Origins
Stan Kenton was born in Wichita, Kansas, and raised first in Colorado and then in California. He learned piano as a child, and while still a teenager toured with various bands. In June 1941 he formed his own band, which developed into one of the best-known West Coast ensembles of the Forties.
Music
Kenton's musical aggregations were decidedly "orchestras." Sometimes consisting of two dozen or more musicians at once, they produced an unmistakable Kenton sound--as recognizable as that of the bands of Glenn Miller, Duke Ellington, or Count Basie. So large an orchestra was able to produce a tremendous, at times overpowering, volume in the dance and concert halls of the land; among musical conservatives it developed a reputation for playing strange-sounding pieces much too loudly, and indeed one comical MC introduced Stan Kenton as "Cant Standit."
A Kenton specialty was Afro-Cuban rhythm, as exported to North America by such bandleaders as Machito (whose brass and reed sound, in turn, began to show the influence of Kenton). Translated into the Kenton idiom, however, the Latin rhythms might be scored for a full panoply of percussion instruments: tympani, bongos, conga, timbales, claves, and maracas. This component of Kenton's work may be heard on the 1947 recording "Machito" and on the album Cuban Fire, still in print after more than fifty years of ceaseless change in popular music.
Many of Kenton's band arrangements were written by Kenton himself, as well as other composers and arrangers such as Gene Roland, Pete Rugolo, W. A. Mathieu, Johnny Richards, Lennie Niehaus, Gerry Mulligan, Hank Levy, Bill Russo, Dee Barton, Bill Holman, Shorty Rogers, Ken Hanna, and Bob Graettinger (ref. his formidable but fascinating "City of Glass"). The music, which could be intensely dissonant, made use of powerful brass sections and unconventional saxophone voicings that showed Kenton's love of experimenting, reflected in the names he gave his ensembles: "Innovations Orchestra," "Neophonic Orchestra," and "Mellophonium Orchestra." Kenton's theme song from the early days to the last was called, significantly, "Artistry in Rhythm." It was owing in part to Kenton's ambitious musical nomenclature that many critics dismissed his work as mannered and pretentious. But apart from recording a few dance-band albums (Kenton's men could play standards beautifully), he avoided compromising his idea of jazz to please either critics or public.
Career
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.
Controversy
Critics of Kenton have not limited their attacks to his music only. In 1956, when the band returned from its European trip, the Critics Poll in Down Beat reflected victories by Negroes in virtually every category. The Kenton band was playing in Ontario, Canada, at the time, and Stan dispatched a telegram which brought near apoplexy to critic Leonard Feather.
The telegram lamented "a new minority, white jazz musicians," and stated Kenton's "complete and total disgust [with the] literary geniuses of jazz." Feather, alone of all the critics, took up his cudgel to answer and attack Kenton. In the October 3, 1956, issue he wrote an open letter which distorted Kenton's words, and in the heat of anger (though he claimed it was sorrow) he questioned Kenton's racial views, his alleged disparagement of Negro leaders like Duke Ellington, Count Basie and Dizzy Gillespie. Feather inferred that Kenton's failure to win the Critics Poll was the major reason for the complaint; that there had been a prejudice for many years and now it had to be expressed; that Kenton had not hired enough Negro musicians over the years.
All points except the last were based on conjecture, and events preceding and following Feather's complaint have shown how ridiculous they were. The latter point was based on a poor or prejudiced memory of the writer, for in noting the presence of only a handful of Negroes in Kenton's band he overlooked at least five times as many others who have played with or been aided by Kenton. (The night that Kenton sent the telegram there were two Negroes playing in the trombone section.) Not least among these would be Charlie Parker and, particularly, Art Tatum, who was given more exposure on a Kenton sponsored tour than he ever received elsewhere.
Feather's weak memory tore his thesis to threads.
In reality, every musician who has ever played with Kenton will tell you that he has been a staunch defender of the Negro's place in jazz and that he has fought just as violently against the Crow–Jim concept of some Negroes that jazz is their music alone. As critic Ralph J. Gleason wrote, also in Down Beat, Feather's verdict was passed on Kenton ". . without, unfortunately, any public statement from the only musicians really in a position to know." Again, unfortunately, it took critic Feather four years to realise his error, for it was not until August, 1960, that he took stock and tried to clear the scene.Kenton later was asked if Feather had apologised for his article before the jazz world in Down Beat. The answer was: "Yes: I think it was on the back page of the Pittsburg Inquirer ." Kenton was pointing to the irony that Feather had created a great tempest, and no matter how apologetic the critic would be he had created great ill–feeling, and there is still much of that prejudice–in–reverse by Negro musicians toward Stan. Nearly three years before this, in the December 16, 1953, issue of Down Beat, critic Nat Hentoff had written that ". . . Stan is as free from prejudice of any kind as any man I know,"
Later years
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.
(2) 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, Rovi
Easy Street
Stan Kenton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Our sainted mother
Would sit and croon us
Her lullaby
She'd say, kids, there's a place
That's like no other
You got to get there before you die
You don't get there
By playing from the rule book
You stack the ages
You load the dice
Mother dear
Oh, we know you're down there listening
How can we follow
Your sweet
Advice
To
Easy street
Easy street
Where you sleep till noon
Yeah, yeah, yeah
She'd repeat
Easy street
Better get there soon.
Easy street
Easy street
Where the rich folks play
Yeah, yeah, yeah
Move them feet
Move them ever-lovin' feet
To easy street
Easy street
When you get there stay
It ain't fair
How we scrounge
For three of four bucks
While she gets
Warbucks
The little brat!
It ain't fair this here life
Is drivin' me nuts!
While we get peanuts
She's livin' fat!
Maybe she holds the key
That little lady
To gettin' more bucks
Instead of less
Maybe we fix the game
With something shady
Where does that put us?
Oh, tell her.
Yes!
Easy street
Easy street
Annie is the key
Yes sirree
Yes sirree
Yes sirree
Easy street
Easy street
That's where we're gonna
Be!
The song "Easy Street" by Stan Kenton is a reflection on a mother's lullaby and her advice to her children to strive towards Easy Street. The lyrics reminisce on the mother's sweet voice as she sang to her children about a place like no other, a place they must go to before they die. She implores her children to find their way to "Easy Street," a metaphor for a life of ease, where one can sleep till noon and the rich folks play. The song suggests that one doesn't get to Easy Street by playing from the rulebook, but instead by stacking the ages and loading the dice. The lyrics suggest that the mother held the key to getting more bucks and the only way to get there was to follow her advice.
The line "Easy street, easy street, where the rich folks play" is particularly interesting because it ties in with the theme of the song as well as the music. The song is about striving towards a life of ease, but the music itself is anything but easy. The music is complex and frenzied, reflecting the uncertainty and desperation of the characters.
Another interesting aspect of the song is the interplay between the rich and the poor. While the mother sings about Easy Street, the children lament about how unfair life is and how they're scrounging for a few bucks while someone like "Warbucks" lives life in luxury. However, towards the end of the song, the children realize that Annie, the character who finds herself living the Easy Street life, might hold the key to their success, suggesting that wealth isn't entirely unattainable.
Overall, "Easy Street" is a thought-provoking look at the human desire for an easy life, the interplay between the rich and the poor, and the idea that we can all find our way to a life of ease if we follow the right advice and make a few shady moves.
Line by Line Meaning
I remember the way
The singer is reminiscing about the past.
Our sainted mother
The singer's mother was looked upon with reverence and respect.
Would sit and croon us
The mother would soothe and comfort them with song.
Her lullaby
The mother's song was gentle and calming.
She'd say, kids, there's a place
The mother told them of a special place.
That's like no other
This place is unique and different from all other places.
You got to get there before you die
It is important to go to this place before one's death.
You don't get there
This place is not easily attained.
By playing from the rule book
Following the usual rules won't take you there.
You stack the ages
One must accumulate a store of knowledge and experience.
You load the dice
One must take risks and create opportunities for oneself.
Mother dear
The artist is addressing their deceased mother affectionately.
Oh, we know you're down there listening
The singer believes their mother is watching over them from the afterlife.
How can we follow
The singer seeks guidance from their mother.
Your sweet
The singer acknowledges their mother's wisdom.
Advice
The artist wants to act on their mother's advice.
To Easy street
The mother's advice is to find a place like Easy Street.
Easy street
Easy Street is a desirable, comfortable place to live.
Where you sleep till noon
Living on Easy Street means you don't need to work hard, and can rest as much as you like.
She'd repeat
The mother would emphasize the importance of this place.
Better get there soon.
The artist must hurry, as time is running out.
Where the rich folks play
Easy Street is where wealthy people live, who can afford to enjoy their leisure time.
Move them feet
The singer is urging themselves to take action.
Move them ever-lovin' feet
The artist is emphasizing the need for urgency and effort.
When you get there stay
Once you arrive at Easy Street, it's a good place to stay.
It ain't fair
The singer is feeling resentful and frustrated.
How we scrounge
The singer has to work hard and struggle day-to-day.
For three of four bucks
Despite their efforts, the artist earns very little money.
While she gets Warbucks
Someone else, who the artist dislikes, is very wealthy.
The little brat!
The singer has a harsh opinion of this other person.
It ain't fair this here life
The singer is unhappy with how life is treating them.
Is drivin' me nuts!
The artist is feeling stressed and overwhelmed by their situation.
While we get peanuts
The artist is very dissatisfied with their income.
She's livin' fat!
The other person is living in luxury while the artist is struggling to survive.
Maybe she holds the key
The singer thinks this other person might know something they don't.
That little lady
The other person is being referred to in a sarcastic or derogatory way.
To gettin' more bucks
The other person might know how to make more money.
Instead of less
This other person may have a strategy for making money that the singer does not know about.
Maybe we fix the game
The singer is considering cheating to get ahead.
With something shady
The artist is thinking of doing something unethical or illegal.
Where does that put us?
The artist is wondering how this plan would affect them in the long run.
Oh, tell her.
The singer wants someone to communicate their plan to the other person.
Yes!
The singer is excited by the prospect of getting rich.
Annie is the key
The other person is named Annie and is important for the artist's plan.
Yes sirree
The artist is enthusiastic and confident.
Easy street
The artist is convinced they will achieve their goal of getting to Easy Street.
Easy street
This is the ideal place for the singer to live.
That's where we're gonna be!
The artist is determined to reach Easy Street, no matter what.
Lyrics © Warner/Chappell Music, Inc.
Written by: HAROLD ARLEN, JOHNNY MERCER
Lyrics Licensed & Provided by LyricFind