Jazz pianist Joe Bushkin gets the two-fer treatment on this CD, released by Collectables in 2001. Contains his full-length releases from 1950 and 1952. The Collectables twofer brings together a pleasing pair of old dates for Capitol. It's not revolutionary stuff, but Bushkin had some effective harmonic ideas and listening to his work in some quantity one becomes aware of a distinct performing personality, wry, clever, but also gently debunking. There's nothing "novelty" about his work, even when the intent is comic. Clayton makes an agreeable intervention and the rhythm guys seem to enjoy working within Bushkin's untroubled bounce.
Although André Previn had not recorded a regular jazz album in 27 years at this point in time (discounting a pair of Itzhak Perlman sessions featuring Previn's compositions), the great majority of the performances on this trio set with guitarist Joe Pass and bassist Ray Brown are first takes. Previn took time off from his busy schedule in the classical music world to return briefly to jazz, his first love. The results are often magical. Previn, Pass and Brown play together as if they had been touring as a group for years. The pianist is generous with solo space and Pass' solos are sometimes exhilarating. For Previn, it is as if the previous three decades did not occur for he plays in a style little changed from 1960, displaying an Oscar Peterson influence mixed in with touches of Lennie Tristano and Bill Evans.
Not wanting to leave a good thing behind, Moore reprises Still Got the Blues on its follow-up, After Hours. While his playing is just as impressive, the album feels a little calculated. Nevertheless, Moore's gutsy, impassioned playing makes the similarity easy to ignore.