Pop and Jazz : Albam’s Stylings Attract at Jazz Composers’ Concert

Saturday evening at the John Anson Ford Theater, KLON presented the first in a series of five “Jazz Composers’ Workshop” concerts, with Manny Albam as the initial attraction.

One of the foremost mainstream arrangers of the 1950s and ‘60s, Albam has always retained a swinging jazz quality in his writing, with frequent references to the blues. The 17-man ensemble he conducted at the Ford was in fact, as he pointed out, Bill Holman’s orchestra, borrowed for the occasion, and applying itself diligently to such Albam reworkings of standards as “It’s a Wonderful World” and “I’m Getting Sentimental Over You.”

An elegy to Thad Jones and Mel Lewis was the most striking Albam composition, painted in somber tones with hints of Ellington, but almost ruined by the repeated buzzing of a helicopter overhead.

The performances were more notable for the writing than as vehicles for soloists, although trumpeter Steve Huffsteter distinguished himself on the dark, mysterious “Like It Is.”

After intermission the veteran alto saxophonist Phil Woods appeared as guest soloist in a series of Albam charts well tailored to his singular talents. One number, “Filigree,” bordered on chamber music. “Lush Life” was a generally successful attempt to build new ideas on this overly familiar framework.

Woods switched to clarinet for “My Inspiration,” an old Bob Haggart tune popularized by the Bob Crosby band in the 1930s. For someone who doubles so seldom on this demanding horn, he acquitted himself creditably. Still, it was on the alto sax encore, “Embraceable You,” that Woods revealed everything from his Charlie Parker roots to his own bright-toned virtuosity.

Next in the biweekly KLON series will be the Gerry Mulligan Tentette, featuring Lee Konitz and Art Farmer, on June 20.