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

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 Amazon.com essential recording

Excellent early Miles Davis

a musical rendition manifesting the complexities of the film noire, characters and scheme... outstanding, thought provoking, elegant & masterful. August 28, 2008

Little jewels, all.

Ascenseur Pour L'Echafaud or elevator to the scaffold, where the victim is hung. The sound track to the movie of that name. Miles happened to be in France when the brilliant Louis Malle, director of the film, enlisted Miles to do the sound track. We all got a great record with this.

This is another testament to Davis' brilliance. And soooo accessible. You can hear the minutiae of Miles' stylistic elements in these miniature jewels, like looking into his music with a microscope. June 27, 2008

Perfection.

First, I love the film this score was created for. Watch it before you listen to this album because you will appreciate it all the more. Second, it is one of the finest, most fitting scores I've ever heard for a film. Davis captured it PERFECTLY. In fact, this album was the catalyst for my obsession with Davis's music.

It's the perfect album for a rainy day, a nighttime drive, or a way to unwind. I can't recommend it enough, but watch Elevator to the Gallows - Criterion Collection too! It's lovely.

September 13, 2007

Step up the ladder for Miles

Miles Davis recording this soundtrack during a tour of Europe. The main strength of this music is that it gets Miles away from the theme-solo-theme routine. The CD has 26 songs, of which 16 are the raw material for the 10 songs that made up the original album. I've listened to the whole thing once, of course, but I've only gone back to the 26 minutes of original album. The songs are a mixture of moods, but the main mood is noir. There are a couple of fast ones, "Sur l'autoroute" and "Diner au Motel". Some are stripped down - "Visite du Vigile" is just bass and drums.

Miles Davis' playing is brilliant on this CD, Barney Wilen takes a subsidiary role, but plays cool and swings. Rene Urtreger's piano is low in the mix, but sounds Silver-esque. Pierre Michelot's bass and Kenny Clarke also swing, and sometimes carry the load by themselves quite nicely. Though effectively short (the whole thing is 74 minutes long), I recommend it for its concentrated excellence. If it were longer I'd give it 5 stars instead of 4.
August 11, 2007

Paris. 1957. Miles Davis. There's a recipe for greatness

In 1957, Louis Malle was 24 years. He was filthy rich. Incredibly handsome. And prodigiously talented --- he had already co-directed and shot Jacques Cousteau's Oscar-winning documentary, "The Silent World." Now he was ready to make his first feature.

He chose an overlooked noir novel about a man who kills his lover's husband, only to get trapped in the elevator while fleeing. His car gets stolen; complications multiply. Meanwhile, we --- and his lover --- wait to see if he'll get free before the police arrive.

Malle co-authored a clever, stylish script. He gave the film an ironic title: "Ascenseur Pour L'Echafaud," or "Elevator to the Gallows." As the lover, he hired Jeanne Moreau, a successful but not incendiary stage actress. And as his cinematographer, he chose the young innovator, Henri Decae.

And then this first-time director got Miles Davis to improvise and record the soundtrack.

Davis was then at the pinnacle. He had revolutionized jazz once already. Now he was turning away from hard-charging bursts of sound to a cooler, modal style that would change the dominant style of American jazz once again.

What could he have possibly seen in Louis Malle?

Fun.

"I was in Paris to play as a guest soloist for a few weeks," Davis later explained. "I met Louis through Juliette Greco. He told me he had always loved my music. I agreed to write the musical score for his film because it was a great learning experience --- I had never written a music score for a film before."

Davis didn't really "write" this one, either. Oh, he said he "looked at the rushes of the film and got musical ideas to write down." But his real genius was in hiring the great American jazz drummer Kenny Clarke and three French musicians and putting them in an environment that mirrored the mood of the movie. As Davis recalled: "Since it was about a murder and was supposed to be a suspense movie, I used this old, gloomy, dark building where I had the musicians play. I thought it would give the music atmosphere, and it did."

The soundtrack was recorded in a single, champagne-fueled session as Moreau and Malle looked on. At one point, a bit of Davis's lip blew into his mouthpiece; he pressed on. There were repeated takes of certain ideas; a number of tracks on the soundtrack are variations of earlier cuts.

No matter. This is one of the greatest jazz soundtracks in film --- some say the greatest. The trumpet couldn't be more evocative: mostly slow and breathy, thoughtful and tender, lonely and okay about it. In a word: cool. The quintessence of cool.

There was much to praise about the film, It used Paris like nothing before it; Malle presaged the New Wave. The final shot was made with a cameraman in a wheelchair; it proved that filmmakers could shoot at night without massive equipment. The film made Jeanne Moreau a movie star. And it launched Louis Malle's brilliant career.

The irony of the Malle-Davis collaboration is that Malle never explored noir again --- indeed, he made it a point to direct only one movie per genre. But the ideas of composition that Davis was working out in this movie soundtrack would come to full bloom a few years later, in his classic Kind of Blue (with John Coltrane, Cannonball Adderly and Bill Evans).

The soundtrack, mesmerizing and evocative at the time, has become more important as the years go by. It's a thrilling artifact and a deep experience for the serious jazz fan. And if you're shallow like me --- if you like music without lyrics at dinner --- you get two CDs for the price of one. The first is about the airy beauty of the music. The second is about guests asking what they're listening to.

In this case, your friends will know who's on that trumpet. But they'll have no idea this soundtrack even exists. Which makes you fractionally as cool as Miles. March 20, 2007

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