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Références BD[modifier | modifier le code]

Références jazz[modifier | modifier le code]

Thelonious Monk[modifier | modifier le code]

Pense-bête[modifier | modifier le code]

Femmes[modifier | modifier le code]

Hommes[modifier | modifier le code]

Autres[modifier | modifier le code]

Mary Lou Williams[modifier | modifier le code]

Conception du jazz[modifier | modifier le code]

Pour MLW, le jazz puise ses racines dans « la souffrance des premiers esclaves Noires-Américains[1] » (les grands-parents de Williams sont nés esclaves[2]). Jusqu'aux années 1960-1970, les jazzmen sont conscients de ces origines issues du blues et des spirituals : elle cite l'exemple de John Coltrane, qui même dans ses morceaux les plus « free » ne perdait jamais ce rapport aux spirituals. D'après elle, cet héritage s'est perdu avec les avant-gardes des années 1970, et son enseignement à l'Université Duke se concentre, entre autres, sur cet héritage[1].

Elle refuse l'idée d'associer le jazz à l'Afrique parce que « le jazz n'a pas été inventé en Afrique — ni à La Nouvelle-Orléans — et n'a rien à voir avec la musique africaine[3]. »

l'arbre est dessiné par illustrator David Stone Martin en 1977

Messes[modifier | modifier le code]



  • (en) Peter O'Brien, Introduction : Notes de pochette de l'album May Lou's Mass, Smithonian Folways Recordings, (lire en ligne)
  • (en) Tammy L. Kernodle, Genesis of Mary Lou's Mass : Notes de pochette de l'album May Lou's Mass, Smithonian Folways Recordings, (lire en ligne)
  1. a et b Handy 1980, p. 201.
  2. Kernodle 2004, p. 8.
  3. Handy 1980, p. 202.
  4. O'Brien 2005, p. XXII.
  5. Kernodle 2005, p. XXII.

Bebop[modifier | modifier le code]

ref name="In her own words"/

  • Now I want to write what I know about how and why bop got started. Monk and some of the cleverest of the young musicians used to complain: `We'll never get credit for what we're doing.' they had reason to say it. In the music business the going is tough for original talent. Everybody is being exploited through paid-for publicity, and most anybody can become a great name if he can afford enough of it. In the end the public believes what it reads. So it is often difficult for the real talent to break through. Anyway, Monk said: `We are going to get a big band started. We're going to create something that they can't steal, because they can't play it.' There were more than a dozen people interested in the idea, and the band began rehearsing in a basement somewhere. Monk was writing arrangements, and Bud Powell and maybe Milt Jackson. Everyone contributed towards the arrangments, and some of them were real tough. Even those guys couldn't always get them right.
    • When Monk first played at Minton's there were few musicians who could run changes with him. Charlie Christian, Kenny Clarke, Idrees Sulieman and a couple more were the only ones who could play along with Monk then. Charlie and I used to go to the basement of the hotel where I lived and play and write all night long. I still have the music of a song he started but never completed.
    • 1943 During this period Monk and the kids would come to my apartment every morning around four or pick me up at the Café after I'd finished my last show, and we'd play and swop ideas until noon or later. Monk, Tadd Dameron, Kenny Dorham, Bud Powell, Aaron Bridges, Billy Strayhorn, plus various disc jockeys and newspapermen, would be in and out of my place at all hours, and we'd really ball. When Monk wrote a new song he customarily played it night and day for weeks unless you stopped him. That, he said, was the only way to find out if it was going to be good. `Either it grew on or it didn't.'
    • So the boppers worked out a music that was hard to steal
    • Out of that first big band Monk formed grew people like Milt Jackson, J.J. Johnson and Bud Powell. No one could play like Bud, not until he recorded and the guys had a chance to dig him. And even now they cannot play just like him, for I believe he is the only pianist who makes every note ring. The strength in his fingers must be unequalled. Yet I am forced to the conclusion that Monk influenced him as a kid. He idolises Monk and can interpret Monk's compositions better than anyone I know. And the two used to be inseparable. At the piano Bud still does a few things the way Monk would do them, though he has more technique.
    • Yes, Thelonius Monk, Charlie Christian, Kenny Clarke, Art Blakey and Idrees Sulieman were the first to play bop. Next were Parker, Gillespie, and Clyde Hart, now dead, who was sensational on piano. After them came J.J. Johnson, Bud Powell, Al Haig, Milt Jackson, Tadd Dameron, Leo Parker, Babs Gonzales, Max Roach, Kenny Dorham and Oscar Pettiford. Those men played the authentic bop, and anybody who heard the small combo that Dizzy kept together for so long in New York should easily be able to distinguish the music from the imitation article.
    • Often you hear guys blowing a lot of notes and people say: `They're bopping.' But they are not. Bop is the phrasing and accenting of the notes, as well as the harmonies used. Every other note is accented. Never in the history of jazz has the phrasing been like it is in bop. Musicians like Dave Brubeck come up with different styles which may be interesting. But they are not bop. Personally, I have always believed that bebop was here to stay. That's one reason I tried to encourage the original modernists to continue writing and experimenting.
  • From Lennox to 125th Street and 8th…

Tarantino[modifier | modifier le code]

Boulevard de la mort[modifier | modifier le code]


Hateful Eight[modifier | modifier le code]

On reflection, it really did seem like Tarantino had designed the chamber piece specifically to explore one woman's abuse at the hands of seven men. Then, I remembered how Harvey Weinstein himself had waved off accusations of Hateful Eight's misogyny, calling it "fishing for stupidity"[2].

Inglorious basterds[modifier | modifier le code]

Diane Kruger, another actress whose Tarantino role Weinstein pointed to as one of the director’s feminist credentials, told Parade about her unique death scene in Inglourious Basterds: “I get strangled, which was especially weird because you feel it when someone is choking you, so it was an interesting day at the office. The funny part is that Quentin’s hands are in the close-up. I won’t give away the name of the actor who kills me, but Quentin said, ‘He’s not going to do it right, it’ll either be too much or too little. I know exactly what I need and I think I should just do it.’ I have to say it was very strange being strangled by the director.” In an appearance on The Graham Norton Show, Tarantino recalled asking Kruger if she would “let [him]” strangle her: “And so I just said to her, what I want to do is, I’m going to be the hands, and what I’m going to do is, I’m going to just strangle you. I’m going to cut off your air for just a little bit of time, we’re going to see the reaction in your face, and then we’ll cut.” He bragged, “It was real. It looked really good,” explaining that, “When somebody is actually being strangled there is a thing that happens to their face, they turn a certain color, and their veins pop out and stuff.” In other films, he complained, “It always just seems fake.”[3]

  1. Cervulle 2009, p. 35.
  2. (en) Clem Bastow, « Quentin Tarantino showed us who he was - why didn't we believe him? », sur www.smh.com, (consulté le 7 janvier 2020).
  3. (en) Amy Zimmerman, « Quentin Tarantino’s History of Disturbing Behavior Toward His Actresses », sur thedailybeast.com, (consulté le 18 septembre 2019).

Une sorcière comme les autres[modifier | modifier le code]

Discographie de Lennie Tristano[modifier | modifier le code]