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2 x CD |
| 8.076 Ft
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| 1. CD tartalma: |
| 1. | But Beautiful
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| 2. | Love Walked In
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| 3. | The Night We Called It a Day
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| 4. | I've Got You Under My Skin
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| 5. | You Took Advantage of Me
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| 6. | Tico Tico
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| 7. | Time After Time
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| 8. | I Remember You
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| 9. | Gigi
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| 10. | Stompin' at the Savoy
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| 11. | Caress the Sea
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| 12. | Yesterdays
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| 13. | Four of a Kind
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| 14. | I'm Glad There Is You
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| 15. | Malaguena
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| 2. CD tartalma: |
| 1. | Fanfare for the New
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| 2. | Prelude and Fugue
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| 3. | Here and Now: Pt. 1: Sonato Allegro/Pt. 2: Slow Song/Pt. 3: Jazz Waltz
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| 4. | Music for an Unwritten Play
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| 5. | Passacaglia and Fugue
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| 6. | Neophonic Impressions
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| 7. | Stan Kenton's Comments
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| 8. | The Three B's for Percussion: Pt. 1: Bangkok/Pt. 2: Brazil/Pt. 3: ...
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Jazz / Progressive Jazz
Volume 2 (Double CD)
Disc1 The Kenton Mellophonium Orchestra
Disc 2 The North Texas State Univ. Neophonic Orchestra
Allan Beutler Sax (Baritone)
Bill Farmer Percussion
Bill Holman Arranger
Bill Lichtenauer Producer
Bill Stapleton Trumpet
Billy Harper Saxophone
Bob Behrendt Trumpet
Bob Fitzpatrick Trombone
Bob Houston Percussion
Bob Rolfe Trumpet
Bob Shurley Saxophone
Bud Parker Trombone
Buddy Arnold Sax (Tenor)
Carl Saunders Mellophonium
Dalton Smith Trumpet
Dan Haerle Piano
Dave Wheeler Tuba, Trombone (Bass)
David Breeden Woodwind
David Joyner Liner Notes
Dee Barton Trombone
Don Owens Trumpet
Dwight Carver Mellophonium
Ed Soph Drums
Ernie Bernhardt Vocals, Arranger
Gabe Baltazar Sax (Alto)
Galen Jeter Trumpet
Gary Cobb Mastering
Gene Roland Mellophonium
George Acevedo Adaptation
Gerald Chamberlain Lead, Trombone
Jack Spurlock Trombone
Jean Marc Herbert Guitar
Jerry McKenzie Drums
Jim Amlotte Trombone (Bass)
Joe Randazzo Trombone
Joel Kaye Sax (Bass), Sax (Baritone)
John Dickerson French Horn
John Gatchell Trumpet
John Monaghan Bass
Keith LaMotte Mellophonium
Larry Bowman Layout Design, Graphic Design
Larry Ford Lead, Trumpet
Lennie Niehaus Arranger
Leon Breeden Director
Lou Marini Lead, Saxophone
Marvin Holladay Sax (Baritone)
Marvin Stamm Trumpet (Muted), Trumpet
Michael Sparke Liner Notes
Mike Hansen Saxophone
Mike Heathman Trombone
Norman Baltazar Trumpet
Pat Senatore Bass
Paul Renzi Sax (Tenor)
Phil Grossman Trumpet
Ray Starling Arranger, Mellophonium
Richard Orton French Horn
Ron Fink Tympani [Timpani]
Sam Donahue Sax (Tenor), Arranger
Sharon Haerle Woodwind
Stan Gage Percussion
Stan Kenton Leader, Piano, Conductor, Arranger
Tim Bell Saxophone
Tom Bruner Guitar
Tom Senff Trombone, Tuba
Wally Heider Engineer
Wayne Dunstan Sax (Baritone), Sax (Bass)
The second of three double CDs in this series has a disc from Stan Kenton's 1961 Mellophonium Orchestra (heard during two different engagements) and a concert from the University of North Texas Neophonic Orchestra under the direction of Leon Breeden in 1966. Ironically the Kenton performances are mostly of standards and are concise while the Neophonic Orchestra performs very adventurous third stream charts by the likes of John Williams, Bob Florence, Allyn Ferguson, Marty Paich, and Van Alexander. The two sets are complementary. Key soloists with Kenton are trumpeter Marvin Stamm, trombonist Bob Fitzpatrick, altoist Gabe Baltazar, and Sam Donahue or Buddy Arnold on tenor while the Neophonic Orchestra has few names anyone will recognize other than trumpeter Bill Stapleton, drummer Ed Soph, and Billy Harper on tenor. The stirring music will greatly interest Stan Kenton collectors. ~ 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 |
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