Andr\u00e9 Previn at the Piano<\/strong><\/em> (RCA Victor, 1947)<\/p>\n\n\n\n Previn\u2019s major-label debut: seriously stylish showing-off.<\/p>\n\n\n\n Let\u2019s Get Away From It All<\/strong><\/em> (Decca, 1955)<\/p>\n\n\n\n Savior-faire is everywhere.<\/p>\n\n\n\n Shelly Manne & His Friends: Modern Jazz Interpretations of Songs from My Fair Lady <\/strong><\/em>(Contemporary, 1956)<\/p>\n\n\n\n An unexpected hit that changed the jazz-record business, the album remains eminently listenable, genially clever and virtuosic.<\/p>\n\n\n\n Andr\u00e9 Previn & Russ Freeman: Double Play!<\/strong><\/em> (Contemporary, 1957)<\/p>\n\n\n\n A pair of well-matched musicians playing musical pepper, and a good example of Previn\u2019s improvisation-as-arranging.<\/p>\n\n\n\n Andr\u00e9 Previn & His Pals: West Side Story<\/strong><\/em> (Contemporary, 1960)<\/p>\n\n\n\n The best of the jazz-interpretations-of-Broadway albums. Previn\u2019s ability to epitomize various styles is put to entertaining, often unexpected use.<\/p>\n\n\n\n Andr\u00e9 Previn and His Trio: Like Previn!<\/strong><\/em> (Contemporary, 1960)<\/p>\n\n\n\n Previn\u2019s first collection of his own tunes is also finds the Previn-Mitchell-Capp trio coming into its own as a performing unit. <\/p>\n\n\n\n Andr\u00e9 Previn Plays Songs by Harold Arlen<\/strong><\/em> (Contemporary, 1961)<\/p>\n\n\n\n The most freewheeling of Previn\u2019s solo piano albums. Previn gut-renovates the songs in ways that honor their spirit from endlessly surprising angles.<\/p>\n\n\n\n A Touch of Elegance: The Music of Duke Ellington<\/strong><\/em> (Columbia, 1961)<\/p>\n\n\n\n Substantive, swinging mood music that brings to the fore the sheer finesse of Ellington\u2019s craft\u2014and the sheer ease of Previn\u2019s.<\/p>\n\n\n\n Doris Day and Andr\u00e9 Previn: Duet<\/strong><\/em> (Columbia, 1962) <\/p>\n\n\n\n Pure, exquisite pop. Previn\u2019s jazz capabilities stay in the background, but work behind-the-scenes magic.<\/p>\n\n\n\n Andr\u00e9 Previn and J. J. Johnson: Play Kurt Weill\u2019s Mack the Knife and Bilbao-Song<\/strong><\/em> (Columbia, 1962)<\/p>\n\n\n\n The combination of the music\u2019s Brechtian edge and a pair of temperamentally-aligned leaders yields an album of irresistibly trenchant wit.<\/p>\n\n\n\n Andr\u00e9 Previn \/ Herb Ellis \/ Shelly Manne \/ Ray Brown: 4 To Go!<\/strong><\/em> (Columbia, 1963)<\/p>\n\n\n\n A high-level summit of mainstream excellence, producing a fair share of offbeat moments.<\/p>\n\n\n\n Sound Stage!<\/strong><\/em> (Columbia, 1964)<\/p>\n\n\n\n Previn\u2019s piano and John Williams\u2019 big-band charts mix into a high-proof, delicious cocktail.<\/p>\n\n\n\n Leontyne Price and Andr\u00e9 Previn: Right as the Rain <\/strong><\/em>(Columbia, 1967) <\/p>\n\n\n\n An uncommonly sublime diva\u2019s holiday, buoyed by Previn\u2019s unique set of crossover skills.<\/p>\n\n\n\n What Headphones?<\/strong><\/em> (Angel, 1993)<\/p>\n\n\n\n The loosest and quirkiest of the post-1989 recordings. An uneven but unreserved expression of Previn\u2019s conviction that good (metaphorical and literal) neighbors make good music.<\/p>\n\n\n\n Andr\u00e9 Previn with David Finck: Live at the Jazz Standard <\/strong><\/em>(Decca, 2001)<\/p>\n\n\n\n All the threads of Previn\u2019s late-period jazz\u2014standards, surprises, proficiency, caprice\u2014gathered and set forth with easy, unflappable command.<\/p>\n\n\n\n \u2190\u00a0Previous: Epilogue<\/em><\/a>\u00a0|\u00a0Next: Postscript<\/em>\u00a0\u2192<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Andr\u00e9 Previn at the Piano (RCA Victor, 1947) Previn\u2019s major-label debut: seriously stylish showing-off. Let\u2019s Get Away From It All (Decca, 1955) Savior-faire is everywhere. Shelly Manne & His Friends: Modern Jazz Interpretations of Songs from My Fair Lady (Contemporary, 1956) An unexpected hit that changed the jazz-record business, the album remains eminently listenable, genially clever and virtuosic. Andr\u00e9 … Continue reading “APPENDIX: Fifteen Fundamental Recordings”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-202","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.sohothedog.com\/previnjazz\/wp-json\/wp\/v2\/pages\/202","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sohothedog.com\/previnjazz\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.sohothedog.com\/previnjazz\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.sohothedog.com\/previnjazz\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sohothedog.com\/previnjazz\/wp-json\/wp\/v2\/comments?post=202"}],"version-history":[{"count":4,"href":"https:\/\/www.sohothedog.com\/previnjazz\/wp-json\/wp\/v2\/pages\/202\/revisions"}],"predecessor-version":[{"id":282,"href":"https:\/\/www.sohothedog.com\/previnjazz\/wp-json\/wp\/v2\/pages\/202\/revisions\/282"}],"wp:attachment":[{"href":"https:\/\/www.sohothedog.com\/previnjazz\/wp-json\/wp\/v2\/media?parent=202"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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