MILES DAVIS ASCENSEUR L'ECHAFAUD INSANELY RARE FRENCH FONTANA 10" MONO LP MINT
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- MILES DAVIS – ASCENSEUR POUR L’ECHEFAUD (THE ELEVATOR TO THE GALLOWS = OR = THE LIFT TO THE SCAFFOLD, DEPENDING ON TRANSLATION) - ORIGINAL SOUNDTRACK TO THE SAME-TITLED FRENCH FILM NOIR BY LOUIS MALLE FROM 1957 – ULTRA-RARE FRENCH PRESSING – 1958 FONTANA RECORDS (FRANCE) MONO 10-INCH LP 660.213MR<?xml:namespace prefix = u1 />
- GENUINE FRENCH PRESSING
- PALE GREEN FONTANA LABEL
- ORIGINAL FLAT-EDGE PRESSING (THE INTRO GROOVE, OR THE "LIP" OF THE RECORD ACTUALLY DESCENDS SLIGHTLY GOING OUTWARD; IT IS NOT A TYPICAL "FLAT" EDGE PRESSING)
- THIS NOT A RECORD CLUB, IMPORT OR COUNTERFEIT PRESSING.
- ORIGINAL, THIN CARDBOARD COVER (EUROPEAN STYLE)
- ORIGINAL FLIP-BACK COVER (1/2-INCH MARGINS OF THE FRONT PANEL ARE FOLDED AND PASTED ONTO THE BACK PANEL)
- CLEAN, WEAR-FREE LABELS
- THICK, HEAVY VINYL PRESSING
- NOTE:UNLIKE AMERICAN RELEASE OF THIS ALBUM (RELEASED ON COLUMBIA RECORDS UNDER THE TITLES: JAZZ TRACK (1958) AND FRANTIC (1961), THE ORIGINAL FRENCH 10" ALBUM CONTAINS ONLY THE MUSIC FROM THE MOVIE (ABOUT HALF THE LENGTH OF THE AMERICAN RELEASE) BUT DOES NOT INCLUDE ANY OF THE TRACKS FROM THE 1958 MILES DAVIS/JOHN COLTRANE QUINTET 1958 SESSIONS)
(?PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)
(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get. GUARANTEED!)
Jazz and Film Noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold). This dark and seductive tale is wonderfully accentuated by the late-'50s cool or bop music of Miles Davis, played with French jazzmen -- bassist Pierre Michelot, pianist René Urtreger, and tenor saxophonist Barney Wilen -- and American expatriate drummer Kenny Clarke. These complete recordings, including multiple alternate takes, evoke the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. Davis had seen a screening of the movie prior to his making of this music, and knew exactly how to portray the smoky hazed or frantic scenes though sonic imagery, dictated by the trumpeter mainly in D-minor and C-seventh chords. Michelot is as important a figure as the trumpeter because he sets the tone, whether on four takes of the ballad/blues "Nuit sur les Champs-Élysées," the last version a bit more swinging than the others; his probing one-note sound with the whispering horn of Davis during "Assassinat" and "Final"; and especially on his solo tracks, the slow walking "Ascenseur" (aka "Evasion de Julien") and the stalking "Visite du Vigile." While the mood of the soundtrack is generally dour and somber, the group collectively picks up the pace exponentially on the hard-swinging and freewheeling "Motel," the hotter "Sequence Voiture," and "Diner au Motel." These selections with the entire quintet featuring Wilen effectively realize chase scenes or mind gears crazily turning. At times the distinctive Davis trumpet style is echoed into dire straits or death wish motifs, as on "Generique" or "L'Assassinat de Carala," respectively, but the band can get kinda blue on takes of "Le Petit Bal," with Davis and Wilen more unified up front. Clarke is his usual marvelous self, and listeners should pay close attention to the able Urtreger, by no means a virtuoso but a capable and flexible accompanist. This recording can stand proudly alongside Duke Ellington's music from Anatomy of a Murder and the soundtrack of Play Misty for Me as great achievements of artistic excellence in fusing dramatic scenes with equally compelling modern jazz music.
(EXCERPT FROM AN ONLINE REVIEW BY MICHAEL G. NASTOS, ALL MUSIC GUIDE /ALLMUSIC.COM/)
THIS IS A RESERVE AUCTION.
(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we grade records under the strong, diffuse room light or discrete sunlight)
(a) WE GRADE THE VINYL AS STRONG VG++, just a notch below NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.
(b) This is the original FLAT-EDGE pressing
(c) The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!
(d) Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!
THE COVER IS NICE --- ABOUT EXCELLENT OR VERY GOOD++ (VG++).
The following flaws or imperfections are noted on the cover:
- Cover has some light ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and 10 being the most severe), we assess the severity of ring wear as 3
- Cover shows some light yellowing on back side, apparently from aging.
- Back cover has circular tarnish (grayish, dust-covered sections, which closely follow the contour of the record), probably caused by friction or by rubbing against other covers during the storage. The tarnish is similar in appearanceto a common ring wear, but, UNLIKE ring wear, these grayish areas may be possible to clean up with a minor effort and with a right cleansing solution.
- Minor shelf wear noted on the seams (nothing significant)
- Cover has a minor 'bump' (dent) on the opening side (nothing significant)
- Cover has a visible wrinkle (crease) in the cardboard base on the front panel
NO OTHER IMPERFECTIONS ON THE COVER:
- No split seams
- No cut-out (drill) holes.
- No cut-out corners
- No saw-marks or indents
- No writing
- No stamps
- No peel-off marks
- No stains
- No mold or mildew spots
- No stickers or labels
- No water damage
- No razor marks, scratches, pressure marks, lines, streaks, or cuts.
- No warping
- No wax, glue, paint or liquid drops on the cover
- No glue traces or wax residue.
- No bar codes
- No RIAA stamps or stickers.
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