The Network XV

31 July 1992

Anthony (Tony) J. Agostinelli, Editor
Prologue The number of NETWORKERS has grown to about 1130. Over the years I have relied on your contributions to pick up the slack and I made up the difference.

Many of you have been so very generous. At the end of this NETWORK I acknowledge all of you in some way. Now that correspondence responding to questions mailing of tape dubs for personal use printing costs mailing costs and the like continues to grow your contributions are so much more important.

The costs for the printing and the mailing of NETWORK XV will run to about $850+.

As of this writing I had $900+ in THE NETWORK bank account — there will be some funds to continue to respond to your inquiries. So I hope that you would consider a contribution especially if you have never done so before.

For this NETWORK there is an incentive to make a contribution. Dick Meyer has consented to give to the largest contributor (POSTMARKED NLT SEPTEMBER 15 1992) one of his FAMOUS COLLAGES OF THE STAN KENTON orchestras. The averages of contributions are: the usual contribution ranges from $2-3-5 in stamps and/or cash to $20-30 in cash. Some have contributed in the $100s in the past and in a couple of instances the total cost of the printing and mailing has been paid for by generous NETWORKERS.

As you know I continue to resist turning this piece into a subscription newsletter with printing and mailing deadlines. I prefer to keep it a free contributions-only piece. Then the whole thing is fun rather than a responsibility for me. Do what you can if you feel you would like to do so.

NETWORKER CHARLIE SCHIBENER suggests that I "should calculate costs in full — repeat full and in next (this) issue divide by number of "members" to give fair share" figure for us, as a target." If you mean the $850 divided by 1,130, the cost would be lest than a dollar for each. If he means the cost during the interim period between NETWORKS (answers to inquiries, dubbing, etc., etc.), it could run over $1,500 per interim period. Figure then, a little more than a dollar per person. However, I would not want to limit your contribution to just a dollar, for many of you may choose to give more, and some of you will not be able to contribute. For the time being, whatever you are willing to contribute, go for it. For those of you who have contributed — no matter what amount — THANKS!

The Brits are at it again...MURRAY PATTERSON, and too many others to mention (VIC LEWIS, MICHAEL SPARKE, ARNIE CHADWICK, ERIC HAMILTON, JOHN HEALEY, etc), are planning a reunion of Kentonians, in a spoken, film/video and live music tribute to Stanley — especially for those who came across "the pond" for the "Back To Balboa Bash" at Newport Beach. Barring unforeseen problems, the event will be held on Saturday and Sunday, November 21st and 22nd, 1992 at the Daventry Resort Hotel (sp), north of London on the M-1 about 80 miles, in the Midlands. The program will include many worldwide associated with Stanley's music; signed on so far are DENNIS NODAY & RICHARD TORRES. More information from: Murray Patterson, 9 Western Avenue, Barton-On-Sea, New Milton, Hampshire BH25 7PY, England UK. Expect me there, UKers! KENTON ALUMNI BIG BAND REUNION In February, 1992 at the University of Nevada, Las Vegas, a major event in tribute to Stan Kenton was held. MAYNARD FERGUSON & THE FOUR FRESHMEN, CHICO ALVAREZ, LEON BREEDEN, LENNIE NIEHAUS, HANK LEVY, BILL TRUJILLO, and so many others were featured along with the World Premieres of two works in honor of Stanley — Lennie Niehaus' "Kenton Tribute," and Hank Levy's "With The Old Man In Mind.

KAREN & JOHN DE VOS write: "February 14-17 1992 will stand out in our memory as one of the most unique jazz time periods of our lives. Imagine... four days devoted to the sounds of the Stan Kenton band in commemoration of the bandleader's posthumous 80th birthday! It all began at 7:00 pm on Friday February 14th at the Alumni Center at UNLV where a distinguished panel gave its views on the many contributions Kenton made to the jazz world. A quartet performance led by jazz trombonist CARL FONTANA concluded the evening. On Saturday evening MAYNARD FERGUSON and the FOUR FRESHMEN joined the UNLV Jazz Ensemble in a big band tribute. (Judy Bayley Theater at UNLV had been sold out for a month!). HANK LEVY one of Kenton's jazz arrangers and composers conducted his own original composition commissioned especially for this celebration “With The Old Man In Mind." The excellence of the UNLV Jazz Ensemble was summarized well by Maynard Ferguson's comment, "Would you guys consider going on the road with me?

On Sunday afternoon the audience at Judy Bayley Theater was awed by the instrumentalists on the stage — an all-Kentonite alumni band many of which are now residents of Las Vegas. In addition to playing many of the Kenton standards Ferguson and The Four Freshmen also performed with the group. A specially commissioned work was conducted by LENNIE NIEHAUS former arranger and composer for Kenton and collaborator on the film Bird," with Clint Eastwood. His composition was entitled, "Kenton Tribute." (Editor's Note: and there is BILL HOLMAN's, "The Tall Guy," also — not played at UNLV). Monday evening, the award-winning Monday Night Jazz at the Four Queens Hotel provided the venue for the finale of this commemorative weekend. Host and producer, Alan Grant, presented Kenton Greats, BILL PERKINS, tenor saxophonist, and CARL FONTANA, trombonist (substituting for trumpeter, CONTE CANDOLI, who had to cancel due to illness). In retrospect, we can only say that we were thankful to have been able to take part in this memorable event and we are hoping that it will be a prelude to similar programs here in the future."

(Editor's Notes: from a letter to DAVE E. POWERS, reprinted with permission...I met Karen at the FFAS gig in Columbus, and got to thank her personally, also. Another review appeared in the Las Vegas Review Journal...if you want a copy or the program order, send SASE).

By Leon Breeden, Special to THE NETWORK

It has always been my belief that each person on this earth leaves a "DICTIONARY of his-or-her life in which almost every word known to " man" is given one's own unique definition by that person's works thoughts and actions. These are not Webster's definitions but the individual's own! Let's take down that largest dictionary we see we see on "the shelf of life" covering the last eighty-plus years and which has the name "STAN KENTON" on the cover. We note that the name is not printed in standard routine printer's ink but is in 24-carat gold indicating something special about this dictionary.

As we look through the pages we note that certain words stand out in bold print words like: "KIND "CARING," "SHARING," and, especially, "LOVE!" Some words are missing complete or are so small they can be seen only with a magnifying glass - - words like: "HATRED," "PREJUDICE," "ENVY," and "GREED." There are two main reasons why this dictionary is so large — first of all it contains not only the shining successes, but the darker failures, as well. Secondly — it contains the names of countless people, names like Ravel, Debussy, and Wagner with Stan's notation by each one - "INSPIRED ME!

The largest number of course is that which lists his musical colleagues. By Johnny Richards' name we note Stan's words: "BELOVED BROTHER." By names of colleagues Niehaus, Levy, Hanna, Curnow, Coccia, Paich, Roland, Russo, Holman,Rugolo, and Alvarez; Trujillo, Maynard Ferguson, Baltazar, Root, Childers, Perkins, Candoli, Le Coque, Fontana, The Four Freshmen, Alan Grant, Audree and on-and-on Stan has his own definition: "SHARED WITH ME SOME OF THE HAPPIEST MOMENTS I HAD IN MY LIFE!" Finally the one word in the largest capital letters is "MUSIC" with Stan's definition = "MY LIFE!" beside it. As we close this beautiful book we note that on the cover under the gold "STAN KENTON" are the words added by the Editor:


Thank you for listening (reading) so kindly to this very personal tribute.

(Editor's Note: Amen Leon!)


You can join quite easily and keep up with all the goings on of the latest version of the FOUR FRESHMEN. Write: John Bangs President/Manager FFAS 738 Monroe Street, Oshkosh, Wisconsin 54901-4649, (414)-426-4284.

Ranwood records is re-releasing their "Fresh!" album on CD and Cassette. Watch for it....I was in Columbus for the FFAS's 4th Annual Midwest Freshmen Celebration on July 17th & 18th in Ohio. They worked with the Jazz Arts Group under RAY EUBANKS' direction two new Frosh joined in for two tunes. FFAS will announce some changes soon so join now. Flan will be taking a "less active role Autie will retire after 15 years with the Freshmen to go fishing in the great Northwest. Flan's role will be that of impresario, mentor, horn player, and FFs will be known as BOB FLANIGAN AND THE NEW FOUR FRESHMEN.

KAY JAZZ PRODUCTIONS (Dave Kay) Dept NTWK, 29 May Road, Rochester, Kent, ME1 2HY, England Phone: 0634 40598 Fax: 0634 403732 SEND 2 International Mail Return Certificates or large SASE (2 stamps) for Catalogue of over 100 videos all in stock AND, A LARGE SELECTION OF KENTON LPs, VIDEOS & CDS Status CDs are Dave Kay's specialty!

(Send SASE's or International Mail Coupons)

"Tabasco" Pete Webb who is the organizing secretary of the ART PEPPER SOCIETY. The APS publishes the NEWSPEPPER, a newsletter of things 'bout Art Pepper. Send a $20 bill to join: "Tabasco" Pete Webb, Los Altos, Dept NTWK, 34C Dengrove Park, Canterbury, CT2 OPY, England, 0227 712343....NO NAME JAZZ N.E.W.S, Marge Hofacre, PO Box 2441, Idyllwild, CA 92549 — the "National (sometimes International!) Field Guide to Jazz. NNJZN also offers a modest selection of jazz recordings for sale. The MUSIC OF THE SHADES ORCHESTRA's latest release is, "I Remember Stan, directed by IVOR DEACH featuring JIGGS WHIGHAM. It was recorded on June 9 1991 and is available for 6 Pounds Sterling plus S&H (1 Pound UK and 2 Pounds overseas). Write: Alan Crank, 37 Edge Fold Rd., Worsley, Manchester M28 4GE, England UK.

BBAA has a stellar line up of directors and advisors all from the world of big bands. MILT BERNHART is President and so many big band leaders are involved. BBAA has a number of events where most of the big band and vocalist community of southern California turns out. The membership at large is a Who's Who of big bands and so many Kenton alumni are on board. Write Milt or Martie Bernhart at: BBAA, 6565 W Sunset Blvd, #516, Hollywood, California 90028.

BIG BANDS INTERNATIONAL The World's Leading Big Band Society," Robert J. Robbins, Secretary, 2000 Richard Dr, Broomall, PA 19008-26741

THE JAZZ-INSTITUT DARMSTADT is the largest European public research jazz archive. It contains specialized books, periodicals, sheet music, records and photographs as well as posters and other memorabilia. It targets not only the researcher — musicologists, students, journalists — but the general public as well. The goal of the Institut is to become a general information center on jazz. It is currently housed in Darmstadt's Kennedy Haus, but in 1993 will relocate to an historic building which is presently under renovation. Contact: Wolfram Knauer, Jazz-Institut Darmstadt, Kasinostrabe 3, D-6100 Darmstadt, Germany, telephone — (06151) 13-2877.

You should consider joining the BBC BIG BAND CLUB; keep abreast of what's happening with this world class big band from England. Write: Dennis Legg, Hon. Sec., BBC Studios, Delaware Rd, Maida Vale, London W9 2LG, England. I saw the band with George Shearing duo in New Bedford, Massachusetts earlier on, and they were "smashing, smoking and superb!"

THE ESQUIRES: MUSIC FOR DREAMING AND DANCING, are celebrating 34 years of excellence. "The amazing story of four high school freshmen in 1957 and their dream to create and build a dance band like the great bands that became famous in the 'Big Band Era.' The dream eventually became the 'Esquire Music Foundation," assisting young student musicians to complete their college education through scholarships and sponsors of the 'Fabulous Esquires." Their connection with Stanley is a long-standing one. Stanley was one of the first persons to become a member of their board of directors. You may remember that THE ESQUIRE FOUNDATION was the first to put on a "Tribute To Stan Kenton" at the Marsee auditorium at El Camino College to a standing ovation from a sell out audience. (Editor's Note: Great slides, Jack!) The Esquire Foundation will exchange scores and parts of orchestrations from its library to not-for-profit performing groups, and a minimal fee for reproduction of scores and charts. Contribute to this great group: PAUL COLALUCA, Director, The Esquire Foundation, 2406 W 171st Street, Torrance, CA 90504, 310-323-9202.

BILLY TAYLOR'S SOUNDPOST, for $20 a year, keeps you in contact with what Billy is doing, and with whom. To get on his list, send your $$$ to: Soundpost, PO Box 630305, Bronx, New York 10463.

THE NATIONAL JAZZ SERVICE ORGANIZATION (NJSO) was founded in 1985 as a not-for profit benefit arts service agency is in business to help jazz arts and performing groups. In conjunction with the New England Foundation for the Arts, NJSO pioneered a 3.4 million dollar, 4-year program designed to enhance jazz presentation, education and audience exposure to lesser-known and emerging regional artists throughout the country; be in touch at: NJSO, PO Box 50152, Washington, DC 20091, 202-347-2604.

Herbert F. Storfer is the key player at THE JAZZ FOUNDATION OF AMERICA, which has established the Jazz Musicians' Emergency Fund, committed to helping jazz professionals in dire straits — an emergency support system. Contact: Herbert F. Storfer, The Jazz Foundation of America, 1200 Broadway, Suite 70, New York, NY 10001, 212-685-5206. You can either help them out by contributing, or by putting some jazzist in dire straits in contact with the Foundation!

LETTER FROM EVANS (Bill Evans), Dept NTWK, 2712 Cady Way, Winter Park, Florida 32792-4856, USA......CHET'S CHOICE (Chet Baker), Dept NTWK, 5814 Dunbar Road, Raleigh, North Carolina 27686....(For clinics and music sessions of the International Association of Jazz Educators conventions, send for Audio Tape Forms): NATIONWIDE RECORDING SERVICES, Dept NTWK, 15385 S 169 Highway, Olathe, Kansas 66062, phone — 913-780-3307.

CHRIS PIRIE is still planning some version of his Artistry In Kenton. Send an international mailing certificate to get current information on his plans: Chris Pirie, The Swing House, 233 Norwood Road, London SE24 9AG, England.

HUB ATWOOD, who composed "hits for Frank Sinatra, Nat "King" Cole, and Stan Kenton" (TV Guide, May 23, 1992), is the father of Eden Atwood (Staige Prince on the soap opera, "Loving), has a jazz album on the Southport label. (Editor's Note: every connection may be worth reporting!) REISSUES AND CDs Here are a plethora of the latest reissues of Stanley's music that I know of. For a more complete listing, see previous NETWORKS or send SASE, and I'll send a copy to you.

ARTISTRY IN RHYTHM, Jazz Hour CD (Sound '62) 23o NORTH, 82o WEST, USA Natasha Imports NI-4006 (CIM Encores, 1952-53) CONTEMPORARY CONCEPTS, Capitol (Due out in 1993) DIAL M FOR MUSIC, [VIDEO][VHS PAL], Dave Kay (May 27, 1967) GREAT CONCERT IN POLAND, Jazzview CD (September 15, 1976) CUBAN FIRE, Capitol B21Y-96260 INNOVATIONS, Laserlight CD 15770 (Carnegie Hall, October 19, 1951) INNOVATIONS, LIVE 1951, Italian Bandstand BDCD 1519 (3/51) KENTON AT UKIAH, Status 109 (1959) KENTON IN HI-FI, Capitol CDP 7 98451 2 (2/56) LET'S DANCE SERIES — STAN KENTON, Japanese Capitol #28-5904 LIVE AT THE HOLLYWOOD PALLADIUM, Bandstand LP EB-413 LIVE AT PALO ALTO, Status 108 (May, 1955) LIVE AT THE PATIO GARDENS, Magic DAWE (3 Vols) 56, 57, 58 (August, 1957) LIVE AT THE SURF CLUB, Status 112 (May 13, 1955) LIVE IN LONDON, London (Decca) CD 820 466 (February, 1972) BACK TO BALBOA, MMF 1003 (The Newport/Balboa Bash, June, 1991)** NEW CONCEPTS OF ARTISTRY IN RHYTHM, Capitol B2-92865 OPUS IN PASTELS, Jazz Roots 56023 (1945-1952) PORTRAITS/SKETCHES ON STANDARDS, Capitol (Due out in 1993) SOUNDSTAGE (Video), WTTW-TV, 1975 Telecast (Kenton, Christy & Four Frosh) [Available from Dave Kay] STAN KENTON, Japanese 5 CD set, TOCJ 5651-5655 (1941-1954) STAN KENTON: COMPLETE CAPITOL RECORDINGS OF THE HOLMAN & RUSSO CHARTS, Mosaic MD4-136 (1950-1963) STAN KENTON RETROSPECTIVE, Capitol 4 CD set CDP 7 97350 2 ('41 to '68) **MAMA FOUNDATION, 12190 1/2 Ventura Blvd Suite 364, Studio City CA 91604, 818- 985-6565. $60 plus postage and handling. 52 page book. Product delayed!!


This is the tricky section; if I don't hear from you alumni, I can't get a note in here. Here's what's come to me: BILL PERKINS did a week in April with the JAZZ ARTS GROUP in Columbus for its 12th annual tribute to Stanley. Bill wrote, that JAG did "a superb job, and I was proud to be a part of it. RAY EUBANKS and the band are first class. Ray dug up a copy of BILL HOLMAN'S chart on "Out of Nowhere" — which was written for me with Stan's band (about 35 years ago)!" Bill just finished a stint with "The Tonight Show" band, has recently recorded a tribute to Woody Herman on the Craig/Jazz Mark label, and has patented two inventions for MIDI controller devices.

MIKE VAX is doing all sorts of things: TRUMPETS (TRPTS) "Transforming Traditions," The Jazz Alliance, Inc., TJA 10009, is the latest CD that Mike performs on...go get it since their are brilliant new arrangements and solos of Clifford Brown and Bunny Berigan recreated by four trumpets. And, you know who else is on the album from the Kenton family? WARREN GALE, STEVE CAMPOS & BOB DAHL! If you want to be on his mailing list, write him c/o Tom Carroll, 2900 Standiford, Suite 175, Modesto, California 95350, (209)-526-2282.

HANK LEVY will have been fully retired by July 1 of this year. He will teach some private composition at Towson, would like to do clinics for high schools in the area, and publish on a limited scale. BOB CURNOW will be publishing works like "Chiapas," "Step Beyond," "Time For A Change," and the like. He also hopes to do some new things. (Editor's Note: Would I be too forward, Hank, if I asked that you name some tune for Stanley's pet fly, "Cecil?").

CAROL EASTON, is still hard at work on a biography of Agnes De Mille, choreographer par will remember Carol's "Straight Ahead;" her biographies of the British cellist Jacqueline DuPre, and Samuel Goldwyn.

EDDIE BERT recently recorded an album to be released on Fresh Sound Records, with J. R. Monterose and bassist, Bill Crow.

SHORTY ROGERS & ART PEPPER'S Mosaic recordings are on the endangered species list; some are still available (Rogers MR6/MD4-125 — The Complete Atlantic & EMI Recordings of Shorty Rogers [$60 LP or CD]...and, MR3-105 — The Complete Pacific Jazz Small Group Recordings of Art Pepper [$30 LP only]).

JERRY MC KENZIE is playing with the Emil Morrow Band in Bloomfield, Michigan (the Detroit area). CLEM DE ROSA continues to free lance fronting many different bands and doing mostly corporate industrial show and arranging for singers and various productions. Clem was seen in the Spring conducting one of the "ghost bands!

BILL RUSSO recorded one his most recent works Dubrovsky," (An Opera In Three Acts) for WFMT, Chicago at the Emmanuel Church on Newbury Street in Boston in early July (Editor's note: exquisite, Bill) And, Bill recently directed the Music performance Ensemble of the Contemporary American Music Program and the Classic Jazz Ensemble of Columbia College in Chicago, of a performance of the works of:Jelly Roll Morton, Duke Ellington, Stan Kenton and Bill Russo. Gorgeous stuff done in world class repertory music fashion.

SAL SALVADOR's 5 piece contemporary jazz group (Sal Salvador and Crystal Image) is doing very well. Rave reviews from the critics on both the records and the performances. He is having a great time with it because "we're playing something new and fresh (something I learned from Stanley)." The group just closed at the Village Gate and will be doing festivals in the northeast this summer. HANK LEVY is the chief arranger and Teo Macero (a big Kenton fan) is the producer. He is recording again in September and he's just had his 11th book released, Jazz Studies for Guitar; two more have been ordered. The publisher is Mel Bay. He is considering putting together a big band for Mondays in September and October. Lots is going on with Sal.

LAURINDO ALMEIDA had a string of dates, recently. He did a tour of Japan with the Modern Jazz late June, was at Carnegie Hall, in Toronto at the "Guitar Bar," and, the Saratoga Arts Festival; and in early July, for the San Diego "Jazz Note." Lindo's rendering of "Artistry in Rhythm," at the Balboa Bash in June of '91, still stands out as one of the high points of that alumni reunion!

MEL LEWIS' recording with Bob Brookmeyer and Clark Terry, "Live From the Village Vanguard" is available on CD from Jazz Heritage (Jazz Heritage 513141K at $12.99).

VIC LEWIS writes that he enjoys THE NETWORK (thanks, Vic). We should be on the lookout for his "Vic Lewis Plays Bill Holman" CD, again coming out on Candid with an additional track, "Oleo," with Alan Broadbent, in the new year. Also, in November, another CD will be released; he worked on it in November, and is entitled, "VIC LEWIS WEST COAST ALLSTARS presents: Andy Martin, playing the music of Jimmy Van Heusen....with BOB COOPER, BILL PERKINS, Mike Lang, Joel Di Bartelo and Paul Kreibich. He writes that Andy "must surely be one of the top two trombone players in the world today and I am sure had Stanley been alive he would have part of the Kenton Orchestra." (Editor's Note: VIC LEWIS is a long time friend of Stanley's, has been billed as "England's Stan Kenton," has worked with most of the world's famous entertainers, and is a well-known cricketeer!)(Hope you meet my son Mark in England, Vic, Murray, Michael, Ken and all/any other UKers)!

HOWARD HEDGES is working as a jazz DJ on KBBI-AM (catch the skip sometime) in Homer, Alaska, and is in dire need for CDs and LPs for his radio program. If you've got stuff to spare, send them to him: Howard Hedges, PO Box 779, Homer, Alaska 99603-0779, 907-235-2701. (Editor's Query: What's your theme song, Howard?)

JOHN "BARON" VON OHLEN reports that he is still using his cracked 25 1/2 inch cymbal when he works at the Blue Wisp and other venues. He had it with him when he recently guested with RAY EUBANKS' umpty-ump tribute to Stanley in Columbus with the Jazz Arts Group in April. He believes that the renowned "Eliminator" cymbal used in Stanley's orchestras, is hanging on the wall of JAY CUMMINGS' apartment. (Editors Note: Is it true, Jay? If not, where in heaven's name is the "Eliminator?"

MAYNARD FERGUSON recently gigged at the Newport Islander Doubletree Hotel in Newport, Rhode Island, with his Big Bop Nouveau Band. Maynard recently was quoted as saying, "I'm a person of change and I must be honest to my artistry and my creativity. That's part of the word 'jazz''s an adventure." (Editor's Note: Heard the band, and thought it was the best it was in some time. As usual, the band blew out all the doors and windows, and we all got out with but minor contusions and bruises!)

PETER C. NEWMAN recently broadcasted on CBC (Canada) Part 2 of his survey of the music of Stan Kenton. Peter "is best known as author of The Canadian Establishment, Merchant Princes, and as editor of McLeans magazine, but he is also a life-long Kenton fan and he became a friend." (Editor's note: As always, way to go, Peter).

ROSS BARBOUR & BILL COMSTOCK, formerly of the Four Freshmen were seen by this editor in Columbus. They look good, still sing well, and are still full of the "what for!" Ross is an extra in many TV series, movies, and theatre movies...he stood in (standed in)(?) for Dean Jones in the film, "Beethoven" for one long shot. Bill is still singing sweetly, warmly and passionately.

MARK MASTERS has available his two LPs for Seabreeze Records, and his new CD release ("Priestess") on Capri ($10. and $15 for the CD — includes S&H): Mark Masters, 400 Alta Vista Ave., South Pasadena. CA 91030, 213-254-2132. Mention THE NETWORK when you order.

Also, THE SILVER BULLET SWING BAND, which uses Kenton charts in its repertoire, recorded its first compact disc at a live concert at the Worcester Massachusetts Science and Arts Center. To get on their mailing list, and for this CD, write: Don Pentleton, Don Allan Orchestras, 71 Franklin Street, Watertown, MA 02172, 617-924-4485 & 617-266-4727. Again, mention THE NETWORK.

JOHN HARNER, just did the JAG tribute to Stanley and has been teaching music in the Xenia, Ohio City Schools where he also directs the highs school jazz band. He is professor of trumpet at Central (Ohio) State University. His signature has become the high trumpet work in "Send In The Clowns," wherever he goes. He worked at Springfield, Ohio several times in the early part of this year, with Tony Bennett, Steve Allen & Shirley Jones on the bills. (Editor's Note: there are some things you just have to do, John!)....

DALE DEVOE is gigging around Philadelphia with a group which he calls: the Dale Devoe Heavy Metal Jazz Orchestra. They have been rehearsing on and off since March, and graduated to playing for the door, and a performance at an area arts festival. Their regular drummer is JAY CUMMINGS, who has a "lot to do with the way the band sounds. Dale would really like to record; he has about 80 original arrangements, including about an album's worth that I wrote for DICK SHEARER's aborted STAN KENTON tribute album of about 5 years ago. (Editor's Note: Dickus, "when you gonna" dust off that trombone section tribute to Stanley?)

MURRAY PATTERSON, a UKer NETWORKER, has initiated SON OF NETWORK, slated to be sent out to all UKers. Support it. It sounds like a nice new piece. If you're a UKer, and you're interested, drop Murray a note: SON OF NETWORK, Murray Patterson, 9 Western Avenue, Barton-On-Sea, New Milton, Hampshire BH25 7PY, England, 0425 619501....I've already sent UKers' addresses to Murray. ...Part 1 of THE GREAT "GOZ" appeared in the IAJRC Journal, Spring, 1992 issue. All about the great CONRAD GOZZO. Part 2 should be 'round next issue.

MARVIN STAMM & EDDIE BERT, among many famous others are on a new release, THE MUSIC OF JIMMY LUNCEFORD, Music Masters 65072; one of the tunes is "Yard Dog Mazurka," one riff in the tune formed the concept for the "head" arrangement of "Intermission Riff.

RALPH BLAZE recently did a relaxed jazz background gig in early July in Laguna Beach for the Chamber of Commerce Art Festival using a trio Roland Synthesizer and tenor joined Ralph's guitar.

CLAYTON POOLE and the Northeast Big Band was scheduled to perform a "Road Show" concert with the FOUR FRESHMEN in Andover Massachusetts on August 21 1992. For further information call Clayton at 617-266-5458.

DR. JACK WHEATON (remember him and BILL FRITZ with the college Neophonic) now of the University of San Diego is playing and writing in addition to his university chores. He directs the Calvary Church Orchestra a large ensemble the church wants to create a jazz ensemble and Jack is ready for that. Ardsley House in NYC is about to publish his jazz history And All That Jazz. You may want to consider purchasing it when it comes out. Jack is writing a book about PAUL COLALUCA's "Esquires." As you know Stanley took a great interest in Paul's work with young musicians playing big band charts many of which are "tradable" from Paul's Esquire foundation.


BOB CURNOW writes: "I am happy to be able to offer the music of the Stan Kenton Orchestra to you after many years of its being out-of-print. Because of my long association with Stan I am thrilled to be able to once again make this great music available. What is offered in the first catalog is only a first step in helping to fill a worldwide need for Classic Big-Band Jazz Repertoire." He continues “Most pieces require 5 saxophones (standard and otherwise), 10 brass and 3-4 rhythm. Most have a Conductor Score included with the parts. Some pieces have a Full Score available. In some cases, the parts are single unbound pages. In all cases (except where noted), the arrangements are the exact ones recorded by the Stan Kenton Orchestra, over 35 years of recorded jazz (well over a hundred LPs). You should listen to those recordings when making your music choice. Good listening." Bob assures us if there is something that is not on his list, "for something you don't see.....please call and ask" Bob.

Some of the music that he is offering this time around is by: Stanley, Pete Rugolo, Ken Hanna, Johnny Richards, Bill Holman, Gene Roland, Dee Barton, Hugo Montenegro, Hank Levy, Willie Maiden and Bob Curnow. There is a "Kenton Hits Medley," and "A Kenton Christmas Suite," in this first batch. Bob also has some other material by Bill Holman, Matso Limtiaco, and Curnow-arranged material of Pat Metheny and Lyle Mays. Write him at: SIERRA MUSIC PUBLICATIONS, PO BOX 543, LIBERTLY LAKE, WASHINGTON 99019, 509-255-6551, Fax: 509-255-6551. You may want to purchase them for your college, high school, community or commercial orchestra or rehearsal band. The prices range from a low of $30 and a high of $80, depending on the music. As you know Curnow, who is owner and president of Sierra Music, had a fifteen- year association with Stanley as a trombonist, composer/arranger, record producer and general manager of Creative World Records. His music (as a performer or arranger/composer) is available on nine Kenton recordings. (Editor's Note: I think I'm going to order "Zoot;" there's a local tenor man, that would kill to play it with his Monday night band, I'll bet!)


JIGGS WHIGHAM is an internationally acclaimed trombonist, band leader, and educator. He is an adventurous, modern jazz trombonist, who sums up his musical philosophy saying, "Train you ear to be as quick as your eye, be a poet, avoid cliche licks, and meet your responsibility to your audience. Over the years, Jiggs worked with the Glenn Miller Orchestra (Ray McKinley's time); Stan Kenton; free-lanced in NYC in the studio, radio and Broadway; Kurt Edelhagen Jazz Orchestra at the West German Broadcasting Company. Cologne is his home base where he has worked with the likes of Count Basie, Dizzy Gillespie, Thad Jones & Mel Lewis, Dexter Gordon, George Gruntz, Freddie Hubbard, Peter Herbolzheimer and LEE KONITZ. He is the director the jazz department at Cologne University College of Music. He appears at many Stan Kenton tributes and reunions; is a principal in the International Association of Jazz Educators, and is currently available for lecture demonstrations and master classes. Contact his management for further information and discography: Tony Sidott, 7910 Ivanhoe Avenue, Suite 411, LaJolla, California 92037, 619-695-92037. Jiggs has been active with clinics and such during July at the Disneyland College Music Program in Anaheim, CA; Eastman School of Music in Rochester, NY (amongst those with him here will be friend, GENE BERTONCINI); Disneyworld College Music Program in Orlando, FL; and, the BUD SHANK Camp in Port Townsend, WA. (Editor's Note: Keep on it, Jiggs. See you at IAJE in San Antonio in January).


The "Baron" is an Indiana native who worked early on in his professional career with Woody Herman and the Billy Maxted Manhattan Jazz Band. In the early 70s, he toured and recorded with Stan Kenton for several years. In the mid 70s, he returned from the road to live in a southern Indiana farm in Sunman. He became a regular member of Cincinnati's Blue Wisp Big Band and joined the faculty of the College Conservatory of Music at the University of Cincinnati. In addition to the Blue Wisp Big Band LPs for MoPar, he can also be heard with the WDR (West German Radio) Big Band with John Clayton and Carmen McCrae, and, more recently, on "Mel Torme in Tokyo." (Editor's Note: Cracked cymbal and all, you're somethin', Baron!)


DAVE BARDUHN recalls the February, 1977 recording date of his own orchestra with one LP, "Barduhn:" "Most of Stan's guys came to the studio to watch and the date was actually chosen so that Dickus (DICK SHEARER) could be there to help produce. At all three gigs, Stan made a point of having me sit in with the band and telling the audience that I was in the studio recording my own band. What an exciting time that was and what an inspiration Stan was to me." (Editor's Note: you speak for all of us, Dave; Stanley was an inspiration to all of us in so many different ways, at so many different levels!) NETWORKER ART SCULLY sends this nugget along, and invites your response to the manner in which Stuart Nicholson in Jazz: The Modern Resurgence (Simon & Schuster, 1990) addresses Stanley's contribution to jazz education. (Editor's Note: I will publish any response you my have to this....): "....performing in large ensembles demands sound instrumental technique, inch-perfect phrasing, precise intonation, dynamic control and the ability to read at first sight, often complex scores bringing these elements together is an important process in learning to make music. Bandleader Stan Kenton realized that these virtues could be used to great effect by using the big band as a vehicle for music education' in 1959 he introduced the 'Stage Band' concept to the American educational system. The concept was a success; big bands gradually became part of musical life in High Schools, colleges and Universities in America so that by 1981, there were approximately 100,000 young musicians playing in some 20-25,000 bands in America — 60% in high schools, 30% in colleges and Universities, and 10% in junior high schools. The level of musicianship achieved by the best was awesome, the level of originality less so. Sounding like Kenton, Basie or Herman provided a system of values that could be slotted into an educational concept, but the aesthetics of a Gil Evans or other rethinkers could not. What began as a Kenton influence had, by his death in 1979, become a Kenton industry , with precisely the uniformity so noisome to jazz." Art comments, "yes,even Stan's last bands also had precision with few great soloists, but they had a sense of dynamics and a devotion to the charts not found today in big bands. In short, some contemporary big bands sound sloppy and the charts perfunctory, mere framework for solos. Am I too critical? No! Long live "The Kenton School," and Gil Evans' work as well.


It's a long list and it's been published once or twice before in NETWORK send SASE for list. A few which have regularly come by my desk are:

Ray Anthony
9288 Kinglet Drive
Los Angeles CA 90069
310-858-1992 or 800-845-2263

Cadence Building
NY 13679
Fax 315-287-2860

PO Box 943
El Dorado
Arizona 71730

5 Prospect Rd
Herts EN8 9QX


The Music World Trade Center," PO Box 255, Port Townsend, Washington 98368-0255, 206-385-1200 (Record supplies, books, records, etc.) DOUBLE TIME JAZZ, Jamie Aebersold, PO Box 1244, New Albany, NY 47151-1244 ESOTERIC SOUND, 4813 Wallband Ave., Downers Grove, Illinois 60515 FANTASY, INC., 10th & Parker, Berkley, California GM RECORDINGS, Gunther Schuller, 167 Dudley Road, Newton Centre, MA 02159, 617-332-6398 JAZZ COLLECTION, 3803 Idle Court, Bowie, MD 20715-1402, 301-464-2137 JAZZ HERITAGE, Data Processing Ctr., PO Box 398, Oakhurst, NJ 07755-0398 LRC LTD., JAZZ & BLUES, 16 Montrose Place, Melville, NY 11747, (516)-643-9259 MARINA MUSIC SERVICE, INC., (Charts only), PO Box 46159, Seattle, WA 98126, 800- 331-4528 MOSAIC RECORDS, Mike Cuscuna, 35 Melrose Place, Stamford, CT 06902-7533, 203-323- 3526 MR JAZZ, Daniel Link, 11523 Edgewater Dr., Cleveland, OH 44102, 216-631-3990 MR NOSTALGIA, Charles P. Morrison, PO Box 26494, Tamarac, FL 33320-6494, (305)- 726-5420 MR STU, (Discographies), 1716 Ocean Avenue, Suite 9-L, San Francisco CA 94112 THE RECORD FINDER, PO Box 1047, Glen Allen, Virginia 23060 RADIO YESTERYEAR, Box C, Sandy Hook, CT 06482, 800-243-0987 RECORD-RAMA, Sound Archives, 4981 McKnight Rd., Pittsburgh, PA, 412-367-7330 SIGNFICANT BOOKS, 3053 Madison Rd., Cincinnati, OH 45209, 513-321-7567 STASH-DAYBREAK MO, 140 W 22nd St, 12 Flr Frnt, New York, NY 10011, 212-243-4321 USED KIDS ANNEX, 1992 N High St, Columbus, OH 43201, 614-421-9455 VGM RECORDS, PO Box 228, Ashland, OH 44805, (419)-289-1866 VIDEO YESTERYEAR, Box C, Sandy Hook, CT 06482-0847 THE WAX MUSEUM, 1505 Elizabeth Avenue, Charlotte, NC 28204 WORLDS RECORDS, PO Box 2613, San Rafael, California 94912-2613, 800-742-6663

(Editor's Note To: John Killoch, a couple of NETWORKERS have been inquiring as to your whereabouts. I hesitate to publish an address — mine might be out of date. If this reaches you, drop me a line)

By Richard Jessen, Grand Island, Nebraska

The era of the big swing bands of the '30s and '40s was something which will never be experienced again in quite the same way. The recordings in our collections leave quite a lot of memories but the big question is: did they always play the tunes in exactly the same way with the same arrangements and same soloists? Having listened to various recordings and band remotes from the period, the answer would have be NO! Most of the bandleaders would try tinkering with an arrangement in order not to bore the musicians or the listeners. The leaders who had the longest careers, such as Harry James, Les Brown, Count Basie, Stan Kenton and others knew that the quickest way to oblivion was to stand still and let the world musically pass them by, while everyone else was moving forward. No one bandleader knew this better than Stan Kenton. He was an innovator in progressive big band music. Many of his explorations sound just as vital as ever, principally because he was a man ahead of his time and he knew what would or would not work, musically.

One way we can trace his dissatisfaction with the status quo is to listen closely to several performances of one of his most famous, enduring hits. "Intermission Riff" was to Stan Kenton what "Woodchoppers Ball" was to Woody Herman. It was written in 1945 by Ray Wetzel, a trumpet player in the band who tragically had been killed in an automobile accident in 1951. (Editor's note: a head arrangement, originally, loosely based on Jimmy Lunceford's "Yard Dog Mazurka!") Wherever he went, Stan would have requests to play that number, usually preceding intermission. Let's now see how he treated this piece over the years and maybe we'll understand how many bandleaders would constantly tinker with a frequently requested number.

The original 1945 Capitol Records recording of "Intermission Riff," (Editor's Note: Capitol Records 298, January 14, 1946, mx 892), included two soloists, Vido Musso on tenor sax, and Boots Mussulli on alto sax. The ending is quite abrupt - - just two notes by the ensemble, punctuated by Ralph Collier's drums. (Editor's Note: Originally recorded for a Capitol Transcription session on December 20, 1945, but not issued at that time). A 1947 remote from the Hotel Commodore in New York City shows a more expanded version. Bongos have been added to the rhythm section and there's a longer piano intro plus more comping from Stan. Throughout, there's more supportive riffs behind the soloists. An addition to the 1945 ending is a delightful counter riff. Then, the abrupt ending.... A remote from the Hollywood Palladium in 1951 is very pivotal in the development of the Kenton style in that it looks forward to everything that Stan was to accomplish over the next 28 years. This broadcast is one of the most spirited Kenton performances in my collection. Brass intros to solos and bigger buildups of ensemble passages are noticeable, which in turn lead to Maynard Ferguson's stratospheric trumpet accompanied by the brass blowing neat little riffs. After a gradual winding down in sonorities, the performance ends on the last, extended note of the theme as the beat slows down to a stop — a very unusual departure from the traditional ending. At a July 4, 1951 date at Catalina Island, we find the piano intro, which had been omitted in the Hollywood Palladium performance noted above, is back in the arrangement as is the basic 1945 arrangement for the first half of the performance. Soloists again have a heyday with lots of freedom. Then halfway through the piece, a cascade of new backgrounds, bridges, and riffs appear along with lost of high note artistry by Maynard Ferguson. Then a slowly diminishing ride-out of the theme into the traditional abrupt ending.

In collaboration with Capitol Records in February of 1956, Stan invited several alumni to join his current band and record an album of his earlier hits. And, of course, "Intermission Riff" was included. Stan's piano intro is very brief, with very tough and aggressive playing from everyone. An excellent trombone solo by Carl Fontana (deleted from the stereo version for some mysterious reason) stands out, after which we hear a manic riff passage that could stand on its own as a theme plus cal-and-response passages between trumpets and trombones. A new ending has Mel Lewis playing a drum solo before his final solo — in effect, having the last word. Again, the abrupt ending. (Editor's Note: new "Kenton In Hi-Fi" CD is the mono version and Carl's solo is included.) Birmingham, England on November 22, 1963 finds the arrangement of "Intermission Riff" Stan was to use for the rest of his career. His piano intro is played an octave higher, then settles into the main riff themes. Brass fanfares introduce modern, imaginative solos. Stan's piano is all over the place, with runs and trills that he hardly ever did in public before or after. A very long double bass solo leads into a full ensemble ending. The final ensemble chord was now extended to five seconds. London, 1972, finds the arrangement changed very slightly. A lower, more menacing intro by Stan quickly ascends up the scale as the band starts to groove. And groove they do as the ensemble sound becomes very intense. Solos are very forceful and brief with the trumpet soloist, against the brass section, screaming out his high notes. By this time, everyone is on fire as the high-note trumpet leads the ensemble into the final coda where the brass joins in with a final blaze of sound, holding the last climactic chord for 11 seconds until the audience is roaring. (Editor's Query: Who was that high note trumpeter? Dennis? Jay? Who?)

Space does not allow reviewing all 15 versions of "Intermission Riff," in my collection. However, these seven examples of Stank Kenton's ever fussing with the tune through the years certainly shows that original arrangements do change with the big bands and that what is heard in a single recording isn't necessarily etched in stone. I hope that you will enjoy exploring succeeding recordings of an original arrangement in your collection and discover all the subtle — and sometimes not so subtle — changes in backgrounds, bridges, riffs, solos, and all the other components that contribute to the marvelous, exciting sounds of the great big bands! (Editor's Note: any comments from NETWORKERS will be forwarded to Jessen). (And, if you have any comments about recordings in your collection, drop us a note).

By Gerry Dexter, Lake Geneva, Wisconsin

The world of Kentonia has its own unique set of very significant dates: December 15, 1911; May 30, 1941; and, certainly, sadly, August 25, 1979. There are, of course, numerous meaningful dates in between. One of them is May 22, 1977 — a date which marked the beginning of the end. The date of the fall or collapse or whatever it was that happened at the Abraham Lincoln Hotel in Reading, Pennsylvania. And the resultant fractured skull, the surgery and the long battle to recuperation; the battle that was never fully won. I have, twice now, been inside the Abraham Lincoln Hotel (Fifth and Washington Streets) in downtown Reading — where John Philip Sousa died in 1932. The hotel has been closed for the past four years...for sale, but the owners unable to find a buyer in Reading's depressed economy. The hotel's main entrance is locked and chained but it's possible to get in through a side entrance. One corner of the marquee overhead is crunched, as though it had had an unfriendly encounter with a large truck. This door is open to allow access to a barbershop on the ground floor (one elderly barber sweeping the floor, eight chairs, all of them empty). Just inside the entrance are two short flights of stairs which lead up to the lobby. They aren't spending any money on heat, so the March weather only adds to the emotional cold you feel at being in this place. The hotel was built in 1931 and is about 12 stories high. The lobby's decor hasn't changed appreciably from the original. There are impressions: the chill in the air; the stone floors; one's voice and footsteps echoing a bit; a side alcove with a large area rug; ornate stone benches; large floor-standing vases holding huge, fake feathery-like things; a distinct musty odor; a heaviness; a sense of decay. It wouldn't be hard to imagine evil lurking here, perhaps in some dark corner on the balcony level. Steps on either side of the main entrance and at the rear of the lobby lead up to the balcony which surrounds the lobby on three sides. There are two or three offices up here. The balcony crosses over the main entrance, and take one to a couple of banquet/meeting rooms on the far right, well away from the lobby area. If I recall correctly, one of these is the "Americana Room," where one news report said Kenton was found. The front desk is at the rear of the lobby. There are lights on but no one is there, though you have the feeling someone is around, somewhere. You can help yourself to a card showing what the last room rates were ($70, tops. And don't miss Sunday brunch in the Lincoln Ballroom). The elevators are the doors to the parking garage. Some accounts say he was found in the "underground" garage, but that must be incorrect since the garage begins at street level. The garage is an open type, and has several levels; it can be reached directly from each of the first few floors. No account I've seen describes exactly where the accident happened so it wasn't possible to be sure of finding the exact spot. It's easy to imagine that he came down the elevator to the lobby and then walked out into the garage. But whether or not that guess is correct, if you are a Kentonite, walking through that door and standing in that garage brings a rush of sadness. Dwell on it tool long and it would be easy to feel the tears starting to come. I have a good friend in the Reading area so I will go back to see him. But not again to the Abraham Lincoln Hotel. Not again.

(Editor's Note: I did feel a rush of sadness when I read this article, and saw the photographs that Gerry took; and I almost lost it.)


Although this section is not oriented to Kentonia, there are some good things out there that deserve your, THE NOTE, The Al Cohn Memorial Jazz Collection, West Stroudsburg University, Music Department, East Stroudsburg, PA 18301 — Larry Fisher is the man. Dear friend, PHIL WILSON, says hello to all his California friends; he is plugging his new CD coming out soon, "The Wizard of Oz Suite," — Phil Wilson conducting his own arrangements of Harold Arlen's great music, with the North German Radio Orchestra featuring soloists: Herb Geller, as & sop sx; Danny Muss, ts; Walter Norris, p; Ronnie Stuplunson, d; Wolfgang Schulter, vbs; and Phil, himself, on trombone. September is the release date. (Editor's Note: make sure you're "off to see the Wizard," aren't we).

If you ever know that guitarist EDDIE HAZELL is playing in your area, run, don't walk to hear him. His trio works in northern New Jersey (Clubhouse at Smoke Rise; The Inn, Oakridge; Hanover Marriott; Liberty State Park in August). His latest album, "Pick Yourself Up," is available (as he is for gigs)("low-key to entertain during dinner," and "subtle enough to do it with demanding jazz compositions"): Eddie Hazell, PO Box 802, McAfee, New Jersey 07428. The AIRMEN OF NOTE, under the direction of Chief Master Sergeant, Peter BarenBregge, are playing this summer regularly in the Greater District of Columbia area. Get out to see them at some venue. Also, they are trying to locate alumni with whom they have not been in regular contact. If you are such an alum, and you are not in regular contact, contact them! I would assume that the other service big bands are playing in the DC area also — THE JAZZ AMBASSADORS, THE US ARMY BLUES, THE NAVY COMMODORES, etc.; try to catch them, also. And if you see the JAZZ AMBASSADORS, ask them to play KEN MC COY, JR's "Stan Kenton Medley" — it'll knock your socks off! I went to see and hear the BBC BIG BAND in New Bedford, ran into several NETWORKERS. Barrie Forgie and the Bandsmen, are superb — competent, technically superior than most big bands, will swing at the drop of a beat, have stars who work their socks off, and make an overall great presentation. They were backing up the George Shearing duo, and the groups complemented each other beautifully. If you have never seen the BBC Big Band, you are missing one heckuva treat.

(Editor's Note: Thanks for keeping me up to date on things, Dennis Legg. I do appreciate it.)

Previously published in other NETWORKS

The latest issue of Diz Greer's Jazz Connection, lists in addition to the member of THE WORLD JAZZ NETWORK, as list of jazz sources. You may want to join up: Diz Greer, World Jazz Network, Box 2226, Corvallis, Oregon 97339. This will keep you up to date as to where to purchase jazz recordings and videos. I heartily recommend to you THE KIT MCCLURE BAND; an all women's group that's smoking. They are available on REDHOT Records and CDs. Look for their material in the stores. Their fist CD is all standard tunes! Go get 'em. BOB LABER has written an interesting article entitled, "The Kenton Crusade," and it appeared in The Instrumentalist, September, 1991, pps 34+... Trumpeters ROGER INGRAM & DAN MILLER were seen world-wide as Harry Connick, Jr., sang the "Star Spangled Banner," at the Super Bowl...both students of BOBBY SHEW, they were spotted behind Harry in Minneapolis on January 26, 1992, reports JOE URSO. THE US ARMY JAZZ AMBASSADORS, have a keen arrangement of a Kenton medley charted by KEN MC COY, JR. If they're in your area, ask the group to play will knock your socks off. It did me; and I had to pull off the Interstate I was so moved by it! KENTON XII & XIII OK. This annual gig led by RAY EUBANKS, and played by the JAZZ ARTS GROUP of Columbus, Ohio this year featured: JOHN VON OHLEN, JOHN HARNER & BILL PERKINS. I received the reviews of Ray Eubanks'(Artistic Director) Jazz Arts Group's celebration of KENTON XII, that were written by Bill Eisenberger, who is the Dispatch Pop Music Critic (Columbus Post Dispatch) and Don Ream's personal account. Those reviews appear below with appropriate credit. WOW! FROM ALL THE THINGS I HEARD FROM VON OHLEN AND PERK, AND OTHER ATTENDEES (fill in all the excelsior phrases you can imagine): [MARVELOUS, STUPENDOUS, SUPERB, EFFERVESCENT, TERRIFIC, SPLENDID, WONDERFUL, AWESOME, SMOKING, ON FIRE, THE BEST OF THE LAST XII]. You know the drill. I'll need to wax exuberantly about KENTON XIII — ANITA O'DAY is to be featured! Consider that enough "waxing!" Oh! Because JIM HANSEN was unable to attend because of family illness, he gave me his tickets to attend all JAG concerts; it was in the middle of my semester, so I couldn't go. Was able to see that they were used, and received some contribution for THE NETWORK. Nu? Now to the reviews.

By Bill Eichenberger

Reprinted with permission from the Columbus Post Dispatch If Stan Kenton had been a movie director, he'd have been Cecil B. DeMille. If Stan Kenton had been a construction tool, he'd have been a jackhammer. So last night's Jazz Arts Group, at tribute to Kenton, was not unlike being run over by a COTA bus and then having Bojangles tap dance on your skull. "This cast of thousands" was how JAG artistic director Ray Eubanks described his big band; he was alluding to the four extra mellophone players and the three guest artists who had jacked the count to a whooping 23. For all the brassy bluster of Kenton's classics, though, JAG in general, and saxophonist Bill Perkins in particular, were remarkable for their achievements in the lulls between blasts. (You can add vocalist Michele Horsefield to that list for handling of "Orange Colored Sky." She sounded as good as I've heard her.) Perkins took the stage for peculiar and delightful rendition of "Body And Soul," approaching the ballad with a phrasing and tone — breath and cool — that recalled trumpeter Chet Baker. Only difference was, while Baker could do one thing well, Perkins proved adept at several. He varied his attack marvelously, punching his alto sax through the empty spaces of "Stairway To The Stars," and bopping like no one's business.

Those who mistakenly consider JAG's repertoire too polite should have been on hand. Ladies and gentlemen, they was wailing tonight! Perhaps most impressive were Perkins' long and melodious ruminations on his trademark, the oddly beautiful ballad "Yesterdays." It helped that Perkins was joined by former Kenton drummer John Von Ohlen, who employed equal parts force and finesse, all right in the rhythm. At the beginning of his solo on "Limehouse Blues," the burly drummer went one-handed while he nonchalantly pushed his white hair off his face with his other hand. Then he cooked and, to quote a staple of sportswriters these days, took the song to the next level. In a chapter right out of The Spy Who Came In From The Cold, JAG's spies unearthed a couple of Kenton rarities, namely the Bill Holman arrangement of "Out Of Nowhere," and the never-recorded "Mellophobia." (Editor's Note: That "Sound '62" material was "ephemeralized" by Wally Heider on Hindsight, and several other "ephemerals!") The "Out Of Nowhere arrangement was particularly toothsome, made all the more appropriate because it was written especially for Perkins. In May, the "Tonight Show" with Johnny Carson will sign off and national audiences will be deprived of the sounds of Bill Perkins' saxophone. But tonight, those sounds provided a feast of reason and a flow of soul.

Donald Ream, Special to THE NETWORK

This is the first time we had attended 'opening night' but there seemed to be no difference between this and other nights; if anything, the band was a bit fresher and definitely 'at ease." There was a slight change in the stage set up. The mellophonium players were on stat right at the beginning, rather than coming out when they were needed. This served to cut down on some of the traffic and certainly caused no problems. Due to the three guest artists and the numbers played, RAY EUBANKS did not have too much time to chat with the audience but he still managed to 'be in touch' with a few comments about the guests and the music. The only non-printed addition to the music on Wednesday night was "Send In The Clowns." Given the nature of the guest artists and the numbers printed in the program, I am wondering if there was much variation from night to night? On the other hand, more music may have been played the first night to give everyone an opportunity to 'get acquainted' for the balance of the run. BILL PERKINS played more than just "Body And Soul" — he played with his HEART AND SOUL on every number. Alto, tenor and soprano with equal skill, but more importantly, with a feeling for the music, the arrangers, and for the people who were there to listen. When musicians applaud their own, it has to be good music. JOHN VON OHLEN is quite simply put, an awesome drummer. His range of musical emotions runs from top to bottom. He drove the band to some heights that may have surprised even the members themselves. Michele Horsefield was true to the arrangements (by her husband) while at the same time she brought her own style to the program. "Peanut Vendor" could have been dropped in favor of something else but there are some people who expect either that or "Malaguena" (preferably both!) at each concert. I would rather hear "Here's That Rainy Day," or one of the "chestnuts" like "Love for Sale, " etc. Ray got the usual comments about not playing "Intermission Riff," but there were a few bars at the break. We have not seen too many other concerts by JAG, but I have been fortunate enough to see eight of the twelve Kenton Tributes. They just get better every year and this can only be because Ray and the band have such a tremendous love and respect for what Stan did with his music and for his fans. Without this feeling, it would be just a bunch of guys (and a gal) on a stage playing stock arrangements. They impart a spirit to Stan's music that ells the audience: "Hey, we LIKE this music, too!" Where else would you find an all PHD sax section blowing up a storm for five concerts a season, and five nights for each one? We are hoping to be able to get season tickets for next season, but with so many people re-upping each time, it is difficult to break in. Wednesday and Thursday prices will stay the same, while the week-end tickets will increase. And with Maynard being on one program, and Anita O'Day at the Kenton Tribute, there is sure to be another sell-out. Long live JAG; long live the Kenton Tribute. What life savers they both are to be big band lovers! Straight ahead!

By David Sowd

Reprinted with permission from the Akron Beacon Journal (3/15/92)

If bigger is better, then Stan Kenton was the best. No question about it. His, after all, was the biggest of the big bands. From 1941 until his death nearly 40 years later, the charismatic Kenton led all sorts of brash and brassy aggregations that blasted out loud, poly-rhythmic music virtually impossible to dance to. At one point, in 1950, the group swelled to 40 pieces — more, even, than Lawrence Welk — with the addition of a huge string section. In the early '60s, it made room for four mellophoniums (essentially a French horn with its bell facing front, like a trumpet). It's the latter lineup that the Cleveland Jazz Orchestra sought to re-create Friday night at Cuyahoga Community College's Metro Campus Auditorium, with its fifth annual tribute to Kenton that (March 13 & 14, 1992) And the crack "repertory" ensemble, expanded for the occasion to 24 pieces (including a four- man horn section captained by Bill Hoyt, one of several University of Akron professors on board), managed to pull it off in style. The band brought all 450 or so fans to their feet with the very first strains of BOB CURNOW's 1973 arrangement of the national anthem, one of the hippest renderings since the Ali-Frazier fight that featured Marvin Gaye. Masillon native BOB DOLL, an alumnus of Kenton's last road band (1978), stepped out with a lush flugelhorn solo on "My Old Flame;" vocalist Ki Aallen wrapped her velvety alto around a trio of standards ("Midnight Sun," "Time After Time," and a hard- swinging "East Of The Sun"); and, alto saxophonist Kent Engelhardt wailed through a BILL HOLMAN arrangement of "Stairway To The Stars" that went from ballad to bop and back. The first set thundered to a close with a classic PETE RUGOLO reading of "Love For Sale," conducted by musical director, ROLAND PAOLUCCI and propelled by Rich Flores' congas (and assorted weapons of percussion gleefully wield by the five- man trumpet section). Part Two brought even more extreme examples of Kentonian bombast with two pseudo-symphonic charts by '60s arranger, JOHNNY RICHARDS: "Cuban Fire Suite," which featured a skin-banging duel between Flores and Drummer, Mark Gonder, and the powerful, poignant "Maria" (from "West Side Story Suite"). But Hoyt brought things back to earth with his mello, virtuosic solo take on a GENE ROLAND arrangement of "Misty." And the band nearly brought the house down with the screeching-trumpet finales, Kenton's well-worn theme song, "Artistry In Rhythm." (Editor's Note: Guest lecturer was John Simna, a producer at WCLV-FM. Keep at it Roland; it's what I like to hear and read).




A NETWORKER is looking for a "Book of the Month Club" 2LP or 2CD set called "Swing Reunion." As I am told, it is no longer available. If there is one of you out there that has it, and would like to exchange or sell it, please be in touch with me. In any event, the NETWORKER would like to have a clean tape copy......JEAN TURNER — does anyone know where she is?....Another NETWORKER is looking for several Kenton Creative World albums [1009, 1036, 1037, 1041, 1048, 1049, 1050, 1061, and the Kenton/Ritter album, Capitol 1757. If you can accommodate him in some way, let me know....and, I will put you in touch. I am looking for a last December new NETWORKER, who must be upset that he has not received his issues; he was one of the 150+ callers-in to our WGBH-FM tribute. I sent THE NETWORK opener to him, but it was returned to me. So, if you are out there, and know of: John Donvan or Donovan, 42 Wilson Avenue, Stoneham, Massachusetts 02180....the USPS returned your letter, "returned to sender," no such address. Where did I go wrong?


A couple of things. To those of you who are awaiting dubs from me, I must apologize for the delays. There is a long list of reasons, a rationale, and even guilt, that I could tell you all about. However, your patience is wonderful. I do have you on my list. Thanks for your forbearance.

RANDY TAYLOR recently listed from his diary the number of times he saw the various incarnations of Stanley's bands....I was overwhelmed by the number of times he got out to see them. It prompted me to go to my diaries, and pick at my memory....I only came up with about 30 certain occasions — hearing Stanley on the Bob Hope Show in '43 and '44, seeing him at the Metropolitan Theatre in Providence in 1946 (at 13), and finally seeing him at the Holiday Inn in Peabody, Massachusetts on July 30, 1978.

(Editor's Note: Thanks FRANKIE DI ORIO for arranging that gig and the one at Weymana in June of 1978; those occasions served as my farewell!) If you have any time, you might search your memory, let me know....and for the one of you that saw him the most (send in recollections and number of times by December 31st), I'll send you a piece of Kenton memorabilia.

Spent a most enjoyable evening recently with PAUL & JEAN COLALUCA of the Esquires Foundation, and JOE & ROSE COCCIA. You know how those evenings go: great depths of emotion, friendship, wine; reveling in the remembered great times, stepping into the great circumstances of here and now, and the future; as well as listening to special cuts of Stanley's music. A special evening, not soon to be forgotten.

There was no room for several items. Send SASE or International Postal Coupon for: (1) "Remembering a STANdard," article about Stanley in the Dallas Morning News, March 26, 1992; (2) Reviews of the Kenton: Russo/Holman Mosaic Set. THE CLOSER If you recall last issue's "The Closer," I quoted an Allen Scott Kenton band story; it is only appropriate that this issue's closer, is also Allen's. JAZZ WRITER, EDITOR,


The Daily Star, Tucson, Arizona, February 2, 1992 Jazz journalist Allen Scott died Sunday evening, February 9, 1992, of cancer at his Tucson home. He had been diagnosed of lung cancer two weeks previously. He was 64. A newsman and editor in the Washington, D.C. area for more than 30 years, Scott wrote about jazz for a variety of publications including, The Washington Post, Washington Star, JazzTimes, Metronome, and Ameryka Illustrated, the U.S. Information Agency magazine published in Russia and Poland. He was the author of Jazz Educated, Man, (Washington, D.C., American International Publishers, 1973), a general interest survey of jazz education, and was a former editor of Radio Free Jazz (now JazzTimes). He helped to promote festivals on the high school and college level, serving as a commentator and master of ceremonies for such events. After moving to Tucson in 1983, Scott was active in the Tucson Jazz Society as a board member and as a member of its education committee. For several years he taught a course on the band era for the adult education program of Pima Community College and presented programs on the subject to a number of local groups. Scott was an assistant editor of Tucson Lifestyle magazine and a regular contributor to The Desert Leaf. He was a charter member of the International Association of Jazz Educators, a member of the Jazz Journalists Association and the Jazz Enthusiasts Programs Committee of the International Federation for Jazz. Scott is survived by his wife, Judy Scott; daughter, Mary, of Silver Springs, Maryland; and son, Jeff, of Fairfax, Virginia. A memorial service (was) held at the Pima Community College Center for the Arts recital hall. Memorials may be made to the Arizona Cancer Center or Tucson Jazz Society Education Fund — in Allen's name.

(Editor's Note: Allen, we hardly knew ye; but we did enjoy ye when we hung out at IAJE meetings. Allen Scott, Amen!).