1. Why Are We Afraid?
2. Two By Two
3. Bread And Wine
4. A Rose And The End
5. Look Ma, No Clothes
6. Things Are Looking Down "Hollywood"
7. Analyst
8. Red Drum Blues - "Hollywood" only
9. Spaghetti Fantasy - "Hollywood" only
10. Alarm Clock - "Hollywood" only

 LINER NOTES

	The Subterraneans . . .
The lost, the lonely,
	And the disillusioned . . .
Looking for the Light.

Here is an album that showcases the many talents of Andre Previn, composer-conductor-arranger-andpianist. His versatility further extends into the performance fields where he is just as much at home with jazz, the blues, popular music and with the classics. One week, Andre may be heard playing jazz in a swank night club; the following week, he will be performing with one of the great symphony orchestras; and a little later on, you will find him conducting for a top Hollywood motionpicture score. He is familiar to television viewers because of his guest appearances with Dinah Shore, Dean Martin, Steve Allen, Ernie Ford, Ernie Kovacs, Rosemary Clooney and others. Andre has won Motion Picture Academy Awards for "GIGI" and for "PORGY AND BESS." He also won a Grammy Award for his work with David Rose on the M-G-M record, "LIKE YOUNG," a song which Mr. Previn composed.

Another award-winner spotlighted in the album is Gerry Mulligan who has won the International Jazz Critics Award as the best baritone saxophone player for 1957, 1958 and 1959. Gerry also plays a feature acting role in "The Subterraneans."

This long-playing record is a collection of Previn's original compositions (except for "COFFEE TIME" and for "SHOULD I") from the sound track of Arthur Freed's Production "THE SUBTERRANEANS" played by small, medium and large orchestras with solos by some of the foremost jazz artists in the country. This album was assembled by Jesse Kaye.

THE INSPIRATION FOR THE MUSIC . . .

is Metro-Goldwyn-Mayer's distinctive cinematic offering, "The Subterraneans," starring Leslie Caron and George Peppard, with Janice Rule and Roddy McDowall costarring.

The dramatic love story, based on the talked-about Jack Kerouac novel and set against the background of San Francisco's New Bohemians, is the latest example of Producer Arthur Freed's insistence on bringing something new and off-beat to the motion picture screen.

Although the film is not a musical per se, Freed felt that cool intellectual jazz is such an integral part of New Bohemian life it should also be an important facet of the picture. He chose the versatile Andre Previn to create "The Subterraneans" score and allowed him to go far beyond the usual scope of motion-picture musical backgrounding.

Previn's treatments are both inventive and effective - notably when he superimposes jazz solos against rich symphonic sound. This coupling serves a double purpose: The full orchestra contributes to the dramatic texture of "The Subterraneans," while the solos of Previn, Mulligan and the other stars - all appearing on one record for the first time - reflect the color, spirit and individuality of San Francisco's North Beachers and New Bohemians everywhere.

"The Subterraneans," directed by Ranald MacDougall, marks a reunion for the team of Freed and Previn, whose last collaboration was "Gigi," winner of no less than nine Academy Awards.

SIDE 1.

WHY ARE WE AFRAID? - This is the love theme from M-G-M's "THE SUBTERRANEANS." Played by the large orchestra, it features the baritone sax artistry of Gerry Mulligan, the alto sax of Art Pepper, the trumpet of Jack Sheldon and last, but not least, the piano of Andre Previn. We hear this melodic theme in a lush setting of strings.

TWO BY TWO - A bluesy-type number by the large orchestra. Again, this selection features Art Pepper, Jack Sheldon and Gerry Mulligan. The strings set the mood and the alto sax and the trumpet exchange musical statements; then, the orchestra settles into a blues tempo interweaving the different soloists in a myriad of orchestral colors.

BREAD AND WINE - An up-tempo jazz number arranged to show off the versatility of Gerry Mulligan and His Group. Solos are by Gerry, Dave Bailey, Russ Freeman, Art Pepper and Art Farmer.

A ROSE AND THE END - The large orchestra again sets a relaxed mood for this selection. After the orchestra introduction, we hear the instrumental exchange and answers by Art Pepper's alto sax, Jack Sheldon's trumpet and Gerry Mulligan's sax solos followed by a slow blues set by the straight, four-cymbal beats of Shelly Manne with the background figures by the French horns and solos by the clarinet and violin.

SIDE 2.

LOOK MA, NO CLOTHES - Have you ever thought how you would feel if you went off your "rocker"? Here, .this is expressed musically tnrough the pen of Previn and performed by the large orchestra.

THINGS ARE LOOKING DOWN - This time, we hear Gerry Mulligan and His Group in a moody-jazz setting. Mulligan, Russ Freeman, Art Pepper and Art Farmer are the featured soloists.

ANALYST - -Again, a large orchestral treatment portraying the many moods one experiences when visiting an "analyst." The second section is blues, but this is in waltz time with an interesting byplay by the piano and the alto sax. In the last section, we hear the straight, cold, dry, four-four cymbal of Shelly Manne and the sad, wake-type moan of Mulligan's baritone sax.

Hollywood Swing and Jazz

Fortunately, The Subterraneans, one of the inlikeliest and last pictures produced by music maven Arthur Freed, casts jazz in precisely the right light: serious, but fun at the same time. The Subterraneans features Leslie Caron as a beatnik and Gerry Mulligan as a hip priest. Freed was astute enough to recruit the selfsame man who made Gigi sound so great: André Previn. In his role as composer and musical director, Previn recruited an all-star group built around Gerry Mulligan.

In addition to several numbers featuring these star soloists with the M-G-M srudio orchestra, Previn also scored a number of pieces for all-star small bands. Chief among these were three outstanding small-group numbers based on the blues: "Red Drum Blues" combines the front line of the Mulligan quartet - trumpeter Art Farmer and the baritone saxophonist himself - with the essential trio of Previn, bassist Red Mirchell, and drummer Shelly Manne. For the up-tempo "Bread and Wine" (on which Previn's writing evokes longtime colleague Shorty Rogers), saxists Art Pepper (alto) and Bill Perkins (tenor) are added to the mix (valve trombonist Bobby Envoldson is also listed as being present, but doesn't solo). The piece climaxes in an exhilirating, all-too-brief exchange between Previn and Mulligan. The capper is the blues-to-end-all-blues, "Things Are Looking Down", where all four horn stars solo again, as does Previn himself.

Will Friedwald