{"id":9739,"date":"2026-09-19T23:43:36","date_gmt":"2026-09-19T21:43:36","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/nina-simone-fr\/"},"modified":"2026-09-19T23:43:36","modified_gmt":"2026-09-19T21:43:36","slug":"nina-simone-fr","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/nina-simone-fr\/","title":{"rendered":"Nina Simone – Un piano qui refuse de plier"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

La salle a appris son climat<\/h3>\n

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Le piano d’Annie’s Room, \u00e0 Soho, en juin 1965, n’accompagne pas Nina Simone: il discute avec elle. Yeux ferm\u00e9s, chignon haut, elle s’appuie sur une phrase comme si le mur \u00e0 motifs du club \u00e9tait un jury. Eunice Kathleen Waymon, n\u00e9e \u00e0 Tryon, en Caroline du Nord, le 21 f\u00e9vrier 1933, s’\u00e9tait d\u00e9j\u00e0 rebaptis\u00e9e \u00e0 Atlantic City pour que sa m\u00e8re m\u00e9thodiste n’apprenne pas que la prodige chantait dans des bars. La ville avait r\u00e9uni l’argent d’un avenir classique. Le Curtis Institute of Music l’avait refus\u00e9e. Il lui restait une main gauche qui connaissait Bach, et une voix qui refusait de rendre une salle confortable.<\/p>\n

Son premier album, Little Girl Blue<\/em>, para\u00eet chez Bethlehem en 1958, enregistr\u00e9 \u00e0 la va-vite et vendu sans son accord. I Loves You, Porgy<\/em> se glisse tout de m\u00eame dans les classements, un air de Gershwin ralenti jusqu’\u00e0 devenir une lettre intime. Les maisons qui suivent, Colpix, puis Philips, puis RCA, demandent un produit plus lisse. Elle leur donne My Baby Just Cares for Me<\/em>, Don’t Let Me Be Misunderstood<\/em>, et, sur l’album de 1965 I Put a Spell on You<\/em>, l’aube \u00e9trange de Feeling Good<\/em>. Les cuivres n’y f\u00eatent rien. Ils annoncent. Dessous, la voix reste basse, presque parl\u00e9e, comme si la libert\u00e9 \u00e9tait un fait qu’elle v\u00e9rifiait, pas un slogan qu’elle vendait.<\/p>\n

La politique n’arrive pas apr\u00e8s, comme un costume. Elle est d\u00e9j\u00e0 dans le tempo. Apr\u00e8s le meurtre de Medgar Evers et l’attentat de l’\u00e9glise de Birmingham, elle \u00e9crit Mississippi Goddam<\/em> dans une pouss\u00e9e de rage, puis le chante sur Nina Simone in Concert<\/em> en 1964, en pr\u00e9venant la salle que la chanson de music-hall qui s’annonce n’en est pas une. Le refrain sourit, puis mord. Four Women<\/em>, tir\u00e9 de Wild Is the Wind<\/em> en 1966, empile quatre vies dans une seule m\u00e9lodie et refuse qu’on choisisse une pr\u00e9f\u00e9r\u00e9e. Sinnerman<\/em> transforme un spirituel en course: piano, mains, un cri qui court jusqu’\u00e0 ce que le groupe n’ait plus de souffle. Ce n’\u00e9taient pas des notes en marge d’une carri\u00e8re de cabaret. C’\u00e9tait la carri\u00e8re.<\/p>\n

\u00c0 la fin de la d\u00e9cennie, la sc\u00e8ne am\u00e9ricaine est un endroit o\u00f9 elle entre arm\u00e9e. To Be Young, Gifted and Black<\/em>, \u00e9crit avec Weldon Irvine et publi\u00e9 en 1970, se veut un cadeau \u00e0 Lorraine Hansberry et une correction \u00e0 chaque chanson qui demandait aux auditeurs noirs d’attendre. Elle joue Carnegie Hall. Elle joue la marche de Selma \u00e0 Montgomery. Elle joue aussi des salles o\u00f9 le contrat, l’argent ou le promoteur l’insultent, et elle le dit, parfois en arr\u00eatant la musique. La r\u00e9putation de difficult\u00e9 est celle d’une musicienne \u00e0 qui un conservatoire, puis un pays, avaient d\u00e9j\u00e0 dit que son exigence n’\u00e9tait pas celle en vigueur.<\/p>\n

L’Europe la re\u00e7oit sans limer les angles. Des ann\u00e9es au Liberia, en Suisse, puis dans le sud de la France. Le passage \u00e0 Montreux en 1976 reste l’un des documents: une chanteuse capable de faire taire un festival avec une seule note tenue, puis de rire de ce silence. Elle enregistre quand elle le d\u00e9cide. Elle annule quand elle ne le d\u00e9cide pas. Le catalogue de ces ann\u00e9es est in\u00e9gal expr\u00e8s, parce qu’elle ne construisait pas une marque. Elle tenait une pratique vivante, le toucher classique contre le temps du gospel, l’ironie de cabaret contre le sermon.<\/p>\n

Les plus jeunes la retrouvent quand m\u00eame. Un sample, une musique de film, un pianiste de nuit qui tente Feeling Good<\/em> et d\u00e9couvre que la chanson ne se laisse pas embellir. En 1987, le succ\u00e8s britannique de My Baby Just Cares for Me<\/em>, relanc\u00e9 par une publicit\u00e9 de parfum, renvoie un titre de 1958 dans le classement, sans la rendre soudain docile. Elle jouait encore comme si le piano lui devait des excuses. En 2003, le Curtis Institute, avec un demi-si\u00e8cle de retard, lui offre un dipl\u00f4me honoraire. Elle meurt quelques jours plus tard, le 21 avril, \u00e0 Carry-le-Rouet.<\/p>\n

Ce qui demeure n’est pas le mythe du g\u00e9nie difficile, fa\u00e7on paresseuse de ranger une femme qui ne baissait pas le volume. Ce qui demeure, c’est le son d’une main form\u00e9e qui refuse de plier, et une voix capable de faire d’un standard une pi\u00e8ce \u00e0 conviction. On met Mississippi Goddam<\/em> ou la longue course de Sinnerman<\/em>, et la salle change encore de temp\u00e9rature. Le climat \u00e9tait le sien. Il ne s’est pas lev\u00e9.<\/p>\n

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