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Ascenseur pour l'échafaud

Miles Davis

Jazz - Released January 29, 1958 | Fontana

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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.© Michael G. Nastos /TiVo
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Rainbow Shell

Perrine Mansuy

Vocal Jazz - Released June 21, 2017 | Laborie Jazz

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Glass: Cocteau Trilogy

Katia Labèque

Classical - Released February 23, 2024 | Universal Music Division Decca Records France

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Philip Glass' three operas based on films by Jean Cocteau, inspired by the composer's youthful experiences in Paris, are among his most variegated works and perhaps among the ones most likely to win over those unpersuaded by the composer. This release took shape as Katia and Marielle Labèque performed concerts devoted to two-piano arrangements of numbers from these operas in 2020 and 2023; the arrangements are by Glass colleague Michael Riesman. Many recordings of Glass have come from his own orbit, but this one, released by the Deutsche Grammophon label and a presence on classical best-seller charts in early 2024, shows the value in opening up the field. The Labèques bring a fluent but lively quality to the music that illuminates the material out of which the operas are woven. Sample the ragtime-like opening, "Le café," from Act I at the beginning. Elsewhere, one hears echoes of Gluck, Bach, and more, all superimposed on Glass' characteristic repeating patterns. The durable popularity of Katia and Marielle Labèque, still at the top of the duo piano heap, is remarkable, and it has occurred in part because the sisters are unafraid to take on new repertory. Here, they have done a spectacular job.© James Manheim /TiVo
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Tout va très bien !

Le Grand Orchestre Du Splendid

Pop - Released November 25, 2016 | Jazz Village

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Le bel été (OST)

Lionel Limiñana

Alternative & Indie - Released November 15, 2019 | Berreto Music

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Offenbach : La Périchole (Live)

Marc Minkowski

Classical - Released June 14, 2019 | Bru Zane

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Recordings of Offenbach's 1868 operetta La Périchole, here performed in an 1873 revision, have been rather uncommon. True, it doesn't contain any of the big Offenbach hits, and its Peruvian setting, with a variety of Spanish dances and chinoiserie standing in for whatever music might have been heard in colonial Peru, seems increasingly preposterous as time goes on. However, verisimilitude has never been a requirement in operetta, and this story of the titular street singer (who was an actual historical individual) pursued by a sleazy colonial administrator hits a lot of the bases. Anglophone listeners will note that Arthur Sullivan surely knew this music inside and out, and replicated the combination of limpid songs for the heroine and quite a few sharp narrative choruses. This production, recorded live in 2018 at the Festival Radio France Occitanie in Montpellier, is nothing fancy, but that is its charm. La Périchole is nicely sung by a mezzo-soprano with the delightful name of Aude Extrémo, who resists the temptation to ham it up (sample her drunk scene, "Ah, quel diner je viens de faire") and inhabits the role well. The large cast is consistent, and conductor Marc Minkowski and Les Musiciens du Louvre, far from their Baroque origins, keep things moving in a lively way. One gets the sense that Offenbach would have been fully satisfied, and the recording is a must for any operetta fan.© TiVo
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Le Chanteur Malheureux

Claude François

French Music - Released January 1, 1973 | SBME Strategic Marketing Group

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Michel Jonasz

Michel Jonasz

French Music - Released March 1, 2005 | MJM - ADA France

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Coup de tête (Bande originale du film)

Pierre Bachelet

Film Soundtracks - Released June 19, 2015 | Music Box - EMPF

Les Incontournables (Volume II)

Vladimir Cosma

Miscellaneous - Released October 28, 2010 | Larghetto

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Ascenseur pour l'échafaud

Miles Davis

Jazz - Released January 29, 1958 | Universal Music Division Decca Records France

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.© Michael G. Nastos /TiVo
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Reprise des négociations

Bénabar

French Music - Released October 21, 2005 | Jive

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EP Live

Bénabar

French Music - Released May 3, 2019 | RCA Group

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Dick Annegarn

Dick Annegarn

French Music - Released January 1, 1999 | Universal Music Division Label Panthéon

Ses plus grands succès

Vladimir Cosma

Miscellaneous - Released January 1, 2014 | Larghetto

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R. Strauss: Ein Heldenleben & Le bourgeois gentilhomme (Édition StudioMasters)

Sir Simon Rattle

Classical - Released November 20, 2005 | Warner Classics International

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Bouddha jazz bar relaxante

Jazz douce musique d'ambiance

New Age - Released April 24, 2018 | Instrumental Jazz Group

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Le dîner

Bénabar

French Music - Released November 17, 2005 | Jive