{"id":21580,"date":"2016-10-15T19:00:00","date_gmt":"2016-10-15T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/englishman-in-new-york-sting-a-minor-key-toast-to-quentin-crisp\/"},"modified":"2026-09-27T02:00:28","modified_gmt":"2026-09-27T00:00:28","slug":"englishman-in-new-york-sting-a-minor-key-toast-to-quentin-crisp","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/englishman-in-new-york-sting-a-minor-key-toast-to-quentin-crisp\/","title":{"rendered":"Englishman In New York – Sting : un toast en mineur \u00e0 Quentin Crisp"},"content":{"rendered":"

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Ecrit pour Quentin Crisp, apr\u00e8s The Bride<\/h3>\n

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…Nothing Like the Sun<\/em> sort en octobre 1987 chez A&M, deuxi\u00e8me album solo de Sting, co-produit avec Neil Dorfsman. Englishman in New York<\/em> y tient le r\u00f4le d’un portrait. L’Anglais, c’est Quentin Crisp, qui a quitt\u00e9 Londres pour un appartement du Bowery. Sting l’a rencontr\u00e9 en jouant le Dr Frankenstein dans le film The Bride<\/em> (1985). Dans les notes de pochette, il garde la blague de Crisp : il attendait ses papiers de naturalisation pour pouvoir commettre un crime sans \u00eatre expuls\u00e9. Quel genre de crime ? Quelque chose de glamour, non violent, avec une pointe de style.<\/p>\n

Le morceau marche. Manu Katch\u00e9 joue la batterie, Mino Cin\u00e9lu les percussions, et Branford Marsalis prend le saxophone soprano. A un moment le groupe glisse God Save the Queen<\/em> en mineur, une blague dont Sting a dit plus tard \u00e0 Guitar que presque personne d’autre ne l’entend. Un court \u00e9clat de batterie hip-hop coupe le milieu. Il a racont\u00e9 \u00e0 l’Independent on Sunday en 1994 que la maison de disques avait essay\u00e9 de lui faire retirer cette cassure. Il l’a gard\u00e9e, parce que la chanson parlait de tourner un coin \u00e0 New York et d’entendre une musique diff\u00e9rente \u00e0 chaque bloc. Les accords, a-t-il aussi dit, appartiennent \u00e0 la m\u00eame famille que If You Love Somebody Set Them Free<\/em>.<\/p>\n

A&M sort le single le 5 f\u00e9vrier 1988. Il atteint la 51e place au Royaume-Uni et la 84e du Billboard Hot 100, avec une meilleure course aux Pays-Bas, dans le top 10. David Fincher tourne le clip en noir et blanc : Sting, Marsalis, le groupe, et Crisp dans la rue. Quand la musique s’\u00e9teint, la voix de Crisp reste. Son ambition, \u00e0 part \u00eatre un invalide chronique, \u00e9tait de rencontrer tout le monde avant de mourir. En 1990, un remix de Ben Liebrand, aid\u00e9 par un regain d’int\u00e9r\u00eat t\u00e9l\u00e9vis\u00e9 pour Crisp, m\u00e8ne la chanson \u00e0 la 15e place en Grande-Bretagne. C’est cette deuxi\u00e8me vie de classement que la plupart des gens retiennent.<\/p>\n

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\n

La chanson parle de quelqu’un d’autre. Elle parle de Quentin Crisp. Je pense que c’est l’un des hommes les plus courageux que j’aie rencontr\u00e9s, et l’un des plus spirituels. Il \u00e9tait ouvertement gay \u00e0 une \u00e9poque o\u00f9 c’\u00e9tait physiquement dangereux de l’\u00eatre.<\/p>\n<\/blockquote>\n

(Sting, Rolling Stone, 1988)<\/em><\/p>\n

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A c\u00f4t\u00e9 des disques de Police, l’arrangement est \u00e0 la fois plus l\u00e2che et plus \u00e9crit : saxophone jazz, percussions qui ne se verrouillent pas sur un backbeat rock, une voix qui reste conversationnelle. La ligne sur l’alien est l’accroche. Les couplets sont pleins des mani\u00e8res de Crisp. Sting a dit \u00e0 Rock Express en 1988 qu’il ne voulait pas que la chanson ne parle que de lui comme d’un \u00e9tranger. Il la voulait sur quelqu’un qu’il admirait, et sur le refus de se conformer.<\/p>\n

Crisp continuait de l’appeler Mr Sting. Un t\u00e9l\u00e9film de 2009 sur les derni\u00e8res ann\u00e9es de Crisp a pris le titre de la chanson. La prise \u00e0 \u00e9couter est celle de l’album de 1987, saxophone compris, avant que le remix n’arrondisse les angles. L’hymne en mineur est encore l\u00e0 si on \u00e9coute la citation.<\/p>\n

Kenny Kirkland est aussi sur la prise, le pianiste du groupe des Blue Turtles, et c’est pour \u00e7a que l’harmonie ne se pose pas dans une grille pop droite. Montez le volume pour attraper la citation au saxophone, puis les mesures hip-hop. Elles sont courtes. Elles sont le sujet.<\/p>\n

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En 1987, Sting \u00e9crit Englishman in New York pour Quentin Crisp, et Branford Marsalis lui r\u00e9pond au saxophone soprano.<\/p>\n","protected":false},"author":1,"featured_media":21573,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,287,293,278],"tags":[256,467,942,1027],"class_list":["post-21580","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-chroniques","category-titres","category-tracks","tag-pop","tag-pop-fr-2","tag-sting","tag-sting-fr"],"yoast_head":"\nEnglishman In New York - Sting : un toast en mineur \u00e0 Quentin Crisp - 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\/chronicles\/tracks\/englishman-in-new-york-sting-a-minor-key-toast-to-quentin-crisp\/\" 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