The Manchurian Candidate
Splendor In The Grass
Pull My Daisy
The Young Savages
Echo Of An Era
On The Waterfront
Isn’t It Delicious
After The Fall
5CD Boxset from American composer, conductor, multi-instrumentalist, and author, David Amram. Featuring his Classic Film Scores from 1956 Documentary ‘Echo of an Era’, featuring Cecil Taylor, to iconic scores such as The Manchurian Candidate & The Young Savages, to 2016’s Isn’t it Delicious.
David is known as a classical composer and performer, his integration of jazz (including being one of the first noted as an improvising jazz French hornist), folkloric and world music has led him to work with the likes of Dizzy Gillespie, Lionel Hampton, Willie Nelson, Langston Hughes, Charles Mingus, Pepper Adams, Levon Helm, Betty Carter and Jack Kerouac. In the early 1950s, he was encouraged to pursue his unique path by mentors Charlie Parker, Thelonious Monk, the New York Philharmonic’s conductor Dimitri Mitropoulos, Miles Davis, Aaron Copland, Gunther Schuller, and visual artists Jackson Pollock, Joan Mitchell, Willem de Kooning and Franz Kline. Today, as he has for over 50 years, Amram continues to compose music while traveling the world as a conductor, soloist, bandleader, visiting scholar, and narrator in five languages.
CLASSIC FILM SCORES BY DAVID AMRAM
The box set, which has been released in the UK to wonderful reviews, will now be released in North America and /Canada at the end of 2018, followed by Europe, Australia, Canada, China and Japan. In addition to the five CDs, which include highlights of Amram’s score for John Frankenheimer’s The Manchurian Candidate and The Young Savages, Elia Kazan’s Splendor in the Grass and The Arrangement, and the entire original soundtrack of Jack Kerouac’s narration with Amram’s music for Pull My Daisy. The box set also includes highlight from scores for the Broadway dramatic productions of Arthur Miller’s After the Fall, Budd Schulberg’s original script for the theatrical version of On the Waterfront and a100 page booklet with notes by Amram as well as photos about the making of each film.
While artists like Gerry Mulligan, Stan Kenton and David Sanborn have recorded the main themes from David Amram’s film scores, this box set includes a dazzling variety of artists from the worlds of jazz, Latin, Middle Eastern and Classical music, performing every note which Amram painstakingly composed, orchestrated, and conducted and in which he often appeared himself as a soloist.
This is the first time that lovers of film soundtracks can hear the original soundtracks of his films in one set, with the brilliant musicians whom Amram chose for each score.
Jazz luminaries on the various soundtracks include legendary clarinetist Buster Bailey, as well as Harold Land, Jimmy Owens, Slide Hampton, Jimmy Cobb, Pepper Adams, Paquito d’Rivera, Jerry Dodgion, Richard Davis, Earl McKintyre, Paul Horn, Candido, George Barrow, Vic Juris, Sahib Shihab. Alex Foster, Erik Lawrence , Laurindo Almeida, Joe Gordon, Anita Ellis and Cecil Taylor, (heard while playing on the first recording Cecil Taylor ever made in the summer of 1956 for Amram’s score for the documentary film “Echo of an Era”.)
All of the symphonic and chamber musicians were also chosen by Amram, assembled from members of the New York Philharmonic, Metropolitan Opera Orchestra, Marlboro Music Festival and the Los Angeles Philharmonic.
Amram said recently in an interview.
“I have always been a composer, NOT a film score composer. Over the past sixty years, I have occasionally composed scores for films which I felt had lasting value and for which I knew I would have the freedom and the time to create music with the the same loving care as I still do every day when composing symphonies, operas, concertos and chamber works and when playing with creative artists from the worlds of jazz and global music..
Many of the highlights of the original scores for some of the films are finally made available to hear for the first time. Some were created over a half a century ago,
Hearing them, remastered and appearing in this box set makes me realize that it was worth the wait.
It is rewarding to hear the creativity of the all great players with whom i was fortunate enough to have had for each score, and finally gives the world the chance to hear their voices being heard.
I am grateful that after sixty years, it is possible for today’s young composers, performers and a new generation of film makers to see that creating music to enhance a film is an art, and that joyous collaborations among artists who love their work can bring out the best in everyone involved.”
The best way to order the entire box set with the 100 page booklet is to access
Released for the first time on vinyl, in conjunction with Record Store Day 2019, Moochin’ About/PIAS is very proud to present David Amram’s innovative score to John Frankeneimer’s cult classic – The Manchurian Candidate …
This groundbreaking score features jazz legends – Paul Horn, Harold Land, Jack Nimitz, Carmel Jones & Joe Gordon…
This limited release includes 10 jazz based tracks from the original score, with 5 more tracks available as a download, which will include all 15 tracks available together for the first time ever…!
“David Amram has done a magnificent job. The score is exactly what I wanted for the film.”
— Frank Sinatra
“David Amram’s haunting score drives the movie forward and emphasizes perfectly all the dramatic elements.”
— John Frankenheimer
“I have always regarded David Amram as one of the greatest composers of the twentieth century and I don’t just mean for the cinema. Now thankfully his music, in America at least, is getting the exposure it so rightly deserves.”
— John Williams – Film Music Review
From the first, ominous moments of John Frankenheimer’s enduring, memorable film THE MANCHURIAN CANDIDATE audiences have known they were experiencing a classic psychodrama of suspense, one that remains in the mind years later like a mordant poem or a darkly bewitching painting. Richard Condon wrote the brilliant novel that gave Frank Sinatra, Laurence Harvey, Angela Lansbury and Janet Leigh a vehicle for some of the finest work any of them ever did in film. Released in 1962 during the Kennedy years, it was the story of an American patrol that was ambushed, captured and brainwashed by North Koreans and Chinese, and how one of its members (Harvey) returned to the U.S. after the war as an unsuspecting puppet whose mind and behavior could be manipulated by his former captors. He is moved deftly, like a chess piece, toward his assigned mission – the assassination of a Presidential candidate – while his former superior officer on the captured patrol (Sinatra) tries desperately to discover the roots of their tortured minds and to avert a tragedy.
In the 57 years since THE MANCHURIAN CANDIDATE went into release, it has become a cult classic for the stark beauty of its black-and-white photography; for the mystification of its engrossing story line; for the superb performances of its principal players; for the dazzling, sure-handed direction of John Frankenheimer; and, not least, for one of the most consummate scores ever created for a motion picture.That score was composed, orchestrated and conducted by David Amram in the spring of 1962. He was then a 31-year-old musical phenomenon who was already well-known as a brilliant young composer and performer in classical music and jazz, and a pioneer of world music. The score is available in its entirety on this LP for the very first time, including extended sections not used in the film and thus never before heard, available via a download code, that comes with the LP…Its release now is an instant “event” for students and connoisseurs of American music.
When Frank Sinatra first heard the score in 1962, he said: “David Amram has done a magnificent job. The score is exactly what I wanted for the film.” And referring to the movie’s complex theme of psychological tumult, he added, in the parlance of jazz: “The music is almost sane sometimes, as the story is almost sane sometimes. And at other times, the music is in the trees, just like the movie. It is a great score.” In 1997, John Frankenheimer said: “David Amram’s haunting score drives the movie forward and emphasizes perfectly all the dramatic elements.”
The circumstances that led to Amram’s creating THE MANCHURIAN CANDIDATE score – which is regularly cited as one of the ten best ever composed – began in the late 1950’s, when John Frankenheimer attended performances of New York’s famous Shakespeare in the Park series and heard the incidental music that Amram had composed for those productions. That led to Frankenheimer hiring Amram to write the score for his Emmy Award- winning television production of Henry James’s The Turn of the Screw, starring Ingrid Bergman. When the director learned that Amram was equally fluent in jazz and Latin music, he also commissioned the score for his film about New York street gangs, The Young Savages, which starred Burt Lancaster and Shelley Winters. (Amram subsequently wrote the score for Elia Kazan’s Splendor in the Grass, with Warren Beatty and Natalie Wood. The late Ms. Wood won an Oscar for her performance.)
As THE MANCHURIAN CANDIDATE began its pre-production phase, Frankenheimer and Sinatra decided they needed a non-Hollywood composer to create a score that would be as unique as the film. They gave Amram free rein to meld jazz from the Korean War period (1950-1954) with symphonic music to evoke the terrible psychological plight of the captured patrol, and the trauma and eventual triumph of the two main characters. The only instruction Frankenheimer gave to Amram was: “The picture will tell you what to do. I hired you because you’re different from anyone else, and you care and have pride in what you do.”
In the spring of 1962, Amram went to Hollywood for a month, checked into the Montecito Hotel and worked around the clock. The final product was a distinct departure from many film scores, which often consist of permuted shards, scraps and borrowings from the great European composers whose work is in the public domain. Every note of this one was original, composed and orchestrated by Amram himself. For the recording session, he assembled a first- rate orchestra from the ranks of symphony soloists and chamber music players, plus Latin performers and such jazz artists as Paul Horn (alto sax and flute), Harold Land (tenor sax), Jack Nimitz (baritone and bass sax), Dick Leith and Lou Blackburn (trombonists) and Carmel Jones and Joe Gordon (trumpeters). Many of the respected jazz and Latin players whom Amram chose had never performed film scores before, and being allowed to do so helped break down that barrier. During the recording – which was accomplished in four sessions over two days – Amram startled some of the film’s producers by regularly leaping from the podium to join the musicians, playing improvised solos on French horn and piano. Most of the tracks were recorded in a single take.The resulting document is a work of immense subtlety and nuance, miraculously evocative of the 1950’s, and a fascinating experiment in combining jazz, Latin and classical modes into an integrated, pleasing architecture that not only epitomizes the remarkable film it celebrates, but survives beautifully on its own as a delectable chrestomathy of musical invention. A jot of credit for that goes to Dizzy Gillespie and Charlie Parker, with whom Amram jammed as a jazz French horn player and budding composer in 1951-52, and who encouraged him to write music that would represent his own broad, catholic interests in ethnic, folkloric and various articulations of jazz. Other musical sentiments in THE MANCHURIAN CANDIDATE score derive from Amram’s own Army service in 1952-54; from his recollections of the McCarthy period and its shameful repressions; and from the Kennedy Presidency with its energy, its promise and its optimism.
1 ) From the first statement of the melancholy 14-note theme in the OVERTURE played on the trumpet, one is caught up in the moody reflectiveness of Amram’s programmatic ideas about the story.2) SOME SOUL FROM SEOUL is a joyful tonic – sassy, playful, redolent of the jazz clubs in Greenwich Village and around the world that David Amram as a jazz player knows so well. It describes Gls, in idle moments, listening to music from home, even as they fight a “police action” on the other side of the world in which 55,000 Americans died.
3) In THEME FROM THE MANCHURIAN CANDIDATE (JAZZ VERSION), there’s that pensive figure again, announced on the muted trombone, then turned over for examination to saxophone and trumpet. The jazz ensemble colludes engagingly with the wind and brass players among the symphony musicians, ending with both idioms united.
4) Amram’s most expressive statement about the mysterious effect of brainwashing occurs in QUEEN OF DIAMONDS. Seeing that playing card triggers programmed behavior in the Laurence Harvey character. His bewilderment is expressed here in jagged chords featuring the unlikely fusion of harpsichord, three piccolos and high, dissonant strings.
5) CANTINA LATINA, KOREA, 1952, is an interlude in which Amram recalls some of his own Army days in the 1950’s when draftees from Puerto Rico and the urban centers of the U.S. would bring their Latin-influenced jazz to the clubs and bars near military bases. It evokes the memory of what it was like back then to be a young man in the Army, and features a prologue and coda on French horn by Amram.
6) A riot of drums and brass announces POLITICIANS ON PARADE, a virtual parody of American campaign music played at a frantic, quick-step pace. It’s a brief, affectionate tribute to all the hard-working musicians who play in pick-up bands at political conventions and along the campaign trail, and whose music is aimed at whipping up enthusiasm for candidates who are, more often than not, undeserving of their efforts.
7) UNREQUITED LOVE is the musical underpinning for a poignant, doomed love affair between Laurence Harvey and the lovely young woman of his dreams. The Hollywood tradition in which they might have lived happily ever after is subverted as Harvey is once more victimized by the effects of his brainwashing. The forlorn hope of perfect love ends tragically. A hint of the main musical theme and a few bars of harpsichord music signals the buried torment at the root of the character’s consciousness.
8) In SLIGHTLY MANCHURIAN BLUES, Amram on piano introduces a theme based on the traditional 12-bar blues form, with altered harmonies, to suggest the folkloric music of Central Asia and the isolation that was felt by the American patrol in their captivity.
9) DARE TO DREAM was originally intended as a theme to underscore the tender relationship between the Frank Sinatra and Janet Leigh characters but was eliminated in the final edit of the film. Amram and Frankenheimer agreed that allowing the acting to speak for itself, uncommented upon by the music, was more effective. Still, it’s a haunting piece: the alto sax states the theme, then the strings, piano and flute explore it until it dissolves in a ripple of piano notes.
10) An unworthy Senator’s determination to run for the Presidency is central to THE MANCHURIAN CANDIDATE storyline. LONG ROAD TO THE WHITE HOUSE – with its percussive drive, insistent cymbals and blaring brass – is celebratory of that urge that has afflicted so many politicians, good and bad.
11 ) RETURN OF A HERO is the composer’s tribute to the dignity of military people who have served their country unselfishly, and the deep emotion they feel for comrades who never returned.
12) HOME AGAIN, 1952 uses a jazz idiom to express the uncertainty and trepidation that many felt who were drafted for service in the Korean War, and the joy of being mustered out when it was all over. Amram joins the band on French horn, improvising two ebullient blues choruses and a coda.
13) THEME FROM THE MANCHURIAN CANDIDATE (MAIN TITLE) is the film’s musical signature, a memorable motif that recurs in fragments throughout the score.
In the late 1950’s and early 1960’s I was a budding journalist (before putting in 25 years as TV Guide’s New York bureau chief), living in Greenwich Village, as was David Amram. He was already well known for his jazz French horn recordings with Charles Mingus, Lionel Hampton, Oscar Pettiford and Julius Watkins. He also collaborated with novelist Jack Kerouac in the first-ever jazz/poetry concert in New York City in 1957. That led to the famous 1959 “beat” film, Pull My Daisy in which Amram’s chamber music and jazz melded with Kerouac’s narration (Premier PRCD 1046). He was producer Joseph Papp’s choice in 1957 to score all the incidental music for the Shakespeare in the Park productions. During that period, Amram frequently played jazz in the Greenwich Village clubs by night with his own quartet; and by day he was busy composing a body of orchestral and chamber music and two operas (one of which, The Final Ingredient, is available on Premier PRCD 1056) that would, over the years, grow to one of the richest and most impressive bodies of work by any American composer.
David Amram is unique. The Boston Globe once called him “the Renaissance man of American music.” At times, he can be seen toting what appears to be a mechanic’s tool box, but which actually is chock-a- block with exotic wind and percussion instruments from scores of countries, all of which he plays expertly. He has conducted and performed as a soloist with symphony orchestras around the world, and collaborated with artists such as Leonard Bernstein, Dizzy Gillespie, Thelonius Monk, Willie Nelson, Tito Puente, Betty Carter, Elia Kazan and Arthur Miller. In 196667, he was Bernstein’s choice as the first composer- in-residence with the New York Philharmonic, and since 1974, BMI has listed Amram as one of the Twenty Most Performed Composers of Concert Music in the United States. Not the least of his attainments is his family: he is married to the songwriter/performer/playwright Lora Lee Amram; they live on a working farm in upstate New York with their three children.
It’s a genuine boon for music fans that the long-awaited MANCHURIAN CANDIDATE score is finally available. The film – with its story of political assassination – was withdrawn from circulation after President Kennedy’s murder, and was not widely seen for many years. Frank Sinatra has often said it’s a favorite among all his film performances. I interviewed Sinatra privately twice, once at his apartment in the Waldorf Towers in New York, and some years later at his house in Palm Springs. At the latter meeting, we lounged in his living room just off the swimming pool and, methodically – one by one – went down the list of every film he’d ever made, documenting his recollections for an article that appeared in TV Guide in the 1980’s. He had been offered the Laurence Harvey role as the soldier most traumatized by the enemy’s brainwashing, but chose instead that of the officer who strives successfully to unravel the film’s central mystery. He told me he thought that his performance in THE MANCHURIAN CANDIDATE was probably on a par with those in The Man With the Golden Arm and From Here To Eternity (for which he won an Academy Award). The miracle of Frank Sinatra is that he was, unarguably, the greatest (and most raffish) singer of popular ballads who ever plied that trade, and also a film actor of bountiful gifts. No other performer has been similarly blessed.In August, 1997, his son, Frank Sinatra Jr., had this to say about the score: “The ingenious combination of polytonality and jazz was just incredible to me, and the choice of instruments was perfect for the film. None of us had ever heard a film score like this before. It’s wonderful that this music is finally coming out as a sound track album. It is long overdue.”
For THE MANCHURIAN CANDIDATE, David Amram created a film score of immense subtlety and distinction, its moods brilliantly wed to the beguiling texture of George Axelrod’s ingenious screenplay. This recording will have pride of place among Davids music now commercially available, a feast for fans of the most multifaceted composer now at work in America.
The Manchurian Candidate:: Notes from the Composer
I look back today at the scoring of the film THE MANCHURIAN CANDIDATE with gratitude at having had the chance to collaborate with great actors, a great director and author, and some of America’s finest musicians. Our collective efforts have been preserved through the magic of film, video cassette, and now, at long last, an LP recording of all of the music that I composed for the movie. Some of the selections were cut from the final edit of the film, but stand on their own in this complete version.
The history of THE MANCHURIAN CANDIDATE and its music is like a script from an old adventure film: acclaim, disaster, obscurity, a long arduous road to a comeback, and a final triumph. With the recent re-release of the film for theater and home video, the music can be heard supporting the film and its myriad dramatic changes. Fifty Seven years after I composed the score, it can now be heard in its entirety for the first time, sepa- rate from the film. This would have happened in 1962, but after the tragic assassination of John F. Kennedy in 1963, the film and its music were withdrawn from the public for twenty-five years.
I’ll always be grateful to Frank Sinatra and the film’s brilliant director, John Franken- heimer, for allowing me the freedom to do the best that I could do. It is very fulfilling that this music can finally be heard.
Ever since meeting, jamming with and being mentored by Dizzy Gillespie in 1951 and Charlie Parker in 1952,.David Amram has continued over the past 66 years as one of the first pioneers, along with Julius Watkins, to include the French horn as an improvising voice in jazz. He has also pioneered the use of jazz and the all-embracing philosophy it embodies in every genre of music, as a foundation to inspire all sincere musicians to tell their story while learning, respecting and then performing all true music which is built to last.
Over the last 50 years, Amram has been acclaimed as a major pioneer of World Music but has stated publicly that his broad ranging interest of all musics which touch the heart are the foundation of what Bird and Dizzy told him to pursue long ago, when he told them of his dreams of becoming a jazz french hornist and a symphonic composer.
He credits them with steering him on the path he has pursued and shared with the world ever since those first encounters.To remain open and respectful to all forms of artistic expression and to the people and the cultures who keep these arts alive and share them
As a performer, composer and conductor, Amram has recorded with Lionel Hampton, Charles Mingus, Kenny Dorham, Oscar Pettiford, Machito, Candido, Betty Carter, Curtis Fuller, Pepper Adams, Mary Lou Williams, Thad Jones, Julius Watkins,T.S Monk,Paquito d’Rivera, Arturo Sandoval and Albert Mangelsdorff.
He has performed with Thelonious Monk, Sonny Rollins, Dizzy Gillespie, Max Roach, Gerry Mulligan, Elvin Jones, Stan Getz, Randy Weston, Kenny Burrell, Los Papines, Winton Marsalis, Stepane Grappelli, Ray Barretto, Mongo Santa Maria, Bobby Sanabria, Arturo O’Farrell, Jim Pepper and Bill Evans.
He has conducted symphony concerts for the last 50 years, inviting the participation of jazz artists as both soloists and as guest composers,decades before the term “cross-over’ was ever used.
From his first score in 1956 for the documentary film Echo of an Era (with Cecil Taylor playing piano on his first -ever recording) and the scores for the original 1962 Manchurian Candidate ( with stellar performances by Harold Land and Carmell Jones) , Splendor in the Grass (with soloists Buster Bailey and George Barrow) Jack Kerouac’s Pull My Daisy (with Sahib Shihab as soloist and Jack Kerouac narrating) and ending with the new film Isn’t it Delicious with classical artists joined by jazz luminaries Paquito d’Rivera, Alex Foster, Earl McKintyre, Jerome Harris and guitarists Gene Bertoncini and Vic Juris.
In 1966, when Leonard Bernstein chose Amram as the New York Philharmonic’s first-ever composer in residence, Bernstein encouraged Amram to continue to be an ambassador of music for young people and to always remember share with them the enduring values of European classical music and the treasures of jazz, Native American and Latin American music, all of which are of of enduring value, based on purity of intent and an exquisite choice of notes.
Today at 87 Amram continues to do that, maintaining a remarkable pace of composing new classical pieces, while making recordings and performing as a band leader, multi-instrumentalist, guest conductor, soloist and narrator in five languages.
His selected YouTube highlights, schedule and management are listed on his web page www.davidamram.com
Here is a compendium of some of the highlights of my dozens of recordings incorporating jazz where I appeared as a soloist with others, as well as ones with my own various bands I assembled over the years ad symphonic jazz -oriented works and film scores!!!
Lionel Hampton, Jazz in Paris: Lionel Hampton & His French New Sound (1955)
Oscar Pettiford Big Band (Jimmy Cleveland, Art Farmer, Osie Johnson, Sahib Shihab, Julius Watkins, Tommy Flanigan and David Amram) Paramount Records (1956)
Amram/Barrow Quartet Jazz Studio Six (with George Barrow, David Amram, Arthur Phipps)
Decca Records (1957)
Two french horns Two Baritone Saxophones (with David Amram, Juliua Watkins, Hampton Hawes, Curtis Fuller, Teddy Charles, Sahib Shihab, John Coltrane and Pepper Adams) Prestige Records (1957)
Four French horns (with Julius Watkins, David Amram, Milt Hinton, Osie Johnson, Matt Matthews, and Dick Katz) Elektra Records (1957)
Kenny Dorham, Blue Spring (with Cedar Walton, Cannonball Adderly, Cecil Payne, David Amram. Paul Chambers, Jimmy Cobb and Philly Joe Jones) Riverside Records (1959)
The Young Savages Amram’s 1960 film score (with Harold Land, George Morrow Leon Petties, David Amram and a symphony orchestra) Columbia Records (1961)
Splendor in the Grass Amram’s 1960 film score (with Buster Bailey, Eddie Wilcox, George Barrow, Maurice Peress, Rod Leavitt and symphony orchestra) Moochin’ About Recordings (2016)
The Manchurian Candidate Amram’s score for the original 1962 soundtrack, starring Frank Sinatra.
(With Harold Land, Paul Horn, Jack Nimitiz, Lou Blackburn and symphony orchestra.)
Moochin’ About Recordings (2016)
Elia Kazan’s film The Arrangement starring Kirk Douglas and Faye Dunaway Amram’s score for the soundtrack, (with Richard Davis, George Barrow, Thad Jones. Jerry Dodgion, and Pepper Adams)
No More Walls: David Amram and Friends (Pepper Adams, Jerry Dodgion, Candido, Al Harewood, Ali Hafid, George Mgrdichian, Ramblin’ Jack Elliot, Midhat Serbagi, and Lynn Shefield) (1971)
Triple Concerto for Woodwind , Brass and Jazz Quintets and Orchestra, Rochester Philharmonic conducted by David Zinman, with the David Amram quintet (Pepper Adams, Jerry Dodgion, Herb Bushler, and Al Harewood ) RCA RedSeal (1973)
Havana/New York Live in Cuba 1977 (with Paquito de Rivera, Arturo Sandoval, Los Papines, Ray Mantilla, Eddie Gomez, Thad Jones, Pepper Adams and Billy Hart) Flying Fish/Rounder Records (1977)
T.S. Monk, Monk on Monk (with T. S. Monk, Roy Hargrove,Wayne Shorter, Jimmy Heath, Clark Terry,Christian McBride,David Amram, Ron Carter, Bobby Watson,Grover Washington Jr. Nnenna Freelon, Dave Holland, Howard Johnson, Kevin Mahogany, Ronnie Mathews, Danilo Perez, Bobby Porcelli, Dianne Reeves, Wallace Roney, Arturo Sandoval, Eddie Bert, and Don Sickler) Audio CD (1997
David Amram: At Home/Around the World (with Paquito de Rivera, Candido, Odetta, Pepper Adams,Victor Venegas, Candido, Patty Smythe, Ali Hafid, George Mgrdichian Flying Fish/ Rounder Records (1978)
Latin Jazz Celebration (with Paquito d’Rivera,Machito, Jerry Dodgion, Pepper Adams, David Fathead Newman, George Barrow, Joe Wilder, Jimmy Knepper, Candido, , Steve Berrios, Myra Casales,
Amram’s Score for Broadway drama “On the Waterfront”(with Jimmy Owens, Slide Hampton, Jerry Dodgion, Victor Venegas, Al Harewood) (1995)
Amram’s Score for feature film “Isn’t it Delicious” (with Earle McKintyre, Gene Harris, Erik Lawrence, Patience Higgins, Jerry Dodgion, Alex Foster, Kevin Twigg, Rene Hart, Adam Amram,
Adira Amram and Shug Moreno. Moochin’ About Records (2016)