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Paris Blue has the hex code #B7DDED. The equivalent RGB values are (183, 221, 237), which means it is composed of 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. In Jazz Journal, March 1961, in an article titled “With Duke and Louis in Paris”, editor Sinclair Traill reflected on Paris Blues and interviewed Ellington and Armstrong: 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!'” 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. Also includes the previously unreleased live recordings from May 31, 1969 "I Will Never Be Untrue"&"Me And The Devil Blues" 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. 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.

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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. 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? 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. Rhino Entertainment Company. Manufactured for & marketed by Rhino Entertainment Company, a Warner Music Group Company, 777 S. Santa Fe Ave, Los Angeles, CA 90021

Julie’s description of the music of Paris, the Chorus was interesting and would have loved to hear more rather than bus & metro journeys. 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.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. 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 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. 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.” 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.