{"id":9591,"date":"2026-09-19T19:17:00","date_gmt":"2026-09-19T17:17:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/the-regal-1964-bb-king-2\/"},"modified":"2026-09-19T19:17:00","modified_gmt":"2026-09-19T17:17:00","slug":"the-regal-1964-bb-king","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/the-regal-1964-bb-king\/","title":{"rendered":"The Regal 1964 – B.B. King"},"content":{"rendered":"

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Un th\u00e9\u00e2tre qui connaissait les blagues<\/h3>\n

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Regal Theater, Chicago, 21 novembre 1964. B.B. King a jou\u00e9 cette salle, selon son propre compte plus tardif, des centaines de fois. Ce soir-l\u00e0 une bande tourne, pour ce qui sortira en 1965 sous le titre Live at the Regal<\/em>, produit par Johnny Pate. L’orgue est cass\u00e9. Duke Jethro, qui devait en jouer, dit qu’il ne joue pas vraiment du piano. King lui dit de rester assis et de faire semblant, ce qui est, ajoute King, ce qu’il fait la plupart du temps de toute fa\u00e7on. Le piano est sur le disque. Le rire sous l’ordre aussi. Un album live parfait commence souvent par un petit d\u00e9sastre que le groupe est trop professionnel pour afficher.<\/p>\n

Le groupe autour de Lucille est une unit\u00e9 de travail, pas un ramassage de festival. Leo Lauchie \u00e0 la basse, Sonny Freeman \u00e0 la batterie, Johnny Board et Bobby Forte aux t\u00e9nors, Kenneth Sands \u00e0 la trompette, Jethro l\u00e0 o\u00f9 le clavier a fini. Ils connaissent les tops comme une bonne salle conna\u00eet un comique. Every Day I Have the Blues<\/em> ouvre la porte. Sweet Little Angel<\/em> laisse la voix monter. How Blue Can You Get<\/em> est celui o\u00f9 le th\u00e9\u00e2tre devient un second instrument : il leur tend une ligne, ils r\u00e9pondent avant qu’il ait fini de demander. Je vous ai donn\u00e9 sept enfants. Le cri arrive \u00e0 l’heure. Ce timing est tout l’art. Un \u00e9tranger ne peut pas le simuler. Ce public r\u00e9p\u00e9tait avec lui depuis des ann\u00e9es.<\/p>\n

La guitare de King, cette nuit, n’est pas le torrent que les gens attendent de la l\u00e9gende tardive. C’est du placement. Une note, un bend, un silence dans lequel la section de cuivres a l’air ch\u00e8re. Sa voix passe d’un cri \u00e0 quelque chose de presque priv\u00e9, parfois dans le m\u00eame couplet. La Biblioth\u00e8que du Congr\u00e8s a mis l’album au National Recording Registry en 2005. Rolling Stone<\/em> l’a gard\u00e9 sur la longue liste des disques qu’on n’a pas le droit de laisser dispara\u00eetre. Ces honneurs sont tardifs. Le public du Regal a donn\u00e9 le sien sur le moment, ce qui est la seule critique dont un disque live devrait avoir besoin, et que celui-ci a, par chance, sur la bande.<\/p>\n

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Eh bien, reste assis et fais semblant. C’est ce que tu fais la plupart du temps, de toute fa\u00e7on.<\/p>\n<\/blockquote>\n

(B.B. King \u00e0 Duke Jethro, Regal Theater, 1964)<\/em><\/p>\n

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Ce que l’album enseigne, si on le laisse faire, c’est que le blues dans un th\u00e9\u00e2tre noir en 1964 n’\u00e9tait pas un mus\u00e9e. C’\u00e9tait un m\u00e9tier du samedi : des v\u00eatements nets, une ligne de cuivres serr\u00e9e, un chanteur capable de faire d’une plainte une blague partag\u00e9e, puis de reprendre la blague avant qu’elle ne soit trop \u00e0 l’aise. King est un entertainer au sens plein. Il parle, il pr\u00e9pare la chanson suivante, il laisse la salle \u00eatre plus dr\u00f4le que lui. Puis Lucille dit la phrase que personne dans les si\u00e8ges n’allait atteindre le premier.<\/p>\n

Mettez-le \u00e0 c\u00f4t\u00e9 des stades et il a l’air petit. Trente-cinq minutes, un th\u00e9\u00e2tre, pas de vaisseau qui descend. C’est l’autre concert classique, celui qui prouve que l’\u00e9chelle n’est pas la m\u00eame chose que l’\u00e9v\u00e9nement. Tous ceux qui ont essay\u00e9 de jouer du blues dans une salle depuis r\u00e9pondent, qu’ils le sachent ou non, \u00e0 cette bande. Les r\u00e9ponses varient. La question a \u00e9t\u00e9 r\u00e9gl\u00e9e une nuit de novembre \u00e0 Chicago, par un homme dont l’organiste faisait semblant, et dont le public, non.<\/p>\n

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Le 21 novembre 1964, au Regal Theater de Chicago, B.B. King enregistre l’album live qui apprend encore \u00e0 chaque groupe de blues comment une salle est cens\u00e9e r\u00e9pondre.<\/p>\n","protected":false},"author":1,"featured_media":9536,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[273,281],"tags":[888,259],"class_list":["post-9591","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chronicles","category-concerts","tag-b-b-king","tag-blues-jazz","post_format-post-format-video"],"yoast_head":"\nThe Regal 1964 - B.B. 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