A happy encounter between jazz and film that rises from the depths of darkness
The complete version of the legendary score improvised by Miles Davis for the film "Elevator to the Gallows."
Miles's trumpet captures the atmosphere of 1950s Paris with a solitary, sharp voice. The tension born from his close dialogue with Barne Willan and Kenny Clarke is dramatic enough even without the visuals. The quiet passion that lingers in the sound and the beauty of his improvisation, which seems meticulously calculated, shine a unique light in the history of jazz.
|
A:
|
|
1)
|
|
Générique
|
|
2)
|
|
L'Assassinat De Carala
|
|
3)
|
|
Sur L'Autoroute
|
|
4)
|
|
Julien Dans L'Ascenseur
|
|
5)
|
|
Florence Sur Les Champs-Élysées
|
|
|
B:
|
|
1)
|
|
Dîner Au Motel
|
|
2)
|
|
Évasion De Julien
|
|
3)
|
|
Visite Du Vigile
|
|
4)
|
|
Au Bar Du Petit Bac
|
|
5)
|
|
Chez Le Photographe Du Motel
|
|
|
C:
|
|
1)
|
|
Nuit Sur Les Champs-Élysées (Take 1)
|
|
2)
|
|
Nuit Sur Les Champs-Élysées (Take 2)
|
|
3)
|
|
Nuit Sur Les Champs-Élysées (Take 3) (Générique)
|
|
4)
|
|
Nuit Sur Les Champs-Élysées (Take 4) (Florence Sur Les Champs-Élysées)
|
|
5)
|
|
Assassinat (Take 1) (Visite Du Vigile)
|
|
6)
|
|
Assassinat (Take 2) (Julien Dans L'Ascenseur)
|
|
7)
|
|
Assassinat (Take 2) (L'Assassinat De Carala)
|
|
8)
|
|
Motel (Dîner Au Motel)
|
|
|
D:
|
|
1)
|
|
Final (Take 1)
|
|
2)
|
|
Final (Take 2)
|
|
3)
|
|
Final (Take 3) (Chez Le Photographe Du Motel)
|
|
4)
|
|
Ascenseur (Évasion De Julien)
|
|
5)
|
|
Le Petit Bal (Take 1)
|
|
6)
|
|
Le Petit Bal (Take 2) (Au Bar Du Petit Bac)
|
|
7)
|
|
Sequence Voiture (Take 1)
|
|
8)
|
|
Sequence Voiture (Take 2) (Sur L'Autoroute)
|
|
|
-
Composed By, Performer [Played By] - Miles Davis
-
Trumpet - Miles Davis
-
Tenor Saxophone - Barney Wilen
-
Liner Notes - Boris Vian
-
Drums - Kenny Clarke
-
Piano - René Urtreger
-
Bass - Pierre Michelot
-
Photography By [Photos] - Jean-Pierre Leloir
-
Photography By [Photos, Courtesy Of Jazz Magazine] - Cohen