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Ben Lamar Gay (us)

Portes : 19:30
Show : 20:30

Presales: 13€ / At the door: 16 €Tickets

Ben LaMar Gay (us)

FR – Downtown Castles Can Never Block The Sun est autant un «plus grand succès» qu’un «premier album» pour Ben LaMar Gay. Il s’agit d’une collection de musique composée, interprétée et produite par l’artiste originaire de Southside, Chicago. Compilé à partir de 7 autres albums qu’il a réalisé au cours des 7 dernières années mais n’a jamais fait l’effort de réellement sortir, Downtown Castles Can Never Block The Sun est son premier album qui sort officiellement.

Si vous êtes un adepte de l’avant-garde de la marque de Chicago, Downtown Castles n’est probablement pas le premier morceau que vous ayez entendu de Ben LaMar Gay. L’un des collaborateurs les plus prolifiques de la communauté musicale créative de Chicago, contribue activement aux Black Monks of Mississippi de Theaster Gates, EarthSeed de Nicole Mitchell, Flesh & Bone de Mike Reed, Communication Lux Quartet de Matthew Lux, Natural Information Society de Joshua Abrams, Bitchin Bajas & beaucoup plus.

Sachant à quel point ses goûts et ses talents sont dynamiques, il n’était pas surprenant de constater que chacun de ces 7 albums avait des sons radicalement différents les uns des autres, chacun étant un concept totalement unique avec une histoire totalement unique et colorée.

Si vous aimez Don Cherry, Tom Zé, Big Boi, Thundercat, Abner Jay, Steve Reich, Archie Shepp, Raymond Scott, Daedelus, …

EN – Downtown Castles Can Never Block The Sun is as much a ‘greatest hits’ as it is a ‘debut album’ for Ben LaMar Gay. It’s a collection of music composed, performed & produced by the anomalous Southside Chicago-born, sometimes Brazil-residing artist, compiled from 7 albums he made over the last 7 years but never made the effort to actually release.

If you’re a follower of Chicago brand avant-garde, Downtown Castles is likely not the first you’ve heard from Ben. One of the most prolific collaborators in our city’s creative music community, he makes active contributions to Theaster Gates’s Black Monks of Mississippi, Nicole Mitchell’s EarthSeed, Mike Reed’s Flesh & Bone, Matthew Lux’s Communication Arts Quartet, Joshua Abrams’s Natural Information Society, Bitchin Bajas & many more. He’s a default descendent and a long-time participant in the AACM (i.e. the legendary Association for the Advancement of Creative Musicians). And he’s well represented in the International Anthem catalogue as well. Beyond being the brains behind Bottle Tree – the future funk suite we released in April of 2017 that was named “#1 Best Album of the Year” by London’s EZH Magazine (c/o founder Tina Edwards) and on NPR’s Sound Opinions (c/o producer Ayana Contreras) – he was a core component of Makaya McCraven’s Highly Rare and a cornet cameo on Jaimie Branch’s Fly or Die (both of which were included in the New York Times’s “Best Albums of 2017”). Suffices to say, Ben LaMar Gay is nearly omnipresent in the current zeitgeist of progressive jazz sounds sprouting from Chicago.

Knowing how tirelessly Ben works and how, perhaps more than anybody we’ve encountered, he embraces music-making purely for the joy of the process, it was not surprising to learn he had been low-key self-producing recordings between his residences in Chicago & Brazil for the last 7 years, and had amassed 7 albums that were sitting totally finished, never released, on hard drives at his house. And knowing how dynamic his tastes and talents are, it was not surprising, but nonetheless astonishing, to find that each of those 7 albums have drastically different sounds from one to the next, each a totally unique concept with a totally unique, colorful story.

«La musique, c’est raconter des histoires. Un son, c’est le début d’une narration.» Pour réaliser d’aussi improbables qu’impeccables collages sonores, Ben LaMar Gay n’en demeure pas moins un élégant songwriter, auteur de mots qu’il teinte de touches abstraites. «La mélodie est quelque chose qui est en moi depuis le jour où, dans la salle de bains, bébé entouré de jouets, j’écoutais ma mère improviser des chansons folk en me séchant. Depuis, j’essaie juste de m’en souvenir à ma manière.» A ceux qui voudraient le situer dans l’avant-garde, il rétorque : «Pourquoi pas, mais derrière il y a toujours le blues. Je suis de Chicago !» in Libération – Lire l’article