Jazz for aficionados
Can you really have Bebop overload? Just in case…. http://www.youtube.com/watch?v=AX2h9enqYJw http://www.youtube.com/watch?v=9MrY0WzihKY http://www.youtube.com/watch?v=EAnG5hYPkTg |
The controversy involves "Like Young" by Andre Previn. Frogman said it sounds like elevator music; do you agree? 04-19-2016 6:37am O-10, remember your comment about my supposed feeling that everything you say has to do with me? Now, remember that word "projection"? Now, again, remember that word that you used, with unfounded indignation, describing what you thought I (and another esteemed aficionado who I will not include in this bs) felt that you were? You know.....that word that rhymes with "boron"? I am saddened to have to report that I believe you were correct in using that word. **** Frogman is saying that you "The esteemed aficionado" agreed with him in regard to that word that Rhymes with "boron"; is this true? That came about because he said I thought "Like Young" by Previn was classical music. Learsfool, you nor Frogman read my posts very well; the controversy is about "Like Young" by Andre Previn, is that clear? This is what you posted; You have repeatedly proclaimed your ignorance of music and that you are proud of it and will never study it. You simply do not speak the language, and don't care. This is precisely why this is not a "controversy" to anyone but you, and also why there can be no actual debate or even meaningful dialogue with you about music. You can't really tell us WHY you like one performance over another, or one version of a tune better than another, because you don't speak the language. But you do get mad if someone says they don't agree with you, especially when they have good reasons. All I can say is that this is the price you must pay for maintaining your ignorance. frogman. How many times do I have to repeat; "I have no interest in learning music". Why is that a problem with you and Frogman? Now you are telling me that's the price I pay for maintaining my ignorence. I say that's the price you pay for not being able to read. The controversy was about "Like Young" by Andre Previn, would you care to evaluate that? orpheus10 OP 2,811 posts 04-22-2016 9:45pm Frogman and Learsfool, this post proves you both are totally "Out to Lunch"; since that's a New York phrase, I know you both know what it means. From Wikipedia, André Previn (2012) André George Previn, KBE (/ˈprɛvɪn/; born Andreas Ludwig Priwin; April 6, 1929)[1] is a German-American pianist, conductor, and composer. He is considered one of the most versatile musicians in the world and is the winner of four Academy Awards for his film work and ten Grammy Awards for his recordings (and one more for his Lifetime Achievement). Learsfool, how many awards have you and Frogman won between the two of you? Previn made dozens of jazz recordings as leader and sideman, primarily during two periods of his career: from 1945 to 1967, and then again from 1989 to 2001, with just a handful of recordings in between and afterward (while he focused his career on conducting/recording classical music, and later on composing contemporary art music). Previn also did several crossover recordings with classical singers like Eileen Farrell, Leontyne Price or Kiri Te Kanawa, too, as well as several Easy-Listening records with piano and orchestra in the 1960s. Like Oscar Peterson, whom Previn admires a lot,[8] and Bill Evans – or more recently Keith Jarrett, Brad Mehldau or Esbjörn Svensson – Previn has worked a lot as a trio pianist (usually with bass and drums). Following his performance on Shelly Manne's huge hit record Modern Jazz Performances of Songs from My Fair Lady in 1956, Previn released several albums of jazz interpretations of songs from broadway musicals as well as several solo piano recordings focussed on the songbooks of popular composers (André Previn Plays Songs by Vernon Duke, 1958; André Previn Plays That Old Black Magic, Come Rain or Come Shine, Stormy Weather, Over the Rainbow and Other Wonderful Songs by Harold Arlen, 1960; Ballads. Solo Jazz Standards, 1996; Alone: Ballads for Solo Piano, 2007), the late recording of songs by Harold Arlen with singer Sylvia McNair and bass player David Finck (Come Rain or Shine. The Harold Arlen Songbook, 1996), and his TV shows with Oscar Peterson (1974)[9] – which Marlon Brando simply called "one of the greatest hours I ever saw on television"[10] – and Ella Fitzgerald (1979)[11] respectively. Jazz critic and historian Ted Gioia wrote in his book about West Coast Jazz, the scene to which Previn belonged: [His] projects varied greatly in terms of quality and jazz content, but at his best Previn could be a persuasive, moving jazz musician. [...] Despite his deep roots in symphonic music, Previn largely steered clear of Third Stream classicism in his jazz work, aiming more at an earthy, hard-swinging piano style at times reminiscent of Horace Silver. Long before his eventual retreat from his jazz work, Previn had become something of a popularizer of jazz rather than a serious practitioner of the music. At his best, however, his music reflected a strong indigenous feel for the jazz idiom.[12] And Dizzy Gillespie has stated, He has the flow, you know, which a lot of guys don't have and won't ever get. Yeah. I heard him play and I knew. A lot of guys, they have the technique, the harmonic sense. They've got the perfect coordination. And, yeah, all that's necessary. But you need something more, you know? Even if you only make an oooooooo, like that, you got to have the flow.[13] Jazz Recordings as leader/co-leader[edit] Collaboration (RCA Victor, 1955) - with Shorty Rogers Double Play! (Contemporary, 1957) with Russ Freeman Pal Joey (Contemporary, 1957) Gigi (Contemporary, 1958) André Previn Plays Songs by Vernon Duke (Contemporary, 1958) King Size! (Contemporary, 1959) André Previn Plays Songs by Jerome Kern (1959) West Side Story (Contemporary, 1959) The Subterraneans (Soundtrack) (MGM, 1960) Like Previn! (Contemporary, 1960) André Previn Plays Songs by Harold Arlen (Contemporary, 1960) André Previn and J.J. Johnson Play Mack the Knife and Bilboa Song and Other Music from the Threepenny Opera, Happy End, Mahagonny (1961, with J.J. Johnson, Red Mitchell and Frank Capp) Duet (1962, with Doris Day, Red Mitchell and Frank Capp) A Different Kind of Blues (1980, with Itzhak Perlman, Jim Hall, Red Mitchell and Shelly Manne) Nice Work if You Can Get It (1983, with Ella Fitzgerald and Niels-Henning Ørsted Pedersen) After Hours (1989, with Joe Pass and Ray Brown) Uptown (1990, with Mundell Lowe and Ray Brown) Old Friends (1992, with Mundell Lowe and Ray Brown) Kiri Sidetracks: The Jazz Album (1992, with Kiri Te Kanawa, Mundell Lowe and Ray Brown) André Previn and Friends Play Show Boat (1995, with Mundell Lowe, Ray Brown and Grady Tate) Sure Thing. The Jerome Kern Songbook (1996, with Sylvia McNair and David Finck) Ballads. Solo Jazz Standards (1996) Come Rain or Shine. The Harold Arlen Songbook (1996, with Sylvia McNair and David Finck) Jazz at the Musikverein (1997, with Mundell Lowe and Ray Brown) We Got Rhythm. A Gershwin Songbook (1998, with David Finck) We Got It Good and That Ain't Bad. An Ellington Songbook (1999, with David Finck) Live at the Jazz Standard (2001, with David Finck) Alone: Ballads for Solo Piano (2007) Jazz Recordings as sideman/group member[edit] With Benny Carter Jazz Giant (Contemporary, 1958) With Helen Humes Tain't Nobody's Biz-ness if I Do (Contemporary, 1959) Songs I Like to Sing! (Contemporary, 1960) With Barney Kessel Music to Listen to Barney Kessel By (Contemporary, 1956) Carmen (Contemporary, 1959) With Shelly Manne Shelly Manne & His Friends (Contemporary, 1956) My Fair Lady (Contemporary, 1956) Li'l Abner (Contemporary, 1957) Bells Are Ringing (Contemporary, 1959) With Lyle Murphy 12-Tone Compositions and Arrangements by Lyle Murphy (Contemporary, 1955) Classical music (as conductor and/or pianist – selection)[edit] Chamber music / solo piano music[edit] As in Jazz, Previn, the classical pianist, worked most of the time as a trio pianist (with violin and cello) in classical chamber music. Accordingly, most of his recordings as pianist are in this genre. |
This Buds for you Learsfool; from "Wikipedia" Classical music (as conductor and/or pianist – selection)[edit] Chamber music / solo piano music[edit] As in Jazz, Previn, the classical pianist, worked most of the time as a trio pianist (with violin and cello) in classical chamber music. Accordingly, most of his recordings as pianist are in this genre. Samuel Barber: Four Excursions, Paul Hindemith: Piano Sonata No. 3, Frank Martin: Prelude No. 7 (1961) Gabriel Fauré: Piano Trio D-minor op. 120, Felix Mendelssohn: Piano Trio D-minor op. 120 (1964, with Nathan Roth and Joseph Schuster) Serge Rachmaninoff: Music for Two Pianos. Suite Nr. 1 op. 5, Suite Nr. 2 op. 17, Symphonic Dances op. 45 (1974, with Vladimir Ashkenazy) Maurice Ravel: Piano Trio A-minor, Dmitri Shostakovich: Piano Trio No. 2 E-minor op. 67 (1974, with Kim Young Uck and Ralph Kirshbaum) Claude Debussy: Piano Trio G-major, Maurice Ravel: Piano Trio A-minor (1995, with Julie Rosenfeld and Gary Hoffmann) Ludwig van Beethoven: Piano Trio No. 7 B flat-major op. 97, Johannes Brahms: Piano Trio B-major op. 8 (1995, with Viktoria Mullova and Heinrich Schiff) American Scenes. André Previn: Sonata for Violin and Piano "Vineyard", George Gershwin: Three Preludes, Aaron Copland: Sonata for Violin and Piano, Nocturne, Samuel Barber: Canzone (Elegy) op. 38a (1998, with Gil Shaham) Orchestral music / concertos / ballets[edit] Previn's recording repertoire as a conductor is focused on the standards of classical and romantic music, with notable exceptions like Anton Bruckner, most of Gustav Mahler and opera in general, instead favoring the symphonic music of contemporaries like Hector Berlioz, Johannes Brahms and Richard Strauss and with a special emphasis on violin and piano concertos and ballets. Just very few recordings deal with music before Joseph Haydn and Wolfgang Amadeus Mozart (both favourites of Previn's programmes) or contemporary avant-garde art music based on atonality, minimalism, serialism, stochastic music etc. Instead, in 20th-century music Previn's repertoire highlights specific composers of late romanticism and modernism like Samuel Barber, Benjamin Britten, George Gershwin, Erich Wolfgang Korngold, Serge Prokofiev, Serge Rachmaninoff, Maurice Ravel, Dmitri Shostakovich, Richard Strauss, Ralph Vaughan Williams, Harold Shapero and William Walton. His recordings of works by Gershwin, Korngold (especially the Violin Concerto in D major op. 35, which he recorded three times with Itzhak Perlman, Gil Shaham and Anne-Sophie Mutter), Prokofiev (esp. the 5 piano concertos with Vladimir Ashkenazy and the LSO, Romeo and Juliet op. 64 with the LSO, and the Symphonies 1 and 5, the score to Alexander Nevsky, and the Symphony-Concerto for Cello & Orchestra with Heinrich Schiff as soloist with the Los Angeles Philharmonic), Rachmaninoff (esp. the Symphony No. 2 E minor op. 27 and The Bells op. 35), Shostakovich, Richard Strauss (esp. the recordings of all tone poems with the Vienna Philharmonic) Tchaikowsky (esp. the three ballets Swan Lake, The Sleeping Beauty, and The Nutcracker), Vaughan Williams (a complete cycle of the nine symphonies for RCA), and Walton (esp. the Symphony No. 1 B-flat minor and Belshazzar's Feast) have been particularly prized.[citation needed] Previn recorded most for EMI, Telarc and Deutsche Grammophon. Contemporary classical music (recordings of Previn's own compositions – selection)[edit] Guitar Concerto (1972, with John Williams and the London Symphony Orchestra) Every Good Boy Deserves Favour (1978, with the London Symphony Orchestra) Piano Concerto and Guitar Concerto (1990, with Vladimir Ashkenazy, Eduardo Fernandez and the Royal Philharmonic Orchestra) Honey and Rue (1995, with Kathleen Battle and the Orchestra of St. Luke's) "From Ordinary Things": Sonata for Cello and Piano; Four Songs for Soprano, Cello and Piano; Two Remembrances for Soprano, Alto Flute and Piano; Vocalise for Soprano, Cello and Piano (1997, with Sylvia McNair, Yo-Yo Ma and Sandra Church) Trio for Piano, Oboe and Bassoon (1997, with Cynthia Koledo de Almeida and Nancy Goeres) "Music of André Previn": Trio for Piano, Oboe and Bassoon, Peaches for Flute and Piano, Triolet for Brass, Variations on a Theme by Haydn for Piano, A Wedding Waltz for Two Oboes and Piano (1998, with the St. Luke's Chamber Ensemble) "American Scenes": Sonata for Violin and Piano "Vineyard" (1998, with Gil Shaham) A Streetcar Named Desire (1998; with Renée Fleming, Elizabeth Futral, Rodney Gilfry, Anthony Dean Griffey, San Francisco Opera Orchestra) "Diversions – Songs": Diversions; Sallie Chisum Remembers Billy the Kid; Vocalise; The Giraffes Go to Hamburg; Three Dickinson Songs (2001, with Renée Fleming, Barbara Bonney, Moray Welsh, Vienna Philharmonic, London Symphony Orchestra) Tango Song and Dance (2003, Anne-Sophie Mutter) Violin Concerto "Anne-Sophie" (2003, with Anne-Sophie Mutter and the Boston Symphony Orchestra) Double Concerto for Violin, Contrabass and Orchestra; Piano Concerto; Violin Concerto "Anne-Sophie"; Three Dickinson Songs; Diversions; "I Can Smell The Sea Air" from A Streetcar Named Desire (2009, with Renée Fleming, Anne-Sophie Mutter, Vladimir Ashkenazy, Roman Patkolo, Boston Symphony Orchestra, London Symphony Orchestra, Vienna Philharmonic, San Francisco Opera Orchestra) Brief Encounter (2011, with Elizabeth Futral, Nathan Gunn, Kim Josephson, Houston Grand Opera Orchestra, Patrick Summers) Television[edit] Previn became known to a broad public through his television work. In the United Kingdom he worked on TV with the London Symphony Orchestra. In the United States the TV show "Previn and the Pittsburgh" (1977) featured him in collaboration with the Pittsburgh Symphony Orchestra. Previn is particularly remembered in Britain for his performance as "Mr. Andrew Preview" (or "Privet") on the Morecambe and Wise Christmas Show in 1971, which involved his conducting a performance of Edvard Grieg's Piano Concerto with Eric Morecambe as the comically inept soloist. At one point during the sketch "Mr Preview" accuses Eric Morecambe of playing all the wrong notes; Eric retorts that he has been playing "all the right notes, but not necessarily in the right order".[14] Because of other commitments the only time available for Previn to learn his part in the show was during a transatlantic flight but the talent he showed for comedy won high praise from his co-performers. He made a second appearance in their eighth series. In the sketch, he is tricked into visiting the pair again, and they suggest that if he works with them again, he could receive a knighthood. He joined them at the end of the episode in singing Bring Me Sunshine. At a concert with the Grieg Concerto in Britain afterwards, Previn had to pause the playing to allow the audience time to stop giggling as they remembered the sketch. Previn himself notes that people in Britain still recall the sketch years later: "Taxi drivers still call me Mr Preview".[1] Enjoy the music. |
