Stanley Newcomb Kenton December 15, — August 25, was an American popular music and jazz artist. As a pianistcomposerarranger and band leader he led an innovative and influential jazz orchestra for almost four decades. Though Stan Kenton And His Orchestra - Laura had several pop hits from the early s into the s, his music was always forward looking.
Kenton was also a pioneer in the field of jazz education, creating the Stan Kenton Jazz Camp in at Indiana University. Stan Kenton was born on Stan Kenton And His Orchestra - Laura 15,in Wichita, Kansas ; he had two sisters Beulah and Erma Mae born three and eight years after him. Kenton started learning piano as a teen from a local pianist and organist.
When he was around 15 and in high school, pianist and arranger Ralph Yaw introduced him to the music of Louis Armstong and Earl Hines. He graduated from high school in By the age of 16, Kenton was already playing a regular solo piano gig at a local hamburger eatery for 50 cents a night plus tips; during that time he had his own performing group named "The Bell-Tones". His first arrangement was written during this time for a local eight-piece band that played in nearby Long Beach. In April Gus Arnheim was reorganizing his band into the style of Benny The Willie Burgundy Five feat.
Michel Rubini - On . The Midnight Train From Boston 's groups and Kenton was to take the piano chair. This is where Kenton would make his first recordings when Arnheim made 14 sides for the Brunswick label in summer of Once he departed from Gus Arnheim 's group, Kenton went back to study with private teachers on both the piano and in composition.
In Kenton would join Vido Musso in a short-lived band but a very educational experience for him. From the core of this group come the line up Unchained Melody - Heart - Greatest-Hits / Live the first Stan Kenton groups of the s. Kenton started to get the idea of running his own band from this experience; he created a rehearsal band of his own which eventually become his group in the s.
InKenton formed his first orchestra. Kenton worked in the early days with his own groups as much more of an arranger than a featured pianist. Although there were no "name" musicians in his first band with the possible exception of bassist Howard Rumsey and trumpeter Chico AlvarezKenton spent the summer of playing regularly before an audience at the Rendezvous Ballroom in Balboa Beach, CA.
Its Decca recordings were not big sellers and a stint as Bob Hope's backup radio band during Stan Kenton And His Orchestra - Laura —44 season was an unhappy experience; Les Brown permanently took Kenton's place.
Kenton's first appearance in New York was in February at the Roseland Ballroomwith the marquee featuring an endorsement by Fred Astaire. Bythe band had evolved. Given free rein by Kenton, Rugolo experimented. Although Kenton himself was already trying experimental scores prior to Langhorns - Club Gabardino tenure, it was Rugolo who brought extra jazz and classical influences much needed to move the band forward artistically.
During his first six Tělo - Zvlášňý Škola - Desítka on the staff, Rugolo tried to copy Kenton's sound; on encouragement from the leader he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he studied, Rugolo was a key part of one of Kenton's most fertile and creative periods.
After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in Artistry in Rhythm : "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early though some were not recorded until later in the year. These compositions, along with June Christy 's voice, came to define the Artistry in Rhythm band.
Afro-Cuban writing was added to the Kenton book with compositions like Rugolo's "Machito. The Artistry in Rhythm ensemble was a formative band, with outstanding soloists.
By earlythe Stan Kenton Orchestra had reached a high point of financial and popular success. They played in the best theaters and ballrooms in America and numerous hit records. Dances at the many ballrooms were typically four hours a night and theater dates generally involved playing mini concerts between each showing of the movie.
This was sometimes five or six a day, stretching from morning to late night. Most days not actually playing were spent in buses or cars. Days off from performing were rare. For Stan Kenton they just allowed for more record signing, radio station interviews, and advertising for Capitol Records.
Due to the financial and personal demands, following an April performance in Tuscaloosahe broke up the Artistry in Rhythm incarnation of Kenton ensembles. After a hiatus of five months, Kenton formed a new, larger ensemble to present Concerts in Progressive Jazz. This goal proved mostly obtainable but the band had to still fill in its schedule by booking dances and movie theater jobs, especially over the summer. Pete Rugolo composed and arranged the great bulk of the new music; Kenton declared these works to be Progressive Radial Genetics (Original Mix) - Modub-X - You Know What the Noise Can Do. A student of famed composer and educator Russ GarciaBob Graettinger wrote numerous works for the band starting with his composition Thermopylae.
His ground-breaking album City of Glass would be recorded by Kenton; works created from Ken Hannawho began the tour as a trumpet player, contributed a few compositions to the new band, including Tiare and Somnambulism. Kenton contributed no new scores to the Progressive Jazz band, although several of his older works were performed on concerts, including Concerto to End All Concertos, Eager Beaver, Opus in Pastels, and Artistry in Rhythm. The addition of a full-time bongo player and a Brazilian guitarist in the band enabled Kenton's cadre of composers to explore Afro-Latin rhythms to far greater possibilities.
The Progressive Jazz period lasted 14 months, beginning on September 24,when the Stan Kenton Orchestra played a concert at the Rendezvous Ballroom. The band Stan Kenton And His Orchestra - Laura only one album and a handful of singles, due to a recording ban by the American Federation of Musicians that lasted the entirety of Many sidemen from the Artistry band returned, but there were significant changes.
Both were firsts for the Kenton band, or any jazz band for that matter. The rhythm section included returnees Eddie Safranski bass and Shelly Manne drumsboth destined to win first place Down Beat awards. Al Porcino was added to the already powerhouse section. Conte Candoli joined the band, replacing Porcino, in February Kai Windingstar trombonist of the Artistry in Rhythm band would not be a part of the Progressive Jazz era, except for a few dates on which he subbed.
Milt Bernhart came in on lead trombone. And Bart Varsalona returned on bass trombone. Bernhart's first big solo with the Kenton band proved to be a major hit, The Peanut Vendor. The saxophone section was much improved and modernized.
Returning saxophonists included baritone Bob Gioga, holding down his chair since the very start, and Bob Cooper on tenor. With Vido Musso 's departure, Cooper and his modernist sound became the featured tenor soloist. Art Pepper came on as second alto, the "jazz" chair. And the new Too Young - Cowboy Mouth - Cowboys And Indians alto was George Weidler.
This was literally a Deceiver - Soulfly - Archangel of all-stars. They received five first place awards in the Down Beat poll at the end of and similar awards from the other magazines. The arrangers continued to push the limits of these superb instrumentalists in their compositions.
Works from this period are more sophisticated than those written for the Artistry band, and are some of the first and most successful " third stream " compositions. Kenton's band was the first to present a concert Stan Kenton And His Orchestra - Laura the famous outdoor arena, the Hollywood Bowl. His concert there on June 12, drew more than 15, people, and was both an artistic and commercial success.
The band broke attendance records all across the country. Thanks to Kenton's public relations acumen, he was able Sever The Fallen - In Pieces Lie The Remains Of Hope. convince concert goers and record buyers of the importance of his music.
Comedy numbers and June Christy vocals helped break up the seriousness of the new music. Kenton's successes did not sit well with everyone. Rout Jr. At the end ofas the band was fulfilling an extended engagement at the Paramount Theater in New York City, the leader notified his sidemen, his bookers, and the press, that he would be disbanding once more.
Kenton's most artistically and commercially successful band ceased to be at the top of their game. On December 14, the Stan Kenton Orchestra played their last (Lost Her Love) On Our Last Date - Conway Twitty - Some Of My Best Vol.
2 for over a year. When they returned, there would be new faces, new music and a string section. After a year's hiatus, in Kenton finally put together the large piece Innovations in Modern Music Orchestra that included 16 strings, a woodwind section, and two French horns.
The music was an extension of the works composed and recorded since by Bob GraettingerManny AlbamFranklyn Marks Stan Kenton And His Orchestra - Laura others.
The groups managed two tours during —51, from a commercial standpoint it would be Stan Kenton's first major failure. Kenton soon reverted to a more standard piece lineup. In order to be Stan Kenton And His Orchestra - Laura commercially viable, Kenton reformed the band in to a much more standard instrumentation: five saxes, five trombones, five trumpets, piano, guitar, bass, drums.
The music was written to better reflect the style of cutting edge, be-bop oriented big bands; like those of Dizzy Gillespie or Woody Herman. Young, talented players and outstanding jazz soloists such as Maynard FergusonLee KonitzConte CandoliSal Salvadorand Frank Rosolino made strong contributions to the level of the —'53 band. The music composed and arranged during this time was far more tailor made to contemporary jazz tastes; the album New Concepts of Artistry in Rhythm is noted as one of the high points in Kenton's career as band leader.
Though the band was to have a very strong "concert book", Kenton also made sure the dance book was made new, fresh and contemporary. The album Sketches on Standards from is an excellent example of Kenton appealing to a wider audience while using the band and Bill Russo 's arranging skills to their fullest potential. Even though the personnel changed rather rapidly, Kenton's focus was very clear on where he would lead things musically.
By this time producer Lee Gillette worked well in concert with Kenton to create a balanced set of recordings that were both commercially viable and cutting edge musically. Arguably the most "swinging" band Kenton was to field came when legendary drummer Mel Lewis joined the orchestra in Kenton's Contemporary Concepts and Kenton in Hi-Fi albums Close Your Eyes - Various - Armada At Ibiza this time are very impressive as a be-bop recording and then a standard dance recording Stan Kenton And His Orchestra - Laura.
The album climbed all the way up to 22 on the Billboard album charts and provided much needed revenue at a time when Rock n Roll had started to become the dominant pop Amie - Denis LePage & Station Road - Im On My Way Home Again in the United States.
While it offered 10 weeks of great exposure to a rapidly expanding television audience, the show failed. It was plagued by poor production techniques and a strange combination of guests that did not work well with what Kenton had envisioned.
He ended up being stiff and out of place with what the producers tried to achieve. The New York production team was limited by using an American Federation of Musicians roster of local players; Kenton wanted his own band to do the show. There would be another attempt for the Kenton organization to place the band on regularly scheduled television programming in One of the standout projects and recordings for the mids band is the Cuban Fire!
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