Ready to Take a Chance Again Nicole Croisille
A homo and a woman Soundtrack – Recorded in 1966 at Studio Davout (Paris) – Disc'Az
The soundtrack of a man and a woman is one of those stories of risk, circumstances, failures… Francis Lai and Claude Lelouch did not meet directly, merely through lyricist Pierre Barouh. At the offset of the sixties, Barouh, also a comedian in his own time, acts in a pocket-size production directed by a young homo, crazy about movie theater and unusual framing.
« I approached Claude through Pierre who was shooting in his film, Une fille et des fusils (1964). I was on the set and all of a sudden I saw a homo lying on the floor coming out from under a table with a photographic camera shouting, « That'south great! It was Lelouch. As the place was not actually suitable for getting to know each other, they agreed to encounter over again to mind to the swain's compositions. « I was curious to see Francis once again considering Barouh in whom I had great confidence seemed extremely certain of himself, « You have to meet him, you're made for each other ».
« His music and your images, it has to match ». I didn't recall he would be that right… « Lai and Barouh made Lelouch listen to dissimilar melodies and songs they had written, including a vocal chosen L'Amour est bien plus fort que nous.
A man and a adult female Soundtrack
The filmmaker asks the duo to keep it for him, « it'southward for a love story with which this song will go perfectly, » he tells them, and he immediately offers Francis to etch the whole score.
« I lived in a tiny studio Boulevard de Clichy, » Francis Lai recalls. Claude came to see me to tell me near the motion picture, the characters and during two weeks I equanimous a lot of themes that he came to listen to later. I played about fifteen of them for him and each time he told me that he liked them just no crush…
When he was already on the doorstep, I told him that I still had 1 to nowadays to him. I hadn't dared play it before considering I didn't call back it was skilful enough, not worked enough » Francis plays his piffling theme on the accordion,… Lelouch frowns and asks him to play it again.
The second time the filmmaker listens, he stares at the musician and says, « That's the theme of the film! There were four notes, » recalls Lelouch, « and I told him immediately, this is what I demand for the moving picture I accept in mind. That evening, at two o'clock in the morning as I was nigh to get out, the irrational outweighed the intelligent. He connected all night to play me this theme that I never got tired of and I knew that these few notes would become the symbol of the film. »
Since Lelouch wanted to have the music for the shooting, he had to act quickly and formed a modest grouping. Nicole Croisille, whom Pierre and Francis knew, since they were melted with jazz, and pianist Maurice Vander joined the band. The date of the recording was set but once once again, a twist of fate occured.
If A man and a adult female Soundtrack was unanimously appreciated for its simplicity, its sobriety and its reduced instrumentation, it wasn't supposed to be that way initially :
During the terminal recording, » Lai says, « we were supposed to record the theme with a large orchestra, and that solar day the copyist hadn't finished the scores. We ended up in the studio with sixty musicians without the scores to play. Lelouch got aroused and dismissed the whole orchestra. Only Vander was left at the piano, the bassist, the drummer, me and my accordion, Pierre and Nicole for the singing.
Instead of an squeeze box theme drowned in the violins of a large orchestra, Lelouch is left with a few musicians and two singers to record the main theme. Equally Francis Lai remembers that he no longer had an orchestra, nosotros had to record the theme just as we had written it, but I recall very well that during this time, Lelouch was going around in circles, his optics airtight, listening to the music and already imagining his images and his famous circular camera movements. I call up that 24-hour interval, in the studio, he was already on the beach of Deauville with his crew… »
From this session was built-in the basic version of the theme of the soundtrack of a man and a woman, renamed past the audience, Cha ba da ba da.
« We never understood where Cha ba da da came from. In fact, Pierre Barouh had written Da bada. It was just for the rhyme: Equally our voices…ba da ba da ba da, sing softly…badabada…. Let'southward not search, in these cases, it is the audience that is right. »
Before the public reserved an unexpected triumph for them, the difficulties were not over nevertheless. Francis Lai could not discover a publisher who would accept to take over the cost of the music. Francis still can't stop laughing when he says: « We presented the theme of the film to the head of a major record company who answered us, it's peachy, but it's not very commercial and it's non danceable!
We establish ourselves with our ring on our easily having to set up our own publishing company since nobody wanted it. When the film was selected in Cannes, everyone wanted it but… likewise tardily !
The success of the music reaches records, nobody can say exactly how many records were sold, nosotros only gauge that the song was recorded in more 300 versions.
For Francis Lai, « It's crazy because if the copyist had done his job on time, we might never have thought of recording the basic version of the theme without the orchestra.
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CREDITS :
Design [Maquette] – Ferracci* – Engineer [Prise De Son] – Yves Chamberlan* – Lyrics Past – Pierre Barouh (tracks: A2 to A4, B2, B3) – Music By – Baden Powell (tracks: A2), Vinicius De Moraes (A2) – Orchestrated By – Ivan Julien*, Maurice Vander – Vocals – Nicole Croisille (tracks: A3, A4, B3), Pierre Barouh (A2, A4, B2, B3)
Source: http://www.musiqxxl.fr/a-man-and-a-woman-soundtrack/
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