Malle, Louis

This soundtrack with the musical cues for Louis Malle's 1958 film Ascenseur Pour L'Échafaud was recorded at Le Poste Parisien Studio in Paris on December 4 and 5, 1957. Jean-Paul Rappeneau, a jazz fan and Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack - possibly inspired by the Modern Jazz Quartet's recording for Roger Vadim's Sait-On Jamais (Does One Ever Know), released a few months earlier in 1957. Davis was booked to perform at the Club Saint-Germain in Paris for November 1957. Rappeneau introduced him to Malle, and Davis agreed to record the music after attending a private screening. 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.

This soundtrack with the musical cues for Louis Malle's 1958 film Ascenseur Pour L'Échafaud was recorded at Le Poste Parisien Studio in Paris on December 4 and 5, 1957. Jean-Paul Rappeneau, a jazz fan and Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack - possibly inspired by the Modern Jazz Quartet's recording for Roger Vadim's Sait-On Jamais (Does One Ever Know), released a few months earlier in 1957. Davis was booked to perform at the Club Saint-Germain in Paris for November 1957. Rappeneau introduced him to Malle, and Davis agreed to record the music after attending a private screening. 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.

The recording of this historic concert is presented in its entirety for the first time in this edition. The remastered original tapes have been used to produce this CD, ensuring excellent sound quality.

This soundtrack with the musical cues for Louis Malle's 1958 film Ascenseur Pour L'Échafaud was recorded at Le Poste Parisien Studio in Paris on December 4 and 5, 1957. Jean-Paul Rappeneau, a jazz fan and Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack - possibly inspired by the Modern Jazz Quartet's recording for Roger Vadim's Sait-On Jamais (Does One Ever Know), released a few months earlier in 1957. Davis was booked to perform at the Club Saint-Germain in Paris for November 1957. Rappeneau introduced him to Malle, and Davis agreed to record the music after attending a private screening. 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.

Long before "La La Land" or "Birdman" Jazz was a perfect way to underscore and even enhance the action on the silver screen - not only in Hollywood, but all the way across Europe, too. Some of the best and most influential Original Jazz Soundtracks from the 1950s and early 1960s are documented in this unique 10 CD collection. Beginning with Miles Davis' iconic soundtrack to Louis Malle's "Ascenseur pour l'échafaud", whose leading actress Jeanne Moreau can be seen with the trumpeter on the cover of our box set, and leading all the way to Henry Mancini's score to Orson Welles' "Touch of Evil". In between you will enjoy American Jazz greats like Art Blakey, Duke Ellington, Louis Armstrong, Gerry Mulligan, and The Modern Jazz Quartet, but also legendary Polish composer Krzysztof Komeda with the score to one of Roman Polanski's first films "Knife In The Water", British Jazz-scores by Dizzy Reece and Johnny Dankworth, or soundtracks by French Jazz greats from Barney Wilen to Martial Solal.

Nadine Trintignant raconte pour la première fois, dans ce livre lumineux et bouleversant, son histoire d'amour avec Jean-Louis Trintignant, son premier mari.