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2 x CD |
| 8.076 Ft
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| 1. CD tartalma: |
| 1. | Maria
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| 2. | The Blues Story
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| 3. | Artistry in Rhythm
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| 4. | Waltz of the Prophets
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| 5. | All the Things You Are
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| 6. | Intermission Riff
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| 7. | Stairway to the Stars
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| 8. | Mellophobia
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| 9. | Somewhere
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| 10. | Malaguena
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| 2. CD tartalma: |
| 1. | Fuego Cubano
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| 2. | El Congo Valiente
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| 3. | Recuerdos
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| 4. | Quien Sabe
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| 5. | La Guera Baila
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| 6. | La Suerte de los Tontos
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| 7. | Tres Corazones
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| 8. | Eager Beaver [*]
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| 9. | Body and Soul [*]
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| 10. | Stone Canyon [*]
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| 11. | My Old Flame [*]
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| 12. | Valentine Blue [*]
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| 13. | Artistry in Rhythm [*]
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Jazz / Progressive Jazz
Volume 3 (Double CD)
Disc1 The Kenton Mellophonium Orchestra
Disc 2 Britains Trinity College Big Band
Name Credits
Adam Dennis Maracas, Claves
Adrian Miotti Tuba
Aiden McConville French Horn
Alex Hewins Trombone
Alistair Walker Trumpet
Allan Amlotte Sax (Bass)
Allan Beutler Sax (Baritone)
Andy Harris French Horn
Benny Cummings Trumpet
Bill Holman Arranger
Bill Lichtenauer Producer
Billy Briggs Trumpet
Bob Behrendt Trumpet
Bob Fitzpatrick Soloist, Trombone
Bobby Lamb Liner Notes, Director
Bucky Calabrese Bass
Bud Parker Trombone
Carl Saunders Mellophonium
Charlie Mariano Sax (Tenor), Soloist
Claire McInerey Sax (Baritone)
Corrina Silvester Bongos, Cabasa
Dalton Smith Trumpet
Damian Simpson Trumpet
Darren Wiles Trumpet
Dave Laurence French Horn
Dave Liddell Trombone
Dave Peers Leader, Trumpet
Dave Wheeler Trombone (Bass), Tuba
David Chamberlin Bass
Dee Barton Soloist, Drums
Dwight Carver Mellophonium
Fabian Beard Percussion
Fiona McGregor Sax (Tenor)
Gabe Baltazar Sax (Alto), Soloist
Gary Cobb Mastering Engineer
George Murray Trombone
Gerard Presencer Guest Appearance, Soloist, Sax (Alto)
Huw Evans French Horn
Ian Taylor Trumpet
James Gambold Drums
Jason Hollings Percussion
Jason Mathias Sax (Tenor)
Jerome Davies Bass
Joe Auckland Trumpet
Joel Kaye Sax (Bass)
John Timperley Mixdown Engineer, Engineer
Johnathan Rees Tuba
Johnny Richards Piano, Soloist, Arranger
Kate Osborne Sax (Baritone)
Keith LaMotte Trumpet
Kenny Wheeler Trumpet, Soloist, Flugelhorn, Guest Appearance
Larry Bowman Graphic Design
Lawrence Clarke Tympani [Timpani]
Luis Gasca Mellophonium
Lyndsy Evans Maracas, Claves
Marcus Bates French Horn
Mark Allis Drums
Mark Nightingale Soloist, Sax (Alto), Guest Appearance
Martin Briggs Conga
Marvin Stamm Trumpet, Soloist, Trumpet (Muted)
Mathew Horner Trombone
Matthew ORegan Piano, Keyboards
Mez Clough Cowbell, Timbales
Mike OMeara Trumpet
Neil Hadden Trombone
Nick Etwell Trumpet
Oliver Druker Trombone
Owen Rees Trombone
Pelham Wood Sax (Tenor)
Peter King Soloist, Sax (Alto), Guest Appearance
Peter North Trombone
Philip Eastop French Horn
Ray Florian Sax (Tenor)
Ray Starling Arranger, Soloist, Mellophonium
Ross Taggart Piano
Simon Hutchins Sax (Alto)
Stan Kenton Arranger, Soloist, Piano, Leader
Stephen Jones Trumpet
Steve Jones Trumpet
Steve Reading French Horn
Terry Vosbein Liner Notes
Tom Ringo Trombone
Tony Middleton Liner Notes
Victoria Green Sax (Tenor)
Wes Morland Engineer
The third of three volumes of double CDs put out by the Stan Kenton-oriented Tantara label is the most exciting of the trio. The first disc features the 1962 Kenton Mellophonium Orchestra playing at its best, mostly playing standards and a few numbers from West Side Story in addition to Gene Roland's "The Blues Story," Dee Barton's "Waltz of the Prophets," and Ray Starling's "Mellophobia." The band sounds enthusiastic during this concert. But particularly special are the selections from the Trinity Big Band. Recorded in the 1990s, the British band with guest soloists altoist Peter King, trombonist Mark Nightingale, and trumpeter Gerald Presencer perform the full-length Johnny Richards suite "Cuban Fire" with enthusiasm, creativity, and power. There are also six selections recorded at a later time with trumpeter Kenny Wheeler making a rare appearance in this modern mainstream setting. Highly recommended. ~ Scott Yanow, All
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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