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| 50th Anniversary Celebration - Back to Balboa |
| Stan Kenton |
első megjelenés éve: 1996
234 perc |
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| (1996)
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5 x CD |
| 16.625 Ft
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| 1. CD tartalma: |
| 1. | Artistry in Rhythm
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| 2. | Eager Beaver
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| 3. | Intermission Riff
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| 4. | Opus in Pastels
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| 5. | Artistry in Percussion
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| 6. | Peanut Vendor
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| 7. | Concerto to End All Concertos
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| 8. | Boogie Woogie (I May Be Wrong)
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| 9. | Solitaire
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| 10. | Coop's Solo
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| 11. | Take the "A" Train
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| 12. | Un Poco Loco
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| 13. | Kingfish
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| 14. | Stella by Starlight
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| 15. | Malague&
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| 2. CD tartalma: |
| 1. | Artistry in Rhythm
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| 2. | Pegasus
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| 3. | A Baltazar Named Gabe (A Smith Named Greg)
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| 4. | 23 Degrees North, 82 Degrees West
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| 5. | All About Ronnie
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| 6. | Pennies from Heaven
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| 7. | It's All Right With Me
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| 8. | The Wind
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| 9. | Between the Devil and the Deep Blue Sea
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| 10. | Atonal Adventure
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| 11. | My Old Flame
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| 12. | The Big Chase
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| 3. CD tartalma: |
| 1. | Artistry in Rhythm/All the Things You Are
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| 2. | Be Bop Charlie
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| 3. | Embraceable You
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| 4. | A Night in Tunisia
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| 5. | Stone Canyon
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| 6. | Looking up Old Friends
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| 7. | K. C. Tango
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| 8. | The Bottom Line
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| 4. CD tartalma: |
| 1. | Certain Circles
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| 2. | And Thad Ain't Bad
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| 3. | Spring Can Really Hang You up the Most
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| 4. | Intermission Riff
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| 5. | Midnight Sun
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| 6. | Artistry in Rhythm/Nightsong
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| 7. | I Remember You
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| 8. | Royal Street
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| 9. | Dangraddy Blue
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| 10. | Sands of Time
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| 11. | City of Glass: Entrance, Pt. 1 [Excerpt]
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| 5. CD tartalma: |
| 1. | Balboa Bandwagon Panel [Interview]
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| 2. | Artistry in Rhythm Panel [Interview]
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| 3. | Innovations Panel [Interview]
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| 4. | Innovations in Modern Music Panel [Interview]
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Jazz / Progressive Jazz, Traditional Pop
Alan Broadbent Piano
Alan Grunfeld Strings
Alexander Iles Trombone
Allan Morrissey Trombone
Andy Duncan Engineer, Mixing, Editing
Andy Martin Trombone
Anita O'Day Speech/Speaker/Speaking Part, Vocals
Audree Coke Kenton Liner Notes
Bill Berg Drums
Bill Holman Conductor, Arranger
Bill Perkins Saxophone, Sax (Baritone)
Billy Simpson Vocals
Bob Carr Saxophone
Bob Cooper Saxophone, Speech/Speaker/Speaking Part, Sax (Tenor)
Bob Efford Saxophone
Bob Enevoldsen Trombone
Bob Fitzpatrick Trombone
Bob Florence Piano
Bob Florence Limited Edition Performer
Bob Gioga Speech/Speaker/Speaking Part
Bob Magnusson Bass
Bob Payne Trombone
Bob Summers Trumpet
Bobby Militello Saxophone
Brian Scanlon Saxophone
Bruce Lett Bass
Bud Shank Sax (Alto), Saxophone, Speech/Speaker/Speaking Part
Bud Shank Quartet Performer
Buddy Childers Photography, Trumpet, Speech/Speaker/Speaking Part, Conductor
Buddy Childers Quartet Performer
Buster Cooper Trombone
Carl Saunders Trumpet
Chad Edwards Piano
Charles Loper Trombone
Charlie Davis Trumpet
Charlie Haden Bass
Chris Connor Vocals
Chris Reutinger Strings
Christian Jacob Piano
Chuck Findley Trumpet
Clay Jenkins Trumpet
Connie Czerwinski Associate Producer
Conte Candoli Trumpet
Craig Johnson Trumpet
Dan Hersch Mastering
Danny House Saxophone
Dave Pell Photography, Editing, Project Consultant, Liner Notes
Dave Woodley Trombone
David Burns Vocals
David Marks Bongos
David Tull Drums
Dawn Carpenter Vocals
Dean Taba Bass
Dick Charles Saxophone
Dick Hyde Trombone
Dick Nash Trombone
Don Bagley Bass
Donald Waldrop Trombone
Douglas Evans Engineer, Mixing, Editing
Eddie Bert Trombone, Speech/Speaker/Speaking Part
Eric Jorgensen Trombone
Frank Strazzeri Piano
Frank Szabo Trumpet
Gabe Baltazar Sax (Alto), Saxophone
Gabe Baltazar Quartet Performer
Gene Czerwinski Producer
Gene Howard Speech/Speaker/Speaking Part
Gene Norman Speech/Speaker/Speaking Part
George Gaffney Piano
George Graham Trumpet
George Roberts Trombone
Gordon Brisker Saxophone
Hank Levy Conductor, Arranger
Harold Land Saxophone
Howard Rumsey Speech/Speaker/Speaking Part
Jack Costanzo Speech/Speaker/Speaking Part, Bongos
Jack Nimitz Saxophone
Jack Redmond Trombone
James Atkinson French Horn
Jay Migliori Saxophone
Jay Van Pelt Photography, Art Direction
Jeff Taylor Vocals
Jerry McKenzie Drums
Jerry Pinter Saxophone
Jiggs Whigham Trombone
Jim Hershman Guitar
Jimmy Lyons Speech/Speaker/Speaking Part
John Falzarano Engineer
John Gross Saxophone
John Leitham Bass
John Leys Trombone
John Perett Drums
Johnny Fairchild Assistant
Ken Poston Liner Notes, Speech/Speaker/Speaking Part
Kenny Shroyer Trombone
Kim Richmond Saxophone
Lanny Morgan Saxophone
Larance Marable Drums
Larry Ford Trumpet
Larry McGuire Trumpet
Larry Steen Bass
Laurindo Almeida Speech/Speaker/Speaking Part
Lee Callet Saxophone
Lee Johnson Guitar
Lee Konitz Sax (Alto)
Lee Konitz Quartet Performer, ?
Lee Secard Saxophone
Lennie Niehaus Conductor, Arranger
Lisa Cole Art Direction, Photography
Liz Derwing Vocals
Manny Albam Speech/Speaker/Speaking Part
Mari Tsumura Strings
Marilyn L. Johnson French Horn
Mark Adams French Horn
Mark Masters Performer
Marty Paich Conductor, Arranger
Matt Catingub Saxophone
Matt Wallace Saxophone
Maynard Ferguson Trumpet
Michele Faber Piano
Mike Fahn Trombone
Mike Turre Saxophone
Mike Wofford Piano
Milt Bernhart Speech/Speaker/Speaking Part
Monty Budwig Bass
Nathan Campbell French Horn
Nick Martinis Drums
Paul Humphrey Drums
Pete Beltran Trombone
Pete Candoli Trumpet
Pete Jolly Piano
Pete Rugolo Speech/Speaker/Speaking Part, Conductor, Arranger
Peter Donald Drums
Quinn Johnson Piano
Ralph Blaze Guitar
Ralph Penland Drums
Randy Drake Drums
Ray Hermann Saxophone
Ray Reed Saxophone
Reginald Hill Strings
Rick Culver Trombone
Rolf Ericson Trumpet
Ron Shelton Vocals
Ron Stout Trumpet
Roy Wiegand Trombone
Sherman Ferguson Drums
Shorty Rogers Speech/Speaker/Speaking Part, Arranger, Flugelhorn, Conductor
Shorty Rogers Big Band Performer
Stan Kenton Bandleader, Piano
Stan Mark Trumpet
Steve Barker Mixing
Steve Huffsteter Trumpet
Steve Pemberton Drums
Steve Wilkerson Saxophone
Terry Federoff Saxophone
Tim Clark Assistant
Tim Pinch Engineer
Tom Ranier Piano
Tom Talbert Piano
Tom Talbert Jazz Orchestra Performer
Tom Warrington Bass
Trey Henry Bass
Vince Johnson Vocals
Walt Johnson Trumpet
Wayne Bergeron Trumpet
William Russo Conductor, Arranger
During the 50th anniversary of Stan Kenton's debut at the Rendezvous Ballroom on Balboa Island in California (an engagement that served as a spectacular beginning to his career), a four-day convention was held to celebrate the late bandleader's legacy, filled with music by his alumni and very interesting panel discussions. The MAMA Foundation put out many of the highlights on this very impressive five-CD set. The first two CDs have 29 selections by an all-star orchestra (which includes among others, trumpeters Conte and Pete Candoli and saxophonists Bob Cooper, Gabe Baltazar, Bud Shank, Bill Perkins and Jack Nimitz) and such guests as Anita O'Day, Maynard Ferguson and Chris Connor; the original arrangers conducted their own work. The next two discs have individual selections for Bob Florence's Limited Edition (a particularly touching medley of "Artistry in Rhythm" and "All the Things You Are"), Maynard Ferguson's Big Bop Nouveau Band, the Lighthouse All-Stars, big bands led by Shorty Rogers, Buddy Childers, Bill Holman, Tom Talbert and Mark Masters and combos headed by Lee Konitz, Bob Cooper, Gabe Baltazar, Bill Perkins and Bud Shank along with The CSULB Vocal Jazz Ensemble. The performances are quite satisfying and pretty well cover Kenton's entire career. The final disc actually has over two hours taken from the informative, humorous and often-touching panel discussions; one hour is heard in each speaker simultaneously so one side has to be turned off at a time. This valuable set is essential for all listeners having at least a slight interest in Stan Kenton's music. ~ Scott Yanow, All Music Guide
Stan Kenton
Active Decades: '30s, '40s, '50s, '60s and '70s
Born: Dec 15, 1911 in Wichita, KS
Died: Aug 25, 1979 in Los Angeles, CA
Genre: Jazz
Styles: Big Band, Progressive Jazz, Traditional Pop
There have been few jazz musicians as consistently controversial as Stan Kenton. Dismissed by purists of various genres while loved by many others, Kenton ranks up there with Chet Baker and Sun Ra as jazz's top cult figure. He led a succession of highly original bands that often emphasized emotion, power, and advanced harmonies over swing, and this upset listeners who felt that all big bands should aim to sound like Count Basie. Kenton always had a different vision.
Kenton played in the 1930s in the dance bands of Vido Musso and Gus Arnheim, but he was born to be a leader. In 1941 he formed his first orchestra, which later was named after his theme song "Artistry in Rhythm." A decent Earl Hines-influenced pianist, Kenton was much more important in the early days as an arranger and inspiration for his loyal sidemen. Although there were no major names in his first band (bassist Howard Rumsey and trumpeter Chico Alvarez come the closest), Kenton spent the summer of 1941 playing regularly before a very appreciative audience at the Rendezvous Ballroom in Balboa Beach, CA. Influenced by Jimmie Lunceford (who, like Kenton, enjoyed high-note trumpeters and thick-toned tenors), the Stan Kenton Orchestra struggled a bit after its initial success. Its Decca recordings were not big sellers and a stint as Bob Hope's backup radio band was an unhappy experience; Les Brown permanently took Kenton's place.
By late 1943 with a Capitol contract, a popular record in "Eager Beaver," and growing recognition, the Stan Kenton Orchestra was gradually catching on. Its soloists during the war years included Art Pepper, briefly Stan Getz, altoist Boots Mussulli, and singer Anita O'Day. By 1945 the band had evolved quite a bit. Pete Rugolo became the chief arranger (extending Kenton's ideas), Bob Cooper and Vido Musso offered very different tenor styles, and June Christy was Kenton's new singer; her popular hits (including "Tampico" and "Across the Alley From the Alamo") made it possible for Kenton to finance his more ambitious projects. Calling his music "progressive jazz," Kenton sought to lead a concert orchestra as opposed to a dance band at a time when most big bands were starting to break up. By 1947 Kai Winding was greatly influencing the sound of Kenton's trombonists, the trumpet section included such screamers as Buddy Childers, Ray Wetzel, and Al Porcino, Jack Costanzo's bongos were bringing Latin rhythms into Kenton's sound, and a riotous version of "The Peanut Vendor" contrasted with the somber "Elegy for Alto." Kenton had succeeded in forming a radical and very original band that gained its own audience.
In 1949 Kenton took a year off. In 1950 he put together his most advanced band, the 39-piece Innovations in Modern Music Orchestra that included 16 strings, a woodwind section, and two French horns. Its music ranged from the unique and very dense modern classical charts of Bob Graettinger to works that somehow swung despite the weight. Such major players as Maynard Ferguson (whose high-note acrobatics set new standards), Shorty Rogers, Milt Bernhart, John Graas, Art Pepper, Bud Shank, Bob Cooper, Laurindo Almeida, Shelly Manne, and June Christy were part of this remarkable project, but from a commercial standpoint, it was really impossible. Kenton managed two tours during 1950-1951 but soon reverted to his usual 19-piece lineup. Then quite unexpectedly, Kenton went through a swinging period. The charts of such arrangers as Shorty Rogers, Gerry Mulligan, Lennie Niehaus, Marty Paich, Johnny Richards, and particularly Bill Holman and Bill Russo began to dominate the repertoire. Such talented players (in addition to the ones already named) as Lee Konitz, Conte Candoli, Sal Salvador, Stan Levey, Frank Rosolino, Richie Kamuca, Zoot Sims, Sam Noto, Bill Perkins, Charlie Mariano, Mel Lewis, Pete Candoli, Lucky Thompson, Carl Fontana, Pepper Adams, and Jack Sheldon made strong contributions. The music was never predictable and could get quite bombastic, but it managed to swing while still keeping the Kenton sound.
Kenton's last successful experiment was his mellophonium band of 1960-1963. Despite the difficulties in keeping the four mellophoniums (which formed their own separate section) in tune, this particular Kenton orchestra had its exciting moments. However from 1963 on, the flavor of the Kenton big band began to change. Rather than using talented soloists, Kenton emphasized relatively inexpensive youth at the cost of originality. While the arrangements (including those of Hank Levy) continued to be quite challenging, after Gabe Baltazar's "graduation" in 1965, there were few new important Kenton alumni (other than Peter Erskine and Tim Hagans). For many of the young players, touring with Kenton would be the high point of their careers rather than just an important early step. Kenton Plays Wagner (1964) was an important project, but by then the bandleader's attention was on jazz education. By conducting a countless number of clinics and making his charts available to college and high-school stage bands, Kenton insured that there would be many bands that sounded like his, and the inverse result was that his own young orchestra sounded like a professional college band! Kenton continued leading and touring with his big band up until his death in 1979.
Kenton recorded for Capitol for 25 years (1943-1968) and in the 1970s formed his Creative World label to reissue most of his Capitol output and record his current band. In recent times Capitol has begun reissuing Kenton's legacy on CD and there have been two impressive Mosaic box sets.
---Scott Yanow, All Music Guide |
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