{"id":9802,"date":"2026-09-19T23:44:28","date_gmt":"2026-09-19T21:44:28","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/grace-jones-fr\/"},"modified":"2026-09-19T23:44:28","modified_gmt":"2026-09-19T21:44:28","slug":"grace-jones-fr","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/grace-jones-fr\/","title":{"rendered":"Grace Jones – Marbre, basse et regard"},"content":{"rendered":"

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

Une silhouette d\u00e9coup\u00e9e sur la basse<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

Grace Jones n’entre pas dans une chanson. Elle l’occupe, comme une statue occupe une place et change la fa\u00e7on de la traverser. N\u00e9e Grace Beverly Jones \u00e0 Spanish Town, en Jama\u00efque, le 19 mai 1948, elle grandit entre l’\u00eele, Syracuse dans l’\u00c9tat de New York, puis les studios de mode de Paris, o\u00f9 les photographes apprennent que son visage est d\u00e9j\u00e0 une composition. Les premiers albums Island, Portfolio<\/em>, Fame<\/em>, Muse<\/em>, sont de la disco \u00e0 bordure camp, des standards et des reprises livr\u00e9s comme si la piste \u00e9tait un podium. Ce ne sont pas les disques qui l’ont fix\u00e9e. Ils prouvent qu’elle pouvait tenir une salle avant que la salle ait la bonne basse.<\/p>\n

La bonne basse arrive \u00e0 Compass Point, \u00e0 Nassau. Warm Leatherette<\/em>, en 1980, produit avec Alex Sadkin et la section rythmique de Sly Dunbar et Robbie Shakespeare, prend des chansons du Normal, de Roxy Music, de Tom Petty, et en lime le sentiment. Sa voix se pose \u00e0 plat expr\u00e8s, une lame parl\u00e9e sur un hybride reggae-disco qui ne se presse pas. Nightclubbing<\/em>, en 1981, est le monument: Pull Up to the Bumper<\/em>, Walking in the Rain<\/em>, Demolition Man<\/em>, le titre emprunt\u00e9 \u00e0 Iggy Pop et ralenti jusqu’\u00e0 ce que la bo\u00eete de nuit ressemble \u00e0 un port. La pochette, sa propre image coup\u00e9e en angles, est le travail de Jean-Paul Goude et aussi le sien. Elle n’\u00e9tait pas une muse immobile pour l’id\u00e9e de quelqu’un d’autre. Elle \u00e9tait coautrice de la silhouette.<\/p>\n

Living My Life<\/em>, en 1982, garde le moteur Compass Point et ajoute My Jamaican Guy<\/em>, rappel que l’accent dans la musique n’\u00e9tait pas un truc de studio. Puis le centre de gravit\u00e9 bouge. Slave to the Rhythm<\/em>, en 1985, avec Trevor Horn, est une seule chanson travaill\u00e9e jusqu’\u00e0 devenir un album, une biographie dite sur une machine qui ne laisse pas la phrase finir. Inside Story<\/em> en 1986 et Bulletproof Heart<\/em> en 1989 poussent plus loin dans la pop et ne gardent pas toujours le froid de marbre des ann\u00e9es Compass Point. Les films, Conan le Destructeur<\/em>, une alli\u00e9e de m\u00e9chant Bond dans Dangereusement v\u00f4tre<\/em>, ont \u00e9tendu le regard \u00e0 des publics qui n’avaient pas achet\u00e9 les disques. Le regard \u00e9tait le m\u00eame instrument.<\/p>\n

Elle s’est tue, ce qui dans son cas voulait dire que l’image continuait de circuler pendant que les chansons neuves, non. Hurricane<\/em>, en 2008, annonc\u00e9 pendant des ann\u00e9es, revient \u00e0 l’\u00eele et \u00e0 un orage plus lent, avec Williams’ Blood<\/em> qui nomme la lign\u00e9e familiale. Sur sc\u00e8ne elle a port\u00e9 la coiffe, le hula hoop de lumi\u00e8res, les costumes coup\u00e9s comme une armure. Rien de cela ne se lit comme de la nostalgie quand la basse est juste, parce que la performance n’a jamais \u00e9t\u00e9 une affaire de chaleur. C’\u00e9tait une affaire de pr\u00e9cision: un corps tenu comme une photographie, une voix qui refuse le m\u00e9lisme dont d’autres se servent pour prouver qu’ils ressentent quelque chose.<\/p>\n

Avant Compass Point elle avait d\u00e9j\u00e0 fait d’un standard fran\u00e7ais une arme. La Vie en Rose<\/em>, sur Portfolio<\/em> en 1977, c’est Piaf ralenti et tois\u00e9, un arrangement disco qui refuse d’\u00eatre reconnaissant envers l’original. Le Studio 54 connaissait la silhouette. Les disques d’apr\u00e8s ont rendu la silhouette rythmique. Island Life<\/em>, en 1985, rassemble l’argument sur une seule pochette, le montage de Goude, son corps tenu dans une arabesque impossible, une image qui a circul\u00e9 plus loin qu’aucun single. Elle a jou\u00e9 \u00e0 l’int\u00e9rieur de cette image pendant des d\u00e9cennies, au Paradise Garage autant que dans les ar\u00e8nes, et le but n’a jamais \u00e9t\u00e9 d’humaniser la statue. Le but \u00e9tait de laisser la basse prouver que la statue pouvait danser sans casser la ligne de la m\u00e2choire.<\/p>\n

Ce que les chanteuses \u00e9lectroniques et new wave d’apr\u00e8s lui ont pris, c’est le droit d’\u00eatre sculpturale. On met Nightclubbing<\/em> ou Pull Up to the Bumper<\/em> et le groove est un socle. Elle se tient dessus. La chanson ne lui demande pas de plier, de sourire, ni d’expliquer. Le regard fait le reste du travail, et la basse tient le temps comme le marbre tient une forme.<\/p>\n

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Grace Jones n’entre pas dans une chanson.<\/p>\n","protected":false},"author":1,"featured_media":9795,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,279],"tags":[876,272],"class_list":["post-9802","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-singers","tag-grace-jones","tag-newwave-electro-triphop"],"yoast_head":"\nGrace Jones - Marbre, basse et regard - 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\/grace-jones-fr\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Grace Jones - Marbre, basse et regard - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"Grace Jones n'entre pas dans une chanson.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/grace-jones-fr\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-19T21:44:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2025\/06\/Couverture-Fb-2.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1640\" \/>\n\t<meta property=\"og:image:height\" content=\"924\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:site\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/grace-jones-fr\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/grace-jones-fr\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/#\\\/schema\\\/person\\\/a6a40143836f6c8a45376e05d9879346\"},\"headline\":\"Grace Jones – Marbre, basse et regard\",\"datePublished\":\"2026-09-19T21:44:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/grace-jones-fr\\\/\"},\"wordCount\":761,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/grace-jones-fr\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/riffsandbeats.com\\\/wp-content\\\/uploads\\\/2026\\\/09\\\/grace-jones.jpg\",\"keywords\":[\"Grace Jones\",\"New wave \\\/ Electro \\\/ Trip Hop\"],\"articleSection\":[\"Chronicles\",\"Singers\"],\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/grace-jones-fr\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/grace-jones-fr\\\/\",\"url\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/grace-jones-fr\\\/\",\"name\":\"Grace Jones - 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