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!” 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!'”

On his way to see Wild Man Moore at the train station, Ram Bowen, a jazz musician living in Paris, encounters a newly arrived tourist named Connie Lampson and invites her to see him perform that night at Club 33. Connie is not interested, but her friend Lillian insists they go see him. After Ram finishes performing with Eddie, a fellow American expatriate, the four of them leave the club in the early morning. When Ram suggests that he and Connie go off to have a private breakfast together, she becomes offended, and Ram is angered at being rejected. However, Lillian, undeterred by Ram's attraction to her friend, convinces him to apologize before pursuing him. The two sleep together while Connie and Eddie continue to walk around Paris. 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? 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! 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.The story is nothing too deep. Two musicians, one coloured, one white, meet up with two girls in Paris, and what one would expect to ensue obligingly ensues. The drug problem rears its ugly head; Paul Newman (Ram Bowen, a trombonist) writes a jazz concerto; but it all manages to end fairly happily. Louis plays the part of a visiting American jazz celebrity (Wild Man Moore), complete with his own band – not the All Stars – and mugs his way through his part with his usual infectious, gay abandon. 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. 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). 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.

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.

#3b558f linear gradient to complementary #9d9b2d

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. 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. Jazz writer Kevin Legendre explores the encounter between American modern jazz and the French New wave in Paris in the late 1950s and 60s. 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.

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!” 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. The Dukely presence was sheltered, and his wants attended to, by an old friend who saw to his meals (Duke is a somewhat exacting eater), acted as interpreter and whose extreme elegance would be enough to stir the muse in the most veritable clodhopper imaginable. And recently it should be noted, the Ducal muse has been working overtime. “I’ve written more in the past year, than I’ve done for the five years previously,” he said. “But one can’t keep it bottled up, can one? Like this good French wine, it doesn’t keep for ever you know.” The only time I feel alive is when I'm painting. Vincent Van Gogh

…

Color Charts 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.Paris Blue has the hex code #B7DDED. The equivalent RGB values are (183, 221, 237), which means it is composed of 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.

Paris Blue is an RAL Design color with the number 240 85 15. Different from the Classic list, the RAL Design catalogue specifies colors for interiors. RAL is a well-known color matching system used in several European countries including Germany, France, Italy and the UK. 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. 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. 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.

Contributors

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. 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. 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.