My Fair Lady (Remastered) Shelly Manne & His Friends

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  • 1Get Me To The Church On Time04:11
  • 2On The Street Where You Live05:38
  • 3I've Grown Accustomed To Her Face03:21
  • 4Wouldn't It Be Loverly05:32
  • 5Ascot Gavotte04:18
  • 6Show Me03:40
  • 7With A Little Bit Of Luck06:01
  • 8I Could Have Danced All Night03:01
  • Total Runtime35:42

Info zu My Fair Lady (Remastered)

Released as part of the Acoustic Sounds Series celebrating 70 years of Contemporary Records, Shelly Manne & Friends' My Fair Lady is the first album to ever consist of jazz versions of songs from just a single Broadway musical. First released in 1956 and recorded by legendary engineer Roy DuNann, this new edition features remastered audio from the original tapes.

My Fair Lady, recorded by "Shelly Manne & His Friends," was released in 1956 by Contemporary Records. Shelly Manne and his Friends bassist Leroy Vinnegar and the once and future classical pianist André Previn had recorded a trio album before this one (Shelly Manne and Friends) but My Fair Lady was the first and biggest-selling of the jazz versions of Broadway shows, TV themes, and film soundtracks later recorded by the trio. It remains a true classic to this day. Tracks include "I've Grown Accustomed to Your Face," "Wouldn't It Be Loverly," and "I Could Have Danced All Night."

"This trio set by Shelly Manne & His Friends (consisting of the drummer/leader, pianist André Previn, and bassist Leroy Vinnegar) was a surprise best-seller and is now considered a classic. Previn (who is really the main voice) leads the group through eight themes from the famous play, including "Get Me to the Church on Time," "I've Grown Accustomed to Her Face," "I Could Have Danced All Night," and "On the Street Where You Live." The result is a very appealing set that is easily recommended." (Scott Yanow, AMG)

Shelly Manne, drums, leader
André Previn, piano
Leroy Vinnegar, bass

Recorded August 17, 1956 at Contemporary Records, Los Angeles
Produced by Lester Koenig

Digitally remastered

Shelly Manne
was one of the greatest jazz drummers in history, appearing on more than a thousand records and enjoying a celebrated career as a Hollywood movie musician. Manne played with a dazzling array of musicians, including Bill Evans, Charlie Parker, and Dizzy Gillespie, and ran his own hip nightclub in the 1960s.

Although Manne, who was born in New York on June 11, 1920, started out playing the alto saxophone, he was destined to be a percussionist. His father Max, who produced shows at the Roxy Theatre, was an acclaimed drummer. And Max’s friend, Billy Gladstone, a top drummer in the theatres of New York, showed the young Shelly how to hold the sticks and set up a kit. “Then he put Count Basie’s ‘Topsy’ on the phonograph and, as he walked out of the room, said, ‘play!’ That was my first lesson,” Manne once recounted in the book Shelly Manne: Sounds of the Different Drummer, by Jack Brand and Bill Korst.

Although Manne was a talented runner – he was a New York City cross-country champion in high school – his desire to be a musician was sealed by a visit to Golden Gate Ballroom in Harlem to hear Roy Eldridge’s band. “I felt what they were doing so strongly that I decided I wanted to do that,” he recalled in an interview with Modern Drummer’s Chuck Bernstein in 1984.

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