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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. Jazz writer Kevin Legendre explores the encounter between American modern jazz and the French New wave in Paris in the late 1950s and 60s.
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. A2, A3 <> Recorded live at a benefit for Norman Mailer's mayoral campaign, Cinematheque 16, West Hollywood, CA, May 31, 1969 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.Paris Blue has the hex code #B7DDED. The equivalent RGB values are (183, 221, 237), which means it is composed of 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! 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. 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 An antagonistic lover in Julie Scolnik's "Paris Blue" would like to similarly prefer to exist only in the letters he writes. Adopting an attitude suggested (although perhaps not "intended") by Derrida's famous pun, "il n’y a pas de hors-texte", the man courting the protagonist wants her to believe the text and ignore everything outside it. Blind to the subtle colors of this City of Lights, he wants her to see what he can never make her hear.
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. Paris Blue is a superbly written memoir by Julie Scolnik about finding unexpected and intense love, in a foreign country. I loved the descriptions of Paris and how the city became such a part of Julie’s story, creating the sense that the love she shared with Luc was literally impossible anywhere else. Scolnik’s wonderful prose perfectly captures the atmosphere and energy of Paris, and the first half of the book reads like a love letter to the city itself. Paris has had more than its fair share of lines written in its honor and this book joins those ranks, painting vivid pictures of bustling streets, quaint cafes, cultured inhabitants, and the serenely bucolic nature that the city still manages to maintain despite all the activity. Julie’s relationship with Luc takes more of a center stage in the latter part of the memoir, as their relationship progresses and then regresses in turns, leaving the reader unsure where the two may eventually land. Throughout the entire impassioned book, Scolnik keeps the tone deeply personal, opening each chapter with an excerpt from one of Luc’s letters, providing hints to events that occur later in their blossoming friendship turned to romance. She never shies away from her feelings or actions, portraying them all as accurately as one can imagine they were at the moment in time. Paris Blues is a film with a sound jazz base, four A-list actors, a top director (Martin Ritt – The Spy Who Came In From The Cold, Hud), plus a guest appearance by Louis Armstrong, ubiquitous in films of this type in the 50s and 60s. Arguably the icing on the cake is a score by Duke Ellington.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 second layer or dimension of this book is how it's kind of a coming of age story about Julie, young and naive, learning to come to terms with her changing feelings, her changing body, and her changing world. We're with Julie from the age of 17—right at the cusp of becoming a full-fledged woman—and we journey with her into the middle of adulthood in which she becomes more mature, self-confident, and independent. We also see her journey as a musician, going from a hobbyist to someone who can be invited to perform at concerts.
The lyrical language weaving it’s journey via the passion for music has left me exhausted; this is not the easy read I was expecting although hints were there which didn’t register. It’s a very American story with references to an early music and literature immersion by the whole of Julie’s family. Not your typical family I expect. In addition to Billy Byers and Guy Lafitte, Aaron Bridges is seen at the piano, the famed Moustache on drums, Jean Vees (Django’s cousin) on guitar, and the following musicians from Butler’s own group all appear – Roland Legrand, Germain Couvin, Maurice Longrais (t), Al Levat (tb) Silvie Mamie (g) and Barel Coppet, Emilien Antille, Louis Joseph Marel, Sian D’Albonne saxes. 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. 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 only time I feel alive is when I'm painting. Vincent Van Gogh
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Color ChartsFirst loves only happen once a lifetime, and as such are memorable, for better or worse. In that vein, what could be a more memorable, or magical, experience than finding that love in Paris, a city well known for its romance? For Julie, a 20-year-old music student from a small town in Main, that’s exactly what happened. Furthering her musical talents, and trying to broaden her horizons in a city full of culture, Julie meets Luc, an older man who shares her passionate love of music and art. As the story so often goes, from that moment on, her life was never the same. The treatment we got during the whole of our tour,” she says, “was wonderful. Everywhere they took to Louis’ music and came in thousands. It was different to last time – they seemed to appreciate the music more. Kinda’ got with it more. Danny Barcelona’s drum solos stopped nearly every show, yet the time before they didn’t take too much notice of the drums. Louis says they’re getting to know the beat. I was relieved they did like the show, as with all those bottles lying around it would have been dangerous if they hadn’t! Oh, they were Pepsi bottles – they must have drunk millions of gallons. You see the only entrance fee charged was a top from a Pepsi bottle. But they had to open the bottle before they could get in, because on the inside of the crown top was a picture of Louis – and that was what they had to show at the gate. We were entertained by all the rulers everywhere. Velma and I were even invited to visit a harem – a thing which had never been done before.” 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. The music is nothing less than a delight. After scoring Anatomy Of A Murder, Duke Ellington had obviously acquired a taste for the silver screen and turned in something that was nominated for a 1961 Oscar (though it lost, unsurprisingly to West Side Story). 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.
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