Ascenseur Pour L'Echafaud (Lift To The Scaffold): Original Soundtrack

マーケットプレイス価格:¥ 605 (税込)

JAN:0042283630529 売上ランキング:音楽で128581位

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  1. Nuit Sur Les Champs-Elysees (Take 1)
  2. Nuit Sur Les Champs-Elysees (Take 2)
  3. Nuit Sur Les Champs-Elysees (Take 3) (Generique)
  4. Nuit Sur Les Champs-Elysees (Take 4) (Florence sur les Champs-Elysees)
  5. Assassinat (Take 1) (Visite Du Vigile)
  6. Assassinat (Take 2) (Julien Dans L'Ascenseur)
  7. Assassinat (Take 3) (L'Assassinat De Carala)
  8. Motel(Diner Au Motel)
  9. Final (Take 1)
  10. Final (Take 2)
  11. Final (Take 3) (Chez Le Photographe Du Motel)
  12. Ascenseur (Evasion De Julien)
  13. Le Petit Bal (Take 1)
  14. Le Petit Bal (Take 2) (Au Bar Du Petit Bac)
  15. Sequence Voiture (Take 1)
  16. Sequence Voiture (Take 2) (Sur L'Autoroute)
  17. Generique
  18. L'Assassinat De Carala
  19. Sur L'Autoroute
  20. Jullien Dans L'Ascenseur
  21. Florence Sur Les Champs-Elysees
  22. Diner Au Motel
  23. Evasion De Julien
  24. Visite Du Vigile
  25. Au Bar Du Petit Bac
  26. Chez Le Photographe Du Motel
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 Szwed