{"id":15916,"date":"2010-06-23T09:00:00","date_gmt":"2010-06-23T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/toto-session-kings-who-wrote-their-own-radio\/"},"modified":"2026-09-27T00:43:20","modified_gmt":"2026-09-26T22:43:20","slug":"toto-session-kings-who-wrote-their-own-radio","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/toto-session-kings-who-wrote-their-own-radio\/","title":{"rendered":"TOTO – Les rois des sessions qui ont \u00e9crit leur propre radio"},"content":{"rendered":"

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Los Angeles 1977 : des as du studio deviennent un groupe, puis Toto IV rafle les Grammy<\/h3>\n

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En 1977, six musiciens qui avaient pass\u00e9 des ann\u00e9es \u00e0 \u00eatre les premiers appel\u00e9s pour les sessions \u00e0 Los Angeles ont d\u00e9cid\u00e9 de faire un disque sous leur propre nom. David Paich, dont le p\u00e8re Marty Paich \u00e9tait un arrangeur r\u00e9put\u00e9, partageait les claviers avec Steve Porcaro. Jeff Porcaro, fr\u00e8re de Steve et fils du batteur de jazz Joe Porcaro, \u00e9tait derri\u00e8re le kit. Steve Lukather s’occupait de la guitare lead et \u00e9tait d\u00e9j\u00e0 l’un des musiciens les plus enregistr\u00e9s de Californie. David Hungate jouait de la basse et Bobby Kimball chantait. Les cr\u00e9dits de sessions combin\u00e9s au moment de la formation comprenaient Michael Jackson, Boz Scaggs et Steely Dan, entre beaucoup d’autres.<\/p>\n

Toto (1978, Columbia) a \u00e9tabli le mod\u00e8le : production propre, changements d’accords sophistiqu\u00e9s, hooks solides et jeu qui n’attire pas l’attention sur lui-m\u00eame. \u00ab\u00a0Hold the Line\u00a0\u00bb est devenu un hit rock radio sur la force de la partie de piano de Paich et la tessiture vocale de Kimball. L’influence de Steely Dan \u00e9tait audible dans le vocabulaire harmonique et les d\u00e9cisions de production, bien que Toto soit plus direct m\u00e9lodiquement et plus int\u00e9ress\u00e9 par les formats commerciaux directs. Hydra (1979) et Turn Back (1981) ont maintenu le public sans l’\u00e9largir significativement.<\/p>\n

Toto IV (1982) est le disque qui d\u00e9finit l’identit\u00e9 publique du groupe. Six Grammy Awards en 1983, dont Album de l’Ann\u00e9e et Disque de l’Ann\u00e9e pour \u00ab\u00a0Rosanna\u00a0\u00bb. \u00ab\u00a0Africa\u00a0\u00bb a atteint le num\u00e9ro un aux \u00c9tats-Unis et est rest\u00e9 en circulation continue, en partie gr\u00e2ce \u00e0 une renaissance internet en 2018 qui en a fait le titre le plus stream\u00e9 sur plusieurs plateformes pendant une semaine sp\u00e9cifique. Les deux hits diff\u00e8rent dans leur m\u00e9thode : \u00ab\u00a0Rosanna\u00a0\u00bb est construit sur un groove shuffle nomm\u00e9 le Rosanna Shuffle pour la fa\u00e7on dont Jeff Porcaro combinait un feeling demi-temps avec un pattern rock ; \u00ab\u00a0Africa\u00a0\u00bb a un arrangement plus atmosph\u00e9rique avec des percussions accord\u00e9es et des claviers superpos\u00e9s.<\/p>\n

L’approche de production sur Toto IV, et dans la plupart du catalogue, \u00e9tait une application d\u00e9lib\u00e9r\u00e9e de la discipline des sessions \u00e0 l’enregistrement de groupe. Les musiciens jouaient des parties qui servaient la chanson sans improviser au-del\u00e0 de ce que le titre exigeait. Les solos de guitare de Lukather \u00e9taient concis et m\u00e9lodiques plut\u00f4t qu’\u00e9tendus. Les arrangements de claviers de Paich remplissaient l’espace harmonique sans encombrer le vocal. La production de batterie sur \u00ab\u00a0Rosanna\u00a0\u00bb est une le\u00e7on sur la fa\u00e7on dont un groove peut \u00eatre techniquement sophistiqu\u00e9 et toujours atterrir sur la radio commerciale.<\/p>\n

Fahrenheit (1986) et The Seventh One (1988) ont maintenu le format pendant que le march\u00e9 AOR qu’ils avaient contribu\u00e9 \u00e0 d\u00e9finir commen\u00e7ait \u00e0 \u00e9voluer. Kimball est parti apr\u00e8s Toto IV et a \u00e9t\u00e9 remplac\u00e9 par Fergie Frederiksen puis par Joseph Williams, fils du compositeur de film John Williams. Hungate est parti et a \u00e9t\u00e9 remplac\u00e9 par Mike Porcaro, un autre fr\u00e8re Porcaro, plus tard diagnostiqu\u00e9 avec la SLA et d\u00e9c\u00e9d\u00e9 en 2015. Malgr\u00e9 les changements de personnel, la qualit\u00e9 de production et l’approche d’\u00e9criture sont rest\u00e9es coh\u00e9rentes.<\/p>\n

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Jeff Porcaro est mort en ao\u00fbt 1992 \u00e0 38 ans, suite \u00e0 un \u00e9pisode cardiaque. Le groupe a continu\u00e9 avec Simon Phillips, ancien de Judas Priest, derri\u00e8re le kit. Tambu (1995), Mindfields (1999) et Falling in Between (2006) ont maintenu un public de tourn\u00e9e europ\u00e9en suffisamment large. Une r\u00e9union de plusieurs membres du lineup Toto IV en 2010 et des tourn\u00e9es anniversaires \u00e0 la fin des ann\u00e9es 2010 ont confirm\u00e9 la durabilit\u00e9 du catalogue sur le circuit des festivals, particuli\u00e8rement en Europe o\u00f9 le groupe a toujours attir\u00e9 de plus grands publics qu’aux \u00c9tats-Unis.<\/p>\n

Les influences derri\u00e8re le groupe viennent principalement de la culture des sessions de Los Angeles ant\u00e9rieure : la g\u00e9n\u00e9ration Wrecking Crew des ann\u00e9es 1960, la pr\u00e9cision studio de Steely Dan, les arrangements de cuivres de Tower of Power et la richesse harmonique de l’\u00e9criture Motown. La formation formelle de Paich donnait \u00e0 l’\u00e9criture d’accords un vocabulaire jazz que la plupart des groupes rock de la p\u00e9riode n’utilisaient pas. Le phras\u00e9 de guitare de Lukather devait quelque chose \u00e0 Carlos Santana et \u00e0 la tradition rock m\u00e9lodique plut\u00f4t qu’au rock blues ou au heavy metal.<\/p>\n

Les portes d’entr\u00e9e sont simples : Toto IV pour les hits Grammy et le pic de production. Toto (1978) pour l’\u00e9nonc\u00e9 original et \u00ab\u00a0Hold the Line\u00a0\u00bb. The Seventh One (1988) a une production l\u00e9g\u00e8rement plus chaleureuse et vaut l’\u00e9coute en s\u00e9quence. Par rapport aux contemporains : Journey et REO Speedwagon partageaient la voie AOR mais \u00e9taient moins sophistiqu\u00e9s harmoniquement. Foreigner avait les accroches mais pas la musicalit\u00e9. Toto jouait ses propres disques avec la pr\u00e9cision de musiciens de session qui avaient vu beaucoup de sessions mal tourner.<\/p>\n

Le catalogue a eu une vie posthume curieuse. La r\u00e9habilitation internet de \u00ab\u00a0Africa\u00a0\u00bb en particulier a amen\u00e9 des auditeurs vers un catalogue qu’ils ne s’attendaient pas \u00e0 trouver int\u00e9ressant et qui l’\u00e9tait souvent quand m\u00eame. Le jeu est la raison : ce sont des musiciens qui savaient exactement ce qu’ils faisaient, et les disques sonnent finis d’une fa\u00e7on qui r\u00e9compense une \u00e9coute plus attentive que ce que le format radio laissait supposer. Mettez Toto IV en s\u00e9quence et \u00ab\u00a0Rosanna\u00a0\u00bb sonne diff\u00e9remment une fois que vous avez entendu ce qui vient avant et apr\u00e8s.<\/p>\n

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David Paich, Steve Lukather, Jeff Porcaro, Steve Porcaro, David Hungate et Bobby Kimball ont fond\\u00e9 Toto \\u00e0 Los Angeles en 1977 apr\\u00e8s des ann\\u00e9es de travail en sessions.<\/p>\n","protected":false},"author":1,"featured_media":15884,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[482,1007],"class_list":["post-15916","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-classic-rock-fr","tag-toto-fr"],"yoast_head":"\nTOTO - Les rois des sessions qui ont \u00e9crit leur propre radio - 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\/toto-session-kings-who-wrote-their-own-radio\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TOTO - 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