  |
|
|
 |
|
2 x CD |
| 8.076 Ft
|
|
| 1. CD tartalma: |
| 1. | My Old Flame [Rehearsal]
|
| 2. | Between the Devil and the Deep Blue Sea
|
| 3. | Polka Dots and Moonbeams
|
| 4. | Spring Is Here
|
| 5. | Body and Soul
|
| 6. | Walking Shoes
|
| 7. | Take Me in Your Arms
|
| 8. | My Romance
|
| 9. | Limehouse Blues
|
| 10. | I Remember You
|
| 11. | Stan Introduces His Musicians
|
| 12. | Stompin' at the Savoy
|
| 13. | Darn That Dream
|
| 14. | My One and Only Love
|
| 15. | Lullaby of Birdland
|
| |
| 2. CD tartalma: |
| 1. | Tribute to a Poltergeist
|
| 2. | Phrygia
|
| 3. | Marche
|
| 4. | Three Sounds for Neophonic Orchestra
|
| 5. | Bygones
|
| 6. | Lamentations
|
| 7. | Neophonic Portrait
|
| 8. | Toccata
|
| 9. | Conflict
|
| 10. | Dreaming Star
|
| 11. | Crescendo and Diminuendo for Quintet and Neophonic Orchestra
|
Jazz / Progressive Jazz
Volume 1 (Double CD)
Disc1 The Kenton Mellophonium Orchestra - live
Disc 2 The Collegiate Neophonic Orchestra
Adrian Tapia Clarinet, Sax (Alto), Flute
Bill Fritz Associate Director, Liner Note Source
Bill Holman Arranger
Bill Lichtenauer Producer, Liner Note Source, Liner Notes
Bill Von Ravensberg Bass (Electric)
Bob Behrendt Trumpet
Bob Fitzpatrick Trombone
Bob Rolfe Trumpet
Bobby Grove Trombone
Bud Brisbois Trumpet
Bud Parker Trombone
Carl Saunders Mellophonium
Carson Taylor Engineer
Clana Stein Bass (Acoustic)
Clive Acker Tuba
Dalton Smith Trumpet
Dave Wheeler Trombone (Bass), Tuba
David Coy Tuba
Dr. Jack Wheaton Producer, Liner Note Preparation, Director, Liner Notes
Dwight Carver Mellophonium
Ernie Bernhardt Trumpet, Vocals, Arranger
Gabe Baltazar Sax (Alto)
Gary Cobb Mastering
Gary Pack Trumpet, Flugelhorn
Gene Roland Arranger, Mellophonium
Gene Strimling Percussion, Mallets
George Acevedo Adaptation
Gerry Mulligan Arranger
Gordon Davison Mellophonium
Greg Mathieson Piano
Greg Wallen Trumpet
Jack Caudill Trumpet
Jack Spurlock Arranger, Trombone
Jacob VanVelzen French Horn
Jeff Apmadoc Trombone
Jerry McKenzie Drums
Jim Amlotte Trombone (Bass)
Jim Snodgrass Clarinet (Bass), Flute, Sax (Tenor), Clarinet
Joe Burnett Mellophonium
Kathy Tapia French Horn
Keith LaMotte Mellophonium
Larry Bowman Layout Design, Graphic Design
Larry McGuire Trumpet
Lee Coffey Trumpet
Lennie Niehaus Arranger
Mark Shrode Piccolo, Flute, Sax (Alto)
Marni Johnson French Horn
Marty Paich Arranger
Marvin Holladay Sax (Baritone)
Marvin Stamm Trumpet
Michael Francis Clarinet (Bass), Sax (Baritone), Clarinet (Contrabass), Sax (Bass)
Paul Heydorff Trombone
Paul Renzi Sax (Tenor)
Pete Chivily Bass
Phil Ayling Flute (Alto), Oboe, Clarinet, Sax (Tenor), Clarinet (Bass), Horn (English), Sax (Baritone), Flute
Phil Grossman Trumpet
Ron Foster Sax (Alto), Clarinet, Flute (Alto), Sax (Tenor), Flute
Ron Taft Artwork, Photography
Ruth Ritchie Mallets, Percussion
Sam Donahue Sax (Tenor), Arranger
Stan Kenton Arranger, Advisor, Piano, Leader
Stanley Steele French Horn
Steve Spiegl Trumpet
Tom Baker Trombone
Tony Farrell Trumpet
Wally Heider Engineer
Wayne Dunstan Sax (Baritone), Arranger, Sax (Bass)
Wynonna Smith Drums
This is the first of three double CDs that match a disc of live performances from Stan Kenton's Mellophonium Orchestra of 1961 with a CD from a younger, comparable band, in this case the Collegiate Neophonic Orchestra of Southern California. Kenton's orchestra had been expanded to 23 with the addition of four mellophoniums, a sort of low-budget French horn that was difficult to play in tune. One of the last significant bands that Kenton led before his orchestra largely became a college stage band, this version features trumpeter Marvin Stamm, altoist Gabe Baltazar, tenor saxophonist Sam Donahue, and 14 brass. Its repertoire is comprised primarily of standards including "Between the Devil and the Deep Blue Sea," "Body and Soul," Gerry Mulligan's "Walking Shoes," and "Stompin' at the Savoy," all played the Kenton way. The Neophonic Orchestra, directed by Jack Wheaton, has very few recognizable names, but the soloists are solid and the ensembles are stirring. Among the difficult pieces that they interpret impeccably are "Tribute to a Poltegeist," "Three Sounds for Neophonic Orchestra," and "Crescendo and Diminuendo for Quintet and Neophonic Orchestra." The latter, which lasts over 16 minutes, has the group joined by the Shelly Manne Quintet. All three volumes of Horns of Plenty are heartily recommended to Stan Kenton fans. ~ 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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
