Ladies! Jazz À La Philharmonie» Renee

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Ladies! Jazz À La Philharmonie» Renee 2016 20:00 06.03.Grand Auditorium Dimanche / Sonntag / Sunday Jazz & beyond «Ladies! Jazz à la Philharmonie» Renee Rosnes musical direction, piano Cécile McLorin Salvant vocals Terri Lyne Carrington drums Linda Oh double bass Melissa Aldana saxophone Ingrid Jensen trumpet Anat Cohen clarinet, soprano saxophone ~ 90’ sans entracte / ohne Pause / without intermission Un JATP en format XY Têtes d’affiches du jazz… à la Philharmonie Guillaume Bregeras C’est probablement l’acronyme le plus célèbre de l’histoire du jazz. Avec ces quatre lettres, le producteur Norman Granz a ré- ussi à faire admettre dans les plus prestigieuses salles de la planète un pan entier d’une musique jusque-là calfeutrée dans les clubs enfumés à l’acoustique souvent approximative. Nous sommes alors au cœur du 20e siècle, à Los Angeles et à quelques mois de la fin de la Seconde Guerre mondiale. Le jazz est clairement scin- dé en deux courants de plus en plus distincts, aussi bien stylisti- quement que dans les foules qu’ils attirent, lorsque le saxopho- niste ténor Illinois Jacquet entre en scène. Ses solos, scandés comme des chants de Rhythm & Blues, transcendent les foules. En une seule représentation, le pari du producteur est réussi. Cette approche plus populaire du jazz qui, comme à son habitu- de dans l’histoire de cette musique, fera grincer des dents les plus rétrogrades et faussement puristes, lui offre un second souf- fle. Dans la foulée, les tournées américaines s’enchaînent et ras- semblent tour à tour toutes les stars du moment sur des plateaux à peine croyable… Lester Young, Billie Holiday, Count Basie et Charlie Parker un soir de 1949, Dizzy Gillespie, Ella Fitzgerald et Gene Krupa quelques années plus tard. Des enregistrements audio, vidéo même, attestent de l’énergie qui se dégage de ces rencontres que l’on ne pouvait espérer entendre que lors de jam sessions très tardives dans les clubs new-yorkais. Et à condition que le planning de l’ensemble de ces musiciens d’exception concorde pour leur permettre de converger au même endroit au bon moment. Autant dire que les témoignages de ce type de ren- contres ne se dénichent plus facilement aujourd’hui… 2 Un acte politique C’est pourquoi le retour de ce concept qui réunit des stars du jazz dans une salle de concert classique pour un concert comme ce fut le cas il y a un an habite encore en ces murs. Une nouvelle fois, la pluralité des origines de chaque membre reflète aussi l’une des conditions majeures du JATP originel: mélanger musiciens afro-américains et blancs et participer ain- si au long combat de la fin de la ségrégation raciale aux États-Unis. Un combat qui ne finira officiellement que 23 années après le premier concert du Jazz at the Philharmonic, et le jugement de la cour suprême américaine rendant inconstitutionnel les derniè- res lois interdisant les mariages mixtes. Un tout petit demi-siècle nous sépare de ce tournant majeur de l’histoire moderne, mais les résurgences de ce passé ne sont ja- mais bien loin… En 2015, l’initiative de relancer ce programme ambitieux apparaissait donc sur ce point être dans le bon tempo. En lui donnant un nouvel écho aujourd’hui avec uniquement des femmes prolonge encore un peu plus cet engagement. Car il faut bien comprendre qu’avec la question raciale, celle de la place des musiciennes dans l’histoire du jazz est l’une des plus impor- tantes. Éludée au mieux, elle fut le plus souvent tronquée. Qui se souvient de Sweet Emma Barrett ou Lovie Austin, respective- ment pianistes dans des groupes de La Nouvelle-Orléans et de Chicago dans les années 1920? À l’époque pourtant, quelques chanteuses de blues arrivent à se faire un nom, Bessie Smith en tête. Mais la plupart des instrumentistes peinent à trouver leur place dans les livres d’histoire, à l’image de Dyer et Dolly Jones, mère et fille trompettistes. Et leurs consœurs doivent le plus souvent se contenter de jouer dans des orchestres unique- ment composés de femmes. Un documentaire illustre ce vide. La mini-série documentaire Jazz de Ken Burns, déjà largement cri- tiquée pour son manque de vision et d’audace, ne consacre que deux minutes sur dix-neuf heures de vidéo à la contribution des femmes instrumentistes à l’histoire de cette musique… 3 Virage historique Renee Rosnes, à la manette ce soir, est probablement étrangère au traitement subi par les «jazz women» durant le siècle dernier. Sa place dans l’histoire lui est déjà réservée, bien au chaud. Elle ne risque plus de vivre cette période où le monde entier a bas- culé dans la grande dépression. Le début des années 1930 tourne alors le dos aux années folles, la mode se reboutonne, l’art, ou ce qui en émerge commercialement, se raidit. Tout se crispe et les rares musiciennes sont simplement virées pour laisser la place aux hommes. L’économie sous-terraine prend le relais et ses pla- ces emblématiques comme Chicago développent des scènes en dehors des circuits officiels. Ici, les hommes leur redonnent une place. Le plus souvent comme pianiste ou chanteuse, et de temps à autre comme instrumentiste, notamment si elles peuvent dé- montrer des capacités de chant ou de danse, à l’image de Valaida Snow, trompettiste, chanteuse et danseuse que l’on surnommait «Little Louie» pour la similarité de son arsenal avec celui de Louis Armstrong. Quelques groupes entièrement féminisés comme le JATP ce soir, accrochent de temps à autre le haut de l’affiche. C’est le cas de Harlem Playgirls qui tourne à travers les États-Unis et finit par se confronter à des orchestres d’hommes comme en 1938 au Savoy Ballroom de Chicago. En parallèle, un autre mou- vement, plus conservateur, prend son envol. Et c’est Ina Ray Hutton, performeuse blonde et plantureuse dont les spectateurs raffolent, qui l’incarne. Son grand orchestre rencontre le succès et entraîne dans son sillage d’autres groupes, aussi bien «noirs» que «blancs». Mais c’est une autre femme qui marque cette dé- cennie et restera, elle, dans tous les manuels: Mary-Lou Williams. Compositrice raffinée, ses morceaux seront repris par ses contem- porains comme Duke Ellington et Dizzy Gillespie, comme par les générations suivantes, Cecil Taylor par exemple, qui n’auront de cesse de lui rendre hommage. L’âge d’or en trompe-l’œil Arrive la Seconde Guerre mondiale et les centaines de milliers de jeunes Américains appelés au front. Des postes sont à pourvoir dans les cabarets et les orchestres à travers tout le pays, d’autant que la demande pour une musique de danse se fait plus intense. 4 Le besoin de s’évader probablement… Qu’elles remplacent des hommes ou répondent à cette demande croissante, elles sont partout. La trompettiste Billie Rogers et la vibraphoniste Marjo- rie Hyams sont ainsi «réquisionnées» par Woody Herman, tandis que le célèbre saxophoniste Benny Carter fait appel à la trompet- tiste Jean Strarr. Cette période sombre constitue donc paradoxa- lement le pinacle de la place des femmes dans l’histoire du jazz. De quoi laisser présager un avenir plus équilibré une fois le re- tour des soldats musiciens entamé. Mary-Lou Williams, elle, en- courage le mouvement et milite pour un rapprochement sans heurts. Dans un livre qui lui est consacré, son auteur rapporte une citation incantatoire dans laquelle elle s’adresse à ses paires: «Vous n’avez qu’à jouer, c’est tout. Ils (les hommes) ne vous verront pas en tant que femme si vous savez vraiment jouer. Je pense que certaines femmes entretiennent un complexe d’infériorité et que cela les empêche d’avancer. Mais si elles ont réellement du talent, les hommes seront très heureux de les aider à se développer. Et en plus, travailler avec des hommes vous pousse à penser comme un homme lorsque vous jouez. Vous en de- venez automatiquement plus forte, même si cela ne signifie pas pour au- tant que vous perdez toute trace de féminité…». Pas sûr que les neuf musiciennes du JATP ce soir partage cette vision, mais il ne faut pas oublier le contexte d’une telle déclaration. Si plus de 800 femmes étaient enregistrées au syndicat des musiciens de jazz, rares sont celles qui tenaient le haut de l’affiche. Une douloureuse transition Surtout que la fin de la guerre coïncide avec le retour des musi- ciens qui réclament leur job abandonné quelques années plus tôt. Un terrible vent de sexisme souffle alors aux États-Unis où l’on attend des épouses qu’elles rejoignent leur foyer, et des célibatai- res qu’elles fondent des familles. Les instrumentistes, plus tou- chées que les vocalistes sur ce point et contraintes de quitter leur siège dans les grands groupes, se tournent vers des profes- sions annexes… Pour devenir professeur de musique pour celles qui veulent rester dans le circuit. Quand d’autres abandonnent leur instrument pour se tourner vers le piano, seul poste encore toléré. Dans la même biographie citée plus haut, la trompettiste Norma Carson garde un goût amer de cette période: «Je n’ai ja- 7 mais trouvé qu’être une femme était un avantage. Si j’étais recommandée pour un engagement, ils me rejetaient avant même m’avoir entendue… Je ne veux pas être considérée comme une musicienne. Je veux simplement être un musicien». Une transition d’autant plus brutale que la mode des big band tend à s’estomper pour laisser place à de plus petits combos, plus rentables pour les promoteurs. Ina Ray Hutton pro- fite, quant à elle, de l’essor de la télévision.
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