Stan Kenton The Best of Stan Kenton [Capitol]
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- Released: March 7, 1995
- Originally Released: 1995
- Label: Blue Note Records
- 1.Artistry In Rhythm
- 2.Eager Beaver
- 3.Artistry Jumps
- 4.Painted Rhythm
- 5.Intermission Riff
- 8.Unison Riff
- 9.The Peanut Vendor
- 11.Love For Sale
- 13.23 Degrees North - 82 Degrees West
- 14.Invention For Guitar and Trumpet
- 15.Stompin' At The Savoy
- 16.La Suerte De Los Tontos (The Fortune of Fools)
- 17.Waltz of The Prophets
Personnel includes: Stan Kenton (arranger, piano); Dee Barton (arranger, trombone); Pete Rugolo, Bill Russo, Bill Holman, Johnny Richards (arranger); Art Pepper, Lee Konitz, Bud Shank, Boots Mussulli, Lennie Niehaus (alto saxophone); Vido Musso, Sam Donahue, Red Dorris, Bill Perkins, Bob Cooper, Jimmy Giuffre, Lucky Thompson (tenor saxophone); Maynard Ferguson, Chico Alvarez, Stu Williamson, Buddy Childers, Shorty Rogers, Conte Candoli (trumpet); Marvin Stamm (flugelhorn); Julius Watkins (French horn); Kai Winding, Frank Rosolino, Jimmy Simms, Milt Bernhart, Harry Betts, Bob Fitzpatrick (trombone); Sal Salvador, Ralph Blaze (guitar); Eddie Safranski, Curtis Counce (bass); Shelly Manne, Mel Lewis (drums); Machito (maracas).
Recorded in Hollywood, California, Chicago, Illinois, and New York, New York between 1943 and 1961.
All selections are mono except for the last two tracks.
Personnel: Stan Kenton (piano); Ralph Blaze, Bob Ahern, Sal Salvador , Laurindo Almeida (guitar); Art Pepper (reeds, alto saxophone); Red Dorris (reeds, tenor saxophone); Eddie Meyers (reeds); Boots Mussulli, Vinnie Dean, Gabe Baltazar, Al Anthony, George Weidler, Lee Konitz, Lennie Niehaus, Bud Shank, Charlie Mariano (alto saxophone); Paul Renzi, Bart Caldarell, Dave VanKriedt, Buddy Arnold, Morey Beeson, Lucky Thompson, Richie Kamuca, Sam Donahue, Vido Musso, Bill Holman, Bob Cooper (tenor saxophone); Billy Root, Bob Gioga, Allan Beutler (baritone saxophone); Chico Alvarez, Bob Rolfe, Conte Candoli, Dalton Smith, Bob Behrendt, Jon Carroll , John Anderson , Dick Morse, Ruban McFall, Bob Lymperis, Al Mattaliano, Russ Burgher, Karl George, Ken Hanna, Al Porcino, Ray Wetzel, Stu Williamson , Buddy Childers (trumpet); Marvin Stamm (flugelhorn); Irving Rosenthal (French horn); Dave Wheeler (trombone, tuba); Bob Fitzpatrick, Dee Barton, George Faye, Eddie Bert, Keith Moon , Frank Rosolino, Bud Parker, Freddie Zito, Harry Betts, Jimmy Simms, Harry Forbes, Kai Winding, Milt Kabak, Gus Chappell (trombone); George Roberts , Jim Amlotte, Bart Varsalona (bass trombone); Jay McAllister (tuba); Mario Alvarez (marimba); Joe Vernon, Mel Lewis, Shelly Manne, Jerry Lestock McKenzie, Ralph Collier (drums); Tommy Lopez , Carlos Vidal (congas); Jack Costanza, Willie Rodriguez (bongos); Roger Mozian (claves); George Laguna (timbales); George Gaber (timpani).
Recording information: Chicago, IL (11/19/1943-12/21/1961); Hollywood, CA (11/19/1943-12/21/1961); New York, NY (11/19/1943-12/21/1961).
Unknown Contributor Roles: Dwight Carver; George Gaber; Ray Starling; Keith LaMotte; Willie Rodriguez; Carl Saunders.
Arrangers: Johnny Richards ; Pete Rugolo; Stan Kenton; Bill Holman.
No one would ever accuse the Stan Kenton Orchestra of swinging all that much. Still, this leading proponent of "progressive" jazz was singly influential in spurring on the West Coast scene. Any number of celebrated players passed through the ranks at one time or other, including alto great Art Pepper, trumpeter Maynard Ferguson, trombonist Frank Rosolino, and drummer Shelly Manne. Perhaps more significantly, Kenton also helped found a new abstract school of jazz singing, beginning with Anita O'Day and June Christy.
This succinct collection from Capitol Jazz focuses on the strictly instrumental Kenton from 1943 on and includes such early gems as "Artistry in Rhythm," "Artistry Jumps," and "Painted Rhythm." Taking a page from Duke Ellington, with whom he shared a florid piano style, Kenton had a pragmatic approach to experimentation, and was continually on a search for new sonorities, radical juxtapositions, and untried rhythms. Famously, Kenton had no feeling for the blues. Instead, he fully embraced Latin music, which, at the very least, accommodated his penchant for bold brass, as piercing as Perez Prado. His classic version of "Peanut Vendor," featuring mambo hero Machito on maracas, stands up well next to the real thing.
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