2020 Blues Hall of Fame Classic of Blues Literature Jimi Hendrix called Earl Hooker "the master of the wah-wah pedal." Buddy Guy slept with one of Hooker's slides beneath his pillow hoping to tap some of the elder bluesman's power. And B. B. King has said repeatedly that, for his money, Hooker was the best guitar player he ever met. Tragically, Earl Hooker died of tuberculosis in 1970 when he was on the verge of international success just as the Blues Revival of the late sixties and early seventies was reaching full volume. Second cousin to now-famous bluesman John Lee Hooker, Earl Hooker was born in Mississippi in 1929, and reared in black South Side Chicago where his parents settled in 1930. From the late 1940s on, he was recognized as the most creative electric blues guitarist of his generation. He was a "musician's musician," defining the art of blues slide guitar and playing in sessions and shows with blues greats Muddy Waters, Junior Wells, and B. B. King. A favorite of black club and neighborhood bar audiences in the Midwest, and a seasoned entertainer in the rural states of the Deep South, Hooker spent over twenty-five years of his short existence burning up U.S. highways, making brilliant appearances wherever he played. Until the last year of his life, Hooker had only a few singles on obscure labels to show for all the hard work. The situation changed in his last few months when his following expanded dramatically. Droves of young whites were seeking American blues tunes and causing a blues album boom. When he died, his star's rise was extinguished. Known primarily as a guitarist rather than a vocalist, Hooker did not leave a songbook for his biographer to mine. Only his peers remained to praise his talent and pass on his legend. "Earl Hooker's life may tell us a lot about the blues," biographer Sebastian Danchin says, "but it also tells us a great deal about his milieu. This book documents the culture of the ghetto through the example of a central character, someone who is to be regarded as a catalyst of the characteristic traits of his community." Like the tales of so many other unheralded talents among bluesmen, Earl Hooker, Blues Master, Hooker's life story, has all the elements of a great blues song--late nights, long roads, poverty, trouble, and a soul-felt pining for what could have been.
Nouvelle édition augmentéeAretha Franklin a surgi dans notre quotidien, au cœur d’un été 1967 empreint de violence dans les ghettos de l’Amérique noire, en exigeant le RESPECT alors que résonnaient les premiers échos de la Black Pride et du féminisme. La suite de sa carrière l’a vue se métamorphoser en diva internationale tout en conservant sa couronne de Queen of Soul.Déjà mère lorsqu’elle se trouve jetée dans l’arène du spectacle à l’âge de douze ans avant d’accéder au rang de superstar à vingt-cinq, Aretha Franklin est bien davantage qu’une grande chanteuse. Son histoire illustre l’évolution de la société afro-américaine dont elle restera une figure historique et politique, aux côtés de Martin Luther King et de Rosa Parks.Cette biographie de Sebastian Danchin retrace le parcours en ligne brisée d’une artiste engagée et fière, d’une natural woman qui a fait du culte de la simplicité et du naturel l’instrument de l’émancipation sociale de sa communauté.
Simple port fluvial du Nouveau Monde, Memphis s'est pourtant inscrite au cours du XXe siècle sur l'atlas des grandes capitales culturelles. La musique jaillie de la ville du coton a profondément et pour longtemps marqué les musiciens du monde entier : les œuvres de B.B. King, Memphis Slim, Elvis Presley, Carl Perkins, Otis Redding, Aretha Franklin ou Al Green figurent d'ores et déjà au patrimoine de l'humanité. Avec humour et inspiration, Jean-Jacques Milteau et Sebastian Danchin tracent un portrait haut en couleurs de Memphis à travers l'histoire des trois genres musicaux dont elle a été le berceau. Le blues des champs de coton qui s'épanouit dans les bouges et les tripots de Beale Street ; le rock 'n' roll d'Elvis Presley, champion blanc du rhythm & blues noir ; la musique soul enfin qui continue d'affecter notre quotidien. Aujourd'hui encore, derrière les avenues désertes du centre-ville demeure une ville fascinante, au son fabuleux.
William Smithback, reporter au New York Times, et sa femme Nora Kelly, archéologue au Muséum d'Histoire naturelle, sont sauvagement agressés dans leur appartement de l'Upper West Side de Manhattan. Si Nora en réchappe, Smithback, lui, est tué...Le meurtrier est rapidement identifié par des témoins et des caméras de vidéosurveillance. Il s'agit de leur étrange et sinistre voisin, Fearing... pourtant mort et enterré depuis plusieurs jours déjà !Un tel mystère ne peut laisser insensible le célèbre inspecteur Pendergast, du FBI. Épaulé par son acolyte, l'inspecteur Vincent d'Acosta, il fera tout pour retrouver le meurtrier de son ami.Leur enquête va les mener à une secte secrète, La Ville, cachée depuis deux siècles dans la partie boisée de Manhattan. Y a-t-il un rapport entre cette secte, qui se livre entre autres à des sacrifices d'animaux, et la résurrection en zombies tueurs de Fearing puis de... Smithback ?L'énigme va donner du fil à retordre à nos deux enquêteurs, d'autant qu'Alexander Esteban, ancien réalisateur spécialiste de films gore de série Z, entre dans la valse. Forcément macabre... Quelle est la vraie raison de sa haine farouche à l'égard de La Ville ?
2020 Blues Hall of Fame Classic of Blues Literature Jimi Hendrix called Earl Hooker “the master of the wah-wah pedal.” Buddy Guy slept with one of Hooker's slides beneath his pillow hoping to tap some of the elder bluesman's power. And B. B. King has said repeatedly that, for his money, Hooker was the best guitar player he ever met. Tragically, Earl Hooker died of tuberculosis in 1970 when he was on the verge of international success just as the Blues Revival of the late sixties and early seventies was reaching full volume. Second cousin to now-famous bluesman John Lee Hooker, Earl Hooker was born in Mississippi in 1929, and reared in black South Side Chicago where his parents settled in 1930. From the late 1940s on, he was recognized as the most creative electric blues guitarist of his generation. He was a “musician's musician,” defining the art of blues slide guitar and playing in sessions and shows with blues greats Muddy Waters, Junior Wells, and B. B. King. A favorite of black club and neighborhood bar audiences in the Midwest, and a seasoned entertainer in the rural states of the Deep South, Hooker spent over twenty-five years of his short existence burning up U.S. highways, making brilliant appearances wherever he played. Until the last year of his life, Hooker had only a few singles on obscure labels to show for all the hard work. The situation changed in his last few months when his following expanded dramatically. Droves of young whites were seeking American blues tunes and causing a blues album boom. When he died, his star's rise was extinguished. Known primarily as a guitarist rather than a vocalist, Hooker did not leave a songbook for his biographer to mine. Only his peers remained to praise his talent and pass on his legend. “Earl Hooker's life may tell us a lot about the blues,” biographer Sebastian Danchin says, “but it also tells us a great deal about his milieu. This book documents the culture of the ghetto through the example of a central character, someone who is to be regarded as a catalyst of the characteristic traits of his community.” Like the tales of so many other unheralded talents among bluesmen, Earl Hooker, Blues Master, Hooker's life story, has all the elements of a great blues song—late nights, long roads, poverty, trouble, and a soul-felt pining for what could have been.
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