In December 1957, Miles Davis went into Le Post Parisien Studio with film director Louis Malle and, accompanied by the rhythm section (pianist René Urtreger, bassist Pierre Michelot, and drummer Kenny Clarke) from his contemporaneous booking at a Paris nightclub-along with tenor player Barney Wilen-improvised the immaculate score for Ascenseur pour l’échafaud (Elevator to the Gallows). 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.” ![]() He’s creating music on the spot that, as John Szwed wrote, “helped define the sound of film noir. It’s almost a cliché, but it’s real, and at the center is an artist who himself famously stood at a diffident point from the mainstream of society. He stands, primarily illuminated by the light from the screen reflecting off his trumpet. ![]() Posted on Decemby George Grella Jr - Analysis, Articles Author: George Grella Jr When Jazz Was Cool
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