© - Steven A. Cerra, copyright protected; all rights reserved.
Manny Albam has been “flying under the radar screen” for far too long.
Lack of public awareness is not an unusual situation for a talented Jazz artist, but it does seem a shame that Manny's work isn't more fully appreciated.
Fortunately for those yet to discover the sterling quality of Manny's music, an Internet search did turn up the fact that much of it is available in a digital format.
A few years ago, Gambit Records, a European-based reissuer of many classic Jazz recordings, put out one of his classic compositions on a CD entitled Manny Albam: The Blues is Everybody’s Business.”
The title refers to Manny’s four-part suite which was issued as a Coral LP in 1957.
We came across the CD recently and it contained the following overview of the early years of Manny’s career and some background on the suite.
You may want to plan on spending a bit of time on the JazzProfiles blog today as we have a treat in store for you in the form of audio tracks of all four movements from Manny Albam: The Blues is Everybody’s Business” which you locate at the end of this piece.
“During a career that spanned seven decades, composer and arranger Manny Albam collaborated with a who's who of jazz greats including Count Basie, Dizzy Gillespie, and Stan Getz. He also developed successive generations of new talent as co-founder and musical director of the
BMI Jazz Composers Workshop.
Albam was born
24, 1922. His
parents were en route from their native to their new home in Russia , and his mother went into labor while
their ship was outside of the New York City Dominican Republic . port of Samana
At the age of seven Albam discovered jazz after hearing a Bix Beiderbecke record, and soon after began playing the alto saxophone; at 16 he dropped out of school following an invitation to join Muggsy Spanier's Dixieland combo, and later played with Georgie Auld, an experience that also afforded Albam his first shot at arranging under the tutelage of band mate Budd Johnson. Albam next gigged behind Charlie Barnet, from there signing on with Charlie Spivak. During his two years with Spivak, his arranging skills flourished, and he generated an average of two arrangements per week.
After serving in the U.S. Army during World War II, Albam returned to the Barnet stable, and as his interest in writing and arranging grew, he effectively retired from performing in 1950, a decision that coincided with the last gasps of the big band era.
Albam quickly emerged as a sought-after freelancer, composing and arranging material for many of the bop era's brightest talents. His tight, brisk arrangements favored subtlety over flash, while his writing exhibited a wry sense of humor. Albam eventually signed to headline his own LPs for labels including Mercury, RCA Victor, and Dot, bringing together musicians including Phil Woods, Al Cohn, and Bob Brookmeyer for acclaimed easy listening efforts including The Blues Is Everybody's Business and The Drum Suite.
His 1957 jazz arrangement of Leonard Bernstein's score to West Side Story so impressed Bernstein that the maestro invited Albam to write for the New York Philharmonic. The offer prompted Albam to study classical composition under Tibor Serly, later yielding such works as the luminous "Concerto for Trombone and Strings." Albam also wrote for feature films, television, and even advertising jingles, and in 1964 signed on as musical director for Sonny Lester's fledgling
label, which two years later issued his jazz
suite The Soul of the City. Solid State
By that time Albam was increasingly channeling his energies into teaching, however. After stints with the Eastman School of Music, Glassboro State College, and the Manhattan School of Music, in 1988 he co-founded the
BMI Jazz Composers Workshop, assuming the
title of musical director from Brookmeyer three years later. Albam died of
cancer on October 2, 2001.
Written during the summer of 1957, Manny Albam's ambitious jazz suite The Blues Is Everybody's Business attempts to tell a story in instrumental form. It represents a visit to the fictional Bluestown, with first trumpeter Nick Travis and later Ernie Royal serving as the musical guides. Art Farmer's Harmon-muted trumpet serves as the alter ego to Travis (heard with a cup mute), while Phil Woods' exuberant alto sax and Bob Brookmeyer's sassy valve trombone stand out as the most impressive soloists on the album. The list of all-stars assembled for this project is considerable, also including Al Cohn, Gene Quill, Milt Hinton, and Eddie Costa, to name just a few. In the two middle movements strings are added to augment the orchestra, though Albam's intelligent score keep them from bogging down the music. Nat Hentoff s detailed liner notes are an added bonus. Though this type of composition may have fallen out of fashion, fans of progressive big bands should look for this long out of print Coral LP, as the music is still worth hearing.”