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| 5.098 Ft
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| 1. | First Movement: Dancers on Drums
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| 2. | Second Movement: Bristling
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| 3. | Third Movement: Chant of the Witch Doctor
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| 4. | Fourth Movement: Skinning the Valves
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| 5. | Fifth Movement: Cymbalisms
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| 6. | Sixth Movement: The Octopus
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Jazz / Progressive Jazz
Manny Albam - Sax (Baritone)
Al Cohn Sax (Tenor)
Al Epstein Sax (Tenor)
Bernie Glow Trumpet
Chauncey Welsh Trombone
Conte Candoli Trumpet
Don Lamond Drums
Ed Wasserman Sax (Baritone)
Eddie Costa Piano
Ernie Royal Trumpet
Fred Ohms Trombone
Freddie Green Guitar
Gus Johnson Drums
Hal McKusick Sax (Alto)
Hank Jones Piano
James Buffington French Horn
Jerry Sanfino Sax (Alto)
Jimmy Cleveland Trombone
Joe Ferrante Trumpet
Joe Newman Trumpet
Joe Newman Quartet Trumpet
John Barrows French Horn
Jordi Pujol Producer
Marty Wilson Vibraphone
Nick Travis Trumpet
Osie Johnson Drums
Raymond Beckenstein Sax (Alto)
Sam Marowitz Sax (Alto)
Sol Schlinger Sax (Baritone)
Todd Sommer Drums
Tommy Mitchell Trombone
Urbie Green Trombone
No doubt written to exploit the hi-fi craze in full swing during Ike's presidency, Manny Albams' and Ernie Wilkins' The Drum Suite took the unprecedented step of including parts for four drummers. Inevitably, Albams and Wilkins abandoned the anarchic idea of turning all four drummers loose at the same time; thus these six movements -- divided equally between the two composers -- feature carefully written-out parts for each drummer to follow. The featured stick-twirlers are Osie Johnson, Gus Johnson, Don Lamond and Teddy Sommer -- with Johnson mostly assigned to lay down the time -- and they all stay out of each other's way, never soloing more than eight bars apiece. Far from being mere novelties, though, the Albams/Wilkins charts are erudite progressive and musical extensions of their work for the likes of Woody Herman and Count Basie, the most intriguing being Albams' rhumba-like "Chant of the Witch Doctors." Star big band soloists like tenorman Al Cohn, alto Hal McKusick and trumpeters Joe Newman and Conte Candoli make pertinent contributions throughout the suite. By keeping things free of gimmickry, Albams/Wilkins created a viable piece of music that, if truth be told, could have been performed acceptably by one drummer. ~ Richard S. Ginell, 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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