Ella Fitzgerald and Andre Previn - Nice Work If You Can Get It

Styles: Vocal And Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 36:08
Size: 83,1 MB
Art: Front

(6:10) 1. A Foggy Day
(5:15) 2. Nice Work If You Can Get It
(3:54) 3. But Not For Me
(2:47) 4. Let's Call the Whole Thing Off
(5:01) 5. How Long Has This Been Going On
(4:31) 6. Who Cares
(4:57) 7. I've Got a Crush On You - Someone to Watch Over Me - Embraceable You
(3:28) 8. They Can't Take That Away From Me

Don't be put off by the Al Hirschfeld image on the front of this one because the record's a nicely laidback effort that gets way past the show biz cover! The sound here is extremely spare and Ella's singing with only the piano of Andre Previn for accompaniment possibly the first time she ever worked this way, in a manner that has all the intimacy of a late nite, small club performance. The tunes are all Gershwin numbers, but presented in ways that differ greatly from Ella's Verve Songbook reading of them a few decades before and titles include "A Foggy Day", "Nice Work If You Can Get", "They Can't Take That Away From Me", "Let's Call The Whole Thing Off", and "But Not For Me". © 1996-2022, Dusty Groove, Inc. https://www.dustygroove.com/item/587233

Ella Fitzgerald, who in the late '50s recorded the very extensive George and Ira Gershwin Songbook, revisits their music on this duet outing with pianist André Previn. Her voice was past her prime by this point, but she was able to bring out a lot of the beauty in the ten songs, giving the classic melodies and lyrics tasteful and lightly swinging treatment. Nice Work If You Can Get It is not an essential CD but is a reasonably enjoyable outing.~Scott Yanowhttps://www.allmusic.com/album/nice-work-if-you-can-get-it-mw0000188151

Personnel: Ella Fitzgerald - vocals; André Previn - piano; Niels-Henning Ørsted Pedersen - double bass

Nice Work If You Can Get It

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Shorty Rogers & Andre Previn - In Collaboration

Styles: Trumpet And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 60:53
Size: 140,5 MB
Art: Front

(2:37)  1. Heat Wave
(3:35)  2. Everything I’ve Got
(3:00)  3. It Only Happens When I Dance With You
(2:24)  4. You Stepped Out Of A Dream
(3:00)  5. General Cluster
(2:41)  6. 40º Below
(3:23)  7. Claudia
(3:22)  8. Some Antics
(2:26)  9. It’s Delovely
(2:45) 10. Porterhouse
(3:06) 11. You Do Something To Me
(2:16) 12. Call For Cole
(3:00) 13. Lullaby Of Birdland
(2:50) 14. You’re Driving Me Crazy
(3:25) 15. Tomorrow Mountain
(2:47) 16. Treat Me Rough
(2:33) 17. Mountain Greenery
(2:47) 18. You Took Advantage Of Me
(2:30) 19. Sidewalks Of Cuba
(3:23) 20. My Man’s Gone Now
(2:53) 21. Island In The West Indies

This is a really unusual and outstanding album. It presents two of the most celebrated and creative personalities of the Hollywood jazz and studio fields in collaboration. In the early Fifties, trumpeter, bandleader, composer and arranger Shorty Rogers was the head of the flourishing West Coast school of jazz, and André Previn was one of the most gifted pianists, conductors and composers of the scene; he wielded an awesome command of almost every kind of music. In addition to writing the challenging instrumental sides, they also wrote together the scores for André’s wife Betty Bennett, a respected well-known jazz & pop singer who never had had a chance to show how she really sanguntil Shorty’s Giants backed her, that is. 

Featuring: Shorty Rogers (tp), Milt Bernhart, Frank Rosolino (tb), Bud Shank (as, fl), Harry Klee (as), Bob Cooper (ts), Jimmy Giuffre (bars), André Previn (p), Al Hendrickson, Jack Marshall, Barney Kessel (g), Joe Mondragón, Curtis Counce, Ralph Peña (b).

In Collaboration

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Barney Kessel - Modern Jazz Performances from Bizet's Carmen

Styles: Guitar Jazz
Year: 1958
File: MP3@320K/s
Time: 43:34
Size: 100,1 MB
Art: Front

(5:51)  1. Swingin' The Toreador
(6:46)  2. Apadon The Edge Of Town
(4:03)  3. If You Dig Me
(5:00)  4. Free As A Bird
(3:15)  5. Viva El Toro!
(5:59)  6. Flowersville
(4:43)  7. Carmen's Cool
(3:58)  8. Like, There's No Place Like...
(3:56)  9. The Gypsy's Hip

This is an unusual set that has been reissued on CD. During an era when many Broadway and movie scores were recorded in jazz settings (thanks in part to the success of Shelly Manne's best-selling My Fair Lady album), guitarist Barney Kessel chose to interpret nine melodies from Bizet's opera Carmen. The guitarist is heard in three different settings: joined by five woodwinds and a rhythm section; with five jazz horns (including altoist Herb Geller and trumpeter Ray Linn) and a trio; and with vibraphonist Victor Feldman in a quintet. Kessel also wrote the arrangements, which pay tribute to the melodies while not being shy of swinging the themes. An interesting if not essential project. ~ Scott Yanow  

http://www.allmusic.com/album/modern-jazz-performances-from-bizets-carmen-mw0000207507

Personnel: Barney Kessel (guitar); Herb Geller (alto saxophone); Justin Gordon (tenor saxophone, flute, alto flute); Chuck Gentry (baritone saxophone); Ray Linn (trumpet); Harry Betts (trombone); Buddy Collette (flute, alto flute, clarinet); Bill Smith (clarinet, bass clarinet); Jules Jacob (clarinet, oboe); Pete Terry (bass clarinet, bassoon); Victor Feldman (vibraphone); Andre Previn (piano); Joe Mondragon (bass); Shelly Manne (drums).

Modern Jazz Performances from Bizet's Carmen

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André Previn - The Subterraneans

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 38:36
Size: 91,0 MB
Art: Front

(1:57)  1. Why Are We Afraid?
(3:07)  2. Guido's Blackhawk
(4:01)  3. Two By Two
(4:14)  4. Bread And Wine
(2:44)  5. Coffee Time
(3:27)  6. A Rose And The End
(2:28)  7. Should I
(1:32)  8. Look Ma, No Clothes
(5:37)  9. Things Are Looking Down
(4:20) 10. Analyst
(1:57) 11. Like Blue
(3:06) 12. Raising Caen

MGM director Ronald McDougall didn't do much right in adapting Jack Kerouac's novel The Subterraneans for the big screen first, the lead character of Mardou Fox (played by Leslie Caron) was transformed from black to white, and future A-Team star George Peppard was miscast as Kerouac's alter ego, Leo Percepied. And don't even mention Robert Thom's clumsy, lightweight screenplay. But at least composer André Previn had the good sense to recruit cool jazz giants including Gerry Mulligan, Russ Freeman, and Dave Bailey to perform his Subterraneans score: jazz not only fueled Kerouac's work, but his prose sought to evoke the rhythms and energy of bebop. Indeed, this music comes far closer to accurately capturing Kerouac's writing than any of the film's dialogue. Previn also deserves credit for articulating the sadness of the original novel, deftly combining horns and strings to create a score that is dark and emotive. ~ Jason Ankeny https://www.allmusic.com/album/the-subterraneans-original-soundtrack-mw0000906573

Personnel: André Previn – piano, arranger, conductor; Gerry Mulligan – baritone saxophone (tracks 1, 3, 4, 6 and 8–10);  Carmen McRae – vocals (track 5); Art Farmer (tracks 4 & 9), Jack Sheldon (1, 3, 6, 8 & 10 and 12) – trumpet; Bob Enevoldsen – valve trombone (tracks 1, 3, 4, 6 and 9); Art Pepper – alto saxophone (tracks 1, 3, 4, 6 & 8–10 and 12); Bill Perkins – tenor saxophone (tracks 1, 3, 4, 6 and 9); Russ Freeman – piano (tracks 4, 9 and 12); Buddy Clark (tracks 4 & 9), Red Mitchell (tracks 1-3, 5–8, and 10–12) – bass; Dave Bailey (tracks 4 & 9), Shelly Manne (tracks 1–3, 5–8, and 10–12) – drums

The Subterraneans

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Shelly Manne - Li'l Abner

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 40:24
Size: 93,5 MB
Art: Front

(3:13)  1. Jubilation T Cornpone
(4:35)  2. The Country's In The Very Best of Hands
(2:48)  3. If I Had My Druthers
(5:01)  4. Unnecessary Town
(4:35)  5. Matrimonial Stomp
(3:30)  6. Progress Is the Root of All Evil
(4:25)  7. Oh Happy Day
(5:43)  8. Namely You
(6:29)  9. Past My Prime

Breaking stride with many of his jazz contemporaries, Shelly Manne always had an ear attuned toward popular entertainment. In the 1950s, Broadway musicals, film scores and television shows were the fodder of the day and the drummer regularly mined these sources for material. The Contemporary label was ready and willing to release the results of these jazz commercial music hybrids. Just reference the clutch of Manne-led dates that yielded albums such as My Fair Lady, Peter Gunn and the recently reissued Checkmate. The former session marked the first meeting of trio dubbed The Friends with Previn, an in-demand Hollywood composer, and Vinnegar, a first-string walking bassist, rounding out the ranks. For their sophomore musical effort The Friends chose the Mercer and Paul musical Li’l Abner, based loosely on the Al Capp comic strip of the same name. The album’s cover revels in the classic kitsch of the period, picturing Manne in Abneresque overalls and ill-fitting Izod shirt, awkwardly lugging his drums and being chased by an especially buxom Daisy Mae. The musical itself updated the simple story of bumpkin Abner and the other residents of Dogpatch, USA with ominous Atomic Age overtones. Manne affects a similar modernistic touch on the trite at times songbook. 

Funky syncopations infuse the opener “Jubilation T. Cornpone,” as Previn builds with near gospel-like block chords. Manne’s whispering brushes are a blur and Vinnegar speed walks right down the center creating a solid harmonic anchor. Forwarding the rustic feel further, “The Country’s in the Very Best of Hands” builds from a ballad tempo on the sparse cymbal play from of the leader. Conversely, the trio tackles “If I Had My Druthers” at a sprinter’s pace, lighting a fire from crackling rhythmic tinder. Manne’s brushes are again a wonder, but it’s really Vinnegar’s chance to show how fast his fingers can race across the strings. The bassist’s throbbing, sparsely voiced notes on the mellow “Unnecessary Town” contrast beautifully with his earlier enthusiasm. Previn turns to delicate celeste after a stately piano prelude, and it’s a move that adds music box color to the trio sound. Rolling funk returns for the robust “Matrimonial Stomp” with Previn leaping from the dark to light poles of his keyboard and in the process summoning a startling range of emotional hues. “Oh, Happy Day” offers the biggest surprise of the date as Manne and the pianist suddenly shift gears from chordal to free improvisation. Jockeying through the brisk theme advanced by the drummer’s Latin beat, the trio suddenly disperses and its sticks and ivories in a darkly-tinged matching of wits that sounds far more like modern-day Jarrett and DeJohnette than something from an obscure '50s musical soundtrack. Beat and theme return abruptly, and it’s as if the fleeting leap forward into the future was only a figment of the imagination. Tipping their hats in a farewell to Dogpatch, the Friends hit the trail out of town on the laidback lope of “Past My Prime.” Manne had an uncanny knack for wedding the modern to the popular and making it pleasing to the palate, in a manner akin to Sonny Rollins. His Contemporary albums are littered with these kinds of experiments and this one is no exception. Li’l Abner the musical may not have performed well at the box office, but in Manne’s capable hands its credentials as a vehicle for jazz improvisation are convincingly proven. ~ Derek Taylor https://www.allaboutjazz.com/lil-abner-shelly-manne-contemporary-review-by-derek-taylor.php

Personnel:  Shelly Manne - drums; André Previn - piano; Leroy Vinnegar - bass

Li'l Abner

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Andre Previn's Trio Jazz - King Size!

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 45:57
Size: 105,5 MB
Art: Front

(6:24)  1. I'll Remember April
(9:30)  2. Much Too Late
(7:04)  3. You'd Be So Nice to Come Home To
(5:56)  4. It Could Happen to You
(8:59)  5. Low and Inside
(8:01)  6. I'm Beginning to See the Light

The multi-talented Andre Previn is heard on this recording as the leader of a trio with bassist Red Mitchell and drummer Frankie Capp. Previn always had his own swing/bop piano style, and he is in top form on two of his originals (including the bluish "Much Too Late") and four superior standards. This fine release gives one an excellent example of Previn's skills as a jazz pianist. ~ Scott Yanow https://www.allmusic.com/album/king-size%21-mw0000276385

Personnel: Piano – André Previn;  Bass – Red Mitchell; Drums – Frankie Capp

R.I.P.
Died: February 28, 2019, Manhattan, New York City, New York, United States 

Born: April 6, 1929, Berlin, Germany

King Size!

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André Previn - Previn At Sunset

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 51:43
Size: 120,5 MB
Art: Front

(3:22)  1. I Got It Bad And That Ain't Good
(4:42)  2. Body And Soul
(3:51)  3. Sunset In Blue
(3:05)  4. All The Things You Are
(3:27)  5. Something To Live For
(2:34)  6. Good Enough To Keep
(2:56)  7. California Clipper
(4:10)  8. How High The Moon
(3:07)  9. Take The A Train
(3:23) 10. Subtle Slough
(4:09) 11. That Old Blue Magic
(3:02) 12. Blue Skies
(2:43) 13. I Found A New Baby
(4:25) 14. Variations On A Theme
(2:39) 15. Mulholland Drive

André Previn was just 16 years old when he recorded the earliest numbers on Previn at Sunset, but he was already a brilliant pianist and a busy arranger at the MGM studios. Most (but not quite all) of the recordings that he made for the Sunset and Monarch labels, among the earliest in his career, are here. A major swing stylist who had not yet been affected by bop, Previn is heard on some unaccompanied solos; in three different trios with such sidemen as guitarists Dave Barbour or Irving Ashby, bassists John Simmons, Eddie Safranski, or Red Callender, and drummer Lee Young; and a couple of jam tunes ("All the Things You Are" and "I Found a New Baby") with a sextet also either Buddy Childers or Howard McGhee on trumpet, altoist Willie Smith, and Vido Musso on tenor. The small group swing performances are quite enjoyable, and the teenage pianist easily keeps up with the other, more famous players. ~ Scott Yanow https://www.allmusic.com/album/previn-at-sunset-mw0000121441

Personnel: Piano – André Previn;  Alto Saxophone – Willie Smith; Bass – Eddie Safranski , John Simmons, Red Callender; Drums – Lee Young; Guitar – Dave Barbour, Irving Ashby; Tenor Saxophone – Vido Musso; Trumpet – Buddy Childers, Howard McGhee

R.I.P.
Died: February 28, 2019, Manhattan, New York City, New York, United States 

Born: April 6, 1929, Berlin, Germany

Previn At Sunset

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Doris Day, André Previn - Duet

Styles: Vocal And Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 40:45
Size: 94,9 MB
Art: Front

(3:08)  1. Close Your Eyes (with The André Previn Trio)
(3:53)  2. Fools Rush In (Where Angels Fear to Tread) (with The André Previn Trio)
(3:26)  3. Yes (with The André Previn Trio)
(3:55)  4. Nobody's Heart (with The André Previn Trio)
(4:01)  5. Remind Me (with The André Previn Trio)
(3:02)  6. Who Are We to Say (Obey Your Heart) (with The André Previn Trio)
(3:08)  7. Daydreaming (with The André Previn Trio)
(3:29)  8. Give Me Time (with The André Previn Trio)
(2:57)  9. Control Yourself (with The André Previn Trio)
(3:05) 10. Wait Till You See Him (with The André Previn Trio)
(3:40) 11. My One and Only Love (with The André Previn Trio)
(2:55) 12. Falling In Love Again (with The André Previn Trio)

Recorded late in 1961, this album is a milestone in Doris Day's career despite having generated no hits as her best long-player, and her purest jazz solo album. Cut as a duet with André Previn (with Previn Trio bassist Red Mitchell and drummer Frank Capp providing occasional support), the album presents Day in the most intimate musical setting of her career. Her trademark style of singing works twice as well here as it did on her swing-era and early solo recordings. The repertory includes "Fools Rush In," and Alec Wilder's "Give Me Time," "Falling in Love Again," and a few Previn-authored pieces that hold up magnificently in this company. ~ Bruce Eder https://www.allmusic.com/album/duet-mw0000091880

Personnel:  Doris Day - vocals; André Previn - piano; Red Mitchell - double bass; Frank Capp -drums

Duet

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Andre Previn & Russ Freeman - Double Play!

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 41:49
Size: 96,0 MB
Art: Front

(3:04)  1. Take Me Out To The Ball Game
(3:37)  2. Who's On First?
(5:11)  3. Called On Account Of Rain
(5:01)  4. In The Cellar Blues
(3:58)  5. Batter Up
(4:58)  6. Double Play
(6:03)  7. Safe At Home
(5:41)  8. Fungo
(4:12)  9. Strike Out The Band

Pianists André Previn and Russ Freeman team up with drummer Shelly Manne in a trio to play eight of their originals (along with the standard "Take Me Out to the Ball Game"), all given titles having to do with baseball. Double Play! was advertised as the first time that two pianists recorded what was then modern jazz together. Previn and Freeman had very complementary styles, making it difficult to know who was playing when, although a complete play-by-play is included. ~ Scott Yanow https://www.allmusic.com/album/double-play-mw0000095044

Personnel: André Previn - piano;  Russ Freeman - piano;  Shelly Manne - drums

Double Play!

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Benny Carter - Jazz Giant (Remastered)

Bitrate: MP3@320K/s
Time: 39:09
Size: 89.6 MB
Styles: Bop, Swing, Saxophone jazz
Year: 1957/1987
Art: Front

[7:50] 1. Old Fashioned Love
[5:48] 2. I'm Coming Virginia
[6:00] 3. A Walkin' Thing
[4:58] 4. Blue Lou
[3:40] 5. Ain't She Sweet
[6:13] 6. How Can You Lose
[4:38] 7. Blues My Naughty Sweetie Gives To Me

Alto Saxophone – Benny Carter (tracks: 1, 3 to 7); Bass – Leroy Vinnegar; Drums – Shelly Manne; Guitar – Barney Kessel; Piano – André Previn (tracks: 1, 4 to 7), Jimmy Rowles (tracks: 2, 3); Tenor Saxophone – Ben Webster (tracks: 1 to 4, 6); Trombone – Frank Rosolino (tracks: 1 to 4, 6); Trumpet – Benny Carter (tracks: 2, 6). Recorded at Contemporary's Studio in Los Angeles; June 11 (#1, 4), July 22 (#2, 3), October 7, 1957 (#6) and April 21, 1958 (#5, 7).

Benny Carter was one of the top-admired original major alto saxophonists and perhaps one of the top world class jazz ensemble leaders up until the late-1950’s, where he was undoubtfully, as the title of this album suggests, a “Jazz Giant”, but this time this landmark project sounds even better in it’s own digitally-remastered complete format. Released in 1958 to critical success, Jazz Giant presents an all star session where it gradually showcase a lyrical and original form of fresh music that is unpretentious: bright, relaxed and buoyant placed along with a full dash of of infectious swing as each musician on the album get a chance to show off there worthy solos while Carter played with characteristic lyricism, technical faculty and a bounty of sounds on alto and- and on two tracks- flawlessly on trumpet, his first love. The track set proceed with exclusive style on other memorable reinditions of classic standards including Old-Fashioned Love, Blue Lou, A Walkin’ Thing, How Could You Lose?, Ain’t She Sweet, for whom Carter and the all-stars performs quintessential style and exquisite integrity. The last two tracks even comes to life in a fortuitous manner where Carter had been set out on the session, but became ill towards the last minute, and with noted jazz guitarist Barney Kessel taking over the musicians had decided to use some of there congenial informal playing where included some of the finest work recorded in the saxophone section. Remastered in its proud complete edition, what made Jazz Giant a time-honoured success can be owed to the band members who gratefully participated where they consisted of Kessel on the guitar, tenor saxophonist Ben Webster, both Andre Previn or Jimmy Knowles at the piano, session trombonist Frank Roselino and Shelly Manne at the drums, who help made this one of Carter’s finest and most beloved masterpieces. ~RH

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Andre Previn - Tangerine

Bitrate: MP3@320K/s
Time: 71:31
Size: 163.7 MB
Styles: Piano jazz
Year: 2018
Art: Front

[4:24] 1. Tangerine
[6:06] 2. I Cover The Waterfront
[7:52] 3. Squatty Roo
[7:53] 4. Collard Greens And Black Eyed Peas
[5:17] 5. The Girl Friend
[4:41] 6. Stars Fell On Alabama
[4:09] 7. Get Me To The Church On Time
[5:32] 8. On The Street Where I Live
[3:23] 9. I've Grown Accustomed To Her Face
[5:28] 10. Wouldn't It Be Loverley
[4:13] 11. Ascot Gavotte
[3:35] 12. Show Me
[5:55] 13. With A Little Bit Of Luck
[2:57] 14. I Could Have Danced All Night

Bass – Leroy Vinnegar; Drums – Shelly Manne; Piano – André Previn.

One of the most versatile musicians on the planet, André Previn has amassed considerable credentials as a jazz pianist, despite carving out separate lives first as a Hollywood arranger and composer, and then as a world-class classical conductor, pianist, and composer. Always fluid, melodic, and swinging, with elements of Bud Powell, Oscar Peterson, and Horace Silver mixed with a faultless technique, Previn didn't change much over the decades but could always be counted upon for polished, reliable performances at the drop of a hat.

He started piano lessons in his native Berlin before the Nazi threat forced his family to move to Paris in 1938 and the U.S. the following year. Settling in Los Angeles, the wunderkind Previn began working as a jazz pianist, an arranger for MGM, and a recording artist for Sunset Records while still in high school -- and by his 18th year, his first recordings for RCA Victor had racked up substantial sales. Originally swing-oriented, Previn discovered bop in 1950 just before his induction into the Army. Upon returning to Los Angeles, Previn went into overdrive, gigging as a jazz pianist, scoring films, and playing chamber music. Forming a smooth boppish trio with Shelly Manne and Leroy Vinnegar, Previn scored a huge crossover hit with an album of jazz interpretations of My Fair Lady, which in turn led to a series of likeminded albums of Broadway scores and kicked off an industry trend.

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Andre Previn, Joe Pass, Ray Brown - After Hours

Bitrate: MP3@320K/s
Time: 63:20
Size: 145.0 MB
Styles: Bop, Piano jazz
Year: 1989/2005
Art: Front

[6:01] 1. There'll Never Be Another You
[4:50] 2. I Only Have Eyes For You
[6:09] 3. What Am I Here For
[6:57] 4. Limehouse Blues
[5:41] 5. All The Things You Are
[5:39] 6. Honeysuckle Rose
[6:07] 7. I Got It Bad And That Ain't Good
[6:09] 8. Smoke Gets In Your Eyes
[4:09] 9. Cotton Tail
[5:56] 10. Laura
[5:37] 11. One For Bunz

Although André Previn had not recorded a regular jazz album in 27 years at this point in time (discounting a pair of Itzhak Perlman sessions featuring Previn's compositions), the great majority of the performances on this trio set with guitarist Joe Pass and bassist Ray Brown are first takes. Previn took time off from his busy schedule in the classical music world to return briefly to jazz, his first love. The results are often magical. Previn, Pass and Brown play together as if they had been touring as a group for years. The pianist is generous with solo space and Pass' solos are sometimes exhilarating. For Previn, it is as if the previous three decades did not occur for he plays in a style little changed from 1960, displaying an Oscar Peterson influence mixed in with touches of Lennie Tristano and Bill Evans' chording, performing ten standards and his own "One for Bunz." Highly recommended. ~Scott Yanow

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André Previn - A Touch Of Elegance: The Music Of Duke Ellington

Bitrate: MP3@320K/s
Time: 37:14
Size: 85.2 MB
Styles: Piano jazz
Year: 1961/2011
Art: Front

[3:23] 1. I Got It Bad
[2:57] 2. Satin Doll
[3:24] 3. I Let A Song Go Out Of My Heart
[2:34] 4. Perdido
[2:54] 5. Solitude
[3:00] 6. Le Sucrier Velours
[3:33] 7. A Portrait Of Bert Williams
[3:16] 8. A Touch Of Elegance
[3:21] 9. It Don't Mean A Thing
[3:08] 10. Prelude To A Kiss
[2:45] 11. What Am I Here For
[2:53] 12. Sophisticated Lady

As if being a classical conductor, jazz pianist, and film composer weren't enough, Previn was also one of the biggest mood music mavens of the 1960s. This elegant collection showcases his lush, elegant "swing with strings" side, and even includes a few straight-ahead bop numbers with J.J. Johnson, Herb Ellis, and his old pals Red Mitchell and Shelly Manne.

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Benny Goodman & Andre Previn - Happy Session

Styles: Clarinet And Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 43:45
Size: 101,4 MB
Art: Front

(5:03)  1. Happy Session Blues
(4:26)  2. You'd Be So Nice To Come Home To
(4:51)  3. King and Me
(4:32)  4. Indian Summer
(3:29)  5. What A Diff'rence a Day Made
(2:51)  6. Batunga Train
(7:35)  7. Having A Ball
(3:27)  8. Clarinet a la King
(3:53)  9. Macedonia Lullaby
(3:34) 10. Diga Diga Doo

Recorded after Benny Goodman returned with his 1958 big band from a European tour that included an exuberant stint at the Brussels World Fair, this LP alternates between orchestra performances (the mostly newer compositions include four by a Yugoslavian composer, Bobby Gutesha) and Goodman features with his rhythm section, which co-stars Andre Previn's piano. BG dominates this album and is in excellent form. ~ Scott Yanow http://www.allmusic.com/album/happy-session-mw0000414066

Personnel: Clarinet – Benny Goodman;  Bass – George Duvivier, Leroy Vinnegar, Milt Hinton;  Guitar – Barney Kessel, Turk Van Lake;  Piano – Andre Previn, Russ Freeman;  Saxophone – Babe Clark, Bob Wilber, Herb Geller, James Sands, Pepper Adams;  Trombone – Buster Cooper, Hale Rood, Rex Peer;
Trumpet – Allen Smith, Benny Ventura, Ermet Perry, John Frosk

Happy Session

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Diahann Carroll & The Andre Previn Trio - Porgy And Bess

Bitrate: MP3@320K/s
Time: 33:40
Size: 77.1 MB
Styles: Jazz vocals
Year: 1959/2006
Art: Front

[2:43] 1. Summertime
[4:05] 2. My Man's Gone Now
[2:51] 3. I Got Plenty Of Nuttin'
[4:38] 4. Bess, You Is My Woman
[3:05] 5. Oh, I Can't Sit Down
[3:17] 6. It Ain't Necessarily So
[3:13] 7. What You Want Wild Bess
[3:16] 8. I Love You Porgy
[3:04] 9. There's Somebody Knockin'
[3:25] 10. There's A Boat That's Leavin' Soon For New York

Bass – Joe Mondragon, Keith Mitchell; Drums – Frank Capp, Larry Bunker; Piano – André Previn.

The second recording (1952) by this radiant star of stage and screen-and you'll be amazed how mature and expressive her voice already is. Previn's bold arrangements and Diahann's uncanny rhythmic sense brought new freshness to Summertime; It Ain't Necessarily So , and the rest of these Gershwin classics.

Porgy And Bess

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Andre Previn, David Finck - We Got Rhythm: A Gershwin Songbook

Bitrate: MP3@320K/s
Time: 71:04
Size: 162.7 MB
Styles: Standards, Jazz-pop
Year: 1998
Art: Front

[3:15] 1. They All Laughed
[4:59] 2. Someone To Watch Over Me
[4:15] 3. Oh, Lady, Be Good
[5:47] 4. A Foggy Day
[5:33] 5. Do It Again Soon
[5:09] 6. Girl Crazy I Got Rhythm
[4:52] 7. Girl Crazy Embraceable You
[6:49] 8. He Loves, She Loves/Our Love Is Here To Stay
[3:31] 9. Fascinating Rhythm
[4:39] 10. Isn't It A Pity
[4:27] 11. boy what love has done to me/i've got a crush on you
[6:00] 12. Love Walked In
[5:21] 13. The Man I Love
[6:22] 14. 's Wonderful

André Previn moves seamlessly from the world of classical music to jazz and film, but on this occasion, the pianist covers 14 gems from the vast repertoire of George Gershwin. Well accompanied by bassist David Finck, Previn faces the same challenge every jazz musician must address: finding new paths through Gershwin's frequently recorded masterpieces. Previn uses a train-like bassline substitution to open and close a rollicking take of "They All Laughed," while the pianist is more laid-back in the bluesy treatment of "Oh, Lady Be Good" to better feature Finck initially. Previn's modification of "I Got Rhythm" provides some added dissonance. The haunting setting of the ballad "The Man I Love" suggests an added degree of melancholy. While this session was released on a classical label, Deutsche Grammophon, something that always seems to confuse record-label marketing departments, music store personnel, and consumers as well, it is very much a jazz date and a fine effort by André Previn and David Finck. ~Ken Dryden

We Got Rhythm: A Gershwin Songbook

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André Previn - All Alone

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 34:55
Size: 81,7 MB
Art: Front

(2:08)  1. More Than You Know
(2:18)  2. I Got It Bad (And That Ain't Good)
(2:33)  3. Everything Happens To Me
(3:38)  4. You Are Too Beautiful
(3:12)  5. How Deep Is The Ocean
(2:56)  6. Angel Eyes
(2:40)  7. When Sunny Gets Blue
(2:31)  8. As Time Goes By
(3:34)  9. Remember Me
(3:30) 10. Yesterdays
(2:49) 11. Dancing On The Ceiling
(3:00) 12. Here's That Rainy Day

Successful as pianist, composer, and especially as conductor, André Previn has frequently bridged the gap between popular and so-called "serious" music, and in doing so broadened the horizons of both. His father was an accomplished pianist (though a lawyer by profession) and determined that his son would follow in his musical footsteps. The talented young André received instruction on the piano at the Berlin Hochschule, and also absorbed music in a less formal environment during the many private recitals given in the Previn home. In the mid-1930s the Jewish family fled to France where André continued as a scholarship student at the Paris Conservatoire. In 1939, the Previn family relocated to southern California. Life was difficult for the family (all their possessions had been left behind in Europe, and Previn's father was qualified only in German law), and though barely ten years old, André supplemented the family income by accompanying films at movie houses and playing in jazz clubs. At 14 he started working at MGM (Charles Previn, André's great uncle, was head of music at Universal Studios), orchestrating and arranging film music, and slowly saved enough money to study composition with Castelnuovo-Tedesco. At 18 André was asked to compose his own full-length film score (The Sun Comes Up, 1949), which resulted in his first experience on the podium in front of a real orchestra  Previn quickly realized that his future lay in conducting, though he understood the gulf between film music and serious conducting to be a wide one indeed.

Previn, who had taken U.S. citizenship in 1943, serving in San Francisco during the Korean War, where he had the opportunity to study conducting with Pierre Monteux. Following discharge from the army, Previn left MGM, but continued to compose, conduct, and arrange film music throughout the 1950s. He also recorded and released a series of best-selling jazz albums (something he would continue to do sporadically throughout the decades). In 1963, having won four Academy Awards in as many years, Previn found the courage to abandon Hollywood and pursue his dream of becoming a respected conductor. His professional debut occurred that same year with the Saint Louis Symphony Orchestra, and he spent the next several years traveling around the country conducting various little-known orchestras in an effort to gain exposure and develop his own skill on the podium. His first big break occurred in 1967 when he was asked to succeed Sir John Barbirolli as music director of the Houston Symphony. When offered the job of principal conductor for the London Symphony Orchestra in 1968, Previn left Houston. During his 11 years with the orchestra (1969-1979) a series of BBC television productions entitled André Previn's Music Hour made the LSO (and Previn) a household name around the world. Other conducting appointments have included the Pittsburgh Symphony, from 1977 to 1985; the Royal Philharmonic Orchestra in the 1985 and 1986 seasons; and, from 1987 on, the Los Angeles Philharmonic Orchestra. In 1993 he was named conductor laureate of the London Symphony Orchestra, and he continues to make frequent appearances around the globe as a guest conductor. Previn readily admits that he is not driven to compose, but only does so on occasion, and then only on specific request. Nevertheless he has composed a generous quantity of concert music, including a piano concerto for Vladimir Ashkenazy and cello sonata at the request of Yo-Yo Ma. His musical play, Every Good Boy Deserves Favour, was produced in London in 1978. The year 1998 saw the release of his full-length opera, A Streetcar Named Desire at the San Francisco Opera. In 2009, Houston Grand Opera presented his Brief Encounter, based on the film of the same name and the Noël Coward play, Still Life. 

~ Blair Johnston http://www.allmusic.com/artist/andr%C3%A9-previn-mn0000030250/biography
 

Thank You Scoredaddy!!!!

All Alone

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André Previn - The Popular Previn: André Previn Play's Today's Big Hits

Styles: Piano Jazz 
Year: 1965
File: MP3@320K/s
Time: 32:42
Size: 80,3 MB
Art: Front

(2:58)  1. One Note Samba
(2:50)  2. People (from 'Funny Girl')
(2:26)  3. Bluesette
(2:34)  4. Call Me Irresponsible
(3:02)  5. Quiet Nights Of Quiet Stars (Corcovado)
(2:23)  6. Kiss Me, Stupid
(2:11)  7. Never You Mind
(3:23)  8. The Girl from Impanema
(3:01)  9. Gravy Waltz
(2:24) 10. Sunrise, Sunset (from 'Fiddler On The Roof')
(2:55) 11. Manha de Carnaval
(2:30) 12. Goodbye Charlie (from 'Goodbye Charlie')

One of the most versatile musicians on the planet, André Previn has amassed considerable credentials as a jazz pianist, despite carving out separate lives first as a Hollywood arranger and composer, and then as a world-class classical conductor, pianist, and composer. Always fluid, melodic, and swinging, with elements of Bud Powell, Oscar Peterson, and Horace Silver mixed with a faultless technique, Previn didn't change much over the decades but could always be counted upon for polished, reliable performances at the drop of a hat. He started piano lessons in his native Berlin before the Nazi threat forced his family to move to Paris in 1938 and the U.S. the following year. Settling in Los Angeles, the wunderkind Previn began working as a jazz pianist, an arranger for MGM, and a recording artist for Sunset Records while still in high school and by his 18th year, his first recordings for RCA Victor had racked up substantial sales. Originally swing-oriented, Previn discovered bop in 1950 just before his induction into the Army.

Upon returning to Los Angeles, Previn went into overdrive, gigging as a jazz pianist, scoring films, and playing chamber music. Forming a smooth boppish trio with Shelly Manne and Leroy Vinnegar, Previn scored a huge crossover hit with an album of jazz interpretations of My Fair Lady, which in turn led to a series of likeminded albums of Broadway scores and kicked off an industry trend. By 1962, Previn started to make the transition away from Hollywood toward becoming a full-time classical conductor, dropping his jazz activities entirely. He stayed away from jazz for 27 years, with the exceptions of a handful of sessions with Ella Fitzgerald and classical violinist/dabbler Itzhak Perlman. Indeed, in 1984, he was quoted as saying that jazz was "an expendable art form" for him. But in March 1989, shortly before resigning from the Los Angeles Philharmonic in a dispute with management, Previn returned to jazz with a trio album for Telarc with Ray Brown and Joe Pass, showing that he had not lost an iota of his abilities. Subsequently, he returned frequently to the studio as a jazz pianist for Telarc, Angel, Deutsche Grammophon, and DRG when not freelancing as a conductor or composing classical scores. ~ Richard S. Ginell  https://itunes.apple.com/us/artist/andre-previn/id702496#fullText

Personnel:  André Previn, piano;  Marty Paich, conductor

The Popular Previn: André Previn Play's Today's Big Hits

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Barney Kessel - Music To Listen To Barney Kessel By

Styles: Guitar Jazz
Year: 1956
File: MP3@320K/s
Time: 41:42
Size: 96,6 MB
Art: Front

(3:29)  1. Cheerful Little Earful
(3:21)  2. Makin' Whoopee
(2:34)  3. My Reverie
(4:03)  4. Blues for a Playboy
(2:30)  5. Love is for the Very Young
(4:35)  6. Carioca
(3:50)  7. Mountain Greenery
(5:03)  8. Indian Summer
(2:47)  9. Gone With the Wind
(3:25) 10. Laura
(3:32) 11. I Love You
(2:29) 12. Fascinating Rhythm

While the title of this recording plays on the then-popular idea of background and mood music, there's still plenty of jazz interest generated by Oklahoma-born guitarist Barney Kessel, one of the true heirs of Charlie Christian. The 1956 session matches Kessel with five reeds (including oboe, flute, and clarinets) and a fine rhythm section made up of other West Coast stalwarts: bassist Red Mitchell and drummer Shelly Manne. The arrangements range from the chamber music texture of "My Reverie" to the briskly swinging renditions of "Mountain Greenery" and "Fascinatin' Rhythm." Kessel plays wonderfully throughout, whether rendering rapid single-note lines or constructing the beautifully chorded introduction to the ballad "Laura." There are also fine solo contributions by Buddy Collette on flute and the superb pianist Jimmy Rowles. ~ Stuart Broomer https://www.amazon.com/Music-Listen-Barney-Kessel/dp/B000000YY0

Personnel:  Barney Kessel – guitar;  Buddy Collette - flute, alto flute, clarinet (tracks 2, 9, 11 & 12);  Junie Cobb - oboe, English horn;  George W. Smith – clarinet;  Justin Gordon - clarinet, bass clarinet;  Howard Terry - clarinet, bass clarinet, bassoon;  André Previn (tracks 2, 9, 11 & 12), Jimmy Rowles (tracks 1, 3-6, 8 & 10), Claude Williamson (track 7) – piano;  Buddy Clark – bass;  Shelly Manne - drums

Music To Listen To Barney Kessel By

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Dinah Shore, Andre Previn - Dinah Sings Previn Plays

Styles: Vocal And Piano Jazz

Year: 2006

File: MP3@320K/s

Time: 45:27

Size: 104,5 MB

Art: Front

(3:19)  1. The Man I Love

(2:58)  2. April In Paris

(3:13)  3. That Old Feeling

(2:43)  4. I've Got You Under My Skin

(3:23)  5. Then I'll Be Tired Of You

(2:42)  6. Sleepy Time Gal

(3:42)  7. My Melancholy Baby

(3:36)  8. My Funny Valentine

(3:26)  9. It Had To Be You

(3:10) 10. I'll Be Seeing You

(3:22) 11. If I Had You

(3:00) 12. Like Someone In Love

(2:54) 13. Stars Fell On Alabama

(3:08) 14. While We're Young

(4:17) 15. The Man I Love

While maintaining her status as a television star, Dinah Shore made a series of classy albums for Capitol Records between 1959 and 1962. On this, the fourth of her five LPs for the label, she again teamed with André Previn, who had arranged and conducted her earlier album, Somebody Loves Me. This time, Previn took to the piano, joined only by an occasional rhythm section for another set of ballads (or, as the sleeve note put it, "songs in a mid-night mood"). They included standards by the Gershwins, Rodgers & Hart and others, and Shore handled them with more than her usual warmth; she smoldered. The result was a concept album that ranks with some of Frank Sinatra's. Maybe sales were negligible because the Shore of this album was hard to reconcile with the grinning hostess on TV, but it probably had more to do with the overexposure TV gives any regular performer, causing the public to look for her on the small screen rather than on the record shelves. In any case, that made this album a lost gem.~William Ruhlmann http://www.allmusic.com/album/dinah-sings-previn-plays-mw0000557770

Personnel: Dinah Shore (vocals); Dinah Shore; Red Mitchell (upright bass); André Previn (piano); Frank Capp (drums).

Dinah Sings Previn Plays

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