| 1. Generique |
| 2. Lassassinat De Carala |
| 3. Sur Lautoroute |
| 4. Julien Dans Lascenseur |
| 5. Florence Sur Les Champs-Elysees |
| 6. Diner Au Motel |
| 7. Evasion De Julien |
| 8. Visite Du Vigile |
| 9. Au Bar Du Petit Bac |
| 10. Chez Le Photographe Du Motel |
| 11. Nuit Sur Les Champs-Elysees (Take 1) |
| 12. Nuit Sur Les Champs-Elysees (Take 2) |
| 13. Finalk (Take 1) |
| 14. Final (Take 2) |
| 15. Le Petit Bal (Take 1) |
| 16. Sequence Voiture (Take 1) |
Editorial Reviews
Product Description
Japanese 24 bit remastered edition of Davis' score to the 1957 Louis Malle thriller Lift To The Scaffold featuring 16 previously unreleased alternate takes. Packaged in a paper sleeve for the initial pressing only.
He chose an overlooked noir novel about a man who kills his lover's husband, only to get trapped in the elevator while fleeing. His car gets stolen; complications multiply. Meanwhile, we --- and his lover --- wait to see if he'll get free before the police arrive.
Malle co-authored a clever, stylish script. He gave the film an ironic title: "Ascenseur Pour L'Echafaud," or "Elevator to the Gallows." As the lover, he hired Jeanne Moreau, a successful but not incendiary stage actress. And as his cinematographer, he chose the young innovator, Henri Decae.
And then this first-time director got Miles Davis to improvise and record the soundtrack.
Davis was then at the pinnacle. He had revolutionized jazz once already. Now he was turning away from hard-charging bursts of sound to a cooler, modal style that would change the dominant style of American jazz once again.
What could he have possibly seen in Louis Malle?
Fun.
"I was in Paris to play as a guest soloist for a few weeks," Davis later explained. "I met Louis through Juliette Greco. He told me he had always loved my music. I agreed to write the musical score for his film because it was a great learning experience --- I had never written a music score for a film before."
Davis didn't really "write" this one, either. Oh, he said he "looked at the rushes of the film and got musical ideas to write down." But his real genius was in hiring the great American jazz drummer Kenny Clarke and three French musicians and putting them in an environment that mirrored the mood of the movie. As Davis recalled: "Since it was about a murder and was supposed to be a suspense movie, I used this old, gloomy, dark building where I had the musicians play. I thought it would give the music atmosphere, and it did."
The soundtrack was recorded in a single, champagne-fueled session as Moreau and Malle looked on. At one point, a bit of Davis's lip blew into his mouthpiece; he pressed on. There were repeated takes of certain ideas; a number of tracks on the soundtrack are variations of earlier cuts.
No matter. This is one of the greatest jazz soundtracks in film --- some say the greatest. The trumpet couldn't be more evocative: mostly slow and breathy, thoughtful and tender, lonely and okay about it. In a word: cool. The quintessence of cool.
There was much to praise about the film, It used Paris like nothing before it; Malle presaged the New Wave. The final shot was made with a cameraman in a wheelchair; it proved that filmmakers could shoot at night without massive equipment. The film made Jeanne Moreau a movie star. And it launched Louis Malle's brilliant career.
The irony of the Malle-Davis collaboration is that Malle never explored noir again --- indeed, he made it a point to direct only one movie per genre. But the ideas of composition that Davis was working out in this movie soundtrack would come to full bloom a few years later, in his classic Kind of Blue (with John Coltrane, Cannonball Adderly and Bill Evans).
The soundtrack, mesmerizing and evocative at the time, has become more important as the years go by. It's a thrilling artifact and a deep experience for the serious jazz fan. And if you're shallow like me --- if you like music without lyrics at dinner --- you get two CDs for the price of one. The first is about the airy beauty of the music. The second is about guests asking what they're listening to.
In this case, your friends will know who's on that trumpet. But they'll have no idea this soundtrack even exists. Which makes you fractionally as cool as Miles.
Japanese 24 bit remastered edition of Davis' score to the 1957 Louis Malle thriller Lift To The Scaffold featuring 16 previously unreleased alternate takes. Packaged in a paper sleeve for the initial pressing only.
Ascenseur Pour L'echafaud,Miles Davis,Universal,Jazz
Average customer rating:
|
Ascenseur Pour L'Echafaud (Lift To The Scaffold): Original Soundtrack
Miles Davis Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B000004785 Release Date: 1990-10-25 |
Tracks:
- Nuit Sur Les Champs-Elysees (Take 1)
- Nuit Sur Les Champs-Elysees (Take 2)
- Nuit Sur Les Champs-Elysees (Take 3) (Generique)
- Nuit Sur Les Champs-Elysees (Take 4) (Florence sur les Champs-Elysees)
- Assassinat (Take 1) (Visite Du Vigile)
- Assassinat (Take 2) (Julien Dans L'Ascenseur)
- Assassinat (Take 3) (L'Assassinat De Carala)
- Motel(Diner Au Motel)
- Final (Take 1)
- Final (Take 2)
- Final (Take 3) (Chez Le Photographe Du Motel)
- Ascenseur (Evasion De Julien)
- Le Petit Bal (Take 1)
- Le Petit Bal (Take 2) (Au Bar Du Petit Bac)
- Sequence Voiture (Take 1)
- Sequence Voiture (Take 2) (Sur L'Autoroute)
- Generique
- L'Assassinat De Carala
- Sur L'Autoroute
- Jullien Dans L'Ascenseur
- Florence Sur Les Champs-Elysees
- Diner Au Motel
- Evasion De Julien
- Visite Du Vigile
- Au Bar Du Petit Bac
- Chez Le Photographe Du Motel
Amazon.com essential recording
Performed by a Miles Davis-fronted European band for a movie by Louis Malle, this music helped define the sound of film noir. It made viewers think the genre's films had always sounded just so, with slow-walking bass beats and muted, slithering horn lines miming the characters on the screen--and underlining their emotions. The melodies here are brief fragments, sometimes rising up only to disappear and then briefly return. This is Miles playing in the moment, improvising musical impressions as he watched the screen. And what he played managed to capture the era of postwar everywhere, while it offered Davis the freedom to test his on-the-spot compositional skills within a minimalist context. How many other beboppers who worked within the shadow of Charlie Parker could have ever recorded these little gems? --John SzwedCustomer Reviews:
Music 5 Stars. Disc Quality 2........2007-07-15
Paris. 1957. Miles Davis. There's a recipe for greatness.......2007-03-21
He chose an overlooked noir novel about a man who kills his lover's husband, only to get trapped in the elevator while fleeing. His car gets stolen; complications multiply. Meanwhile, we --- and his lover --- wait to see if he'll get free before the police arrive.
Malle co-authored a clever, stylish script. He gave the film an ironic title: "Ascenseur Pour L'Echafaud," or "Elevator to the Gallows." As the lover, he hired Jeanne Moreau, a successful but not incendiary stage actress. And as his cinematographer, he chose the young innovator, Henri Decae.
And then this first-time director got Miles Davis to improvise and record the soundtrack.
Davis was then at the pinnacle. He had revolutionized jazz once already. Now he was turning away from hard-charging bursts of sound to a cooler, modal style that would change the dominant style of American jazz once again.
What could he have possibly seen in Louis Malle?
Fun.
"I was in Paris to play as a guest soloist for a few weeks," Davis later explained. "I met Louis through Juliette Greco. He told me he had always loved my music. I agreed to write the musical score for his film because it was a great learning experience --- I had never written a music score for a film before."
Davis didn't really "write" this one, either. Oh, he said he "looked at the rushes of the film and got musical ideas to write down." But his real genius was in hiring the great American jazz drummer Kenny Clarke and three French musicians and putting them in an environment that mirrored the mood of the movie. As Davis recalled: "Since it was about a murder and was supposed to be a suspense movie, I used this old, gloomy, dark building where I had the musicians play. I thought it would give the music atmosphere, and it did."
The soundtrack was recorded in a single, champagne-fueled session as Moreau and Malle looked on. At one point, a bit of Davis's lip blew into his mouthpiece; he pressed on. There were repeated takes of certain ideas; a number of tracks on the soundtrack are variations of earlier cuts.
No matter. This is one of the greatest jazz soundtracks in film --- some say the greatest. The trumpet couldn't be more evocative: mostly slow and breathy, thoughtful and tender, lonely and okay about it. In a word: cool. The quintessence of cool.
There was much to praise about the film, It used Paris like nothing before it; Malle presaged the New Wave. The final shot was made with a cameraman in a wheelchair; it proved that filmmakers could shoot at night without massive equipment. The film made Jeanne Moreau a movie star. And it launched Louis Malle's brilliant career.
The irony of the Malle-Davis collaboration is that Malle never explored noir again --- indeed, he made it a point to direct only one movie per genre. But the ideas of composition that Davis was working out in this movie soundtrack would come to full bloom a few years later, in his classic Kind of Blue (with John Coltrane, Cannonball Adderly and Bill Evans).
The soundtrack, mesmerizing and evocative at the time, has become more important as the years go by. It's a thrilling artifact and a deep experience for the serious jazz fan. And if you're shallow like me --- if you like music without lyrics at dinner --- you get two CDs for the price of one. The first is about the airy beauty of the music. The second is about guests asking what they're listening to.
In this case, your friends will know who's on that trumpet. But they'll have no idea this soundtrack even exists. Which makes you fractionally as cool as Miles.
little known miles davis.......2007-01-20
What a great soundtrack!.......2007-01-19
Dope.......2007-01-07
Average customer rating: |
Ascenseur Pour l'Échafaud
Miles Davis Manufacturer: Fontana ProductGroup: Music Binding: Audio CD ASIN: B00004XT1V Release Date: 1958-01-01 |
Tracks:
- Nuit sur les Champs-ys [Take 1][#]
- Nuit sur les Champs-ys [Take 2][#]
- Nuit sur les Champs-ys [Take 3]
- Nuit sur les Champs-ys [Take 4]
- Assassinat [Take 1]
- Assassinat [Take 2]
- Assassinat [Take 3]
- Motel
- Final [Take 1][#]
- Final [Take 2][#]
- Final [Take 3]
- Ascenseur
- Petit Bal [Take 1][#]
- Petit Bal [Take 2]
- Sence Voiture [Take 1][#]
- Sence Voiture [Take 2]
- Grique
- Assassinat de Carala
- Sur l'Autoroute
- Julien Dans l'Ascenseur
- Florence Sur Les Champs-ys
- Diner au Motel
- asion de Julien
- Visite du Vigile
- Bar du Petit Bac
- Chez le Photographe du Motel
Album Description
French edition of Davis' score to the 1957 Louis Malle thriller Lift To The Scaffold. 10 tracks. Elegantly packaged. 2000 release.
Average customer rating: |
Ascenseur Pour L'Echafaud
Miles Davis ProductGroup: Music Binding: Audio CD ASIN: B0000562Y0 |
Average customer rating: |
Ascenseur Pour l'Échafaud
Miles Davis Manufacturer: Fontana ProductGroup: Music Binding: Audio CD ASIN: B000065E96 Release Date: 1958-01-01 |
Tracks:
- Nuit sur les Champs-ys [Take 1][#]
- Nuit sur les Champs-ys [Take 2][#]
- Nuit sur les Champs-ys [Take 3]
- Nuit sur les Champs-ys [Take 4]
- Assassinat [Take 1]
- Assassinat [Take 2]
- Assassinat [Take 3]
- Motel
- Final [Take 1][#]
- Final [Take 2][#]
- Final [Take 3]
- Ascenseur
- Petit Bal [Take 1][#]
- Petit Bal [Take 2]
- Sence Voiture [Take 1][#]
- Sence Voiture [Take 2]
- Grique
- Assassinat de Carala
- Sur l'Autoroute
- Julien Dans l'Ascenseur
- Florence Sur Les Champs-ys
- Diner au Motel
- asion de Julien
- Visite du Vigile
- Bar du Petit Bac
- Chez le Photographe du Motel
Album Description
Japanese 24 bit remastered edition of Davis' score to the 1957 Louis Malle thriller Lift To The Scaffold featuring 16 previously unreleased alternate takes. Packaged in a paper sleeve for the initial pressing only.Album Details
Japanese Limited Edition in an LP-STYLE Slipcase.
Average customer rating: |
Ascenseur Pour l'Échafaud
Miles Davis Manufacturer: Japanese Import ProductGroup: Music Binding: Audio CD ASIN: B000197JKE Release Date: 2004-03-09 |
Tracks:
- Grique
- Assassinat de Carala
- Sur l'Autoroute
- Julien Dans l'Ascenseur
- Florence Sur Les Champs-ys
- Diner au Motel
- asion de Julien
- Visite du Vigile
- Bar du Petit Bac
- Chez le Photographe du Motel
- Nuit sur les Champs-ys [Take 1][#]
- Nuit sur les Champs-ys [Take 2][#]
- Final [Take 1][#]
- Final [Take 2][#]
- Petit Bal [Take 1][#]
- Sence Voiture [Take 1][#]
- Assassinat [Take 3][#]
- Diner au Motel [#]
- Final [Take 1][#]
- Final [Take 2][#]
- Final [Take 3][#]
- asion de Julien [#]
- Petit Bal [Take 1][#]
- Petit Bal [Take 2][#]
- Sequence Voiture [Take 1][#]
- Sequence Voiture (Sur l'Autoroute) [Take 2][#]
Album Description
Japanese reissue of 1957 soundtrack packaged in a miniature LP sleeve. Remastered 24-bit. Fontana. 2004.Album Details
Japanese Reissue of the Original Motion Picture Soundtrack from the 1957 Film that was Scored by Miles Davis.
Average customer rating: |
Ascenseur Pour l'Échafaud
Miles Davis Manufacturer: Japanese Import ProductGroup: Music Binding: Audio CD ASIN: B000BRI3HE Release Date: 2004-03-09 |
Tracks:
- Grique
- Assassinat de Carala
- Sur l'Autoroute
- Julien Dans l'Ascenseur
- Florence Sur Les Champs-ys
- Diner au Motel
- asion de Julien
- Visite du Vigile
- Bar du Petit Bac
- Chez le Photographe du Motel
- Nuit sur les Champs-ys [Take 1][#]
- Nuit sur les Champs-ys [Take 2][#]
- Final [Take 1][#]
- Final [Take 2][#]
- Petit Bal [Take 1][#]
- Sence Voiture [Take 1][#]
- Assassinat [Take 3][#]
- Diner au Motel [#]
- Final [Take 1][#]
- Final [Take 2][#]
- Final [Take 3][#]
- asion de Julien [#]
- Petit Bal [Take 1][#]
- Petit Bal [Take 2][#]
- Sequence Voiture [Take 1][#]
- Sequence Voiture (Sur l'Autoroute) [Take 2][#]
Jazz Music: