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Miles Davis
ASCENSEUR POUR L'ECHAFAUD

jazz/yass/impro
Universal, 2024

Średnia ocena klientów: -    oceń

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winyl : 152,90 zł
dostępność:
tydzień
Nr kat.: 5830942
EAN: 0602458309423
format : 12"LP
liczba nośników : 1


nr tytuł play mp3
  Side A
1 Générique 2:45
2 L'Assassinat de Carala 2:10
3 Sur l'autoroute 2:15
4 Julien dans l'ascenseur 2:07
5 Florence sur les Champs-Élysées 2:50
Side B
1 Dîner au motel 3:58
2 Évasion de Julien 0:53
3 Visite du Vigile 2:00
4 Au bar du Petit Bac 2:50
5 Chez le photographe du motel 3:50


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https://youtube.com/playlist?list=PLL-NbN8uTOiglxt12oVAdZK9-rAXAxUGM&si=6KvFZ8q3M7Cz-TL5

This beautiful re-issue of the original recording is pressed on 180g vinyl at GZ, and packaged in a deluxe gatefold tip-on jacket with Boris Vian’s original liner notes and Jean-Pierre Leloir’s iconic studio photo of Miles and Jeanne Moreau, and an essay on the circumstances that led to this out-of-the ordinary music by Franck Bergerot.

Contradictory accounts of Miles Davis’ creation of the soundtrack to Louis Malle’s film noir Ascenseur pour l'Échafaud have all become part of its legend. Rarely has a soundtrack been so decisive. Nearly seventy years on, beyond the myth, this taut, feverish recording, imbued with extreme dramatic tension, remains one of the Miles’ finest records. The basic outline remains: Jean-Paul Rappeneau suggested to Malle asking Miles Davis to create the film's soundtrack who agreed to record the music after attending a private screening. Davis was performing at the Club Saint-Germain in Paris in November 1957 and on December 4, he brought his four sidemen to the recording studio without having had them prepare anything. Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room, and, once the plot was explained, the band improvised without any precomposed theme, while edited loops of the musically relevant film sequences were projected in the background. Bassist Pierre Michelot recalled in 1988 that “Miles just asked us to play two chords, D minor and C7, 4 bars of each, ad lib.” Typically, Miles planned very little but know exactly what he wanted. François Leterrier, the film’s Second Assistant Director picks up the story: “The session started at around ten o’clock and went on until dawn. The screen in the auditorium was showing the scenes for which Miles had devised some harmonies, and they were edited into a loop. And that’s what makes this music unique: it was entirely improvised in conditions that went back to the d
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