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825646079124.Pdf ANDRÉ PREVIN b.1929 1 Look At Him Go 3.50 2 Little Face 4.11 3 Who Reads Reviews 4.11 4 Night Thoughts 6.18 5 A Different Kind of Blues 6.20 6 Chocolate Apricot 5.00 7 The Five of Us 2.51 8 Make Up Your Mind 3.51 9 It’s a Breeze 3.32 10 Rain in My Head 6.34 11 Catgut Your Tongue 6.10 12 It’s About Time 3.12 13 Quiet Diddling 5.04 14 A Tune for Heather 7.41 15 Bowing and Scraping 5.00 16 The Red Bar 5.24 80.06 ITZHAK PERLMAN violin · ANDRÉ PREVIN piano Shelly Manne drums · Jim Hall guitar Red Mitchell bass 2 Itzhak Perlman Photo: © Don Hunstein 3 PREVIN JAZZ ALBUMS Six years after making an album of Scott Joplin rags (volume 10), Itzhak Perlman turned to a different form of jazz, recording in quick succession in 1980 two albums of pieces written at his request by his friend and musical collaborator André Previn. Below, reprinted in full from the original sleeve notes, are the composer’s recollections about the making of the first, A Different Kind of Blues , and Perlman’s own introduction to the second, It’s a Breeze . Jean-Michel Molkhou Until quite recently, I had laboured under the delusion that Itzhak Perlman and I had just about covered the musical gamut together. I have had the privilege of conducting most of the concerto repertoire — from Bach to Bartók — for him, we have played chamber music together, and have even had a brief flying with the Scott Joplin Rags. But I had underestimated Itzhak’s insatiable musical curiosity and sense of adventure. A few months ago he asked me whether I would write a jazz album for him. He told me that he loved listening to jazz and admired its sense of musical freedom. I asked him, Had he ever played any? With typical honesty he admitted, No, he hadn’t, but he wanted to have a go. Trying to match his candour, I reminded him that it had been a great many years since I had had anything to do with jazz, and that therefore I would also feel something of an alien, but he brushed aside that confession and insisted I try. So I set to work with paper and pencil and then made sure that my old friends Shelly Manne, Jim Hall and Red Mitchell were available to join us for the recordings. Itzhak was scheduled to appear with the Pittsburgh Symphony, playing three concerts and making some new concerto recordings with us, and between performances the five of us set up our gear on the stage of Heinz Hall and we went to work. If there were any misgivings, they seemed to disappear within the first hour. There were three sessions, and none of us can remember a time when we laughed more consistently or had a better time. Itzhak told endless stories, ate endless delicatessen sandwiches, fell into the free-wheeling spirit of the occasion wholeheartedly, and amazed us all with his virtuosity. He took to the métier like the proverbial duck to water and it was sad to see the sessions end. We are planning a second album, and in the meantime it would not surprise me in the least to wander into a club late at night and see Itzhak on stage, happily playing the Blues. André Previn In the past few years, it’s been my pleasure to collaborate with André Previn on most of the violin concerto repertoire — and to enjoy his friendship as well. His musical versatility never ceases to amaze me. He’s one of the foremost symphony conductors of the day, a gifted composer and a fabulous pianist who is at home in chamber music, piano concertos and even jazz. 4 Now for a classical musician, the kind of improvising jazz artists do is almost unheard-of — so naturally I was curious to try it. Knowing of André’s affinity for the jazz idiom, I finally gathered all the “chutzpah” I could find, called him up and asked him if he would collaborate in a jazz recording. I think he was rather flabbergasted but, recovering quickly, he agreed. A while later, he turned up with some terrific jazz tunes he’d written for us to play. He also shrewdly asked in three virtuoso jazz musicians to help us out: Shelly Manne, Jim Hall and Red Mitchell. We called that album A Different Kind of Blues . Making it was a wonderful experience we all five enjoyed. So here we are again. André (with eight marvellous new compositions), Shelly, Jim, Red, and an apprentice jazz fiddler named Perlman. We’ve named this album It’s a Breeze . I hope you enjoy it. Itzhak Perlman Translation: Susannah Howe 5 ALBUMS DE JAZZ AVEC ANDRÉ PREVIN Six ans après son disque consacré aux rags de Scott Joplin (volume 10), c’est vers une autre forme de jazz que se tourne ici Itzhak Perlman. En 1980, il enregistre en effet coup sur coup deux albums de pièces écrites à son intention par son partenaire et ami André Previn. Pour le premier volume A Different Kind of Blues , c’est le compositeur qui en contait l’aventure, laissant à Perlman le soin de préfacer le second It’s a Breeze . Leurs commentaires sont reproduits ici dans leur intégralité. Jean-Michel Molkhou Jusqu’à récemment, je m’imaginais qu’Itzhak Perlman et moi-même avions à peu près passé en revue tout le répertoire. J’avais eu le privilège de diriger la plupart des concertos de Bach à Bartók avec lui en soliste, nous avions fait de la musique de chambre ensemble et même une brève incursion dans les ragtimes de Scott Joplin. Mais c’était sous-estimer son insatiable curiosité musicale et son sens de l’aventure. Il y a quelques mois, il m’a demandé si je serais prêt à écrire de la musique pour faire un disque de jazz avec lui, m’expliquant qu’il adorait écouter du jazz et admirait la liberté qu’il y avait dans cette musique. Je lui ai demandé s’il en avait déjà joué. Avec sa franchise habituelle, il a admis que ce n’était pas le cas mais qu’il voulait essayer. Répondant avec autant de sincérité, je lui ai rappelé que je n’avais plus fait de jazz depuis des années et que par conséquent je me sentirais un peu comme un étranger dans ce domaine, mais il a balayé d’un geste cette objection et a insisté pour que j’essaye. Je me suis donc mis au travail, papier et crayon en main, et me suis ensuite assuré que mes vieux amis Shelly Manne, Jim Hall et Red Mitchell seraient disponibles pour enregistrer avec nous. Itzhak devait faire trois concerts et un nouvel enregistrement de concertos avec l’Orchestre symphonique de Pittsburgh et moi-même. Entre les concerts/séances d’enregistrement, nous avons installé notre matériel sur la scène du Heinz Hall, avec Shelly, Jim et Red, et nous avons commencé à jouer. Si nous avions pu avoir des appréhensions au préalable, elles disparurent durant la première heure. Nous avons fait trois séances, et tous nous pouvons dire que nous n’avons jamais autant ri ni passé un aussi bon moment. Itzhak a raconté des histoires interminables, n’a pas cessé de manger des sandwiches de chez le traiteur, s’est complètement abandonné à l’esprit de liberté de l’occasion, et nous a tous sidérés par sa virtuosité. Il a joué comme s’il avait fait du jazz toute sa vie et à la fin des séances nous avions un peu le cafard que ce soit terminé. Nous projetons un deuxième disque, et d’ici qu’il se fasse je ne serais pas surpris le moins du monde, en entrant dans un club tard dans la nuit, de voir Itzhak sur scène en train de se délecter à jouer du blues. André Previn 6 Ces dernières années, j’ai pris du plaisir à parcourir l’essentiel du répertoire concertant pour violon avec André Previn et à nouer une relation d’amitié avec lui. Sa polyvalence continue de me sidérer. C’est l’un des meilleurs chefs symphoniques d’aujourd’hui, un compositeur talentueux, et un pianiste fabuleux qui est autant chez lui dans la musique de chambre ou les concertos que dans le jazz. Pour un musicien classique, la manière dont les jazzmen improvisent a quelque chose d’inouï, alors évidemment j’avais envie d’essayer. Comme je savais qu’André avait une affinité pour le jazz, j’ai finalement pris mon courage à deux mains et je l’ai appelé pour lui demander s’il serait d’accord pour enregistrer du jazz avec moi. Je crois qu’il a été plutôt ahuri par ma suggestion, mais il s’en est vite remis et a accepté. Un peu plus tard, il avait composé pour nous quelques mélodies de jazz fantastiques. Il avait aussi demandé judicieusement à trois virtuoses de jazz de se joindre à nous : Shelly Manne, Jim Hall et Red Mitchell. Nous avons appelé ce disque A Different Kind of Blues (« Une autre sorte de blues »). Enregistrer cet album a été une expérience formidable que nous avons tous adorée. Nous voici donc à nouveau réunis : André (qui nous amène huit nouveaux morceaux merveilleux), Shelly, Jim, Red, et un violoniste de jazz en herbe qui s’appelle Perlman. Nous avons intitulé ce disque It’s a Breeze . J’espère que vous l’aimerez.
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