{"id":15307,"date":"2010-09-05T16:00:00","date_gmt":"2010-09-05T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/the-doors-groove-dorgue-sans-basse\/"},"modified":"2026-09-27T01:59:05","modified_gmt":"2026-09-26T23:59:05","slug":"the-doors-groove-dorgue-sans-basse","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/the-doors-groove-dorgue-sans-basse\/","title":{"rendered":"The Doors – Groove d’orgue sans basse"},"content":{"rendered":"

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Venice Beach, 1965 : po\u00e8te, orgue, et un groupe sans basse<\/h3>\n

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\u00c0 l’\u00e9t\u00e9 1965, Ray Manzarek et Jim Morrison se rencontr\u00e8rent sur Venice Beach \u00e0 Los Angeles. Manzarek entendit Morrison r\u00e9citer des paroles d\u00e9j\u00e0 rythmiquement organis\u00e9es et proposa de former un groupe. Ils recrut\u00e8rent le guitariste Robby Krieger et le batteur John Densmore, tous deux ayant \u00e9tudi\u00e9 aupr\u00e8s de Mahindra Lal, associ\u00e9 de Ravi Shankar, dans le m\u00eame cercle. Le groupe prit une d\u00e9cision structurelle qui d\u00e9finit le son avant qu’une seule note ne soit enregistr\u00e9e commercialement : pas de bassiste d\u00e9di\u00e9. La main gauche de Manzarek couvrirait les lignes de basse sur un Fender Rhodes Piano Bass tandis que sa droite jouait un orgue Vox Continental, plus tard un Hammond. Quatre musiciens, pas de basse, et un vide qui devint la signature.<\/p>\n

Elektra Records signa le groupe en 1966 apr\u00e8s que le groupe eut pass\u00e9 des mois \u00e0 r\u00e9p\u00e9ter au London Fog Club sur le Sunset Strip. The Doors (janvier 1967) s’ouvrit sur \u00ab\u00a0Break On Through (To the Other Side)\u00a0\u00bb, un titre serr\u00e9 conduit par l’orgue sur un rythme bossa nova adapt\u00e9 par Densmore. \u00ab\u00a0Light My Fire\u00a0\u00bb, construit sur une progression d’accords sugg\u00e9r\u00e9e par Krieger et \u00e9tendue par le solo d’orgue de Manzarek en une coupe album de sept minutes et une version radio \u00e9dit\u00e9e, atteignit le num\u00e9ro un du Billboard Hot 100 \u00e0 l’\u00e9t\u00e9 1967. Le baryton de Morrison s’asseyait sec dans le mix : conversationnel en couplet, tendu dans le registre aigu, rarement pouss\u00e9 vers le belting rock conventionnel.<\/p>\n

Les influences derri\u00e8re le premier album \u00e9taient multiples et pas difficiles \u00e0 identifier. Morrison avait \u00e9tudi\u00e9 le cin\u00e9ma et la litt\u00e9rature \u00e0 UCLA et \u00e9tait arriv\u00e9 au rock via Rimbaud, William Blake, les \u00e9crivains Beat et Nietzsche plut\u00f4t que par le R&B am\u00e9ricain ou la pop de l’Invasion britannique. Krieger apportait une main droite form\u00e9e au flamenco aux progressions blues. Le background jazz de Densmore produisit un style de batterie construit autour de patterns de cymbale ride et du contr\u00f4le dynamique plut\u00f4t que de la force maximale. Manzarek avait \u00e9tudi\u00e9 le piano classique et superposait des inflexions boogie-woogie dans les parties d’orgue. Le r\u00e9sultat \u00e9tait un groupe qui sonnait comme le blues de Los Angeles filtr\u00e9 par le cabaret litt\u00e9raire europ\u00e9en.<\/p>\n

Strange Days (1967) et Waiting for the Sun (1968) continu\u00e8rent la course commerciale. \u00ab\u00a0People Are Strange\u00a0\u00bb, \u00ab\u00a0Love Me Two Times\u00a0\u00bb et \u00ab\u00a0Hello, I Love You\u00a0\u00bb maintinrent le groupe \u00e0 la radio et dans le top ten. The Soft Parade (1969) ajouta des arrangements de cuivres et cordes qui divis\u00e8rent les auditeurs et critiques qui avaient appr\u00e9ci\u00e9 le travail plus d\u00e9pouill\u00e9 du quartet. Morrison Hotel (1970) revint vers un blues plus nu. L.A. Woman (1971), enregistr\u00e9 dans le propre local de r\u00e9p\u00e9tition du groupe sur Santa Monica Boulevard avec l’ing\u00e9nieur Bruce Botnick, livra le dernier album studio avec Morrison : \u00ab\u00a0Riders on the Storm\u00a0\u00bb, construit sur le shuffle bross\u00e9 de Densmore et le piano \u00e9lectrique de Manzarek, et le long titre \u00e9ponyme avec ses paroles de road-movie.<\/p>\n

Le choix structural qui d\u00e9finit le plus le son fut le double r\u00f4le de clavi\u00e9riste de Manzarek. En couvrant les fr\u00e9quences de basse avec sa main gauche, il donna \u00e0 l’orgue un poids de m\u00e9dium que la basse et la guitare lead se divisent habituellement. Le r\u00e9sultat fut une compression sp\u00e9cifique : dense au milieu, ouvert au-dessus, avec les lignes propres de Krieger et ses phrases \u00e0 inflexion flamenco flottant au-dessus de l’orgue plut\u00f4t que s’asseyant face \u00e0 un partenaire de guitare rythmique. La batterie jazz de Densmore compl\u00e9ta une section rythmique qui ne fonctionnait en rien comme un standard rock \u00e0 quatre.<\/p>\n

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Sur sc\u00e8ne, le groupe allait du rigoureusement contr\u00f4l\u00e9 au d\u00e9lib\u00e9r\u00e9ment impr\u00e9visible, selon largement l’\u00e9tat de Morrison. Le concert de Miami en mars 1969, o\u00f9 Morrison fut arr\u00eat\u00e9 pour accusations d’outrage \u00e0 la pudeur, restreignit substantiellement les options de tourn\u00e9e am\u00e9ricaine du groupe. L’affaire \u00e9tait encore non r\u00e9solue quand Morrison mourut \u00e0 Paris en juillet 1971 \u00e0 l’\u00e2ge de 27 ans. Les trois membres restants enregistr\u00e8rent Other Voices (1971) et Full Circle (1972) sans lui, puis s’arr\u00eat\u00e8rent. La mythologie Morrison qui suivit fut plus bruyante que ces disques posthumes ne le m\u00e9ritaient.<\/p>\n

Compar\u00e9s aux contemporains, les Doors occupaient une position distincte sur la sc\u00e8ne West Coast de la fin des ann\u00e9es 60. Jefferson Airplane portait un poids politique plus explicite et l’attaque vocale plus tranchante de Grace Slick. The Grateful Dead \u00e9tendait la m\u00eame p\u00e9riode en longues structures improvis\u00e9es que les Doors poursuivaient rarement. Les Rolling Stones apportaient l’authenticit\u00e9 blues et une section rythmique conventionnelle. Face \u00e0 tous, les Doors sonnent litt\u00e9raires et th\u00e9\u00e2traux : un groupe dont les meilleures chansons fonctionnent sur la page autant que dans un haut-parleur.<\/p>\n

La radio s’appuie encore sur \u00ab\u00a0Light My Fire\u00a0\u00bb, \u00ab\u00a0Riders on the Storm\u00a0\u00bb et \u00ab\u00a0Break On Through\u00a0\u00bb parce que le son de l’orgue est une reconnaissance instantan\u00e9e en deux mesures. Commencez par The Doors pour la densit\u00e9 du premier album : \u00ab\u00a0Break On Through\u00a0\u00bb, \u00ab\u00a0Light My Fire\u00a0\u00bb, \u00ab\u00a0The End\u00a0\u00bb et \u00ab\u00a0Soul Kitchen\u00a0\u00bb en s\u00e9quence repr\u00e9sentent d\u00e9j\u00e0 plus de mat\u00e9riel essentiel par face que la plupart des groupes n’en assembl\u00e8rent sur toute une carri\u00e8re. Ajoutez L.A. Woman pour le dernier chapitre avec Morrison. Strange Days compl\u00e8te la p\u00e9riode th\u00e9\u00e2trale du milieu. Le catalogue a surv\u00e9cu \u00e0 la mythologie de son frontman parce que l’\u00e9criture instrumentale, et le jeu de Manzarek en particulier, \u00e9tait assez forte pour exister ind\u00e9pendamment.<\/p>\n

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\\u00c0 Venice Beach en 1965, Ray Manzarek croisa Jim Morrison sur le sable et entendit un carnet de paroles qui sonnaient d\\u00e9j\\u00e0 comme des chansons attendant un orgue pour porter la basse.<\/p>\n","protected":false},"author":1,"featured_media":10545,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[482,826],"class_list":["post-15307","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-classic-rock-fr","tag-the-doors"],"yoast_head":"\nThe Doors - Groove d'orgue sans basse - 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\/the-doors-groove-dorgue-sans-basse\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Doors - 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