An introduction to the life of stanley newcomb kenton

Even though the personnel changed rather rapidly, Kenton's focus was very clear on where he would lead things musically. Occasionally talk drifts away to other things but only for a moment then back to music.

A bus can be any thing from a horror chamber from which there seems no escape to a vehicle taking him to the highest level of exalted achievement. He could be maddeningly modest at times. The new instrument was An introduction to the life of stanley newcomb kenton by Kenton to "bridge the gap" in range, color, and tonality between his trumpet and trombone sections.

Lee in his book, Stan Kenton: Its importance in keeping interest in both Kenton and jazz alive cannot be overestimated, for the sixties saw the rise of rock to dominating proportions on the popular music scene.

And the reason takes a bit of explaining. Two exceptions to this late s period are the Billboard charted single the band cut of the Dragnet theme and another Kenton presents release featuring the music of composer and ex-bandsman Dee Barton: When they returned, there would be new faces, new music and a string section.

The nadir of this decline was around and coincided with a recession that was effecting the entire country. This also ended in divorce, two years later. From the core of this group come the line up of the first Stan Kenton groups of the s.

A bus is many things to a band over and above transporting it from engagement to engagement and place to place.

Fontana, Carl

This was sometimes five or six a day, stretching from morning to late night. Easton, Carole, Straight Ahead: Bob Graettinger wrote twenty or so pieces for the band, including his ground-breaking opus City of Glass. Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early though some were not recorded until later in the year.

Many of his works have never been recorded, perhaps never heard. These clinics, which he later set up in other schools as well, proved to be highly fertile training grounds, and Kenton proved to have a sharp eye for hot new talent.

Interest in his music has experienced somewhat of a resurgence, with critical "rediscovery" of his music and many reissues of his recordings. Financial setbacks forced Kenton to bolster his income by performing with a pickup band, recording albums, and making guest spots on television during the late s.

Two widely differing musical ideas and a brainstorm found their conception in the sixties: West Side Story was probably the toughest album I ever recorded Still active on the performance circuit with a new band formed inKenton toured Europe and Japan during the early and mid s.

Kenton believed well into adulthood that the February date was his birthday, and recorded the Birthday In Britain concert album on February 19, He formed a rehearsal band, wrote his theme song, composed original charts and arrangements of standard tunes, cut several dubs, lined up his own bookings, premiered at a Huntington Beach ballroom, just north of Balboa.

Milt Bernhart came in on lead trombone. The group would pull off one of Kenton's most artistic, subtle and introspective recordings, Standards in Silhouette. Both were firsts for the Kenton band, or any jazz band for that matter. Kenton believed well into adulthood that the February date was his birthday, and recorded the Birthday In Britain concert album on February 19, Its importance in keeping interest in both Kenton and jazz alive cannot be overestimated, for the sixties saw the rise of rock to dominating proportions on the popular music scene.

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.

Kenton would not reform another road band for tour until The band recorded eleven albums during its two-year history and received much acclaim for its recordings of the sound track for West Side Story and another album called Adventures in Jazz. This is where Kenton would make his first recordings when Arnheim made 14 sides for the Brunswick label in summer of.

Stanley Newcomb "Stan" Kenton (December 15, – August 25, ) was a pianist, composer, and arranger who led an innovative, influential, and often controversial American jazz orchestra.

In later years he was active as an degisiktatlar.coms: Stella Emily Newcomb. Dec 06,  · Living in southern California, which was also where The Kenton Orchestra was based, I had frequent opportunities to catch various iterations of Stanley’s stunning ensembles in person and while in the presence of the power and majesty of those musical aggregations, that is exactly how I felt -.

Dec 06,  · I was digging around my collection of Stan Kenton recordings recently looking for something by stellar trombonist Carl Fontana during his tenure with the orchestra when I came across the following point-of-view contained in the insert notes to the two disc set Kenton Odyssey by Peter Newman that may go a long way.

Stan Kenton discography and songs: Music profile for Stan Kenton, born 15 December Genres: Progressive Big Band, Big Band, Jazz.

Stan Kenton

Stanley Newcomb Kenton [birth name] Genres. Progressive Big Band, Every Artist and Band with at least ONE 5-Star Record in My Collection/Life.

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Stan Kenton

Jun 16,  · And, roaring back, the bold, brash new music of Stanley Newcomb Kenton and his Orchestra, a scant yards away in the Rendezvous Ballroom on Ocean Front Boulevard. They began here, the five musical decades of Kenton's life, as he progressed from playing in other people's bands in the mids to putting together his first orchestra at the.

Jun 16,  · A strict chronology was not followed because many of the characters came in and out of Kenton's life in more than one period, but the book should be seen to have its own logic of presentation as the story unfolds.

An introduction to the life of stanley newcomb kenton
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Jazz Profiles: Stan Kenton: An Introduction