Miles Davis – Ascenseur Pour L’echafaud (Vinyl) Japanese Pressing
Philips Records (1958 / This Pressing 1977)
$65.00
Rare 1977 Japanese Mono Pressing On Quality Vinyl! Superb, Haunting Film Noir Music From Miles Davis ~ A Mysterious & Darkly Sensual Masterpiece.
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Rare 1977 Japanese Mono Pressing! Lovely Quality Vinyl, Heavy Grade Cover, Labels Are Clean. Superb, Haunting Film Noir Music From Miles Davis ~ A Mysterious & Darkly Sensual Masterpiece. Translation: ‘Lift To The Scaffold’.
Condition – Vinyl: EXCELLENT!
Condition – Cover: VERY GOOD PLUS! Some areas of foxing, due to age and being a white cover.
Japanese vinyl pressings are highly sought after by audiophiles and collectors, due to their premium sound quality and beautifully presented packaging. The sonic quality of Japanese records is regarded as the best in the world. No wonder all the original Mobile Fidelity Sound Lab records were pressed in Japan! The covers are printed on better quality heavy stock paper too. 1970s Japanese pressings are becoming scarcer ~ and therefore more collectable and valuable every year.
Side 1:
Générique
L’Assassinat De Carala
Sur L’Autoroute
Julien Dans L’Ascenseur
Florence Sur Les Champs-Élysées
Side 2:
Dîner Au Motel
Évasion De Julien
Visite Du Vigile
Au Bar Du Petit Bac
Chez Le Photographe Du Motel
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Philips Records (1958 / This Pressing 1977)
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This recording evokes the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times… 4 ½ Stars Jazz and film noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold). This dark and seductive tale is wonderfully accentuated by the late-'50s cool or bop music of Miles Davis, played with French jazzmen -- bassist Pierre Michelot, pianist René Urtreger, and tenor saxophonist Barney Wilen -- and American expatriate drummer Kenny Clarke. This recording evokes the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. Davis had seen a screening of the movie prior to his making of this music, and knew exactly how to portray the smoky hazed or frantic scenes though sonic imagery, dictated by the trumpeter mainly in D-minor and C-seventh chords. Michelot is as important a figure as the trumpeter because he sets the tone, as on the stalking "Visite du Vigile." While the mood of the soundtrack is generally dour and somber, the group collectively picks up the pace exponentially on "Diner au Motel." At times the distinctive Davis trumpet style is echoed into dire straits or death wish motifs, as on "Generique" or "L'Assassinat de Carala," respectively. Clarke is his usual marvelous self, and listeners should pay close attention to the able Urtreger, by no means a virtuoso but a capable and flexible accompanist. This recording can stand proudly alongside Duke Ellington's music from Anatomy of a Murder and the soundtrack of Play Misty for Me as great achievements of artistic excellence in fusing dramatic scenes with equally compelling modern jazz music. 4 ½ Stars