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| Revelations |
| Stan Kenton |
| első megjelenés éve: 2000 |
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| (2000)
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4 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | That's for Me
Stan Kenton
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| 2. | Prelude in C
Maurice Beeson, Stan Kenton, Jack Ordean,
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| 3. | Sophisticated Lady
Chico Álvarez, Stan Kenton
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| 4. | Stardust
Stan Kenton,
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| 5. | Music and Rhythm
Chico Álvarez, Red Dorris, Stan Kenton, Ted Repay
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| 6. | Touch of Texas
Stan Kenton,
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| 7. | Manhattan Serenade
Stan Kenton
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| 8. | Four or Five Times
John Carroll, Red Dorris, Stan Kenton, Dolly Mitchell
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| 9. | Liza/Thanks for the Memory
Stan Kenton, Six Hits and a Miss
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| 10. | In My Arms
Stan Kenton
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| 11. | Under a Blanket of Blue
Gene Howard, Stan Kenton, Eddie Meyers
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| 12. | My Guy's Coming Back
Stan Kenton
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| 13. | Summertime
Ken Hanna, Stan Kenton
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| 14. | Variation on Artistry in Rhythm
Stan Kenton
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| 15. | Lonely Woman
Milt Bernhart, Stan Kenton
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| 16. | All the Things You Are
June Christy, Stan Kenton, Stan Kenton
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| 17. | Styled for Christy
Stan Kenton
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| 18. | Three Mothers
Conte Candoli, Bob Cooper, Stan Kenton
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| 19. | Mambo a la Crescendo
Stan Kenton, Lennie Niehaus
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| 2. CD tartalma: |
| 1. | Lullaby in Rhythm
June Christy, Stan Kenton, Pete Rugolo
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| 2. | Where or When
Maynard Ferguson, , Stan Kenton
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| 3. | Hundred Years from Today
Maynard Ferguson, , Stan Kenton
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| 4. | Indian Summer
Stan Kenton,
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| 5. | Don't Worry 'Bout Me
Pete Kenton
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| 6. | Gregory Benko
Gregory Bemko, Stan Kenton
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| 7. | Chord Progressions on Bill's Blues
Conte Candoli, Vinnie Dean, Stan Kenton, Frank Rosolino, Sal
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| 8. | I've Got You Under My Skin
Don Dennis, Stan Kenton
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| 9. | Star Eyes
Buddy Childers, Sal Salvador
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| 10. | Poem for Trumpet
Conte Candoli, Bill Kenton
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| 11. | It Had to Be You
Stan Kenton,
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| 12. | All the Things You Are
Stan Kenton
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| 13. | My Heart Stood Still
Max Bennett, Ralph Blaze, Stan Kenton, Kent Larsen, Sam Noto
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| 14. | You'd Be So Nice to Come Home To
Max Bennett, Ralph Blaze, Stan Kenton, Kent Larsen, Sam Noto
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| 15. | All About Ronnie
Ralph Blaze
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| 16. | When I'm With You
Stan Kenton, Ed Leddy
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| 17. | Nice Work If You Can Get It
Ralph Blaze, Carl Fontana, Stan Kenton
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| 18. | I'll Stand By
Stan Kenton, Kent Larsen, Ed Leddy, Bill Trujillo
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| 19. | What Is This Thing Called Love?
Stan Kenton, Kent Larsen, Lennie Niehaus, Bill Trujillo
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| 3. CD tartalma: |
| 1. | April in Paris
Stan Kenton
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| 2. | I Got Rhythm
Gabe Baltazar, Sam Donahue, Gene Josephs, Stan Kenton, Marvi
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| 3. | But Not for Me
Stan Kenton,
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| 4. | Saga of the Blues
Gabe Baltazar, Allan Beutler, Bob Fitzpatrick, Stan Kenton,
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| 5. | Festival-Toccata Anf Dugue
Gabe Baltazar, Allan Beutler, Charlie Mariano, Marvin Stamm,
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| 6. | Little Boy Blew
Joel Kaye, Stan Kenton
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| 7. | Spring Is Here
Stan Kenton, Marvin Stamm
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| 8. | Ja-Da
Gary Barone, Stan Kenton, Gary LeFebvre
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| 9. | Willow Weep for Me
Stan Kenton, Ray Reed
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| 10. | Boar-Jibu
Bill Fritz, Alan Rowe, , Mel Tormé
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| 11. | My Ship
Stan Kenton, Ray Reed
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| 12. | It Was a Very Good Year
Stan Kenton
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| 13. | Soon It's Gonna Rain
Jay DaVersa, Stan Kenton, Ray Reed
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| 14. | Days of Wine and Roses
Stan Kenton
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| 15. | Taboo Montuna
Stan Kenton, Dick Shearer
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| 16. | I Will Wait for You
Jay DaVersa, Stan Kenton, Dick Shearer
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| 17. | Dance
Tom Harrell, Mike Morris
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| 4. CD tartalma: |
| 1. | Aquarius
John Von Ohlen
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| 2. | Love Locked Out
Quinn Davis, Warren Gale, Stan Kenton
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| 3. | Keep on Truckin'
Quinn Davis,
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| 4. | Summer Knows
Quinn Davis, Ken Hanna, Stan Kenton
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| 5. | Duchess
Quinn Davis, Stan Kenton
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| 6. | Machito
Stan Kenton, Dick Shearer
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| 7. | Of Fourths and Fifths
Stan Kenton, Roy Reynolds
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| 8. | Jaws Theme
Stan Kenton, Dick Shearer
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| 9. | Moorea
Tim Hagans, Stan Kenton, Terry Layne
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| 10. | Finlandia
Stan Kenton, Dick Shearer
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| 11. | Lonely Tears
Bob Doll, Stan Kenton
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| 12. | What's New?
Bob Doll, Jim Farrelly, Stan Kenton
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| 13. | Artistry in Rhythm
Stan Kenton
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Jazz
Traditional Pop
Progressive Big Band
Orchestral Jazz
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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