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Guests include jazz singer Dee Dee Bridgewater, film director Bertrand Tavernier, composer Martial Solal, jazz writer Geoff Dyer, historians Kevi Donat and Ginette Vincendeau, bass player Henri Texier and playwright Jake Lamar.
Joanne Wodward, Diahann Carrol and Barbara Laage (in a more minor role, albeit soulful and penetrating) all hit their mark with humor, depth and candor. Serge Reggiani's role as the junkie guitar player adds his own set of "blues" to an already spicy mixture of music, love, rejection and pathos. "Satchmo" and company provide a most welcome musical interlude at just the right time to lighten up the plot just a bit! Jazz writer Kevin Legendre explores the encounter between American modern jazz and the French New wave in Paris in the late 1950s and 60s. Some of the musicians' great but little known work is recorded in these movies. But underlying the beautiful work, this story is one of political exile as well as cultural refuge. For a moment Paris became a jazz capital of the world as well as the free-thinking centre of Europe - a rebuke to prejudice in America, even as it had growing racial tensions of its own.
The other relationship is more intense (Paul Newman and Joanne Woodward were, of course, husband-and-wife offscreen, and this was the fourth time they had appeared together on screen). Newman’s Ram Bowen is both selfish, arrogant and ambitious, with eyes to become a serious composer, and not really prepared to take on Woodward’s Lillian Corning – a divorcee with two children – full time. Throw in a sub-plot about the group’s guitarist Michel “Gypsy” Devigne (Serge Reggiani) – a clear reference to Django Reinhardt – and his heroin addiction, and we’re looking at a fairly rich bouillabaisse, before we even mention the music.
At the 34th Academy Awards for films from 1961, Ellington was nominated for the Oscar for Best Music, Scoring of a Musical Picture but the award was given, rather expectedly, to Saul Chaplin, Johnny Green, Sid Ramin and Irwin Kostal for West Side Story. The award was part of the ten (10) Oscar juggernaut awarded to West Side Story that year. In Jazz Journal, March 1961, in an article titled “With Duke and Louis in Paris”, editor Sinclair Traill reflected on Paris Blues and interviewed Ellington and Armstrong:This is not merely a movie about race, jazz, drug use, love affairs, Parisian scenery, etc. It's a movie about all the aforementioned and then some. Ritt & Co. go deeper than just superficially touching on so-called hip, trendy issues. Each character portrayed has his/her own set of "blues" to contend with and no individual set of "blues" is merely confined to one sole issue, but rather a complex mixture of many factors that comprise each of our character's makeup. It is in the intertwining of each character's individual persona with the other characters' own traits and idiosyncrasies that lets the story unfold and take cohesive shape. Successes and failures are inextricably linked, as in Ram's (Newman) fame as a jazz soloist counterpointed with his rejection as a serious composer/arranger. Eddie (Poitier) also has his own set of personal conflicts that are duly explored here. Also includes the previously unreleased live recordings from May 31, 1969 "I Will Never Be Untrue"&"Me And The Devil Blues" In place of the travelogue element, we get a lovely scene in which Sidney Poitier (Eddie Cook), and Diahann Carroll (Connie Lampson) stroll around the Bird Market on Île de la Cité. Although they are in love, Eddie is in Paris primarily because Parisians are noted for being colour blind and he is judged solely on his skill as a saxophonist rather than the colour of his skin. Connie, however, is active in the struggle for racial equality and urges Eddie to return with her to the US and stand up to be counted.
Yeh,” broke in Louis, “but that old Sultana wouldn’t let me in, even when I tol’ him none of them ladies had anything Lucille hadn’t got – but better!” But now we notice something new: Our reprimands are turning inward. Haven’t we made the same mistakes as Julie? Wasn’t there a first love—or a second, or third—the dismal ashes of which still conceal a glowing ember?
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To be young and in love in Paris! I’ll start by saying that I love French culture and language, so I really enjoyed the beautiful, detailed Parisan descriptions, which were an instant trip to the city-of-light without leaving my seat. The story would end there. Close the book. Happy End. But, little by little, troubling things about Luc give us warning signs. Fairly early on, we, the reader, want to tell Julie, “Stop!” “Say no!” “This is not going to end well!” Music plays a big part in this story. It is music that brings them together in the first place, and the thing that they bond over so intensely, creating an emotional connection well before anything else. The music is so instrumental to their relationship, in fact, that Scolnik provides an index at the end of the pieces that meant the most to them. It’s a sentimental addition that creates another layer of vulnerability to the story being told. Rhino Entertainment Company. Manufactured for & marketed by Rhino Entertainment Company, a Warner Music Group Company, 777 S. Santa Fe Ave, Los Angeles, CA 90021 red, 34% green and 37% blue. The CMYK color codes, used in printers, are C:23 M:7 Y:0 K:7. In the HSV/HSB scale, Paris Blue has a hue of 198°, 23% saturation and a brightness value of 93%.
In sum: you don’t have to be a jazz buff to thoroughly enjoy Paris Blues, but if you are a fan you’ll think you’ve died and gone to heaven. Paris in the civil rights era was a hub of artistic collaboration as well as a kind of political refuge - a destination for American jazz musicians escaping racial prejudice and turbulence at home, finding new creative encounters abroad. A2, A3 <> Recorded live at a benefit for Norman Mailer's mayoral campaign, Cinematheque 16, West Hollywood, CA, May 31, 1969
Color Space Conversions Decimal 3888527 Binary 00111011, 01010101, 10001111 Hexadecimal #3b558f LRV ≈ 9.4% Closest short hex #458 ΔE = 1.961 RGB rgb(59, 85, 143) RGBA rgba(59, 85, 143, 1.0) rg chromaticity r: 0.206, g: 0.296, b: 0.498 RYB red: 23.137%, yellow: 30.923%, blue: 56.078% Android / android.graphics.Color -12888689 / 0xff3b558f HSL hsl(221, 42%, 40%) HSLA hsla(221, 42%, 40%, 1.0) HSV / HSB hue: 221° (221.429), saturation: 59% (0.587), value: 56% (0.561) HSP hue: 221.429, saturation: 58.741%, perceived brightness: 34.217% HSL uv (HUSL) H: 256.075, S: 63.935, L: 36.760 Cubehelix H: -140.528, S: 0.572, L: 0.328 TSL T: -2.162, S: 0.179, L: 0.329 CMYK cyan: 59% (0.587), magenta: 41% (0.406), yellow: 0% (0.000), key: 44% (0.439) CMY cyan: 77% (0.769), magenta: 67% (0.667), yellow: 44% (0.439) XYZ X: 10.008, Y: 9.409, Z: 27.270 xyY x: 0.214, y: 0.202, Y: 9.409 CIELab L: 36.760, a: 8.693, b: -35.102 CIELuv L: 36.760, u: -12.420, v: -50.094 CIELCH / LCHab L: 36.760, C: 36.162, H: 283.909 CIELUV / LCHuv L: 36.760, C: 51.610, H: 256.075 Hunter-Lab L: 30.674, a: 4.560, b: -31.238 CIECAM02 J: 26.753, C: 42.079, h: 258.523, Q: 101.904, M: 36.798, s: 60.092, H: 310.320 OSA-UCS lightness: -10.367, jaune: -6.197, green: 1.121 LMS L: 6.948, M: 9.097, S: 26.975 YCbCr Y: 88.017, Cb: 157.310, Cr: 112.468 YCoCg Y: 93.000, Cg: -8.000, Co: -6.250 YDbDr Y: 83.838, Db: 89.014, Dr: 47.244 YPbPr Y: 83.638, Pb: 31.990, Pr: -15.668 xvYCC Y: 87.830, Cb: 156.101, Cr: 114.237 YIQ Y: 83.838, I: -34.122, Q: 12.548 YUV Y: 83.838, U: 29.114, V: -21.791 Okhsl h: 264.550, s: 0.547, l: 0.373 Okhsv h: 264.550. s: 0.546, v: 0.575 Okhwb h: 264.550, w: 0.261, b: 0.425 Oklab l: 0.458, a: -0.010, b: -0.100 Oklch l: 0.458, c: 0.100, h: 264.550 Munsell Color System 7.5PB 3/10 ΔE = 4.144 Brand Color Facebook ΔE = 1.973 Random Colors The film also features trumpeter Louis Armstrong (as Wild Man Moore) and jazz pianist Aaron Bridgers; both play music within the film. It was produced by Sam Shaw, directed by Martin Ritt from a screenplay by Walter Bernstein, and with cinematography by Christian Matras. Paris Blues was released in the U.S. on September 27, 1961. Details of other color codes including equivalent web safe and HTML & CSS colors are given in the table below. Also listed are the closest Pantone® (PMS) and RAL colors. Julie’s description of the music of Paris, the Chorus was interesting and would have loved to hear more rather than bus & metro journeys.
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