Record Reviews

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"Record Review. On the Record. This Love of Mine / The Nango / Adios / Taboo." Billboard. 8 November 1941: 68.
STANLEY KENTON (Decca 4037-4038) This Love of Mine—FT; VC. The Nango—FT. Adios—FT. Taboo—FT.

Plenty of interest attends this platter preem of Stanley Kenton. Band has caused much excitement on the West Coast, and is headed for New York in concert with a planned build-up for the maestro. If nothing else, these four sides show that Kenton carries plenty on the ball, with plenty of promise from a musical standpoint. It's a very solid and tight ensemble. No blary or raucous jazz, yet able to achieve the Kansas City kind of rock and rhythm and still manage to keep the melodic content of the music intact. Outstanding feature as found on the waxes is the terrific punch and drive to the brass section. Saxes are deep-voiced but lack in body texture. Save for the Love of Mine side (4037), issues are instrumentals, with a heavy rhythmic and unwavering beat for rumba-type tunes. Adios is the Enric Madriguera music, and Taboo is Margarita Lecuona's melody (4038). Nango needling is from the Week-End in Havana flicker, mating the ballad side, which Is the most unflattering of the four sides for the band. Weak vocal of Red Dorris doesn't help the disk any.

There can be no hesitation about Kenton's initial sides for the West Coast operators. Maestro is a heavy fave there, and these cuttings fill a long-felt need to carry over the band's popular appeal to the machines. Other operators, however, may have to mark time.
"Record Review. Do Nothin' 'Till You Hear From Me / Harlem Folk Dance." Billboard. 22 January 1944: 19.
5TAN KENTON (Capitol) “Do Nothin' 'Til You Hear From Me’”—FT; VC. ‘"Harlem Folk Dance”—FT.

Stan Kenton makes his debut on the Capitol label with this disking, and it is a more auspicious bow than those four early sides that first brought the band on wax via the Decca waxworks. Moreover Kenton comes thru with a side rich in commercial appeal in Duke Ellington's “Do Nothin' 'Til You Hear From Me.” An old Ellington instrumental in the blues vein. The lyricists have done to this what was first fashioned for his ‘"Don't Get Around Much Anymore” click. The song story blends with the melodic frame expertly. Having gotten a big send-off at the Duke’s Carnegie Hall excursions, it holds much promise of building into one of the biggest ballad favorites of the year. Kenton’s side not only has the advantage of a vocal refrain but also in Red Dorris handling the lyrical expressions. Lad has a natural blues appeal in his pipes and provides it with the sultry setting it calls for. Taking it at a moderate tempo, the band. sparked by the pianist, carries the opening chorus and maintains a solid rhythmic beat thruout. Pace is stepped up considerably for “Harlem Folk Dance,” the conventional type of riff opus, this one molded from a repetitious run. Little imagination and less originality displayed in tho development of the theme, getting it under way with the stereotyped unison saxes. Sax and trumpet rides that carry on, and without creating any undue excitement instrumentally, leave a scant few windings for the band to build it up for these blockbusting finishes. In all, band displays little of its capabilities. Title tagged is strictly non compos mentis, harboring none of that real Harlem flavoring and being even less characteristic of a folk dance, either uptown or downtown.

Like everything else penned by Duke Ellington, his compositions are slow in starting. But watch out once they get under the skin. “Do Nothin’ ’Til You Hear From Me” will undoubtedly chart its popularity course along similar Elllngtonia channels, with the result that Stan Kenton’s side will enjoy a Iong ride around the music box circuits.
"Record Review. Artistry in Rhythm / Eager Beaver." Billboard. 1 July 1944: 66.
STAN KENTON (Capitol) “Artistry In Rhythm”—FT. “Eager Beaver”—FT.

Stan Kenton’s accent on rhythm is well demonstrated for both of these sides. A modern tone poem set in rhythms of varied designs.
Artistry in Rhythm is a tonal painting presented in concert style with the maestro at the piano to emphasize the theme. Formerly known as Production On Theme, the composition is an original one, and under Its more commercial title it serves as the identifying theme for the band. And the arrangement Kenton has created for the composition ls indeed an interesting lesson in modern orchestral scoring. The composition and arrangement is also the creation of Kenton for Eager Beaver, a lively riff opus that provides the ensemble an opportunity to display its collective powers. The maestro is at the piano to tee off the side, with Red Dorris’s tenor saxlngs also coming in for a righteous inning.

The youthful enthusiasts, finding much favor with tho Stan Kenton brand of rhythms, are sure to display tho same degree ·of enthusiasm for the “Eager Beaver” side.
Orodenker, Morris H. "Record Review. Are You Livin' Old Man / Ev'ry Time We Say Goodbye." Billboard. 3 March 1945: 105.
Orodenker, Morris H. "Record Review. Tampico / Southern Scandal." Billboard. 14 July 1945: 66.