{"id":14774,"date":"2021-03-14T19:00:00","date_gmt":"2021-03-14T18:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/deep-purple-organ-riff-hard-rock-blueprint\/"},"modified":"2026-09-26T23:11:10","modified_gmt":"2026-09-26T21:11:10","slug":"deep-purple-organ-riff-hard-rock-blueprint","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/deep-purple-organ-riff-hard-rock-blueprint\/","title":{"rendered":"Deep Purple – Orgue, riff, mod\u00e8le du hard rock"},"content":{"rendered":"

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Mark II, 1969-73 : rugissement du Hammond, riffs de Blackmore, et la matrice du hard rock<\/h3>\n

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Deep Purple se forme \u00e0 Hertford, en Angleterre, en 1968, \u00e0 l’intersection de la musique classique, du blues am\u00e9ricain et du hard rock nouvellement \u00e9lectrifi\u00e9 qui s’assemble \u00e0 travers la Grande-Bretagne cette ann\u00e9e-l\u00e0. La formation fondatrice \u2014 Jon Lord \u00e0 l’orgue Hammond, Ritchie Blackmore \u00e0 la guitare, Rod Evans au chant, Nick Simper \u00e0 la basse et Ian Paice \u00e0 la batterie \u2014 commence par reprendre \u00ab\u00a0Hush\u00a0\u00bb de Joe South pour le march\u00e9 am\u00e9ricain et atteint le top dix am\u00e9ricain avant que la plupart des artistes britanniques de l’\u00e8re ne se soient impos\u00e9s. Le son classique, cependant, viendra avec la configuration suivante.<\/p>\n

La formation Mark II se cristallise en 1969 quand Roger Glover remplace Simper \u00e0 la basse et Ian Gillan arrive au chant. Lord, Blackmore, Glover, Gillan et Paice enregistrent alors Concerto for Group and Orchestra (1969), une v\u00e9ritable collaboration avec le Royal Philharmonic Orchestra dirig\u00e9 par Malcolm Arnold. L’exp\u00e9rience place le groupe dans une conversation publique sur le rock et la musique classique que peu de leurs pairs \u00e9taient pr\u00eats \u00e0 avoir, et elle lib\u00e8re la voie pour ce qui suit : l’attaque hard rock directe de Deep Purple in Rock.<\/p>\n

Deep Purple in Rock (1970) est la r\u00e9ponse. L’exp\u00e9rience orchestrale est mise de c\u00f4t\u00e9 ; ce qui la remplace, c’est le riffing Gibson distordu de Blackmore sur le Hammond de Lord, le travail de basse fluide de Glover, la batterie haute v\u00e9locit\u00e9 de Paice et la voix de Gillan pouss\u00e9e vers des zones de registre aigu exigeantes. \u00ab\u00a0Speed King\u00a0\u00bb, \u00ab\u00a0Child in Time\u00a0\u00bb et le titre \u00e9ponyme \u00e9tablissent le mod\u00e8le pour toute une g\u00e9n\u00e9ration de hard rock qui suivra. La production est brute dans le bon sens : chaque instrument est pr\u00e9sent et le groupe sait jouer.<\/p>\n

Fireball (1971) affine l’approche. Machine Head (1972) devient la d\u00e9claration d\u00e9finitive. Enregistr\u00e9 \u00e0 Montreux, en Suisse \u2014 la salle initiale, le Casino de Montreux, a pris feu lors d’un concert de Frank Zappa et a forc\u00e9 le groupe \u00e0 improviser dans un studio mobile gar\u00e9 au bord du lac, un \u00e9pisode immortalis\u00e9 dans \u00ab\u00a0Smoke on the Water\u00a0\u00bb \u2014 l’album distille la formule Mark II dans sa forme la plus efficace. \u00ab\u00a0Smoke on the Water\u00a0\u00bb, \u00ab\u00a0Highway Star\u00a0\u00bb, \u00ab\u00a0Space Truckin'\u00a0\u00bb et \u00ab\u00a0Lazy\u00a0\u00bb font de Machine Head l’un des disques de hard rock les plus vendus de son \u00e9poque et les plus imit\u00e9s. Made in Japan (1972), le double album live enregistr\u00e9 \u00e0 Osaka et Tokyo, documente le groupe \u00e0 pleine intensit\u00e9 de performance et montre que les versions studio n’adoucissaient pas la r\u00e9alit\u00e9 live.<\/p>\n

Les influences \u00e0 l’int\u00e9rieur du son classique de Deep Purple m\u00e9ritent d’\u00eatre retrac\u00e9es car elles sont genuinement plurielles. L’orgue Hammond de Lord apporte des voicings jazz et classiques dans des arrangements de rock lourd \u2014 ses passages en solo peuvent aller du blues \u00e0 Bach \u00e0 l’int\u00e9rieur d’une m\u00eame chanson. La guitare de Blackmore doit autant au contrepoint et \u00e0 la pr\u00e9cision scalaire qu’au blues : ses runs pentatoniques ont une logique formelle qui vient de la pens\u00e9e musicale classique plut\u00f4t que de l’\u00e9cole de Chicago. La voix de Gillan dans ses meilleurs moments combinait l’amplitude op\u00e9ratique et l’agressivit\u00e9 rock, un appariement inhabituel qui n\u00e9cessitait un certain environnement d’enregistrement. Paice \u00e9tait techniquement sophistiqu\u00e9 pour l’\u00e8re, et le travail de basse de Glover ancrait l’ensemble sans dispara\u00eetre dans l’arri\u00e8re-plan.<\/p>\n

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Who Do We Think We Are (1973) montre la tension entre les membres du groupe, et la formation Mark II se dissout. La configuration Mark III am\u00e8ne David Coverdale au chant et Glenn Hughes \u00e0 la basse, produisant Burn (1974) et Stormbringer (1974). Coverdale et Hughes introduisent des influences soul et funk qui s’accordent mal avec les instincts plus durs de Blackmore ; Blackmore part pour Rainbow apr\u00e8s Stormbringer. Le groupe continue \u00e0 travers plusieurs configurations suppl\u00e9mentaires \u2014 Mark IV, la p\u00e9riode Tommy Bolin, une longue dormance \u2014 avant qu’une r\u00e9union Mark II en 1984 produise Perfect Strangers, un retour cr\u00e9dible qui a trouv\u00e9 un public pr\u00eat \u00e0 r\u00e9entendre la formule.<\/p>\n

La distinction entre Deep Purple et leurs contemporains hard rock est audible \u00e0 l’\u00e9coute attentive. Led Zeppelin avait plus de profondeur blues et l’aventurisme studio de Jimmy Page. Black Sabbath avait un poids de riff plus lourd et une atmosph\u00e8re doom. Deep Purple avait les musiciens individuellement les plus techniquement accomplis des trois, et leurs meilleurs disques le montrent : arrang\u00e9s avec pr\u00e9cision, dynamiquement int\u00e9ressants, non seulement forts mais pr\u00e9cis \u00e0 volume \u00e9lev\u00e9. Le background de musique classique de Lord en particulier donnait au groupe une sophistication harmonique que Zeppelin et Sabbath poursuivaient rarement.<\/p>\n

Les points d’entr\u00e9e sont clairs. Deep Purple in Rock pour le d\u00e9but de la p\u00e9riode classique, Machine Head pour le disque individuellement le plus efficace. Made in Japan pour l’argument live. La compilation Shades of Deep Purple ou The Very Best of Deep Purple couvre la p\u00e9riode initiale et l’histoire commerciale. Ajoutez \u00ab\u00a0Smoke on the Water\u00a0\u00bb, \u00ab\u00a0Child in Time\u00a0\u00bb, \u00ab\u00a0Highway Star\u00a0\u00bb et \u00ab\u00a0Black Night\u00a0\u00bb et le cas est expos\u00e9 en quatre chansons.<\/p>\n

Les disques Mark II tiennent parce que la virtuosit\u00e9 \u00e9tait authentique et que les arrangements servaient les chansons plut\u00f4t que l’inverse. Cette combinaison \u2014 musiciens individuellement accomplis op\u00e9rant \u00e0 l’int\u00e9rieur de structures rock serr\u00e9es \u2014 est plus rare qu’il n’y para\u00eet, et c’est ce qui rend les disques audibles plut\u00f4t que simplement historiques.<\/p>\n

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Deep Purple se forme \\u00e0 Hertford, en Angleterre, en 1968. 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