{"id":12650,"date":"2013-10-23T13:20:00","date_gmt":"2013-10-23T11:20:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/interview-afterlife-dotis-redding\/"},"modified":"2026-09-27T01:17:18","modified_gmt":"2026-09-26T23:17:18","slug":"interview-afterlife-dotis-redding","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/interviews-fr\/interviews-posthumes\/interview-afterlife-dotis-redding\/","title":{"rendered":"Interview afterlife d’Otis Redding"},"content":{"rendered":"

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Riffs and Beats retrouve Otis Redding sur une jet\u00e9e au coucher du soleil, veston ouvert, regardant la baie comme d’autres regardent une horloge. La lumi\u00e8re des docks est emprunt\u00e9e; la grille de cuivres dans sa t\u00eate est originale. Fiction, d’accord; le coup de cuivre doit quand m\u00eame tomber sur le et.<\/h3>\n

Riffs and Beats<\/strong>
\nOtis, cette jet\u00e9e ressemble \u00e0 la pochette d’une chanson que tu n’as jamais entendue \u00e0 la radio. O\u00f9 sommes-nous ?<\/em><\/p>\n

Otis Redding<\/strong>
\nQuelque part o\u00f9 l’eau \u00e9coute encore. Appelez \u00e7a la Bay si le mot tient encore. J’aime un endroit o\u00f9 le sifflet d’un bateau peut r\u00e9pondre \u00e0 une section de cuivres. Asseyez-vous. Les planches sont plus chaudes qu’elles n’en ont l’air. Le plancher de Stax m’a appris que le volume sans v\u00e9rit\u00e9 n’est que du bruit avec des cuivres. Les gens veulent l’histoire d’avion sans les heures supp chez Stax.<\/p>\n

Riffs and Beats<\/strong>
\nTa voix avait l’air de se disputer avec elle-m\u00eame et de gagner. Comment as-tu appris \u00e7a ?<\/em><\/p>\n

Otis Redding<\/strong>
\n\u00c0 Macon, on apprend \u00e0 chanter par-dessus les moteurs et les ventilateurs d’\u00e9glise. Stax m’a appris \u00e0 laisser de l’air dans la phrase. Si une note veut craquer, qu’elle craque franchement. Le joli, c’est pour ceux qui n’ont jamais eu \u00e0 crier d’un bout \u00e0 l’autre d’une pi\u00e8ce. J’\u00e9cris encore la prochaine ligne quand un sifflet de bateau r\u00e9pond \u00e0 la nuit. Il revient au micro parce que la soul a encore besoin de verbes, pas de statues.<\/p>\n

Riffs and Beats<\/strong>
\nTry a Little Tenderness est devenue une arme live \u00e0 Monterey. Qu’est-ce qui a chang\u00e9 sur cette sc\u00e8ne ?<\/em><\/p>\n

Otis Redding<\/strong>
\nLe public a cess\u00e9 d’\u00eatre poli. J’ai cess\u00e9 d’\u00eatre prudent. Booker T. and the MGs \u00e9taient un moteur avec des mani\u00e8res, jusqu’\u00e0 ce que les mani\u00e8res tombent. Tenderness marchait parce qu’elle commen\u00e7ait doux et finissait comme un train de marchandises qui se souvenait d’avoir \u00e9t\u00e9 une berceuse. Monterey a prouv\u00e9 qu’une voix du Sud pouvait prendre une salle pleine de cool californien sans demander la permission. Demande aux cuivres, au quai, \u00e0 la nuit; les journaux ont invent\u00e9 le reste.<\/p>\n

Riffs and Beats<\/strong>
\nLes gens parlent encore de l’avion. Tu pr\u00e9f\u00e8res parler du travail ?<\/em><\/p>\n

Otis Redding<\/strong>
\nLe travail est la seule chose qui tient encore dans ma bouche. Sessions, tourn\u00e9es, \u00e9crire sur des serviettes. Respect pour Aretha, c’\u00e9tait lui tendre une cl\u00e9. Dock of the Bay, c’\u00e9tait apprendre \u00e0 rester assis sans abandonner le combat. L’avion est une porte que les gens n’arr\u00eatent pas de fixer. Je pr\u00e9f\u00e8re la porte du studio. Le travail survit aux rumeurs si tu laisses assez de groove sur la bande pour que des inconnus l’empruntent. Si \u00e7a sonne trop sage, remets les cuivres dans la pi\u00e8ce.<\/p>\n

Riffs and Beats<\/strong>
\nSteve Cropper \u00e9tait avec toi sur ce dernier cut. Que voulait dire le sifflement ?<\/em><\/p>\n

Otis Redding<\/strong>
\n\u00c7a voulait dire qu’on n’avait pas besoin d’un autre sermon. On siffle quand les mots en ont assez fait. Cropper savait laisser de la place. L’espace est un musicien aussi, si on le traite bien. Cropper et moi faisions confiance au silence comme d’autres \u00e9quipes \u00e0 un autre couplet et un plus grand ch\u0153ur. Le respect, c’est un pocket qu’on ne tire pas pour le fade.<\/p>\n

Riffs and Beats<\/strong>
\nLa soul a \u00e9t\u00e9 rang\u00e9e comme sudiste et polie. As-tu d\u00e9j\u00e0 \u00e9t\u00e9 poli expr\u00e8s ?<\/em><\/p>\n

Otis Redding<\/strong>
\nExpr\u00e8s ? Juste assez longtemps pour avoir le micro. Apr\u00e8s \u00e7a j’\u00e9tais de G\u00e9orgie, le groupe de Memphis, et la v\u00e9rit\u00e9 \u00e9tait plus forte que les mani\u00e8res. Poli, c’est un costume. La soul, c’est la sueur en dessous. Les mani\u00e8res de G\u00e9orgie sont r\u00e9elles, mais le micro est l’\u00e9cole des mani\u00e8res, dipl\u00f4me en sueur. Volez la sueur de la revue, pas le costume.<\/p>\n

Riffs and Beats<\/strong>
\nSi un jeune chanteur demande comment porter la douleur sans noyer le groove, tu dis quoi ?<\/em><\/p>\n

Otis Redding<\/strong>
\nPorte-la comme une valise que tu comptes encore ouvrir sur sc\u00e8ne. Ne la d\u00e9core pas. Ne la cache pas dans du m\u00e9lisme pour le show. Pose-la sur le un et laisse le groupe marcher avec toi. S’ils ne peuvent pas marcher, prends un meilleur groupe. La douleur est passager avant; le groove reste au volant sinon la voiture finit dans le foss\u00e9 du m\u00e9lisme. Le destin n’a pas coup\u00e9 ces faces; une prise t\u00eatue l’a fait.<\/p>\n

Riffs and Beats<\/strong>
\nQu’est-ce qui te manque et que le ciel ne peut pas imiter ?<\/em><\/p>\n

Otis Redding<\/strong>
\nUn mauvais caf\u00e9 d’h\u00f4tel avant un bon show. La fum\u00e9e de Cropper dans la cabine. L’odeur des rues de Memphis apr\u00e8s la pluie. Et un public qui n’a pas encore d\u00e9cid\u00e9 s’il t’aime. Cette h\u00e9sitation, c’est du carburant. Manquer le petit bordel humain, c’est comme \u00e7a que tu sais que tu es encore musicien et pas une statue. Les fant\u00f4mes des docks attendent encore la caisse claire avant de t\u00e9moigner.<\/p>\n

Riffs and Beats<\/strong>
\nDerni\u00e8re question : assis sur le dock, \u00e0 regarder les bateaux, tu \u00e9tais seul ou libre ?<\/em><\/p>\n

Otis Redding<\/strong>
\nLes deux, et c’est pour \u00e7a que la chanson marche encore. Seul, c’est le couplet. Libre, c’est le sifflement. Il faut les deux, sinon tu ne fais que d\u00e9corer une carte postale. Le dock est une salle de classe o\u00f9 solitude et libert\u00e9 partagent le m\u00eame banc \u00e9clat\u00e9. Laisse la po\u00e9sie du fleuve; finis le pont comme un groupe au travail.<\/p>\n

Riffs and Beats<\/strong>
\nStax, c’\u00e9tait une maison ou une usine avec de meilleures chansons ?<\/em><\/p>\n

Otis Redding<\/strong>
\nUne maison qui pointait. La part usine nous gardait honn\u00eates. La part maison nous gardait humains. Quand les deux marchaient, tu avais l’\u00e9nergie Dock of the Bay sans perdre le feu de Tenderness. Cet \u00e9quilibre, c’est des maths de Memphis, et \u00e7a paie encore le loyer dans d’autres gorges.<\/p>\n

Il boutonne un bouton du veston, puis le laisse ouvert. Une mouette coupe la derni\u00e8re bande orange du ciel. Otis Redding fredonne l’intro de (Sittin’ On) The Dock of the Bay \u00e0 voix basse, salue sans se retourner, et avance sur la jet\u00e9e o\u00f9 les planches continuent de grincer en mesure. Il part comme un dernier coup de cuivre qui sait s’arr\u00eater.<\/p>\n

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