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Stan kenton

Stan kenton Radio

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The Big Chase (24-Bit Mastering)
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The Big Chase (24-Bit Mastering)
Released: Feb 24, 2004
Label: Blue Note Records

General Info

  • Genre: Jazz

    Location HOLLYWOOD, Flevoland, US

    Profile Views: 17555

    Last Login: 6/8/2008

    Member Since 7/13/2007

    Record Label unsigned

    Type of Label Major

  • Bio

    .. .. .. .. .. .... .. .. .. .. .. .... .. .. .. .. .. .... .. .. .. .. .. .... "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. He attended Bell High School, in Bell, California, where he graduated in 1930. In June 1941 he formed his own band, which developed into one of the best-known West Coast ensembles of the Forties. In the Mid 40's Kenton's Band and style became known as "The Wall of Sound", a tag later used by Phil Spector. .... Kenton played in the 1930s in the dance bands of Vido Musso and Gus Arnheim, but his natural inclination was as a band leader. In 1941 he formed his first orchestra, which later was named after his theme song "Artistry in Rhythm." As a competent pianist, influenced by Earl Hines, Kenton was much more important in the early days as an arranger and inspiration for his loyal sidesmen. 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. .... 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. .... 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; the albums "Adventures in Jazz" and "West Side Story" each won Grammy awards in 1962 and 1963. 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 Kenton was expending much energy on jazz education and by encouraging big band music in high schools and colleges, by instructing what he called "progressive jazz." In the early 1970s Kenton split from his long-time association with Capitol Records and formed his own label, "The Creative World of Stan Kenton". Recordings produced during the 1970s on this new label included several "live" concerts at various universities and are a testament to his devotion to education. In addition, Kenton made his charts available to college and high-school stage bands. .... Kenton was a salient figure on the American musical scene and made an indelible mark on the arranged type of big band jazz. Kenton's music evolved with the times throughout the 1960s and 70s, and although he was no longer considered a contemporary innovator, he promoted jazz and jazz improvisation through his service as an educator. His music has experienced a resurgence in interest, with later critical "rediscovery" of his music and many reissues of his recordings. enton continued leading and touring with his big band up and his final performance was in August, 1979, a week before he suffered a stroke. Kenton did not recover and passed away on August 25, 1979. He was interred in the Westwood Village Memorial Park Cemetery, Los Angeles." www.wikipedia.org

  • Members

    Laurindo Almeida, Gabe Balthazar, Gary Barone Milt Bernhart, Bud Brisbois, Conte Candoli, Pete Candoli, Billy Catalano, Jack Costanzo, Buddy Childers, Bob Cooper, Maynard Ferguson, Mary Fettig, Carl Fontana, Sam Aleccia, Stan Getz, Dizzy Gillespie, Bob Gioga, Bill Holman, Clay Jenkins, Jimmy Knepper, Lee Konitz, Skip Layton, Stan Levey, Willie Maiden, Shelly Manne, Vido Musso, Lennie Niehaus, Art Pepper, Doug Purviance Ray Reed George Roberts, Gene Roland, Frank Rosolino, Shorty Rogers, Eddie Safranski, Carl Saunders, Jay Saunders, Dick Shearer, Gene Siegel Ed Soph, Bud Shank, Zoot Sims, Ray Starling, Bart Varsalona, Mike Vax, Kai Winding and more.

  • Influences

  • Sounds Like

    Jazz, West Coast jazz, Swing music, big band, progressive jazz

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