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Leyla Mccalla Brass Bands Multicolores, Folk Singers

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Leyla Mccalla Brass Bands Multicolores, Folk Singers Leyla McCalla Brass bands multicolores, folk singers faméliques, bluesmen égrillards, la tradition des musiciens de rue de la Nouvelle-Orléans, toujours aussi vivace, n'est plus à vanter, de Snooks Eaglin (dont le disque "New Orleans Street Singer" fut l'un des premiers albums de blues à être édité en France en 1956) à Grandpa Elliott qui après avoir passé 65 ans dans les rues du Vieux Carré connut une gloire planétaire pour sa participation au collage musical video de Playing for Change en chantant "Stand by Me" avec 37 autres musiciens. En 2010, l'arrivée d'une jeune violoncelliste noire qui jouait des suites de Bach créa la sensation dans une ville qui, musicalement parlant, en avait pourtant vu d'autres. C'est en effet en jouant rue Royal que Leyla McCalla fut remarquée par Tim Duffy, fondateur de la Music Maker Relief Foundation basée en Caroline du Nord qui aide les bluesmen âgés dans le besoins mais encourage aussi de jeunes talents. Il invita la jeune femme -avec l'approbation de Taj Mahal et des Carolina Chocolate Drops- à rejoindre son équipe. Les CCD qui préparaient alors leur nouvel album "Leaving Eden" embauchèrent Leyla pour enregistrer avec eux à Nashville puis pour tourner avec le groupe aux Etats-Unis et en Europe. Originaire de New York, Leyla McCalla est une multi-instrumentiste qui joue du violoncelle d’une façon très personnelle pour accompagner des titres folky mais qui est aussi à l'aise pour jouer un blues à la guitare ou une vielle chanson créole au banjo. Elle a étudié le violoncelle depuis sa tendre enfance et, avec ses parents, originaires d'Haïti, elle a passé deux ans au Ghana durant son adolescence. De retour aux Etats-Unis, elle a étudié la musique de chambre à New-York University, et, dès 2008, ses études terminées, elle a accompagné le freestyliste et hip hoppeur Mos Def à Carnegie Hall lors d'un concert où se produisait également Gil Scott Heron. Désireuse d'explorer d'autres formes musicales, elle est venue s'installer à la Nouvelle-Orléans en 2010 et s'en explique ainsi : " C'est une ville où je me sens chez moi. Plus j'en apprends sur l'histoire de la Louisiane, ses liens avec la culture d'Haïti et celle des pays francophones, plus j'éprouve un sentiment d'appartenance. L'histoire ici remonte à très loin. J'ai commencé à jouer du jazz traditionnel et d'autres formes de musique populaire grâce aux gens que j'ai rencontrés dans les rues. Cela m'a mené à explorer les traditions de violon créoles, préfigurant le zydeco. Le puits est si profond. Au bout de trois ans je n'en suis encore qu'à la surface des choses". Durant sa jeunesse, ses parents lui firent connaître les oeuvres de l'écrivain afro-américain Langston Hughes, en particulier ses poèmes très influencés par le rythmes du jazz et du blues. Il y a maintenant plusieurs années que Leyla a eu l'idée de mettre en musique une partie de sa poésie pour laquelle elle estime se sentir véritablement en symbiose. Mais cet hommage à Langston Hughes qu'était au départ "Vari-Colored Songs" s'est également enrichi depuis d'une exploration toute personnelle des musiques afro-américaines ainsi que du peu connu répertoire créole haïtien que Leyla tient à défendre : "Il y a beaucoup de clichés et de désinformation à propos de ce qu'Haïti est réellement et j'ai pensé qu'il était important de faire partager ma propre expérience de ce pays à travers quelques unes de ses chansons anciennes". Après cinq années de travail, l'album a finalement été enregistré en janvier 2013 au studio 808 A de Joseph “Joe Bass” DeJarnette à Floyd en Virginie. Accompagnent Leyla, Tom Pryor à la pedal steel guitar; sur divers instruments, deux de ses condisciples des Carolina Chocolate Drops, Rhiannon Giddens et Hubby Jenkins; enfin, trois musiciens de la Nouvelle Orléans, les légendaires Don Vappie au banjo et Matt Rhody au fiddle ainsi qu'un nouveau venu, le très prometteur et talentueux Luke Winslow-King à la guitare slide. Jean-Pierre Bruneau .
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