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A2, A3 <> Recorded live at a benefit for Norman Mailer's mayoral campaign, Cinematheque 16, West Hollywood, CA, May 31, 1969 The hexadecimal color code #3b558f is a medium dark shade of blue. In the RGB color model #3b558f is comprised of 23.14% red, 33.33% green and 56.08% blue. In the HSL color space #3b558f has a hue of 221° (degrees), 42% saturation and 40% lightness. This color has an approximate wavelength of 472.79 nm. 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.

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. 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%. 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!”This book reminds us of several books that we've read this year: “No Perfect Love” by Dr. Alyson Nerenberg (non-fiction) and “A Major League Love” by Domenic Melillo (fiction). All of these books highlight the twists and turns that life and love can take. Something unique about “Paris Blue” by Julie Scolnik, however, is that it especially highlights the “rose-tinted goggles” of idealism that lovers often have at first, leading to disappointments and shattered expectations. It's about what happens when the perfect love isn't so perfect, and it's also about a woman's journey to self-discovery. 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.

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. Paris Blue” is a drama-filled memoir by Julie Scolnik chronicling her decade-plus, on and off romantic relationship with a Frenchman named Luc, a lover who shares Julie's passion for classical and baroque music. This book has several dimensions and layers. Julie’s description of the music of Paris, the Chorus was interesting and would have loved to hear more rather than bus & metro journeys. This is how the story unfolds as Julie recalls the first serous love of her life, Luc. She’s twenty, very pretty, and somewhat naive—an American college student in Paris during her year of study abroad. He’s in his late twenties, a former student radical, a legal bureaucrat for the French government. He’s hoping to join a legal firm someday. Both are smart. Both love classical music. She wants to perfect her French. He wants to learn English. When they notice each other during rehearsals of the Chorus of the Orchestra of Paris, this is a dream come true. 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.

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. It’s a challenge if the person you love deeply is color blind. What if they see everything as one shade or other of the color blue? How will you share the multitude of vivid colors that surround you? But if the person you love also suffers from an apparent emotional blindness, the challenges threaten to become insurmountable; the blueness of everything begins to seep into your soul.

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.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.

Rhino Entertainment Company. Manufactured for & marketed by Rhino Entertainment Company, a Warner Music Group Company, 777 S. Santa Fe Ave, Los Angeles, CA 90021 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.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! As he said, “The part I play in the picture ain’t big, but it’s important – I see to that! It all takes place in one of them caves, those French cellars y’know. Sidney Poiter and Paul Newman, they’re supposed to be jazz musicians. Paul plays trombone; he’s really bin’ takin’ lessons from Billy Byers, who plays the music for the film. Sidney, he’s supposed to be a saxophone man. That French cat Guy Lafitte taught him to hold his horn right. Duke got the band sounding his way and some of the music is real pretty. When Hugues Panassié heard some of the tapes, he just lifted up his hands, French fashion, and cried with joy. ‘What are you doing to our musicians?’ he said. ‘You have inspired them!'” First 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 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. The admiration was mutual - French cinephiles loved American jazz. The film score became a key area of collaboration as jazz musicians worked closely with a younger generation of radical directors that made up the French new wave. These scores elevated French films to new levels of intensity, cool and atmosphere.