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

Another favourite LP by Miles Davis...., 03 Jul 2004
Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold) was in many ways the definitive Nouvelle Vague crime movie (later relations included Bande a Part and Tirez Sur La Pianiste); it's soundtrack was also definitively 'new wave.' The great Miles Davis, breaking from his earlier collaborations with Charlie Parker & Gil Evans was on a three-week tour of Europe & somehow ended up scoring Malle's movie in a single-mythic night-time session (which very much seemed to mirror the improvised nature of many New Wave works). Jazz would also be key to several other Nouvelle Vague films, famously A Bout de Souffle (1959) & films such as Le Souffle Au Coeur & Lacombe, Lucien- which used the music of Charlie Parker & Django Rheinhardt respectively.

This Miles is the one that appeals most- the earlier incarnations (e.g. The Birth of the Cool) don't appeal that much to me- it was really 'Flamenco Sketches' that blew my mind (& that came out of this kind of sound). Ascenseur Pour l'echafaud could be seen as a precursor to Davis' more ambient works, notably In a Silent Way & Agharta. This 2003 reissue comes with a wonderful cover (featuring snaps of the gorgeous Jeanne Moreau, one of the film's stars, hanging out with Miles) & great sleevenotes. The original 10-track soundtrack LP is present & remastered; while tracks 11-26 take in a wealth of outtakes: this is certainly great value!

As a previous review has noted, this LP seems very much overlooked in the Miles-canon and along with Kind of Blue (1959) it probably represents the best introduction to the many joys of Miles Davis. To me this sounds like the kind of music you should play on endless sunday mornings as Jeanne Moreau or Jean Seberg flip between feminine and masculine and you smoke Gitane endlessly...

Miles' Hidden Gem, 26 Feb 2002
Often overlooked (partly) because it has not been available in many High Street shops, L'ascenseur catches Miles in yet another defining moment during a short stay in Paris. Free flowing music, composed on the spot whilst seeing the movie.
Much more sober in its arrangements, this music score is great jazz - much less boppy and much less orchestrated than much of his previous works. Certainly a "must have" for any Miles fan and a good buy for any newcomer to jazz.

Another favourite LP by Miles Davis...., 03 Jul 2004
Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold) was in many ways the definitive Nouvelle Vague crime movie (later relations included Bande a Part and Tirez Sur La Pianiste); it's soundtrack was also definitively 'new wave.' The great Miles Davis, breaking from his earlier collaborations with Charlie Parker & Gil Evans was on a three-week tour of Europe & somehow ended up scoring Malle's movie in a single-mythic night-time session (which very much seemed to mirror the improvised nature of many New Wave works). Jazz would also be key to several other Nouvelle Vague films, famously A Bout de Souffle (1959) & films such as Le Souffle Au Coeur & Lacombe, Lucien- which used the music of Charlie Parker & Django Rheinhardt respectively.

This Miles is the one that appeals most- the earlier incarnations (e.g. The Birth of the Cool) don't appeal that much to me- it was really 'Flamenco Sketches' that blew my mind (& that came out of this kind of sound). Ascenseur Pour l'echafaud could be seen as a precursor to Davis' more ambient works, notably In a Silent Way & Agharta. This 2003 reissue comes with a wonderful cover (featuring snaps of the gorgeous Jeanne Moreau, one of the film's stars, hanging out with Miles) & great sleevenotes. The original 10-track soundtrack LP is present & remastered; while tracks 11-26 take in a wealth of outtakes: this is certainly great value!

As a previous review has noted, this LP seems very much overlooked in the Miles-canon and along with Kind of Blue (1959) it probably represents the best introduction to the many joys of Miles Davis. To me this sounds like the kind of music you should play on endless sunday mornings as Jeanne Moreau or Jean Seberg flip between feminine and masculine and you smoke Gitane endlessly...

Miles' Hidden Gem, 26 Feb 2002
Often overlooked (partly) because it has not been available in many High Street shops, L'ascenseur catches Miles in yet another defining moment during a short stay in Paris. Free flowing music, composed on the spot whilst seeing the movie.
Much more sober in its arrangements, this music score is great jazz - much less boppy and much less orchestrated than much of his previous works. Certainly a "must have" for any Miles fan and a good buy for any newcomer to jazz.

Good god its goodman, 11 Feb 2002
I'm 17 years of age, i'm into punk rock music, heavy/thrash metal music and I play electric guitar. So can someone please explain to me why I love this album sooooo much. Seriously, I never get bored of listening to the Benny Goodman Story. From start to finish all his best hits are crammed in for a night in, sitting down and relaxing and watching the t.v with the mute button on. My favourites are "And The Angels Sing", "One O'clock jump", "China boy", "Moonglow". Well let me face facts there all amazing tracks from the swing band general himself. (Also recommended if you like this is Glen Miller.)
I honestly love this C.D and if your thinking of buying this DO NOT HESITATE, it's a wonderful CD, and at the price it couldn't be better. It's the perfect "chill out" CD.

Another favourite LP by Miles Davis...., 03 Jul 2004
Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold) was in many ways the definitive Nouvelle Vague crime movie (later relations included Bande a Part and Tirez Sur La Pianiste); it's soundtrack was also definitively 'new wave.' The great Miles Davis, breaking from his earlier collaborations with Charlie Parker & Gil Evans was on a three-week tour of Europe & somehow ended up scoring Malle's movie in a single-mythic night-time session (which very much seemed to mirror the improvised nature of many New Wave works). Jazz would also be key to several other Nouvelle Vague films, famously A Bout de Souffle (1959) & films such as Le Souffle Au Coeur & Lacombe, Lucien- which used the music of Charlie Parker & Django Rheinhardt respectively.

This Miles is the one that appeals most- the earlier incarnations (e.g. The Birth of the Cool) don't appeal that much to me- it was really 'Flamenco Sketches' that blew my mind (& that came out of this kind of sound). Ascenseur Pour l'echafaud could be seen as a precursor to Davis' more ambient works, notably In a Silent Way & Agharta. This 2003 reissue comes with a wonderful cover (featuring snaps of the gorgeous Jeanne Moreau, one of the film's stars, hanging out with Miles) & great sleevenotes. The original 10-track soundtrack LP is present & remastered; while tracks 11-26 take in a wealth of outtakes: this is certainly great value!

As a previous review has noted, this LP seems very much overlooked in the Miles-canon and along with Kind of Blue (1959) it probably represents the best introduction to the many joys of Miles Davis. To me this sounds like the kind of music you should play on endless sunday mornings as Jeanne Moreau or Jean Seberg flip between feminine and masculine and you smoke Gitane endlessly...

Miles' Hidden Gem, 26 Feb 2002
Often overlooked (partly) because it has not been available in many High Street shops, L'ascenseur catches Miles in yet another defining moment during a short stay in Paris. Free flowing music, composed on the spot whilst seeing the movie.
Much more sober in its arrangements, this music score is great jazz - much less boppy and much less orchestrated than much of his previous works. Certainly a "must have" for any Miles fan and a good buy for any newcomer to jazz.

Good god its goodman, 11 Feb 2002
I'm 17 years of age, i'm into punk rock music, heavy/thrash metal music and I play electric guitar. So can someone please explain to me why I love this album sooooo much. Seriously, I never get bored of listening to the Benny Goodman Story. From start to finish all his best hits are crammed in for a night in, sitting down and relaxing and watching the t.v with the mute button on. My favourites are "And The Angels Sing", "One O'clock jump", "China boy", "Moonglow". Well let me face facts there all amazing tracks from the swing band general himself. (Also recommended if you like this is Glen Miller.)
I honestly love this C.D and if your thinking of buying this DO NOT HESITATE, it's a wonderful CD, and at the price it couldn't be better. It's the perfect "chill out" CD.

Am I Blue? well a little bit, 19 Feb 2006
Clunker or Classic, you can't ignore The Cotton Club after all its mix of onstage dance numbers blurring into the action off stage blazed a trail for movies like Chicago.

The Cotton Club soundtrack is a perfect accompaniment to the movie and features 13 of jazzman Bob Wilber's stunning recreations of jazz classics of the era and two examples of John Barry's evocative and deeply romantic score.

The CD seems to be a straight lift from the vinyl released at the time of movie and therefore reflects the limitations of an LP in terms of time. Consequently, many fine performances get lost - notwithstanding John Barry's score other casualties include Larry Marshall's none too convincing version of Cab Calloway's Jitterbug and The Lady With The Fan, Sydney Goldsmith's bawdy rendition of Lucille Brogan's Barebecue Bess, Diane Lane and Richard Gere's charming Am I Blue? and Gregory and Maurice Hines supercharged performance of Crazy Rhythm - there's lots more missing. I suppose it's because the movie tanked at the box office so no-one at Geffen Records is going to bother to expand the score which is a shame.

Moans aside, what you do get is great. Bob Wilber should be applauded for his attention to detail in creating the spirit and feel of the great dance music of the 30's without the pops and crackles.

Another favourite LP by Miles Davis...., 03 Jul 2004
Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold) was in many ways the definitive Nouvelle Vague crime movie (later relations included Bande a Part and Tirez Sur La Pianiste); it's soundtrack was also definitively 'new wave.' The great Miles Davis, breaking from his earlier collaborations with Charlie Parker & Gil Evans was on a three-week tour of Europe & somehow ended up scoring Malle's movie in a single-mythic night-time session (which very much seemed to mirror the improvised nature of many New Wave works). Jazz would also be key to several other Nouvelle Vague films, famously A Bout de Souffle (1959) & films such as Le Souffle Au Coeur & Lacombe, Lucien- which used the music of Charlie Parker & Django Rheinhardt respectively.

This Miles is the one that appeals most- the earlier incarnations (e.g. The Birth of the Cool) don't appeal that much to me- it was really 'Flamenco Sketches' that blew my mind (& that came out of this kind of sound). Ascenseur Pour l'echafaud could be seen as a precursor to Davis' more ambient works, notably In a Silent Way & Agharta. This 2003 reissue comes with a wonderful cover (featuring snaps of the gorgeous Jeanne Moreau, one of the film's stars, hanging out with Miles) & great sleevenotes. The original 10-track soundtrack LP is present & remastered; while tracks 11-26 take in a wealth of outtakes: this is certainly great value!

As a previous review has noted, this LP seems very much overlooked in the Miles-canon and along with Kind of Blue (1959) it probably represents the best introduction to the many joys of Miles Davis. To me this sounds like the kind of music you should play on endless sunday mornings as Jeanne Moreau or Jean Seberg flip between feminine and masculine and you smoke Gitane endlessly...

Miles' Hidden Gem, 26 Feb 2002
Often overlooked (partly) because it has not been available in many High Street shops, L'ascenseur catches Miles in yet another defining moment during a short stay in Paris. Free flowing music, composed on the spot whilst seeing the movie.
Much more sober in its arrangements, this music score is great jazz - much less boppy and much less orchestrated than much of his previous works. Certainly a "must have" for any Miles fan and a good buy for any newcomer to jazz.

Good god its goodman, 11 Feb 2002
I'm 17 years of age, i'm into punk rock music, heavy/thrash metal music and I play electric guitar. So can someone please explain to me why I love this album sooooo much. Seriously, I never get bored of listening to the Benny Goodman Story. From start to finish all his best hits are crammed in for a night in, sitting down and relaxing and watching the t.v with the mute button on. My favourites are "And The Angels Sing", "One O'clock jump", "China boy", "Moonglow". Well let me face facts there all amazing tracks from the swing band general himself. (Also recommended if you like this is Glen Miller.)
I honestly love this C.D and if your thinking of buying this DO NOT HESITATE, it's a wonderful CD, and at the price it couldn't be better. It's the perfect "chill out" CD.

Am I Blue? well a little bit, 19 Feb 2006
Clunker or Classic, you can't ignore The Cotton Club after all its mix of onstage dance numbers blurring into the action off stage blazed a trail for movies like Chicago.

The Cotton Club soundtrack is a perfect accompaniment to the movie and features 13 of jazzman Bob Wilber's stunning recreations of jazz classics of the era and two examples of John Barry's evocative and deeply romantic score.

The CD seems to be a straight lift from the vinyl released at the time of movie and therefore reflects the limitations of an LP in terms of time. Consequently, many fine performances get lost - notwithstanding John Barry's score other casualties include Larry Marshall's none too convincing version of Cab Calloway's Jitterbug and The Lady With The Fan, Sydney Goldsmith's bawdy rendition of Lucille Brogan's Barebecue Bess, Diane Lane and Richard Gere's charming Am I Blue? and Gregory and Maurice Hines supercharged performance of Crazy Rhythm - there's lots more missing. I suppose it's because the movie tanked at the box office so no-one at Geffen Records is going to bother to expand the score which is a shame.

Moans aside, what you do get is great. Bob Wilber should be applauded for his attention to detail in creating the spirit and feel of the great dance music of the 30's without the pops and crackles.

Foot tapping fun!, 07 Oct 2001
From the first song on the cd, you can tell the type of music that there is. Although it is a musical, the lyrics of the song are thought provoking and have some hidden meanings in it if you listen carefully. There are soulfull numbers such as 'Don't let the sun catch you crying' to the more fast-paced and funnier numbers such as 'Safe, sane and single'. Its hard to not tap your feet to it whilst listening. If you love the songs you have to buy the vidoe also, due to the awesome dance routines and hilarious interaction with the audience. You don't get as much of a sense of audience participation with this cd, though there are elements, such as the song 'Caldonia'. Overall, it is a fun cd which has songs for all occasions and emotions of when you break up with someone you love. Follow the journey of No Max and those 5 crazy Guys Named Moe!

They're the greatest band around!, 23 Aug 2001
Louis Jordan's buzzing lyrics teamed together with Clarke Peter's cutting book team together to create the Five Guys Named Moe. (the name given to the band who played with Louis Jordan back in 20's).

The show is about Nomax, a young Jamaican who is a heavy smoker and alcohlic who has just been dumped by his girlfriend. While it's "Early in the Morning", the greatest hip-hop, be-bop, jazzy, swinging, coolest band pop out of the radio and try to talk some sense into him.

The vocals are astounding on this, the music is superb and will have you bopping in time and the lyrics are crammed with jokes, black humour, 20's slang and yet have the biting edge that keeps the show serious in places. All in all, a great recording, my only complaint is that not all of the show is included and so the storyline is lost but this is an exceelent concept recording.

The finest of all "B" pictures, Orson Welles's Touch Of Evil (1958) is the story of a narcotics officer (Charlton Heston) who battles a corrupt police captain (Welles) during a murder investigation in a sordid Mexican border town. Responding to the director's request for colour, Henry Mancini wrote an eclectic, propulsive score combining traditional Mexican music and Latin rock. In evoking Welles's baroque, morally bankrupt world, the composer also employed instrumental rock-and-roll and Afro-Cuban rhythms ("Background To Murder") as part of his diverse palette. Though much of the score emanates from radios and jukeboxes, Mancini always ensures that the music is dramatically pointed. For example, an old Mexican waltz and a blues selection convey the end of the captain's innocence and his recollection of a simpler past. At other times, the composer is able to indulge his melodic gifts, the nostalgic theme for Tanya (Marlene Dietrich) being a case in point. A triumph of style, Mancini's score was also an important stepping stone in his career. His popular arrangements attracted the attention of Blake Edwards, who immediately hired Mancini to work on Peter Gunn, thereby launching one of the most prolific director/composer associations in film history. --Kevin Mulhall

Another favourite LP by Miles Davis...., 03 Jul 2004
Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold) was in many ways the definitive Nouvelle Vague crime movie (later relations included Bande a Part and Tirez Sur La Pianiste); it's soundtrack was also definitively 'new wave.' The great Miles Davis, breaking from his earlier collaborations with Charlie Parker & Gil Evans was on a three-week tour of Europe & somehow ended up scoring Malle's movie in a single-mythic night-time session (which very much seemed to mirror the improvised nature of many New Wave works). Jazz would also be key to several other Nouvelle Vague films, famously A Bout de Souffle (1959) & films such as Le Souffle Au Coeur & Lacombe, Lucien- which used the music of Charlie Parker & Django Rheinhardt respectively.

This Miles is the one that appeals most- the earlier incarnations (e.g. The Birth of the Cool) don't appeal that much to me- it was really 'Flamenco Sketches' that blew my mind (& that came out of this kind of sound). Ascenseur Pour l'echafaud could be seen as a precursor to Davis' more ambient works, notably In a Silent Way & Agharta. This 2003 reissue comes with a wonderful cover (featuring snaps of the gorgeous Jeanne Moreau, one of the film's stars, hanging out with Miles) & great sleevenotes. The original 10-track soundtrack LP is present & remastered; while tracks 11-26 take in a wealth of outtakes: this is certainly great value!

As a previous review has noted, this LP seems very much overlooked in the Miles-canon and along with Kind of Blue (1959) it probably represents the best introduction to the many joys of Miles Davis. To me this sounds like the kind of music you should play on endless sunday mornings as Jeanne Moreau or Jean Seberg flip between feminine and masculine and you smoke Gitane endlessly...

Miles' Hidden Gem, 26 Feb 2002
Often overlooked (partly) because it has not been available in many High Street shops, L'ascenseur catches Miles in yet another defining moment during a short stay in Paris. Free flowing music, composed on the spot whilst seeing the movie.
Much more sober in its arrangements, this music score is great jazz - much less boppy and much less orchestrated than much of his previous works. Certainly a "must have" for any Miles fan and a good buy for any newcomer to jazz.

Good god its goodman, 11 Feb 2002
I'm 17 years of age, i'm into punk rock music, heavy/thrash metal music and I play electric guitar. So can someone please explain to me why I love this album sooooo much. Seriously, I never get bored of listening to the Benny Goodman Story. From start to finish all his best hits are crammed in for a night in, sitting down and relaxing and watching the t.v with the mute button on. My favourites are "And The Angels Sing", "One O'clock jump", "China boy", "Moonglow". Well let me face facts there all amazing tracks from the swing band general himself. (Also recommended if you like this is Glen Miller.)
I honestly love this C.D and if your thinking of buying this DO NOT HESITATE, it's a wonderful CD, and at the price it couldn't be better. It's the perfect "chill out" CD.

Am I Blue? well a little bit, 19 Feb 2006
Clunker or Classic, you can't ignore The Cotton Club after all its mix of onstage dance numbers blurring into the action off stage blazed a trail for movies like Chicago.

The Cotton Club soundtrack is a perfect accompaniment to the movie and features 13 of jazzman Bob Wilber's stunning recreations of jazz classics of the era and two examples of John Barry's evocative and deeply romantic score.

The CD seems to be a straight lift from the vinyl released at the time of movie and therefore reflects the limitations of an LP in terms of time. Consequently, many fine performances get lost - notwithstanding John Barry's score other casualties include Larry Marshall's none too convincing version of Cab Calloway's Jitterbug and The Lady With The Fan, Sydney Goldsmith's bawdy rendition of Lucille Brogan's Barebecue Bess, Diane Lane and Richard Gere's charming Am I Blue? and Gregory and Maurice Hines supercharged performance of Crazy Rhythm - there's lots more missing. I suppose it's because the movie tanked at the box office so no-one at Geffen Records is going to bother to expand the score which is a shame.

Moans aside, what you do get is great. Bob Wilber should be applauded for his attention to detail in creating the spirit and feel of the great dance music of the 30's without the pops and crackles.

Foot tapping fun!, 07 Oct 2001
From the first song on the cd, you can tell the type of music that there is. Although it is a musical, the lyrics of the song are thought provoking and have some hidden meanings in it if you listen carefully. There are soulfull numbers such as 'Don't let the sun catch you crying' to the more fast-paced and funnier numbers such as 'Safe, sane and single'. Its hard to not tap your feet to it whilst listening. If you love the songs you have to buy the vidoe also, due to the awesome dance routines and hilarious interaction with the audience. You don't get as much of a sense of audience participation with this cd, though there are elements, such as the song 'Caldonia'. Overall, it is a fun cd which has songs for all occasions and emotions of when you break up with someone you love. Follow the journey of No Max and those 5 crazy Guys Named Moe!

They're the greatest band around!, 23 Aug 2001
Louis Jordan's buzzing lyrics teamed together with Clarke Peter's cutting book team together to create the Five Guys Named Moe. (the name given to the band who played with Louis Jordan back in 20's).

The show is about Nomax, a young Jamaican who is a heavy smoker and alcohlic who has just been dumped by his girlfriend. While it's "Early in the Morning", the greatest hip-hop, be-bop, jazzy, swinging, coolest band pop out of the radio and try to talk some sense into him.

The vocals are astounding on this, the music is superb and will have you bopping in time and the lyrics are crammed with jokes, black humour, 20's slang and yet have the biting edge that keeps the show serious in places. All in all, a great recording, my only complaint is that not all of the show is included and so the storyline is lost but this is an exceelent concept recording.

"Orson, your future's all used up...", 26 Nov 2001
Touch Of Evil is the greatest B-Movie of all time, made for a pitiful $895,000. The score however, is worth much more than that, providing more atmosphere than any of Orson Welles' quirky camera angles. 'Main Title' sets the scene perfectly, with a melody that sounds dangerous, seedy, and corrupt, encapsulating the film as a whole. Playing this with Russel Metty's treasured three-minute tracking shot complemented and enhanced the film, and made way for more musical (and visual) treats. Another favourite is 'Tana's Theme', a honky-tonk piano piece that evokes every shred of emotion from Marlene Dietrich's love for Hank Quinlan.
Fantastic score for a fantastic film.

Another favourite LP by Miles Davis...., 03 Jul 2004
Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold) was in many ways the definitive Nouvelle Vague crime movie (later relations included Bande a Part and Tirez Sur La Pianiste); it's soundtrack was also definitively 'new wave.' The great Miles Davis, breaking from his earlier collaborations with Charlie Parker & Gil Evans was on a three-week tour of Europe & somehow ended up scoring Malle's movie in a single-mythic night-time session (which very much seemed to mirror the improvised nature of many New Wave works). Jazz would also be key to several other Nouvelle Vague films, famously A Bout de Souffle (1959) & films such as Le Souffle Au Coeur & Lacombe, Lucien- which used the music of Charlie Parker & Django Rheinhardt respectively.

This Miles is the one that appeals most- the earlier incarnations (e.g. The Birth of the Cool) don't appeal that much to me- it was really 'Flamenco Sketches' that blew my mind (& that came out of this kind of sound). Ascenseur Pour l'echafaud could be seen as a precursor to Davis' more ambient works, notably In a Silent Way & Agharta. This 2003 reissue comes with a wonderful cover (featuring snaps of the gorgeous Jeanne Moreau, one of the film's stars, hanging out with Miles) & great sleevenotes. The original 10-track soundtrack LP is present & remastered; while tracks 11-26 take in a wealth of outtakes: this is certainly great value!

As a previous review has noted, this LP seems very much overlooked in the Miles-canon and along with Kind of Blue (1959) it probably represents the best introduction to the many joys of Miles Davis. To me this sounds like the kind of music you should play on endless sunday mornings as Jeanne Moreau or Jean Seberg flip between feminine and masculine and you smoke Gitane endlessly...

Miles' Hidden Gem, 26 Feb 2002
Often overlooked (partly) because it has not been available in many High Street shops, L'ascenseur catches Miles in yet another defining moment during a short stay in Paris. Free flowing music, composed on the spot whilst seeing the movie.
Much more sober in its arrangements, this music score is great jazz - much less boppy and much less orchestrated than much of his previous works. Certainly a "must have" for any Miles fan and a good buy for any newcomer to jazz.

Good god its goodman, 11 Feb 2002
I'm 17 years of age, i'm into punk rock music, heavy/thrash metal music and I play electric guitar. So can someone please explain to me why I love this album sooooo much. Seriously, I never get bored of listening to the Benny Goodman Story. From start to finish all his best hits are crammed in for a night in, sitting down and relaxing and watching the t.v with the mute button on. My favourites are "And The Angels Sing", "One O'clock jump", "China boy", "Moonglow". Well let me face facts there all amazing tracks from the swing band general himself. (Also recommended if you like this is Glen Miller.)
I honestly love this C.D and if your thinking of buying this DO NOT HESITATE, it's a wonderful CD, and at the price it couldn't be better. It's the perfect "chill out" CD.

Am I Blue? well a little bit, 19 Feb 2006
Clunker or Classic, you can't ignore The Cotton Club after all its mix of onstage dance numbers blurring into the action off stage blazed a trail for movies like Chicago.

The Cotton Club soundtrack is a perfect accompaniment to the movie and features 13 of jazzman Bob Wilber's stunning recreations of jazz classics of the era and two examples of John Barry's evocative and deeply romantic score.

The CD seems to be a straight lift from the vinyl released at the time of movie and therefore reflects the limitations of an LP in terms of time. Consequently, many fine performances get lost - notwithstanding John Barry's score other casualties include Larry Marshall's none too convincing version of Cab Calloway's Jitterbug and The Lady With The Fan, Sydney Goldsmith's bawdy rendition of Lucille Brogan's Barebecue Bess, Diane Lane and Richard Gere's charming Am I Blue? and Gregory and Maurice Hines supercharged performance of Crazy Rhythm - there's lots more missing. I suppose it's because the movie tanked at the box office so no-one at Geffen Records is going to bother to expand the score which is a shame.

Moans aside, what you do get is great. Bob Wilber should be applauded for his attention to detail in creating the spirit and feel of the great dance music of the 30's without the pops and crackles.

Foot tapping fun!, 07 Oct 2001
From the first song on the cd, you can tell the type of music that there is. Although it is a musical, the lyrics of the song are thought provoking and have some hidden meanings in it if you listen carefully. There are soulfull numbers such as 'Don't let the sun catch you crying' to the more fast-paced and funnier numbers such as 'Safe, sane and single'. Its hard to not tap your feet to it whilst listening. If you love the songs you have to buy the vidoe also, due to the awesome dance routines and hilarious interaction with the audience. You don't get as much of a sense of audience participation with this cd, though there are elements, such as the song 'Caldonia'. Overall, it is a fun cd which has songs for all occasions and emotions of when you break up with someone you love. Follow the journey of No Max and those 5 crazy Guys Named Moe!

They're the greatest band around!, 23 Aug 2001
Louis Jordan's buzzing lyrics teamed together with Clarke Peter's cutting book team together to create the Five Guys Named Moe. (the name given to the band who played with Louis Jordan back in 20's).

The show is about Nomax, a young Jamaican who is a heavy smoker and alcohlic who has just been dumped by his girlfriend. While it's "Early in the Morning", the greatest hip-hop, be-bop, jazzy, swinging, coolest band pop out of the radio and try to talk some sense into him.

The vocals are astounding on this, the music is superb and will have you bopping in time and the lyrics are crammed with jokes, black humour, 20's slang and yet have the biting edge that keeps the show serious in places. All in all, a great recording, my only complaint is that not all of the show is included and so the storyline is lost but this is an exceelent concept recording.

"Orson, your future's all used up...", 26 Nov 2001
Touch Of Evil is the greatest B-Movie of all time, made for a pitiful $895,000. The score however, is worth much more than that, providing more atmosphere than any of Orson Welles' quirky camera angles. 'Main Title' sets the scene perfectly, with a melody that sounds dangerous, seedy, and corrupt, encapsulating the film as a whole. Playing this with Russel Metty's treasured three-minute tracking shot complemented and enhanced the film, and made way for more musical (and visual) treats. Another favourite is 'Tana's Theme', a honky-tonk piano piece that evokes every shred of emotion from Marlene Dietrich's love for Hank Quinlan.
Fantastic score for a fantastic film.

The soundtrack was not reminiscent of the movie., 09 Oct 2001
This CD was a disappointment to us. We expected it to bring the movie back to life for us, re-create it in our minds. But the music sounded totally unfamilar, we couldn't remember having heard it in the movie - aside from the unusual arrangement of Over the Rainbow and What a Wonderful World. Another reason I bought the CD is that I like Miles Davis, but I guess I wasn't prepared for some of this "experimental" sounding jazz. I do think, however, that it might grow on me, and intend to listen to it again... and then perhaps go back to this site and re-rate it.

Is this really the music from the film?, 02 Apr 2001
The mood of the film was captured by the haunting music, which left a lasting impression. Unfortunately, anyone wishing to relive the dark shadows and poignant atmosphere of the film is going to be disappointed with this soundtrack - I was even left wondering if it was from the same film that I had seen only the day before. Apart from a difficult to place rendering of "Over The Rainbow", none of the tracks sounded familiar. No doubt an excellent work if one is a Miles Davis fan, but the choral works in the film above all were sadly lacking from this "soundtrack" album.

This was Duke's first full-length movie soundtrack commission, Otto Preminger's 1959 dark courtroom drama providing ample scope for sweeping dramatic contrast. Here, the original 35-minute LP is augmented by over 40 minutes of rare, hitherto unreleased bits and pieces, ranging from mono and stereo single versions of the main title theme to a DJ-only Ellington interview mock-up, from an incongruous Dixieland sextet to a gargling strangulation scene. The main body contains a surfeit of hard-boiled horn-bruising, sleazy, sexual small talk transformed into precision scoring, repeatedly stopping short for a beguiling interlude or two, none more impressive than "Low Key Lightly", with its aching Ray Nance violin solo, a completely naked sound. Duke frequently switches palettes to striking effect, the celeste chimes of "Midnight Indigo" shimmering against Harry Carney's froggy bass clarinet, "Sunswept Sunday" offering a churchy, pastoral wander, "Grace Valse" spinning gracefully, eyes closed. The whole shebang ends with Cat Anderson's stunning high-note spits on "Upper And Outest", attaining a spine-tingling level rarely heard, even on the trumpet. As a further goad, the crammed booklet boasts some anally-obsessive session details, an engaging appreciation from Wynton Marsalis and a structural analysis from Phil Schaap. --Martin Longley

Another favourite LP by Miles Davis...., 03 Jul 2004
Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold) was in many ways the definitive Nouvelle Vague crime movie (later relations included Bande a Part and Tirez Sur La Pianiste); it's soundtrack was also definitively 'new wave.' The great Miles Davis, breaking from his earlier collaborations with Charlie Parker & Gil Evans was on a three-week tour of Europe & somehow ended up scoring Malle's movie in a single-mythic night-time session (which very much seemed to mirror the improvised nature of many New Wave works). Jazz would also be key to several other Nouvelle Vague films, famously A Bout de Souffle (1959) & films such as Le Souffle Au Coeur & Lacombe, Lucien- which used the music of Charlie Parker & Django Rheinhardt respectively.

This Miles is the one that appeals most- the earlier incarnations (e.g. The Birth of the Cool) don't appeal that much to me- it was really 'Flamenco Sketches' that blew my mind (& that came out of this kind of sound). Ascenseur Pour l'echafaud could be seen as a precursor to Davis' more ambient works, notably In a Silent Way & Agharta. This 2003 reissue comes with a wonderful cover (featuring snaps of the gorgeous Jeanne Moreau, one of the film's stars, hanging out with Miles) & great sleevenotes. The original 10-track soundtrack LP is present & remastered; while tracks 11-26 take in a wealth of outtakes: this is certainly great value!

As a previous review has noted, this LP seems very much overlooked in the Miles-canon and along with Kind of Blue (1959) it probably represents the best introduction to the many joys of Miles Davis. To me this sounds like the kind of music you should play on endless sunday mornings as Jeanne Moreau or Jean Seberg flip between feminine and masculine and you smoke Gitane endlessly...

Miles' Hidden Gem, 26 Feb 2002
Often overlooked (partly) because it has not been available in many High Street shops, L'ascenseur catches Miles in yet another defining moment during a short stay in Paris. Free flowing music, composed on the spot whilst seeing the movie.
Much more sober in its arrangements, this music score is great jazz - much less boppy and much less orchestrated than much of his previous works. Certainly a "must have" for any Miles fan and a good buy for any newcomer to jazz.

Good god its goodman, 11 Feb 2002
I'm 17 years of age, i'm into punk rock music, heavy/thrash metal music and I play electric guitar. So can someone please explain to me why I love this album sooooo much. Seriously, I never get bored of listening to the Benny Goodman Story. From start to finish all his best hits are crammed in for a night in, sitting down and relaxing and watching the t.v with the mute button on. My favourites are "And The Angels Sing", "One O'clock jump", "China boy", "Moonglow". Well let me face facts there all amazing tracks from the swing band general himself. (Also recommended if you like this is Glen Miller.)
I honestly love this C.D and if your thinking of buying this DO NOT HESITATE, it's a wonderful CD, and at the price it couldn't be better. It's the perfect "chill out" CD.

Am I Blue? well a little bit, 19 Feb 2006
Clunker or Classic, you can't ignore The Cotton Club after all its mix of onstage dance numbers blurring into the action off stage blazed a trail for movies like Chicago.

The Cotton Club soundtrack is a perfect accompaniment to the movie and features 13 of jazzman Bob Wilber's stunning recreations of jazz classics of the era and two examples of John Barry's evocative and deeply romantic score.

The CD seems to be a straight lift from the vinyl released at the time of movie and therefore reflects the limitations of an LP in terms of time. Consequently, many fine performances get lost - notwithstanding John Barry's score other casualties include Larry Marshall's none too convincing version of Cab Calloway's Jitterbug and The Lady With The Fan, Sydney Goldsmith's bawdy rendition of Lucille Brogan's Barebecue Bess, Diane Lane and Richard Gere's charming Am I Blue? and Gregory and Maurice Hines supercharged performance of Crazy Rhythm - there's lots more missing. I suppose it's because the movie tanked at the box office so no-one at Geffen Records is going to bother to expand the score which is a shame.

Moans aside, what you do get is great. Bob Wilber should be applauded for his attention to detail in creating the spirit and feel of the great dance music of the 30's without the pops and crackles.

Foot tapping fun!, 07 Oct 2001
From the first song on the cd, you can tell the type of music that there is. Although it is a musical, the lyrics of the song are thought provoking and have some hidden meanings in it if you listen carefully. There are soulfull numbers such as 'Don't let the sun catch you crying' to the more fast-paced and funnier numbers such as 'Safe, sane and single'. Its hard to not tap your feet to it whilst listening. If you love the songs you have to buy the vidoe also, due to the awesome dance routines and hilarious interaction with the audience. You don't get as much of a sense of audience participation with this cd, though there are elements, such as the song 'Caldonia'. Overall, it is a fun cd which has songs for all occasions and emotions of when you break up with someone you love. Follow the journey of No Max and those 5 crazy Guys Named Moe!

They're the greatest band around!, 23 Aug 2001
Louis Jordan's buzzing lyrics teamed together with Clarke Peter's cutting book team together to create the Five Guys Named Moe. (the name given to the band who played with Louis Jordan back in 20's).

The show is about Nomax, a young Jamaican who is a heavy smoker and alcohlic who has just been dumped by his girlfriend. While it's "Early in the Morning", the greatest hip-hop, be-bop, jazzy, swinging, coolest band pop out of the radio and try to talk some sense into him.

The vocals are astounding on this, the music is superb and will have you bopping in time and the lyrics are crammed with jokes, black humour, 20's slang and yet have the biting edge that keeps the show serious in places. All in all, a great recording, my only complaint is that not all of the show is included and so the storyline is lost but this is an exceelent concept recording.

"Orson, your future's all used up...", 26 Nov 2001
Touch Of Evil is the greatest B-Movie of all time, made for a pitiful $895,000. The score however, is worth much more than that, providing more atmosphere than any of Orson Welles' quirky camera angles. 'Main Title' sets the scene perfectly, with a melody that sounds dangerous, seedy, and corrupt, encapsulating the film as a whole. Playing this with Russel Metty's treasured three-minute tracking shot complemented and enhanced the film, and made way for more musical (and visual) treats. Another favourite is 'Tana's Theme', a honky-tonk piano piece that evokes every shred of emotion from Marlene Dietrich's love for Hank Quinlan.
Fantastic score for a fantastic film.

The soundtrack was not reminiscent of the movie., 09 Oct 2001
This CD was a disappointment to us. We expected it to bring the movie back to life for us, re-create it in our minds. But the music sounded totally unfamilar, we couldn't remember having heard it in the movie - aside from the unusual arrangement of Over the Rainbow and What a Wonderful World. Another reason I bought the CD is that I like Miles Davis, but I guess I wasn't prepared for some of this "experimental" sounding jazz. I do think, however, that it might grow on me, and intend to listen to it again... and then perhaps go back to this site and re-rate it.

Is this really the music from the film?, 02 Apr 2001
The mood of the film was captured by the haunting music, which left a lasting impression. Unfortunately, anyone wishing to relive the dark shadows and poignant atmosphere of the film is going to be disappointed with this soundtrack - I was even left wondering if it was from the same film that I had seen only the day before. Apart from a difficult to place rendering of "Over The Rainbow", none of the tracks sounded familiar. No doubt an excellent work if one is a Miles Davis fan, but the choral works in the film above all were sadly lacking from this "soundtrack" album.

Intense, varied, DUKE!, 19 Oct 2000
This is Duke's soundtrack to a 1959 Otto Preminger film. The sound is pure Ellington at its best. The tracks on the original release are integrated by many additions (such as alternate takes, rehearsals and whatnot). The additions, however, are not always musically outstanding, only just over half of the time. That's why I gave this CD only 4 out of 5 stars, which for a CD of this length is a high score. You'll get about 70 minutes of music, with 50 minutes who belong in the best orchestral jazz ever heard.

Here are a few details about the music. The soloists are--you bet--top notch, but space for improvised solos (as opposed to written ones) is less than we are accustomed to. I guess Duke approached the soundtrack work with a mentality somewhat different from his ordinary.

The themes are good as ever, from the Main Title to the romantic "Midnight Indigo", passing through the small reduced-personnel gem "Sunswept Sunday", solemn in the A section and light in the clarinet (written) solo B section. This track has probably been edited-reassembled in the mixing room (there are two apparently identical repetitions of the A-B structure, and the junction is musically awkward to my ear), but so what? The liner notes say that in the movie you could only listen to a few seconds of this piece. Also "Almost Cried" is an instant classic. I bet your favorites might vary from mine, because the quality is high throughout.

Summing up, this record is a must for Duke's lovers and a good listen for anyone who likes good jazz.