Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence.
In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. A woman well ahead of her time, she pushed boundaries with her avant-garde fashion sense, amazing afro, and provocative lyrics. A blues woman to the bone, Betty took her southern roots, and mixed them with raw funk, soul, and psychedelic rock. Betty’s voice purrs, growls, and scratches through her deliciously written lyrics. Miles Davis - Ascenseur pour l'échafaudĪaron davis (2) aaron goldberg (1) abbey lincoln (1) abdullah ibrahim (8) acid jazz (7) acoustic fingerstyle (1) adam cruz (1) adam rudolph (1) addison farmer (2) adrian elissen (1) adrian york (1) african (1) afro-cuban (1) ahmad jamal (1) aighetta quartet (1) airto moreira (6) aiyb dieng (3) akira tana (1) al cohn (2) al di meola (1) al foster (1) al heath (1) al jarreau (1) al macdowell (1) al schackman (1) al viola (1) alan broadbent (1) alan skidmore (1) alban darche (1) albert lee (2) aldo ciccolini (1) alex blake (1) ali jackson (1) alla rakha (1) alphonse mouzon (3) alt.There would be no Prince, Madonna, Jimi Hendrix, Miles Davis (in the 1970’s), or Lil Kim, if it weren’t for Betty Davis and her explosive, courageous, erotic, gender bending, bluesy, and funky music.Nuit Sur Les Champs-Elysées (take 4) 2:59 Nuit Sur Les Champs-Elysées (take 3) 2:47Ĥ. Nuit Sur Les Champs-Elysées (take 2) 5:20ģ. Nuit Sur Les Champs-Elysées (take 1) 2:25Ģ. Nastos, AMGĪlbum: Ascenseur pour l'échafaud (Lift to the Scaffold)ġ. 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. 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.
Michelot is as important a figure as the trumpeter because he sets the tone, as on 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 "Diner au Motel." 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.
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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. This recording evokes 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. 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. Jazz and film noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold).
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