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Miles Davis' moody, evocative music for the Louis Malle movie (translation: The Lift to the Scaffold) comes in two different forms on this reissue. There is a chronological sketch pad of tracks which didn't appear in the original release, or appeared in altered form, and tracks 16-26, which comprise the body of the original release, complete with the odd dollop of post-production echo to italicize the film's dramatic content. Recorded on December 4-5, 1957, the music for the film has an elegant, romantic air to it. In the company of such French jazzmen as Pierre Michelot and tenor saxophonist Barney Wilen, this soundtrack is something of a throwback to the feel of Miles' early '50s Blue Note recordings with drummer Kenny Clarke. 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Digitally remastered. Miles Davis' Ascenseur pour l'échafaud - Elevator to the Gallows - is without a doubt a landmark in the trumpeter's discography but also in the history of soundtracks. The themes improvised during the legendary recording session made in Paris have now become standards in jazz and keep on fascinating new generations of listeners. Ascenseur pour l'échafaud was recorded at Le Poste Parisien Studio in Paris on December 4 and 5, 1957. The album features the musical cues for the 1958 Louis Malle film Ascenseur pour l'échafaud. Davis was booked to perform at the Club Saint-Germain in Paris for November 1957. On December 4, he brought his four sidemen to the recording studio without having had them prepare anything. 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Digitally remastered. Miles Davis' Ascenseur pour l'échafaud - Elevator to the Gallows - is without a doubt a landmark in the trumpeter's discography but also in the history of soundtracks. The themes improvised during the legendary recording session made in Paris have now become standards in jazz and keep on fascinating new generations of listeners. Ascenseur pour l'échafaud was recorded at Le Poste Parisien Studio in Paris on December 4 and 5, 1957. The album features the musical cues for the 1958 Louis Malle film Ascenseur pour l'échafaud. Davis was booked to perform at the Club Saint-Germain in Paris for November 1957. On December 4, he brought his four sidemen to the recording studio without having had them prepare anything. 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Originally released in 1974, Big Fun presents music from three different phases of Miles Davis' early-seventies 'electric' period. Sides one and four ('Great Expectations' and 'Lonely Fire') were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla and other Indian instruments. They also mark the first time since the beginning of Miles Davis' electric period that he played his trumpet with the Harmon mute which had been one of his hallmarks, making it sound much like the sitar. This contributed to creating a very clear and lean sound, highlighting both the high and low registers, as opposed to the busier sound of Bitches Brew which placed more emphasis on the middle and low registers. 'Ife' was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. 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This aptly named 1957 album by jazz icon Miles Davis includes three sessions originally recorded between 1949 and 1950. What would go on to become known as cool jazz, these recordings were complex in arrangement, with just the right touch of restraint from Davis and the rest of his ensemble. Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title implies, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long. 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The monumental 1970 double album is a signpost for jazz fusion \u0026amp; still sounds ahead of it's time more than 40 years later. 'Listen to This.' As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than 40 years later, still sounds far ahead of it's time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made in any genre. 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