Pixies au MTelus

by Rédaction PAN M 360

Suscitant une révolution avec leurs guitares tranchantes, leurs dynamiques en stop-start, leurs harmonies masculines et féminines entrelacées et leurs paroles évocatrices, Pixies est l’un des groupes les plus influents du rock alternatif. Sur des albums tels que Surfer Rosa (1988) et Doolittle (1989), ils ont renversé les conventions, mêlant punk et indie rock, pop classique, surf rock et riffs monumentaux avec les paroles fragmentées du chanteur/guitariste Black Francis, abordant des thèmes comme l’espace, la religion, le sexe, la mutilation et la culture pop. Ses mots pouvaient être cryptiques, mais la musique était puissante, jetant les bases de l’explosion du rock alternatif au début des années 90. Du grunge au britpop, l’ombre des Pixies était omniprésente ; il est difficile d’imaginer Nirvana sans la dynamique caractéristique des Pixies, avec ses alternances de fort et de doux et ses solos de guitare bruyants et déstabilisants. Cependant, le succès commercial du groupe n’a pas égalé son impact : MTV était réticente à diffuser leurs vidéos, et les radios rock modernes ne diffusaient pas régulièrement leurs singles. Lorsque Nirvana a ouvert la voie au rock alternatif en 1992, les Pixies étaient effectivement séparés. Pendant le reste des années 90 et dans les années 2000, ils ont continué à inspirer des groupes allant de Weezer, Radiohead et PJ Harvey aux Strokes et Arcade Fire. La réunion des Pixies en 2004 a été aussi surprenante que bienvenue, et leurs tournées fréquentes les ont conduits à enregistrer des albums, dont The Night the Zombies Came en 2024, qui a élargi leur son révolutionnaire en y incorporant des influences country et folk.

Sparking a revolution with their jagged guitars, stop-start dynamics, intertwining male-female harmonies and evocative lyrics, Pixies are one of alternative rock’s most influential bands. On albums such as 1988’s Surfer Rosa and 1989’s Doolittle, they upended conventions, melding punk and indie rock, classic pop, surf rock, and stadium-sized riffs with singer/guitarist Black Francis’ fragmented lyrics about space, religion, sex, mutilation, and pop culture. His words may have been cryptic, but the music was forceful, laying the groundwork for the alternative explosion of the early ’90s. From grunge to Brit-pop, Pixies’ shadow loomed large; it’s hard to imagine Nirvana without Pixies’ signature loud-quiet-loud dynamics and lurching, noisy guitar solos. However, the band’s commercial success didn’t match its impact — MTV was reluctant to play their videos, while modern rock radio didn’t put their singles into regular rotation. By the time Nirvana broke down the doors for alternative rock in 1992, Pixies were effectively disbanded. During the rest of the ’90s and into the 2000s, they continued to inspire acts ranging from Weezer, Radiohead, and PJ Harvey to the Strokes and Arcade Fire. Pixies’ 2004 reunion was as surprising as it was welcome, and the band’s frequent tours led them to record albums including 2024’s The Night the Zombies Came, which expanded their groundbreaking sound with country and folk influences.

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Ce contenu provient d’AllMusic et est adapté par PAN M 360

Funk / Hip Hop / jazz groove / Jazz-Funk / Soul/R&B

FIJM | Thundercat, A Feline on The Loose

by Jacob Langlois-Pelletier

If there’s one thing to remember about Thundercat’s appearance at Salle Wilfrid-Pelletier on Tuesday, it’s that there are two very distinct sides to this internationally renowned virtuoso: the one we discover on the album, and the one he offers on stage. Fans in attendance were quick to recognize the latter.

For almost two hours, the American bassist transformed each of his tracks into a springboard for long, heartfelt and hypnotic improvisational outbursts. Iconic orange Ibanez six-string in hand, Thundercat – real name Stephen Lee Bruner – drew from the four corners of his discography, concentrating mainly on his most recent project, It Is What It Is.

At centre stage, the Californian was having the time of his life in the company of his long-time acolytes and excellent musicians: Justin Brown on drums and Dennis Hamm on keyboards. With a smile on his face, and more often than not with his eyelids closed, the 40-year-old artist let himself be carried away by his creative impulses, navigating between jazz fusion, R&B, funk and hip-hop.

As he abandoned himself to the task, the audience followed, carried along by sudden but always controlled changes of direction.

Opening with “Lost in Space” / “Great Scott” / “22-26,” “Interstellar Love” then “Overseas,” the trio set the tone for this almost videogame-esque jazz celebration. Looking like a modern George Duke or Marvin Gaye, Thundercat brilliantly superimposed his ethereal, dreamy voice on the trio’s enveloping foundations. At times buried by the instruments, the singer would have benefited from a more generous gain on his microphone.

With over twenty years’ experience on the music scene, everything seemed so easy for him. Thundercat was able to change moods and interact with the crowd with ease. The highlight of the evening came when he invited a young man on stage to dance during his two most popular songs, “Them Changes” and “Funny Thing.“

The evening ended on a high note when the Festival de Jazz presented him with the Miles Davis Award, a distinction bestowed each year to a jazz artist in recognition of his or her contribution to the renewal of the genre. Whether for his many visits to Montreal, his solo offerings or his landmark collaborations with Kendrick Lamar, Erykah Badu, Childish Gambino or even Kamasi Washington, this recognition is more than deserved.

Seeing Thundercat on stage is a very different experience from what you might expect. Despite the fact that a few spectators have left the room, once you’ve grasped the delirium, you’re fully on board.

It’s already been five years since his last album. Can’t wait for some new material, sooner rather than later.

Photo Credit: Benoit Rousseau

Jazz / Middle Eastern

Festival International de Jazz de Montréal : Dhafer Youssef au Théâtre Maisonneuve

by Rédaction PAN M 360

Dhafer Youssef est reconnu comme un artiste pionnier qui a contribué à faire entrer la musique du Moyen-Orient sur la scène internationale du jazz et de la musique du monde.
Le jeu de oud de Dhafer Youssef est exceptionnellement expressif, techniquement brillant et défie les genres. Son profond respect de la tradition et son approche novatrice du son ont fait de lui l’un des oudistes les plus influents de la scène musicale contemporaine.
Le jeu de Youssef n’est pas seulement impressionnant d’un point de vue technique, il est aussi fascinant d’un point de vue émotionnel. Sa capacité à exprimer des émotions complexes – qu’il s’agisse de mélancolie, de joie ou de mysticisme – à travers son instrument est l’une des caractéristiques de son jeu. L’oud lui-même, avec ses sonorités chaudes et résonnantes, devient un canal pour son expression personnelle, ce qui donne à chaque représentation un caractère intime et profondément personnel.

Dhafer Youssef is recognized as a pioneering artist who has helped bring the music of the Middle East into the global jazz and world music scene. Dhafer Youssef’s oud playing is uniquely expressive, technically brilliant, and genre-defying.
His deep respect for tradition combined with his innovative approach to sound has made him one of the most influential oud players in the contemporary music scene.
Youssef’s oud playing is not just technically impressive, but also emotionally compelling. His ability to express complex emotions — whether melancholy, joy, or mysticism — through his instrument is one of the hallmarks of his playing. The oud itself, with its warm, resonant tones, becomes a conduit for his personal expression, making each performance feel intimate and deeply personal.

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Ce contenu provient de Place des Arts et est adapté par PAN M 360

Africa / Afrobeat

FIJM | Queen of Afrobeats, Ayra confirms her status as a Global… Starr

by Sandra Gasana

Ayra Starr’s concert was certainly one of the highlights of this early summer. The crowd was stretched far as the eye could see, and getting around was a miracle—it was like being in a can of sardines, with everyone pressed up against each other. Record attendance? The rain had stopped a few minutes before the start of this memorable show, as Mother Nature guessed it was time to let festival-goers enjoy their long-awaited moment.

After a brief introduction by her DJ, who admittedly wasn’t very good, she took to the stage accompanied by her four dancers. Short hair, necklaces covering her neck, a costume with a sexy bodice inside, in short, the Nigerian diva was ready to blow her audience’s mind.

Given the scorching heat, she took off her jacket at the end of the second song, showing off her bodice. She was joined by a drummer, a guitarist and a keyboardist, all there to turn up the heat on an evening that will live long in the memory of festival-goers.

“Montreal, are you okay?” she asks, addressing the crowd, something she doesn’t do much during the show, except to get them to sing along.

The lighting changed according to the song, while a screen showed images of the singer from behind. All of her hits have been featured, including her most recent hit “Gimme Dat,” on which she featured Wizkid, and “Bloody Samaritan” and “Fashion Killer,” which appear on her album 19 & Dangerous.

The queen of Afrobeats (she shares the imperial throne with Burna Boy) also showed us her dancing talents with her lascivious choreography and her famous signature twerk.

After a few songs from his repertoire, the DJ returned to the stage to entertain the crowd with American pop songs, a major faux pas of the evening, as Ayra stood close behind him. Usually, these interludes are to allow the artist to take a break or have a costume change, but not here. We felt like we were in an open-air discotheque.

Fortunately, this break didn’t last too long, as the talented dancers, who also contributed to the show’s success, returned first on their own, closely followed by Ayra, back to finish off the crowd.
In this portion of the evening, we were treated to tracks from her most recent album, The Year I Turned 21, such as “Woman Commando” on which she collaborated with Anitta and Coco Jones with passages in Spanish, before moving on to “Last Heartbreak Song” with Giveon, another highlight of the evening.
She couldn’t have ended the evening without giving us the hit “Rush,” during which she asked the crowd to turn on their cell phone lights. The Place des Festivals was absolutely luminous on Tuesday July 1st, in the image of the Nigerian global… Starr.

Photo: Emmanuel Novak-Bélanger

Publicité panam

Arabic / metal / Rock

Festival International Nuits d’Afrique : Sarāb au Ministère

by Rédaction PAN M 360

En langue arabe, leur nom signifie mirage. Point de tromperie ni d’illusion ici, rien que de la féérie. Sarāb entraîne l’auditoire dans un irrésistible monde en clair-obscur où se mêlent transe et moments suspendus, aux confins des musiques syriennes, égyptiennes, jazz et rock. “Une patte. Un son. De la classe” (FIP, 2024). Comme en témoigne leur troisième album, Qawalebese Tape (2023), l’univers musical de Sarāb est vaste. Tantôt il s’écoute ; tantôt il se danse. Il s’étend de la trap, au dub, au metal et au rock, porte des thématiques fortes et engagées, sans jamais perdre le fil d’une trame narrative enracinée dans la poésie des maqâmât arabes classiques, magnifiquement porté par la voix de la chanteuse Climène Zarkan et par les sonorités cuivrées.

“In Arabic, their name means ‘mirage.’ There is no deception or illusion here though, only enchantment. Sarāb brings their audience into an irresistible chiaroscuro world of trance and suspended moments, on the fringes of Syrian, Egyptian, jazz and rock music. ”A distinctive style. A sound. Pure class” (FIP, 2024). Their third album Qawalebese Tape is further proof that Sarāb inhabits a vast musical universe that invites listeners to sing and dance along to their music, which extends from trap to dub, metal and rock, while conveying strong, socially engaged messages without ever losing the thread of a narrative rooted in the poetry of classical Arab maqâmât, all of which is magnificently carried by the voice of singer Climène Zarkan and the dazzling sound of the trombone.

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Ce contenu provient du Festival International Nuits d’Afrique et est adapté par PAN M 360

Jazz / Jazz-Funk

FIJM 2025 | Funky funky, Trombone Shorty

by Frédéric Cardin

New Orleans trombonist (and trumpeter) Troy Andrews, aka Trombone Shorty, was the fiery guide to an incandescent evening. He and his long-time friends (New Orleans Avenue) blasted the TD Stage from 9:30 to 11pm non-stop with familiar tracks from Shorty’s most recent albums. Funk that grooves roundly, powerfully, with echoes of rock, hip-hop and salsa, in a staging that puts his friends as much at the forefront as the leader himself. This is evidenced by the exciting exchanges between trombone, tenor sax and baritone, where the sprays of notes hammered out in counterpoint verging on learned repetitive minimalism, before setting off again in an irresistible groovy cacophony with the rest of the band.

Trombone Shorty is also into trumpet, and impresses with a long sequence (a minute and a half or two minutes?) of uninterrupted breathing, which he achieves thanks to the continuous breathing technique. Not easy to do, and not easy to control. While you breathe out through your mouth to play the note, you breathe in through your nose to refill your lungs. Try it and see. A highlight that will live long in the memory: “When the Saints Go Marchin’ In,” with the band members lining up, descending and crossing the crowd. In what other city would star musicians feel so comfortable strolling like this through a human tide of tens of thousands of people? Not that many, I’m sure! Vive Montréal!

par Frederic Cardin

Bossa Nova / Jazz / post-bop

Festival International de Jazz de Montréal : Esperanza Spalding à la scène TD

by Rédaction PAN M 360

Contrebassiste et chanteuse, Esperanza Spalding est une artiste plusieurs fois primée aux Grammy Awards, reconnue pour son approche audacieusement hybride du jazz contemporain. Saluée comme une prodige dès son adolescence, elle se fait remarquer au cours des années 2000 avec ses premiers albums Junjo et Esperanza, ce dernier atteignant le sommet des palmarès de jazz contemporain. En 2010, elle crée la surprise en remportant le Grammy de la Révélation de l’année — une première pour une musicienne de jazz —, ce qui propulse son troisième album, Chamber Music Society, dans le Top 40 du Billboard, devenant ainsi l’album de jazz contemporain le plus vendu de l’année. En parallèle, Spalding s’impose comme pédagogue, devenant la plus jeune professeure à intégrer le corps enseignant du Berklee College of Music.
Elle décroche un second Grammy pour Radio Music Society en 2012. Depuis, elle poursuit une trajectoire résolument expérimentale, enchaînant des albums à forte dimension conceptuelle : Emily’s D+Evolution (2016), Twelve Little Spells (2019) et Songwrights Apothecary Lab (2021), explorent les frontières du jazz, de l’art rock, du R&B, des styles afro-latins, du néo-prog et de la pop expérimentale. Malgré cette diversité, les standards de jazz intimes et subtilement interprétés demeurent au cœur de son identité musicale, comme en témoignent son album en duo avec le pianiste Fred Hersch, Alive at the Village Vanguard (2023), et sa collaboration teintée de folk et de bossa nova avec Milton Nascimento, Milton + Esperanza (2024).

Bassist and singer Esperanza Spalding is a Grammy-winning performer with an ambitiously cross-pollinated approach to contemporary jazz. Hailed as a prodigy in her teens, she garnered wider attention in the 2000s with the release of her debut, Junjo, and its follow-up, Esperanza, the latter of which topped the contemporary jazz charts. In 2010, she won Best New Artist at the Grammys, an accolade that helped propel her third album, Chamber Music Society, into the Billboard Top 40 as the best-selling contemporary jazz album that year. At the same time, Spalding won respect as a teacher, becoming the youngest faculty member at the Berklee College of Music.
She took home a second Grammy for 2012’s Radio Music Society. Spalding has remained a forward-thinking maverick artist, issuing a series of increasingly concept-driven albums, including 2016’s Emily’s D+Evolution, 2019’s Twelve Little Spells, and 2021’s Songwrights Apothecary Lab, all of which found her moving far afield of jazz into art rock, R&B, Afro-Latin styles, neo-prog, and experimental pop. Still, intimate and artfully rendered standards and jazz remain a core of her musical identity, as on her 2023 duo album with Fred Hersch, Alive at the Village Vanguard and her 2024 folk and bossa nova-tinged collaboration with Milton Nascimento, Milton + Esperanza.

CE SPECTACLE EST GRATUIT!

Ce contenu provient d‘AllMusic et est adapté par PAN M 360

Classical / Jazz / Jewish Traditional

FIJM 2025 | Symphonic Avishai Cohen: Bewitching magic

by Frédéric Cardin

To think I almost missed this concert! Due to an error on my part, my name had not been included on the list of press tickets for Symphonic Avishai Cohen. Damn! I had resigned myself to this curse when an angel from Roy Turner Communications (hi Flavie!!), associated with the Festival, wrote to tell me that one last ticket had been found for me. It was one of the year’s best catch-ups, and one I’ll always remember, because this concert by the Israeli double bassist/composer, with his trio and an orchestra assembled for the occasion, was magnificent.

It’s a concert that’s already been around for several years and that the artist tours from time to time. Montreal was right to import it for an evening at the Maison symphonique. The hall was full and the audience was magically lulled, as if in a velvet baby carriage, for almost an hour and a half. Traditional Jewish songs (ladinos, from the Sephardic Jews of medieval Spain), personal compositions of course, and a few well-turned standards were skilfully interpreted thanks to arrangements rich in counter-melodies and harmonic flourishes of the basic material.

No wheels were reinvented, but the magnificence of the orchestral playing and the few refined improvisatory flights by Cohen and his companions, well framed because a symphonic boat is difficult to maneuver in spontaneity, delighted the ears and heart of your humble servant.

Almost piece for piece, the program was the same as that given elsewhere (see the concert at the Philharmonie de Paris in 2016, below), and which can also be heard on the Two Roses album released in 2021 with the Gothenburg Orchestra in Sweden. The final, and unique, encore in Montreal was a “Nature Boy” of rare tenderness. The spell had been cast for good, and we were to leave the illustrious hall spellbound for a long time to come.

Jazz

FIJM | Jeff Goldblum: Storyteller, Comedian and Pianist

by Sandra Gasana

As the opening act, Tyreek McDole, was just finishing up, Jeff Goldblum arrived on stage while his show was still being prepared. He took the opportunity to deliver a one-man show, to pass the time as the hall emptied for a short break.

And then it was off to a monologue, in which he jumps from one idea to the other, always with a touch of humour. He even got the crowd to sing the Quebec and Canadian anthems, as he acted as conductor in Salle Wilfried-Pelletier, which sold out its 3,000 seats without too much difficulty.

He added some name-dropping to his stories, but it was, above all, the impromptu quizzes throughout the evening that appealed to the audience, who challenged themselves to answer all his questions. He also took the opportunity to promote his latest film, Wicked, in which he stars alongside Ariana Grande, among others, as well as his latest opus, Still Blooming, released last April.

He arrives accompanied by his band The Mildred Snitzer Orchestra, featuring a guitarist, double bassist, drummer, saxophonist and organist.

From the very first track, we discover a rather gifted pianist—I admit I was a little skeptical at first. He remains theatrical even on his piano, offering us a round of solos by all the musicians, followed by a drop, a term I discovered this week thanks to an artist with whom I collaborate.

Three special guests took to the stage alongside her that evening: the incredible Khailah Johnson, whom I was just discovering, all dressed in yellow, whose voice reminded me of Amy Winehouse’s in her early days. She performed “Misty, Mean to Me” and then “The Best is Yet to Come,” in which the sax is replaced by a flute.

Then Tyreek McDole returned to the stage, this time accompanied by Goldblum’s orchestra for two songs, and finally, renowned Grammy-winning American trumpeter Keyon Harrold, whom he had met that very day, joined the band. Harrold succeeded in creating a symbiotic relationship with the saxophonist, as if they had always played together.

And even in between songs, Goldblum couldn’t resist telling us some anecdotes, as funny as ever, getting up from his chair to address the audience, before returning for the next song.

We hear him sing his turn on “Manhattan,” New York being a city he’s particularly fond of. His voice isn’t extraordinary, but he still manages to hold his notes while retaining his sense of humour, a true entertainer. He ended with a song of circumstance, “Ev’ry Time We say Goodbye,” which earned him applause and a standing ovation from the audience.

Photo : Victor Diaz Lamich

Publicité panam

art visuel / immersion / psychédélique

Hurtubise : Saisir le chaos à la SAT

by Rédaction PAN M 360

Entre fulgurance picturale et vertige sonore, Saisir le chaos célèbre l’œuvre de Jacques Hurtubise dans une expérience immersive signée Normal Studio et Hippie Hourrah. Présentée sous le dôme de la SAT, en partenariat avec Hubblo et co-produit par Simone Records, découvrez une odyssée éclectique retraçant un parcours artistique hors du commun.
Hurtubise : Saisir le chaos est une expérience immersive signée Normal Studio qui allie l’art visuel de Jacques Hurtubise et la musique de Hippie Hourrah. Séquencée de manière chronologique et sublimée des gestes de l’artiste, elle permet de se rapprocher au plus près des œuvres soigneusement animées pour les voir et les apprécier comme jamais auparavant.
À l’image de l’exploration effrénée qui anime l’œuvre de Jacques Hurtubise, le public plonge dans les éclaboussures, sonde le geste et suit les chemins sinueux de la création. Répartie en six cycles retraçant les moments clés du parcours de l’artiste, l’expérience vise à souligner la richesse de ce travail hors norme ayant marqué l’histoire de l’art du Canada. Véritable traversée de ses œuvres les plus emblématiques, Saisir le chaos met en relief la pertinence continuellement renouvelée de cet artiste sans égal.
Créée sous forme de dôme – sorte de grand œil, catalyseur d’un regard autre – et portée par une musique originale éclatée de Hippie Hourrah, Saisir le Chaos est à la jonction de deux univers qui se superposent et se fusionnent, cherchant à faire vivre autrement ce corpus plus grand que nature.

Between pictorial brilliance and sonic vertigo, Orchestrating Chaos celebrates the work of Jacques Hurtubise in an immersive experience by Normal Studio and Hippie Hourrah. Presented under the SAT dome, in partnership with Hubblo and co-produced by Simone Records, discover a eclectic odyssey retracing an extraordinary artistic journey.
Hurtubise: Orchestrating Chaos is an immersive 360 audiovisual experience by Normal Studio that merges the work of renowned Jacques Hurtubise with the psychedelic sounds of Hippie Hourrah’s tribute to the late Quebecois painter. Prepare to hear colors and see music in a multi-sensory experience that brings the artist’s very brush strokes to life — an immersion into the act of creation.
An encounter with the dynamic introspection that drives Hurtubise’s work, Hurtubise: Orchestrating Chaos draws you into the spontaneous abstract patterns and circuitous paths of the creative process. Each of the film’s six cycles illuminates pivotal moments in Hurtubise’s career — a deep dive into iconic works by a visionary Canadian artist.
The film was created to screen in a 360 dome — the catalyst for a fully immersive, multisensory experience. Infused with the psychedelic sounds of Hippie Hourrah, Hurtubise: Orchestrating Chaos brings you across the threshold into two overlapping universes, a completely new way to encounter Hurtubise’s larger-than-life oeuvre.

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Ce contenu provient de la Société des arts technologiques et est adapté par PAN M 360

Blues / Bossa Nova / Brazilian / Jazz

FIJM | Dianne Reeves and Romero Lubambo: An Intimate Duo of Virtuosos

by Michel Labrecque

Dianne Reeves is no longer the jazz flavour of the month. Her last solo album dates back to 2014. This year, all the talk is about Samara Joy, and rightly so. But the Grammy-winning singer of the ’90s and ’00s still has plenty to sing about. She gave us a convincing demonstration of this in a duet with Brazilian-born guitarist Romero Lubambo.

By sheer coincidence, over the past two weeks I’ve been attending a succession of intimate concerts in the immense Place des Arts: Alain Souchon and his sons, Mexican soloist Natalia Lafourcade and now this American-Brazilian duo. It’s like being in a living room … even though it’s huge, but in each case, it’s hit the spot with me.

Dianne Reeves and her classical guitar accomplice began with a total reinterpretation of Fleetwood Mac’s rock fetish “Dreams.” We soon realized that these two people complement each other perfectly. This voice, which climbs three octaves, skating, meditating, whispering and shouting, intertwines with the guitar notes, inspired as much by jazz as bossa nova or blues.

A great admirer of Dianne Reeves, whom I met by chance, confided to me that she never sings a song identically. As for this Romero Lubambo, he’s an outstanding and inventive guitarist.

This concert was undoubtedly marked by Brazil, as we heard versions of Egberto Gismonti, Carlos Lyra, Antonio Carlos Jobim and …Minuano by Pat Metheny. As for the rest, it was Miles Davis and McCoy Tyner, seasoned with two compositions by Madame Reeves: “Tango” and “Nine.”

Dianne Reeves also shared personal slices of life and ended on a political note, sharing her concern about the situation in her country as well as her love for Canada and Canadians. By the end, the vast majority of the 800-strong audience were humming the blues with her, clearly happy.

Now approaching 69, the singer shows no sign of letting up. She will soon be releasing an album with Romero Lubambo and participating in an album with Branford Marsalis, to commemorate the centenary of John Coltrane’s birth.

Please don’t tell me that 69 is old. I’ll reach that age in a few days…

Publicité panam

Blues Rock / boogie-rock / rock n’ roll

Festival International de Jazz de Montréal : George Thorogood & the Destroyers au MTelus

by Rédaction PAN M 360

Guitariste de blues-rock inspiré par Elmore James, Hound Dog Taylor et Chuck Berry, George Thorogood n’a jamais gagné beaucoup de respect de la part des puristes du blues, mais il est devenu un favori populaire au début des années 80 grâce à une exposition répétée à la radio FM et sur le circuit du rock de stade. La musique de Thorogood était toujours bruyante, simple et directe — ses riffs et ses licks étaient tirés directement du blues de Chicago des années 50 et du rock & roll — mais son approche formule lui a permis de se constituer un large public dans les années 80, période où ses albums atteignaient régulièrement le statut d’or.

A blues-rock guitarist who draws his inspiration from Elmore James, Hound Dog Taylor, and Chuck Berry, George Thorogood never earned much respect from blues purists, but he became a popular favorite in the early ’80s through repeated exposure on FM radio and the arena rock circuit. Thorogood’s music was always loud, simple, and direct — his riffs and licks were taken straight out of ’50s Chicago blues and rock & roll — but his formulaic approach helped him gain a rather large audience in the ’80s, when his albums regularly went gold.

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Ce contenu provient d’AllMusic et est adapté par PAN M 360