Le mort du jour

Tonio Marinescu

Alphonse Mouzon, 1er batteur de Weather Report

Carrie Fisher

Jean Karakos (BYG / Celluloïd)

le batteur de Game Theory: Gil Ray: https://en.wikipedia.org/wiki/Gil_Ray

John Wetton. Sale temps pour les bassistes de King Crimson.

Bobby Freeman

David Axelrod.

http://www.stereogum.com/1923066/r-i-p-david-axelrod/obit/

Sonny Geraci (The Outsiders)

George "The Animal" Steele

Bill Paxton

Hiroshi Kamayatsu chanteur des Spiders

Jim Fuller des Surfaris

Peut-être était-il trop célèbre pour qu'on en parle ici. Du coup, je vous offre deux morts pour le prix d'un : Chuck Berry avec Nic Potter, bassiste primitif de VdGG.

J. Geils.

Bon, il réparait des bagnoles depuis 30 ans donc ça ne change pas grand chose au paysage musical, mais ça me fiche quand même un coup.

Bruce Langhorne

http://www.factmag.com/2017/04/14/bruce-langhorne-mr-tambourine-man-died/

Freddy Pompeii (Viletones/Secrets)

Les grunges sont en état de choc
Chris Cornell

Relativement insensible au grunge perso, mais c'était une sacrée voix

Anita Pallenberg

Glen Campbell

Gros coup de blues : disparition de Phil Miller, splendide guitariste de Matching Mole, Hatfield & the north, etc. 
L'épiphanie du guitariste canterburien. 
Pas moins. 
Compositeur aussi de cette magnifique chanson : 

C'est le grand gars à gauche sur la pochette de Little red record et sur la photo :

Bill McCormick, le bassiste de M.M., a écrit ça sur FB:
I had the honour of playing along side Phil Miller for the best part of a year, from the autumn of 1971 to September 1972. We had never met before Robert Wyatt invited the two of us and David Sinclair down to his little terraced house in St Luke’s Mews just round the corner from what was then Island Studios. There, in the garage, we wrangled various bits of music into or out of shape: Las Vegas Tango, Beware of Darkness, then things that appeared on the first Mole album. Phil showed us one of his pieces: Part of the Dance, and that was brought on board. 
Later, as Mole became more of a band than a way for Robert to exorcise some personal and musical demons came other pieces: Lything and Gracing, Nan True's Hole and the beautiful God Song. Gigs became rather more structured than the musical ‘free for alls’ that characterised some of the earliest performances. Throughout, Phil’s playing was one of the distinctive voices which gave Mole whatever presence it established. Why? Because no-one played guitar quite like Phil Miller. And I mean no-one.
Phil was tall, scruffy, somewhat diffident and played extraordinary guitar parts, sometimes with his eyes closed, sometimes with his tongue out. Often both at the same time. His hair at the time wouldn’t have been out of place in the court of Charles II and he had somehow mastered the art of the permanent three-day beard.
Phil, boiler-suited, or baggy trousered with some exotic sleeveless jumper, guitar high on his chest played undemonstrative guitar with a rare thoughtfulness and fluidity, thinking out solos, not just playing rote-learned blues, rock or jazz clichés. His compositions reflected that approach. Never overly complex but always melodic and dynamic.
His contribution to whatever made Matching Mole was considerable, both in the studio and on stage.
I had heard the unhappy news that he was not well, but to have his musical voice cut off at such a relatively young age is tragic. Unfair. I am sorry to say that soon after Mole broke up we lost contact. On the upside, however, that means I will always remember him as he was in 72. A musician of acute originality. A quiet man full of musical ideas and creative ambition. An artist.
And bloody tall.
I wish you well, Phil. Goodbye, mate

George Young

Mike Hudson

Fred Cole