Stan Kenton

Stan Kenton

Stanley Newcomb Kenton (December 15, 1911 – August 25, 1979) led a highly innovative, influential, and often controversial American jazz orchestra. In later years he was widely active as an educator.

Origins

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. In June 1941 he formed his own band, which developed into one of the best-known West Coast ensembles of the Forties.

Music

Kenton's musical aggregations were decidedly "orchestras." Sometimes consisting of two dozen or more musicians at once, they produced an unmistakable Kenton sound--as recognizable as that of the bands of Glenn Miller, Duke Ellington, or Count Basie. So large an orchestra was able to produce a tremendous, at times overpowering, volume in the dance and concert halls of the land; among musical conservatives it developed a reputation for playing strange-sounding pieces much too loudly, and indeed one comical MC introduced Stan Kenton as "Cant Standit."

A Kenton specialty was Afro-Cuban rhythm, as exported to North America by such bandleaders as Machito (whose brass and reed sound, in turn, began to show the influence of Kenton). Translated into the Kenton idiom, however, the Latin rhythms might be scored for a full panoply of percussion instruments: tympani, bongos, conga, timbales, claves, and maracas. This component of Kenton's work may be heard on the 1947 recording "Machito" and on the album Cuban Fire, still in print after more than fifty years of ceaseless change in popular music.

Many of Kenton's band arrangements were written by Kenton himself, as well as other composers and arrangers such as Gene Roland, Pete Rugolo, W. A. Mathieu, Johnny Richards, Lennie Niehaus, Gerry Mulligan, Hank Levy, Bill Russo, Dee Barton, Bill Holman, Shorty Rogers, Ken Hanna, and Bob Graettinger (ref. his formidable but fascinating "City of Glass"). The music, which could be intensely dissonant, made use of powerful brass sections and unconventional saxophone voicings that showed Kenton's love of experimenting, reflected in the names he gave his ensembles: "Innovations Orchestra," "Neophonic Orchestra," and "Mellophonium Orchestra." Kenton's theme song from the early days to the last was called, significantly, "Artistry in Rhythm." It was owing in part to Kenton's ambitious musical nomenclature that many critics dismissed his work as mannered and pretentious. But apart from recording a few dance-band albums (Kenton's men could play standards beautifully), he avoided compromising his idea of jazz to please either critics or public.

Critics of Kenton have not limited their attacks to his music only. In 1956, when the band returned from its European trip, the Critics Poll in Down Beat reflected victories by Negroes in virtually every category. The Kenton band was playing in Ontario, Canada, at the time, and Stan dispatched a telegram which brought near apoplexy to critic Leonard Feather.

The telegram lamented "a new minority, white jazz musicians," and stated Kenton's "complete and total disgust [with the] literary geniuses of jazz." Feather, alone of all the critics, took up his cudgel to answer and attack Kenton. In the October 3, 1956, issue he wrote an open letter which distorted Kenton's words, and in the heat of anger (though he claimed it was sorrow) he questioned Kenton's racial views, his alleged disparagement of Negro leaders like Duke Ellington, Count Basie and Dizzy Gillespie. Feather inferred that Kenton's failure to win the Critics Poll was the major reason for the complaint; that there had been a prejudice for many years and now it had to be expressed; that Kenton had not hired enough Negro musicians over the years.

All points except the last were based on conjecture, and events preceding and following Feather's complaint have shown how ridiculous they were. The latter point was based on a poor or prejudiced memory of the writer, for in noting the presence of only a handful of Negroes in Kenton's band he overlooked at least five times as many others who have played with or been aided by Kenton. (The night that Kenton sent the telegram there were two Negroes playing in the trombone section.) Not least among these would be Charlie Parker and, particularly, Art Tatum, who was given more exposure on a Kenton sponsored tour than he ever received elsewhere.

Feather's weak memory tore his thesis to threads.

In reality, every musician who has ever played with Kenton will tell you that he has been a staunch defender of the Negro's place in jazz and that he has fought just as violently against the Crow–Jim concept of some Negroes that jazz is their music alone. As critic Ralph J. Gleason wrote, also in Down Beat, Feather's verdict was passed on Kenton ". . without, unfortunately, any public statement from the only musicians really in a position to know." Again, unfortunately, it took critic Feather four years to realise his error, for it was not until August, 1960, that he took stock and tried to clear the scene.

I once asked Kenton if Feather had apologised for his article before the jazz world in Down Beat. The answer was: "Yes: I think it was on the back page of the Pittsburg Inquirer ." Kenton was pointing to the irony that Feather had created a great tempest, and no matter how apologetic the critic would be he had created great ill–feeling, and there is still much of that prejudice–in–reverse by Negro musicians toward Stan.

Nearly three years before this, in the December 16, 1953, issue of Down Beat, critic Nat Hentoff had written that ". . . Stan is as free from prejudice of any kind as any man I know,"

Noted band personnel

Noted band personnel included

• Laurindo Almeida,

• Gabe Balthazar,
• Milt Bernhart,

• Conte Candoli,
• Pete Candoli,
• Jack Costanza,
• Buddy Childers,
• Bob Cooper,
• Bud Brisbois,
• Maynard Ferguson,
• Carl Fontana,

• Stan Getz,
• Dizzy Gillespie,
• Bob Gioga,

• Bill Holman,
• Clay Jenkins,
• Lee Konitz,

• Skip Layton,
• Stan Levey,

• Willie Maiden,
• Shelly Manne,
• Vido Musso,

• Lennie Niehaus,
• Art Pepper,

• George Roberts,
• Gene Roland,
• Frank Rosolino,
• Shorty Rogers,

• Eddie Safranski,
• Jay Saunders
• Ed Soph,
• Bud Shank,
• Zoot Sims,

• Bart Varsalona,
• Mike Vax,

• Kai Winding

Famed vocalists Anita O'Day, June Christy, and Chris Connor were featured with the Kenton orchestra. Kenton discovered The Four Freshmen performing in a small club in Dayton, Ohio, and gave them a huge boost.

Famous recordings

• Adventures In Jazz
• Intermission Riff
• Opus In Chartreuse
• Opus In Pastels
• On The Street Where You Live
• Quintessence
• The Stage Door Swings

Latter years

In his latter years, the genial and charismatic Kenton expended much energy encouraging big band music and what he called "progressive jazz" in schools and colleges throughout the country. His entire library was donated to the University of North Texas in Denton. He 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, although he was no longer one of the great innovators. His final performance was in August 1978, a year before he died. He lived to see his son Lance, a key member of the Synanon drug rehabilitation cult, condemned to prison for assault and conspiracy after placing a rattlesnake in a lawyer's mailbox; what he missed, however, was the later critical "rediscovery" of his music, with many reissues of his recordings.

Stan Kenton died on August 25, 1979, after suffering a stroke a week earlier. He was interred in the Westwood Village Memorial Park Cemetery, Los Angeles.

Selected discography

• New Concepts of Artistry in Rhythm (1952)
• Portraits on Standards (1953)
• Contemporary Concepts (1955)
• Cuban Fire! (1956)
• The Stage Door Swings (1958)
• Viva Kenton (1959)
• Standards in Silhouette (1959)
• The Sophisticated Approach (1961)
• The Romantic Approach (1961)
• Kenton/Wagner (1964)
• Live at Redlands University (1970)
• Live at Butler University (1973)
• Kenton '76 (1976)