Vienna: Mc Solaar writes his autobiography in jazzy version

At the head of his New Big Band Project, the “hip-hop griot” opened the Jazz festival in Vienna, on June 29, with a perfectly mastered show.

By

For the opening of jazz in Vienna, 41 e edition, Mc Solaar and his New Big Band Project are full: the full of audiences, full of joy, full of intelligence , all without doing it. Mc Solaar launches Péinard, his hand in the pocket, thoroughly in the direction of his winged alliterations, impeccable on the rhythm and the secret of the gods of jazz: the “implementation”. Voice or instrument wedged without a nanosecond of shift, in the tempo, the pulsation, the general balance.

This is therefore the opening of jazz in Vienna, a sumptuous invention of Jean-Paul Boutellier, its 150 events and its multiple sites. Free, concerts in the Cybèle garden (which always welcomes David Linx vibrant with arrangements somewhat encased by David Bowie), free the services in the city and the surprises they reserve.

What has become cotton is to fill the ancient theater. Jazzmen and singers are not formatted for this bet. Suffice to say that it is necessary to knit, each evening, impossible style combinations. It is not very new. Miles Davis and a few other monsters having taken their reverence, he always, more or less, had to do so.

What if Mc Solaar offered another chance? He presents himself here for the third time, but at the opening of the plethoric fifteen days. So suddenly arises the metaphysical question of legitimacy. Jazz or not jazz? Carp or rabbit? Mc Solaar settles the case pleasantly, as usual. He chooses to counter the eyebrows by malice: “let’s say that I” sinatra-ïse “for the orchestral conception, and” barrywhite-ïse “for the voice.” Nothing more true. From Sinatra, he retains the method: give way to the orchestra, to the interpreters, cornocked by a phenomenal Issam Krimi.

a pure tower prestidigitation

Native of Aubervilliers (Seine-Saint-Denis), keyboardist with a cute smile, Issam Krimi is the Quincy Jones of the hip-hop planet: soprano, IAM, Oxmo Puccino and many others owe him flexibility and personality. As a musical director of the New Big Band Project, he bursts the sound wall. Nothing could be more difficult than bringing these various elements together: a symphonic set (the orchestra of the Pays de Savoie, in this case), a section of category brass covers perched above the fray, a well sheltered drummer behind a wall of plastic, and a group of restless choristers, very effective. More Mc Solaar, and, fundamental, the bassist.

You have 42.44% of this article to read. The continuation is reserved for subscribers.