WAITING A REPRESS
Sam Records - SAM660213 - 140 Gram Virgin Vinyl - Double Insert with Photos
AAA 100% Analogue - Mastered by Ray Staff at Air London
Limited Edition 1000 Copies - Pressed at Pallas - Fontana 660.213 MR
AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head
The Absolute Sound Super Disc List TAS Harry Pearson Super LP List
However, there is something more satisfying and historically complete to having a superbly reproduced version of the original document and that is what Sam Records provides in its commendably completist style that includes a laminated “fold-over” cover, Outstanding cover photo reproduction and as a bonus, a black and whilte matte finish photo of Miles in Paris 1957 by Gérard Landau. More importantly, the mono sonics on this evocative soundtrack, where your mind can almost accurately conjure up the “noir-ish” happenings on screen (involving, among other action, an illicit love affair and a murder), are transparent and precise. Young Miles’ sometimes forlorn, echo-y horn, especially, as well as Michelot’s bass, are presented in full, believable fidelity. Miles' solo on "Diner Au Motel" will knock your socks off or your dentures out. The reissue producer doesn't specify who cut or from what, but listen and you'll not care. This is supreme late night, lights out listening. - Highly recommended. Sound 10/10 Music 10/10 Michael Fremer Analogue Planet
Overall I found that the reissue had greater dynamics, better pace and transparency, but less body and texture than the Columbia LP. For example, Miles’s muted trumpet exhibited more brassy trumpet sound and less aluminum mute. Barney Wilen’s tenor sax sounded reedier as well. Absent a pricey mint original, this reissue from Sam Records is the one to own. It contains 39 minutes of unique, freely improvised jazz performed by one of the masters. Sound 5/5 Music 5/5 The Audio Beat
Original LP 10-inch issue: Fontana 660.213 MR
Re-mastered from the original master tapes with the echo effects.
Cut by Ray Staff at Air Mastering Studio in London.
Limited edition 1000 copies.
Vinyl pressed by Pallas in Germany.
10-inch – Facsimile reissue using the original cover art with OBI.
Double insert using an original photo by Gérad Landau/INA from 1957.
Each record has been visually checked to prevent defects.
In 1957, Miles Davis is in Paris for an engagement at the Club Saint-Germain and a wonderful concert at the Olympia Theatre. Once in Paris, Miles came into contact with many members of the modern existentialist cultural environment in the neighborhood of Saint-Germain-des-Près. These include the director Louis Malle who had just finished his first movie : "Ascenseur Pour L'échafaud". Jean-Paul Rappeneau, a Jazz fan and Louis Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack. A private sceening has been organized.
On December 4 1957, Miles Davis brought three French Jazzmen - Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and his american compatriot Kenny Clarke on drums - to the recording studio Le Poste Parisien without having them prepare anything. Miles Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. This recording was made at night in a most informal atmosphere.
The soundtrack was not released on it's own in the USA but ten songs from this soundtrack were released as one side of the album "Jazz Track" which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group.
"Ascenseur Pour L'échafaud" has become a great achievement of artistic excellence.
Bass – Pierre Michelot
Drums – Kenny Clarke
Piano – René Urtreger
Tenor Saxophone – Barney Wilen
Trumpet, Composed By – Miles Davis
L’assassinat de Carala
Julien dans l’ascenseur
Florence sur les Champs-Elysees
Diner au motel
Evasion de Julien
Visite du vigile
Au bar du petit bac
Chez le photographe du motel