Stan Kenton: Difference between revisions

The Progressive Jazz period lasted fourteen months, beginning on September 24, 1947, when the Stan Kenton Orchestra played a concert at the

The lone record, "A Presentation of Progressive Jazz,"^[9] received a 3 out of 4 rating from Tom Herrick in DownBeat ^[10]. Metronome rated it "C" calling it a "jerry-built jumble of effects and counter-effects" and "this album presents very little that can justifiably be called either jazz or progressive."^[11] Billboard scored it 80 out of 100, but declared it "as mumbo-jumbo a collection of cacophony as has ever been loosed on an unsuspecting public.^[12]

Many sidemen from the Artistry band returned, but there were significant changes.^[13] Laurindo Almeida on classical guitar, and Jack Costanzo on bongos dramatically changed the band's timbre. 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 (drums), both destined to win first place Down Beat awards.

Kids are going haywire over the sheer noise of this band…There is a danger of an entire generation growing up with the idea that jazz and the atom bomb are essentially the same natural phenomenon.

— Barry Ulanov, Metronome, 1948^[14]

Four of the five trumpet players returned: Buddy Childers, Ray Wetzel, Chico Alvarez, and Ken Hanna. Al Porcino was added to the already powerhouse section. Conte Candoli joined he band, replacing Porcino, in February 1948.

Kai Winding, star 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 lead alto was George Wiedler.

This was literally a band of all-stars. They received five first place awards in the Down Beat poll at the end of 1947,^[15] 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.

The band criss-crossed the country, appearing in the nation's top concert venues, including

Kenton's band was the first to present a concert in the famous outdoor arena, the Hollywood Bowl. His concert there on June 12, 1948 drew more than 15,000 people, and was both an artistic and commercial success. Kenton pocketed half of the box office, walking away with $13,000 for the evening's concert.[16]

It is fascinating to imagine that these experimental sounds were a hit with the public. The band broke attendance records all across the country. It is a testimony to Kenton's public relations acumen that he was able to convince concert goers and record buyers that this was important music. Comedy numbers and June Christy vocals helped break up the seriousness of the new music.

As with most artists who are pushing boundaries, his successes did not sit well with everyone. In an essay entitled Economics and Race in Jazz, Leslie B. Rout Jr. wrote that "the real scourge of the 1946-1949 period was the all-white Stan Kenton band. Dubbing his musical repertoire 'progressive jazz,' Kenton saw his orchestra become the first in jazz history to reach an annual gross of $1,000,000 in 1948." He contrasted this with a situation in which critical and public recognition of "Dizzy Gillespie as the premiere bopper could not be transformed into coin of the realm."^[17]

At the end of 1948, as 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 notes for over a year. When they returned, there would be new faces, new music and a string section.

1950s

After a year hiatus, In 1950 Kenton finally put together the large, 39-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 1947 in by Bob Graettinger, Manny Albam, Franklyn Marks and others. Name jazz musicians such as Maynard Ferguson, Shorty Rogers, Milt Bernhart, John Graas, Art Pepper, Bud Shank, Bob Cooper, Laurindo Almeida, Shelly Manne, and June Christy were part of the groups. The groups managed two tours during 1950–1951, from a commercial standpoint it would be Stan Kenton's first major failure. Kenton soon reverted back to a more standardl 19-piece lineup.^[1]

In order to be more commercially viable, Kenton reformed the band in 1951 to a much more standard instrumentation: 5 saxes, 5 trombones, 5 trumpets, piano, guitar, bass, drums. The charts of such arrangers as

One of the standout projects and recordings for the mid-1950's band is the Cuban Fire! album released in 1956. Though Stan Kenton had recorded earlier hits such as The Peanut Vendor in 1947 with Latin percussionist Machito, as well as many other Latin flavored singles, the Cuban Fire! suite and LP stands as a watershed set of compositions for Johnny Richards' career and an outstanding commercial/artistic achievement for the Kenton orchestra, and a singular landmark in large ensemble Latin jazz recordings.^[18][1] “CUBAN FIRE is completely authentic, the way it combines big-band jazz with genuine Latin-American rhythms.”"^[19] The success of the Cuban Fire! album can be gauged in part by the immediate ascent of Johnny Richards' star after its release; he was suddenly offered a contract by Bethlehem Records to record what would be the first of several recordings with his own groups.^[1]

At one point, Kenton faced a controversy in 1956 with comments he made when the band returned from a European tour. The current Critics Poll in

By the end of the decade Kenton was with the last incarnation of a 19 piece, '50's style' Kenton orchestra. Many bands have been called a leader's "best," this last Kenton 1959 incarnation of the 1950s bands may very well be the best. The group would pull off one of Kenton's most artistic, subtle and introspective recordings, Standards in Silhouette. As trombonist Archie LeCoque recalled of this album of very slow ballads, "...it was hard, but at the time we were all young and straight-ahead, we got through it and (two) albums came out well."^[1] By 1959 Stereophonic sound recording was now being fully utilized with all major labels. One of the great triumphs of the Standards in Silhouette album is the mature writing, the combination of the room used, a live group with very few overdubs, and the recording being in full stereo fidelity (and later remastered to digital).^[20] Bill Mathieu was highly skeptical of the decision to record his music like Cuban Fire! in a cavernous ballroom. Mathieu adds, "Stan and producer Lee Gillette were absolutley right: the band sounds alive and awake (which is not easy when recording many hours of slow-tempo music in a studio), and most importantly, the players could hear themselves well in the live room. The end result is the band sounds strong and cohesive, and the album is well recorded."^[21] This is the last set of studio dates before Kenton would retool the entire orchestra in 1960.

1960s

The Kenton orchestra had been on a slow decline in sales and popularity in the late 1950s with having to compete with newer, popular music artists such as Elvis Presley, Bobby Darin and The Platters. The nadir of this decline was around 1958 and coincided with a recession that was effecting the entire country.^[1] There were far fewer big bands on the road and live music venues were hard to book for the Kenton orchestra. The band would end 1959 beaten up by poor attendance at concerts and having to rely far more on dance halls than real jazz concerts.^[21] The band would reform in 1960 with a new look and new sound, this was larger group with a 'mellophonium' section added and part of an upsurge in Kenton's popularity.^[1][21]

Down Beat.^[22]

I loved playing Johnny's music, and so did Stan. West Side Story was probably the toughest album I ever recorded...

— Jerry McKenzie^[21]

The Kenton Orchestra from 1960-1963 had very key successes; the band had a relentless recording schedule. The albums

mellophonium

incarnation of Kenton bands was done. The conditions of Stan’s divorce from jazz singer, Ann Richards was that a judge ordered Stan to take a year off the road to help raise their two children or lose custody all together. Kenton would not reform another road band for tour until 1965.

Kenton had ties from earlier writing of country/western songs that were a success with Capitol and again he tried his hand in that genre during the early 1960s. In a music market that was becoming increasingly tight, in 1962 he cut the hit single Mama Sang a Song; his last US Top-40 (No. 32 Billboard, No. 22 Music Vendor). The song was a narration written by country singer Bill Anderson and spoken by Kenton. The single also received a Grammy nomination the following year in the Best Documentary or Spoken Word Recording category. The other attempt he made into that market was far less successful, Stan Kenton! Tex Ritter! released in 1962 as a full LP.

After the breakup of the

mellophonium band, Kenton / Wagner (1964) was an important recording project that Kenton arranged himself, again moving towards "progressive jazz" or third stream music. This album was not a financial success but kept Kenton at the forefront of 'art music' interpretation in the commercial music world. Stan Kenton Conducts the Los Angeles Neophonic Orchestra

(1965) was another artistic success and garnered another Grammy nomination for the band leader.

The 1966 - 1969

rock music.^[1] Due to lack of promotion by Capitol, four LPs were financial failures; this would be the last releases for Kenton under he aegis of long time Kenton producer Lee Gillette and Capitol.^[1] In fact, by the time it was recorded Kenton had no involvement in the Hair LP except for Kenton's name placed on the jacket cover; Ralph Carmichael and Lennie Niehaus were placed in charge of the project. Two exceptions to this late 1960s period are the Billboard charted single the band cut of the Dragnet theme (1967) and another Kenton presents release featuring the music of composer and ex-bandsman Dee Barton: The Jazz Compositions of Dee Barton

(1967).

1970s

The transition from Capitol to Creative World Records in 1970 was fraught with difficulties during a time when the music business was changing rapidly. As a viable jazz artist who was trying to keep a loyal but dwindling following, Kenton turned to arrangers such as Hank Levy and Bob Curnow to write material that appealed to a younger audience.^[1] The first releases for the Creative World label were live concerts and Kenton had the control he wanted over content but lacked substantial resources to engineer, mix, and promote what Capitol underwrote in the past. Kenton would take a big gamble to bypass the current record industry and rely far more on the direct mail lists of jazz fans which the newly formed Creative World label would need to sell records.^[24] Kenton also made his charts available to college and high-school stage bands with several publishers.

Kenton continued leading and touring with his big band up to his final performance in August 1978. In June 1973 Bob Curnow had started as the new artists and repertoire manager overseeing the whole operation of the Creative World Records.^[25] It was just the year before (in 1972) the Kenton orchestra recorded the National Anthems of the World double LP with 40 arrangements all done by Curnow.^[26] As per Curnow himself, "That was a remarkable and very difficult time for me. I was managing (Stan's) record company with NO experience in business, writing music like mad, living in a new place and culture (Los Angeles was another world), traveling a LOT (out with the band at least 1 week a month) and trying to keep it together at home."^[27]

When Kenton took to the road during the early 1970s and up to his last tour, he took with him seasoned veteran musicians (John Worster, Willie Maiden, Warren Gale, Graham Ellis and others) teaming them with relatively unknown young artists, and new arrangements (including those by Hank Levy, Bill Holman, Bob Curnow, Willie Maiden and Ken Hanna) were used. Many alumni associated with Kenton from this era became educators (Mike Vax, John Von Ohlen, Chuck Carter, and Richard Torres), and a few went on to take their musical careers to the next level, such as Peter Erskine and Tim Hagans.

Legacy

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 from 1940 through the 1970s. He was at the vanguard of promoting jazz and jazz improvisation through his service as an educator through his Stan Kenton Band Clinics. The "Kenton Style" continues to permeate big bands at the high school and collegiate level, and the framework he designed for the "jazz clinic" is still widely in use today.

Starting in the waning days of the big band era, Kenton found a multitude of ways in which to progress his art form. In his hands the size of the jazz orchestra expanded greatly, at times exceeding forty musicians. The frequency range (high and low notes) was also increased with the use of bass trombones and tuba, and baritone and bass saxophones. The dynamic range was pushed on both ends; the band could play softer and louder than any other big band. Kenton was the primary band leader responsible for moving the big band from the dance hall to the concert hall; one of the most important and successful players in the

Third Stream

movement.

Interest in his music has experienced somewhat of a resurgence, with critical "rediscovery" of his music and many reissues of his recordings. An alumni band named for him tours, led by lead trumpeter Mike Vax, which performs not only classic Kenton arrangements, but also new music written and performed by the band members (much like Kenton's own groups). Kenton donated his entire library to the music library of North Texas State University^[28] (now the University of North Texas), and the Stan Kenton Jazz Recital Hall is named in his honor. His arrangements are now published by Sierra Music Publications.^[29]

When comparing the four longest running touring jazz orchestras (Kenton, Herman, Basie, Ellington), Stan Kenton's band had a higher turnover of personnel. Bob Gioga, Buddy Childers, and Dick Shearer all played for Kenton for over a decade. Other important soloists such as Lennie Niehaus, Bill Perkins and Chico Alvarez had lengthy stays on the band as well. The list of noted jazz players, studio musicians is impressive and the consistency of the group from 1941 to Kenton's passing in 1979 is notable. Stan Kenton's leadership and music vision was clear to marshall the forces of such a diverse set of players and arrangers over this long period of time; Kenton stands alone in the respect.

Personal life

Kenton was born on December 15, 1911. His birth certificate states this as per further investigation by British biographer Michael Sparke.^[19] Kenton had been conceived out of wedlock, and his parents told him that he was born on February 19, 1912 in order to obscure this fact. Kenton wrongly believed well into adulthood that the February date was his birthday, and he even recorded the Birthday In Britain concert album on February 19, 1973.^[30] The true date remained a closely held secret, and his grave marker shows the incorrect February 1912 birthdate.^[19]

Stan Kenton had three marriages; three children were produced from the first two marriages. His first marriage was to Violet Rhoda Peters in 1935, and it lasted for fifteen years. The couple had a daughter in 1941, Leslie. In her 2010 memoir, Love Affair, Leslie Kenton wrote that, from 1952 to 1954, when she was between the ages of 11 and 13, her father sexually molested and raped her.^[31] She nonetheless maintained a close relationship with her father during his lifetime, though she states that she was emotionally scarred by the experience.^{[32][33][34][35]} She stated that the rapes always occurred under the influence of alcohol, that he was not fully aware of his actions, and that 20 years later he apologized profusely for his previous behavior.^[36] Leslie was an author of several books about health, spirituality and beauty.^[32][33]

In 1955, Stan Kenton married San Diego-born singer

Down Beat magazine at the time.^[39] Richards was not typically on the road with the band, though she had recorded the album Two Much!

with Kenton in 1960. Kenton filed for divorce in August 1961.

Kenton's third marriage was to Joann J Hill, in 1967. This also ended in divorce, two years later.

In his later years he lived with his public relations secretary and last business manager Audree Coke Kenton, though they never formally married.

Kenton's heavy consumption of alcohol contributed to the physical difficulties he encountered during the last 10 years of his life.[36]

Kenton's son Lance became a member of the controversial Synanon new-age community in California, and served as one of its "Imperial Marines," a group entrusted with committing violence against former members and others considered enemies of the community. In 1978 he was arrested for helping to put a rattlesnake in the mailbox of an anti-Synanon lawyer, and he was sentenced to a year in prison.^[40]

Kenton had two accidental falls, one in the early 1970s and then again in the autumn of 1977 while on tour in Reading, PA. The second fall was very serious as he fractured his skull. The last two years of his life became far more physically challenging for Kenton from the effects of the two accidents. On August 17, 1979, he was admitted to Midway Hospital near his home in Los Angeles after a stroke; he died eight days later, on August 25. At the time of his death he had three grandchildren.^[40] Kenton was interred in the Westwood Village Memorial Park Cemetery, Los Angeles.^[40]

Gold records and charts (singles and albums)

Gold Records

• 1944 Artistry in Rhythm (Capitol Records) instrumental
• 1945 Tampico (Capitol Records) vocal by June Christy and band
• 1945 Shoo-Fly Pie and Apple Pan Dowdy (Capitol Records) vocal by June Christy and band

Hits as charted singles

(Songs that reached the top of the US or UK charts)

Between 1944 and 1967, Stan Kenton had numerous hits on Billboard's charts.^[41]

year	Title	Chart peak position
		US	Year end position	US R&B	US Country	US Adult Contemporary
1944	Do Nothin' Till You Hear from Me (sung by Red Doris)	20		8
1944	Eager Beaver	14
1944	And Her Tears Flowed Like Wine (sung by Anita O'Day)	4	27
1944	How Many Hearts Have You Broken (sung by Gene Howard)	9
1945	Tampico (sung by June Christy)	2	46
1945	It's Been a Long, Long Time (sung by June Christy)	6
1946	Artistry Jumps	13
1946	Just A-Sittin' and A-Rockin' (sung by June Christy)	16
1946	Shoo-Fly Pie and Apple Pan Dowdy (sung by June Christy)	6
1946	It's a Pity to Say Goodnight (sung by June Christy)	12
1947	His Feet Too Big for De Bed (sung by June Christy)	12
1947	Across the Alley from the Alamo (sung by June Christy)	11
1948	How High the Moon (sung by June Christy)	27	27
1950	Orange Colored Sky (sung by Nat King Cole)	5
1951	September Song I I	17
1951	Laura	12
1952	Delicado	25
1960	My Love (sung by Nat King Cole)	47		12
1962	Mama Sang a Song (spoken word by Stan Kenton)	32				12
1967	Dragnet					40

Hits as charted albums

(Albums charting history with Billboard Magazine)

year	Album	Chart peak/ year end #
		Peak, US	Year end
1946	Artistry in Rhythm	2 (1/11/47)	#15 (1947)
1948	A Presentation of Progressive Jazz	*1 (5/29 - 7/17)	#1
1949	Encores	2 (2/26/49)
1950	Innovations in Modern Music	4 (4/22/50)
1956	Kenton in Hi-Fi	20 (5/5/56)	#22
1956	Cuban Fire!	17 (9/15/56)
1961	West Side Story	16 (Oct. 1961)
1972	Stan Kenton Today	146 (7/8/72)

Awards and honors

Wins and honors from major publications

Year	Music publication	won	honor named
1946	Metronome	Band of the year
	Down Beat	Best band of 1946
1947	Metronome	Band of the year
			Metronome All-Stars
	Down Beat	Best band of 1947
1948	Metronome	Band of the year
1950	Down Beat	Best band of 1950
1951		Best band of 1951
1952		Best band of 1952
1953	Metronome	Band of the year
	Down Beat	Best band of 1953
1954	Metronome	Band of the year
	Down Beat	Best band of 1954
			Hall of Fame
1955	Metronome	Band of the year
1957	Playboy	Jazz Artist of the Year
1958
1959
1960

Grammy Awards^[42]

Year	Nominee / work	Award	Result
1962	West Side Story (album)	Best Performance by an orchestra - for other than dancing	Nominated
		Best Jazz Performance - Large Group (Instrumental)	Won
1963	Adventures In Jazz (album)		Won
		Best Engineered recording (other than classical and novelty)	Nominated
1963	Mama Sang a Song (single)	Best Documentary or Spoken Word Recording (other than comedy)	Nominated
1965	Artistry in Voices and Brass (album)	Best Performance by a Chorus	Nominated
1967	Stan Kenton Conducts the Los Angeles Neophonic Orchestra (album)	Best Instrumental Jazz Performance, Individual or Group	Nominated

Grammy Hall of Fame

Year	Nominee / work	Award	Result
1943	Artistry in Rhythm (with the Stan Kenton Orchestra)	Grammy Hall of Fame (1985)	Inducted

International Music Awards

Year	Award	Country	Album or single	Label
1968	Edison Award	Netherlands	The World We Know (album)	Capitol

Other Awards and Honors

• 1978 - Honorary Doctorate of Music: University of Redlands
• 1974 - Honorary Doctorate of Humane Letters:
  Drury College
• 1968 - Honorary Doctorate of Music: Villanova University
• 1967 - Intercollegiate Music Festival Hall of Fame Award
• Named to the International Association for Jazz Education Hall of Fame (1980)
• Honored on the Hollywood Walk of Fame (Recording - 6340 Hollywood Blvd.)
• "City of Glass" is honored in The Wire's "100 Records That Set The World on Fire" (While No One Was Listening)."

Posthumously Honored

• 2011 - "Stan Kenton: Artistry In Rhythm- Portrait Of A Jazz Legend" (DVD)

EMPixx Awards - Platinum Award in the Documentary Category/Platinum Award in the Use of Music Category.

United States Library of Congress National Recording Registry

• Artistry in Rhythm (single) - Stan Kenton - Released:1943 - Inducted: 2011 - Category: Jazz

Noted band personnel

Instrumentalists

• Pepper Adams
• Bob Ahern
• Sam Aleccia
• Ashley Alexander
• Laurindo Almeida
• Alfred "Chico" Alvarez
• Jim Amlotte
• John Anderson
• Buddy Arnold
• Don Bagley
• Buddy Baker
• Gabe Baltazar
• Michael Bard
• Dave Barduhn
• Gary Barone
• Dee Barton
• Tim Bell
• Milt Bernhart
• Bill Briggs
• Bud Brisbois
• Ray Brown
• Bob Burgess
• Bart Caldarell
• Tony Campise
• Frank Capp
• Conte Candoli
• Pete Candoli
• Fred Carter
• Billy Catalano
• Bill Chase
• Buddy Childers
• Rich Condit
• Bob Cooper
• Jack Costanzo
• Curtis Counce
• Bob Curnow
• Quinn Davis
• Vinnie Dean
• Jay Daversa
• Don Dennis
• Sam Donahue
• Red Dorris
• Peter Erskine
• Don Fagerquist
• Maynard Ferguson
• Mary Fettig
• Bob Fitzpatrick
• Dr. William "Bill" Fritz
• Carl Fontana
• Chris Galuman
• Stan Getz
• Bob Gioga
• John Graas
• Benny Green^[43]
• Tim Hagans
• Ken Hanna
• Bill Hanna
• John Harner
• Dennis Hayslett
• Gary Henson
• Phil Herring
• Skeets Herfurt
• Gary Hobbs
• Bill Holman
• Marvin "Doc" Holladay
• Clay Jenkins
• Richie Kamuca
• Joel Kaye
• Red Kelly
• Jimmy Knepper
• Bobby Knight
• Lee Konitz
• Tom Lacy
• Scott LaFaro
• Jack Lake
• Keith LaMotte
• Kent Larsen
• Skip Layton
• Gary LeFebvre
• Archie LeCoque
• Stan Levey
• Mel Lewis
• Bob Lymperis
• Willie Maiden
• Shelly Manne
• Charlie Mariano
• Al Mattaliano
• Dave Matthews
• Jerry McKenzie
• Dick Meldonian
• Don Menza
• Greg Metcalf
• Eddie Meyers
• Frank Minear
• Vido Musso
• Boots Mussulli
• Lennie Niehaus
• Dennis Noday
• Sam Noto
• Lloyd Otto
• Don Paladino
• John Park
• Kim Park
• Art Pepper
• Bill Perkins
• Oscar Pettiford
• Al Porcino
• Mike Price
• Douglas Purviance
• Ray Reed
• Clyde Reasinger
• Roy Reynolds
• Kim Richmond
• George Roberts
• Gene Roland
• Billy Root
• Frank Rosolino
• Shorty Rogers
• Ernie Royal
• Howard Rumsey
• Bill Russo
• Eddie Safranski
• Sal Salvador
• Carl Saunders
• Jay Saunders
• Dave Schildkraut
• Bud Shank
• Dick Shearer
• Jack Sheldon
• Kenny Shroyer
• Gene Siegel
• Zoot Sims
• Tom Slaney
• Dalton Smith
• Greg Smith
• Mike Snustead
• Ed Soph
• Lloyd Spoon
• Mike Suter
• Marvin Stamm
• Ray Starling
• Vinnie Tano
• Lucky Thompson
• Richard Torres
• Bill Trujillo
• Jeff Uusitalo
• Mike Vaccaro
• David van Kriedt
• Bart Varsalona
• Mike Vax
• John Von Ohlen
• George Weidler
• Ray Wetzel
• Rick Weathersby
• Jiggs Whigham
• George Wiedler
• Stu Williamson
• Kai Winding
• John Worster
• Alan Yankee

Composers and Arrangers

• Manny Albam
• Dave Barduhn
• Dee Barton
• Ralph Carmichael
• Joe Coccia
• Frank Comstock
• Bob Curnow
• Dale Devoe
• Sam Donahue
• Wayne Dunston
• Dennis Farnon
• Bob Florence
• Bill Fritz
• Bob Graettinger
• Ken Hanna
• Neal Hefti
• Bill Holman
• Gene Howard
• Hank Levy
• Willie Maiden
• Franklyn Marks
• Bill Mathieu
• Gerry Mulligan
• Lennie Niehaus
• Boots Mussulli
• Chico O'Farrill
• Marty Paich
• Johnny Richards
• Shorty Rogers
• Gene Roland
• Pete Rugolo
• Bill Russo
• Charlie Shirley
• Steve Spiegl
• Ray Starling
• Mark Taylor
• Al Yankee
• Ralph Yaw

Vocalists

• Cindy Bradley
• June Christy
• Chris Connor
• Red Dorris
• Kay Gregory
• Gene Howard
• Kent Larsen
• Dolly Mitchell
• Anita O'Day
• Ann Richards
• Frank Rosolino
• Jan Tober
• Jean Turner
• Jerri Winters
• Jay Johnson
• Ray Wetzel

Discography and on film and television

Studio albums

• Stan Kenton and His Orchestra – McGregor No. LP201 (1941)
• The Formative Years – Decca No. 589 489-2 (1941–1942)
• Artistry in Rhythm – Capitol No. BD39 (1946)
• Encores – Capitol No. 155 (1947)
• A Presentation of Progressive Jazz – Capitol No. T172 (1947)
• Metronome Riff (single) – Capitol special pressing (1947)
• Innovations in Modern Music – Capitol No. 189 (1950)
• Stan Kenton's Milestones – Capitol No. T190 (through 1950)
• Stan Kenton Presents – Capitol No. 248 (1950)
• City of Glass – Capitol No. H353 (1951)
• New Concepts of Artistry in Rhythm – Capitol 383 (1952)
• Popular Favorites by Stan Kenton – Capitol No. 421 (1953)
• Sketches on Standards – Capitol No. 426 (1953)
• This Modern World – Capitol No. 460 (1953)
• Portraits on Standards – Capitol No. 462 (1953)
• Kenton Showcase – Capitol No. H525/526 (1954)
• Duet (with June Christy) – Capitol No. 656 (1955)
• Contemporary Concepts – Capitol No. 666 (1955)
• Kenton in Hi-Fi – Capitol No. 724 (1956)
• Cuban Fire! – Capitol No. 731 (1956)
• Kenton with Voices – Capitol No. 810 (1957)
• Rendezvous with Kenton – Capitol No. 932 (1957)
• Back to Balboa – Capitol No. 995 (1958)
• The Ballad Style of Stan Kenton – Capitol No. 1068 (1958)
• Lush Interlude – Capitol No. 1130 (1958)
• The Stage Door Swings – Capitol No. 1166 (1958)
• The Kenton Touch – Capitol No. 1276 (1958)
• Viva Kenton! – Capitol No. 1305 (1959)
• Standards in Silhouette – Capitol No. 1394 (1959)
• Two Much! (with Ann Richards) – Capitol No. 1495 (1960)
• The Romantic Approach – Capitol No. 1533 (1961)
• Kenton's West Side Story – Capitol No. 1609 (1961)
• A Merry Christmas! – Capitol No. 1621 (1961)
• Sophisticated Approach – Capitol No. 1674 (1961)
• Adventures in Standards – Creative World No. 1025 (1961 – released 1975)
• Adventures In Jazz
  – Capitol No. 1796 (1961)
• Adventures in Blues – Capitol No. 1985 (1961)
• Stan Kenton! Tex Ritter! (with Tex Ritter) – Capitol No. 1757 (1962)
• Adventures in Time – Capitol No. 1844 (1962)
• Artistry in Bossa Nova – Capitol No. 1931 (1963)
• Artistry in Voices and Brass – Capitol No. 2132 (1963)
• Stan Kenton / Jean Turner (with Jean Turner) – Capitol No. 2051 (1963)
• Kenton / Wagner – Capitol No. 2217 (1964)
• Stan Kenton Conducts the Los Angeles Neophonic Orchestra – Capitol No. 2424 (1965–1966)
• Stan Kenton Plays for Today – Capitol No. 2655 (1966–1967)
• The World We Know – Capitol No. 2810
• The Jazz Compositions of Dee Barton – Capitol No. 2932 (1967)
• Finian's Rainbow
  – Capitol No. 2971 (1968)
• Hair – Capitol No. ST305 (1969)
• National Anthems of the World – Creative World No. 1060 (1972)
• 7.5 on the Richter Scale – Creative World No. 1070 (1973)
• Stan Kenton Without His Orchestra (solo) – Creative World No. 1071 (1973)
• Stan Kenton plays Chicago
  – Creative World No. 1072 (1974)
• Fire, Fury and Fun – Creative World No. 1073 (1974)
• Kenton '76 – Creative World No. 1076 (1976)
• Journey Into Capricorn – Creative World No. 1077 (1976)
• Some Women I've Known – Creative World No. 1029 (compilation)

Live albums

• Stan Kenton Live At Cornell University (1951)
• Stan Kenton Stompin' At Newport – Pablo #PACD-5312-2 (1957)
• On the Road with Stan Kenton – Artistry Records #AR-101 (Recorded Nov. 6, 1958 at the Municipal Auditorium, Sarasota, Florida)
• Kenton Live from the Las Vegas Tropicana – Capitol No. 1460 (1959)
• Road Show (with June Christy and The Four Freshmen) – Capitol #TBO1327 (1959)
• Stan Kenton at Ukiah – Status #STCD109 (1959)
• Stan Kenton In New Jersey – Status #USCD104 (1959)
• Mellophonium Magic – Status No. CD103 (1962)
• Mellophonium Moods – Status No. STCD106 (1962)
• Stan Kenton And His Orchestra At Fountain Street Church Part 1 – Status #DSTS1014 (1968)
• Stan Kenton and His Orchestra At Fountain Street Church Part 2– Status #DSTS1016 (1968)
• Private Party – Creative World No. 1014 (1970)
• Live at Redlands University – Creative World No. 1015 (1970)
• Live at Brigham Young University – Creative World No. 1039 (1971)
• Live at Butler University – Creative World No. 1058 (1972)
• Stan Kenton Today – Live In London – London/Creative World #BP 44179-80 (1972)
• Birthday in Britain – Creative World #ST 1065 (1973)^[30]
• Flying High In Florida (1972)
• Live at the London Hilton - Part I & II (1973)
• Live in Europe (1976)
• The Lost Concert Vol. 1–2 Recorded at The Cocoanut Grove in Los Angeles, CA on March 18, 1978, posthumous release in 2002 – Jazz Heritage

Compilations

• Stan Kenton's Milestones (Capitol, 1943–47 [1950])
• Stan Kenton Classics (Capitol, 1944–47 [1952])
• The Kenton Era (Capitol, 1940–53 [1955])
• City of Glass and This Modern World – Capitol No. 736 (1951–1953 [1957])
• Stan Kenton's Greatest Hits (Capitol, 1943–47 [1965])
• Stan Kenton On AFRS – Status DSTS1019 (1944–1945)
• One Night Stand – Magic #DAWE66 (1961–1962)
• The Complete Capitol Recordings Of The Holman And Russo Charts – Mosaic MD4-136
• The Complete Capitol Recordings – Mosaic MD7-163
• The Peanut Vendor
• The Jazz Compositions Of Stan Kenton – Creative World No. ST1078 (1945–1973)
• Street of Dreams – Creative World No. 1079 (1979 vinyl; 1992 CD)
• The Innovations Orchestra (Capitol, 1950–51 [1997])

On film or television

• 1941 Zig Me, Baby, With a Gentle Zag (short)
• 1942 Jammin' in the Panoram (short)
• 1942 Jealous (short)
• 1942 Reed Rapture (short)
• 1944 This Love of Mine (short)
• 1945 Eager Beaver (short)
• 1945 I'm Homesick, That's All (short)
• 1945 It's Been a Long Long Time (short)
• 1945 Southern Scandal (short)
• 1945 Tampico (short)
• 1946 Talk About A Lady (feature film)^[44]
• 1946 Southern Scandal (short)
• 1947 Let's Make Rhythm (short)
• 1947 Stan Kenton and His Orchestra (biographical short)
• 1950 The Ed Sullivan Show (television)
• 1953 Schlagerparade (movie) Stan Kenton at the Sporthalle in Berlin
• 1954 Spotlight No. 5 (CBC television, documentary)
• 1955 Music '55 (television, documentary)
• 1956 Happy New Year: A Sunday Spectacular (television)
• 1956 Juke Box Jury (television, gameshow)
• 1957 Alan Melville Takes You from A-Z (BBC television)
• 1957 The Big Record (television)
• 1958 The Gisele MacKenzie Show (television)
• 1960 General Electric Theater (television)
• 1960 Startime (television)
• 1960 Dixieland Small-Fry (television)
• 1962 Jazz Scene USA (television)
• 1962 Music of the 60s (television)
• 1962 The Lively Ones (television)
• 1963 The Ed Sullivan Show (television)
• 1965 Big Bands (WGN-TV television)
• 1966
  The Linkletter Show
  (television)
• 1967 The Woody Woodbury Show (television)
• 1967 The Tonight Show Starring Johnny Carson (television)
• 1968 The Crusade for Jazz aka Bound To Be Heard (television documentary)
• 1969 The Substance of Jazz (educational/documentary)
• 1969 and 1970
  The David Frost Show
  (television)
• 1970 The Mike Douglas Show (television)
• 1972 Sounds of Saturday (BBC television)
• 1976 Soundstage (television)
• 1977
  Omnibus
  (BBC television)
• 2011 Stan Kenton: Artistry In Rhythm- Portrait Of A Jazz Legend (documentary)

Compositions

Stan Kenton's compositions include "Artistry in Rhythm,” "Opus in Pastels,” "Artistry Jumps,” "Reed Rapture,” "Eager Beaver,” “Fantasy," "Southern Scandal,” "Harlem Folk Dance", "Painted Rhythm,” "Concerto to End All Concertos,” “Easy Go,” “Concerto for Doghouse,” “Shelly Manne,” “Balboa Bash,” “Flamenco,” and "Sunset Tower.”^[45]

Although several compositions are co-credited to Stan Kenton and Pete Rugolo, Rugolo was the primary composer, with Kenton often times merely offering verbal suggestions. Compositions that were true collaborations include Artistry in Boogie, Collaboration, and Theme to the West.

Notes

1. ^
   ISBN 978-1-57441-325-0
2. ISBN 0-936653-82-5
3. ^ ^{a b} Scott Yanow. "Stan Kenton | Biography". AllMusic. Retrieved 2013-09-16.
4. ^ Spelvin, George (February 21, 1942). "Broadway Beat" (PDF). Billboard. p. 5. Retrieved 29 March 2015.
5. ^ "Joseph Greene, Composer With Stan Kenton's Orchestra, Dies". Los Angeles Times. June 28, 1986. Retrieved November 13, 2015.
6. ^ Barry Ulanov in Metronome magazine, 1948, cited at John S. Wilson (August 27, 1979). "Stan Kenton, Band Leader, Dies; Was Center of Jazz Controversies". New York Times. Retrieved June 10, 2016.
7. ^ http://allthingskenton.com/table_of_contents/articles/rugolo/
8. ^ http://allthingskenton.com/table_of_contents/adventures/progressive-jazz/progressive-jazz-essay/
9. ^ http://allthingskenton.com/table_of_contents/recordings/capitol/progressive_jazz/
10. ^ Herrick, Tom. "Record Review. A Presentation of Progressive Jazz." Down Beat 15, no. 11 (June 2, 1948): 14.
11. ^ Simon, George T and Barry Ulanov. "Record Review. A Presentation of Progressive Jazz." Metronome 64, no. 6 (1948-06): 36.
12. ^ "Record Review. A Presentation of Progressive Jazz." Billboard 60, no. 21 (May 22, 1948): 41.
13. ^ http://allthingskenton.com/table_of_contents/adventures/progressive-jazz/personnel/
14. ^ Barry Ulanov in Metronome magazine, 1948, cited at John S. Wilson (August 27, 1979). "Stan Kenton, Band Leader, Dies; Was Center of Jazz Controversies". New York Times. Retrieved June 10, 2016.
15. ^ http://allthingskenton.com/table_of_contents/adventures/progressive-jazz/poll-winners/
16. ^ "15,000 Pack Bowl to Dig Kenton Bash." Down Beat 15, no. 15 (July 28, 1948): 1.
17. ^ Rout Jr, Leslie B. "Economics and Race in Jazz," In Frontiers of American Culture, edited by Ray Broadus Browne, 154-171. 1968.
18. ISBN 978-0-07-245179-5
    .
19. ^
    ISBN 978-1574413250. Retrieved February 14, 2014. {{cite book}}: Invalid |ref=harv (help
    )
20. ^ author of this page: 'I have over 1000 classical and jazz CDs and "Standards..." is a shining star. I have heard very few recordings that are so enjoyable to listen to in terms of overall quality of sound, especially now on digital CD.'
21. ^
    ISBN 0-936653-82-5
    .
22. Down Beat
    magazine
23. ^ NPR: Stan Kenton At 100: Artistry In Rhythm, Reference to Adventures in Time in article as important milestone of Kenton's music. February 17, 2012
24. ISBN 089745-993-8
25. ISBN 089745-993-8
26. ISBN 0-688-00196-3
27. ^ Email interview with Bob Curnow, February 16, 2013 with Dr. Jack Cooper, Assoc. Prof. of Music, the Univ. of Memphis
28. ^ "University of North Texas Libraries". Library.unt.edu. Retrieved 2013-09-16.
29. ^ "Stan Kenton Orchestra". Sierramusicstore.com. Retrieved 2013-08-01.
30. ^ ^{a b} "Stan Kenton And His Orchestra – Birthday In Britain". Discogs. Retrieved February 14, 2014. The album was recorded on February 19, which is not Kenton's birthday; at the time, he either thought it was, or was publicly maintaining that it was.
31. ISBN 978-0312659080
    .
32. ^ ^{a b} Boleman-Herring, Elizabeth (February 18, 2012). "Stan Kenton & His Daughter Leslie's 'Love Affair'". The Huffington Post. Retrieved December 21, 2016.
33. ^ ^{a b} Duerden, Nick (February 19, 2010). "Leslie Kenton: 'I was angry, but never hated my father'". The Guardian. Retrieved December 21, 2016.
34. ^ Wolff, Carlo (February 20, 2011). "Stan Kenton's daughter opens door to their dark past". Pittsburgh Post-Gazette. Retrieved June 11, 2016.
35. ^ Will Friedwald (January 28, 2011). "A Restless Soul Revealed". Wall Street Journal. Retrieved June 11, 2016.
36. ^ ^{a b} Singh, Anita (January 30, 2010). "Jazz great Stan Kenton raped his daughter, she claims in new book". The Daily Telegraph. Retrieved June 10, 2016.
37. ^ Playboy Magazine, June 1961, Ann Richards photo layout
38. ^ The LP cover photo of Ann Richards for the Atco Records release was a picture taken from the Playboy photo shoot, but edited
39. ISBN 0-9676273-0-3
40. ^ ^{a b c} John S. Wilson (August 27, 1979). "Stan Kenton, Band Leader, Dies; Was Center of Jazz Controversies". New York Times. Retrieved June 10, 2016.
41. ^ Source: charts and data provided by Music VK and Billboard Magazine
42. ^ National Academy of Recordings Arts and Sciences reference page for Stan Kenton - Grammys and nominations
43. ^ Morgan, Alun (June 24, 1998). "Obituary: Benny Green". The Independent. Retrieved October 4, 2016.
44. ^ http://allthingskenton.com/table_of_contents/adventures/talk-about-a-lady/
45. ^ http://allthingskenton.com/table_of_contents/arrangers/stan-kenton/

References

• Easton, Carol (1981). Straight Ahead: The Story of Stan Kenton. Da Capo.
  ISBN 978-0-306-80152-5
  .
• Lee, William F. (1994). Stan Kenton: Artistry in Rhythm. Los Angeles: Creative Press.
  ISBN 978-0-89745-993-8
  .
• Sparke, Michael (2011). Stan Kenton: This Is an Orchestra!. North Texas Lives of Musicians Series. University of North Texas Press.
  ISBN 978-1-57441-325-0
  .
• Colt, Freddy (2013). Stan Kenton, il Vate del Progressive Jazz. Mellophonium Broadsides, San Remo (Italy).

External links

Wikimedia Commons has media related to Stan Kenton.

• Stan Kenton at the Encyclopædia Britannica
• Bell High School Alumni Page for Stan Kenton
• Article on Stan Kenton's Mellophonium Band
• An Interview with Jo Lea Starling, wife of Ray Starling
• An Interview with Tony Scodwell, Stan Kenton Mellophoniumist
• The Stan Kenton Collection at the University of North Texas
• Stan Kenton's music published by Sierra Music Publications
• Terry Vosbein's All Things Kenton site - discography, radio shows, rare images and audio.
• Creative World Records (A division of GNP Crescendo Records)
• Library of Congress essay