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| Artistry in Rhythm / Intermission Riff |
| Stan Kenton |
német
első megjelenés éve: 2004
136 perc |
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| (2010)
[ DIGIPACK ]
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2 x CD |
| 3.726 Ft
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| 1. CD tartalma: |
| 1. | Etude For Saxophones
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| 2. | Taboo
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| 3. | Adios
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| 4. | This Love Of Mine
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| 5. | The Nango
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| 6. | Gambler's Blues
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| 7. | Lamento Gitano
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| 8. | Reed Rapture
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| 9. | Concerto For Doghouse
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| 10. | El Choclo
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| 11. | Do Nothin' Till You Hear From Me
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| 12. | Eager Beaver
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| 13. | Harlem Folk Dance
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| 14. | Artistry In Rhythm
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| 15. | How Many Hearts Have You Broken
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| 16. | I'm Going Mad For Pad
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| 17. | And Her Tears Flowed Like Wine
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| 18. | Sweet Dreams, Sweetheart
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| 19. | Gotta Be Gettin'
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| 20. | Ev'ry Time We Say Goodbye
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| 21. | Are You Livin' Old Man?
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| 22. | Balboa Bash
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| 23. | On The Sunny Side Of The Street
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| 2. CD tartalma: |
| 1. | Ooh, What I Dreamed About You
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| 2. | I Want A Grown-Up Man
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| 3. | Travellin' Man
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| 4. | Around The Town
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| 5. | Tampico
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| 6. | Southern Scandal
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| 7. | It's Been A Long, Long Time
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| 8. | Don't Let Me Dream
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| 9. | That's The Stuff You Gotta Watch
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| 10. | Say It Isn't So
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| 11. | Ride On
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| 12. | I'm A Shy Guy
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| 13. | Just A-Sittin' And A-Rockin'
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| 14. | Shoo Fly Pie And Apple Pan Dowdy
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| 15. | I Been Down In Texas
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| 16. | She's Funny That Way
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| 17. | Intermission Riff
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| 18. | Artistry Jumps
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| 19. | Painted Rhythm
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| 20. | Peg O' My Heart
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| 21. | Ecuador
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| 22. | Opus In Pastels
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| 23. | Lover
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Jazz
CD 1: Artistry In Rhythm - 70:17 min.
Etude For Saxophones
Los Angeles, November 1, 1940
Stan Kenton (p)(dir), Jack Ordean, Al Harding (as), Maurice Beeson, Red Dorris, Bob Gioga (bs), Bob Snell (bs), Ralph Leslie (g), Buddy Hayes (b), Chuncey Farre (d)
Taboo
Adios
This Love Of Mine
The Nango
Los Angeles, September 11, 1941
Stan Kenton (dir), Franck Beach, Chico Alvarez, Earl Collier (tp), Harry Forbes, Dick Cole (tb), Jack Ordean, Ted Romersa (as), Red Dorris (ts)(vcl), Hollis Bridwell (ts), Bob Gioga (bs), Ted Repay (p), Al Costi (g), Howard Rumsey (b), Marvin George (d)
Gambler's Blues
Lamento Gitano
Reed Rapture
Concerto For Doghouse
El Choclo
New York, February 13, 1942
Stan Kenton (dir), Franck Beach, Chico Alvarez, Earl Collier (tp), Lory Aaron (tb), Jack Ordean (as), Ted Romersa, Bill Lahey (ts), Red Dorris (ts)(vcl), Hollis Bridwell (ts), Bob Gioga (bs), Ted Repay (p), Al Costi (g), Howard Rumsey (b), Marvin George (d)
Do Nothin' Till You Hear From Me
Eager Beaver
Harlem Folk Dance
Artistry In Rhythm
Los Angeles, November 19, 1943
Stan Kenton (p)(dir), Ray Borden, John Carroll, Buddy Childers, Karl George, Dick Morse (tp), Harry Forbes, George Faye, Bart Varsalona (tb), Eddie Meyers, Art Pepper (as), Red Dorris (ts)(vcl), Maurice Beeson (ts), Bob Gioga (bs), Bob Ahern (g), Clyde Singleton (b), Joe Vernon (d)
How Many Hearts Have You Broken?
I'm Going Mad For Pad
And Her Tears Flowed Like Wine
Los Angeles, May 20, 1944
Stan Kenton (p)(dir), John Carroll, Buddy Childers, Karl George (tp), Harry Forbes, George Faye, Bill Atkinson (tb), Bart Varsalona (tb), Eddie Mayers (as)(cl), Chester Ball (as), Dave Matthews, Stan Getz (ts), Movey Beeson (bs), Bob Athern (g), Gene Englund (b), Jesse Price (d), Gene Howard, Anita O'Day (vcl)
Sweet Dreams, Sweetheart
Gotta Be Gettin'
New York, September 26, 1944
Stan Kenton (p)(dir), John Carroll, Karl George, Mel Green, Buddy Childers, Gene Roland (tp), Harry Forbes, Freddie Zito, Milt Kabak, Bart Varsalona (tb), Henry 'Boot' Mussulli (as)(cl), Bob Lively (as), Emmet Carls, Stan Getz (ts), Bob Gioga (bs), Bob Athern (g), Bob Kesterson (b), John S. Bock (d), Gene Howard, Anita O'Day (vcl)
Ev'ry Time We Say Goodbye
Are You Livin' Old Man?
Balboa Bash
Los Angeles, December 15, 1944
Stan Kenton (p)(dir), John Carroll, Karl George, Mel Green, Buddy Childers, Gene Roland (tp), Harry Forbes, Freddie Zito, Milt Kabak, Bart Varsalona (tb), Henry 'Boot' Mussulli (as)(cl), Bob Lively (as), Emmet Carls, Stan Getz (ts), Bob Gioga (bs), Bob Athern (g), Bob Kesterson (b), Jim Falzone (d), Gene Howard, Anita O'Day (vcl)
On The Sunny Side Of The Street
November 27, 1945
Buddy Childers, Ray Wetzel, John Anderson, Russ Burgher, Bob Lymperis (tp), Freddie Zito, Jimmy Sims, Milt Kabak, Bart Varsalona (tb), Stan Kenton (p), Bob Ahern (g), Al Anthony, Boots Mussulli (as), Vido Musso, Bob Cooper (ts), Bob Gioga (bars), Eddie Safranski (b), Ralph Collier (d), Gene Roland (arr)
CD 2: Intermission Riff - 65:42 min.
Ooh, What I Dreamed About You
I Want A Grown-Up Man
Travellin' Man
Around The Town
Los Angeles, January 16, 1945
Stan Kenton (p)(dir), John Carroll, Buddy Childers, Karl George, Gene Roland, Mel Green (tp), Harry Forbes, Freddie Zito, Milt Kabak (tb), Bart Varsalona (btb), Bob Lively, Boots Mussulli (as), Stan Getz, Dave Madden (ts), Bob Gioga (bs), Bob Ahern (g), Bob Kesterson (b), Jim Falzone (d), Anita O'Day, Gene Howard (vcl)
Tampico
Southern Scandal
Chicago, May 4, 1945
Stan Kenton (p)(dir), John Carroll, Buddy Childers, John Anderson, Gene Roland, Mel Green (tp), Freddie Zito, Milt Kabak, Marshall Ocker (tb), Bart Varsalona (btb), Bob Lively, Boots Mussulli (as), Joe Magro, Dave Madden (ts), Bob Gioga (bs), Bob Ahern (g), Max Wayne (b), Bob Varney (d), June Christy (vcl)
It's Been A Long, Long Time
Don't Let Me Dream
New York, July 30, 1945
Stan Kenton (p)(dir), Buddy Childers, John Anderson, Russ Burgher, Bob Lymperis (tp), Ray Wetzel (t)(vcl), Freddie Zito, Jimmy Simms, Milt Kabak (tb), Bart Varsalona (btb), Al Anthony, Boots Mussulli (as), Bob Cooper, Bill McDougald (ts), Bob Gioga (bs), Bob Ahern (g), Eddie Safranski (b), Bob Varney (d), June Christy, Gene Howard (vcl)
That's The Stuff You Gotta Watch
Say It Isn't So
Ride On
I'm A Shy Guy
New York, October 9, 1945
Stan Kenton (p)(dir), Buddy Childers, John Anderson, Russ Burgher, Bob Lymperis (tp), Ray Wetzel (t)(vcl), Freddie Zito, Jimmy Simms, Milt Kabak (tb), Bart Varsalona (btb), Al Anthony, Boots Mussulli (as), Bob Cooper, Sam Aleccia (ts), Bob Gioga (bs), Bob Ahern (g), Eddie Safranski (b), Ralph Collier (d), June Christy, Gene Howard (vcl)
Just A-Sittin' And A-Rockin'
Los Angeles, October 30, 1945
Stan Kenton (p)(dir), Buddy Childers, Ray Wetzel, John Anderson, Russ Burgher, Bob Lymperis (tp), Freddie Zito, Jimmy Simms, Milt Kabak (tb), Bart Varsalona (btb), Al Anthony, Boots Mussulli, Vido Musso, Bob Cooper (ts), Bob Gioga (bs), Bob Ahern (g), Eddie Safranski (b), Ralph Collier (d), June Christy (vcl)
Shoo Fly Pie And Apple Pan Dowdy
I Been Down In Texas
Los Angeles, December 26, 1945
Stan Kenton (p)(dir)(vcl), Buddy Childers, Ray Wetzel, John Anderson, Russ Burgher, Bob Lymperis (tp), Freddie Zito, Ray Klein, Milt Kabak (tb), Bart Varsalona (btb), Al Anthony, Boots Mussulli, Vido Musso, Bob Cooper (ts), Bob Gioga (bs), Bob Ahern (g), Eddie Safranski (b), Ralph Collier (d), Gene Howard, Ray Wetzel (vcl)
She's Funny That Way
Los Angeles, May 20, 1944
Stan Kenton (p)(dir), John Carroll, Buddy Childers, Karl George, Dick Morse (tp), Harry Forbes, George Faye, Bill Atkinson (tb), Bart Varsalona (btb), Eddie Meyers, Chet Ball (as), Dave Matthews, Stan Getz (ts), Maurice Beeson (bs), Bob Ahem (g), Gene Englund (b), Jessie Price (d), Gene Howard (vcl)
Intermission Riff
Artistry Jumps
Painted Rhythm
Los Angeles, October 30, 1945
Buddy Childers, Ray Wetzel, John Anderson, Russ Burgher, Bob Lymperis (tp), Freddie Zito, Jimmy Simms, Milt Kabak, Bart Varsalona (tb), Al Anthony, Boots Mussulli (as), Vido Musso, Bob Cooper (ts), Bob Gioga (bs), Stan Kenton (p)(arr), Bob Ahern (g), Eddie Safranski (b), Ralph Collier (d)
Peg O' My Heart
Los Angeles, June 7, 1946
Buddy Childers, Ray Wetzel, John Anderson, Chico Alvarez, Ken Hanna (tp), Kai Winding, Miff Sines, Milt Kabak, Bart Varsalona (tb), Al Anthony, Boots Mussulli (as), Vido Musso, Bob Cooper (ts), Bob Gioga (bs), Stan Kenton (p)(arr), Bob Ahern (g), Eddie Safranski (b), Shelly Manne (d), Pete Rugolo (arr)
Ecuador
Los Angeles, July 18, 1946
Buddy Childers, Ray Wetzel, John Anderson, Russ Burgher, Bob Lymperis (tp), Freddie Zito, Jimmy Simms, Milt Kabak, Bart Varsalona (tb), Al Anthony, Boots Mussulli (as), Vido Musso, Bob Cooper (ts), Bob Gioga (bs), Stan Kenton (p), Bob Ahern (g), Eddie Safranski (b), Ralph Collier (d), Gene Roland (arr)
Opus In Pastels
July 25, 1946
Buddy Childers, Ray Wetzel, John Anderson, Russ Burgher, Bob Lymperis (tp), Freddie Zito, Jimmy Simms, Milt Kabak, Bart Varsalona (tb), Al Anthony, Boots Mussulli (as), Vido Musso, Bob Cooper (ts), Bob Gioga (bs), Stan Kenton (p)(arr), Bob Ahern (g), Eddie Safranski (b), Ralph Collier (d)
Lover
March 31, 1947
Buddy Childers, Ray Wetzel, John Anderson, Russ Burgher, Bob Lymperis (tp), Skip Layton, Milt Bernhart, Harry Forbes (tb), Eddie Meyers, Boots Mussulli (as), Vido Musso, Bob Cooper (ts), Bob Gioga (bs), Stan Kenton (p)(arr), Bob Ahern (g), Eddie Safranski (b), Ralph Collier (d), Pete Rugolo (arr)
Buchformat 2 CD + 20 page booklet
Bandleader and pianist Stan Kenton was one of a select handful of jazz icons who managed to nurture controversy during all decades of their active careers, dividing jazz lovers and purists into two camps - 'love him' or 'hate him'. Stan Kenton is regarded by renowned classical musicians to be 'the most important link between jazz and the classics' - and even the most vociferous of Stan Kenton's critics had to admit that he was a brilliant composer and arranger.
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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