La Constellation Tzadik : 20 Ans/20 Disques the Tzadik Constellation: 20 Years/20 Albums Pierre-Yves Macé, Giuseppe Frigeni Et David Konopnicki

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La Constellation Tzadik : 20 Ans/20 Disques the Tzadik Constellation: 20 Years/20 Albums Pierre-Yves Macé, Giuseppe Frigeni Et David Konopnicki Document généré le 28 sept. 2021 08:11 Circuit Musiques contemporaines La constellation Tzadik : 20 ans/20 disques The Tzadik Constellation: 20 Years/20 Albums Pierre-Yves Macé, Giuseppe Frigeni et David Konopnicki Tzadik : l’esthétique discographique selon John Zorn Résumé de l'article Volume 25, numéro 3, 2015 Sous la forme d’une série de courtes chroniques, cette enquête propose un parcours subjectif à six mains à travers le catalogue de la maison de disques URI : https://id.erudit.org/iderudit/1034501ar Tzadik. Les trois auteurs, fervents « tzadikologues », ont sélectionné un disque DOI : https://doi.org/10.7202/1034501ar par année, depuis 1995 jusqu’à 2014, en veillant à ce que leur choix rende compte de la totalité des collections qui font la richesse unique de Tzadik Aller au sommaire du numéro (Composer Series, New Japan, Radical Jewish Culture, etc.). À travers les travaux de différents artistes de multiples horizons (Annie Gosfield, Pamelia Kurstin, Many Arms…), cette « constellation » guidera le lecteur à travers un dédale de genres et de sous-genres de l’underground musical (de la noise au Éditeur(s) postminimalisme, en passant par le klezmer, le dub et la fusion), tout en faisant Les Presses de l’Université de Montréal apparaître en creux la personnalité de John Zorn comme défricheur de talents sans frontières. ISSN 1183-1693 (imprimé) 1488-9692 (numérique) Découvrir la revue Citer cet article Macé, P.-Y., Frigeni, G. & Konopnicki, D. (2015). La constellation Tzadik : 20 ans/20 disques. Circuit, 25(3), 95–109. https://doi.org/10.7202/1034501ar Tous droits réservés © Les Presses de l’Université de Montréal, 2015 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ La constellation Tzadik : 20 ans/20 disques pierre-yves macé, giuseppe frigeni et david konopnicki On oublie rarement son tout premier disque Tzadik, disque par an et respecter la diversité des collections et celui avec lequel on s’est retrouvé nez à nez dans des des artistes) et tant elle est tributaire de notre connais- circonstances plus ou moins prévisibles : curieux de sance lacunaire, partielle, partiale et subjective du la musique d’Alvin Curran, Giuseppe aura découvert catalogue. Cette subjectivité assumée ne vaut pas que la maison de disques à travers un de ses tous pre- pour la sélection des titres, mais également pour les miers opus (Animal Behavior, TZ 7001, 1995) ; David commentaires qui en sont proposés. En filigrane de ces se souvient quant à lui des interprétations klezmer descriptions subjectives, de nombreuses évocations de de Sidney Bechet par David Krakauer (Klezmer, NY, courants1 et créateurs musicaux ouvrent vers d’autres TZ 7127, 1998) ; tandis que Pierre-Yves se rappelle avoir perspectives, mettant en relief la non-exhaustivité du vu surgir dans un contexte mainstream inattendu le choix discographique. Pour représenter au mieux la sin- disque en hommage à Serge Gainsbourg, paru dans la gularité de Tzadik, il convenait d’y faire figurer toutes les collection Radical Jewish Culture (Great Jewish Music : collections : les relectures klezmer de la Radical Jewish Serge Gainsbourg, TZ 7116, 1997). Pour nous, respecti- Culture, les écritures multiples de la Composer Series, les vement metteur en scène, musicien et compositeur, Oracles de la création féminine, la profusion zornienne Tzadik occupe une place de choix parmi les maisons de de l’Archival Series, la noise teintée de pop-rock de la disques défricheuses de talents, dont presque chaque New Japan, l’énergie juvénile portée par Spotlight, la nouvelle sortie porte la promesse d’une découverte, 1. Différents genres musicaux sont par la suite évoqués dans parfois décisive. les différentes chroniques. À défaut de pouvoir proposer au Pour les 20 ans de Tzadik, nous proposons une rétro- lecteur un glossaire exhaustif des musiques underground et expérimentales, nous le renvoyons vers l’ouvrage de spective commentée de 20 disques qui, d’une façon Peter Shapiro, Modulations – A History of Electronic Music : ou d’une autre, nous auront interpellés ou marqués. Throbbing Words on Sound (New York, Caipirinha, 2000), traduit en français par Pauline Bruchet et Benjamin Fau : La liste qui suit pourra sembler arbitraire, tant elle est Modulations – Une histoire de la musique électronique (Paris, contrainte par la difficulté de l’exercice (ne retenir qu’un Allia, 2004). dossier enquête 95 Circuit 25.3.final.indd 95 2015-11-25 10:52 AM folie débridée de la Lunatic Fringe et l’imprévisibilité 01. Alvin Curran, Animal Behavior de la toute nouvelle collection Spectrum2. Il s’agissait (coll. Composer Series, TZ 7001, 1995) également de maintenir un équilibre entre les artistes Alvin Curran (échantillonneur, piano), Donald Haas incontournables de l’écurie (Cyro Baptista, Alvin Curran, (accordéon), William Ikue Mori), les musiciens peu identifiés – sinon totale- Winant (percussion), Peter Wahrhaftig (tuba), Roy Malan ment inconnus – que Zorn a pris le risque de produire (violon) et de révéler (Eric Qin, Pamelia Kurstin, Many Arms), ou encore les productions à contre-emploi de créateurs connus dans un autre champ (J.G. Thirlwell). La sévérité Ce tout premier CD de la collection Composer Series de ce travail de sélection a hélas exclu les projets per- nous situe d’emblée dans la tradition expérimentale sonnels de plusieurs musiciens pourtant essentiels américaine. Alvin Curran a démarré sa carrière dans (Fred Frith, Marc Ribot, Roberto Rodriguez, Cracow les années 1960 avec le groupe MEV, entre musique Klezmer Band, etc.), mais elle a permis de mettre au intuitive, fureurs de l’improvisation libre, résidus de jour cette bien curieuse constellation d’œuvres tantôt jazz, expérimentations post-Cage, fièvre des premières considérées comme des classiques, tantôt exhumées expériences de live electronics. Ensuite, en solitaire, son d’un quasi-oubli, tantôt indéfectiblement attachées à art s’est nourri du minimalisme West Coast, d’une cer- une tradition donnée, tantôt procédant d’une tabula taine simplicité folklorique et de sons environnemen- rasa plus ou moins radicale. Ce sont tous ces grands taux, avec des œuvres collagistes et semi-improvisées, écarts et ces paradoxes que nous donne à lire cette lyriques et presque naïves. Depuis les années 1980, coupe transversale à travers l’histoire de la maison de sa production se fait plus tendue, entre une musique disques, où apparaît en filigrane son évolution au fil de chambre décalée et énigmatique, et explorations des années3. digitales avec l’échantillonneur. La vision panthéiste et bucolique des années 1970 a laissé place à des compo- sitions plus radicales comme Animal Behavior, la pre- mière pièce de ce disque. Dans sa cacophonie maîtrisée et sa juxtaposition des bribes de sons trafiqués, la com- position évoque une animalité urbaine et absurde, où 2. Nous n’avons pas retenu de disques issus des collections la collision d’éléments hétérogènes (bruitages animaux, Special Edition, Limited Edition Vinyl et Birthday Celebration, celles-ci ne représentant qu’une infime partie du catalogue illustration sonore, musique de cartoons et discours de Tzadik. G.W. Bush) se fait ici critique implicite du monde et volume 25 numéro 3 numéro 25 volume 3. Les images inclues dans cet article ont été reproduites non plus sa contemplation lyrique. Plus calme, mais avec l’aimable autorisation de John Zorn et demeurent la propriété intellectuelle de Tzadik. non moins inquiétante (surtout dans le dernier tiers, circuit circuit 96 Circuit 25.3.final.indd 96 2015-11-25 10:52 AM traversé de vortex échantillonnés), la seconde pièce, convaincante. Malgré la dimension fonctionnelle de Why Is This Night Different From All Other Nights, se situe ces morceaux (des commandes pour des films indé- dans une autre dimension de recherche, où se profile pendants), Scherer ne néglige jamais une approche une écriture de musique de chambre parfois oblique (à compositionnelle, même minimale, qui garantit une la Gavin Bryars), qui perpétue l’excentricité et l’imprévi- vision plus structurée et cinématique que strictement sibilité typiques des « American Mavericks ». (g.f.) atmosphérique ou illustrative. Des vacillements de lumières urbaines et nocturnes, des échos sourds de 02. Peter Scherer, Cronologia machineries, des relents et climats terriens, imprégnés (coll. Film Music, TZ 7502, 1996) d’une sueur exotique (par l’apport discret et efficace de Peter Scherer (guitare, échantillonneur), Zeena Vasconcelos et Baptista aux percussions), traversent les Parkins (harpe électrique), morceaux de l’album et le nourrissent d’images inquié- Cyro Baptista et Nana tantes et fantasmagoriques. (g.f.) Vasconcelos (percussions), Frank Menusan (sitar) 03. Yasunao Tone, Solo for Wounded (coll. New Japan, TZ 7212, 1997) Yasunao Tone (CD rayés) Après la contribution fondamentale de Brian Eno à une « musique de studio » évocatrice et moody (on pense ici à Music for Films paru en 1976), le genre s’est progressi- vement enrichi d’expériences diverses, de l’ethnique au néoclassique, du New Age au jazz fusion, de l’industriel
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