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2 x CD |
| 8.600 Ft
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| 1. CD tartalma: |
| 1. | Music for an Unwritten Play
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| 2. | Turtle Talk
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| 3. | Color It Green
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| 4. | Piece for Soft Brass, Woodwinds and Percussion
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| 5. | Waltz of the Prophets
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| 6. | The Invisible Orchard Metamorphosis of Two ...
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| 7. | Stan Kenton's Remarks
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| 8. | Il Saltimbocca: Il Vitello/Il Prosciutto/Il Spiance/Sono Combinati
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| 2. CD tartalma: |
| 1. | Fata Morgana
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| 2. | Eurydice
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| 3. | Nofretette
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| 4. | Royal Flush
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| 5. | Xochiquetzal
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| 6. | Pavanne
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| 7. | Time Zone
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| 8. | Wagonsville
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| 9. | Encantado
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| 10. | Ofo
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| 11. | Recuerdos
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| 12. | La Suerte de los Tontos
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| 13. | Plata de Azul
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| 14. | Caravan
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Jazz / Progressive Jazz
Volume 2 (Double CD)
Disc 1 - Stan Kenton Conducts the Los Angeles Neophonic Orch.
Disc 2 - The New York Neophonic Orch. & The Neophonic Jazz Orch.
Al Porcino Trumpet
Alex Heitlinger Trombone
Andrew J. Baer Liner Notes
Arthur Maebe French Horn
Barry Lazarowitz Drums
Bill Bechman Mellophonium, Horn
Bill Beckman Horn, Mellophonium
Bill Hamilton French Horn
Bill Lichtenauer Producer
Bill Perkins Reeds
Billy Kerr Clarinet, Sax (Tenor), Flute
Bob Beights Sax (Bass)
Bob Fitzpatrick Trombone
Bob Millikan Trumpet
Bud Shank Reeds
Buddy Collette Reeds
Buddy DeFranco Clarinet, Soloist
Chris Lawson Flugelhorn, Trumpet
Chris Walters Trumpet
Conte Candoli Trumpet
Dalton Smith Trumpet
Dan Kibler Tuba
Dave Conway Trombone (Bass)
Dave Jolley French Horn
David Tofani Clarinet, Sax (Alto), Flute
Dean Pratt Trumpet
Derryl Goes Drums
Donovan Moore Trombone
Elaine Turner Horn, Mellophonium
Emil Richards Rhythm
Forrest Means Trumpet, Flugelhorn
Frank Carlson Percussion
Gary Cobb Mastering
Gerry Chamberlain Trombone
Gilbert Falco Trombone
James Barela Flugelhorn, Trumpet
Janet Donaruma French Horn
Jeff Layton Guitar
Jerry Barnett Trombone
Jim Amlotte Trombone (Bass)
Jim Gray Trombone
Joe Daddiego Adaptation
Joel Kaye Conductor, Piccolo, Liner Notes, Arranger, Leader, Sax (Soprano)
Joel Reiff Bass
John Akal Adaptation
John Armstrong Piano
John Bennett Trumpet
John Cave French Horn
John Davis Flugelhorn, Trumpet
John Eckert Trumpet
John Gatchell Trumpet
John Michael Gray Guitar
John Worster Bass
Jonny Campo Sax (Baritone), Sax (Bass)
Larry Bowman Graphic Design, Layout Design
Larry Charles Clarinet (Bass), Sax (Baritone)
Lew Del Gatto Oboe, Sax (Tenor), Flute (Alto), Piccolo, Flute
Lewis Kahn Trombone
Michael Delugg Engineer
Michael Sparke Liner Notes
Mike Marlier Drums
Milt Raskin Piano
Ollie Mitchell Trumpet
Pat Blodgett Trombone
Paul McGinley Sax (Alto), Piccolo, Sax (Tenor)
Peter Gordon French Horn
Rich Chiaraluce Sax (Alto)
Richard Perissi French Horn
Rick J. Jordan Trumpet
Ron Bland Bass
Ronnie Ossa Trumpet
Sam Burtis Trombone
Sam Rice Tuba
Shelly Manne Drums
Stan Kenton Conductor
Tom Baker Trumpet
Tom Rheam Trumpet
Tony Klatka Flugelhorn, Trumpet
Tony Rodriguez Flugelhorn, Trumpet
Vincent DeRosa French Horn
Virginia Benz French Horn
William Hinshaw French Horn
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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