Stanley Newcomb Kenton (December 15, 1911 August 25, 1979) led a highly inn… Read Full Bio ↴Stanley Newcomb Kenton (December 15, 1911 August 25, 1979) led a highly innovative, influential, and often controversial American jazz orchestra. In later years he was widely active as an educator.
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
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
Machito
Stan Kenton Lyrics
We have lyrics for these tracks by Stan Kenton:
A Foggy Day I was a stranger in the city Out of town were…
Across the Alley from the Alamo Across the alley from the Alamo Lived a pinto pony and…
Adios Suspiraban lo mismo los dos Y hoy son parte de una…
All About Ronnie All about Ronnie, There's so much to tell! All about Ronnie,…
America Some have said, down through history If you last it's a…
And Her Tears Flowed Like Wine He would spend it on the ponies, He would spend it…
And Thad Ain't Bad Though folks with good intentions Tell me to save my tears W…
Angel Eyes Try to think that love's not around Still it's uncomfortably…
Aphrodisia Aphrodisia, Darling let me take you there. Aphrodisia. Aphro…
Begin the Beguine When they begin the beguine It brings back the sound of…
Between the Devil and the Deep Blue Sea I don't want you, but I'd hate to lose you You've…
Bewitched Bothered And Bewildered She's a fool and don't I know it But a fool…
Beyond the Blue Horizon Blue horizon Waits a beautiful day Goodbye to things that bo…
Blues in a Riff When I hear that Serenade in blue I'm somewhere in another…
Body and Soul My heart is sad and lonely For you I sigh, for…
But Beautiful Love is funny or it's sad, Or it's quiet or…
Cherokee Sweet Indian maiden, since first I met you, I can't…
Come Back to sorrento You went away I let you We broke the ties that bind I…
Dancing in the Dark Dancing in the dark Till the tune ends, We're dancing in…
Day By Day I was a stranger in the city Out of town were…
Did I Remember This lovely day will lengthen into evening, We'll sigh good…
Do Nothin' Til You Hear from Me Someone told someone and someone told you But they wouldn't…
Do Nothin' Till You Hear From Me Someone told someone and someone told you But they wouldn't …
Don Ever since the lucky night I found you I've hung around…
Don't Worry 'Bout Me Don't worry 'bout me I'll get along Forget about me Just be …
Easy Street I remember the way Our sainted mother Would sit and…
Easy to Love I know too well that I'm just wasting precious time In…
Ev'ry Time we Say Goodbye False or true, I wish I had a clue or…
Everything Happens to Me Black cats creep across my path Until I'm almost mad I must…
Fools Rush in "Romance is a game for fools" I used to say A game…
Get Out of Town I've told ya I love ya, now get out! I've told…
Girl Talk They like to chat about the dresses they will wear…
He's Funny That Way Once she dressed in silks and lace, Owned a Rolls…
Hey Jude Hey Jude, don't make it bad Take a sad song and…
High On A Windy Hill High on a windy hill I feel my heart stand still All…
How Are Things In Glocca Morra I hear a bird, Londonderry bird, It well may be he's…
How Blue the Night Maybe I should have saved those left over dreams Funny, but…
How Deep Is The Ocean How much do I love you? I'll tell you no lie How…
How High The Moon Somewhere there's music How faint the tune Somewhere there's…
How Long Has This Been Going On As a tot, when I trotted in little velvet panties, I…
I Concentrate on You Whenever skies look gray to me And trouble begins to brew, W…
I Feel Pretty I feel pretty Oh, so pretty I feel pretty and witty and…
I Get A Kick Out Of You I've told ya I love ya, now get out! I've told…
I Got It Bad Though folks with good intentions Tell me to save my tears W…
I Got Rhythm Chillun', listen here to me This is my philosophy To see me…
I Got the Sun in the Morning Taking stock of what I have and what I haven't What…
I Lost My Sugar in Salt Lake City I lost my sugar in Salt Lake City Oh, why…
I Remember You I remember you-ooh You're the one who made my dreams come…
I Surrender Dear Pride, sad, splendid liar, Sworn enemy of love Kept my…
I Told Ya I Love Ya Now Get Out I've told ya I love ya, now get out! I've told…
I Understand Why do you go on pretending You know you want to…
I'll Be Around I'll be seeing you in all the old familiar places That…
I'll Remember April This lovely day will lengthen into evening, We'll sigh good…
I've Got The World On A String I've got the world on a string, sittin' on a…
I've Got You Under My Skin I've got you under my skin. I've got you deep in…
In The Blue Of The Evening When I hear that Serenade in blue I'm somewhere in another…
It Say, it's only a paper moon Sailing over a cardboard sea But…
It Ain't Necessarily So It ain't necessarily so It ain't necessarily so De things da…
It Might As Well Be Spring I'm as restless as a willow in a windstorm I'm as…
It's A Pity To Say Goodnight What a shame the night is ending, cross my heart…
It's Been a Long Long Time Just kiss me once, then kiss me twice Then kiss me…
It's Only A Paper Moon Say, it's only a paper moon Sailing over a cardboard sea But…
Jeepers Creepers I don't care what the weatherman says When the weatherman sa…
Just the Way I Am I'm fly The original I'm sly Unpredictable I'm nearly irre…
Laura You know the feeling of something half remembered Of somethi…
Like Someone In Love Lately, I find myself out gazing at stars, Hearing guitars…
Lonesome Road Look down, look down that lonesome road Before you travel on…
Lonesome Train Make love to me while I listen to the lonesome…
Love for Sale HOUSE FOR SALE BY LUCIFER edited by dwiko The sign went up…
Love Love Love I'm in the mood for love Simply because you're near me. Funn…
Love Walked In Love walked right in and drove the shadows away Love walked…
Lover You went away I let you We broke the ties that bind I…
Lullaby of Birdland Lullaby of Birdland, that's what I Always hear when you…
Lullaby Of Broadway Lullaby of Birdland, that's what I Always hear when you…
Maria Maria The most beautiful sound I ever heard Maria, Maria, M…
Mine This love of mine, goes on and on Though life is…
Moonlight Becomes You Moonlight becomes you, it goes with your hair You certainly …
Moonlight in Vermont Pennies in a stream Falling leaves a sycamore Moonlight in V…
More Than You Know Whether you are here or yonder, Whether you are false…
My One And Only Love The very thought of you makes my heart sing Like an…
My Reverie Our love is a dream, but in my reverie I can…
Nice Work If You Can Get It The man who only lives for making money Lives a life…
Night in Tunisia In the still of the night As I gaze out of…
O Holy Night O Holy night, the stars are brightly shining It is the…
Old Devil Moon I look at you and suddenly Something in your eyes I…
On The Street Where You Live I have often walked Down the street before But the pavemen…
On the Sunny Side of the Street Walked with no one and talked with no one And I…
Once in a While Once in a while will you try to give One little…
Opus in Pastels Shoo Fly Pie and Apple Pan Dowdy Makes your eyes light…
Orange Colored Sky I was walking along, minding my business When out of an…
Our Love Is Here To Stay It's very clear, our love is here to stay Not for…
Our waltz Our waltz is music fashioned in heaven, Angels composed it f…
Out Of This World In this whole wide world, Is there no one to love…
Over the Rainbow Somewhere over the rainbow, way up high There's a land that…
Peanut Vendor (Peanut do bop do bop) (Peanut do bop do bop) In Cuba…
Peg o' My Heart Peg o'my heart I love you, don't let us part I love…
Pennies From Heaven Every time it rains, it rains pennies from heaven Don't you…
Please Be Kind This is my first affair, so please be kind Handle my…
Please Give Me Something To Remember You By Oh, give me something to remember you by When you are…
Polka Dots and Moonbeams A country dance was being held in a garden I felt…
Prelude to a Kiss If you hear A song in blue Like a flower crying For the…
Prologue I'm wearing second hand shoes Second hand hose All the gir…
Reverie Our love is a dream, but in my reverie I can…
Rhapsody in Blue When I hear that Serenade in blue I'm somewhere in another…
September Song Oh, it's a long, long while from May to December But…
Serenade In Blue When I hear that Serenade in blue I'm somewhere in another…
She Once she dressed in silks and lace, Owned a Rolls…
Shoo Fly Pie and Apple Pan Dowdy Shoo fly pie and apple pan dowdy Makes your eyes light…
So In Love I'm in the mood for love Simply because you're near me. Funn…
Solitude In my solitude You haunt me With dreadful ease Of days gone …
Some Enchanted Evening Some enchanted evening, you may see a stranger, You may see…
Soothe Me Soothe me baby, soothe me Soothe me with your kindness For y…
Sophisticated Lady Sophisticated lady tryin' to change my ways Just because you…
Speak Low Speak low when you speak, love, Our summer day withers away …
Spring Is Here Spring is here! Why doesn't my heart go dancing? Spring is…
St. James Infirmary It was down by old Joe's barroom, on the corner…
Stairway To The Stars Let's build a stairway to the stars And climb that stairway…
Star Dust And now the purple dusk of twilight time Steals across the…
Stompin' At The Savoy Savoy, the home of sweet romance Savoy, it wins you at…
Street of Dreams Midnight, you heavy laden, it's midnight Come on and trade …
Sunny Walked with no one and talked with no one And I…
Sweet and Lovely Sweet and lovely Sweeter than the roses in May Sweet and l…
Sweets Sweet and lovely Sweeter than the roses in May Sweet and lov…
Take The "A" Train You must take the "A" train To go to Sugar Hill…
Tampico I, Tampico, Tampico, on the Gulf of Mexico Tampico, Tampico,…
Taunting Scene I'm wearing second hand shoes Second hand hose All the gir…
Tenderly The evening breeze caressed the trees tenderly The trembling…
Tequila I was at the bar with my drinkin team, It was…
Thanks For The Memory Thanks for the memory Of sentimental verse, Nothing in my pu…
That's The Stuff You Gotta Watch Kiss me once, then kiss me twice Then kiss me once…
The Lady in Red I've never seen you looking so lovely as you did…
The Lullaby Of Broadway Lullaby of Birdland, that's what I Always hear when you…
The man I love I've told ya I love ya, now get out! I've told…
The Nearness Of You Its not the pale moon that excites me That thrills and…
The Party's Over The party's over, it's time to call it a day They've…
The Peanut Vendor (Peanut do bop do bop) (Peanut do bop do bop) In Cuba…
Theme Speak low when you speak, love, Our summer day withers away …
Then I'll Be Tired Of You You look at me and wonder, you look at me…
There Is No Greater Love There is no greater love Than what I feel for you No…
There's A Small Hotel I'd like to get away, Junior Somewhere alone with you It cou…
There's No Greater Love There is no greater love Than what I feel for you No…
They Say It's Wonderful They say that falling love is wonderful It's wonderful, so t…
This Love of Mine This love of mine, goes on and on Though life is…
Time After Time When the day fades away into twilight The moon is my…
We Kiss in the Shadow We kiss in a shadow, We hide from the moon, Our meetings…
What Are You Doing The Rest O I want to see your face in every kind of…
When Your Lover Has Gone What good is the scheming, the planning and dreaming That c…
Willow Weep For Me Willow weep for me Willow weep for me Bend your branches gre…
Yesterday's Yesterdays, yesterdays Days I knew as happy Sweet sequeste…
You And I And George Whenever skies look gray to me And trouble begins to brew, W…
You Go to My Head You go to my head And you linger like a haunting…
You Stepped Out Of A Dream You stepped out of a dream You are too wonderful to…
You Took Advantage Of Me When a girl has the heart of a mother It must…
You'd Be So Nice To Come Home To You'd be so nice to come home to You'd be so…
You're Mine You At words poetic, I'm so pathetic That I always have found…
Young Blood Who's got the heart of a hunter? Pounding like thunder Prowl…
Younger Than Springtime Younger than springtime are you Softer than starlight are yo…
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Wade Harris
This particular recording was recorded for an album Kenton did with a large string section and low brass in the late 1950's. It was reissued by Blue Note/Capitol on the "Kenton in Hi Fi" CD pictured above. The earlier recording is taken at a much more frantic pace. Both versions are classics on their own accords.
BlikenavE
The intro... so beautiful. Each time the chord modulates, the melody adds on a new layer, but in a fresh way so that it doesn't sound obvious. Each melody is diatonic to its chord, but since the keys modulate so often the overall melody seems chromatic. I love this... Kenton- so great!
aaalfredo100
Stan Kenton La Big Band de todos los tiempos oigan Cuban Fire del año 1956 la verdad que esto es una joya gracias por subirla.
Rolly Urbina
De acuerdo contigo. Stan Kenton fue un genio de la música. Cuban Fire es una obra maestra.
Carlos Andrés Loaiza
Excelente, una vez más queda demostrado esa gran relación indisoluble del Jazz y la música Caribeña, más puntualmente la Cubana. Gracias por compartir la historia de la música.
Rolly Urbina
+Carlos Andrés Loaiza Así es. La armonía del jazz y el excitante ritmo latino hacen una combinación perfecta. Saludos.
kingoma61
"Machito" was recorded on March 31,1946 by Stan Kenton and His Orchestra and was released in 1947 by Capitol Records as a 78 single, Capitol 408. The record was an early Latin jazz classic. "Machito" was composed by pianist Stan Kenton and arranger Pete Rugolo.
Mark Schildberg
This was a bonus track on the Kenton in Hi Fi CD. It first appeared on the album Lush Interlude, which is all Kenton hits arranged for string orchestra.
Eric Seal
Love it! My kind of latin jazz!!!
kingoma61
I have the Capitol 78, #408, and on the label it lists the composers of "Machito" as Stan Kenton and Pete Rugolo. The flip side of this 78 is "Collaboration", also composed by Stan Kenton and Pete Rugolo.