Stan Kenton in hi fi Capitol W-724 Publication date 1956

 Brilliant High Fidelity recording heightens the excitement

of this collection of driving tunes—great hits that

have thrilled throngs of Kenton fans.

The Stan Kenton band was born during the ferment and upheaval of the war years,

and promptly became a bone of contention among jazz partisans, who'd start

debating the pros and cons of Kenton at the drop of a Roosevelt dime. These forums

of the 40s, marked by the clash of adulation and invective, would storm up any-"

where—at bandside, in furnished apartments, GI service clubs, or around the

jukebox at Ye Olde College Malt Shoppe.

It soon became apparent that whatever people thought of Kenton’s music—

whether they loved it or loathed it—it couldn’t be ignored, not even by Kenton

himself. His periodic attempts at retirement, induced by the fierce operational

headache of running a big band, have invariably been thwarted by the even stronger

urge to make music in the Kenton way. Just what the Kenton style is, is rather hard

to say because it won't stay put long enough to be permanently defined. It is con-

stantly in flux, always changing and expanding. By this time, an exciting library of

new jazz creations has been added to the older favorites which first brought

Kenton fame.

The “older favorites;’ now regarded by aficionadoes in their thirties as vintage

masterpieces, came as musical bombshells to these self-same ringsiders during the

Kenton band’s debut at the Rendezvous Ballroom in Balboa, California, back in

1941. Several new batches of teen-agers have grown up with the music since then

and, as is natural, they have their own ideas about what makes Stanley run.

This album of Stan Kenton in Hi-Fi highspots the sweep of that important seg-

ment of the Kenton saga during the fruitful post-war years. Stan’s own ideas drew

nourishment and sympathetic stimulus from his collaboration with Pete Rugolo,

whose arrangements left a lasting mark upon the band’s style. It was during this

period that some of the biggest Kenton hits came into being. Now they're recorded

with an impact and immediacy that only a live performance could have provided a

few years ago. This comprehensive program makes possible a fresh and vital

reappraisal of Stan Kenton’s jazz, with all of the scope, subtlety and brilliance

present and accounted for, thanks to High Fidelity.

ARTISTRY JUMPS—A self-descriptive uptempo version of the Kenton theme,

with Stan, Vido Musso and Don Bagley feeding it steam.

INTERLUDE—The familiar lyrical arrangement, with the Kenton piano work

mightily backed by a chorus of trombones.

INTERMISSION RIFF—Cool, concentrated and frenetic, as always, an inspired

elaboration of Ray Wetzel’s original head arrangement, featuring Stan’s piano, Car!

Fontana’s trombone, and Musso’s tenor sax.

MINOR RIFF—Masterminded by Kenton-Rugolo, this rockets into outer space

in defiance of all known axioms of gravity and orthodox harmony. The Musso-Pete

Candoli performances are among their greatest.

COLLABORATION —Slow, contemplative, yet intensely articulate—speaking for

the entire period when Kenton-Rugolo collaborated. Milt Bernhart is showcased

with a pensive and inspired solo. The majestic ending dramatically exhibits the new

jazz sound.

PAINTED RHYTHM-— Vido Musso comes on in this Kenton original, with Milt

Bernhart and Don Bagley authoritatively taking the trombone and bass chores.

SOUTHERN SCANDAL— This is an easygoing piece that illustrates the more

delicate shadings of the broad Kenton spectrum. Carl Fontana moves skillfully into

a solo spot, and Don Bagley’s bass is featured in a forceful, brilliant manner.

THE PEANUT VENDOR— there'll always be a Peanut Vendor, and this latest

modél—expanded and ornamented—is a: fine showcase for the Kenton crew’s

musicianship and vitality. Kent Larson’s trombone is spotlighted.

EAGER BEAVER—TIhis is the melodic, swinging style that rolled the Kenton

sound, like a well-oiled Trojan Horse, into the Jukebox Kingdom. Vido Musso

plays the tenor sax solo.

CONCERTO TO END ALL CONCERTOS — One of the most ambitious of all Kenton

composition-arrangements, and, happily, one that comes off with spectacular suc-

cess. Maynard Ferguson contributes the trumpet solo, Kenton adroitly handles the

solo piano, Vido Musso’s tenor solos with great heart, and Lennie Niehaus displays

a drive both fluid and brilliant.

ARTISTRY IN BOOGIE— Young Sam Noto blows a vest-busting trumpet solo in

the dynamic going-over of this familiar Kenton tune. Vido Musso’s tranquil solo sets

the scene for the arrival of the whole ensemble, which Milt Bernhart’s trombone

plays against in a delirious high-flying way.

LOVER —This vivid Kenton arrangement set the furious pace for many later

versions of the tune — once known exclusively as a waltz (if anyone can remember

that far back). Stan and Vido Musso are spotlighted along with Milt Bernhart, who

comes in with a dazzling trombone bit.

UNISON RIFF—This durable Rugolo composition gets a forceful rendition by

soloists Lennie Niehaus, Vinnie Tanno, Pete Candoli, and Milt Bernhart.

Saxes Skeets Herfurt, Trombones Bob Fitzpatrick,

Vido Musso, Jack Nimitz, Milt Bernhart, Carl Fontana,

Lennie Niehaus, Bill Perkins, Don Kelly, Kent Larsen

Spence Sinatra Gute waiter en

‘uitar Ralph Blaze + Bass Don

Trumpets Pete Candoli, Ed Leddy, ce ‘

Maynard Ferguson, Sam Noto, Baalovie rns Mel Seis

Don Paladino, Vinnie Tanno Timbale Chico Guerrero

Stan Kenton plays piano and conducts on all selections

Recorded in Hollywood, February, 1956

FACTORIES: SCRANTON, PA. _—«LOS ANGELES, CALIF.