The Network XIII

21 July 1991

Anthony (Tony) J. Agostinelli, Editor
Prologue Newport Beach and Balboa Beach, California were the venues chosen by KLON-FM (Long Beach, California) to celebrate STANLEY NEWCOMBE KENTON's 50th anniversary of his orchestra's debut at the Rendezvous Ballroom around the Memorial Day weekend, 1991. Family, friends, alumni, fans and so many others from many parts of the world were present to participate and listen to music and panels which highlighted the professional career of this great American musical genius. Stanley never went in much for nostalgia, and probably would not have attended such an event, but most who did were exposed to the best of what many of his alumni are leading, composing, arranging or doing, now, and much of the recollections and orchestrations of every Kenton orchestra from 1941 to 1978. However, many alumni and registrants to the 'Bash', expressed disappointment that they did not see featured — in as significant numbers as the earlier orchestras were represented — alumni of the 1970's bands; if there was any noticeable 'gap' in alumni representation, that was it!

If you haven't yet written your THANKS & PLAUDITS to Jay Roebuck, Ken Poston, Lisa Dante, Steve Barker and others, please do so NOW: KLON-FM 88.1, A Division of Pacific Public Radio, 1288 North Bellflower Boulevard, Long Beach, California 90815-4198.

NETWORK XIII will give those of you who were not able to attend, and those of you who did, a review of those events in southern California, through the eyes of some who were there. This issue will also alert you to recordings and materials available, which celebrate Stanley's life's work. For some of these materials, which bear the name, image and body of work of Stanley, the Stan Kenton Estate has NOT given permission for their production or issue. I strongly urge you, if you decide to purchase same, you encourage the producers of these items to make contributions to the various scholarship funds in Stanley's name, and make such contributions yourself. This will not "stamp" out these "ephemeral" materials, nor is this an attempt to encourage such production — it addresses the fact of their existence, and the opportunities that the material makes for each of us to contribute to Stanley's educational legacy (and if the material is of good quality, to enjoy that material)!
May 30 - June 2, 1991

That was the announcement on the brochure we received in the mail heralding, what I have been calling, BALBOA BASH 50! The BASH has passed into history; it may very well be the only and last effort of this kind in southern California. There will be tributes, concerts and clinics by alumni and others, there will be remembrances and recollections, I am sure that various organizations will pay their due to The Man and His Music....but, the BASH was a one and only. You've received the brochure and/or you were there, so I won't list the events again for you.

Attendance figures were hard to come by, but estimates from various sources claimed: 500-550 registrants; 50-200 from England; 2,200-2,500 for Saturday night Alumni Concert, and 1,200-1,500 for the Sunday night concert.

We'll cut to the chase and mention briefly that: (1) the music was recorded and will be released on CD by the MAMA Foundation; (2) much of it was videotaped, and might be available for purchase; and, (3) cassettes of the panels are available! Information concerning this will be found in a separate sections below. Also, if you must, and want the selection of tunes that were played at the two alumni concerts, and the final revised schedule of events for your collection, send an SASE, and I will send the list out to you.

I purposely decided not to personally review the events, nor tape them for my personal pleasure. I wanted the entire event to wash over me, whilst I did not have to busy myself with the accoutrements of media technology — although I had brought along two stereo professional miniature recorders, a camcorder, and two cameras (I occasionally used the latter), for the most part, they remained in my room! Wash over — the events did; my recollections are vivid enough, and others will make available the material.

One more time, once! I found out that if I use a 20 wt paper, I can increase the number of 8 1/2 by 11 paper sheets to 6; if it's not too humid, and the air conditioning is on in the Post Office, the weight comes in at 1.0 oz — $ .29 postage! So, this anniversary NETWORK is coming in at 24 pages, instead of the usual 20! I minimally edited these reviews so that you would get the feel of the reviewer/writer. So, let's get to the reviews.

(Special to THE NETWORK)
By Dick Giacalone

After being in a state of euphoria for several days, I have finally returned to earth to report on the events of the Stan Kenton 50th Anniversary Celebration. This was an exhilarating experience for me, and due to the advancing age of the Kenton Alumni, and other circumstances, I know I'll never witness such a great musical celebration again.

The Festival took place at Newport Beach, California from May 30th to June 2nd in perfect weather. The festival included 10 panel discussions, 15 concert films, a harbor cruise, 2 Alumni Band Concerts, a records and memorabilia room and much more.

During some of the panel discussions, many of the Kenton Alumni still could not speak of "The Old Man," as they called him with affection, without displaying obvious emotion. It is clear that Kenton had a strong influence on these great artists, not only as musicians, but as people. They were the kindest, most considerate people I have ever met. They seemed to be at peace with themselves and the world.

There were so many great events at this Festival that it was difficult to pick out the highlights, but the ones that stood out most for me were: (1) The two big band alumni concerts which featured the Kenton composers, arrangers, and conductors. Great names such as Pete Rugolo, Bill Russo, Bill Holman, Hank Levy, Lenny Niehaus, Short Rogers, and Marty Paich. Also appearing were Lee Konitz, Chris Connor, Anita O'Day, and Maynard Ferguson. There were also a number of beautiful solos by members of the band. (2)The Harbor Cruise, which featured Shorty Rogers and his Lighthouse All-Stars. (3) A concert by the Maynard Ferguson Big Bop Nouveau Band. (4) Dinner at the Pavilion on Balboa Beach, featuring the Shorty Rogers Big Band. This is where the Stan Kenton Orchestra started 50 years ago. (Editor's note: the Pavilion is a few blocks away from where the Rendezvous Ballroom was near the beach and pier). (5)The Panel Discussions, at which the band alumni talked about the good times they had on their bus, "Nowhere," and how the experience of knowing and playing with Stan Kenton touched their lives. The Kenton alumni enjoyed these discussion so much, as did the audience, that they continued answering questions well beyond their allotted time. (6) An alto sax solo by Bud Shank, backed with a band and strings. This was played with such feeling and emotion, that Bud had the entire audience hanging onto every note he played. He is a fantastic musician.

In summary, the Stan Kenton 50th Anniversary festival was an immense success. People came from all over the world to enjoy great music, reminisce about old times, and learn more about a great man and his music. Long time fans who had enjoyed his music for years had the chance to learn first hand what Stan Kenton meant to his musicians, and how he had touched the lives of so many. Stan Kenton dedicated his life to his music and his musicians, and the world is a better place for it. VIVA LA KENTON!

By Dan Bied

The 50th anniversary Kenton celebration at Newport Beach, California, was a well-planned, successful venture. More than 50 Kenton alumni were involved, with most of them performing the weekend's 17 concerts.

Audree Coke Kenton told Dan Bied, a NETWORKER from Iowa who has been a Kenton fan since 1943, that the celebration drew at least 450 all-events attendees. The first alumni concert, covering 1941-1955, was attended by some 2,500 people in the parking lot of the Hyatt Newporter Hotel.

Bied told THE NETWORK that his favorite performances were Lee Konitz playing "Lover Man," Gabe Baltazar's alto work on "A Gabe Named Baltazar," the lovely guitar solos by Laurindo Almeida and the performances by bands led by Maynard Ferguson, Bob Florence, Buddy Childers and Bill Holman.

"I had seen Anita O'Day with Stan at the RKO Theater in Boston just before going overseas with the infantry in the fall of 1944," Bied wrote, "and it was a thrill to see and hear her do 'And Her Tears Flowed Like Wine' with the ensemble at Newport Beach."

All the concerts, except one by the excellent Shorty Rogers band in a Balboa ballroom, were held outdoors. (Editor's Note: A late concert on the last evening by the Lighthouse All-Stars was held indoors). It was cool at night and this was the only "minus" during the entire 4-day event for Bied and his wife. "If we'd known," he said, "we'd have brought some of our winter attire from Iowa."

Ken Poston, who managed the celebration for KLON-FM, did an "absolutely terrific job," in Bied's opinion, with the ability to keep his cool during some hectic moments.

(Editor's note: I brought my Memorial-Day-in-the-evening-it-gets-cool-so- wear-warmer-clothes; New Englanders are prepared for any eventuality, except earthquakes).

By Don Mitchell

While many of use might have preferred a "Kenton only" format, the KLON concept was quite valid. By showing what some of the alumni are doing in their current idiom, we had a few facets of the Kenton legacy. Buddy Childers' big band showed the same excitement that he provided to the Kenton band. Bill Holman is still writing great charts and his band swings as you would expect it to swing. Bob Florence should be far better known, because he knocked everyone out with his performance. I have all of these bands on LPs or CDs, but the best of recording are not the same as the real thing, "up close and personal."

Mark Masters, a new band to me, did a remarkable job of reading the Graettinger works. His originals and his version of "Giant Steps" were also first rate. (My only criticism was that rather than presenting the Graettinger works positively, he did apologetically — which Stan would never do).

The vocal group from Cal State recreated some of the selections from "Voices in Brass," and "Four Freshmen and Five Trombones." If Flan is reading, the male solo voice was an exact duplicate of Ken Errair. The performance was absolutely chilling.

Bob Cooper, always a fine player, has never sounded better. Bud Shank and Lanny Morgan are almost interchangeable at a performance level only a select few might reach.

Gabe Baltazar did a tremendous job on Shorty's "Art Pepper." While different than Pepper's version, it was a virtuoso performance using the whole horn. I was embarrassed that I hadn't paid more attention to him in the past.

Personal highlights and observations:

...sitting around with Hank Levy, Tony, and others, every morning over coffee. Listening to Hank's concern about lack of rehearsal time then watching the band respond to him by giving a superb performance. He's not only a great writer, but one of the nicest guys in the business;

...meeting Lee Konitz again after 40 years and noting the transformation from aloof "super cool" soloist to a warm and charming human being who also happens to be one of the best jazz players in the world;

...watching many of the Kenton alumni acting like fans, taking as many photos as we observers did;

...watching Buddy Childers greet Maynard on his arrival trying to hug each other. It was like two watermelons wrestling (Don's comment: "not meant to be unkind, but it was funny to watch");

...spending time with Al and Nan Fluck, the adopted parents of the 70's band. There cannot be any more devoted fans than they are.

Everything was not perfect, there were sound system glitches, and late entrances by the brass, but they were minor in the context of what was accomplished. And while I wish that they had performed some of the work of Gene Roland, Johnny Richards and Dave Barduhn, we heard a lot of music which revived a lot of memories. (Editor' note: I presume Don is referring to the two alumni concerts)?

It was appropriate that Mary Paich dedicated "Body and Soul" to Stan, because for a few days his soul was concentrated at Newport Beach.

(Editor's note: Don proved to be a great Kentonian, a dedicated NETWORKER, and, over the period of time that I've come to know him, [for the first time meeting him face-to-face], he's become a fast friend. Enjoyed being with you, Don!)

Newport Beach Celebration of Stan Kenton Contains Little of His Music
By Leonard Feather: The Los Angeles Times
Saturday, June 1, 1991
(Reprinted by Permission)

Newport Beach — "Back to Balboa," a celebration dedicated to the memory and music of Stan Kenton, got under way in Newport Beach on Thursday as about 700 Kenton fans descended on the Hyatt Newporter hotel, just minutes away from where the Kenton orchestra made its debut at the Rendezvous Ballroom in Balboa, 50 years ago this weekend.

The demographics of the audience that attended a series of panel discussions and concerts, most of them held outdoors on the hotel grounds, were easy to spot: overwhelmingly white and middle-aged and fanatically loyal to the maestro who, during his 38-year career, attracted the respect of the musicians who worked for him, along with the devotion of his followers.

Kenton, who died in 1979, was a much revered composer, pianist and bandleader whose impact in the 1940s and 1950s inspired worldwide admiration and, for a while, tremendous commercial success. His band served as a launching pad for numerous notable jazz musicians and arrangers — including Maynard Ferguson, Neal Hefti and Bill Russo.

Among former Kenton associates on the panels were Howard Rumsey, who played bass in the original band, and Pete Rugolo, the arranger who gave the ensemble its identity during the late 1940s.

Anita O'Day, the first singer to help the band achieve hit records, kept the crowd laughing anecdotes during on panel session, reminiscing about the time a 17-year-old saxophonist was frustrated by Kenton's failure to give him any solos.

O'Day persuaded the leader to allot the musician eight bars, which he managed to stumble through. After giving a playful impression of that solo, O'Day deliver the punch line: "And that kid was...Stan Getz."

The surprising thing about the opening day events was the conspicuous absence of Kentonesque music.

Of the three bands heard, trumpeter Buddy Childers, who was with Kenton for 11 years, used originals and standards written in later years by him or by his brilliant young saxophonist, Matt Catingub.

The other bands, led by composer Tom Talbert and Shorty Rogers both played tunes by Duke Ellington — in fact, in announcing Duke's "I,m Gonna Go Fishing," Rogers pointedly referred to Ellington as "The Genius of Jazz" — but neither offered a single Kenton piece.

Talbert's appearance was at odds with the concept that this would be a tribute to Kenton and the great talents his band generated. A lesser-known figure you worked minimally for Kenton, he played mainly recent, self-composed music that was closer to Gil Evans than to any of the styles associated with the larger-then-life figure he was supposed to be honoring.

Rogers (who played indoors Thursday evening at the Balboa Pavilion) offered several simplistic tunes inspired by the Count Basie band. They were of interest mainly as a starting point for such spirited soloists as Mike Fahn on valve trombone, Bob Cooper and Harold Land on tenor saxes and, in Dizzy Gillespie's "Manteca," Paul Humphrey on drums. The only work that came close to suggesting Kenton's bravura was an intriguing alto sax concerto featuring Lanny Morgan.

The rest of "Back to Balboa" — a celebration sponsored by radio station KLON and running through Sunday — promises to hew closer to the subject, with Kenton composers reviving various works.

The four-day 'Back to Balboa' celebration marks the 50th anniversary of the debut of his orchestra
By Leonard Feather: The Los Angeles Times
Tuesday, June 4, 1991
(Reprinted by Permission)

'Back to Balboa,' the four-day pilgrimage to Kenton Mecca, ended Sunday evening on a triumphal note. This was more than a tribute to the memory of Stan Kenton; it was proof of his vital legacy.

Ironically, the celebration at the Hyatt Newporter hotel marking the 50th anniversary of his orchestra's debut in nearby Balboa was also a reminder that there never was a Stan Kenton style.

Whereas others, like Ellington, Toshiko Akiyoshi and Gerald Wilson, derived a sound and persona directly from their own pens, Kenton, who did very little composing except in the early years, hired more arrangers than most orchestras have musicians, underwent more changes of direction and projected more images than most bands have lives. Thus the band's personality often changed from tune to tune.

The tribute's producer, Ken Poston, wisely sidestepped this problem by giving many of the writers their own sets, achieving a consistency that the Kenton bands sometimes lacked.

It is easy to recall that some of this music in its day seemed turgid, pretentious or trivial; easy to remember Kenton's sometimes inflammatory social statements.

True; but also true, and more relevant, we have Kenton to thank for bringing us composers Pete Rugolo, Bill Holman, Marty Paich, Manny Albam, Bill Russo; trumpeters Maynard Ferguson, Buddy Childers, the Candoli Brothers; trombonists Frank Rosolino, Eddie Bert and Dick Nash; saxophonists Bud Shank, Bob Cooper, Lee Konitz, Bill Perkins, Art Pepper, Jack Nimitz; drummers Shelley Manne, Mel Lewis, Stan Levey; guitarist Laurindo Almeida.

The list is endless, and most of the active survivors were here, busy proving that they and the charts have thrived like old wine. Marc Cantor's old Kenton band shorts and Shelley Manne's 1948 home movies were filmed frosting on the live cake.

It was a heroic weekend, and if one has to pick out particular heroes they would be Holman, Rugolo and Shank. Each was presented in several settings (one was the 22-piece alumni band that drew 2,500 to the Saturday night concert) and served on panels that were consistently witty and informative.

Rugolo was seen leading a 13-voice choir of students from Cal state Long Beach, singing his arrangements of "Night Song," and "Eager Beaver." Rugolo's skill was presented even more joyfully when, on Saturday evening, he took the alumni band through some of the most durable works: "Intermission Riff," "Machito," "Concerto to End All Concertos," and his famous updating of "The Peanut Vendor."

Bill Holman, a product of a later (the 1950s), symbolized the Kenton band that truly swung, thanks in large measure to Holman's arrangements of standards ("Stomping at the Savoy," "Stella by Starlight") and originals ("In Lighter Vein," venturing Lee Konitz on alto sax).

While most Kenton solos have sustained their creative level, alto saxophonist Shank has extended and transcended his. During a lunch-hour quartet date with a perfect rhythm team (Mike Wofford, Sherman Ferguson, Bob Magnusson), he reached a breath-taking peak.

The festival's daytime ambience was ideal. Concerts at the Hyatt Newporter's amphitheater brought crowds, even at 11 a.m., to sit in the sun absorbing the sounds of Buck Florence's orchestra, interrelating "Artistry in Rhythm" into his arrangement of "All the Things You Are."

The lunchtime jazz found fans ranged around the big pool area and thrilled by various all-star quartets. The evening affairs, in a vast parking lot, were less than comfortable as the weather turned cool, but the music offered its own compensatory warmth.

Ferguson, in addition to a guest shot with the alumni, brought in his own Big Bop Nouveau Band for his Sunday matinee — a bit more bop than nouveau, but rich in solo talent, such as French pianist Christian Jacob and the awesome Mike Fahn, who has single-handedly brought the valve trombone into the 1990s.

The final concert Sunday evening, covering the bands from 1956 until the end, came close to matching Saturday's excitement. Chris Connor, her jazz contralto enriched and deepened with the years, dedicated "All About Ronnie": to her predecessor, the late June Christy. William Russo's lively and infectious "23 Degrees North 82 Degrees West" was the highlight of a dazzling chiaroscuro st. Lennie Niehaus conducted his ambitious "Atonal Adventure," with five French horns augmenting the brass section. Marty Paich offered a powerfully kaleidoscopic arrangement of "My Old Flame."

The balance sheet showed pluses far outnumbering minuses. This emotionally charged and historically unique event, organized by KLON with the Kenton estate, reflected credit on everyone: producer Poston, the participating musicians who made so much out of not too much rehearsal time, and finally, of course, to Stanley Kenton, whose presence hung almost palpably over this splendid celebration of a memorable career.

(Special to THE NETWORK)
"No one paragraph can summarize the breadth and depth of emotions, the thrills in unexpected places,the happiness of the four-day ('Back To Balboa') celebration."
By Ed Bride

There are two ways that professionals start a story: sometimes, they know the flavor and theme, and they start at the beginning, with a catch lead sentence or paragraph ("lede" in journalism school). When we don't know where the story is going, we resort to method #2: write the story first, and go back and write the lede last.

Over the past six weeks, I have written (or at least thought-out) scads of ledes and headlines for my recollection of Kenton's 50th Anniversary celebration, but none is adequate. No one paragraph can summarize the breadth and depth of emotions, the thrills in unexpected places, the happiness and exhilaration of the four-day celebration. So maybe that last sentence is the theme of my contribution to this edition of THE NETWORK.

To have only attended an alumni concert or two would be missing the point, or at least getting short-changed on the gamut of emotions. Every concert, every panel, built on the previous event and contributed to the next element in this extravaganza.

Few writers could adequately summarize the festival, although Leonard Feather did a good job with two telling statements in The Los Angeles Times, on the Tuesday after the event. First, Feather, who has not been seen at any Kenton Admiration Society meetings, opened his wrapup by saying, "This was more than a tribute to the memory of Stan Kenton; it was proof of his vital legacy." And he concluded by observing that Stanley's "presence hung almost palpably over this splendid celebration of a memorable career."

These comments redeemed Feather, who offended many Kentonites with a first-day review that seemed ignorant of the format chosen by organizer Ken Poston, of the Long Beach public radio station KLON-FM. Poston chose to spotlight the current work of alumni during lunch-time and afternoon concerts, rather than having four days of Kenton-era recreations. Thus, Bill Holman, Bob Florence, Shorty Rogers, Manny Albam, Maynard Ferguson, and others, as well as small groups headed by Bud Shank, Gave Baltazar, Lee Konitz, Bob Cooper and Bill Perkins.

This format might have surprised some, like critic Feather, but to many attendees it was ideal. Besides the eventual alumni concerts, we heard new music from people who had been inspired and helped by Stan Kenton, showing that his influence persists.

To me, the best surprise was relative newcomer Mark Masters, who conducted some Bob Graettinger music (including "City of Glass"), as well as Masters' originals. I believe that if Kenton were alive today, Mark Masters would be one of his chief arrangers, and I look forward to hearing more of his music.

But Feather, who professed that he did not write the headline, took the microphone during one of the Saturday panels, to apologize for a Times story that observed, "There's Something Missing....[the Kenton Celebration] Contains Little of His Music." Feather may not have written the headline, but his story missed the point, namely to have a well-rounded program that spotlighted current, impressive work of alumni, as well as the re-creations of two alumni concerts. (Editor's Note: in all fairness to Feather, neither of the alumni concerts had been held when his first article appeared — at those concerts, the bulk of the Kenton orchestral material was played).

Leo Curran, of Milford, Massachusetts, spent about a decade with the band in various capacities, from band boy to road manager. He believes Stanley would not necessarily have approved of a public, four-day celebration of his golden anniversary as a leader. In my eyes, given how protective the Kenton Estate has been regarding any misappropriation of the Kenton name for commercial or other unofficial tributes, it's a wonder that it happened at all.

But I do believe the Old Man would have been proud at how it was carried out. I think many of us believe we know him better now, after hearing about 12 hours of panels and anecdotes, plus the concerts, home movies and 1951-era (Editor's Note: actually, mid to late 1940's) "soundies," the original MTV, noted producer Gene Norman.)

The format of the alumni concerts was as refreshing as it was limiting. A stable of stalwart arrangers was recruited to lead a set of their own music, so we saw and heard "Kenton" bands fronted by: Shorty Rogers, Pete Rugolo, Lennie Niehaus, Marty Paich, Bill Russo, Hank Levy and Bill Holman. This addressed the idiosyncracy which Feather pointed out in one of his articles: Kenton relied so heavily on his arrangers in the later decades that it is difficult to characterize any particular album, concert, or arrangement as typically Kenton.

In fact, Feather went so far as to write that, "there never was a Stan Kenton style," which some might characterize as a limited view. But regardless, the arrangers did a superb job of playing the old arrangements with new solos, with performers from the original era...or should it be eras (?)... (Ferguson, the Candolis, Perkins, Cooper, Shank, Steve Hufstetter, Laurindo Almeida, Ralph Blaze, etc.). Anita O'Day and Chris Connor took the stage, one each night, for reprises of popular vocals.

But this idea of spotlighting headliner arrangers left a void for those in the audience who had taken a liking to the likes of Ken Hanna, Johnny Richards (there was nothing from CUBAN FIRE or WEST SIDE STORY), or Gerry Mulligan. But would we be happy if we didn't have something to complain about?

Among the anecdotal memories:Balboa Is Thataway — the evening before his "Big Bop Nouveau" band performed, Maynard Ferguson guest-soloed for three numbers with the alumni. He spent the entire time in profile, puzzling some who were already surprised at his ample girth. But it appears that his main goal was to play his trumpet while facing north, northwest, toward the nearby Balboa peninsula, where it had all started, 50 years previous. Homage, indeed! And One More Bus Story — on an excursion to hear the Lighthouse All Stars on a harbor cruise, the bus driver got lost, or at least went to the wrong place. He took us to Balboa, the site of the long-destroyed Rendezvous Ballroom. This was fine by some people who had missed the tour the previous evening, but it wasn't where the boat was loading. We missed the boat ride, and on our way "home" to the Hyatt Newporter hotel, we tried to sing several band vocals (but nobody knew all the words). We did, however, get a chance to do some additional, unplanned networking at the hotel. Little was lost, much was gained in "visiting" with new friends. (Editor's Note: another part of this story had the boat coming back to shore to pick up Candoli and Perkins who had just played "The Tonight Show" gig, and several people jumped on to the dock, as they trotted on to the boat)!Up In The Air.. — the panel discussions were all held outdoors, in a beautiful, sunny, flower-spangled patio, replete with an occasional airplane overhead and a more welcome robin or other winged visitor nearby. The frequent fly-bys prompted Buddy Childers, to ad lib: "Bird lives!" Homage — "It's the only band I've ever been on that didn't have cliques" (Buddy Childers). "Stan Kenton is a hero to me" (Bill Perkins, while choking back tears on a panel). "Kenton was the only bandleader I ever worked for who put everything he ever made back into the orchestra. In this sense, he was a true artist" (Pete Candoli). "The theme gave me chills every time we played it" (Lennie Niehaus).

One of Kenton's legacies is really only appreciated by insiders and educators, and that is his embracing of students, and their mutual response. To characterize his influence on jazz in the classroom as profound would be an understatement. Panel members and their leaders frequently commented on how Stanley wanted to broaden jazz' impact, to have it acknowledge classical underpinnings, as exemplified by the Innovations and Neophonic orchestras.

According to Bob Curnow, if Kenton has a legacy, it is this: there is more jazz being played today than ever before, on campuses, in clubs, and in concert halls. Curnow is a former musician, arranger, producer, and business executive with Kenton, and is now a music publisher in Spokane, Washington. He credits the outreach which Stanley created with his clinics, the frequent college and high school gigs by his orchestras (in-residence), and his leadership with the International Association of Jazz Educators, as contributing to the success of jazz. The music of Stan Kenton's orchestras lives on! Or, as Allen Scott wrote in an obituary, "Stan Kenton, Amen."

By Lillian Arganian

Californians have a word for it. AWESOME.

Stan lives. He is not just a memory. The things he spent his life striving for are blossoming, flourishing, thriving, more than ever.

Four days and nights in spectacular, sunny, gorgeous southern California proved it beyond the shadow of a doubt. The days themselves, May 30th through June 2nd, made history, as the stars of four decades of the bands of the greatest bandleader of them all came together to share their mutuality and demonstrate their universality for all to hear and enjoy.Innovation was the greatest star of them all. In keeping with the true spirit of Stan Kenton, the emphasis in this celebration was on the Progressive, the Innovative, the Neophonic aspects of his legacy. Even the classics received fresh interpretations and inspiring performances.

Stan Kenton's time is now. And it is just beginning. Driving down the Santa Ana Freeway on June 3rd, the day after the celebration, with the radio tuned to KLON, I heard Oliver Nelson's "Sound Pieces for Jazz Orchestra," a Neophonic work if ever there was one, and it sounded exactly right, perfect for our times. It is now because the young people have taken to it as naturally as if taking up their surfboards and dashing into the Pacific, riding the waves effortlessly, enjoying the thrills.

Cats who looked too young to spell "cat" played the once "scary" music of Bob Graettinger in the Treasure of the Sierra Madre (not the official title of the band) band of young Mark Masters. This band of young musicians is nothing short of astounding in its capability, power and intelligence. Masters played several of his own arrangements, then eased into the famous Graettinger opus, "City of Glass," by way of several perhaps never-before-heard Graettinger charts, such as "Laura," "Autumn in New York," "April in Paris" (one dude sitting next to me called out, "One more time!" and the shout was echoed by those sitting nearby), and a composition entitled, "Untitled." All were fascinating, all showed a depth, a brooding dimension and provocative insight into the character of this most colorful and enigmatic of the Kenton composer/arrangers.

For the five hundred-or-so who congregated from all over for the celebration (swelled to about 2,500 for the Saturday evening concert), the setting was the first impression, and it was a paradisiacal, the luxuriant grounds of the Hyatt Newporter Resort Hotel in Newport Beach, which lies just minutes away from the actual site of the Kenton beginnings at Balboa. Verdant palm trees like something out of "Poinciana" swayed seductively in the soft breezes; flowers and curving paths and terraced walkways and sun-sparkled patios lent a perfect panorama for the festivities.

Mornings began, cool and delicious, in the Terrace Arbor, with stimulating panel discussions that often erupted in hilarious laughter, the same Kenton zaniness that marked his bands through the years. They were followed with sensational sets of quartets with Bud Shank, Bob Cooper, Gabe, Bill Perkins, and Lee Konitz — that's each with his own quartet (at pool-side) — followed by big band gate, up the stairs in the flowered-backdrop amphitheater, with Buddy Childers, Bill Holman, Bob Florence, Tom Talbert, Mark Masters, and special Innovations concerts with the Cal State Long Beach Performance Band (including strings), conducted by Vic Lewis (from England), John Prince, Manny Albam and Pete Rugolo. Rugolo also led the voices of the Cal State Long Beach vocal ensemble in a lovely concert of arrangements of "Concerto to End All Concertos," "Artistry in Rhythm," "Eager Beaver," "Sunset Tower," and other Kenton, Rugolo, and Kenton/Rugolo emeralds.

A Shorty Rogers Big Band Concert and dinner packed them in at the Balboa Pavilion on the Peninsula, Thursday night (May 30th), and the Lighthouse All-Stars, comprised of Shorty, Conte Candoli, Perkins, Cooper, Monty Budwig on bass, Pete Jolly on piano and Lawrence Marable on drums, sizzled the night away for two cruises through Newport Harbor on Friday, as well as one last gig following the second Alumni Band concert on Sunday, June 2nd, for those unlucky strandees whose bus had missed the boat.

A trip to the site itself, where Kenton and his band got their start on May 30, 1941, the site of the Rendezvous Ballroom on Balboa Beach (which had burned down in 1966), was part of the schedule. For first-time visitors it was eye-filling, enchanting. While Howard Rumsey described the way it was, they listened, captivated, as all around them the breezes danced, the palms rose over the beaches across the street, and the Pacific crested timelessly away, serene and majestic, jade green and snowy white. Movies were shown in the Balboa Theater shortly after, priceless clips of the young, energetic Stanley Kenton and his vibrant band of musicians. Stan, always smiling, compelling to watch whether he led or played the piano or grinned at the camera.

Sights to remember etched the heady reality of it all in a surreal unreality of their own: Rugolo attaching clothespins to what seemed like miles of music flapping wantonly in the winds, securing it to the stands; freezing Britons (about a hundred of them made the trip), perplexed and unprepared for the chilly southern California evenings; Jack Costanzo, settled in behind his bongos in the heart of the Alumni Band onstage, himself awe-struck at the succession of leaders in front of him; Bill Holman, leading this amazing band in his own arrangements of "Malaguena," and "Fearless Finlay," and "Stompin' at the Savoy," and "Stella by Starlight;" Hank Levy and Lennie Niehaus and Marty Paich and Rogers and Rugolo, doing the same for their numbers.

Anita O'Day, incredibly, singing her numbers as if it were 1941, not 1991, beautiful and spunky and irrepressible...Chris Connor, singing and dedicating "All About Ronnie" to June Christy. Bill Russo, directing "Egdon Heath" — near the end, a silver jet pierced the cloudless blue sky, its silhouette emerging imperiously over a palm tree... Russo, directing Conte Candoli in "Portrait of a Count."....Candoli, afterwards taking his seat in the trumpet section next to his brother Pete....Lee Konitz, soloing on "Lover Man," and "My Lady."...and the Russo number that drives everybody nuts, "23 Degrees North, 82 Degrees West."

Along about 7:20 that evening, the nippy, chill wind crashed head-on into our sunburns, the sunburns embellished that afternoon and achieved the precious day as the minutes flew past and we oblivious, listening to brilliant new innovations like Manny Albam's, "Nostalgico," as he energetically directed the Cal State group, with Bud Shank on alto. Shank was incredible all through this festival, whether with his own quartet, with the Alumni Band, or with the Innovations orchestra, playing so soulfully, with such heart and intelligence and fire, it was awesome. (There's that WORD again).

More impressions, more innovations: Marty Paich, tearing down the skies with a knockout performance of his work, "Neophonic Impressions," which featured a phenomenal percussion episode and was the last number before "Artistry" on the last evening....Laurindo Almeida, playing "Artistry in Rhythm," unaccompanied on his guitar—and telling stories during the afternoon's panel discussions..."Say something in Spanish," Stan said to him one day on the bandstand....after a moment, he thoughtfully replied: "San Diego."

And Maynard! What a terrific example he sets for youth, who flooded the amphitheater, grooving to his music. For "Hey Jude," his band member thrilled the audience members by taking off into them, playing full tilt. After moments they reassembled, still playing. Pure theater, pure delight, and the audience loved it, ate it up. He had his quieter moments, also, when the voltage came down to, oh, say 6,000 watts or so. You could watch him, listen to him, forever. Stan was right — he needed his own band. His set featured a trumpet summit down front, with Maynard and his stars all wailing together. Grown men were seen groveling on the grass in front of them for a photo of that.

More impressions: Musicians in the shades, wearing shades....Buddy Childers, photographing his fellow musicians....musicians digging other musicians, even more caught up in the music than the audience itself...I asked someone in the front tier of seats one night if a seat was taken, and suddenly realized I was talking to Lee Konitz.

Praise cannot be lavished too strongly on Ken Poston and his crew of Jay Roebuck, Lisa Dante, technical director Steve Barker, and others at radio station KLON, a public station from Cal State Long Beach, for their monumental effort in putting this tribute together. It was superbly well-organized, kept on schedule, and lovingly presented. For weeks beforehand, Poston featured Kenton music on the station; the planning took a year, and was well-researched.

Everywhere, the legacy came forth. Education. Clinics. Jimmy Lyons, founder of the Monterey Jazz Festival, remembering the Balboa days of radio broadcasts he announced ruing World War II. Still with reverence for Stan. George Morte. Leo Curran. Milt Bernhart. Dave Barduhn. Jim Amlotte. Alan Yankee. Earl Collier. Bob Gioga.

A further legacy — perhaps ultimately the most important one of them all — is love. Love of Stan for all his band members and fans and audiences. Love of his band members for him, still choking them up and eliciting expressions like, "This is for you, Stan." Amazingly, love and instantaneous friendships popping up between total strangers, as they compare thoughts and feelings and excitement over some Kenton experience or performer or memory, smiling and nodding at other people they never seen five minutes ago. "Wasn't that great?" "Unbelievable!"

And love between the band members and the audiences. Jiggs Whigham was moved to observe, near the end of the "New Era" panel, "By now, as most of you know, we're really a family. It's not just those of us who make noises, but those of you on the other side of the bandstand....and we're very grateful to all of you."

That says it all. We are family.Viva Kenton.


A boxed set of four compact discs will be made available (price not known at the publication of THE NETWORK) of the musical programs of the "Back to Balboa" celebration of Stan Kenton's 50th Anniversary of his debut at the Rendezvous Ballroom, May 30 — June 2, 1991 at Newport, California. DCC Compact Classics will distribute for MAMA Foundation Records. (Editor's Note: Dave Pell, who used to be tall, dark and handsome, and now hustles on the golf course, and shoots candid photographs supervised these recordings. Nice to see you again after all the passage of time, Dave). To get on their mailing list, make inquiries to: The MAMA Foundation, 12190 1/2 Ventura Boulevard, Suite 364, Studio City, California 91604.


Panel discussions 1 through 8 are being made available at $5.00 per cassette, including shipping. Cassette #1 has panels 1 & 2; cassette #2 has panel 3; cassette #3 has panel 4; cassette #4 has panels 5 & 6; and, cassette #5 has panels 7 & 8. You may purchase these cassettes from: A. James (Jimmy) Valentine, Valentine Recording Studios, 5330 Laurel Canyon Boulevard, North Hollywood, California 91607.


As I was sitting in the audience of the alumni concerts, I was approached by Trevor Greenwood who was supervising the video-taping of those concerts; he mentioned to me, and gave me his card, that if I wrote to the president of his company, there MAY be a possibility of "advertising" the availability of a video of the various proceedings. I wrote; as of the publication of this NETWORK, I have not had a response. You may want to follow it up yourselves — and let me know what response you get, since I did not get any, as of this writing! Write to: Jack Oswald, President, Goal Productions, Inc.,2027 North Lake Avenue, Altadena, California 91001, 818-797-7668.


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. So, if you need that information, look to NETWORK XII for the most current list. If you need to have that list, drop me a note. The list includes — direct sales, auctions, and the like.

You'll always have to have this information at your fingertips: CREATIVE WORLD RECORDS, GNP Crescendo, 8400 Sunset Boulevard, Hollywood, California 90069, 213-656-2614; to order your LPs and CDs. Also, you may want to advise Gene Norman about which Kenton releases on CD you would like to have issued! I will suggest that: Gene, release those materials in your vaults that have not been released, especially the well recorded material on the road of the 1978 band!


FRED AUGERMAN's May 6/7, 1977 video of the Kenton band at the Leisure Lodge, Cambridge, Ontario is still 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. Phone — 1-800-845-2263 or 213-858-1980.


Another video of the Stan Kenton Orchestra is available from England. Dave Kay, is making available: THE STAN KENTON ORCHESTRA IN HOLLAND. This video was recorded on February 5, 1972 in Schouburg, Rotterdam. It is available for 15 English Pounds Sterling plus 3 Pounds 50 for postage and packing (18 Pounds 50 total). The video will be made available in VHS USA (NTSC) format so no conversion is necessary. You may use an International Money Order, VISA or Access. Order from: Dave Kay, K Jazz Productions, 29 May Road, Rochester, Kent, ME1 2HY, England. Phone — MEDWAY 011-634-405698 (I never could figure out the telephone numbering system for Europe)(!).


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, retired, etc. Apologies for not publishing material some of you sent! Space!

EDDIE SAFRANSKI's wife and daughter are in New England! I had a nice chat with Ricky Tomer, Eddie's daughter, who is living in Rhode Island; hope the they will in touch with me soon. I would like to do a nice piece in next NETWORK about Eddie.

Saw DENNIS NODAY (you should have been on a panel, Dennis) at the 50th, and he reports that he was doing a clinic at Drury College with JOHN HARNER, Jim Weidner & Ed Soph in June. Noday recently worked with: MIKE VAX, DICK SHEARER & RICHARD TORRES on a number of gigs. Also, he subbed for awhile on the Ray Charles Band and missed by a hair getting on as a full-time member. He has options to play aboard the Viking Serenade and the Emerald Seas cruises with a big band for the rest of the summer, if another choice gig doesn't keep him landlocked. Dennis is living in Florida and married to a woman who is playing with a Symphony Orchestra. Did you ever get your own digs at the Hyatt, Dennis!?! JOHN HARNER & JOHN (BARON) VON OHLEN are reportedly going to do the JAG Tribute to Stanley in 1992 with RAY EUBANKS. Is that so, guys?

I am told that HOWARD HEDGES has VAX, SHEARER, and ROY REYNOLDS doing a clinic in Homer, Alaska, where Howard now makes his home. You guys are terrific! (Editor's Note: was my source accurate?)

JAY CUMMINGS worked a big band gig this month and worked with a roaring 20s jazz band, along with DAVE KENNEDY. I am also told that they worked with a big band led by Dave Scheetz (?) in Ventnor, New Jersey.HANK LEVY is releasing a cassette tape of the Towson State Jazz Ensemble, recorded in the Spring of this year; it you want a copy, send $10 (it may be less than that, but what the h—) to Hank at Towson State College in Maryland 21204.

MEL LEWIS' last recording with the WDR (German Radio) Big Band, recorded in Leipzig on November 22, 1989 on Jazz Line, is now available in Europe....DICK SHEARER is in Gresham, Washington, with DAVE BARDUHN, at Mt. Hood Community College. Dick has the jazz band for new kids — using charts from his own library, Devoe, Levy and others —, is teaching privately to instrumental students, is participating in the Mt. Hood Jazz Festival (wish I could go/could have gone) this summer, and getting around to different parts of the USA to work and play.

MAYNARD FERGUSON, who was very much a part of the 50th Bash, has a grueling summer and fall tour scheduled. I'm sure he'll be playing with his BIG BOP NOUVEAU BAND (I think I have that correct) in venue near you; write for his itinerary: PO Box 716, Ojai, CA 93023.According to Nan Fluck, FRED CARTER passed away in Florida in May; you may write your sympathies to his parents: M/M M & B Carter, 401 S Sunset Lane, Guyman, OK 73942. Requiescat in Pace!

New NETWORKER, A.J. GALLARDO, produced a comprehensive 13 part series and a 6 part encore series presentation, a recorded history of Stan Kenton and his orchestraon KALW FM 91.7 in San Francisco, California from January 1987 through May, 1987. Shortly after this series was produced, he found out that JIMMY LYONS named "Concerto to End All Concertos." At the time some thought the title was a bit pretentious, and that it was meant to mean that Stanley had produced the ultimate concerto. It was not so intended. It reflected a revulsion against a continuing, repetitive use by others of the word "concerto." (Thanks for the information, A.J.).

The Ian Pollster Orchestra did a tribute to Stanley Kenton on July 6, 1991 for the first half of a concert in Springfield, Ohio. NETWORKER MACK McSHAFFREY sent a copy of a publication, THE NOTE, from the Al Cohn Memorial Jazz Collection, Music Department, East Stroudsburg University, Pennsylvania 18301. Although geared to the life and career of Al Cohn, it alwys includes something about ZOOT SIMS.

NETWORKER DICK GIACALONE sent a copy of Seacoast JAZZ NOTES, a publication of the Seacoast Jazz Society. For those of you in the Durham, New Hampshire area, you may want to join: Ed Smith, Treasurer, Seacoast Jazz Society, 31 Bucks Hill Road, Durham, New Hampshire 03824.

You may also want to subscribe to the BIG BAND ACADEMY Newsletter, 6565 W. Sunset Boulevard, #516, Hollywood, California 90028. MILT & MARTIE BERNHART the executive team! I should not forget BIG BANDS INTERNATIONAL, NETWORKER ROBERT J. ROBBINS, Secretary, 2000 Richard Drive, Broomall, Pennsylvania 19008.


FLAN (Bob Flanigan) and the FOUR FRESHMEN are still going quite strong. You'll need to become a member of FFAS for all sorts of good news about what they are up to. In the past I have published their itinerary — this time, there is a space problem. FFAS has a "Music Mart," and CDs, LPs, videos, and some singles are available for modest prices. As a teaser for you, they will be in your area soon, (For New Englanders: the Frosh will appear at the Regattabar in Cambridge, Massachusetts from September 26 through the 28th, 1991, for purchase of advance tickets, call: 617-876-7777) so write:

John Bangs, President/Manager, 738 Monroe Street, Oshkosh, Wisconsin 54901-4649



In NETWORK XII, I asked you for information; I got the responses I needed:
(1) JERRY MCKENZIE did play as drummer on the Back To Balboa album. (2) Larry King, who played PEANUT VENDOR one night on his program and did a few minutes about Stanley, is a close friend of everybody's!!! (3) JIMMY SACCO did play with the Kenton band, but his name is: JIMMY SALKO, and he played trumpet and began with the band in June of 1950. (Thanks to George Romanek). (4) LOREN MC CLUNG — alto sax player. I never did obtain any information about him. (5) A NETWORKER asks: "Did Joe Morello, drummer, ever play with Kenton in the 1950s?


A new title for a great UK musical aggregation; import venues are still being used by The Shades: Helsinki, Finland — first outside of UK gig; recording in Manchester, England; jazz festivals during this summer; Don Rendell was in front of the Band at Oldham; many gigs in the North of England; and, JIGGS WHIGHAM recorded 13 tracks with the band — TDK is releasing.


THE JAZZ ARTS GROUP OF COLUMBUS (JAG) is enrolling subscribers to the 1991-1992 guest artist series. In April, 1992, Ray Eubanks and JAG will again do their umpty-ump tribute to Stanley. Their recent April FOUR FRESHMAN 7 KENTON ROADSHOW was a sell out. So write or call for your series subscription: JAG, 709 College Avenue, Columbus, Ohio 43209, telephone: 614-231-7836.


So many of you have asked me about obtaining charts the Kenton library, so write: PAUL COLALUCA's ESQUIRE MUSIC FOUNDATION , 2406 W 171ST STREET, TORRANCE, CA 90504, TELEPHONE: 213-323-9202.


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. 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.


(1) A dub or the album: Everett Hoaglund and His Orchestra, Sunbeam LP 319, August/December, 1933/1934. Can anyone lead me to a source? (2) A dub of the second premier concert of the Neophonic in January of 1966. Can you supply?


TED DARYLL, of Ted Daryll Productions, 120 Onondaga Street, Yonkers, New York 10704 914-376-2579, is "working on a series of reissues from the Kenton repertoire at Capitol Records>" Two releases have resulted thus far. The first is CUBAN FIRE on CD only with several bonus cuts (to fill out the 70+ minutes that are available on a CD)(See information on list below).

The second is STAN KENTON: THE COMPLETE CAPITOL RECORDINGS OF THE BILL RUSSO & BILL HOLMAN CHARTS; according to Ted, "the package will include 72 masters plus a sizeable booklet containing bio sketches on Kenton, Russo and Holman, a discourse on the Orchestra by noted jazz writer Will Friedwald, Messrs. Russo's and Holman's comment-in-hindsight on each of their works, as well as a personal reflection on their tenures with Stan and the Band. Alto saxophone giant Lee Konitz contributes some warm personal comments." Ted gets to make some data he ran into concerning the album's production and his own observations and remembrances for the band during the Russo/Holman years.

Also, scheduled for release in the Fall of 1991 "is a four-volume CD-set covering Kenton's entire 25-year association with Capitol. The volumes will be divided into the 1940s, 1950-1954, 1955-1959, and 1960 through 1968," according to Ted.

Ted writes that "additional releases being prepared include CD-issues of: CONTEMPORARY CONCEPTS, KENTON IN HI-FI (Stereo), SKETCHES IN STANDARDS, & PORTRAITS IN STANDARDS."

"Stan Kenton waged a one-man war against one-dimensional music.
Here's evidence that he won."

"Before the concept of fusing jazz with classical and popular music came into fashion, Stan Kenton stood alone. His diverse musical experiments of the late '40s, '50s and early '60s were unique and ahead of their time," so reads the advertising copy for the release of a 6-LP, 4-CD set.

"With the world of experimental, big-band jazz practically all to himself, Kenton was able to attract some of the day's great musicians into his creative world, including Bud Shank, Lee Konitz, Charlie Mariano, Conte Candoli, Frank Rosolino, Mel Lewis, Stan Levey, and most significantly, writer/arrangers Bill Russo and Bill Holman.

"These two men were responsible for some of Kenton's most swinging and adventuresome recordings. Their charts are highlights of Kenton's Capitol repertoire, and their recordings, such as Russo's famous '23 Degrees West-82 Degrees North," and Holman-arranged standards like 'Stella By Starlight' and 'Yesterdays,' are the ones that jazz fans have long been asking Mosaic to organize and restore to print. Now all 72 of these landmark performances are available from Mosaic as a complete 6-LP, 4-CD set."

"Order Now!" STAN KENTON: THE COMPLETE CAPITOL RECORDINGS OF THE HOLMAN AND RUSSO CHARTS. 6-LPs (MR6-136) — $60.00; 4-CDs (MRD-136) — $60.00. There are shipping and handling charges. Contact: Mike Cuscuna, Mosaic Records, 35 Melrose Place, Stamford, Connecticut 06902. Phone: 203-327-7111 (10 am to 5 pm)


ARTISTRY IN SYMPHONIC JAZZ. Rendezvous Productions. RCD 1111. May 11, 1977.
BIRTHDAY IN BRITAIN. Creative World. STD 1065. Feb 19, 1973.
CUBAN FIRE. Capitol Records. CDP 7-9260-2. May, 1956 & Sep, 1960.
(Includes: Tres Corazones, Malibu Moonlight, El Panzon, Carnival, Wagon,
& Early Hours {Lady Luck})
KENTON'S CHRISTMAS. Capitol Records. CDP 7 94451 2
KENTON '76. Creative World. STD 1076
LIVE AT BUTLER. Creative World. STD 1058.
NEW CONCEPTS OF ARTISTRY IN RHTHYM. Capitol Records. CP32-5184 (Ja).
ROAD SHOW. Capitol Records. CDP 7-96328-2. Oct 10, 1959.
7.5 ON THE RICHTER SCALE. Creative World STD 1070.
STAN KENTON: JAZZ YEARS. Swedish Radio. SRJCD - 104. Apr 16, 1956.
STAN KENTON: A TRUE COLLECTORS ITEM. Jazz Archives. 90.108-2. 1953.
STAN KENTON'S 1951 BAND. Rendezvous CDs. CD-1001. Feb/Mar, 1951.
B & C Records. CD 74078-2 (Sound '62 Material).

Rendezvous ProductionsRendezvous CDsCreative World Records
PO Box 787PO Box 46058400 Sunset Blvd
New Lenox IL 60451San Clemente CA 92672Hollywood CA 90069
815-485-9320 Ans Svc213-656-2614

NOTE: Swedish Radio, Jazz Archives, Capitol: Use usual jazz record outlets; check NETWORK XII for list or write. See previous list in NETWORK XII.


ROBERT RENY, NETWORKER from Alexandria, Virginia, suggested listing the recordings differently; he finds that with the label listed first, comparisons with other lists is easier. [Thanks also go out to BILL COYLE, SHERM WILKINSON, MICHAEL SPARKE, JACK HARTLEY, DIETER SALEMANN, and other NETWORKERS who have sent me information about available recordings.] So, here is Bob's list (these, you will note have appeared in different format in previous NETWORKS, but for the new NETWORKERS and to try out Bob's approach...)(let me know which listing your prefer):

JOYCE MUSIC AJAZZ.C-1618. STAN KENTON. Volume 15 (1953)(Cassette)
JOYCE MUSIC AJAZZ.C-1664. STAN KENTON. V. 17 (1953-54)(CS)
STATUS 109. AT UKIAH. (1959)(CD)
CAPITOL CDP 7 96328 2. ROAD SHOW. (1959)(CD)(Note: CD includes 20 selections, while the CW version (CW STD 1019) only has 17 cuts)



Peter C. BarenBregge, Director of the Airmen of Note, has informed me that due to the efforts of many of you (and others), who wrote to Secretary of the Air Force, the Honorable Donald B. Rice (Editors Note: and I left out his first name in my letter to him, but didn't to my senators and congressmen who wrote indicating their intercession on my behalf), the decision to reduce the Airmen of Note to a ten piece band has BEEN RESCINDED! On their behalf, NETWORKERS are thanked for your response to alleviate the original decision.


New NETWORKER, DICK MEYER, produces COLLAGES of Stan Kenton, big bands and jazz subjects. They are xeroxed pictures glued and built up on different thickness of cardboard, creating a collage shadow box. They are black, white and multi-colored and range in size from 8 x 10 to 20 x 24. There are two formats: (1) collage built in black wooden frame; and, (2) usually a chrome frame, matted with glass — smaller and with fewer pictures. The price range is from $80 to $200 plus shipping dependent on size, color, frame, etc. 3-6 week delivery. If you're interested: DICK MEYER,6507 Kentucky View Drive, Cincinnati, Ohio 45230, 513-232-3750.

By Des Davis

1972 was a memorable year for Birmingham, England, Stan Kenton fans. We had not only seen the great Kenton Orchestra on its first visit to Britain in 9 years, but the world's first and only Stan Kenton Appreciation Society was formed by two dedicated fans, namely Fred Cole and Roy Edwards — and formed with the blessing of the 'Great Man' himself.

News quickly spread of the society's formation and very soon membership grew to gathers of some 50 to 60 enthusiasts, all with a lust for listening to the 'Artistry in Rhythm' of the greatest of all the bands. Audiences were male dominated, but in those formative years, the music occasionally attracted member of the fairer sex and still does to this day. Unfortunately, the years have taken toll of many of those who regularly attended in those early years including founder member, Cole. But although the membership has decreased somewhat, the enthusiasm remains and from time-to-time, new faces appear.

In recent years, we have staged two conventions in honour of Stan's music; we have attracted Kenton fans from all over the UK. The last one, in October, 1989, was attended by nearly 200 devotees. The enthusiasm for Stan Kenton's music attracted knowledgeable Kenton presenters like Vic Lewis, Stan Wooley (Jazz Journal), and Dave Kay to provide the entertainment via audio or video; and, Britain's The Shades Jazz Orchestra obliged with the live music. Our next convention is eagerly awaited. During the 70s, on the occasions when the Kenton Band played Birmingham, we were all privileged to meet Stan and the members of the band. This was possible because the proprietor of the venue where our meetings were held (Mr. John Peake, another Kenton devotee) always invited Stan and the guys to dine and discuss his music with us and to generally 'have a ball'. Sadly, that all ended in 1976 when the band made its last tour of England.

More than 18 years have passed since our foundation and the meetings still go on. On the first Sunday of each month we still gather to hear Kenton's music. The choice, now much wider with the advent of CDs and the release of much material that had previously been denied us. 37 years of 'Artistry in Rhythm', with each period of the band having favour with the listener. Stan's music will still go on when we have all departed the scene and our youngest member, 14 year old Nancy Hosson (trombonist) will be around to carry it all on. Stan's music was in a class of its own and was different than all the other bands, who, good as they were, pale by comparison.

Our meetings will be held at 12 noon on the first Sunday of every month at 'Summerhill Stores', Birmingham; all are invited.


....I continue to 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!


A special thank-you to Peter C. Newmann, Vincent Lane and his daughter, Gracie Hiett, who made significant contributions towards the underwriting THE NETWORK.

In every past issue, I have always failed to include someone's name, and I always neglect to mention someone — so, in advance, I apologize for the omission! Thanks to: Stephanie Ancona, Larry Adamson, Bill Anderson, D. W. Armstrong, Lillian Arganian, Dick Baldwin, John Bangs, Dave Barduhn, Peter BarenBregge, Don Beede, Marvin Beisel, Walter Bennett, Jr., Eddie Bert, Milt & Martie Bernhart, THE BIRMINGHAM STAN KENTON APPRECIATION SOCIETY (Roy Edwards, President & Des Davis, Secretary), Matt & Billy Betton, John J. Bonanno, Yvonne & Graeme Bowie, Dan Bied, Ed Bride, Jim Churchill, Paul Colaluca (The Esquire Foundation), Bob Conrad, Bill Coyle, Leo Curran, Ted Darryll, Ron Della Chiesa, Don Critton, Joe DeMello, Dale Devoe, Gerry Dexter, Lou Di Ferdinando, Leonard Feather, John "Chick" Fleming, Ray Florian, Al & Nan Fluck, Betty (Mrs. Harry) Forbes, Cheryl "Foz" Fosburgh, Harold J. ("Zoot Suit") Fox, A. J. Gallardo, John Geis, Dick Giacalone, Gordon Guy, Emil Haddad, Steven D. Harris, Jack Hartley, Bill Haseltine, Rick Gilbert, Marge Hofacre, John Hornsby, Merritt Johnquest, Bill Kaiser, Dave Kay, Audree Coke Kenton, Ted Lamas, Myron Lenson, Vic Lewis, Bill Lichtenauer, R. A. Mailhot, Dick Mayer, Frank Mazzio, Mack McShaffrey, Charlie Messier, Les Miller, Don Mitchell, Charlie ("Mr. Nostalgia") Morrison, John S. Overbach, Murray Patterson, John Pearson, Robert Pettibone, Art Pierotti, Ken Poston, Dave Powers, Donald Ream, Bob Reichley, Jay Roebuck, James Rothwell, Bob Ruan, Pete Rugolo, William Russo, Judy & Allen Scott, John Sheehan, Mark Shelhamer, Natale A. Sicuro, Greg ("A SMITH NAMED...") Smith, Michael Sparke, Jack Stancik, Caleb Standafer, Bob & Sue Strickland, Paul Sullivan, Randy Taylor, Joe Teragi, Bob Tonis, Joe Ulman, Jimmy & Eve Valentine, Jack Volanski, Joe Urso, Melvin Walden-James, Edgar Ward, Rod West, Larry Weinert, Sherm Wilkinson, Curt Wilson, Mario Zulli, & Ray Whitehouse, who continues to mail out the UK and Continent NETWORKS. I need to mention that one of the following NETWORKERS by name of ART, also contributed, but I can't remember which one (BORASSA, EIFFERT, SCULLY, SYTOWSKI, or TREMBLAY)....and there was a New England, BOB (can't remember last name) who contributed....and for those I may have forgotten.


Because of space limitations, I could not publish complete reports/reviews about: MIKE VAX's Tributes to Stanley, especially the one on May 16th at De Anza College, and the Kenton Alumni in Sacramento in the on March 15, 1991 Stockton, California; Four Freshmen/JAG Roadshow Concerts; the UK Shades of Jazz Orchestra; the KLON-FM series featuring clips of various Stan Kenton Orchestras; CHERYL 'FOZ' FOSBURGH's review of the BASH — it didn't arrive on time; DON REAM's report on the JAG/Kenton/Freshman concert; a Stan Kenton "crostik" puzzle; a memo on the handling of the CONCERTS IN MINIATURE provided by LEO CURRAN; recordings released by other Kenton alumni; a blurb on Maynard's Big Bop Nouveau Band; a poem about Stanley entitled 'Time Was" by Bill Swanson; a blurb on what CHARLIE MARIANO is up to now; note about ANITA O'DAY's book entitled, Hard Times; The Shades Jazz Orchestra, Featuring the Music of Stan Kenton —has been re-energized; thanks to MURRAY PATTERSON, information about a STAN KENTON AND THE BIG BANDS BBC BIG BAND concert with Bobby Shew and JIGGS WHIGHAM — some great tunes played by Jiggs and Shew; a KLON-FM salute to CONTE CANDOLI; the Saint Anselm's College Band's tribute to Stan Kenton, with the FOUR FRESHMEN — note from ART PIEROTTI; ALAN YANKEE and the Kenton Alumni on March 17, 1991 in Irvine, California; informative stuff from BILL COYLE's AAS Newsletter, JOE URSO; information about JOE GREENE, gathered by MICHAEL SPARKE and this Editor; current information about BILL RUSSO, EDDIE BERT, DALE DEVOE, HOWARD HEDGES; information about Stanley and FRANK ROSOLINO appearing in a book by GENE LEES, Meet Me at Jim and Andy's; more information on the Esquire's and the Esquire Music Foundation; another blurb on how LILLIAN ARGANIAN's book on Stanley is faring; BOB COASSIN's Big Band in New South Wales, Australia; the Cleveland Jazz Orchestra's Tribute to Stan Kenton; a tribute to PETE RUGOLO held at the Grand Avenue Bar of the Biltmore in Los Angeles, by a band conducted by PAUL CACIA (Editor's Note: a NETWORKER wrote a wonderful review, which I have...and, I've misplaced the name of the reviewer — "Reviewer, identify yourself to me!"); a review by Steve Eddy of the Orange County Register — the permission to reprint did not arrive in time; recollections by Billy Taylor of he and Stanley's comments before Music Educator's National Conference; a letter to the editor of the Sarasota Journal by NETWORKER DON BEEDE, panning a review of the Kenton band in 1975 by another reviewer; recollections by HAROLD C. FOX, zoot-suiter, an early band 'uniform' purveyor to the Kenton aggregations; NETWORKER MARVIN BEISEL's comments about the 50th; the Big Band Jump Newsletter of a 1977 interview with Stanley; and, MILT BERNHART's eulogy to JUNE CHRISTY, "Strangers on a Bus."

I've word-processed the above information, and have camera-ready copy, in preparation for THE NETWORK XIV. If you can't wait till December, and you're 'itching' to obtain further information about what couldn't fit here, send a SASE, and I'll mail the particular bit of information you request.


I wish that I had space for this one; however, I have decided to paraphrase a letter from MIKE VAX. If Mike is willing (let me know, Mike), I'll be happy to send any of you the complete letter, so you will get the flavor unsullied.

"The whole idea of pure nostalgia: promoters and fans centering their thoughts and energies only towards the 40s', 50s' and 60s' Kenton bands and music, is what Stan was opposed to......the amazing lack of attention to the bands of the 70s' (in the RETURN TO BALBOA concerts) just goes to show that the promoters of the so-called tribute, were only interested in the 'big-names' of the early years; and, not the younger players who really came out of the Kenton Clinics and had an undying belief in Stan and his music....(to us) Stan was a musical God! ! ! ...the Tribute...was a political 'ball game' for the promoters...many of the 'in-town' Los Angeles big shot players were used, whether they ever played on the Kenton band....many of us would have played for whatever they could have paid, in order to honor Stan's memory! ! ! ...the real sadness to the whole situation is that young people today don't even know Stan's name. I am out doing jazz clinics all over the country, as you know, and many of the younger music teachers today have never even heard a record of the Kenton orchestra. That is the real tragedy! ! Forget about those of us who have been Kenton fans for 30 or more years. What about the next generation of fans? Those are the people Stan was always interested in." (Edited for space)

(Editor's Note: Mike and DICK SHEARER are working on a way to get a whole new generation of Kenton fans going through the music and the clinic situation).


"When you get to the top, send the elevator back down fo someone else," said Doug Beach in the June, 1990 issue of Down Beat. Beach, continued, "Stan Kenton's commitment to music education was well known....Kenton's philosophy regarding the elevator seems even more relevant today than it did years ago. Kenton was perhaps one of the first 'corporations' to become heavily involved in jazz education. His 'Kenton Clinics" were an ongoing program designed to bring students in touch with active professional musicians."