{"id":13103,"date":"2023-06-08T11:00:00","date_gmt":"2023-06-08T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/pick-up-the-pieces-average-white-band-2\/"},"modified":"2026-09-26T23:00:08","modified_gmt":"2026-09-26T21:00:08","slug":"pick-up-the-pieces-average-white-band-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/pick-up-the-pieces-average-white-band-2\/","title":{"rendered":"Pick Up the Pieces – Average White Band: Studios Atlantic, presque pas de paroles, tout en groove"},"content":{"rendered":"

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Funk \u00e9cossais, studios Atlantic, Hot 100 en 1975<\/h3>\n

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Dans les studios new-yorkais d’Atlantic en 1974, Average White Band enregistre un cut funk quasi instrumental qui, plus tard, d\u00e9loge Linda Ronstadt du sommet du Hot 100. Pick Up the Pieces<\/em> tient sur une figure de guitare s\u00e8che de Hamish Stuart, une ligne de cuivres esquiss\u00e9e par le saxophoniste Roger Ball, et un titre cri\u00e9 qui tombe comme un signal, pas comme un couplet. Pas d’histoire d’amour, pas de confession au pont. Du pocket, des cuivres, et un groupe qui refuse de combler le silence avec des mots.<\/p>\n

Ils avaient d\u00e9j\u00e0 enregistr\u00e9 des versions pour MCA \u00e0 Clover Studios, \u00e0 Los Angeles. MCA passe. La bande arrive chez Jerry Wexler (Atlantic) \u00e0 L.A., qui les signe sur le champ. Le producteur Arif Mardin demande deux titres de plus, puis d\u00e9place les sessions \u00e0 Criteria, \u00e0 Miami. Le saut de son est si net qu’Atlantic fait venir le groupe \u00e0 New York pour r\u00e9enregistrer sept titres aux Atlantic Studios avec l’ing\u00e9nieur Gene Paul. Ces prises new-yorkaises deviennent le c\u0153ur de AWB<\/em>, sorti le 23 ao\u00fbt 1974.<\/p>\n

Sur le plancher, on entend pourquoi ces reprises comptent. La batterie est s\u00e8che et devant. Les cuivres r\u00e9pondent en phrases courtes et percutantes, pas en longues lignes de ballade soul. Les congas de Ralph MacDonald densifient le pocket sans l’encombrer. Quand le groupe crie le titre, \u00e7a sonne comme un ordre qu’on a envie de suivre. Le saxophoniste Malcolm \u00ab Molly \u00bb Duncan a plus tard avou\u00e9 qu’il doutait de sortir un instrumental funk jou\u00e9 par des \u00c9cossais, presque sans paroles. Le dancefloor n’\u00e9tait pas d’accord, et ce doute fait encore partie du plaisir d’\u00e9coute.<\/p>\n

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\n

Il s’agit de se relever quand les choses ne vont pas bien. On avait pass\u00e9 beaucoup de temps sans gagner un sou, alors \u00e7a sonnait tr\u00e8s juste.<\/p>\n<\/blockquote>\n

(Malcolm Duncan sur le titre cri\u00e9)<\/em><\/p>\n

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Le single sort en juillet 1974 avec Work to Do<\/em> en face B. D\u00e9but 1975, il atteint la 1re place du Billboard Hot 100 et la 5e du classement R&B, tandis que l’album \u00e0 pochette blanche domine \u00e0 la fois les listes pop et Black albums. Suit une nomination aux Grammy pour Best R&B Instrumental Performance. Au Royaume-Uni, le titre monte apr\u00e8s la perc\u00e9e am\u00e9ricaine : l’export a fonctionn\u00e9 dans l’autre sens.<\/p>\n

Le riff n’a jamais vraiment quitt\u00e9 la place. Les producteurs hip-hop et R&B l’ont trait\u00e9 comme une infrastructure : Beastie Boys, Public Enemy, TLC, A Tribe Called Quest et d’autres ont pr\u00e9lev\u00e9 des morceaux du groove. Brand New Heavies et d’autres revivalistes funk ont cit\u00e9 AWB comme un plan vivant, pas une pi\u00e8ce de mus\u00e9e. Remettez Pick Up the Pieces<\/em> aujourd’hui : vous entendez encore la le\u00e7on des salles Atlantic, un groupe serr\u00e9, un motif de cuivres net, et le cran de laisser un instrumental porter un n\u00b01.<\/p>\n

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