{"id":9803,"date":"2018-12-19T09:00:00","date_gmt":"2018-12-19T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/grace-jones-es\/"},"modified":"2026-11-09T07:11:16","modified_gmt":"2026-11-09T06:11:16","slug":"grace-jones-es","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/grace-jones-es\/","title":{"rendered":"Grace Jones &#8211; M\u00e1rmol, bajo y mirada"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Compass Point, Nightclubbing, la mirada<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Grace Jones naci\u00f3 Beverly Grace Jones en 1948 en Spanish Town, Jamaica, y creci\u00f3 en parte bajo la estricta autoridad de su abuelo, un predicador pentecostal que prohib\u00eda la mayor\u00eda de los entretenimientos populares. Su familia se mud\u00f3 a Syracuse, Nueva York, cuando ella ten\u00eda trece a\u00f1os. Empez\u00f3 a modelar en Nueva York a finales de los a\u00f1os 60, se instal\u00f3 en Par\u00eds y se convirti\u00f3 en figura del circuito de alta costura all\u00ed durante la primera mitad de los 70. La carrera musical comenz\u00f3 como extensi\u00f3n de ese mundo: Portfolio (1977), Fame (1978) y Muse (1979) eran producciones eurodisco con competencia profesional y personalidad limitada.<\/p>\n<p style=\"text-align: justify;\">La transformaci\u00f3n lleg\u00f3 en Nassau. En 1980 vol\u00f3 a los Compass Point Studios en las Bahamas y grab\u00f3 con Sly Dunbar y Robbie Shakespeare, la secci\u00f3n r\u00edtmica jamaicana que hab\u00eda sido la columna vertebral de la producci\u00f3n reggae durante una d\u00e9cada. La combinaci\u00f3n no era obvia: una modelo jamaicana formada en Francia grabando con los arquitectos del ritmo reggae. Lo que sali\u00f3 fue Warm Leatherette (1980), un \u00e1lbum que cubr\u00eda Joy Division, Roxy Music y reggae a trav\u00e9s del mismo filtro: mezcla masiva con el bajo en primer plano, ritmo preciso, arreglos que dejaban espacio en lugar de llenarlo.<\/p>\n<p style=\"text-align: justify;\">Nightclubbing (1981) fue m\u00e1s lejos. \u00abPull Up to the Bumper\u00bb lleg\u00f3 sobre una l\u00ednea de bajo funk que Dunbar y Shakespeare construyeron desde cero. \u00abNightclubbing,\u00bb una versi\u00f3n del tema de Bowie\/Pop de The Idiot, se interpretaba a un tempo tan lento y seco que parec\u00eda que el expresionismo alem\u00e1n del original hab\u00eda sido vaciado y reemplazado por algo m\u00e1s cl\u00ednico. \u00abI&#8217;ve Seen That Face Before (Libertango)\u00bb se constru\u00eda sobre un ritmo de tango de Piazzolla con palabras habladas en franc\u00e9s encima.<\/p>\n<p style=\"text-align: justify;\">El componente visual era tan deliberado como el musical. Jean-Paul Goude, su pareja durante gran parte de este per\u00edodo, construy\u00f3 un lenguaje fotogr\u00e1fico y de v\u00eddeo para Jones que correspond\u00eda a lo que Dunbar y Shakespeare constru\u00edan sonoramente: geom\u00e9trico, controlado, de alto contraste, sin bajar esa tensi\u00f3n. El corte plano, la pintura corporal, la mirada: no eran accesorios a la m\u00fasica sino el mismo m\u00e9todo aplicado a una superficie diferente.<\/p>\n<p style=\"text-align: justify;\">Slave to the Rhythm (1985) fue producido por Trevor Horn y lleg\u00f3 con todo el peso orquestal y la ambici\u00f3n pop. Colocaba a Jones en un contexto mainstream sin pedirle que ajustara su registro fundamental. El t\u00edtulo corr\u00eda en siete versiones diferentes en el LP. Island Life (1985) reuni\u00f3 los momentos destacados y present\u00f3 el cat\u00e1logo a oyentes que hab\u00edan llegado tarde.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00bb8939&#8243; img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790076071584{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">La voz se sit\u00faa en los medios y no persigue la belleza. Jones canta con autoridad m\u00e1s que con calidez, lo que es una elecci\u00f3n espec\u00edfica e inusual en la m\u00fasica pop. El fraseo es deliberado; las notas se sostienen en lugar de decorarse. Combinado con el registro grave de Dunbar-Shakespeare, el efecto es pesado y directo de una manera que la mayor\u00eda de la m\u00fasica pop de la \u00e9poca no era.<\/p>\n<p style=\"text-align: justify;\">Los discos de Donna Summer se apoyan en una dulzura disco, una voz que puede sonar vulnerable y una invitaci\u00f3n a la pista a trav\u00e9s del placer. Jones no sigue ese camino. Annie Lennox guarda una melod\u00eda m\u00e1s clara y una ruta pop-rock hacia un p\u00fablico amplio. Jones pone la idea y la confrontaci\u00f3n primero. Lo que la distingue es que la mezcla de bajo, el registro vocal, la mirada y el tempo rechazan la suavidad a la vez.<\/p>\n<p style=\"text-align: justify;\">Empieza por Nightclubbing para o\u00edr el m\u00e9todo entero. Warm Leatherette para la versi\u00f3n m\u00e1s cruda donde el enfoque a\u00fan se estaba formando. Slave to the Rhythm para la versi\u00f3n m\u00e1s pulida y orquestada. \u00abPull Up to the Bumper,\u00bb \u00abSlave to the Rhythm\u00bb y \u00abLibertango\u00bb son los tres temas que definen el abanico. Para el argumento visual, la portada de Island Life y las fotograf\u00edas de Goude son inseparables de la m\u00fasica que documentan.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Grace Jones no entra suavemente en una canci\u00f3n: las sesiones de Compass Point, Nightclubbing y un m\u00e9todo visual tan estricto como el bajo.<\/p>\n","protected":false},"author":1,"featured_media":9795,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[304,299],"tags":[1095,458],"class_list":["post-9803","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-artistas","category-criticas","tag-grace-jones-es","tag-newwave-electro-triphop-es","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Grace Jones - M\u00e1rmol, bajo y mirada - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Grace Jones no entra suavemente en una canci\u00f3n: las sesiones de Compass Point, Nightclubbing y un m\u00e9todo visual tan estricto como el bajo.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/grace-jones-es\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Grace Jones - M\u00e1rmol, bajo y mirada - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Grace Jones no entra suavemente en una canci\u00f3n: las sesiones de Compass Point, Nightclubbing y un m\u00e9todo visual tan estricto como el bajo.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/criticas\/artistas\/grace-jones-es\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2018-12-19T08:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-11-09T06:11:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2026\/09\/grace-jones.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"700\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/artistas\\\/grace-jones-es\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/criticas\\\/artistas\\\/grace-jones-es\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/1f742458457cfc69e236f2bfdaad9599\"},\"headline\":\"Grace Jones &#8211; 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