The Network XII

November, 1990

Anthony (Tony) J. Agostinelli, Editor
Prologue Can you believe it? We've made it to twelve of these — and we still are able to come up with a wide variety of information in which we mostly have an interest! The secret — all of you....feeding me information about yourself what you're doing now, and of course current and past information about THE
KENTON ERA! Keep sending me material for THE NETWORK.

To All Of Those Who Have Contributed.....

....I offer thanks and all of that to the highest degree! Now, these contributions are not always in the form of cash — could be a newsletter subscription, a recording, cassette tape, stamps, etc. Contribute if you like!

I must single out LOU COOPER who has underwritten the printing and mailing costs for this NETWORK. Let's all of think of him when we read this issue!

I always fail to include someone's name, and I always neglect someone — so, in advance, I apologize for the ommission! JOE ABRELL, BILL ANDERSON, SANDY SMILES APTERS, LILLIAN ARGANIAN, D. W. ARMSTRONG, BILL & KAY ASHTON, JACK ASTRACHAN, JOHN BANGS, GEORGE BECK, DON BEEDE, MARVIN BEISEL, ARNIE BERENDSEN, JIM BERNARD, MILT & MARTIE BERNHART, DAVE BLUME, PAUL BOBKOWSKI, LEON BREEDEN, RON CARTER, OLLIE CLARK, RAY CLARKIN, PAUL COLALUCA, BILL COYLE, IVOR DEACH, GERRY DEXTER, LOU DI FERNANDO, PATRICK DORAN, HOWARD DRAZIC, ROY J. DURSO, TED EHRMANN, DON EVANS, THOMAS FANCY, JOHN FEDCHOCK/MARIA SCHNEIDER, RAY FLORIAN, MRS. HARRY FORBES, ERNIE & D.G. GARSIDE, DIZ GREER, STEVEN HARRIS, JACK HARTLEY, BILL HASELTINE, HERBERT HAWES, HOWARD HEDGES, GRACIE HIETT, MARGE HOFACRE, BOB HUGHES, BOB HUTCHINS, MERRITT JOHNQUEST, TED LAMAS, MYRON LENSON, TOM LONG, DON LOOSE, CHUCK MAHAFFEY, JOHN MASON, FRANK J. MAZZIO, CHARLIE MESSIER, DON MITCHELL, ROBERT OLSEN, KEN ORTON, JOHN OVERBAGH, LAMONT PATTERSON, MURRAY PATTERSON, PETER PEARCE, ROBERT G. PETTIBONE, ALDEN POOLE, GEORGE ROMANEK, DON REAM, PAUL REPLOGLE, BILL RUSSO, GUNTHER SCHULLER, SUSAN SANDLIN, GUNTHER SCHULLER, JUDY & ALLEN SCOTT, ART SCULLY, JIM SEARLES, BERNIE SMYLE, MICHAEL SPARKE, JACK STANCIK, PAUL SULLIVAN, RANDY TAYLOR, EDD TOWNSEND, JOE ULMAN, JOE URSO, GEORGE "KNOBBY" WALSH, RUDY WEEKS, LARRY WEINERT, SHERM WILKINSON, ALAN & JANE WILSON, JIMMY WILSON, CHARLIE WIECHERT, & RAY WHITEHOUSE for mailing out the UK and Continent NETWORKS.....and for those I may have forgotten.
June Passes On In June

June Christy, (Shirley Luster, Sharon Leslie), passed away on the first day of summer, Thursday, June 21, 1990 at 64. Although she began her career in the late 1930's working with Deactur and Chicago area bands, she also worked with Boyd Raeburn, and ultimately gained her fame with the Stan Kenton Orchestra; she joined Stanley in late 1944, upon the recommendation of the departing Anita O'Day.

There are a couple of stories extant about the origination of her "stage" name; among them: she joined Stanley in June and they were en route to Corpus Christi, Texas for a gig....she named herself after the family name of a leading family in Decatur or Springfield, Illinois. Whatever the real story, June Christy has become a household name.

June and the arrangements done for her for Stanley's band, enhanced her career a hundredfold. Among her successes with Kenton: TAMPICO (1945), HE'S FUNNY THAT WAY (1946), WILLOW WEEP FOR ME (1946), IT'S BEEN A LONG LONG TIME (1945), SHOO-FLY PIE AND APPLE PAN DOWDY (1946), LONELY WOMAN (1948), THIS IS MY THEME (1947), HOW HIGH THE MOON (1947), CURIOSITY (1947), ACROSS THE ALLEY FROM THE ALAMO (1946), and so many more. She cut several important albums with PETE RUGOLO and her husband, BOB COOPER — I'LL REMEMBER APRIL (1949), UNTIL THE REAL THING COMES ALONG (early 1950s), SOMETHING COOL (early 1950s); and the albums — THIS IS JUNE CHRISTY (CAPITOL T 1006), THAT MISTY MISS CHRISTY (CAPITOL T 725), FAIR AND WARMER (CAPITOL T 833), IMPROMPTU (INTERPLAY 7710).. ...just to recall a few of the 20+ albums she did with Capitol Records.

She toured with Kenton several times in the 1950s, recorded DUET (CAPITOL T 000), with Ted Heath in 1957-1958, with Nat "King" Cole, and the famous ROAD SHOW tour that culminated in a great Capitol album from Purdue University with Stanley and the Four Freshmen. I remember her rejoining Stanley for the Newport Jazz Festival in New York (and have an off-air tape of the same date).
She lived in Sherman Oaks, California with Coop, who had been caring for her these last several years. She leaves a daughter, Shay Cooper of Long Beach, California and a brother, Jack Luster of Edwardsville, Illinois.

We will always remember June. She was a unique vocalist and gave us all much pleasure to hear her sing.

Networkers: put on your favorite June Christy cut and remember how great...



Sources For Records/Videos, Etc.

The week doesn't go by that I receive a request for information about sources to purchase records, videos, books, photographs, etc. In the past NETWORKS, I have passed along that information. The list below includes — direct sales, auctions, etc.; you'll need to be in touch to get their catalogues. I've given phone numbers where I know them. Some of the names listed below will have been given previously — since we have so many new NETWORKERS, here (some of them are, again), and here's some ones that I did not include:

BENEDIKT & SALMON RECORD RARITIES, 3020 Meade Avenue, San Diego, California 92116 — 619-281-3345
BIG BANDS RECORD LIBRARY, 9288 Kinglet Drive, Los Angeles, California 90069 — 213-858-1980
BOSE EXPRESS MUSIC CATALOG, 50 W 17th St., New York City 10011, 800-233-6357
CRAIG RECORDING, PO Box 943, El Dorado, Arizona 71731-0943 — 501-862-5480
CREATIVE AV CONCEPTS, 610 Carriage Way, Deerfield, Illinois — 708-948-8939
digital transfers of video tape
DAYBREAK EXPRESS RECORDS, PO Box 150250, Van Brunt Station, Brooklyn, New York 11215-0005 —718-499-0487
G'S JAZZ, INC., Gary Alderman, PO Box 9164, Madison, Wisconsin 53715
HWI, 25 Kensington Avenue, #501, Jersey City, New Jersey 07304 — 201-451-3795
WARREN W. HICKS, PO Box 178, Georgetown, Connecticut 06829
DAVE KAY, 29 May Road, Rochester, Kent ME1 2HY, England
JAZZ RECORD MART, Bob Koester, 11 W. Grand, Chicago, Illinois 60610 — 312-222-1467
JAZZ RECORD EXCHANGE, 5840 Hampton, St. Louis, Missouri 63109
JOSLIN'S JAZZ JOURNAL, Box 213, Parsons, Kansas, 67357
MAINLY BIG BANDS, Post Office Box 605, Sutton, Coldfield, West Midlands B74 2LD, England — 021-355-0426
MUSE RECORDS/SAVOY JAZZ, 160 West 71st Street, New York City 10023 — Phone: 212-873-2020; Fax: 212-877-0407
ART NEWMAN, 19137 Zion Court, Fountain Valley, California 92708
MR. NOSTALGIA, Charles P. Morrison, PO Box 26494, Tamarac, Florida 33320 — 305-726-5420
OLB JAZZ, Fred Turco, PO Box 2663, Providence, Rhode Island 02907 — 401-941-6840; Fred now only handles jazz books and videos.
ORIGINAL JAZZ CLASSICS, Fantasy, Inc., Tenth & Parker, Berkley, California 94710 — 415-549-2500
RECORDS REVISITED, Morty Savada, 34 W 34th Street, Room 214c, NYC 10001
RECORD FINDER, PO Box 1047, Glen Allen, Virginia 23060 — 804-266-1154
SAM THE RECORD MAN, Lou Cooper, Yonge Eglinton Center, 2300 Yonge Street, Toronto, Ontario, M4P 1E4, Canada, 416-484-1062
VGM RECORDS, PO Box 288, Ashland, Ohio 44805 — 419-289-1866
VINTAGE RECORDS, Post Office Box 363-316, Boro Road, Primos, PA 19018, 1-800-523-2036 (Murray's in charge)
ART ZIMMERMAN, PO Box 158, Jericho, New York 11753 —516-681-7102



Releases I Know About.....

Here are some releases which are out there. Some have been around, and some came out in 1989. Remember, also, some of 'em are "ephemerals" ("bootlegs")(I don't condone the practice — but they are for sale), so send contributions to a Stan Kenton Scholarship Fund such as the one at: International Association of Jazz Educators, Post Office Box 724, Manhattan, Kansas 66502.

NEW CONCEPTS OF ARTISTRY IN RHYTHM, Capitol CDP 7 92865 2
LIVE AT BRIGHAM YOUNG, Creative World STD 1039
KENTON IN PARIS, 1953, Royal Jazz (Jeal Records) RJ 504
RHAPSODY IN BLUE, Las Vegas, 1965, Moon MLP 012-1
1961-1962, Echo Jazz EJ CD&LP O5
LIVE IN BILOXI, Magic AWE 32
RETURN TO BILOXI, Magic AWE 35
STAN KENTON, Volume 1, 1953-1955, Vogue 600-228
STAN KENTON AND HIS ORCHESTRA (1952-53), Artistry CD 001
KENTON '56 IN CONCERT, Artistry CD 002
CONCERT IN MINIATURE BROADCASTS, 1952-1953, Hep 2043
INNOVATIONS: 1951, EMB LP 413
AT THE HOLLYWOOD PALLADIUM, Jazz Band 413
KENTON'S BEBOPPERS, Unique Jazz UJ-36
STAN KENTON, Volume 14, Joyce Music AJAZ C-2108
STAN KENTON ORCHESTRA, Volume 1, Sigla Jazz (French) VG 651-60028
STAN KENTON ORCHESTRA, Volume 2, Sigla Jazz VG 651-60029
(Above two volumes are repeats of Artistry LPs)
STAN KENTON FESTIVAL, September 21, 1954, Status (English) STCD 101
STAN KENTON AT THE RENDEZVOUS, January 10-12, 1958, Volume 1, Status STCD 102
MELLOPHONIUM MAGIC, June 14-17, 1961, Status STCD 103
STAN KENTON IN NEW JERSEY, June 12, 1959, Status STCD 104
MELLOPHONIUM MOODS, March, 1961, Status CD ST-106
STAN KENTON AT THE RENDEZVOUS, January 10-12, 1958, Volume II, Status STCD 108
SWING BACK WITH STAN KENTON, B & C (Just For The Record, Ltd.) 74078-2
7.5 ON THE RICHTER SCALE, Galaxis CD 9013 (German)
KENTON '56 IN CONCERT, November, 1956, Artsitry ARCD-002
SWEDISH RADIO JAZZ YEARS (Stan Kenton)(Stockholm, 1965)(Scandanavian
Grammophon, Sweden, Telephone: +46-511-16150)(Unknown CD Number)
STAN KENTON & ART PEPPER, Volume 1, Jazz Band 413
STAN KENTON: RARE RECORDINGS, (1962 Band On Hindsight), Laserlight CD 15 725
A STAN KENTON TRIBUTE BY HIS ALUMNI, Happy Hour CD 6001
THE INNOVATIONS II ORCHESTRA, 11/25/51, Seattle, MARK 56
LIVE! BERLIN, 1953, Duke LP 1022
LIVE! HUMBOLDT STATE COLLEGE, 1959, Fresh Sound LP 3000
Video: STAN KENTON, Danish Television, Scandanavia, 1972
Video: STAN KENTON, BBC Television, 1976

STAN KENTON VIDEO AVAILABLE FROM RAY ANTHONY'S AEROSPACE COMPANY

FRED AUGERMAN'S May 6/7, 1977 video of the Kenton band at the Leisure Lodge, Cambridge, Ontario is now available from Ray Anthony's Aerospace Label! To purchase a copy, write or call Ray Anthony, Big Band 80s, Los Angeles, CA. 9288 Kinglet Drive, Los Angeles, California, 213-858-1980.



Who's Doing What With Whom?

This is a tricky section. If you don't let me know what you're doing, I can't write it up here. So drop me a note about what you are up to — day jobbing, gigging, recordings, etc.

BUD SHANK was featured at the 8th Annual Jazz on the Rocks Festival at the Red Rocks in Sedona, Arizona, last year; and this August, was found to be performing in Chicago along with Roy Brown and Jay McShann in tribute to Charlie Parker at Joe Segal's Jazz Showcase. Bud was also on the bill at the 12th Annual Chicago Jazz Festival. So was GUNTHER SCHULLER, et al.

The recent 38th Annual downbeat Critics' Poll found the reissue of the Complete Galaxy Recordings of ART PEPPER, as a second place category winner. MEL LEWIS came in second place in the drums category; Joe Lovano of Mel's orchestra came in as one of the Talents Deserving Wider Recognition (amen)! While on the subject of Art Pepper, there is a CD out called THE ART PEPPER- JUNE CHRISTY BAND on Echo EJCD-19; features Rugolo charts and is a collection of 40's air checks.

LEE KONITZ can be heard on a Jazz Records, Inc. CD, "Live In Toronto" by the Lennie Tristano Quintet (JR5CD).

Seen and/or heard at the IAJE in-service training session in New Orleans in January of 1990: MEL LEWIS, RAY BROWN (trumpet), DAN SALMASIAN, STEVE WILKERSON, MAYNARD FERGUSON, BOB CURNOW, BOB FLANIGAN & THE FOUR FRESHMEN, DAVE BARDUHN, AL & NAN FLUCK, JACK WHEATON, PETER ERSKINE, and CLEM DE ROSA.

DON "D.W." ARMSTRONG, reports that he attended the San Diego State Jazz Ensemble Show at the Culbertson Winerey in Temechula on Sunday, April 22, 1990. "WILD" BILL YEAGER directed a fine group of students, along with guest, GEORGE ROBERTS. They did "MacArthur Park," "Opus In Pastels" — a new arrangement by MATT CATINGUB.


DOUGLAS J. HUGHES, 121 Finneans Run, Arnold, MD 21012-1876 would like to correspond with other readers who play MELLOPHONIUMS. He would like to exchange ideas and start another newsletter called (appropriately): MELLOPHOBIA!


DAN SALMASIAN was on a trip up and down the East Coast and visited with TIM HAGANS, JOHN HARNER, THE FLUCKS, and he spend a couple of days with me. He is currently an adjunct faculty with Florida Mid-Atlantic College, and playing in pit bands at the Jupiter Theatre. He recently put together a band for Les Elgart, who did some dates in the area.


DICK SHEARER did his annual Tribute gig at the Irvine Marriott (am past tensing this since the gig will have already been played by the time you receive this) on June 3, 1990. He called, we chatted; guys/gals who were scheduled to show up for the gig were — saxes: BOB COOPER, STEVE WILKERSON, QUAM, ALAN YANKEE, RAY REED; trombones: BOB FITZPATRICK, CHARLIE WEIGAND, MORRISSEY, GEORGE ROBERTS; trumpets: MIKE VAX, JENKINS, GRAHAM, MATISON, DILLON; rhythm: DAVE STONE, bs, JERRY MCKENZIE (little, older, California, not Detroit), drums, and SYDNEY LEHMAN, piano. Of course DICKUS fronted the band and did his trombone thing. Over 1000 were in attendance. I'm sure that he and Flanigan did their, "who is the best trombone player in the world gag?" Both STEVEN HARRIS & D.W. ARMSTRONG were present and though it was a great event and evening. Great going, Dickus and Flan and Frosh!!


RANDY TAYLOR stays in touch and recently had a visitor in Dick Miller who replaced him at the Miami University, Ohio radio station.


The JAZZ ARTS GROUP of Columbus, Ohio, did their umpty-ump tribute to Stanley and featured JOHN HARNER and MAYNARD FERGUSON. In April. I had hoped to have JAG's next year schedule so I could publish it. But, they've got THE FOUR FRESHMEN coming back next April. If you're within moneyed distance of the events of that week — go! I would like to make one of them one of these days. From all I hear, JAG does it so well! Great going, Ray; and, finally nice to meet you in New Orleans — hope you enjoyed that 1962 tape made at Villanova!! (Editor's note: See Lillian Arganian's review below).


ROBERT PETTIBONE is working hard on his bio-discography of CHARLIE MARIANO. If you have anything to contribute to his work, drop me a line, and I'll put him in touch with you.


CAROL EASTON has done several great works since her bio on Stanley. She did a biography on Sam Goldwyn, Jacqueline Du Pre, and is working hard on a biography of Agnes DeMille. Her book on Du Pre is a smash in England, and is now in the stores in the USA. (Editor's Note: The Du Pre book is a smash — I really got to know more about her, and played the Elgar, the Beethoven stuff and Delius material at times while I read — wow, in the la panza!)


MAYNARD'S "Big Bop Nouveau," group is outta sight. Heard them in New Orleans, and the sound is better than ever. His new CD of the band is out: Go get it! Maynard will be doing a residency at Carnegie Hall from July 5 to July 9, 1991 — a master class workshop. MF will do a concert at Carnegie Hall during his residency. Call for information to Noah C. Rosen, MidAmerica Productions at 1-212-239-0205. MAYNARD FERGUSON's "Be-Bop Nouveau" CD is now available ad is a Roulette Jazz reissue of "Maynard 61 on CD (B293900).


PETE RUGOLO wrote a nice chatty letter. He told me of several arrangements he wrote for the Howard Frederics orchestra in San Francisco around 1938 — "920 Special," "Embraceable You," "Where Or When," & "I'll Never Be The Same." Each of those were recorded. He played piano on the recordings. If you run into any Howard Frederics sides from that era besides those mentioned, drop me a line. Pete is still making some arrangements for Al Jarreau, Bob Hope, etc.


John Fedchock (formerly of the Herman orchestra), and Maria Schneider (formerly worked with Gil Evans), have a great big band playing in and around NYC. I was about to get to hear them at "Visiones" in the Village, but at the last minute could not. Go listen to them. They're smokin'. TIM HAGANS is with them.


BILL PERKINS is on a CD, Interplay IPCD-8606-2. Something nice to hear.


HOWARD RUMSEY conducted a 40th reunion of his Lighthouse All Stars last year, and it was recorded. It's available on Contemporary C 14051. Alumni participating were: BOB COOPER, BUD SHANK, CONTE CANDOLI, Bob Enevoldsen, Calude Williamson, Monty Budwig and John Guerin.


BILL HOLMAN met the Norwegian Radio Big Band om 1987 and now the meeting has been released on a CD — Taurus CD 826. The Norwegian orchestra's theme is "King Fish," written by Bill for Stanley in the 1950s.


BUDDY CHILDERS is still backing up Frank Sinatra, Jr., and played the Four Queens Monday Night Jazz's 9th year in Las Vegas.


GABE BALTAZAR has been working regularly since his retirement from the Honolulu Royal Hawaiian band, and in April worked with the Honolulu Symphony Orchestra at the Neal Blaisdell Concert Hall.....Gene Milton continues to do his "In Tribute To Stan Kenton" charts at various venues in Rhode Island. He has recently been joined by jazz stalwarts, Wayne Andre, JOE CASANO, and Greg Abbate, "Red" Lennox, strong Rhode Island jazz alto/soprano saxist and trumpeter, respectively.


DICK SHEARER has moved to across the street from Mt. Hood Community College and will ply his trade there for a bit.....HARVEY COONIN is still playing 'bone and arranging for the U.S. Navy Commodores; saw him/them at the Newport Naval Base — the group still smokes. Coonin has arranged a big band medley which is a showcase for the entire band!


Note from FRANKIE DI ORIO to JENNIE LADD; Frankie says "hello!"



OTHER JAZZ-ORIENTED NEWS PIECES

MARGE HOFACRE'S "No Name Jazz N.E.W.S." is going strong and you should subscribe; the jazz world is at your fingertips with here letter. Go for it. $25 regular rate — USA; $20 jazz musicians/students — USA; $30 first class mail — USA; $30 Canada — US currency; $40 Japan, Australia, Europe — US currency. Write Marge at No Name Jazz NEWS, PO Box 9208, Cincinnati, Ohio 45209, 513-533-3555.


Don't forget to subscribe, also, to MILT & MARGE BERNHART'S, "Big Band Academy Newsletter." Write the Bernharts at: 1438 North Pepper Street, Burbank, California. The Big Band Academy sponsors regular concerts of big band music in the Los Angeles area.


And, if you want to be in touch with other jazz people throughout the world, become part of the "world-wide jazz family," of the "Jazz Connection," World Jazz Network, Box 2226, Corvallis, Oregon 97339.


And, "Cadence" continues as a thick review of everything that's for jazzists. The subscription costs $25. It's worth it. Write: Bob Rusch, "Cadence," Cadence Building, Redwood, New York, 13679-9612 — 315-287-2852. Tell Bob you read about in THE NETWORK.


Also, become familiar with what's happening in jazz from a presenting jazz, increasing performance opportunities, establishing jazz support and new perspectives point of view by writing and joining: NATIONAL JAZZ SERVICE ORGANIZATION, Post Office Box 50152, Washington, DC 20091, 202-347-2604 or FAX them at — 202-638-3460.



THE FOUR FRESHMEN APPRECIATION SOCIETY (FFAS)

They've reorganized, and JOHN BANGS is at the helm, now. FLAN and the Frosh are gigging all over. Bob's and John's last communiques with me indicate so much is happening. They were with DICK SHEARER'S gig at the Marriott, did a tour with the WOODY HERMAN BAND, BUDDY DE FRANCO and KAY STARR, recently. They'll go to Sweden with the Herman band in October, and plan a Japanese tour at Christmastime. Last time 'round, I published their itinerary — they will be in your area — but this time, I am going to have you be in touch with John Bangs off the FFAS and urge you strongly to JOIN!


BOB FLANIGAN wrote in response to my cheers and good stuff about the Four Freshmen gig at the Regattabar, Cambridge, Massachusetts. I wrote: SUPERCALAFRAGILISTICSUPERALADOCIOUS....SUOICODALAEXCITSILIGARFALACREPUS, was his response. The 'S" word backwards....How did you do that and how do you say that, Flan?


THE FOUR FRESHMEN APPRECIATION SOCIETY
John Bangs, President/Manager, 738 Monroe Street, Oshkosh, Wisconsin 54901-4649
Phone: 1-414-426-4284 (PAY FOR THE CALL, IT WOULD HELP FFAS OUT IMMENSELY)


FFAS has a historic videotape for sale. It's a concert filmed in Sweden on September 21, 1966 and features in black and white the FOUR FRESHMEN of that period: Ken Albers, Ross Barbour, Bill Comstock and Bob Flanigan. At $24.75 (includes postage), it's a steal; so write to John as addressed above. Add 10 per cent for each order to be shipped overseas.


DAVID E. POWERS has written a review of the FF's Springfield, Ohio concert on June 16. His words abound with praise: "......super sets....Bob still hits those tough high notes....WOW!!.....somethin' else." For those of you who were there, you know what Dave was writing about!


As you may already know, Flan, after a slight heart attack, is back on the road with the Frosh. MIKE BEISNER replaced him for awhile. Hope to see the Frosh in Lowell, Massachusetts on November 18th!




NEED TO KNOW ABOUT SOMETHING.....

(1) Help me out here. A drummer by the name of HANK ANDREWS professes to have taken JERRY MCKENZIE'S place on the Back To Balboa album, although Jerry is listed as the drummer in the liner notes and in the several discographies that I know of. Supposedly, McKenzie couldn't make the gig and Stanley told Hank that "you will be Jerry McKenzie on this album, Andrews!" What does anyone know of this?


(2) Larry King, the late night radio/cable talk show guy, gave a nice pitch about Stanley, playing PEANUT VENDOR one night. Larry said he was a close friend of Stanley's. Does anyone know anything about this?


(3) JIMMY SACCO — when did he play with the Kenton band, and what did he play?


(4) LOREN MC CLUNG (alto sax) — when did he play with the Kenton band?



TRIBUTE GIGS THAT I KNOW ABOUT

GEORGE BECK is doing another tribute at ArtPark in Lewiston, New York (eight miles north of Niagara Falls) on Saturday, August 4, 1990 at 8:00 pm. Kenton guys coming in are: ROY REYNOLDS, CHUCK CARTER, JERRY MCKENZIE (Detroit), RAMON LOPEZ, PAUL ADAMSON, JOHN HARNER, DALE DEVOE, & DOUG HAMILTON. The remainder of the band is made up of local guys who are "monster" players and work with George. They hope to do some tunes that Stanley never recorded. If you're interested, be in touch with George at 716-832-1662.


CLAYTON POOLE and the Northeast Big Band are working with the FOUR FRESHMEN in Jackson, New Hampshire at a jazz festival there on July 14, 1990.


IVOR DEACH and the SHADES OF KENTON continue to wow them in the UK. MURRAY PATTERSON tells me that they have added some new charts to their library. (What are they, Ivor?) SHADES is taking a break from July to early September and will resume their twice monthly gigs in Oldham and Stockport. According to Murray, "so far, Lou Deach who has now assumed the PR role with the Band, has filled dates at Lowestoft (Suffolk) on October 6th, Hemel Hempstead (Hertfordshire) on October 13th, Hemel Hempstead on October 27th, Lewisham (London) Jazz Festival on November 3rd, and at the Concorde Club, Eastleigh (Southhampton) on November 14th. (UKers and others — go listen to the SHADES!)


DAVE POWERS of Kentwood, Michigan pulled off A TRIBUTE TO STAN KENTON on August 25, 1990, for those in the greater east Michigan area — mostly recorded music, some trading, some memorabilia, and some event! If you want more information (or if the time has past and you still want to know more)(I don't know exactly when this NETWORK will be mailed), drop him a note at 767-56th Street, SE, Kentwood, MI 49548. The event was a smash!


In February, The 25 piece Cleveland Jazz Orchestra, under the leadership of Roland Paolucci was featured playing the music of STAN KENTON'S orchestras to a sell out crowd at the Cuyahoga Community College Metro Auditorium. Among the charts used were: CUBAN FIRE SUITE 2, MALAGUENA, PEANUT VENDOR, DYNAFLOW, I'VE GOT YOU UNDER MY SKIN, 23oN 83oW, BUT BEAUTIFUL, BODY AND SOUL, and of course, ARTISTRY IN RHYTHM. I am told, there were "numerous standing ovations!" (Editor's note: Roland Paolucci and your men, take a bow to THE NETWORKERS!)


In March, The Jazz Club of Sarasota presented, a "Jazz In The Park" event, at Island Park in Sarasota, Florida; the Club featured 12 bands in two days! On Day I, The University of South Florida Jazz Band, CHUCK OWEN, Director, was featured using authentic Stan Kenton Band arrangements. (Editor's note: I've heard a tape of the festivities! Terrific job by a bunch of great musicians. Great Going, Sarasota and Chuck!)


BILL HASELTINE did a radio program on August 8 at KBOO-FM in Portland, Oregon with Don Manning. I understand that it was a two-hour gig on radio and Bill played many unreleased items from his own collection of Kenton. Great going Bill; Bill tells me that he will do a September 5th gig on radio with Ted Halleck in the Greater Portland area. And the music continues......

The New Jazz Repertory Ensemble of Spokane, Washington, led by BOB CURNOW will be performing REMEMBRANCE: THE MUSIC OF THE STAN KENTON ORCHESTRA on Friday, June 7, 1991; write or call Bob at PO Box 543, Liberty Lake, WA 99019, 509-255-6551. Send for his music catalogue (900 pages of music) — Sierra Music. (Editor's Note: Some doings, Bob).



MEL LEWIS ONE OF THE SWINGING DRUMMERS PASSES ON

MEL LEWIS passed away in February. He was 60. He did things on drums that no one else did. He did things for Stanley's orchestra that no other drummer did. Those of us who knew him, either liked him a lot, or didn't. He minced no words. He said what was on his mind. Even at the end, and I got to be with him on and off during the IAJE convention in New Orleans, he was taking about the future. The Mel Lewis Jazz Orchestra continues at the Village Vanguard on Monday nights; the music goes on.



KENTON IN OILS...

I've been given a gift from BOB GIULIANI, a very gifted graphic artist and long-time Kentonite, a portrait of Stanley in oils. Very much like him. It's magnificently executed. Bob does fine work. (Thanks, Bob!)



JAZZ ARTS GROUP OF COLUMBUS AWESOME IN KENTON X!
By Lillian Arganian

All of Johnny Richards' writing could be called rich, colorful, dynamic densely orchestrated, dramatic, thrilling and intensely satisfying. But some of it is enough to drive you at times, in the words of Billy Crystal, absolutely "crazy, NOTS."

Such times occur with frequency in his lavish arrangements of Leonard Bernstein's WEST SIDE STORY.

And the fortunate, intelligent people in Columbus, Ohio (intelligent because they were there) during the tenth annual Stan Kenton Tribute put forth by Ray Eubanks and his sterling Jazz Arts Group, April 25 through 29, knew just why they were feeling so good all evening long. There is, quite simply, so much to listen to.

For the first time ever, believe Eubanks, the suite of music was played live, virtually in its entirety. (One number was omitted). The Kenton band recorded it (and won a Grammy with it) in 1961, but as far as is known they did not play the entire suite live at any time, though certainly Kenton played selections from it, as did the JAG four years ago.

Such writing! Sizzling Latin percussion in prominent, not underlying, contrast to simultaneous jazz rhythms from the brass — and such brass! Always, the addition of mellophoniums to the "Kenton sound" — which the JAG has certainly got down — adds the dimension of depth, the burgundy wine of tonal color, the stark brooding drama of the mysterious lower registers that is so central to the meaning of Stan' music. Richards knew exactly how to do that, and he did it superbly.

With an impact like TNT, the band exploded into the second half of the program with the PROLOGUE/OVERTURE, followed by SOMETHING'S COMING, MARIA, AMERICA, TONIGHT, COOL, OFFICE KRUPKE, TAUNTING SCENE and SOMEWHERE/FINALE. Each number had its own unique character, with special touches that portrayed a fascinating scenic texture, drawn from a constantly changing aural palette: Stan Gilliand's muted trumpet, a faint voice over the ominous building up in the orchestra's lower voices in TONIGHT. Dual lines subtly etching the maze of COOL. Smooth trombones easing into the start of OFFICER KRUPKE, then a gorgeous architectural counterpoint spearheaded by a thrilling build-up in the trumpets, rising to a roaring big finish and leading into the high drama of the TAUNTING SCENE. And a somber, mood-setting transition to SOMEWHERE and the FINALE by the trombones and saxes playing in unison, followed by pianist Mark Flugge's repeated chords, each successively quieter, with two notes in a long hold, setting the stage for the bright faith of the inspiring ending.

What Richards adds through his ingenious orchestration is a sense of not only the heated clashes of the opposing sides in the story line, as in the TAUNTING SCENE, but a deeper drama through the "warring factions" within the orchestra itself — trumpets against trombones, trombones against mellophoniums, rhythm against brass.

Moments of great beauty enhance the spectrum — the shadings of a brass choir, the occasional Kentonesque phrasing of the saxes, the brilliant trills of the soaring trumpets.

Nor are there any easy moments for the trumpets; all five play high, demanding parts most of the time.

In the heart of that exciting trumpet bastion a certain notable contribution was being made all through the concert by former Kenton star, John Harner. Randy Taylor once told this writer that no one would attempt SEND IN THE CLOWNS after John had done it — it was so clearly his.

John played SEND IN THE CLOWNS as the third number on the program. To hear him was to understand the value of doing Kenton tribute concerts. Stan Kenton really does come to life in such events, especially when his alumni are present and giving forth with that purity and fire that no other bandleader ever inspired with such fervent devotion. John's solo came steady as a flame, powerful, true, full of feeling — each evening, the audience broke into applause following his performance, before the number itself ended. John soloed also on ICE CASTLES later in the program, playing the lovely, straightforward melody and rising by octaves as the orchestra built powerfully to the full climax.

Local "thrush" Kelly Crum Delaveris added a refreshing touch to the concerts, singing such great fare as HOW HIGH THE MOON, THE MORNING AFTER THE NIGHT BEFORE, MIDNIGHT SUN and a knockout, bluesy rendition of I GOT RHYTHM. HOW HIGH THE MOON had a nice slow-tempo start that gave the music a fresh twist. Kelly's style is torchy and original. Dressed smartly in a sophisticated black strapless dress with a white flouncy skirt, long black gloves and black high heels, she lent elegance and a personal flair to her numbers.

She also gave the band one of its choice wise-cracking opportunities of the evening. In introducing HHTM, Kelly said its writers were "Lewis and..."

"Clark," the band helpfully supplied.

More: in an unsolicited response to Eubanks' request to the audience to fill out a survey in the lobby, a trumpet player announced airily, "Well we're gonna play anyway."

("This band gets more like the Kenton band every day," someone was heard to remark.)

Of course, the "Four Hornsmen of the Apocalypse" (Eubanks' special moniker for the mellphonium players) couldn't resist their crack at zaniness. One night they quietly filed onstage in Groucho Marx get-ups—bushy eyebrows and fake mustaches.

"Leave 'em on," was the band's response.

Saturday night's mischief was even wilder: they came out wearing grocery sacks over their heads, with cut-outs for eyes and silly grins pencilled in.

"Leave 'em on," the other band members again implored!

Even if they had, here were four guys — Dave Sykes, Chris McCormick, Time Swinehart, and Bob Birkimer, of the JAG trumpet section — who, one felt, could easily "play their way out of a paper sack." Other numbers they performed with the band, on the first half of the program, were LIMEHOUSE BLUES and lushly romantic ballad BUT BEAUTIFUL.

OPUS IN CHARTREUSE, INTERMISSION RIFF and ARTISTRY IN RHYTHM, which opened the program, were excellently played and gave soloists Gilliand and Flugge as well as Joel Johanson on sax, Gary Carney and Ola Hanson, trombones and Paco Grier, congas, ther moments in the limelight. ARTISTRY did honor the dramatic Kenton style, starting in the dark with a solo spotlight on Mark Fluggee at the piano and then, as the band picked up the theme, flooding the stage with light in a dazzling affirmation of the lasting, towering music of Stan Kenton.

(Editor's Note: Lillian really loves to hear that soaring "Kenton sound" as we all though; and, she has a serious talent of writing about it! Way to go, Arganian!)




MORE ON THE JAZZ ARTS GROUP OF COLUMBUS

THE JAZZ ARTS GROUP OF COLUMBUS (JAG) is enrolling subscribers to the 1990-1991 guest artist series. They will feature: EDDIE DANIELS and the Wizardry of Harold Arlen, Hubert Laws, THE COUNT AND THE DUKE, AN EVENING WITH LOUIE BELLSON, and on April 24 through 28, 1991, THE FOUR FRESHMEN in the KENTON ROADSHOW! So write or call for your series subscription: JAG, 709 College Avenue, Columbus, Ohio 43209, telephone: 614-231-7836. Way to go Ray (Eubanks, that is)!)(Found JAG's '78 album in record bin. Smokin'!)



THE ESQUIRE MUSIC FOUNDATION

PAUL COLALUCA's ESQUIRE MUSIC FOUNDATION has issued an updated list of Charts by Stanley and other Kenton arrangers. He notes: "scores come 8 1/2 by 11 or 11 by 17. Originals are either directly from the Kenton book or from other libraries. Stocks are usually the published version of the original. Madsen copies are edited from 10 brass, 5 saxes, 4 rhythm and 4 horns to 8 brass, 5 saxes and 4 rhythm with horns cured to other parts. These are beautiful hand written copies." Paul has "PLI" charts from the Private Library, Inc., "a series of original compositions by Johnny Richards." Paul is "interested in exchanging scores for charts and charts for scores where he has one or the other only. Libraries can be expanded this way without cost. Without exchanging arrangements costs are $20. for 2 or less sheets per part, $27.50 for 3 sheets per part, and $35. for 4 sheets per part."

Paul writes me that the Esquires are busier than ever playing the BIG BAND BOOK charts. A book, by Debbi K. Swanson, has been begun to review the career of these great musicians and the music that they have been performing over the years. Stanley was the first board member of the ESQUIRES.

Direct all inquiries to: Paul Colaluca, ESQUIRE MUSIC FOUNDATION, 2406 W 171ST STREET, TORRANCE, CA 90504, TELEPHONE: 213-323-9202.



KENTON ORCHESTRAL CHARTS AVAILABLE.....

MARINA MUSIC SERVICE, 8886 42nd Avenue, Box 46159, Seattle, Washington 98126, 1-800-331-4528, Fax 1-206-938-0669 has charts used in the various Stan Kenton Orchestras for sale; among them: BODY & SOUL (Paich), DOWN & DIRTY (Levy), GRANADA SMOOTHIE (Taylor), RAINY DAY (Barton), MAC ARTHUR PARK (Barton), MY FUNNY VALENTINE (Barduhn), MY OLD FLAME (Paich), SAMBA DE HAPS (Taylor), SEND IN THE CLOWNS (Barduhn), and other charts by your favorites — BILL HOLMAN, DAVE BARDUHN, & others. Send for catalogue of prices!


BOB CURNOW is still writing, composing and arranging. Get his charts by writing him at: SIERRA MUSIC, S 1292 Starr Lane, Liberty Lake, WA 99019.



"STAN KENTON: THE MAN AND HIS MUSIC," IS A SELL OUT!

By Lillian Arganian

More copies will be produced in August, but yes, it's true, the first printing of the book is Gone With The Wind. A wonderful support system exists out there, in which very kind, unknown persons notified various journals in sly little ways, so that the author received orders from people who saw it noted in this or that place; other wonderful Kenton fans at their own expense had copies made of the flyer I was circulating and distributed it at this or that Kenton event. This plus THE NETWORK (thank-you, Tony!), the NO NAME JAZZ NEWS through the terrific encouragement of its publisher Marge Hofacre, a great deal of word-of-mouth "chatting it up" in various points all over the world, reviews, book dealers hunting me up, and so forth, have assured the book's initial success.

On a personal note, I very much appreciate the many kind, warm, friendly and grateful letters I've received from Kenton fans who have enjoyed the book and are very happy it came into being. We are a family, no doubt about it, and Stan would be happy to know his followers have never forgotten the thrill his music once gave them at a dance or concert or through records worn to a frazzle or a furtive tape fuzzily getting down some precious moment at a gig somewhere.

If you didn't get your copy "hot off the press" in its initial printing, try again in August. Price: $22.50 plus $3.50 for shipping and handling, or a total of $26.00. Ms. Lillian Arganian, 716 Ann Street, East Lansing, Michigan 48823. And to all of you who waited patiently and encouraged me and laughed or cried your way through the book and took the time to tell me you enjoyed it or loved it or want more, a heartfelt thank-you. We're really just beginning......



EDDIE BERT SALUTED BY THE NEW YORK BRASS CONFERENCE FOR SCHOLARSHIPS

In April of 1990 the New York Brass Conference saluted EDDIE BERT in a concert at its 18th Annual Brass Conference at the Roosevelt Hotel in NYC. An Eddie Bert Scholarship Fund in perpetuity has been set up to benefit brass players. The concert included many luminaries with whom he has worked with and recorded with: SHORTY ROGERS, SAL SALVADOR, Bill Crow, Duke Jordan, Loren Schoenberg, Ed Bonoff, VINNIE DEAN, Steve Roane and Jimmy Hill. In addition to the Stan Kenton orchestras, Eddie has worked with: Red Norvo, Mildred Bailey, Charlie Barnet, Chubby Jackson, Woody Herman, Bill Finnegan, Jo Stafford, Ethel Merman, Art Pepper, Shelly Manne, Bob Cooper, Bill Harris, Milty Gold, Benny Goodman, Artie Shaw, Charlie Mingus, Thelonious Monk, pit bands for Broadway Shows, Dick Cavett, Thad Jones/Mel Lewis Orchestra, and is now working with the Phillip Morris Superband.

If you want a booklet about Eddie, send a SIGNIFICANT CONTRIBUTION (they are not free) to: New York Brass Conference Scholarships, 315 53rd Street, New York, NY 10019. We're proud of you, Eddie!



WHEN YOU HAVE A CHANCE, WRITE TO.......

.....CHET BALL, who played on and off in the STANLEY KENTON orchestras in the early forties. He is not feeling well, and would like to hear from Kentonites — especially those of us who remember him. His address: Chet Ball, Lakeview Terrace Sanatorium, Post Office Box 399, Sunland, California 91041. And Chet, I hope you are feeling better and that you will hear from many NETWORKERS!



....AND THE MUSIC CRITICS 'GAVE IT' TO STANLEY'S MUSIC....

THE NETWORK has mostly been an up-beat, on-target paean to Stanley Kenton and his musical career and the careers of his sidemen. We have avoided any down-beat kinds of issues. However, we all knew that there were certain critics who DID NOT appreciate Stanley's music, personality and comments about music, as we NETWORKERS did. In retrospect, given the GREAT CONTRIBUTIONS that Stanley continuously made to modern American jazz and contemporary music, these critics had ultimately to eat crow, given their perspective on Stanley's creative genius in music.

I have chosen to re-publish here some comments made by the critics who thought Stanley's music didn't make it — not because I concur, but because I wanted to point up how far off their perspective was. So, if any of you believe that I am doing an injustice to Stanley, please let me know....but I remember how furious I became when I read this stuff first time around...the fury has diminished, because I know that they have been proven WRONG!


I have taken the liberty at the end of each critique to comment upon the commentators' comments!


(1) From THE BLINDFOLD TEST by Leonard Feather, choosing Norman Granz as the first non-musician to take the test in downbeat, April 20, 1951, p.12:

"Stan Kenton, MONOTONY, Capitol Records, arrangement by Pete Rugolo; "This has got to be Stan..you know, I don't think even Kenton like this! It must be that MONOTONY. If it isn't called MONOTONY, it should be. Take it off, I don't have to hear the rest. You know I've been following the Kenton band for years, and the only things I ever liked were PEANUT VENDOR, LOVER, HOW HIGH THE MOON, and things like anything. It's a shame; this could have been a real swinging band, but it failed because Stan read a few books or something. He had wonderful raw material, eager young musicians, and music; but as Stan is verbose, his band is the same way. If you have a musical idea to sell you sell it on its own merits, you don't press-agent it with a lot of loud talk. This band cheats; it uses gimmicks and advertising slogans. What id progressive mean anyway? Goodman and Basie and Ellington never needed slogans. I'd hate to hear Kenton try to mess with some the swinging bands at the Savoy. ....with Stan it's 20 men for dancing one year, 40 men for concerts the next. I guess next year he'll have to have 80 men, and the year after that 160. If he or Pete have anything to say they can say it just as well with 16 men. Give the record no stars." (Editor's note: Norman, except for some great things you've done as an entrepreneur, press-agent in jazz, I give you "no stars" for your lack of appreciation of the Stan Kenton orchestra!)


(2) And in that same issue of downbeat, on the occasion of Stanley's 11th year in the business, here are some sample anti-Kenton comments, which may have been more self-serving by the commentators than ones which were understanding and sympathetic to Stanley's music.

— Lenny Tristano: "I wonder if he's (Stanley) really with the music, enjoys it himself." (Editor's note: Lenny, you were great in what you did, as Stanley was great in what he did! It's unfortunate you didn't recognize it!)

— John Hammond: "I never particularly enjoyed Kenton's music — it's too pretentious.....frankly, this music, more than anything, is just painful to me....." (Editor's note: John, you did much to promote jazz music, but I suggest that if you didn't "discover" them, they weren't much to you!)

— Ward Kimball (leader of the Firehouse Five Plus Two): "...Kenton leaves me cold." (Editor's note: Ward, the Firehouse Five Plus Two were a caricature of dixieland music; you didn't even play the jazz that you thought you were representing, as well as the great artists who did play that music!)

— Boyd Raeburn: "...there isn't enough of an element of contrast to justify the extremities he goes to. One thing I heard featuring the drummer, sounded quite chaotic...." (Editor's note: Boyd, when you were doing the same kind of stuff, you liked it — maybe it's because you didn't make it? Wouldn't that be classed as sour grapes?)

— Nesuhi Ertegun: "Good intentions are not enough. Stan Kenton is the loudest, emptiest sound in American music." (Editor's note: Bite your tongue, Nesuhi, you did much with Atlantic records to enhance jazz, but you've produced more garbage than you'd be pleased with, I'm sure!)

Well, they've said it, and I hope that for those who have passed on, they are happy with Stanley in heaven, working with him, and learning from him — as I am sure, he is learning from them.

— But I like BILL RUSSO's comments from that era best: "Stan is one of the most wonderful guys I've ever known. Perhaps the really great thing about him is that his personality doesn't undergo a change when he acts as a leader. He inspires the same kind of loyalty and enthusiasm among his men as he does among his friends and fans....one of the trumpet players with Stan's first 'Innovations" tour expressed the sentiment of most of the men who have worked for Stan when he said, 'This is the first band I've ever worked on where I've felt like a gentleman and a human being." (Editor's note: Well said, Bill! My sentiments, and a representative sampling of NETWORKERS concurs.)



EVEN THOUGH STANLEY DID NOT DIG THE NOSTALGIA TRIP.......

".....I think that nostalgia is certainly the most commercial commodity in every.....but I think that people who are constantly living in the past are missing out on something. They're missing the excitement of what's going on in the world today (Big Band Jump, August, 1990)......"

....he certainly played the chestnuts and warhorses from a lot of the previous incarnations of the Kenton orchestras! Which leads me to these recollections:

....From the August 2, 1947 issue of the Billboard's First Annual Disk Jockey Poll Part I — For the Year June, 1946 to June, 1947:

Best-Liked Records:
(Greatest All-Around)(Ranked 9th) — ARTISTRY JUMPS, STAN KENTON
(Popular Album)(Ranked First) — ARTISTRY IN RHYTHM, STAN KENTON
(Hot Jazz)(Ranked First) — ARTISTRY JUMPS

Best-Liked Vocalists:
(All-Around Popular Female)(Ranked Tenth) — ANITA O'DAY
(Fem Band Vocalist)(Ranked First) — JUNE CHRISTY
(Most Promising Newer Names)(Female Vocalists)(Ranked Fifth) — JUNE CHRISTY

Best-Liked Bands:
(Swing)(Ranked First) — STAN KENTON



......AND, IF YOU LIKE CATS!

....MARVIN BEISEL, a NETWORKER, has written a book about his cat. "Actually it's my cat's book," he writes. As he tells everyone, "Hoppy writes better than I do!" The name of the book is Hopalong Purrsnickity. He writes, it's 186 pages of 'story and stuff — written in the first person — by Hoppy — One Pursnickity Cat!'" The total cost, postage and handling is $18.50. If you want a copy, write: HoppyTalk Productions, P.O. Box 15968, N. Hollywood, CA 91615-5968. (Editor's note: Marv, do I get a "free-be" for this publicity?)



WHO AMONG US REMEMBERS HAROLD FOX (A/K/A JIMMY DALE)?

DON BEEDE send along some copy about Harold Fox (aka Jimmy Dale)..."he was part of Fox Brothers Clothiers, the inventors of the "Zoot Suits!" He outfitted many big bands, including STAN'S...he would occasionally trade suits for arrangements....." He is reported to have a $40K music library. He has KENTON charts. "Fox took over Jimmy Dale's band in the 1940s and assumed Dale's name (hence the aka)," according to Don. Many jazz names were with Dale's band including: LEE KONITZ ("rapidly gaining recognition" in 1947), JIMMY NOTTINGHAM, Dizzy Gillespie and other greats guested, Sonny Stitt, Lou Levy, etc. He is living in Sarasota, Florida, is fishing, still wears "wild" clothing, and has an "outrageous" head of hair (pure white) and a mustache that hides his 80 years!"

Quote from an article in downbeat, March, 1947, written by Ruth Hamalainen, (Don sent article): "The Dale band has always been good, at times great, maybe. Hal gets the best arrangements from all the top bands, Basie, Hampton, Eckstine, Brown and KENTON. He has done them so many favors getting uniforms or even musicians for them at the last minute, that they send him a copy of their new arrangements. During the few months most of that have come from PETE RUGOLO, arranger for STAN KENTON.

The article was accompanied by three photographs of Stanley being measured by Fox with this commentary: "Hal Fox drapes Stan Kenton's shape. See below for the reason why this kind of activity is of more than a padding interest!" (Ow!)(Editor's note: the article quoted liberally from above, appeared below the photographs; and Hal Fox/Jimmy Dale grooves on in real crazy fashion in Florida. Hal is also a NETWORKER. Wonderful memories, Hal! In Hal's words — "groovy," "reet treat," and all that lingo! Thanks!)



THAT INNOVATIONS PERIOD......!!!!

Going through some old boxes and looking at some material sent by NETWORKERS, I came upon.......

Boff Hands Drawn by Kenton's "Innovations" Preview in L.A.

"Hollywood, Feb. 11 — An invitation-only crowd packed Los Angeles' Philharmonic Auditorium for a preview of Stan Kenton's newly formed 40-man ork and his freshly scored 'Innovations in Modern Music' concert book. So new are the scorings, many selections are untitled. Kenton staged the admission-free concert to get public reaction to the new numbers, and on the basis of audience response he will select the composition to be included in his tour's program and in his forthcoming Capitol album.

"The audience aided little in sifting selection, as each item drew wild outbursts of applause. Whether this was intended for the music's merit or as a tribute to Kenton could not be determined.

"Some of the numbers deserved cheers for their originality in concept, refreshing instrumentation and novel rhythmic treatment. Others were too abstract to be properly grasped at first hearing.......

"As a whole, the new book offers a fresh slice of Kentonia which borders closely to the modern symphonic school......

If audience reaction here is a criterion, this aggregation will ring the bell in box-office grosses and record sales.

(Reprinted from The Billboard, February 18, 1950, by Lee Zhito.)

(Editor's note: Alas, it was a great tour, but grosses and sales, did not bring additional $$$$ to the Kenton pocket. He lost money on what was one of the unique creative musical adventures in American history.)


Kenton in Sock Carnegie Concert

"Playing one of the major stop off points on its second annual cross-country concert tour, Stan Kenton's 40-piece orch moved into New York's Carnegie Hall over the last weekend (October 19-20) to become the third pop attraction to hit this longhair auditorium in the last few weeks. Artistically, Kenton's presentation far surpassed the preceding "jazz at the Philharmonic" and the Duke Ellington-Sarah Vaughn-Nat Cole session in this hall. B.o.-wise, however, Kenton fell slightly below a capacity draw at a $4.20 top for the Friday and Saturday night recitals.

"As usual, Kenton is showcasing his "Innovations in Modern Music" program with considerable showmanship and musical craftmanship. His concertizing crew has been expanded to symphonic size with a contingent of 18 fiddles balancing a five-reed section and 14 brass, including french horns and a tuba besides the usual set of trumpets and trombones...

"Kenton's progressive styling has been around for a number of years, but it still remains a controversial elements in jazz circles. To the devotees, Kenton is regarded as a standout jazz figure.......

"History will have to decide Kenton's final role in the development of jazz but his immediate impact is undeniable. His crew generates a powerful kick and plays with the widest range of orchestral coloring in the pop field. Although stressing a dissonant modernism for the most part, the arrangements are not haphazard; they are worked out in intricate detail and executed with precision and brilliancy."

(Reprinted from Variety, October 24, 1951, and signed "Herm.")

(Editor's Note: Yeh! Stanley already has his place in history! We devotees remember that era — who can't forget the opening of those concerts with a pulsation of drums, the roar of The Cymbal, the flurry of strings, and the punctuation of the brass pouring out "Artistry in Rhythm?" Whew! Heady stuff!)



KLON-FM88 TO CELEBRATE 50TH ANNIVERSARY OF KENTON'S DEBUT AT RENDEZVOUS

Ken Poston announced today that KLON-FM88 in Long Beach, California is planning to celebrate the 50th anniversary of Stanley Kenton's first appearance at the Rendezvous Ballroom in Balboa Beach with alumni, musicians and friends participating in 10 panels and 7 concerts over a 3/4 day period beginning on Thursday, May 30, 1991. Events will be held at the Hyatt Newporter in Newport Beach and at Balboa locations. Among people who have been asked to participate are: HOWARD RUMSEY, CHICO ALVAREZ, BOB GIOGA, PETE RUGOLO, ANITA O'DAY, MARK MASTER'S ORCHESTRA doing some of BOB GRAETTINGER'S works, BILL HOLMAN'S ORCHESTRA, GABE BALTAZAAR, BOB COOPER, BUD SHANK, CONTE CANDOLI, JACK SHELDON, CARL FONTANA, DICK SHEARER, LAURINDO ALMEIDA, RALPH BLAZE, Monty Alexander, Jeff Hamilton, Pete Jolly, MART PAICH, BOB FLORENCE ORCHESTRA, SHORTY ROGERS' ORCHESTRA, BILL RUSSO, MATT BETTON, LEON BREEDON, LENNIE NIEHAUS, DEE BARTON, HANK LEVY, CHRIS CONNOR, PAUL CACIA ORCHESTRA, and, maybe, JIGGS WHIGHAM and CHARLIE MARIANO.


A 13 part documentary is being planned for broadcast via satellite to be fed in February for pickup by radio stations — I'm sure some cost will be involved. Don't know which satellite yet. At least one dance will be held, as well as cruises, record exchanges, films will be shown, dinner concerts and dances are planned, walking tours of Balboa will take place, and other great events.


I am told that the orchestras will feature some particular period/era or works from each of the eras; so all Kentononians will have their favorite period to choose from. If you need more information, contact: Ken Poston, KLON-FM88, 1250 Bellflower Avenue, Long Beach, CA 90807, 1-213-985-5566.

Editor's note: To Ken Poston and KLON-FM88! Hooray!


EPILOGUE

OK! There it is, again! You wonder why it took so long this time out? Well, it was ready to go by the end of May, before Spring was over; but, I did not have enough ready cash to print and mail. I had about 75% of the cost, and then ate into it, by responding to requests for information, dubbing of tapes, underwriting the part of THE NETWORK XI that I did not have the money for and, the normal and usual maintenance. Well, LOU COOPER underwrote this issue; if you want to contribute to the costs of this operation, please do!

I still do not want to put THE NETWORK on a subscription basis — I understand that it might give more regularity to this piece, but it would also place an obligation on me to get out "x" issues a year. Then, the fun of all of this would disappear! I couldn't get it out at my leisure — when I had the time and money, and/or when I had enough information to get out to you. For you 775 and some NETWORKERS, hang in with this improvised and irregular piece; it'll be worth the wait, I hope! And, don't forget to send your contributions to any established Stan Kenton scholarship fund, or to:

THE STAN KENTON SCHOLARSHIP FUND
International Association of Jazz Educators (IAJE)
Post Office Box 724, Manhattan, Kansas 66502, 913-776-8744

Celebrate Stanley whenever you can, enjoy his music, contribute to the scholarship fund whenever you purchase an ephemeral recording (which pays no fees to the Kenton Estate or one which does not have normal and usual established contractual commitments). Also, don't forget to write GNP/Crescendo Records' owner, Gene Norman (who produces Creative World recordings and CDs), and Capitol Records — tell 'em to continue to produce the recordings of Stan Kenton, and issue material still in their vaults! I've included addresses of both below:

Gene Norman Larry Hathaway or Successor
GNP/Crescendo-Creative World Records Catalog Development/Jazz
8400 Sunset Boulevard, Suite 4A Capitol Records
Hollywood, CA 90069 1700 North Vine Street
Hollywood, California 90028-5274



NEW ENGLANDERS: TUNE INTO A CELEBRATION OF STANLEY BY RON DELLA CHIESA AND ME
ON WGBH-FM, 89.7, ON DECEMBER 17, 1990 FROM 12:30 PM TO 5:00 PM



LATE NEWS FROM THE CAPITOL TOWER

Capitol Records is currently working on a 4 CD package of Stan Kenton's orchestras. Beyond that, I only that its in the works. Stay tuned.