{"id":13903,"date":"2016-03-16T19:00:00","date_gmt":"2016-03-16T18:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/?p=13903"},"modified":"2026-11-09T07:09:28","modified_gmt":"2026-11-09T06:09:28","slug":"blackstar-david-bowie-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/blackstar-david-bowie-2\/","title":{"rendered":"David Bowie – Blackstar"},"content":{"rendered":"

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\u2605, 2016: Magic Shop sessions, McCaslin’s band, a title near ten minutes<\/h3>\n

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Blackstar<\/em> opens David Bowie’s final studio album of the same name, released on his 69th birthday, 8 January 2016, via ISO\/Columbia. The title track runs near ten minutes: two main sections, meters that change, and a band led by saxophonist Donny McCaslin with Mark Guiliana on drums, Tim Lefebvre on bass, and Ben Monder on guitar. Tony Visconti co-produced. Sessions were mostly at the Magic Shop in New York, with additional work at Human Worldwide. From the first bars, it is not the guitar-led rock of The Next Day<\/em>. Art-rock sits next to the downtown jazz players, written as a long form rather than a three-minute radio song.<\/p>\n

Bowie keeps the vocal dry and close. McCaslin’s saxophone carries short phrases that work like hooks, and the piece is not cut down to an edit. Lyrics move through ritual, fame, and a \u00ab\u00a0blackstar\u00a0\u00bb figure. They do not spell a single plot. The arrangement leaves space for improvisation inside a written form. Guiliana’s drums change the beat. Lefebvre’s bass stays loose, and Monder’s guitar sits back rather than filling the space. You can follow the sections once you know they are coming. The band changes pace and volume without losing Bowie’s voice as the centre.<\/p>\n

Johan Renck directed the accompanying short film: buttons for eyes, a dead astronaut, a town of ritual. The audio premiere tied to Sky Atlantic’s The Last Panthers<\/em>. Three days after the album street date, Bowie died in New York. Visconti later called the record a parting gift. The title track is the one you play first. Listeners who arrived after 10 January 2016 hear farewell in the length and the images. The musicians on the session were playing a written, ambitious opener, not a eulogy yet, and the care in the playing is still what holds the ten minutes.<\/p>\n

McCaslin’s New York jazz group and Visconti’s Magic Shop production gave the ten-minute title track room to change tempo without extra rock-band filling. The \u2605 album arrived days after Bowie’s death. The video and single had already pointed listeners toward farewell images. Streaming kept returning to the long form rather than a radio edit.<\/p>\n

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Something happened on the day he died.<\/p>\n<\/blockquote>\n

(Lyric, Blackstar, \u2605, ISO\/Columbia, 2016)<\/em><\/p>\n

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As a single-length statement, Blackstar<\/em> was never built for three-minute radio. As an album opener, it sets the rule for what follows: long forms, jazz players, and images that do not explain themselves until the rest of the record, and the news of 10 January, fill in the frame. Critics and fans both treated it as the key to the cycle, not a long extra parked at the front.<\/p>\n

Ten minutes, and the ending does not soften into a quiet landing. Start with McCaslin’s first motif. The second section rearranges the room without discarding the first. That layout is why the title track still opens long listens to Bowie’s last studio album: jazz players with a rock frame, a plot that never quite says its name, and a vocal that stays close while the band widens. The final-era piece does not settle into a single shape.<\/p>\n

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\u00c0 lire aussi<\/h3>\n