{"id":14819,"date":"2019-09-20T11:00:00","date_gmt":"2019-09-20T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/jamiroquai-funk-that-refused-to-sit-still\/"},"modified":"2026-09-27T00:01:08","modified_gmt":"2026-09-26T22:01:08","slug":"jamiroquai-le-funk-qui-refusait-de-rester-assis","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/jamiroquai-le-funk-qui-refusait-de-rester-assis\/","title":{"rendered":"Jamiroquai &#8211; Du funk qui refuse de rester assis"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Acid jazz, Buffalo Man, Travelling Without Moving, sols mobiles<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">En 1992 \u00e0 Londres, pendant que house et rave couraient apr\u00e8s le volume four-on-the-floor, Jay Kay et une formation changeante sortaient Emergency on Planet Earth sur Acid Jazz Records. Le son: batterie live, basse caoutchouc, Fender Rhodes et falsetto pos\u00e9 sur des lignes qui marchaient, emprunt\u00e9es \u00e0 Stevie Wonder et Roy Ayers. Le silhouette Buffalo Man sur la pochette est devenue aussi reconnaissable qu&rsquo;un refrain. Kay avait construit le nom \u00e0 partir de jam sessions et d&rsquo;une r\u00e9f\u00e9rence iroquoise; le groupe n&rsquo;a jamais \u00e9t\u00e9 un solo avec figurants.<\/p>\n<p style=\"text-align: justify;\">Kay a grandi \u00e0 Londres et dans le nord-ouest de l&rsquo;Angleterre avec soul, funk et disques br\u00e9siliens \u00e0 la maison. Le sens harmonique de Stevie Wonder, le cool vibraphone de Roy Ayers et l&rsquo;\u00e8re Head Hunters d&rsquo;Herbie Hancock ont laiss\u00e9 des traces. Il fr\u00e9quentait les clubs acid jazz o\u00f9 les DJ m\u00e9langeaient jazz-funk et rare groove, puis \u00e9crivait des chansons tenues \u00e0 la fois en caf\u00e9 jazz et en club du vendredi. Les premi\u00e8res formations incluaient Toby Smith aux claviers, Stuart Zender \u00e0 la basse, Derrick McKenzie \u00e0 la batterie et Wallis Buchanan au didgeridoo quand les arrangements avaient besoin d&rsquo;un drone terreux sous la brillance disco.<\/p>\n<p style=\"text-align: justify;\">The Return of the Space Cowboy (1994) a \u00e9largi la palette sans abandonner le pocket. \u00ab\u00a0Space Cowboy\u00a0\u00bb et \u00ab\u00a0Half the Man\u00a0\u00bb ont gard\u00e9 le pouls acid jazz pendant que les textes m\u00e9langeaient anxi\u00e9t\u00e9 \u00e9cologique et swagger nocturne. La voix publique de Kay sur le climat et la consommation c\u00f4toyait des titres de f\u00eate qui groovaient encore. Le groupe comptait: les lignes de basse de Zender parlaient en phrases compl\u00e8tes, le Rhodes de Smith bavardait dans les trous, McKenzie verrouillait le temps pour que Kay danse sur sc\u00e8ne sans perdre la chanson.<\/p>\n<p style=\"text-align: justify;\">Travelling Without Moving (1996) a \u00e9t\u00e9 la perc\u00e9e mondiale. \u00ab\u00a0Virtual Insanity\u00a0\u00bb est arriv\u00e9 avec le clip de Jonathon Glazer: Kay sur un sol qui glisse pendant que les meubles restent fixes, un gag que MTV a boucl\u00e9 des mois. Le single portait des accords funk, une voix lead coup\u00e9e et un refrain fait pour clubs et radio de jour. \u00ab\u00a0Cosmic Girl\u00a0\u00bb et \u00ab\u00a0Alright\u00a0\u00bb ont fait tourner l&rsquo;album en stades et festivals. Les ventes ont d\u00e9pass\u00e9 le multi-platine au Royaume-Uni et dans une grande partie de l&rsquo;Europe; Brit Awards et Grammy ont suivi le groove plut\u00f4t que d&rsquo;inventer un nouveau genre.<\/p>\n<p style=\"text-align: justify;\">Synkronized (1999) et A Funk Odyssey (2001) ont prouv\u00e9 que le projet pouvait absorber des changements de lineup sans perdre la discipline de section rythmique. Le d\u00e9part de Zender a fait mal, mais \u00ab\u00a0Canned Heat\u00a0\u00bb et \u00ab\u00a0Little L\u00a0\u00bb ont gard\u00e9 le falsetto de Kay et la batterie de McKenzie en rotation lourde. Des disques plus tardifs comme Dynamite (2005) et Rock Dust Light Star (2010) sont rest\u00e9s fid\u00e8les au funk live m\u00eame quand les charts dance favorisaient le logiciel. Les voitures, chapeaux et une une de Kay ont parfois \u00e9clips\u00e9 le m\u00e9tier; en dessous, les disques suivaient encore des musiciens dans une m\u00eame pi\u00e8ce.<\/p>\n<p>[\/vc_column_text][vc_single_image image=\u00a0\u00bb14815&Prime; img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1790414783573{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00a0\u00bb][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Au son, \u00e9coutez une basse qui marche plut\u00f4t que de claquer pour montrer, des claviers qui r\u00e9pondent \u00e0 la voix, et des arrangements qui laissent de l&rsquo;air au hook. Le falsetto de Kay est la girouette du projet: lumineux sur \u00ab\u00a0Alright\u00a0\u00bb, plus coup\u00e9 sur \u00ab\u00a0Virtual Insanity\u00a0\u00bb. Cuivres et nappes synth remplissent l&rsquo;espace sans encombrer. Le mix favorise souvent chaleur et punch plut\u00f4t qu&rsquo;un vernis digital fragile, m\u00eame sur les singles tardifs visant la radio.<\/p>\n<p style=\"text-align: justify;\">Les portes d&rsquo;entr\u00e9e sont claires. Emergency on Planet Earth pour le manifeste acid jazz. Travelling Without Moving pour le pic charts et le clip que tout le monde retient. The Return of the Space Cowboy si vous voulez le m\u00e9lange \u00e9co-nightlife avant le gag du sol. Ajoutez \u00ab\u00a0Cosmic Girl\u00a0\u00bb, \u00ab\u00a0Canned Heat\u00a0\u00bb et \u00ab\u00a0Virtual Insanity\u00a0\u00bb \u00e0 une playlist et vous entendez trois visages du m\u00eame projet funk londonien.<\/p>\n<p style=\"text-align: justify;\">\u00c0 c\u00f4t\u00e9 de Brand New Heavies ou Incognito, Jamiroquai partageait la voie acid jazz mais poussait plus fort vers les hooks pop et l&rsquo;\u00e9chelle stade. \u00c0 c\u00f4t\u00e9 de Daft Punk ou de la French house, ils gardaient des musiciens live au centre plut\u00f4t que d&rsquo;\u00e9chantillonner la disco seule comme architecture. Ce qui distingue le groupe de Kay, c&rsquo;est le mariage de refrains taille festival avec des lignes de basse qui sonnent encore comme des devoirs Motown faits en entrep\u00f4t.<\/p>\n<p style=\"text-align: justify;\">En live, les slots festival ont prouv\u00e9 que le catalogue voyage. \u00ab\u00a0Virtual Insanity\u00a0\u00bb remet encore un field en mouvement quand le visuel du sol frappe les \u00e9crans; puis cuivres ou stabs synth rappellent \u00e0 la foule que c&rsquo;\u00e9tait toujours un groupe, pas un costume. Kay traite la sc\u00e8ne comme une piste avec un toit. Le Buffalo Man \u00e9tait branding. Les disques \u00e9taient des devoirs de groove.<\/p>\n<p style=\"text-align: justify;\">Jamiroquai n&rsquo;a jamais demand\u00e9 \u00e0 la piste de s&rsquo;asseoir. Ils ont construit des chansons qui gardent les pieds en mouvement m\u00eame quand les meubles du clip restent immobiles. C&rsquo;est pour cela que le catalogue m\u00e9rite encore une \u00e9coute compl\u00e8te: non comme nostalgie de 1996, mais comme m\u00e9thode de travail pour un funk qui refuse de rester assis.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Jay Kay a lanc\\u00e9 Jamiroquai \\u00e0 Londres au d\\u00e9but des ann\\u00e9es 90 comme projet acid jazz avec un logo Buffalo Man; Travelling Without Moving (1996) et \u00ab\u00a0Virtual Insanity\u00a0\u00bb ont export\\u00e9 le groove dans le monde entier.<\/p>\n","protected":false},"author":1,"featured_media":14812,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[428,631],"class_list":["post-14819","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-discofunk-fr","tag-jamiroquai-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jamiroquai - Du funk qui refuse de rester assis - RIFFS AND BEATS<\/title>\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\/fr\/chroniques\/groupes\/jamiroquai-le-funk-qui-refusait-de-rester-assis\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jamiroquai - Du funk qui refuse de rester assis - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Jay Kay a lancu00e9 Jamiroquai u00e0 Londres au du00e9but des annu00e9es 90 comme projet acid jazz avec un logo Buffalo Man; 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