Stephen_Murray's Full Review: Ascenseur Pour L'Echafaud (Sdtk) by Original Sound...
Miles Davis (1926-1991) was The jazz trumpeter, revolutionizing jazz at least three times (be bop, cool, electric), and his soundtrack for Louis Malle's first feature film, "Ascenseur pour l'échafaud" (Elevator to the Gallows, 1958) is widely regarded as the greatest of jazz movie soundtracks (at least for movies not about jazz musicians). When first I saw the film, which made Jeanne Moreau a star, I loved the moody (indeed modal) music that is more in counterpoint with the action than boosting what is seen.
My favorite Miles Davis period was the years between 1957 and 1963, with the dense orchestral textures of Gil Evans's arrangements with many a slow and plangent trumpet line. The 1959 "Kind of Blue" is widely regarded as the pinnacle of Davis's middle period.
The music for "Ascenseur pour l'échafaud" does not have the kind of "wall of sound" that Evans provided, and has fewer melodies or even themes than the recordings from the next few years. The recording was made at the end of a European tour by one of the Miles Davis quintets. This one had stellar work from American jazz drummer Kenny Clarke and French tenor saxophonist Barney Wilen, plus (more in the background) René Urtreger on piano, and Pierre Michelot on bass.
Especially on "Au Bar du Petit Bac," Wilen's lines are as important as Davis's, and on "Diner au Motel" Clarke seems to be racing, dragging Davis in his tow. Also, Davis and Wilen are silent altogether in "Visite du Vigile" with Michelot and Clarke carrying the piece.
Davis is credited as "composer." He had seen a rough cut of the film a month before and jotted down some chord progressions. ("Sur L'Autoroute" has the chord progression from "Sweet Georgia Brown," though nothing of its melody.) The other musicians were responding to their first viewing of the film on 4 December 1957 (after being served either wine or champagne by Mlle. Moreau).
The soundtrack for the movie is on the last ten tracks Anyone who wants to hear the final product can begin with track 17. Before that on the disc are alternative takes from the session. In that jazz is "about" improvisation, these are fascinating and not as repetitious as one might fear. They are presented in the order they were recorded. No underscoring echo was added for those tracks (as was for the ones used in the film).
"L' Assassinat de Carala" is quite subdued murder music, mournful but almost sweet. "Julien dans L'Ascenseur" is the slowest and most mournful (not partaking in Julien's desperation after he has committed the murder and the elevator taking him down (to where his car is being stolen) gets stuck). "Diner au Motel" is the most propulsive up-tempo track (a relief from the melancholy and foreboding in the noir film. Some of its unusual sound resulted from a piece of Davis's lip sticking to the mouthpiece (and his deciding to proceed with it that way). "Au Bar du Petit Bac" is pretty upbeat and forward-driving, too, with the overlapping saxophone and trumpet lines. "Florence Sur Les Champs-élysées" accompanies Moreau as she wanders the streets confused about what has happened to her accomplice.
The musicians (and Malle) were pleased with the recording session. Davis felt that having recorded a film soundtrack he didn't need to do another (quitting while ahead?). The disc is a unique document of mid-1950s post-bebop Miles Davis, both process and product.
(There is a Verve disc of "the original soundtrack" containing only the last ten tracks, not remastered -- with the same photo of Moreau's upturned face. This one has "COMPLETE RECORDINGS" written to the left of her shoulder and an arch connecting the f" and "t" in "fontana" in the upper right corner.)
Tracks and Timings
Session Takes Not Used in the Film
Nuit Sur Les Champs-élysées (take 1) – 2:25
Nuit Sur Les Champs-élysées (take 2) – 5:20
Nuit Sur Les Champs-élysées (take 3) – 2:47
Nuit Sur Les Champs-élysées (take 4) – 2:59
Assassinat (take 1) – 2:02
Assassinat (take 2) – 2:10
Assassinat (take 3) – 2:10
Motel – 3:56
Final (take 1) – 3:05
Final (take 2) – 3:00
Final (take 3) – 4:04
Ascenseur – 1:57
Le Petit Bal (take 1) – 2:40
Le Petit Bal (take 2) – 2:53
Séquence Voiture (take 1) – 2:56
Séquence Voiture (take 2) – 2:16
[the movie soundtrack:]
Générique – 2:45
L' Assassinat de Carala – 2:10
Sur L'Autoroute – 2:15
Julien Dans L'Ascenseur – 2:07
Florence Sur Les Champs-élysées – 2:50
Diner au Motel – 2:58
évasion De Julien – 0:53
Visite Du Vigile – 2:00
Au Bar du Petit Bac – 2:50
Chez Le Photographe Du Motel – 3:50
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