{"id":46632,"date":"2026-07-19T09:24:33","date_gmt":"2026-07-19T08:24:33","guid":{"rendered":"https:\/\/couleursjazz.fr\/?p=46632"},"modified":"2026-07-19T16:12:48","modified_gmt":"2026-07-19T15:12:48","slug":"46632","status":"publish","type":"post","link":"https:\/\/couleursjazz.fr\/fr\/46632\/","title":{"rendered":"Ren\u00e9 Urtreger, le jazz fran\u00e7ais perd l\u2019un de ses ma\u00eetres."},"content":{"rendered":"

[vc_row type=\u00a0\u00bbin_container\u00a0\u00bb full_screen_row_position=\u00a0\u00bbmiddle\u00a0\u00bb column_margin=\u00a0\u00bbdefault\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb scene_position=\u00a0\u00bbcenter\u00a0\u00bb text_color=\u00a0\u00bbdark\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb row_border_radius=\u00a0\u00bbnone\u00a0\u00bb row_border_radius_applies=\u00a0\u00bbbg\u00a0\u00bb row_position_desktop=\u00a0\u00bbdefault\u00a0\u00bb row_position_tablet=\u00a0\u00bbinherit\u00a0\u00bb row_position_phone=\u00a0\u00bbinherit\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb shape_divider_position=\u00a0\u00bbbottom\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb][vc_column column_padding=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbinherit\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color=\u00a0\u00bb#AED6E0″ background_color_opacity=\u00a0\u00bb0.1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbsmall_depth\u00a0\u00bb column_border_radius=\u00a0\u00bb20px\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb column_position=\u00a0\u00bbdefault\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/1″ tablet_width_inherit=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb column_padding_type=\u00a0\u00bbdefault\u00a0\u00bb content_layout=\u00a0\u00bbdefault\u00a0\u00bb gradient_type=\u00a0\u00bbdefault\u00a0\u00bb][split_line_heading line_reveal_by_space_text_effect=\u00a0\u00bbtwist-bottom\u00a0\u00bb font_style=\u00a0\u00bbh2″ text_color=\u00a0\u00bb#363097″ content_alignment=\u00a0\u00bbdefault\u00a0\u00bb mobile_content_alignment=\u00a0\u00bbinherit\u00a0\u00bb animation_type=\u00a0\u00bbline-reveal-by-space\u00a0\u00bb link_target=\u00a0\u00bb_self\u00a0\u00bb text_content=\u00a0\u00bbRen\u00e9 Urtreger, le jazz fran\u00e7ais perd l\u2019un de ses ma\u00eetres.\u00a0\u00bb text_direction=\u00a0\u00bbdefault\u00a0\u00bb][\/split_line_heading][divider line_type=\u00a0\u00bbFull Width Line\u00a0\u00bb line_thickness=\u00a0\u00bb1″ divider_color=\u00a0\u00bbaccent-color\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb text_direction=\u00a0\u00bbdefault\u00a0\u00bb]<\/span><\/p>\n

Plut\u00f4t que de publier un \u00e9loge fun\u00e8bre de plus de Ren\u00e9 Urtreger, qui vient de nous quitter \u00e0 92 ans, couleursjazz.fr a choisi de re-publier une interview du pianiste par Thierry Qu\u00e9num initialement parue en 2001 dans le d\u00e9funt Piano Magazine.<\/i><\/b><\/span><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=\u00a0\u00bbin_container\u00a0\u00bb full_screen_row_position=\u00a0\u00bbmiddle\u00a0\u00bb column_margin=\u00a0\u00bbdefault\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb scene_position=\u00a0\u00bbcenter\u00a0\u00bb text_color=\u00a0\u00bbdark\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb row_border_radius=\u00a0\u00bbnone\u00a0\u00bb row_border_radius_applies=\u00a0\u00bbbg\u00a0\u00bb row_position_desktop=\u00a0\u00bbdefault\u00a0\u00bb row_position_tablet=\u00a0\u00bbinherit\u00a0\u00bb row_position_phone=\u00a0\u00bbinherit\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb shape_divider_position=\u00a0\u00bbbottom\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb][vc_column column_padding=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbinherit\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color=\u00a0\u00bb#73719F\u00a0\u00bb background_color_opacity=\u00a0\u00bb0.1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbsmall_depth\u00a0\u00bb column_border_radius=\u00a0\u00bb20px\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb column_position=\u00a0\u00bbdefault\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/1″ tablet_width_inherit=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb column_padding_type=\u00a0\u00bbdefault\u00a0\u00bb content_layout=\u00a0\u00bbdefault\u00a0\u00bb gradient_type=\u00a0\u00bbdefault\u00a0\u00bb][divider line_type=\u00a0\u00bbFull Width Line\u00a0\u00bb line_thickness=\u00a0\u00bb1″ divider_color=\u00a0\u00bbaccent-color\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb text_direction=\u00a0\u00bbdefault\u00a0\u00bb]<\/span><\/p>\n

Votre pr\u00e9c\u00e9dent disque en solo remonte \u00e0 une quinzaine d\u2019ann\u00e9es\u2026<\/b><\/span><\/p>\n

Oui, il comprenait essentiellement des compositions personnelles et des improvisations sur des standards auxquelles j\u2019avais donn\u00e9 de nouveaux titres. C\u2019\u00e9tait une pratique courante chez les beboppers des ann\u00e9es 40\/50, qui en avaient assez de jouer le r\u00e9pertoire de Broadway, de composer un th\u00e8me sur les harmonies d\u2019une chanson. Mais il fallait avoir les oreilles aff\u00fbt\u00e9es pour reconna\u00eetre, par exemple, que \u00ab\u00a0What is this thing called love\u00a0\u00bb, de Cole Porter, \u00e9tait devenu \u00ab\u00a0Hot House\u00bb .<\/span><\/p>\n

Vous l\u2019aviez \u00e9galement fait dans votre premier disque o\u00f9 \u00ab\u00a0Mercedes\u00a0\u00bb est bas\u00e9 sur \u00ab\u00a0Darn that Dream\u00a0\u00bb.<\/b><\/span><\/p>\n

J\u2019avais choisi ce th\u00e8me parce que j\u2019aime les morceaux avec des harmonies assez complexes. On a reproch\u00e9 au bop cette complexit\u00e9, mais quand on entend Charlie Parker prendre des solos sur ce type d\u2019harmonies, on voit qu\u2019il joue \u00e7a avec une aisance ! \u00c9videmment c\u2019\u00e9tait Parker, mais j\u2019ai toujours vis\u00e9 haut et il est rest\u00e9 mon musicien pr\u00e9f\u00e9r\u00e9. Tout le monde n\u2019a pas la capacit\u00e9 d\u2019inventer des belles m\u00e9lodies sur ce genre d\u2019harmonies, comme le faisaient Miles, Rollins ou Sonny Stitt. <\/i><\/b>Une de mes autres grandes influences a bien s\u00fbr \u00e9t\u00e9 Bud Powell mais, en fait, je crois que j\u2019aurais aim\u00e9 \u00eatre un souffleur, et ce qui me plaisait dans les phrases de Bud, c\u2019est qu\u2019elles chantaient comme des phrases de saxophone.<\/span><\/p>\n

Quelle impression cela vous fait-il, justement, que votre premier disque \u2014 un hommage \u00e0 Bud Powell \u2014, soit r\u00e9\u00e9dit\u00e9 au moment o\u00f9 sort votre dernier\u00a0?<\/b><\/span><\/p>\n

C\u2019est dr\u00f4le\u00a0! En me r\u00e9\u00e9coutant, j\u2019ai un peu l\u2019impression d\u2019entendre un chien fou qui se cogne partout. Les tempos sont tous trop rapides par rapport \u00e0 ce que je jouerais maintenant. Il y a de l\u2019\u00e9nergie, de la fra\u00eecheur, mais on courait un peu trop. Aujourd\u2019hui j\u2019attache beaucoup plus d\u2019importance \u00e0 la notion de tempo. Regardez chez Count Basie \u00e0 quel point la perfection du tempo de chaque morceau est primordiale. Je regarde donc ce disque comme une vieille photo de moi. Je trouve \u00e7a touchant. Mais sans vouloir faire d\u2019autosatisfaction, je pense que je suis meilleur maintenant qu\u2019il y a quarante-cinq ans, parce que j\u2019ai compris beaucoup de choses sur le jazz. \u00c0 l\u2019\u00e9poque, j\u2019\u00e9tais dou\u00e9 et on m\u2019a lanc\u00e9 sur la sc\u00e8ne comme un gamin de 20 ans qui \u00e9tait tomb\u00e9 dans la soupi\u00e8re du jazz. J\u2019avais baign\u00e9 dans cette musique depuis mon enfance parce que mes s\u0153urs a\u00een\u00e9es et leurs fianc\u00e9s en \u00e9taient fous. J\u2019ai donc eu la chance d\u2019\u00eatre tr\u00e8s t\u00f4t familier avec le swing, la mise en place \u2026, tout en pratiquant la musique classique.<\/span><\/p>\n

[\/vc_column_text][divider line_type=\u00a0\u00bbFull Width Line\u00a0\u00bb line_thickness=\u00a0\u00bb1″ divider_color=\u00a0\u00bbextra-color-3″ divider_opacity=\u00a0\u00bb84″][image_with_animation image_url=\u00a0\u00bb46641″ image_size=\u00a0\u00bbfull\u00a0\u00bb max_width=\u00a0\u00bb100%\u00a0\u00bb max_width_mobile=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbentrance\u00a0\u00bb animation=\u00a0\u00bbNone\u00a0\u00bb animation_movement_type=\u00a0\u00bbtransform_y\u00a0\u00bb hover_animation=\u00a0\u00bbnone\u00a0\u00bb alignment=\u00a0\u00bb\u00a0\u00bb border_radius=\u00a0\u00bbnone\u00a0\u00bb box_shadow=\u00a0\u00bbnone\u00a0\u00bb image_loading=\u00a0\u00bbdefault\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb text_direction=\u00a0\u00bbdefault\u00a0\u00bb]<\/span><\/p>\n

Est-ce que vos facilit\u00e9s vous ont permis de vous sentir en phase quand vous avez commenc\u00e9 \u00e0 accompagner des solistes am\u00e9ricains\u00a0?<\/b><\/span><\/p>\n

J\u2019ai d\u2019abord commenc\u00e9 \u00e0 jouer avec des Fran\u00e7ais et des Belges, ainsi que des Am\u00e9ricains qui r\u00e9sidaient \u00e0 Paris, mais il a bien s\u00fbr fallu que je fasse mes classes. Du fait de ma r\u00e9putation, et comme on n\u2019\u00e9tait pas nombreux, on me collait aussi avec des Am\u00e9ricains de passage, et comme je n\u2019\u00e9tais pas toujours \u00e0 la hauteur, je me faisais souvent engueuler. Heureusement il y avait Kenny Clarke\u00a0! Il m\u2019a appris des choses essentielles sur le travail dans une rythmique.\u00a0 <\/span>Il vivait ici et avait un autre \u00e9tat d\u2019esprit que les solistes qui d\u00e9barquaient. Eux n\u2019\u00e9taient pas toujours tr\u00e8s coop\u00e9ratifs. Certains \u00e9taient m\u00eame \u00e9pouvantables. Il faut dire qu\u2019\u00e0 l\u2019\u00e9poque il y avait pas mal d\u2019alcooliques et de junkies dans ce milieu. D\u2019ailleurs je suis moi aussi tomb\u00e9 l\u00e0-dedans et mon jeu s\u2019est compl\u00e8tement d\u00e9grad\u00e9, de m\u00eame que mon inspiration. Je me souviens qu\u2019un jour Stan Getz m\u2019a dit \u00ab Quand tu es en formes, tu es un des meilleurs pianistes que je connaisse, mais quand tu te d\u00e9fonces, on croirait entendre un amateur de seconde zone\u00a0! \u00bb.<\/span><\/p>\n

Comment vous en \u00eates vous sorti\u00a0?<\/b><\/span><\/p>\n

\u00c7a m\u2019a pris une vingtaine d\u2019ann\u00e9es, apr\u00e8s \u00eatre pass\u00e9 par l\u2019alcool comme substitut. Il y a eu un moment o\u00f9 je n\u2019avais m\u00eame plus envie de jouer de musique\u00a0: le jazz m\u2019ennuyait parce que la vie m\u2019ennuyait. Je tournais totalement en rond, alors j\u2019ai arr\u00eat\u00e9 d\u2019en jouer, d\u2019autant qu\u2019on arrivait \u00e0 l\u2019\u00e9poque du free auquel je ne comprenais rien et que je trouvais laid. R\u00e9trospectivement je pense que le free a ouvert des fen\u00eatres et qu\u2019il a emp\u00each\u00e9 que le jazz \u00e9touffe, parce que le bebop manquait d\u2019air.\u00a0 <\/span>Avec ses exag\u00e9rations, le free a fait bouger les choses. Mais pour en revenir \u00e0 mon parcours, en fait je consid\u00e8re que j\u2019ai eu deux vies, et celle qui a commenc\u00e9 quand j\u2019ai arr\u00eat\u00e9 l\u2019alcool, apr\u00e8s la drogue, n\u2019a que 25 ans. C\u2019est pour cela que, bien que j\u2019en aie aujourd\u2019hui 67, je ne me sens pas us\u00e9. Je suis en pleine forme, ouvert \u00e0 des nouveaut\u00e9s. Je me remets en question par rapport \u00e0 des styles de musiques que j\u2019ai m\u00e9pris\u00e9s autrefois et je me rends compte qu\u2019il y a autant de fa\u00e7ons de faire de la musique que de vivre. Il faut dire que Daniel Humair a eu une excellente influence sur moi \u00e0 ce niveau.<\/span><\/p>\n

Dans les ann\u00e9es 60, vous vous \u00eates tourn\u00e9 vers la vari\u00e9t\u00e9\u2026<\/b><\/span><\/p>\n

J\u2019en avais assez de jouer toujours les m\u00eames th\u00e8mes dans les clubs de jazz, sans \u00eatre bien pay\u00e9. La nouvelle tendance free ne me convenait pas, par contre j\u2019aimais bien certains th\u00e8mes pop, de m\u00eame que le rhythm \u2018n\u2019 blues et l\u2019utilisation du piano \u00e9lectrique qui commen\u00e7ait. Un soir que je jouais au Blue Note, Claude Fran\u00e7ois est venu avec son impresario, Paul Lederman, et il m\u2019a propos\u00e9 de l\u2019accompagner. Comme j\u2019avais une famille \u00e0 nourrir, j\u2019ai accept\u00e9 et j\u2019ai abandonn\u00e9 le jazz. La premi\u00e8re ann\u00e9e, je me suis beaucoup ennuy\u00e9 parce que, sur le plan musical, ce n\u2019\u00e9tait pas tr\u00e8s \u00e9panouissant et dans ce genre de formation, on est un musicien interchangeable. Mais, apr\u00e8s une interruption, je suis retourn\u00e9 avec Claude Fran\u00e7ois vers 1967 et c\u2019est devenu plus int\u00e9ressant\u00a0: il y avait des danseuses, c\u2019\u00e9tait la pleine vogue d\u2019une musique noire que j\u2019ai toujours beaucoup aim\u00e9e\u00a0: celle de James Brown ou d\u2019Otis Redding. \u00c0 l\u2019\u00e9poque le jazz et le binaire ne se m\u00e9langeaient pas comme aujourd\u2019hui, c\u2019\u00e9tait donc une occasion de jouer cette musique qui bougeait et swinguait. Malgr\u00e9 tout, \u00e0 un moment, du fait de mes probl\u00e8mes personnels, j\u2019ai senti le besoin d\u2019arr\u00eater compl\u00e8tement la musique parce que je n\u2019aimais plus \u00e7a.<\/span><\/p>\n

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column_border_style=\u00a0\u00bbsolid\u00a0\u00bb column_padding_type=\u00a0\u00bbdefault\u00a0\u00bb content_layout=\u00a0\u00bbdefault\u00a0\u00bb gradient_type=\u00a0\u00bbdefault\u00a0\u00bb][divider line_type=\u00a0\u00bbFull Width Line\u00a0\u00bb line_thickness=\u00a0\u00bb1″ divider_color=\u00a0\u00bbaccent-color\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb text_direction=\u00a0\u00bbdefault\u00a0\u00bb]<\/span><\/p>\n

Qu\u2019est-ce qui vous y a ramen\u00e9 ?<\/b><\/span><\/p>\n

J\u2019ai beaucoup d\u2019orgueil, et \u00e0 un moment j\u2019ai r\u00e9alis\u00e9 que j\u2019\u00e9tais devenu un \u00ab\u00a0has been<\/i>\u00a0\u00bb, qu\u2019aucun jeune musicien ne savait qui j\u2019\u00e9tais. Je donnais encore de temps en temps des concerts, mais je n\u2019y croyais pas vraiment\u00a0: je jouais toujours les m\u00eames morceaux bop, je ne sortais pas de l\u2019influence de Bud Powell. J\u2019avais une conception tr\u00e8s puriste de cette musique, et pour moi il \u00e9tait impensable d\u2019y m\u00ealer le plaisir que je pouvais avoir dans la vari\u00e9t\u00e9. Bref, j\u2019\u00e9tais tr\u00e8s bloqu\u00e9. Puis un jour j\u2019ai d\u00e9cid\u00e9 de r\u00e9agir, d\u2019arr\u00eater de boire et de me reprendre en main, et \u00e0 partir de ce moment je me suis rendu compte \u00e0 quel point j\u2019aimais la musique, j\u2019aimais le jazz, j\u2019aimais la vie. J\u2019avais 42 ans et \u00e7a fait 25 ans que cette nouvelle vie dure.<\/span><\/p>\n

Avec le recul de votre carri\u00e8re, que pensez vous de la sc\u00e8ne jazz actuelle, particuli\u00e8rement des jeunes\u00a0?<\/b><\/span><\/p>\n

Je ne suis pas cela de tr\u00e8s pr\u00e8s car je vis \u00e0 la campagne, mais j\u2019ai un peu peur que le jazz devienne une musique de gens tr\u00e8s cal\u00e9s, qui ont tous fait des \u00e9tudes. Une des choses que j\u2019aimais dans cette musique, c\u2019est qu\u2019elle \u00e9tait faite par des gens qui avaient tous des personnalit\u00e9s diff\u00e9rentes. Rien qu\u2019au t\u00e9nor, on pouvait citer une douzaine de gens, de Coleman Hawkins \u00e0 John Coltrane en passant par Lester Young, Sonny Rollins ou Stan Getz, dont le jeu n\u2019avait rien \u00e0 voir l\u2019un avec l\u2019autre, et qu\u2019on reconnaissait tout de suite. L\u2019\u00e9cole c\u2019\u00e9taient les grands orchestres, les jam-sessions. Ces b\u0153ufs sur les standards, c\u2019\u00e9tait quand m\u00eame le ciment du jazz : le plaisir d\u2019arriver quelque part et d\u2019avoir un langage commun, de se lancer, comme \u00e7a, dans la musique apr\u00e8s s\u2019\u00eatre mis d\u2019accord sur la tonalit\u00e9 et le tempo. Il y a l\u00e0 un partage, une amiti\u00e9. Mais quand je vois actuellement de jeunes musiciens qui, quand ils se rencontrent, se font la bise comme des fr\u00e8res, je trouve \u00e7a touchant\u00a0: ils ont la m\u00eame vie, plein de choses en commun m\u00eame s\u2019ils viennent d\u2019horizons diff\u00e9rents. Le jazz c\u2019est aussi un ciment humain\u00a0! Il est vrai que les conservatoires font un travail formidable, qui correspond \u00e0 notre \u00e9poque, mais il ne faudrait pas que ces jeunes tombent dans le conformisme. Il faudrait qu\u2019ils ouvrent leurs ailes. Quand j\u2019\u00e9tais jeune et qu\u2019il fallait d\u00e9chiffrer les accords jazz \u00e0 l\u2019oreille, on \u00e9tait bien content s\u2019il y avait un copain un peu plus exp\u00e9riment\u00e9 qui pouvait nous donner des tuyaux. L\u00e0 il y avait une r\u00e9elle transmission, et j\u2019esp\u00e8re qu\u2019elle existe toujours.<\/span><\/p>\n

Est-ce que de jeunes pianistes viennent vous voir pour vous demander des conseils\u00a0?<\/b><\/span><\/p>\n

Certains, mais plut\u00f4t dans une optique de revival\u00a0: pour apprendre des choses sur Bud Powell parce qu\u2019ils savent que je l\u2019ai connu. C\u2019est vrai, mais je l\u2019ai int\u00e9gr\u00e9 et je suis pass\u00e9 \u00e0 autre chose parce que \u00e7a correspondait \u00e0 une \u00e9poque. Alors je leur dis qu\u2019il ne faut pas se cantonner \u00e0 reprendre ce qui a d\u00e9j\u00e0 \u00e9t\u00e9 fait, qu\u2019il faut aller plus loin. Par exemple l\u2019autre jour, j\u2019ai entendu le groupe du saxophoniste Sylvain Beuf reprendre un th\u00e8me de Sonny Rollins et j\u2019ai trouv\u00e9 formidable la fa\u00e7on qu\u2019ils avaient de se le r\u00e9approprier.<\/span><\/p>\n

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Un musicien avec qui vous avez jou\u00e9 et qui n\u2019a pas cess\u00e9 d\u2019\u00e9voluer, c\u2019est Miles Davis. Avez-vous gard\u00e9 des contacts avec lui apr\u00e8s l\u2019enregistrement de la musique du film \u00ab\u00a0Ascenseur pour l\u2019\u00e9chafaud\u00a0\u00bb\u00a0en 57\u00a0? <\/b><\/span><\/p>\n

Pas vraiment. En fait Pierre Michelot, Christian Garros et moi avons fait avec lui, en 56, une tourn\u00e9e europ\u00e9enne qui s\u2019est tr\u00e8s bien pass\u00e9e et au cours de laquelle il m\u2019a fait faire d\u2019\u00e9normes progr\u00e8s. \u00c7a a donc \u00e9t\u00e9 un compliment pour Michelot et moi quand il nous a recontact\u00e9s l\u2019ann\u00e9e suivante, ainsi que Barney Wilen, pour cette musique de film et un concert \u00e0 Amsterdam o\u00f9 Kenny Clarke tenait la batterie. Mais \u00e0 cette \u00e9poque Miles luttait lui-m\u00eame contre la drogue alors que j\u2019\u00e9tais en plein dedans, et par la suite il n\u2019a pas cherch\u00e9 \u00e0 maintenir le contact. En ce qui concerne ses \u00e9volutions, il y a eu des choses formidables, entre autres avec Gil Evans et John Coltrane. Mais pour ma part, \u00e0 partir d\u2019un certain moment, sa fa\u00e7on de s\u2019habiller, son d\u00e9sir de plaire aux jeunes m\u2019ont inqui\u00e9t\u00e9 parce que je craignais que le jazz ne d\u00e9rive vers une musique o\u00f9 l\u2019attitude, la frime sur sc\u00e8ne prendraient trop de place.<\/span><\/p>\n

Vous allez de nouveau participer \u00e0 un film, avec le trio HUM\u00a0au sein duquel vous jouez avec Pierre Michelot et Daniel Humair\u2026<\/b><\/span><\/p>\n

C\u2019est un film de Claude Berry, avec Jean Pierre Bacri et Emilie Dequenne, qui s\u2019appellera \u00ab\u00a0Une femme de m\u00e9nage\u00a0\u00bb. Dans le sc\u00e9nario, Bacri \u2014 que j\u2019adore \u2014 est ing\u00e9nieur du son et il vient nous \u00e9couter dans un club. Je suis un ami d\u2019enfance de Claude Berri et j\u2019ai d\u00e9j\u00e0 fait des musiques de film pour lui. Au d\u00e9part il voulait me faire enregistrer quelque chose tout seul dans un studio, mais quand je lui ai parl\u00e9 de HUM, \u00e7a l\u2019a int\u00e9ress\u00e9 et il a d\u00e9cid\u00e9 de nous filmer en action.<\/span><\/p>\n

Je sais que vous \u00eates un joueur d\u2019\u00e9checs passionn\u00e9. Peut-on faire un parall\u00e8le entre les \u00e9checs et le jazz\u00a0?<\/b><\/span><\/p>\n

D\u2019une certaine fa\u00e7on on peut faire une relation entre la rapidit\u00e9 de pens\u00e9e dans l\u2019improvisation en tempo rapide et certaines parties d\u2019\u00e9checs qu\u2019on appelle \u00ab\u00a0blitz\u00a0\u00bb, o\u00f9 il faut r\u00e9fl\u00e9chir tr\u00e8s vite. De m\u00eame qu\u2019il y a des standards en jazz, aux \u00e9checs, il y a des sch\u00e9mas d\u2019attaque ou de d\u00e9fense bien \u00e9tablis\u00a0: les deux joueurs savent \u00e0 peu pr\u00e8s o\u00f9 ils vont, et \u00e0 partir d\u2019un certain moment commence l\u2019improvisation. Par contre il y a une notion de lutte et de comp\u00e9tition dans les \u00e9checs qui n\u2019existe heureusement pas trop dans le jazz.\u00a0 <\/span>Et quand la partie dure longtemps intervient une notion de construction et de pr\u00e9cision qui rapprocherait plut\u00f4t cela de la musique classique\u00a0: il n\u2019y a pas le swing de la partie rapide\u00a0!<\/span><\/p>\n

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