By Catherine Robbe-Grillet
Beaucoup connaissent Robbe-Grillet mais qui connaît Alain ? Il ne s'agit pas ici de livrer une biographie d'A.R.-G. Ni de revenir sur les sujets abordés par lui dans ses Romanesques, ailleurs, et par moi dans Jeune Mariée (Nouveau Roman, combats littéraires ou politiques, cinéma, etc.) Mon projet est plus limité : mettre en lumière certaines facettes de notre vie de couple, mettre l'accent sur quelques points de sa personnalité saisis à travers nos objets intimes ou quotidiens et, par touches successives, compléter de son versant conjugal son photograph publique. Sans plus. » Dans ce texte qui se déroule sous los angeles forme d’un abécédaire aux entrées a priori ludiques (Agendas à Yaourt), Catherine Robbe-Grillet restitue les gestes de l’homme qui partagea sa vie cinquante sept ans. On le découvre insensible à los angeles douleur body, mais dévasté par les dégâts occasionnés par los angeles tempête sur son parc, passionné par ses cactées auxquels il accordait une recognition exceptionnelle, ou grand beginner de vin, de thé et de pots vides, tandis qu’il exécrait le ketchup. Catherine Robbe-Grillet revient également sur certains malentendus comme l. a. raison pour laquelle son mari ne se rendit pas aux obsèques de son éditeur ami Lindon. Elle pose un regard lucide et acéré sur certains épisodes de leur vie, tel l’établissement d’un contrat de prostitution conjugale qu’elle ne signa jamais, ou los angeles liaison de son époux avec l’actrice Catherine Jourdan qui inquiéta leurs proches, mais qu’elle assuma totalement, n’ayant jamais redouté d’être abandonnée.
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Extra resources for Alain
It was very difcult. You’d have to copy it, cut it, try it and then abandon the whole thing until the next day and try it again. ” Macero used a process called a three-machine splice. “You make the cut, you put the good part on one of the machines. You take the next part that you’re going to cut into. You want to be able to echo that. So you put that on to another machine and the third machine is the nal master. So when the rst one goes through you kick in the second machine to make a bridge.
Until then, Miles’s bassists had come from the jazz world and their rst instrument was the double-bass. But Henderson was primarily a funk bassist, who had played with Marvin Gaye, Aretha Franklin and Stevie Wonder and on various sessions at Motown Records in Detroit. His mentor was the Motown bassist James Jamerson. However, it would be wrong to describe Henderson as purely a funk bassist. Henderson may have only played funk bass with Miles’s band but: “We played everything in Detroit. It wasn’t just R&B.
In retrospect, I would have taken more time to properly compose some complete pieces, not just the fragmentary sketches that turned out to be the basis for the pieces that make up the album On The Corner, the tracks ‘Ife’ [on the Big Fun album], and the hitherto unreleased ‘Jabali’. As it was, there was no time to execute that, and what we have is the result of a series of rather basic jams, using the sketches as a general guide. Perhaps the thematic materials were just not enough to move the level of performance to an advanced step on from Bitches Brew, which is what I was looking for.
Alain by Catherine Robbe-Grillet