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| Something New, Something Blue |
| Manny Albam, Bill Russo, Teo Macero, Teddy Charles with Manhattan Jazz All-Stars, Donald Byrd, Phil Woods, Bill Evans, Eddie Costa, Bob Brookmeyer, Al Cohn, Art Farmer |
spanyol
első megjelenés éve: 1959
75 perc |
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| (2009)
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CD |
| 5.961 Ft
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| 1. | Night Crawlers
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| 2. | Tin Roof Blues
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| 3. | Blues For Amy
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| 4. | St. Louis Blues
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| 5. | Swinging Goatsherd Blues
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| 6. | Blues In The Night
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| 7. | East Hampton Blues
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| 8. | Davenport Blues
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| 9. | Fugue For Tinhorns
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| 10. | I'll Know
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| 11. | A Bushel And A Peck
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| 12. | Adelaide
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| 13. | Luck Be A Lady
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| 14. | Guys And Dolls
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| 15. | My Time Of Day
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| 16. | If I Were A Bell
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| 17. | I've Never Been In Love Before
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| 18. | Follow The Fold
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| 19. | The Oldest Established
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Jazz / Progressive Jazz
Art Farmer, Donald Byrd (tp), Frank Rehak, Bob Brookmeyer (tb), Phil Woods (as), Al Cohn, Frank Socolow (ts), Bill Evans, Eddie Costa, Dave McKenna (p), Teddy Charles (vib), George Duvivier, Aaron Bell (b), Ed Shagnessy (d)
Tracks #1-8 from "Something New, Something Blue" (Columbia CS 8183 / FSRCD-381)
Tracks #9-19 were originally issued as The Manhattan Jazz All-Stars "Swinging 'Guys and Dolls'" (Columbia CS 8223)
Tracks #1-4:
Recorded in New York City, on May 15, 1959
Art Farmer (tp), Frank Rehak (tb), Phil Woods (as), Al Cohn (ts), Bill Evans, Eddie Costa (p), Addison Farmer (b) and Ed Shaughnessy (d)
Arrangements: Manny Albam [1-2], Teo Macero [3-4]
Tracks #5-8:
Recorded in New York City, on May 15, 1959
Donald Byrd (tp), Bob Brookmeyer (tb), Hal McKusick (as), Frank Socolow (ts), Mal Waldron (p), Teddy Charles (vib), George Duvivier (b) and Ed Shaughnessy (d)
Arrangements: Teddy Charles [5-6], Bill Russo [7-8]
Tracks #14, 16 & 19:
Recorded in New York City, on October 19, 1959
Nick Travis (tp), Teo Macero (ts), Teddy Charles (vib), Dave McKenna (p), Jimmy Raney (g), Addison Farmer (b) and Ed Shaughnessy (d)
Arrangements: Teddy Charles [14 & 19], Teo Macero [16]
Tracks #9-12 & 17:
Recorded in New York City, on October 27, 1959
Bob Brookmeyer (v-tb), Phil Woods (as), Mose Allison (p), Aaron Bell (b) and Ed Shaughnessy (d)
Arrangements: Teo Macero [9-11], Teddy Charles [12 & 17]
Tracks #13,15 & 18:
Recorded in New York City, on November 4, 1959
Julius Watkins (frh), Bob Brookmeyer (v-tb), Phil Woods (as), Zoot Sims (ts), Teddy Charles (vib), Sir Charles Thompson (p), Addison Farmer (b) and Ed Shaughnessy (d). Teo Macero [13 & 18], Teddy Charles [15]
Teo Macero was the A&R who conceived the two albums on this CD. SOMETHING NEW, SOMETHING BLUE was designed to demonstrate the talents of four young composer-arrangers - Manny Albam, Teddy Charles, Bill Russo, and Macero himself - working in that still undefined area of modern music in which jazz meets the more traditional “concert” forms.
Each one was commissioned to write an original composition and a new arrangement of a blues or a blues-oriented standard, and to make both blue in feeling. The blues provides an effective bridge from the most primitive neo-jazz to the most adventurous, an instant connection between the music’s many schools.
Macero’s playing is another example of his versatility. On the swing version of Frank Loesser’s score for GUYS AND DOLLS, he plays tenor on three of the tunes, and contributed to the arrangements along with Teddy Charles. Apart from the arrangers, both albums benefit greatly from the presence of some of New York’s finest jazz soloist.
Teo Macero, best-known as a veteran producer, has also had a part-time career as a tenor saxophonist and a writer. For this set from 1959, Macero arranged 11 selections from the hit Broadway show Guys and Dolls and added two originals of his own that fit in well. Macero only plays tenor on three of the songs but he uses three different all-star groups that include vibraphonist Teddy Charles, guitarist Jimmy Raney, pianist Dave McKenna, altoist Phil Woods, valve trombonist Bob Brookmeyer, pianist Mose Allison, tenorman Zoot Sims and the French horn of Julius Watkins. Although some of the reworkings are a bit abstract, the melodies from the Frank Loesser score (which include "If I Were a Bell") are wisely kept in the forefront. A fine effort.
---Scott Yanow -All Music Guide
Manny Albam
Active Decades: '30s, '40s, '50s, '60s and '70s
Born: Jun 24, 1922 in Samana, Dominican Republic
Died: Oct 02, 2001 in New York, NY
Genre: Jazz
Styles: Bop, Progressive Big Band, Cool, West Coast Jazz, Progressive Jazz
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 June 24, 1922. His parents were en route from their native Russia to their new home in New York City, and his mother went into labor while their ship was outside of the 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 bandmate 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 Solid State label, which two years later issued his jazz suite The Soul of the City. 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.
---Jason Ankeny, All Music Guide |
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