Manny Albam And The Jazz Greats Of Our Time Vol.1 by Manny Albam Coral (CRL 57173) Publication date 1957

 CRL 57173

Printed in U.S.A.

CRL 57173

Selections Include:

Side One Side Two LONG PLAY 3313 RPM

1, BLUES FROM NEITHER ee aR ce ie MANNY AND

; Manny am is & & 3

COAST Manny Albam 2. MY SWEETIE WENT AWAY ALBAM If you’ve enjoyed this recording ... you’re sure to

2. LATINED FRACTURE

Manny Albam

3. POOR DR. MILLMOSS

Manny Albam

Considering the fact that much of the essential character

of jazz is derived from the spontaneity and excitement of

improvisation, it would certainly seem that the most defin-

itive jazz writing should be in compatible relation with,

and emphasize the role of, the soloist. In essence, a

marriage between the improvisation and the writing: the

writer providing pithy framework that is thought-provok-

ing and impetus to the soloist, and in turn, the soloist,

given the necessary latitude, investing life, individuality

and substance to the story intimated in the writing.

There are some critics and musicians who’ subscribe

to the polar aspects of this subject: some stand for im-

provisation in the complete sense—spontaneous, intuitive

—without framework or guideposts; others line up for

composition to the point of shutting off the soloist by

writing everything, or giving him only a limited role. And

then, there are variations on both. However, the middle

ground, in its equivalent relation between writing and

blowing, gives evidence of being the best approach.

We must enlarge for clarity...In their own way,

some of these polar ventures have been successful, but

whether they are jazz or not, is a matter for discussion.

On the other hand, going toward the middle ground,

definitions become clear, and the performance becomes

jazz in the more accepted sense, retaining the idiom’s

identifiable markings.

In truth, tradition is most accessible from the van-

tage point of the middle ground, and if anything were to

define the writing of Manny Albam, it would be its great

respect and reflection of tradition:

“I cannot divorce myself from tradition, for it’s

where we all come from, and it should be a base from

which we operate in jazz. If writing is to be JAZZ WRIT-

ING, it should fuse the elements particular to its own

tradition—the beat, improvisation within a disciplinary

frame, and its own unique feeling.

“On this CORAL set, the first of a series, I had the

blowers, the guys who dig deeply, and endow writing with

the necessary richness of improvisational content. This

is just what I wanted, for I feel that an inter-relation,

inter-dependence between writing and blowing in jazz

composition is imperative.”

Out of the grist-mill of experience has come Albam’s

direction in jazz. As a baritone-sax player, Manny worked

in many bands in the forties: Bob Chester, Georgie Auld,

Charlie Barnet and Ventura. He started writing while a

sideman in these bands, and finally gave up playing in

1951, when the demand for his services as an arranger-

composer made it impossible to continue doing both. His

scores for the Barnet, Ventura, Basie, Herman, Spivak

and Kenton bands plus numerous small bands, vocal and

recording assignments have brought him to a position of

Stature in both the jazz and pop fields.

The musicians Manny selected to play his music on

this LP certainly validate its title:

GERRY MULLIGAN, universally recognized as an

innovator of the highest order, both as an instrumentalist

and arranger-composer, was one of the moving forces in

the memorable Miles Davis nine piece band experiments

in the forties. They set a precedent in jazz circles by veer-

ing to the chamber music area in utilization of various

instruments that were relative strangers to jazz, and pro-

duced fresh, memorable sounds compatible with the

coolish, modern, musical conception of the musicians

taking part.

Mulligan gives evidence here of his fine time sense

and artful grace as a baritone soloist, and the depth of

his roots in the traditions of jazz.

Tenorists AL COHN and ZOOT SIMS are brothers

in the matter of style and expression, and are out of the

Lester Young mold. Equally as traditional as Mulligan in

their approach to blowing, both have worked with Woody

Herman, Buddy Rich, Elliot Lawrence_and Stan Kenton,

and wield a good deal of influence on Younger musicians.

PHIL WOODS, who came to the recording sessions

with a bad cold, proves on this LP, in spite of the cold,

why many consider him one of the most earthy, per-

suasive alto voices since Charlie Parker. Conservatory

trained and well rounded in jazz, Woods has confined his

activities to small groups since his departure from the

Charlie Barnet band in 1954. Recently, he formed a small

jazz group of his own in co-leadership with fellow altoist,

Gene Quill.

The name BOB BROOKMEYER has become syn-

onymous with trombone work that is the happy hybrid

of tradition and modernism. His efforts are typified by

emotional transmission of the essential meaningfulness

of the music at hand. Long an associate of Mulligan’s in

what he describes as ‘a happy family band,’’ Bob first

became widely known with Stan Getz’s group in 1953.

Trumpeters NICK TRAVIS and ART FARMER

have been around a while, but have come into prominence

in the last two years.... Nick, a product of big bands:

Goodman, Herman, Krupa, Lawrence, among others, is

rhythmical and economical in his solo efforts, and brings

to mind Harry Edison... Farmer, introspective and art-

ful; an amalgamation, style-wise, of old and new, radiates

disciplined vitality in thoughtful, long-lined solo efforts.

His experience has extended from one end of jazz to

another—from the traditional right of the road to the

extreme left with Mingus, Overton, Charles and Macero.

The rhythm section is, in this case, an inseparable

THUS US Aces

HIGH-FIDELITY “!

(He Didn't Say Where,

When or Why)

Roy Turk-Lou Handman

3. ALL TOO SOON

Duke Ellington-Carl Sigman

4. SEE HERE, MISS BROMLEY

Manny Albam

unit, for indeed, these three players have been on more

record dates together than some A&R men of long expe-

rience ... Drummer OSIE JOHNSON, more in demand

in New York than a football star on a college campus,

exemplifies virility, taste and the adage that ‘less is more.’

In addition to uncountable record dates, Osie has worked

with Tony Scott and Earl Hines... Bassist MILT HIN-

TON, ‘Mr. Time,’ has run the musical gamut: from his

early days with Erskine Tate, Eddie South and Cab

Calloway in the thirties, to just EVERYTHING since.

Wherever you go to hear music, there’s Milt with his

bass and smiling face...The last of the well-cemented,

flexible three is HANK JONES. Without further adjec-

tival advertisement, it is enough to say that his work here

is recommendation enough. From a purely subjective

viewpoint, he strikes this writer as a modern Teddy

Wilson.

The Music

It is vital to call attention to the fact that rather

than utilizing strict block writing or writing for sections,

Albam used different teams of horns. This, in order to

get the movement he wanted, and to evolve longer more

meaningful lines.

The set opens with a brisk Blues From Neither Coast

which features the team idea, a canon on the opening

theme choruses and solos (in order) by Farmer, Brook-

meyer, Travis, Woods, Cohn, Sims, Mulligan and Jones—

four choruses each. Selection is notable for spare, func-

tional Albam writing, as well as the wealth of solos.

Latined Fracture derives its name from the fact that

all the bridges in this tune are in the Latin vein...

Varied rhythms and interesting use of horn teams gives

a great deal of color and moverhent to this Albam

original. Brookmeyer’s flowing solo chorus is first, and

he weaves in and out of ensemble passages; Gerry dances

in next, and one gets a feeling of rhythmic grittiness

from his stint; Zoot, Al and Nick follow with half chorus

appearances as does scene-stealer Woods. Jones then

plays fours with the band leading to the ‘out’ statement.

Poor Dr. Millmoss had its origin of inspiration in

a Thurber cartoon that has long beguiled Manny. The

basic idea and character of the piece is established in

the opening sixteen bars as Mulligan and Cohn play

a long continuous baritone line (in truth, itis the bass

line played by two baritones) against Brookmeyer and

Sims’ melody that Woods and Farmer play answers to.

There is a good deal of humor coloring this effort and

the basic idea is embroidered and enlarged upon with

variety use of the horns as the selection moves along...

Mulligan has first solo which lasts eight bars, then Cohn

for eight, Gerry for four, Al for four, and then they

play two bar, interchanges coming together in the long

baritone line over which Travis plays in mute for halt

a chorus. Brookmeyer, Woods and Sims and Jones fol-

low before an ensemble, a round of horns, and back

to the opening procedure.

Minor Matters is a medium-tempoed swinger that

could well come under the tag ‘funky.’ After an eight

bar intro played by Osie and Milt; Bob, Zoot and Al

play the theme for a chorus (sixteen bar tune). Gerry

comes in to play counter melody to them in first eight

of second theme chorus which proceeds to full ensemble

for last eight. Brookmeyer has first solo and really gets

a fine groove in his two choruses, Phil falls by for two,

followed _by ensemble for a chorus, Gerry for two,

Travis, Farmer, Sims and Cohn for one each. Tune

goes out reversing opening procedure: Mulligan playing

counter melody to theme in first theme chorus rather

than second.

My Sweetie Went Away —A _ selection originally

written in 1922 and later associated with Lester Young.

It resembles Mulligan’s Jeru, but the bridge here is differ-

ent. Features solos by Cohn, Woods, Mulligan, Farmer,

Sims and two bar breaks by Hinton. Ensemble send-offs

for Woods, Mulligan, Farmer and Hinton make for

drive... Ensemble sound is larger here than one would

tend to expect from ten men, and the solos, certainly a

matter of provocative motion.

All Too Soon—An Ellington mood piece of a

rather blue hue. Albam pointed up the lower register

instruments for the depth and feeling consistent with

basic sentiment inherent in this selection. Ensemble and

solo balance is well handled. Solo spots by Travis in

cup mute and Farmer in harmon mute over opening

theme; Jones, Brookmeyer, Woods, Brookmeyer (again)

and Nick (with Zoot playing interpolations) are heard

in short solos before the colorfully written close.

See Here, Miss Bromley is a bouncing, happy Albam

concoction that leans to an off-beat, almost dixie feeling,

and moves right along from Hank Jones piano intro to

coda. The writing spots Mulligan’s anchor sound pro-

minently. Solos are by Jones, Farmer, Brookmeyer, Cohn,

Mulligan and Woods. Strong, vibrant rhythm is a high-

light.

At this point, full recommendation of the music

and musicians discussed, is usually made. Although,

quite valid, in this case, the reasons for recommenda-

tion only become fully apparent in the listening... And

thus, I leave you to that pleasure...

Notes Written by Burt Korall

For proper reproduction use RIAA or similar Record Compensator setting.

PHIL WOODS

BROOKMEYER

NICK TRAVIS

ART FARMER

e HANK JONES

GERRY

MULLIGAN

AL COHN

and

ZOOT SIMS

BOB

and

OSIE

JOHNSON

MILT

HINTON

This CORAL Long Play Microgroove Unbreakable Record can be played only on 33/3 RPM instruments.

For maximum protection, it should be kept.in this protective envelope, away from heat.

like these other great Long Play albums.

Down And Dirty ¢ Alone

Together * Criss Cross

* Gone With The Wind

«* When Your Lover Has

Gone « Pon-Su ¢ Makin’

Whoopee « Isn’t It Ro-

mantic « For Art’s Sake

* Old Devil Moon

CRL 57131

The Lady Is A Tramp «

Good Spirits « A Blues

Serenade e Lazy Man

Stomp « Ill Wind ¢ Chlo-E

* S-H-I-N-E © Back To

Back * So Far So Good

¢ Winter * | Should Care

*Bunny Hunch

CRL 57118

Give ’Em Hal ¢ When The

Sun Comes Out © Can't

Get Out Of This Mood ¢

These Foolish Things «

Out Of This World © This

!s New « Over The Rain-

bow ¢ Serenade In Blue

* Prelude To A Kiss #

Irresistible You

CRL 57116

The Happy Cats © Cock-

tails For Two « Later For

The Happenings « But-

tercup ¢ Robbins Nest «

They Can't Take That

Away From Me e Feath-

er's Nest ¢ Mean To Me

« Between The Devil And

The Deep Blue Sea «

Joe’s Tune » | Never

Knew CRL 57121

Dicty * Biues For Jean

e By The Way e If I’m ; : é 3

Lucky * Pizzicato Swing ; Nat

* Hi-Fitz © Far East ¢ No ODERN: Pierce

Love, No Nothin’ * Shake ae .—

Down The Stars « Soci- :

ety Jumps CRL 57128

Printed in U.S.A.

MANNY ALBAM.

CRL 57173

MG 5666 X

1. BLUES FROM NEITHER COAST

(Manny Albam)

2. LATINED FRACTURE

(Manny Albam)

3. POOR DR. MILLMOSS

(Manny Albam)

MANNY ALBAM

CRL 57173 aes

MG 5667@ Xx SIDE Z

1. MINOR MATTERS

(Manny Albam)

2. MY SWEETIE WENT AWAY

(He Didn't Say Where, When or Why)

(Roy Turk-Lou Handman)

3. ALL TO SOON

(Duke Ellington-Carl Sigman)

4. SEE HERE, MISS BROMLEY

(Manny Albam)