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Stéphane Kerecki Quartet - Nouvelle Vague (2014)

3-07-2014, 11:27
Music | Jazz | Instrumental

Stéphane Kerecki Quartet - Nouvelle Vague (2014)

Artist: Stéphane Kerecki Quartet
Title Of Album: Nouvelle Vague
Year Of Release: June 3, 2014
Label: Outnote Records
Genre: Jazz, New wave, Soundtracks
Quality: MP3 | FLAC (tracks)
Bitrate: 320 kbps | lossless
Total Time: 58:09 Min
Total Size: ~142 Mb | ~325 Mb +booklet
WebSite: amazon


1. Charlie et Lena (From "Tirez sur le pianiste") (04:21)
2. Le mépris Suite (08:37)
3. Ferdinand (From "Pierrot le Fou") (04:44)
4. La chanson de Maxence (From "Les demoiselles de Rochefort") (03:59)
5. Générique (From "Les quatre cents coups") (05:19)
6. Générique (From "Ascenseur pour l'échafaud") (05:44)
7. Thème d'amour (From "Alphaville") (05:49)
8. Jamais je ne t'ai dit que je t'aimerais toujours (From "Pierrot le Fou") (03:22)
9. Julie et L'écharpe (From "La mariée était en noir") (04:44)
10. Symphony No. 7: II. Allegretto / Roland rêve (From "Lola") (07:31)
11. New York Herald Tribune (From "À bout de souffle") (03:59)

Hear the images; see the music. Here in a few words is what touches me in New Wave cinema (Godard, Truffaut, Malle, and Demy). How to bring together the music of these films into a single program? This disc was conceived as an image of what I love in these films. The musical themes were only very slightly arranged and were regarded as raw material, leaving room for respectful improvisation and thematic appropriation, while retaining the greatest uniting principle: freedom. - Stéphane Kerecki

'Here in a few words is what touches me in the cinema of the New Wave. If, in the first place, jazz is very present in the films (Miles Davis, Martial Solal, Michel Legrand), there are also significant similarities between the cinema of these directors and my own conception of jazz: the exploration of personal worlds (Truffaut’s childhood in Les Quatre Cents Coups, Godard’s love for Anna Karina in Pierrot le fou and Une femme est une femme), the calling into question of classic aesthetic concepts, the affirmation of spatial deconstruction, but also the insertion of certain irrelevant scenes, guided by the sheer pleasure of movie-making (just as jazz musicians can be guided by the sheer pleasure of playing their instruments) –these are among the characteristics that were a powerful source of inspiration to me as I wrote the music for this disc.'

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