br \/>Third piece of advise from JMB: \u201cWhatever you do in the mix, the important thing is that You like it because everyone else will have a different esthetic idea in their mind.\u201d<\/p>\r\n\r\n<p>For each piece Guillaume did a first try, sent it to me; I listened and then wrote down to the second what was missing or overly present. This took lots of time.<br \/>I sent him my observations, he listened again, located, corrected, and resent it all back to me\u2026 I listened again, refined, noted and sent back again my observations\u2026 Hellish but we stuck to it.<br \/>Thank you Guillaume.<br \/>In the meantime, we decided to change the panoramic, that is to say the placement of the instruments. We almost had to start all over again\u2026<br \/>There were also weeks when nothing got done because either Guillaume was not available or I was the one busy with other things.<\/p>\r\n\r\n<p>Of course TIAR\u00c9 Productions listened to each step, then validated. I love not being alone anymore and building with a team.<\/p>\r\n\r\n<p>All of this brings us to March 23, 2021.<\/p>\r\n\r\n<p>Was it finished? No, JMB and I decided to add some parts. And hop, re-studio, editing, mixing\u2026<br \/>The music has taken another direction, I love it, TIAR\u00c9 Productions\u2026 also.<\/p>\r\n\r\n<p>Now we had to choose a program order. But what to do when there are classical pieces reworked by incorporating one or more elements totally foreign to the original work, pieces of jazz, a song, unlabeled compositions, a very famous theme of film music, and even a musette-jazz waltz?<br \/>Do we publish an album with a more classical section, and another with a more jazz section?<br \/>And in that case, where do we place a song, or a so-called \u00ab\u00a0World music\u00a0\u00bb piece ( because I don&rsquo;t find another word )?<\/p>\r\n\r\n<p>Well no, the order (sequencing) will be just have to be concerned with how you go from one title to another, building a cohesive story.<\/p>\r\n\r\n<p>May 2021<br \/>I have in mind a song that I heard once at the end of rehearsal three years ago.<br \/>Here we go again, arranging, recording, mixing and re-mixing!<\/p>\r\n\r\n<p>May 20, 2021, it\u2019s good, the record stops here.<\/p>\r\n\r\n<p>If I am telling you all of this, it is to express the happiness of this new experience full of surprises.<br \/>I found musicians who were a little lost to follow-up, met others, created new associations, and made a new friend.<\/p>\r\n\r\n<p>It is indeed a \u201cMeeting Point.\u201d<\/p>\r\n\r\n<p>Meeting Point, flight 1<\/p>\r\n\r\n<p>1- Mother Land: Sitting one morning in spring 2008 on the banks of the Gave d\u00b4Oloron, a river in the B\u00e9arn region (southwest France)<br \/>Time stands still; I remain there still, meditating on the waves and thinking \u201cright now there are a lot of people all over the world in the same situation: Marveling about Nature.\u201d<br \/>A simple melody, this ode to our Mother Earth goes through my head, and I note it quickly. Over time and through concerts I orchestrate it in many ways, and for this album, I decide to harmonize with strings, add a harp, and the voice of Natalie Dessay.<br \/>For the strings, pressed by lack of time and logistics, I ask Sharman to record the solo violin, then a violin 1, a violin 2, then a viola 1, and finally a viola 2.<br \/>Well yes, she plays both instruments and reads the parts of each other with ease, switching from back and forth the treble clefs, Ut 3, Ut 4 and F\u2026 disgusting.<\/p>\r\n\r\n<p>Just before leaving for the studio, Laurent Naouri, Natalie&rsquo;s husband, had the same idea as myself; since he&rsquo;s coming to the studio with Natalie, why not sing along? Quickly I scribble four voices that I double for the coda, that is to say the last part of the piece.<br \/>The choir of four Dessays and four Naouris, and Sharman&rsquo;s violins and violas, vibraphone, harp\u2026 yum yum\u2026I want more.<\/p>\r\n\r\n<p>For the harp, the chosen person tells me the day before that she is ill because a few days before in her close entourage, there is a case of covid.<br \/>Damn, this virus, moreover, does not like music, even when confined\u2026<br \/>What to do?<br \/>JMB: \u201cDo you know Lady Joyenval?\u201d<br \/>Me: \u201cBy name yes, Lalo Schifrin has talked to me about her a lot, but she must be very old, and certainly lives in Los Angeles?\u201d<br \/>JMB: \u201cWrong: she lives not far from where I live, I met her with mutual friends. Shall I call her?\u201d<br \/>Me: \u201cSure!\u201d<br \/>A few days later, the lady arrives, sheet music in hand, we set up her harp, she puts on her headphones, and presto, a take is done, then a second voice is re-recorded.<br \/>She tidies up her things, her helper takes care of the harp, and she tells us in her beautiful English accent: \u201cChildren, I no longer play professionally, but I liked your piece, and then we have a mutual friend: Lalo Schifrin.<br \/>It was a very pleasant moment, thank you, good bye.\u201d<br \/>She leaves and I say to JMB: \u201cIn the film Out of Africa, there is this extraordinary line: When the Gods want to punish you, they grant your wishes.\u201d<\/p>\r\n\r\n<p>2- Apr\u00e8s un r\u00eave (After a dream): How many times have I heard this sumptuous melody, by vocalists, violinists, cellists, and double bassists? A lot.<br \/>But from the first listen I find the accompaniment too \u00ab\u00a0nice\u00a0\u00bb. Be careful, I am only talking about the form because Faur\u00e9\u2019s sense of harmony is enchanting.<br \/>In my young head I hear something else; I imagine what Hank Jones or Oscar Peterson would play; I really visualize it.<br \/>So a few decades later, well let&rsquo;s do it!<br \/>A. C. Jobim could have written this theme and the bossa nova is natural on this tune.<br \/>But I wanted to start with the original score, then lead the piece to a new interpretation, passing by an unconscious homage to Lalo Schifrin, and, returning to the classic version at the end as one returns home after a good trip . Herv\u00e9 Sellin is imperial, finding the balance between the original writing and the freedom of the jazzman.<br \/>Later, while working on the editing JMB said to me: \u201cIt&rsquo;s good, but it\u2019s not enough\u201d So we re-work this piece.<br \/>Special mention to Giovanni Mirabassi for the last note, this C that we place perfectly together, at each take, without seeing each other, each in his cabin. Our \u201ctime feel\u201d is the same, obviously.<\/p>\r\n\r\n<p>3- South West: Having brought together Claude Eg\u00e9a and Eric Giausserand for Legrand Enchanteur and Bach + 6, and presenting as a soloist Claude for C. T. I do the same for Eric.<br \/>Beyond fairness, I would like to allow him to express his sensitivity and his taste because he is known above all for his \u201cjob\u201d as a first trumpet, a specialist in the treble register, forgetting that he loves playing quietly in the bass. and the medium range. Eric is a hidden Chet Baker.<br \/>I thought of South West, a youthful composition (1987) inspired by my recent arrival in Paris, as torn between the adventure of the big city where everything happens, and the abandonment of my land, the Southwest. I offered the song to Eric who immediately adores it, shares the story, because as he says \u201cWe provincials, we all arrive in Paris by train, abandoning our province.\u201d<br \/>Ok, we decide to record it as a \u201cquiet\u201d duo<br \/>We did three takes, then we listened; which one to choose? No idea.<br \/>It is Guillaume the sound engineer who says \u201cgive me a few seconds.\u201d<br \/>Then he makes us listen to a much better version. We asked \u201cHow did you do it ?\u201d<br \/>\u201cWell, I took the theme from one version, a chorus from another etc.\u201d<br \/>Well done. This is where the recording techniques with all the studio tools find their musical place. I love it .<\/p>\r\n\r\n<p>4- Bach + 4: How to carry out such a project without celebrating the Universal Patriarch of music?<br \/>The invention n\u00b0 4 that I played a lot with Boulou Ferr\u00e9, I always naturally associated with the guitar and with Spain. Without thinking or conceptualizing, the score was written like a dictation. As I added on four voices, the title dawned on me\u2026<\/p>\r\n\r\n<p>5- Bach + 6: One day Sharman and I had fun reading all of Bach\u2019s inventions.<br \/>Invention 6 takes my breath away. It\u2019s amazing how Bach plays on the beat, with one voice on the beat, the other almost always on the off beat; the harmony therefore straddles two notes. And there is such a mirth in it to me that I feel like I&rsquo;m at a Mexican wedding, a fiesta.<br \/>So\u2026 why not?<br \/>I add four voices, guitar, vibraphone, and two trumpets; hence the very clever title! (joking reference to the french diploma called baccalaur\u00e9at, Bac)<br \/>This is the opportunity to bring together two huge trumpeters Eric Giausserand and Claude Eg\u00e9a. I am particularly happy with the violin-trumpet relationship.<br \/>For the second time interlude, after the recording, I ask Eric and Claude the favor of daring to have fun and go crazy in the high register. They look at me with their eyes wide open, and rush to their posts like two rascals who have just been allowed to go outside and play.<br \/>Eric turns around and asks me, \u201cHey, the Spaniard (that&rsquo;s what he calls me) a question: Do we have the right to vibrate?\u201d<br \/>\u201cYou have my blessing\u201d I reply.<br \/>\u201cGreat, because it&rsquo;s been forty years of studio playing where it is prohibited.\u201d<br \/>They record and then listen to it in the booth. I congratulate Claude on his last very, very high phrase, and he points to Eric, specifying: \u201cIt&rsquo;s not me, it&rsquo;s him; this guy is crazy.\u201d<br \/>General burst of laughter.<\/p>\r\n\r\n<p>6- Running Water: Another water story. Nothing to do, watch it flow, listen to the lapping, it amazes me. As a child, when the street cleaners opened the valves to clean the gutters, I remained mesmerized for a long time by this movement, the reflections, and the sound. Is it serious, doctor?<br \/>So it\u2019s a meditation. Sharman decided to improvise and voiced her Texas origins.<\/p>\r\n\r\n<p>7- Legrand Enchanteur: I met Michel Legrand for a concert in Cassis (France) in 1993, where youth oblige, I had invited him to play(!) He accepted, however suggesting to come with his drummer Andr\u00e9 Ceccarelli\u2026and I accepted, ha ha!<br \/>A successful concert, Michel is delighted with our meeting; but then I play \u201chide and seek\u201d\u00a0 because I didn&rsquo;t want him to call me for future work, as at that time I was a poor sight-reader. In November 2009, we met again at a jazz club in Saint-Germain-des-Pr\u00e8s (Paris) and we jammed (cf. Jazz Caf\u00e9 Chez Papa)<br \/>Two days later his agent called me and asked me to play a televised concert in Warsaw, Poland.<br \/>The next day Michel himself called me for two concerts in France and another in Georgia \u2026 in short, our collaboration lasted ten years until he left us.<br \/>As soon as I got back from Tbilisi I had the idea of \u200b\u200bwriting a very \u201cLegrand\u201d theme but I couldn&rsquo;t find a second part, a \u201cbridge\u201d in our jargon, that suited me. I came back to it regularly, but nothing satisfied me.<br \/>A few days after his departure at the end of January 2019, eureka, the idea came. Maybe it was the fear of daring to show it to him that kept me from finishing it?<br \/>I rather believe he dictated it to me.<br \/>I offered the model to Natalie who wanted to sing it, without words. For the arrangement I added the two trumpets which come into dialogue with the voice and the violin.<br \/>This piece seems to be in the image of his music: a melody of simple appearance, movement, flight, seriousness covered with lightness, in the true sense.<\/p>\r\n\r\n<p>8- Pr\u00e9lude (Maurice Ravel): What to do with it? I saw only two solutions. Either like Picasso, completely dismantle the score and rebuild it in a totally different way, or stay as close as possible and play with the timbres, the voices and the light. The first option would be a lot of fun, but on the one hand, I have already done it with the inventions of J. S. Bach and therefore, I would fall into the trap of repeating an idea. No, I don&rsquo;t want to \u201crepeat a recipe.\u201d<br \/>As it\u2019s Ravel, the culmination of French Music, the absolute master of aestheticism, finesse and perfect elegance, I opted for the second possibility.<br \/>I asked pianist Jean-Michel Bernard (JMB) to take just small liberties, in such a way that we sense them, without really hearing them; everything depends on this delicate dosage. For my part, I purposely take the bass voice with my left hand of the piano and make it bigger. And then I sometimes reverse the voices. In short, I act as if I were hanging a masterpiece for an exhibition and building a frame and lighting.<br \/>Exciting exercise.<\/p>\r\n\r\n<p>9- Valse de l\u2019Amiral (Admiral\u2019s Waltz): This was my very first composition in 1978; I&rsquo;m sixteen and a ballroom accordionist. Without knowing it, the bridge (chorus) is Legrand \u2026 a premonition?<br \/>As soon as I wrote it , I hid the sheet music in a drawer and did not take it out until 2000 for the duet album with Christian Escoud\u00e9 \u201cExpress 137 A\u201d for which we were building a repertoire.<br \/>It is to Christian that I dare to show this piece because he knows the real french valse musette, and he convinced me to record it. After rehearsing, he had this brotherly comment: \u201cYour waltz is still a bone!\u201d (translated from french slang meaning that it\u2019s hard to play).<br \/>Sharman adopted it right away. Herv\u00e9 Sellin plays it to perfection in spite of a nasty arpeggio: \u201cHey, you should have called Michel for this piece, arpeggios, that&rsquo;s his specialty.\u201d<br \/>As for Andr\u00e9 Ceccarelli\u2019s brush-drumming, one could be happy listening only to the recorded drum track with the other instruments muted: He is the greatest.<\/p>\r\n\r\n<p>10- Bouss Lope: One day, on tour with \u201cTwo Bass Hits\u201d, a two-bass project with my mentor Ray Brown, and Jacky Terrasson on the piano, succeeding Dado Moroni, we are backstage and while warming up, I play this bass riff.<br \/>Ray says: \u201cI like it, Bouss; it\u2019s so You. This is your lope.\u201d<br \/>I did not yet know this word \u201clope.\u201d<br \/>In 2002, I&rsquo;m in Pittsburgh, his hometown. Ray is at his home in L.A., and we spend an hour on the phone. He said to me: \u201cThe day you learn that I&rsquo;m gone, please do me a favor: take your bass, and play your pattern, your Lope.\u201d A few months later in July, the phone rang \u2026<br \/>Later on we played it with Niels Lan Doky, Daniel Humair, Rick Margitza, and Randy Brecker.<br \/>As soon as we read the piece, Randy turns around and says, \u201cRay Brown is right, it\u2019s your lope, Bouss.\u201d<br \/>In this version, JMB seized on the piece, a perfect opportunity to have fun with a new toy, sorry, one of the toys of his choice; as he has a lot! He retained the Rhodes piano. Night after night, I receive a new version, each time more beautiful. When it felt like it was the right version, I suggested that he add a track with his brand new toy, the Moog One 16 Synthesizer. The next day I listened: Magic!<br \/>As for the bass and drums, really, either we&rsquo;re deaf or crazy, or both, but it sounds terrific.<br \/>Andr\u00e9 Ceccarelli\u2026 flexibility, ease, power\u2026 a Rolls Royce.<\/p>\r\n\r\n<p>11- Scherzo-Tarentelle: Since 1981, this piece heard on France Musique runs through my head but I couldn\u2019t find the title because I only manage to whisper or growl a few notes to the violinists questioned. At the start of 2020, Eureka!<br \/>Violinist Hugues Borsalero gave me the title: Scherzo-Tarentelle by Henryk Wieniawski.<br \/>I spoke about it with Sharman Plesner who said: \u201cBut you&rsquo;re crazy, this is a piece which terrorized me as a child; do you really want me to play it?\u201d<br \/>When I had her listen to the breathtaking version of J. Heifetz, then the magnificent one of D. O\u00efstrakh\u2026 she became inspired to rework it!<br \/>I didn\u2019t change a single note of the violin part, but instead I wanted to show what I heard as an accompaniment, with different rhythms: Jazz, Afro, Bossa Nova, Samba.<br \/>This is the final track the band recorded and right after the last note Andr\u00e9 Ceccarelli got up, exhausted and said, \u201cYour thing, wow, it&rsquo;s as hard as Martial Solal.\u201d<br \/>The difficulty for Sharman on the violin is that it is no longer a question of having a pianist to accompany, who follows, but to interact with a jazz trio that plays without restraint. This is my idea of \u200b\u200bbringing together classical and jazz; hence the difficulty in finding musicians who have the ability and the willingness to leave their zone of comfort and habit and attempt a new adventure. Both albums are in this spirit. For my own bass part I didn\u2019t spare myself either.<br \/>Herv\u00e9 Sellin summed it up after the recording by \u201cNow you know why I hate you \u2026\u201d<\/p>\r\n\r\n<p>Meeting Point, flight 2<\/p>\r\n\r\n<p>1- Dr. Bitino: May 2021. The two albums are finished, mixed, the order of the songs is completed, but one morning: \u201cHello, Jean-Michel, what is the song that you played a few years ago at the end of a rehearsal at your place?\u201d<br \/>JMB: \u201cIt was one of my compositions lying around on my piano.\u201d<br \/>Me: \u201cCan you send the sheet music for me please?\u201d<br \/>Barely received, I listen to it several times; I want to record it so I\u2019ll have to arrange it. But how? At the moment, no good idea comes to mind.<br \/>The next day, that\u2019s it, I know! It will be a non-symmetrical dialogue between violin and piano, then the organ speaks, and finally the double bass puts its two cents in; the end takes its time for everyone to leave each other peacefully.<br \/>I got back to Paris quickly, we recorded it and did the mix.<br \/>This song is a breath of fresh air: it is the urge to hit the road early in the morning while the sun is rising, and spend a day in the countryside.<br \/>The two organ and piano solos remind me of Claude Nougaro announcing Eddy Louis and Maurice Vander; superb! Well done JMB.<\/p>\r\n\r\n<p>2- KB 19: This is the reference for an aerobatic plane, a 300hp single-seater, a marvel of French design and manufacture (Mudry planes at Bernay in Normandy).<br \/>Between 1992 and 1998 I caught the virus of aviation and aerobatics.<br \/>One day I settled into the resting beast sitting in its shed, dreaming of flying with it. Suddenly I felt it moving. Instructor Gimenes (Gim) and Michel the mechanic are each at a wing tip. Gim said \u201cQuiet, don&rsquo;t move\u201d. They got out of the plane, Gim came to the edge of the cockpit, gave me the instructions for starting the engine, some flight parameters for takeoff and landing, got off the wing and added: \u201cI\u2019ll follow you by radio.\u201d<br \/>I did that one and only flight on the CAP 231as an unexpected surprise, a wonderful gift. Thanks to Gim and Michel.<br \/>This song was composed to celebrate this exceptional plane that I have observed a lot doing calligraphy in the sky.<br \/>The acrobat pilot here is Giovanni Mirabassi on piano.<\/p>\r\n\r\n<p>3- C. T.: These are the initials of Clark Terry, a genius trumpeter and a great man. Maurice Andr\u00e9 said of him that he has \u201cthe most beautiful embouchure I have ever heard.\u201d<br \/>I had the chance to perform with him, including a duet concert (!) I loved his original quintet record \u201cSerenade to a Bus Seat\u201d with Johnny Griffin.<br \/>I sang my composition to him when we last met at the Monte Carlo festival, and almost immediately he sang it back and asked me to record it so that he could hear it.<br \/>Time has passed, Clark is gone, but I like to think that he hears it through Claude Eg\u00e9a\u2019s voice.<\/p>\r\n\r\n<p>4- Valse du Luxe (Luxury Waltz): Despite the title it isn\u2019t about prestigious brands.<br \/>If all goes well, we are born and raised with a Mother\u2019s love. I had this chance, this luxury.<br \/>This song is my tribute to all the Moms of the World.<\/p>\r\n\r\n<p>5- Victor et Hugo: First confinement, March 2021 \u2026<br \/>Sarah Mckenzie suggests that we each write a composition once a week and send it off. Great idea, but we didn\u2019t last too long.<br \/>In 2013, I met a little teddy bear with Sharman in Copenhagen, whom I&rsquo;ve been carrying around ever since(!)<br \/>For Christmas 2018, Sarah and Burkhard were in Paris and we are having dinner together. As they saw Victor accompany me for years on the road, decided that he needed a companion and gave me another small bear.<br \/>What shall we name him? Hugo Lippi the guitarist suggests \u201cHugo\u201d and specifies:<br \/>\u201cSo that makes Victor Hugo!\u201d<br \/>For this piece the idea was to write a simple theme, like a jazz standard; I couldn\u2019t resist an introduction and a Be-bop ending; we always remain ourselves in the end.<\/p>\r\n\r\n<p>6- Pavane de la Belle au Bois Dormant (Pavane of Sleeping Beauty, M. Ravel): Sharman Plesner introduced me to this piece.<br \/>Impossible to change a note, to touch it up. It is not modesty regarding M. Ravel, but I see no point in adding uncertain improvisations or modifying harmonies. This music is as it is, beautiful and accomplished.<br \/>The work involved the discipline of adaptation (exciting) playing only on the timbres. I did add, however, a bass ostinato that seems to me not to interfere with the original work. Would you allow me to do so, Mr. Ravel?<\/p>\r\n\r\n<p>7- Mission Impossible: In 2010 I published a solo jazz double bass album<br \/>(Pour ou Contrebasse), a most lucrative project! (ha ha)<br \/>I show different aspects of the instrument, playing themes, improvising, showing bass lines, driven by the desire to share my love of jazz pizzicato and being aware of thanking my mentors, and of sharing this wonderful instrument that is the double bass.<br \/>For this piece, I had fun playing all the parts (melody, accompaniment, harmonies, and even percussion) alone, recording voice by voice, then stacking them; this is called re-recording.<br \/>Lalo Schifrin and his wife Donna loved it; this is my mission impossible.<br \/>TIAR\u00c9 Productions wanted a solo piece; I thought this track complements this patchwork album well.<\/p>\r\n\r\n<p>8- Mimi and June Blues: These are two American-Japanese friends who spontaneously and many times lent me their house in the B\u00e9arn (France) at a difficult time in my life. I wrote this Blues and left the sheet music on their fridge in 2007 \u2026<br \/>JMB offered to record it on the Wurlitzer, an electric piano from the 1970s, on which he added lots of effects. Then I got the idea of \u200b\u200bgetting him to add on some Hammond B3 organ phrases. Once recorded, I told him that he lacks a bass line to accompany my solo. In fact, most often when the bass is playing a solo there is no longer a rhythmic trio behind; which I found not fair. \u00ab\u00a0Oh well, do you want to get your double bass out again now that it\u2019s already packed?<br \/>No, I\u2019m going to play it on the organ!<br \/>As for JMB and his sense of Blues, which I am discovering, no wonder he\u2019s been touring the world in the orchestra of Ray Charles.<\/p>\r\n\r\n<p>9- Jazz Caf\u00e9 Chez Papa: I have played for many years in this restaurant in Saint-Germain-des-Pr\u00e9s (Paris) and this place, from day one, touched me. We are in Paris while feeling that we could be anywhere else in France. The music must be fresh, natural, impromptu, open to encounters. The boss, Michel Dassaut, is the soul of \u201cChez Papa\u201d and imposes this spirit. This piece reflects it: A simple melody, straight jazz, straightforward.<br \/>Just by chance JMB suggests that I complete the album with simple songs, and he&rsquo;s right. Everything so far is very written and dense. Well, twenty years with Lalo Schifrin, ten years with Michel Legrand, adds up to thirty years of rich and subtle orchestrations, filled to the brim with counter melodies.<br \/>It is there at \u201cChez Papa Jazz Club\u201d that one evening I re-meet up with Michel Legrand, lost after not following up with him after our first collaboration ten years earlier (cf. Legrand Enchanteur). Michel was passing by in the street, heard notes from our duet with pianist Ahmet G\u00fclbay, and he came in to listen.<br \/>\u201cGood evening sir. Ohhh! Pierre Boussaguet, it\u2019s been a long time \u2026 May I play something with you?\u201d<br \/>One can only imagine the expressions of the customer\u2019s faces at the tables \u2026<br \/>At that time my entourage told me that I was wasting time playing in a restaurant in Saint-Germain \u2026how ironic.<br \/>Here I would like to pay tribute to this special place, and by extension to the district where in the 90s there were six jazz clubs: Chez Papa Jazz Club, Le Bilboquet, H\u00f4tel Latitude, La Villa, le Montana, and Le Village.<br \/>Arrived in Paris in 1985, I divided my nights between Le Bilboquet in Saint-Germain, and Le Petit Opportun, in Chatelet. Marc Hemmeler, who was highly respected by St\u00e9phane Grappelli, Guy Lafitte, Michel Legrand, Ray Brown, Milt Jackson, and Lavelle, among others.<br \/>He taught me a lot, but was a tough customer.<br \/>Luigi Trussardi, the bassist of the trio, pushed me a lot, like a big brother,<br \/>as well as the always benevolent drummer Fifi Combelle.<br \/>So many musicians, actors, painters, filmmakers, and artists of all kinds came out of la rue Saint-Beno\u00eet, in Saint-Germain.<br \/>Today there remains only Chez Papa Jazz Club\u2026 The rest are select hotels, select restaurants, select shops, but for all of us it had been known before as the street for\u2026 select music. Paris nightlife has been killed since those days. This is sadly so, but as the Spanish saying goes: \u201cYou cannot take away what I have already danced.\u201d<\/p>\r\n\r\n<p>10- NH\u00d8P: These are the initials of Niels Henning \u00d8rsted Pedersen, the Danish double bass player.<br \/>On the day of his untimely departure in April 2005, I became conscious of the love I have always had for this immense musician who played the double bass like no one, even today. Aside from his unparalleled technique and virtuosity, I love the legato he has throughout the bass range, as opposed to the usual \u201cpic-pic-pic\u201d in the upper register. This allows him to phrase a solo like any other instrument in the orchestra while giving weight to the role of bassist.<br \/>We often oppose Ray Brown and NH\u00d8P.<br \/>I know of nothing better than the attack of Ray, except for the lyricism and legato of Niels-Henning. As luck would have it, they were the Boss\u2019s (Oscar Peterson) bassists\u2026 no comment.<br \/>That day in April 2005, I was in such pain that I sat down at the piano and composed this ballad in one go.<\/p>\r\n\r\n<p>11- Tales: It\u2019s a melody that I wanted as a standard, that is to say with a verse (a recitative).<br \/>This is an instrumental version. Later vocalist Deborah Brown wrote some beautiful lyrics, the story of a love that is revealed in Barcelona , Spain\u2026 Ok, it will be for the next record!<\/p>\r\n\r\n<p>12- Mother Land: Sitting one morning in spring 2008 on the banks of the Gave d\u2019Oloron, a river in the B\u00e9arn region (southwest France)<br \/>Time stands still; I remain there still, meditating on the waves and thinking \u201cright now there are a lot of people all over the world in the same situation: Marveling about Nature.\u201d<br \/>A simple melody, this ode to our Mother Earth goes through my head, and I note it quickly. Over time and through concerts I orchestrate it in many ways, and for this album, I decide to harmonize with strings, add a harp, and the voice of Natalie Dessay.<br \/>For the strings, pressed by lack of time and logistics, I ask Sharman to record the solo violin, then a violin 1, a violin 2, then a viola 1, and finally a viola 2.<br \/>Well yes, she plays both instruments and reads the parts of each other with ease, switching from back and forth the treble clefs, Ut 3, Ut 4 and F\u2026 disgusting.<\/p>\r\n\r\n<p>Just before leaving for the studio, Laurent Naouri, Natalie&rsquo;s husband, had the same idea as myself; since he&rsquo;s coming to the studio with Natalie, why not sing along? Quickly I scribble four voices that I double for the coda, that is to say the last part of the piece.<br \/>The choir of four Dessays and four Naouris, and Sharman&rsquo;s violins and violas, vibraphone, harp \u2026 yum yum \u2026 I want more.<br \/>For the harp, the chosen person tells me the day before that she is ill because a few days before in her close entourage, there is a case of Covid. Damn, this virus, moreover, does not like music, even when confined \u2026<br \/>What to do?<br \/>JMB: \u201cDo you know Lady Joyenval?\u201d<br \/>Me: \u201cBy name yes, Lalo Schifrin has talked to me about her a lot, but she must be very old, and certainly lives in Los Angeles?\u201d<br \/>JMB: \u201cWrong: she lives not far from where I live, I met her with mutual friends. Shall I call her?\u201d<br \/>Me: \u201cSure!\u201d<br \/>A few days later, the lady arrives, sheet music in hand, we set up her harp, she puts on her headphones, and presto, a take is done, then a second voice is re-recorded.<br \/>She tidies up her things, her helper takes care of the harp, and she tells us in her beautiful English accent: \u201cChildren, I no longer play professionally, but I liked your piece, and then we have a mutual friend: Lalo Schifrin.<br \/>It was a very pleasant moment, thank you, good bye.\u201d<br \/>She leaves and I say to JMB: \u201cIn the film Out of Africa, there is this extraordinary line: When the Gods want to punish you, they grant your wishes.\u201d<\/p><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>&nbsp; Disponible chez Tiar\u00e9 productions Liner Notes La vie professionnelle en tant que contrebassiste-accompagnateur m\u2019a amen\u00e9 naturellement \u00e0 c\u00f4toyer des artistes si diff\u00e9rents, chacun avec leur temps, leur espace, leur po\u00e9sie, leur musique, bref, leur caract\u00e8re. Le r\u00f4le du bassiste consiste \u00e0 se mettre au service des autres, de \u00ab\u00a0trouver des bonnes notes et une [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-584","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Meeting\u00a0point - Victor music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jipiz.fr\/boussaguet\/meetingpoint\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Meeting\u00a0point - Victor music\" \/>\n<meta property=\"og:description\" content=\"&nbsp; Disponible chez Tiar\u00e9 productions Liner Notes La vie professionnelle en tant que contrebassiste-accompagnateur m\u2019a amen\u00e9 naturellement \u00e0 c\u00f4toyer des artistes si diff\u00e9rents, chacun avec leur temps, leur espace, leur po\u00e9sie, leur musique, bref, leur caract\u00e8re. 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