died star soul betty wright

Soul star and Grammy-winning American singer Betty Wright passed away at the age of 66. The information was confirmed by her niece. The cause of death is still unknown.

Betty Wright began performing in her early childhood, and at the age of 15 she already released her first solo album “My First Time Around”. In 1974, she received a Grammy for the song “Where Is The Love”.

Other notable singles who have reached the top of the charts are “Clean Up Woman”, “Baby Sitter” and “Let Me Be Your Lovemaker”.

Betty Wright had a unique voice that spanned four octaves, including the so-called whistle register. The performer was called one of the most underrated singers of her time.

The star has four children left. One of her sons was shot dead at the age of 21 in 2005, writes The Mirror.

In April, another legendary soul artist and songwriter, Bill Withers, died of Ain’t No Sunshine. He was 81 years old. Other popular singles include Lean on Me, Use Me, Just the Two of Us, Lovely Day, and Grandma’s Hands. Bill Uzires received a Grammy three times, and in 2015 he was inducted into the Rock and Roll Hall of Fame.


Netflix. “The Eddy”, an ambitious series in the world of jazz

The eddy , with André Holland, Leïla Bekhti and Tahar Rahim, has eight episodes shot in Paris and available on May 8 on the Netflix platform.

The first series by Damien Chazelle, Franco-American filmmaker who, with La La Land (2016), paid homage to the Hollywood musical, acclaimed by the public, critics and a handful of Oscars, is bound to be an event. Produced by Netflix, toured in France, it takes place again in the world of music, jazz in particular, dear to the director of Whiplash.

A Parisian jazz club

Elliot, a New York jazz pianist who had his heyday (André Holland – Moonlight, The knick) opened a club in Paris, The Eddy, which he is struggling to insure financially. Around him gravitate his partner (Tahar Rahim – a prophet), his companion (Leïla Bekhti – Polar day), the singer of the club, who is also his mistress (Joanna Kulig – Cold war), musicians, but also little suburban thugs and the Serbian mafia. Elliot’s daughter (Amandla Stenberg- Hunger Games), a determined teenager, arrives from America in the middle of this little world to find her father.

Great narrative freedom

Behind the camera, Damien Chazelle, then Alan Poul (The Chronicles of San Francisco), Houda Benyamina (Divine, gold camera at Cannes in 2016, bought by Netflix) and Laïla Marrakchi (The Legends Office). The Eddy is a beautiful object, ambitious, apart. With eight episodes, some over an hour long, each devoted to a character and the last to the jazz box that gives the series its name.

Carried by a fluid, elegant staging, sometimes even virtuoso, by music as well, of course, always showing great narrative freedom, the sequences take their time: tense confrontations between the characters, snapshots of life as if stolen from the streets of Paris and its suburbs, improvised jazz pieces on the club scene… The grain of the image, thick, soft and rough at the same time, brings realism. But the whole thing sins a bit on the script side. The purpose, thin, with an air of deja vu, stretches beyond measure. Difficult to be captivated. We then choose to let ourselves be carried. Or not.

The eddy available on Netflix


Jazz double bass player Henry Grimes carried away by the Covid-19

The jazz world has not been spared this virus. April 17 died in Harlem the double bass player Henry Grimes, free veteran who had yet returned from afar, having survived a life almost on the street. It was in the early 2000s that the native of Philadelphia (1935) reappeared after more than three decades of absence. We thought already dead the one who, in his young years, frequented all the gotha ​​of jazz, rather avant-garde trend: pillar at Albert Ayler’s, but also used to Don Cherry Blue Note period, partner in particular of Pharoah Sanders and Cecil Taylor, he was also a member of the Sonny Rollins trio at the end of the 1950s, then that of McCoy Tyner in 1962. Three years later, it is still in trio, but under his name, that he signs a terrible The call on ESP, cult label for any researcher of divergent sounds. An intense album, like his black-black look, which fixes the lens on the cover image.

Only here, the story stops in 1967: the young thirty-something whose CV promises a good tomorrow disappears … Until 2002, when another double bass player, William Parker, finds the ex-little guy from the east coast at the across the United States. He offers him an instrument, a second chance that seizes Henry Grimes. From then on he went on, all the more beautiful: in duet with Rachid Ali, in trio with Marc Ribot as in total solo, his bow shears the harmonies and his fingering makes the strings creak. This revival sounds the most just echo: to the dizziness of the first hours, the musician adds the experience of those who frequented the deep sea. Until the Covid19 definitively nails this apostle of “spiritual” jazz.

The same day, a few kilometers away, in a health center in Queens, succumbed the saxophonist Giuseppi Logan, even more ephemeral flagship of the free, who was also born in Philadelphia, who also burned (two discs) for the legendary ESP firm, before disappearing from the forefront more than forty years, a homeless time, and experiencing a too brief resurrection. Definitely, curious irony that this pandemic.

Jacques Denis


Fiona Apple, the DIY arena

Sure Fetch the Bolt Cutters (“Bring back the bolt cutters”), composed in the interior of her house, Fiona Apple borrows little from outside. But this title quote came from elsewhere and opens all doors. This is a sentence from an episode of the police series The fall, pronounced by the investigator played by Gillian Anderson in a scene where she finds a raped woman, kidnapped, and requests a bolt cutter to free her. Likewise, the pop of Fiona Apple unscrews. Her anger unlocks, the framework of her songs comes out of the nails, but there is one thing that she knows how to keep firmly fixed: our attention.


The world discovered it in 1996 with its album Tidal. A New York fan of jazz and hip-hop, the daughter of a Broadway actor, she was 18 years old and spoke of the rape she suffered at 12 years old in a stairwell. The album was a phenomenal success, offering him a stage to launch a cry from the heart to the music industry, connected to the MTV image pump: “This world is bullshit.” Articles from his teenage beginnings give momentum to this new album – and turn the guts upside down. Here a journalist talks about his need to take a cold shower. There another signifies his fantasy of sharing his nights with her. Yet another criticizes him for making his rape storytelling, in an article illustrated with photos of Terry Richardson (now banned from fashion magazines). “Hit me under the table as long as you like, I won’t close it”, she roars today on Under the Table, in a triumphant voice that hardens in a crash of percussion.

This release, favored by a climate of confidence and sorority installed with the #MeToo movement, allows him to get out of the state of convalescence of his previous albums. In some aspects, it is indeed a self-defense guide, but it is above all an aesthetic success: 13 titles mounted in power in a reduced space, which reconcile the rough and the worked, and refuse pop constraints such as they were imposed on him. On the album Extraordinary Machine already in 2005, the title Please Please Please sanctioned the obvious: “No more melodies, they lack impact, they are insignificant.” We can see a revenge on this album which had been refused as is by its label, before leaking and then being reworked by Eminem producer, Mike Elizondo.


For once, the American only listens to her apple. She chooses as rhythmic canvas her own bells, pans, bones of her deceased dog (for which she had canceled a tour), various tinkles and perhaps even baby shoes that she used as percussion in a video posted on his blog in 2018. “I’ll give you what you want, house.” I know you deserve to be the record, “ summed up Fiona Apple in the magazine Vulture to explain this voluntary domestic confinement. Since his previous album, The Idler Wheel… in 2012, she kneaded her shortcrust pastry, taking advantage of a long break, free from outside spikes and all expectations. The piano, to which it has always been attached, precedes it with chaotic bursts, in a decadent cabaret style, but also passes over in silence at times, without failing to balance the album. Fetch the Bolt Cutters is mainly articulated by metallic noises from cookware and by top model Cara Delevingne, invited to repeat the key phrase of the album, helping Fiona Apple to get out of her hinges. The heavy subjects, around male abuse most of the time, reach us by his imperious voice and by the grace of several infiltrations of humor. If it surprises at first listen, we quickly integrate the invasion of barking in the sound field, left as is, parasites of home-recording testifying to a denial of perfection. The end of the album, between chanted working song, blues palpitations and jazz digressions, does not resemble any previously decoded formula. This strange mixture, whose most memorable titles rush to the end, has just scored 10/10 on Pitchfork. The benchmark site had previously given this rating only to Kanye West, but it no longer needs such honors. Now immune to attack, Fiona Apple McAfee-Maggart, by its full name, is its own firewall, and so is ours now.

Charline lecarpentier

Fiona Apple Fetch The Bolt Cutters (Sony / Epic).


The Montreux Jazz Festival is canceled due to the coronavirus

The organizers of the Montreux festival, one of the most important musical events in Europe, announced this Friday that this year’s edition, scheduled for July 3-18, has been canceled due to the COVID-19 pandemic.

The decision was announced a day after the Swiss government established a three-phase plan to restore normality in the country, which foresees the opening of most shops and public spaces on June 11 but maintaining the current hygiene measures. and social distancing.

“Given this, it is impossible to hold a festival scale event in July, as it happens with other summer festivals in Switzerland and in the world, “the organization said in a statement, stressing that currently” public health has priority over other considerations. “

It is the first time that the festival, in which great pop, rock and jazz stars of the last half century have participated, has been canceled in its 53-year history.

«Until the last moment we hoped to be able to share magical moments with many people who, like us, cannot imagine a summer without the Montreux Festival», Highlights the statement.

The organization indicates that it is negotiating with some of the artists who had already confirmed for the 2020 edition, such as Lionel Ritchie, Brittany Howard, Lenny Kravitz and Black Pumas, to perform in the next edition of the festival, from July 2 to 17, 2021.

Switzerland’s other great summer date with music, the Paleo Festival in Nyon, also announced on Thursday the cancellation of its next edition, initially scheduled for July 20 to 26, 2020. E


“He was part of our family”: readers tell Christophe

YOUR TESTIMONIALS – Readers of Figaro are very moved after the death of singer Christophe; they recall the poetry of his songs.

By Juliette Singeot

The singer Christophe, 74, died on Thursday in Brest.
The singer Christophe, 74, died on Thursday in Brest. BERTRAND LANGLOIS / AFP

The announcement of his hospitalization and then his transfer to Brest had already moved many. The singer Christophe died on Thursday, April 16, from a lung disease. The interpreter ofAline, was 74 years old. Internet users Figaro pay him homage.

Lydie B is stunned by this news: “I thought he would have gotten out. Immense grief …“Same feeling for Nelly C, who, getting up this morning, says to be”very touched“Learning of his disappearance:”I liked his mysterious personality …“Lyne M explains that Christophe “Was part of the family”. “I have all of his albums. He was a very poetic singer with relaxing and melodious music, filled with happiness and love “, she specifies. Nathalie H adds that by leaving us, “it’s a whole era that goes with him“…

Juste C, who was in Vietnam in the years 1980-1990, says that he “Heard very often Aline in dance halls and restaurants. Most often, it was a half-French, half-Vietnamese, very faithful adaptation, in which only the chorus was sung in French ”, he adds. Fleur D also remembers “full of good memories of youth, or the time of languid slows and the hours spent with my little sister listening to her songs. He was a music genius and he always will be” Tonight, Prim V, would like “everyone pays tribute to him by singing one of his songs in the windows at 8 p.m., for our caregivers …


Saxophonist Lee Konitz dies, victim of the coronavirus

To the dramatic wake of relevant jazz figures disappeared by coronavirus has been added the venerable american saxophonist Lee Konitz (Chicago 1927) deceased at 92 in a New York hospital after Covid-19 related pneumonia. Descendant of Jewish immigrants, Konitz he was a precocious musicianz. At just eleven years old he started with the clarinet that soon changed to tenor sax. In love since he was a child with the sound of big swing bands, still a teenager he had as a mentor the pianist Lenny Tristano, of whom, along with a young Charlie Parker, learned the keys to jazz improvisation that, for seven decades, would develop as jazz evolved.

After tanning as a sideman for Stan Kenton or Claude Thornhill, Konitz he stood at the epicenter of jazz when he participated between 1949 and 1950 in the sessions of the crucial and improvisational album ‘Birth of the Cool’ by a Miles Davis who, despite pressure from the African-American community, opted for young white musicians like him or Gerry Mullligan.

At the same time Konitz started his solo career recording his debut ‘Subconscious-Lee’ which would not see the light of day until 1955. He showed some bop fondness in his improvisations, but He kept driving the cold and at the same time innovative, subtle, and enjoyable cool jazz in connection even with Davis himself., with whom he returned to work at Miles Ahead (57). During the sixties he embraced the freest improvisational style of the time and, although he composed his own material, he devoted himself to reinterpreting jazz standards and other people’s compositions in changing formations and alliances with the cream of jazz (Charles Mingus, Ornette Coleman, Bill Evans, Dave Brubeck, Elvin Jones, Kenny Burrell ..)

Without showing any fatigue he recorded and performed profusely in all kinds of formats (from duo to noneto), venturing even in cutting-edge projects. In the last decade, he suffered new heart problems after having undergone two operations that almost cost him his life. But he kept his creative spirit to the end, managing to release the album ‘Old Songs New’ in November, which evoked the memory of the swing orchestras of his childhood.

After being awarded by the American Association of Jazz Journalists for a lifetime dedicated to the genre, in 2009 he was going to perform at the Vitoria jazz festival remembering his album ‘Blue Note Alone Together’, which he recorded with pianist Brad Mehldau and the double bassist Charlie Haden. But he couldn’t go because of pneumonia. Four years later traveled to San Sebastián to perform for the third time at Jazzaldia and receive the award of the contest for his long career.

Konitz is Miles Davis’ second trusted musician victim of coronavirus after his collaborator Wallace Roney, a hard bop trumpeter who, at just 59 years old, died on March 31 in New Jersey. The Covid-19 pandemic has recently cut the lives of other prominent jazz figures as pianist Ellis Marsalis (father of Wynton and Branford Marsalis who died on April 1 at age 85) versatile Cameroonian jazz funk saxophonist and world music star Manu Dibango (86), also pianist and music director of Dizzy Gillespie Mike Longo (83) and 94-year-old guitarist Paul ‘Bucky’ Pizarelli. Other popular music figures missing due to the viral pandemic have been Adam Schlesinger (53), co-founder of Fountains of Wayne, multi-instrumentalist and successful pop composer, as well as for films like ‘The Wonders’ (Tom Hanks) television series and plays; country singer Joe Diffie (61) and also vocalist Alan Merrill (69), author of the classic ‘I Love Rock’ n Roll ‘popularized by Joan Jett.


Thundercat, half reason and half reason inspiration – Culture / Next

There are two good reasons to title a song Existential Dread (“Existential dread”): to judge life tragic, or to resolve to find it colossally hairy. But is it only possible to feel one without the other? A somewhat educated rabbi – who would have spent more time reading Kafka than the Mishnah, let’s say – would say that it doesn’t fold, that there is nothing else sensible in dealing with the worst than faking it. And would perhaps recommend listening to the fourth album from Thundercat, an intimate crisis disc that comes out in the middle of the worst collective crisis that the world has known in seventy-five years and that makes it hilarious at least as much as it cracks the heart.

“All I ever wanted to be was funky and funny” (“All I ever wanted was funky and funny”), explained Stephen Bruner to New york times end of March to recount the strangeness of his career, which led him in a decade from shadow bassist to pop star with a silhouette studded with multicolored accessories (hair extensions, plastic widgets), six-string bass in shoulder strap. Returning from Japan to his Los Angeles home a few days before the general confinement, the Californian told Release more readily the mourning and the galleys which considerably slowed down the flow of its creativity, to makeIt Is What It Is – album title and motto which appears in three of his songs, which could be translated by “Shikata ga nai” in Japanese, or “C’est la vie” in French – his most feverish and powerful record .

“The past year has been a wild ride on the emotional side. Full of brutal changes, some for the better, others really awful. I dialed non-stop and then I lost my friend James [le rappeur Mac Miller, ndlr]. I spent a lot of time learning to accept it. “ Life Is Like That, sang Memphis Slim in Chicago in the throes of the Great Depression; “I know I’ll be alright”, sits down to himself Thundercat in Existential Dread as the most tragic – and funniest – wishful thinking.


All It Is What It Is is like that, sweeter and more bitter, less delusional and less baroque too. Almost “normal” funky jazzy soul pop soft, within the unreasonable limits of what weirdo with serious tastes, whose music is very zicos in the same way that we like Aja of Steely Dan or milk chocolate, saying that there is nothing wrong with doing good, come on. Bruner agrees: “I think there is more clarity and emotion in this record. I know it is different from the previous ones, although I would be hard pressed to say how and why. “ Even this titled zappaesque interlude How Sway, overflow of notes aligned with very complicated scales, tastes like a bitter passion fruit cocktail rather than a big cupcake with a sweet taste. Or this atomic stupidity in duet with the virtuoso Louis Cole, titled stupidly I Love Louis Cole and pulsed by a speeded drums played by his brother, Ronald Bruner Jr (in memory of the time when they formed together the rhythm section of the mythical hardcore thrash combo Suicidal Tendencies?), which ends up spinning tears to the eye – c was it, the last time we heard such a beautiful hymn to friendship?

For clips, however, it’s always a different story. That of Dragonball Durag, revealed in February, transform this sexy hymn to weirdos the least spoiled hood (the durag is this fetish cloth headgear of the African-American community, eminently political and adored by rappers in 90’s) in historyincel uneasy, string of sketches in which Thundercat himself wooing women of the most creepy ways. Earlier (in 2014), in a hyper aggressive video made by humorist Eric Andre, Bruner shot himself in the head with a pistol unearthed in the litter of his cat, Tron (who remains to this day his best friend and his main source of inspiration). By force, is he not afraid of blurring the message too much, of damaging his songs and his reputation, that of one of the most bubbling talents of the new Californian jazz scene, which has done so much in the shadows for the canonization in new major voices of Kendrick Lamar or Flying Lotus? “I don’t think it ruins anything.” Some of my favorite musicians, like Frank Zappa, were absolutely hilarious. And some of my favorite comics are incredible musicians, like Steve Martin or Chevy Chase. When I listen to jazz, I hear a thousand things, but often jokes. “


It Is What It Is, so tragicomedy? Right balance, rather, for Stephen Bruner, and the best way to embrace anything that would otherwise sclerose his art – embarrassment, pain, unbearable. “Sometimes when I sing behind the microphone, I laugh because it’s too intense. Laughter is the best emotion there is. Even when it’s to keep from crying. “ And then laughter is political. A golden weapon when you are born on the wrong side of society. Bruner’s favorite funny story is known. It concerns Miles Davis, and many place it more readily in the dramatic category of famous anecdotes of popular music. “The guy was the headliner of a concert. At one point he goes out to smoke a cigarette. And cops who pass by break his face because he’s black. The people from the club had to go out and point his name on the marquise. The cops shrugged – oops! – and Miles returned to the club to play his concert. This story could not have existed anywhere other than a horrible reality. But it’s so funny – being beaten up by the police and playing a killer set, hungry! ” Some are decidedly better equipped than others to face the worst. Those who have been preparing for it all their lives. Those who laugh at everything, all the time too. “Does the situation in my country make me laugh? Hell, yeah. I laugh at everything, bro. I’m black, don’t forget that. “

Olivier Lamm

Thundercat It Is What It Is (Brainfeeder).


The Great Gatsby by Francis Scott Fitzgerald


The Great Gatsby by Francis Scott Fitzgerald

C. C.

Francis Scott Fitzgerald lived what he called himself the ‘jazz era’, that this novel – perhaps not the best of his, but certainly the most famous – reflects perfectly. Gatsby, even a partial transcript of the author, builds an empire to recover the beloved woman, to dazzle her with her wealth, with her parties, with her overflowing imagination. But the triumph is nothing more than a mask for pain, in the same way that excess hides the emptiness and the lack of roots of all the characters, who are finally irrelevant and even petty despite the brightness of their appearance. Hence that extremely harsh and unsettling ending, which is also the end of a dream.

Available in:


TV Story (s) – Culture / Next

Even if we are probably looking at it even more now, the little box, well let’s say the flat screen, has long inspired musicians. The proof with these five groups whose television inspired the name.

1) Television Personalities

The British are famous for their humor, Dan Treacy is no exception. It takes a fair amount of self-irony to call yourself Television Personalities for forty years when his group has never had enough success for a television to really care about it. Accompanied by a slew of collaborators coming and going according to the albums, Dan Treacy and his hoarse voice are the only masters on board of this formation born from punk and influenced by the mods of the 60s, author of many discs always a bit noisy and uncertain but endearing. Cult par excellence, interested only a handful of journalists and enthusiasts, Television Personalities had a career break when Dan Treacy, heavily addicted to heroin, was imprisoned from 1998 to 2004 for shoplifting. Returning to business in 2006, the group has nevertheless been handicapped since by the degraded health of its singer following a brain operation.

2) Psychic TV

Probably the most curved television of this selection. Formed in 1981 by Genesis P-Orridge and Peter “Sleazy” Christopherson on the ashes of Throbbing Gristle, Psychic TV has never ceased to oscillate between nice seemingly harmless pop songs and disturbing experiments, with a pronounced taste for multimedia adventures . With mutations, collaborations and a labyrinthine discography marked by dozens of live recordings, Psychic TV was also one of the pillars of English acid house in the mid-90s. Worrisome and difficult to tackle, like all bloated production of the late Genesis P-Orridge, who died in March, the discography of Psychic TV nevertheless includes some essential albums like Dreams Less Sweet in 1983.

3) Head on Television

The late Patrick Le Lay, former historic boss of TF1, will forever remain the man capable of measuring the famous “Available brain time” assigned to the communi hominum to the practice of the small screen. With his nickname, this Parisian duo may enter head first on TV, he devotes since 2014 most of his activities, not to zapping excessively, but to the production of a kindly pop electronic music, like l ‘EDM doped with stevia. Relatively tubesque. Finally, especially for those who like to spread their cracker with a large layer of Nutella. In this case, the hopping Out of Body Experiences guarantees the absence in the next few hours of hypoglycemic disorders. At least until the lunch break, naturally with Jean-Pierre Pernaud in the background.

4) Television

Television is the story of an essential New York post-punk group from the late 70s, which will become a major influence for generations of artists, but also a childhood friendship, dented between the brilliant Tom Verlaine and Richard Hell. In their native Delaware, the two dream of being poets and join the creative broth of New York. In 1972, they set up the group Neon Boys with drummer Billy Ficca, then became Television and hired a second guitarist, Richard Lloyd. Despite promising beginnings, tension is at its height between Verlaine, applied to the extreme, and Hell, always on the razor’s edge, the first even accusing the second of jumping too much on stage. Hell eventually left the group to found The Heartbreakers, becoming one of the first punks and the main source of inspiration for the Sex Pistols. Television, for its part, will publish in 1977 the masterpiece Marquee Moon, followed by a sequel a year later, Adventure, before separating in July 1978.

5) TV on the Radio

While in 2020 it is no longer rare or surprising that the radio is filmed, in 2004 the Americans TV on the Radio proposed to cut the image and keep only the sound. And what a sound! Led by singer Tunde Adebimpe, guitarist Kyp Malone and producer David Sitek before becoming a quintet, TV on the Radio flourished at the crossroads: neither totally arty, nor entirely accessible. Based on Brooklyn, like all the scene of the 2000s, but faithful to the creative effervescence of the New York megalopolis, TV on the Radio signs from its first album, Desperate Youth, Blood Thirsty Babes, hybrid music, fireworks of jazz, rock, electronic loops, soul and punk, where the Bad Brains and Prince scrapped with Trent Reznor and David Bowie (among others). Perfectionist but productive, the group, marked by the death in 2011 of its bass player Gerard Smith, released five albums in a decade, before going into hibernation in 2014.

Alexis Bartier