JAMES BROWN – LIVE IN PARIS
Chorus remains a reference point in the French audiovisual landscape as a rock show to be reckoned with. Known for its incredible line-up (thanks to the Bazooka collective), the program (ran by Antoine de Caunes and the facetious Jacky leaves) left its habitual l’Empire venue in February 1981 to stage James Brown at the Hippodrome of Porte de Pantin.
An intense performance, the recording reveals a Mister Dynamite driven by lower currents of disco. We feel this perceptible influence via "Rapp Payback," a hedonistic remix of his 1973 funky manifesto, and again with "It's Too Funky In Here," a theme punctuated by haunting female choruses. Dedicated to Godfather classics, the second part of the set is notably punctuated by "Papa's Got A Brand New Bag," a sequence during which James Brown unveils his signature moves. Yet the highlight of this concert remains the incantatory version of "It’s a Man's Man's World." An iconic show, coupled with tributes to various performers including John Lennon, a legend murdered in New York only two months earlier. We finish with a minute’s silence and then the lights go out.
MANU DIBANGO – LIVE AT JAZZOPEN STUTTGART
At the 1995 Jazz Open Festival in Stuttgart, Manu Dibango is already in his sixties and "Soul Makossa" has been galvanizing dancefloors for two decades. In this concert, with Dibango at the helm, the impeccable band’s rhythm section comprises of Brice Wassy (bass) and the late Willy Nfor (drums), who died three years later. They begin with “Wakafrika”, a track whose name is shared by Dibango’s 1994 pan-African album that, notably, features Salif Keïta, Youssou N'Dour and King Sunny Ade. But besides a beautiful reggae version of "Malaïka" by Miriam Makeba, they perform an unusual repertoire. The Cameroonian saxophonist presents several new tracks as well as a cover of "La Javanaise", performed through a jazz-fusion prism. Their groove is crazy from start to finish!
BB KING – LICE AT ANTIBES JAZZ FESTIVAL
In 1996, back for the third time at the Jazz à Juan festival, B.B. King looked in great shape. Accompanied by an orchestra where each member is capable of delivering admirable solos, equipped with his Gibson "Lucille" guitar, King overflows with feeling, sincerity, virtuosity, bonhomie, fun and enthusiasm, which is a lot for one man, even if he is BB. On a repertoire covering a wide cross-section of his career ("Five Long Years," "Guess Who," "Rock Me, Baby" … ) and flanked by two prestigious heirs, Luther Allison and Gary Moore, the dashing septuagenarian concludes his concert with the traditional Louis Armstrong favorite "When The Saints Go Marching In." B.B. King stands at the head of a grand history.
ARCHIE SHEPP – GNAWA FIRE MUSIC
Alongside the biggest names in Gnawa music from Essaouira and Tangier (Mahmoud Gania, Malika Gania and Abdellah El Gourd), stands the great Archie Shepp, who, based on a sharp and happily transcendental jazz, never ceases to denounce injustices against black people.
On one side, Gnawa coming from Morocco and from the city of Essaouirra looking for trance by the means of their legendary percussion. On the other, one of the greatest saxophonists in jazz history. Their meeting has more than one meaning: the Gnawa brotherhoods descend from sub-Saharan slaves brought to Morocco from the twelfth century to serve the edification of the Maghreb Muslim empire. Jazz comes from the sons of African slaves into the United States.
Especially, if jazz does not, as opposed to Gnawa music, have a religious aspect, the two cross in their approaches as both free and strictly coded. In urgency, spontaneity, and in their meditative aspect. In dance as in trance.
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