Andre Previn, Gerry Mulligan and Carmen McRae - The Subterraneans - OST (1991)

Known as a successful classical conductor, jazz pianist, and
composer of jazz, classical, and film music, Andre Previn frequently
bridged the gap between popular and so-called serious music, and in
doing so broadened the horizons of both. A German-American who fled
Nazi Germany with his family in his youth, he went on to win four
Academy Awards, all for his work on film musicals in late '50s and
'60s, including his adaptation of My Fair Lady (1964).

By the '70s, he had established himself as one of the world's
leading classical conductors, with terms at the London Symphony
Orchestra (1968-1979), Pittsburgh Symphony Orchestra (1976-1984),
and Royal Philharmonic Orchestra (1985-1992). He also served as
music director of the Los Angeles Philharmonic from 1985 to 1989.
During his tenure at the LSO, the BBC series Andr・Previn's Music
Hour made him household name.

All the while, his career-spanning jazz recordings included
collaborations with artists such as Benny Carter, Herb Ellis, and
Shelly Manne, as well as classical artists including Itzhak Perlman,
Leontyne Price, and Kiri Te Kanawa. Winner of ten Grammy Awards,
Previn was the recipient of the Grammy Lifetime Achievement Award in
2010.

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 Andr・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.