Wasn't the kid in A BOUT DE SOUFFLE a Charlie Parker fan? I
seem to recall a lot of Parker's music in the score but it's
been a long time. Solal has some presence in the US jazz
scene. A recent trio album was well received. Shirley
Clarke's 1964 Cool Word has a Mal Waldron score performed by
Dizzy Gillespie and Yusef Lateef. Clarke also filmed Jack
Gelber's play The Connection which features the music of
Freddie Redd. Redd and Jackie McLean perform onstage.--- "E.
Borgers"
<
webeurop@yahoo.fr> wrote:
> In Melville's films, jazz is often heard
in
> sequences showing bars or night-clubs, it's a
kind
> of constant thing in most of his noir
films.
>
> Speaking of French noir, there's the soundtrack
of
> A BOUT DE SOUFFLE by Godard, a New Wave
classic
> wherein Martial Solal plays jazz he wrote.
Rather
> "avant-garde" at the time, his music is well
mixed
> with the film, but Solal never received until now
a
> sufficient acclaim during his career as
jazz
> composer and musician.
> I do not know if he is well known in the USA
by
> jazz fans.
>
> Roger Vadim used jazz music in his films at
a
> early stage: MJQ made the soundtrack of
SAIT-ON
> JAMAIS (1957); he will use Art blakey-
Barney
> Willen, Monk and others in his LIAISONS
DANGEREUSES
> 1960 (1959)
>
> There were also minor crime films using
jazz
> extensively. Most of the time the music was
better
> than the films, often good Bs but rarely more:
DES
> FEMMES DISPARAISSENT (Jazz messengers), UN
TEMOIN
> DANS LA VILLE (Barney Willen)
> Also: J'IRAI CRACHER SUR VOS TOMBES, a poor
film
> being a derivation from Vian's fake "American"
HB
> novel. Vian, as you may know, was a jazz fan
and
> critic, played trumpet, but I do not think he
was
> consultant for the music. Music however was
OK.
> Another flop, but this time by a master
French
> film maker: LES TRICHEURS (1958) by Marcel
Carn黊
> fortunately in order to look "modern" the film
was
> supported by brilliant jazz music by Roy
Elridge,
> Stan Getz and others.
>
> Most of these French films were done during
the
> second half of the fifties and it was not by
chance
> Main factors:
> -increasing popularity of modern jazz in
Europe
> (especially France, Belgium, Sweden,
Holland,
> England)
> -a lot of top American jazz stars were living
now
> in Paris : because of the racial tolerance
they
> lived there compared to their own country…
and
> probably also: easy access to drugs, as in France
it
> was not dealed on a big scale, at the time,
neither
> popular with the public (so less police
controls
> except for traffic organizers)
> -easiness to obtain other stars, for
concerts…etc,
> in Europe. As close to the end of the fifties,
the
> American labels gave the kiss of death to jazz
music
> in the USA, Europe became an important place
to
> provide work to these musicians then.
>
> By all this, and even more than London, since
end
> of the forties and early fifties Paris became
a
> buoyant jazz center, because of the American
players
> living there- and it attracted a lot of
good
> European players there too.
> Fortunately, a jazz label issued a few years ago
a
> tremendous series of records (more than 70)
that
> were made during that period of time in Paris;
it's
> an imprint linked to Emarcy, title of the
series:
> JAZZ IN PARIS.
>
> E.Borgers
> POLAR NOIR
> http://www.geocities.com/polarnoir
>
>
> Karin Montin <
kmontin@sympatico.ca> a 飲it :
> I watched Bob le Flambeur this week and it has
a
> pretty jazzy score. There's music in every scene,
I
> think. I've started watch The Naked City, which
by
> contrast has not a single note of music, at least
in
> the first forty minutes.
>
> Karin
>
>
>
>
>
>
> ---------------------------------
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>
>
>
> RARA-AVIS home page:
> http://www.miskatonic.org/rara-avis/
>
> Yahoo! Groups Links
>
>
>
>
>
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