{"id":9802,"date":"2018-12-19T09:00:00","date_gmt":"2018-12-19T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/grace-jones-fr\/"},"modified":"2026-11-09T07:11:15","modified_gmt":"2026-11-09T06:11:15","slug":"grace-jones-fr","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/artistes\/grace-jones-fr\/","title":{"rendered":"Grace Jones – Marbre, basse et regard"},"content":{"rendered":"

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Compass Point, Nightclubbing, le regard<\/h3>\n

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Grace Jones est n\u00e9e Beverly Grace Jones en 1948 \u00e0 Spanish Town, Jama\u00efque et a grandi en partie sous l’autorit\u00e9 stricte de son grand-p\u00e8re, un pr\u00e9dicateur pentec\u00f4tiste qui interdisait la plupart des divertissements populaires. Sa famille s’est install\u00e9e \u00e0 Syracuse, New York, quand elle avait treize ans. Elle a commenc\u00e9 sa carri\u00e8re de mannequin \u00e0 New York \u00e0 la fin des ann\u00e9es 1960, s’est install\u00e9e \u00e0 Paris et est devenue un pilier du circuit de la haute couture dans la premi\u00e8re moiti\u00e9 des ann\u00e9es 70. La carri\u00e8re musicale a commenc\u00e9 comme une extension de ce monde : Portfolio (1977), Fame (1978) et Muse (1979) \u00e9taient des productions eurodisco avec une comp\u00e9tence professionnelle et un c\u00f4t\u00e9 personnel limit\u00e9.<\/p>\n

La transformation est venue \u00e0 Nassau. En 1980, elle s’est envol\u00e9e pour les Compass Point Studios aux Bahamas et a enregistr\u00e9 avec Sly Dunbar et Robbie Shakespeare, la section rythmique jama\u00efcaine qui avait \u00e9t\u00e9 l’\u00e9pine dorsale de la production reggae pendant une d\u00e9cennie. La combinaison n’\u00e9tait pas \u00e9vidente : un mannequin jama\u00efcain form\u00e9 en France enregistrant avec les architectes du rythme reggae. Ce qui en est sorti, c’est Warm Leatherette (1980), un album qui couvrait Joy Division, Roxy Music et le reggae \u00e0 travers le m\u00eame filtre : basse tr\u00e8s en avant, rythme pr\u00e9cis, arrangements qui laissaient de l’espace plut\u00f4t que de le remplir.<\/p>\n

Nightclubbing (1981) est all\u00e9 plus loin. \u00ab\u00a0Pull Up to the Bumper\u00a0\u00bb est arriv\u00e9 sur une ligne de basse funk que Dunbar et Shakespeare ont construite de toutes pi\u00e8ces. \u00ab\u00a0Nightclubbing,\u00a0\u00bb une reprise de la chanson de Bowie\/Pop issue de The Idiot, \u00e9tait interpr\u00e9t\u00e9e \u00e0 un tempo si lent et sec qu’il semblait que l’expressionnisme allemand de l’original avait \u00e9t\u00e9 vid\u00e9 et remplac\u00e9 par quelque chose de plus clinique. \u00ab\u00a0I’ve Seen That Face Before (Libertango)\u00a0\u00bb s’appuyait sur un rythme de tango de Piazzolla avec des mots parl\u00e9s en fran\u00e7ais par-dessus.<\/p>\n

La composante visuelle \u00e9tait aussi d\u00e9lib\u00e9r\u00e9e que la composante musicale. Jean-Paul Goude, son partenaire pendant une grande partie de cette p\u00e9riode, a construit un langage photographique et vid\u00e9o pour Jones qui correspondait \u00e0 ce que Dunbar et Shakespeare construisaient soniquement : g\u00e9om\u00e9trique, contr\u00f4l\u00e9, \u00e0 fort contraste, sans baisser cette tension. La coupe en brosse plate, la peinture corporelle, le regard : ce n’\u00e9tait pas des accessoires \u00e0 la musique mais la m\u00eame m\u00e9thode appliqu\u00e9e \u00e0 une surface diff\u00e9rente.<\/p>\n

Slave to the Rhythm (1985) \u00e9tait produit par Trevor Horn et est arriv\u00e9 avec tout le poids orchestral et l’ambition pop. Il pla\u00e7ait Jones dans un contexte grand public sans lui demander d’ajuster son registre fondamental. Le titre courait sur sept versions diff\u00e9rentes dans l’album. Island Life (1985) a rassembl\u00e9 les moments forts et a pr\u00e9sent\u00e9 le catalogue aux auditeurs arriv\u00e9s en retard.<\/p>\n

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La voix se situe dans les m\u00e9diums et ne recherche pas la beaut\u00e9. Jones chante avec autorit\u00e9 plut\u00f4t qu’avec chaleur, ce qui est un choix sp\u00e9cifique et inhabituel dans la pop. Le phras\u00e9 est d\u00e9lib\u00e9r\u00e9 ; les notes sont tenues plut\u00f4t que d\u00e9cor\u00e9es. Combin\u00e9 avec le registre grave de Dunbar-Shakespeare, l’effet est pesant et direct d’une fa\u00e7on que la plupart des musiques pop de l’\u00e9poque n’\u00e9taient pas.<\/p>\n

Les disques de Donna Summer s’appuient sur une douceur disco, une voix qui peut laisser passer la vuln\u00e9rabilit\u00e9 et une invitation \u00e0 danser par le plaisir. Jones ne prend pas ce chemin. Annie Lennox garde une m\u00e9lodie plus nette et un passage pop-rock vers un large public. Jones met l’id\u00e9e et la confrontation d’abord. Ce qui la distingue, c’est que le mix de basse, le registre vocal, le regard et le tempo refusent la douceur en m\u00eame temps.<\/p>\n

Commencez par Nightclubbing pour entendre la m\u00e9thode en entier. Warm Leatherette pour la version plus brute o\u00f9 l’approche \u00e9tait encore en formation. Slave to the Rhythm pour la version la plus polie et orchestr\u00e9e. \u00ab\u00a0Pull Up to the Bumper,\u00a0\u00bb \u00ab\u00a0Slave to the Rhythm\u00a0\u00bb et \u00ab\u00a0Libertango\u00a0\u00bb sont les trois titres qui d\u00e9finissent l’\u00e9ventail. Pour l’argument visuel, la pochette de Island Life et les photographies de Goude sont indissociables de la musique qu’elles documentent.<\/p>\n

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Grace Jones n’entre pas doucement dans une chanson : les sessions Compass Point, Nightclubbing et une m\u00e9thode visuelle aussi stricte que la basse.<\/p>\n","protected":false},"author":1,"featured_media":9795,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[292,287],"tags":[1094,457],"class_list":["post-9802","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-artistes","category-chroniques","tag-grace-jones-fr","tag-newwave-electro-triphop-fr","post_format-post-format-video"],"yoast_head":"\nGrace Jones - Marbre, basse et regard - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Grace Jones n'entre pas doucement dans une chanson : les sessions Compass Point, Nightclubbing et une m\u00e9thode visuelle aussi stricte que la basse.\" \/>\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\/artistes\/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 - 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