The Network XVI

28 February 1993

Anthony (Tony) J. Agostinelli, Editor
Prologue The number of NETWORKERS has grown to about 1,400. As I wrote in NETWORK 15, 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. As always, 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. I hope that you would consider a contribution, especially, if you have never done so before. 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. Whatever you are willing to contribute, go for it. For those of you who have contributed — no matter what amount — THANKS! Enough of this fund-raising talk.

I should mention that when making inquiries of anyone appearing in THE NETWORK, please send a SASE — enough USA postage for whatever it is that you want, and International Postal Coupons if the addressee is other than USA. Someone has to eat the cost of your inquiries, it might as well be you. On with the news.
By Anthony J. Agostinelli, Editor, THE NETWORK

MURRAY PATTERSON & VIC LEWIS, and too many others to mention (VIC LEWIS, MICHAEL SPARKE, ARNIE CHADWICK, ERIC HAMILTON, JOHN HEALEY, TONY ADKINS, VIC HALL, REG WING, BOB HOLNESS, MALCOLM LAYCOCK, IVOR DEACH & THE SHADES OF JAZZ ORCHESTRA, & AND THE MIDLANDS YOUTH JAZZ ORCHESTRA, [12 times winner of the BBC National Big Band competition], etc)(I just know I overlooked someone), carried off one of the better reunions that I have been to. Although, as with any event such as this, there were a few glitches, the whole event was a smash. The panelists and performers rose to their world-class role, and gave it there most wonderful shot. HERB GELLER, DENNIS NODAY, & RICHARD TORRES, couldn't have performed better. The panelists were informative, interesting, and knowledgeable. Daventry, where the event was held during the weekend of November 21 & 22nd, was a marvelous venue, centrally located, and the accomodations were plush. These musicians were empanelled to talk about their days with Stanley — Vic Lewis was a most effective moderator, speaking also about his close and personal relationship with Stanley and PETE RUGOLO, as well as other Kenton alumni. Chadwick and Wing did an excellent, often humorous, retrospective about WALLY HEIDER, and his recording contributions. Another panel which included Sparke, Hall, Wing and me, moderated by Holness, was almost like a BBC Radio event — Holness truly sounds like the voice of the BBC! I would be remiss if I did not mention THE GREAT ENJOYMENT I experienced in listening to Deach and the Shades, and the MYJO — I can understand why the latter group has won, and is still winning the BBC competitions. Finally, a great word for Hamilton's and Lewis' discussion of the Mulligan charts for the early 50s orchestras! (If anyone comes upon BWEEBIDA BOBBIDA played by Stanley at some gig, send it along to me).

In December, when the dust had settled, I heard from Murray, and here are some of the things he wrote: "I'm still on a 'high' and what with the many letters and phone calls which I have had, am finding it difficult to get back into any sort of routine"....."a truly gigantic THANKS to (all of the team presenters), the back-room boys and girls — especially Tony Adkins, our sound guy, who was battling with a temperature of around 102 degrees"....."the effort that was freely given by all (and I mustn't fellforget the Stewards and the Hotel Staff) seems to be appreciated by everyone. It is my dearest wish that it was a fitting Tribute and Celebration to the Life and Works of STANLEY."

ARNIE CHADWICK commented upon and played some great 1945 Kenton material; to many, much of what he spoke about was familiar, as was the music. He called his presentation "Stan Kenton's Big 16." If you want to know more about what went on, and to congratulate the principal organizers [and to motivate them to do it again, write: Murray Patterson, 9 Western Avenue, Barton-On-Sea, New Milton, Hampshire BH25 7PY, England UK, or John Healey, 2 Lister Drive, Northampton, NN4 9XE, England UK. I did a piece on the "many musical moods" of the various orchestras of Stanley's, and played some previously unreleased musical material. [The complete monograph is available from OLB Jazz, PO Box 2663, Providence, RI 02905 at $9.95]. I really enjoyed meeting all of those Brits who I have come to know through the mails. Let's do it again, Murray and John? DAVE KAY showed some great, never before seen, Kenton films and videos; I was taken with the MUSIC '55 material! (If you want the list of charts used by SHADES & MYJO, send me a(n) SASE or International Postal Coupon).

There have been mixed reviews appearing in UK publications of the events, however, MICHAEL SPARKE put it best, "In my estimation the organizers deserve nothing but praise for a difficult job supremely well done. I hope they will feel constrained to repeat it many times in the future." (Jazz Journal, February, 1993)....[On a personal note, I visited with my son, Mark, who works in London for St. Paul/Seaboard Surety, who came with me to Daventry. We had a blast together. Mark had arranged for us to see/hear the DON LUSHER Big Band at the Barbican; unbeknownst to me Murray, Vic and others, worked it out that Don dedicated "Concerto To End All Concertos" to me at the public performance. I was overwhelmed, since I had no idea that it was to take place. After the performance, I got meet Don, Kenny Baker, Malcolm Laycock, Don's wife, and so many others backstage. It was a wonderful experience. The Don Lusher Big Band is a world-class outfit — several times, the hair stood straight at the back of my head. Good enough response, NETWORKERS? Thanks, all of you who set that up. I'll never forget it.] (Editor's Note: THE MIDLAND YOUTH JAZZ ORCHESTRA has again won the BBC National Rehearsal Band competition — Congrats, MYJO!)


MIKE ARENA tells me that the Altamonte Springs Community Jazz Ensemble is preparing for a Stan Kenton tribute on April 25, 1993, 7:00 pm, at the Eastmonte Civic Center. Don Kirby of WLOQ-FM will be the MC. Mike has videos and CDs for sale of other tributes done by the jazz ensemble, for their music and uniform fund. For more information, be in touch with Mike at 119 Bent Oak Court, Sanford, Florida 32773, 407-322-7528.

On Sunday, March 21, 1993 at the Irvine (California) Marriott Hotel, another tribute to Stanley will be held, again including the new FOUR FRESHMEN. For more information, call 714-553-9449.

On Monday, March 1, 1993, at the Empire Room Sportsmen's Lodge, Ventura at Coldwater Canyon Boulevards in Studio City, California, the BIG BAND ACADEMY OF AMERICA will hold its 1993 Reunion Dinner; there will be some great music, and the announcement of the TOP TEN bands in the estimation of the BBAA MEMBERSHIP. Call for information: MILT/MARTIE BERNHART, 213-463-4825.

On March 20, 1993, THE BROWN UNIVERSITY JAZZ ENSEMBLE, Matt McGarrell, conductor, and THE GENE MILTON BIG BAND will devote an entire evening to the music of Stan Kenton at Salomon Teaching Center (Hall) on the Brown University Campus; the BUJE will play arrangements by JOE COCCIA, and perhaps Joe might be prevailed upon to conduct the group. The GMBB will play the Kenton warhorses with sections filled by former Kenton bandsmen and alumni. This Editor will provide an intermission interactive with the audience about Stanley's professional career and some of the charts that will be played. It is planned that there will be use of slides of Stanley, and at least one film to lead into part of the program. Check with Matt at Brown University as it gets closer to the date for information about tickets at 401-863-3234.

from the greater Boston area will perform a concert of Kenton's music at the Indian Meadows Country Club, Route 9, Westboro Massachusetts on March 8, 1993 from 7-11 pm. Call Don at either 617-266-4727 or 508-562-3630.


The Cleveland Jazz Orchestra (CJO) will feature a rare live performance of the 10 movement "West Side Story Suite" as it presents its fifth 1992-1993 season concert "Tribute To Stan Kenton" with guest artist, former Clevelander, trombonist JIGGS WHIGHAM, Friday and Saturday evenings, March 12th & 13th at the Cuyahoga Community College Metro Campus Auditorium, East 30th and Woodland Avenue.

Along with the performance of the "Suite", the CJO will repeat last year's rave performance of the Kenton (Curnow, arranger) version of "The Star Spangled Banner, along with Stan's theme, "Artistry in Rhythm," and other chestnuts, such as "Opus in Chartreuse."

Tickets are $13.00 and $11.00 reserved seating, available in advance at Music of Note in Shaker Square, Mark's Compact Disc Shop in the Old Arcade and Royal Garden Records at 23812 Lorain or by Mastercard/VISA by calling the CJO at 216-572-2562. Tickets will be available at the door. There is a one dollar discount for seniors, WCPN and NOJS members; student tickets are $8.00. The CJO is Cleveland's professional repertory big band, directed by Roland Paolucci. For more information call CJO at 216-572-2562. (Editor's Note: C'mon you Ohioans and others within a 100-200 mile radius [or more], get out there to see the CJO, and tell NETWORK all about it.)

THE LOEW'S BIG BAND, a Rhode Island repertory orchestra, dedicated to the music of the big bands, did a small tribute to Stan Kenton on February 6, 1993 at the Providence Performing Arts Center; with guest artist, LEW SOLOFF performing a wide variety of charts, the band played: INTERMISSION RIFF & ARTISTRY JUMPS. Radio personality, Steve Bianchi, a dear friend was MC.

DICK MEYER'S COLLAGES of the Kenton orchestras.....are still available for purchase; if you remember, we ran a small contest in our last issue for the largest contributor by a particular date — RAY EUBANKS of the Columbus Jazz Arts Group came up with the contribution, and received a complimentary collage. So, if you are interested, write/call Dick at 6507 Kentucky View Drive, Cincinnati, Ohio 45230, 513-232-3750.


You can join quite easily and keep up with all the goings on of the latest version of the "New" FOUR FRESHMEN. Write: John Bangs, President/Manager, The Four Freshmen Society (FFS), 738 Monroe Street, Oshkosh, Wisconsin 54901-4649, (414)-426-4284. (Editor's Note: I was told, cannot verify, that Gary Rosenberg, a former Four Freshman, hit a bridge abutment coming home from a gig in Pottsdown, PA, went through the windshield, walked away from it, hailed a cab, and got away with slight cuts and slight concussion. Stay well, Gary.)

By Chick Trafford of the Four Freshmen Society
Special to THE NETWORK

Bob Flanigan, a Kenton protege and incomparable lead singer of the Fabulous Four Freshmen since 1948, has reorganized this legendary vocal/instrumental jazz quartet. Bob has passed the baton to Mike Beisner as the new stage leader, and Greg Stegeman has taken over the lead voice. The new group:

MIKE BEISNER sings the second part and plays all brass instruments and keyboards.....GREG STEGEMAN sings the lead and plays all brass instruments and keyboards....KEVIN STOUT sings the third part and plays guitar and trombone .....BOB FERREIRA sings the fourth part and plays drums and flugelhorn.

Mr. Flanigan ("Flan") has earned the respect and admiration of millions of people. His lead singing has influenced and inspired two generations of group singers, and his audacious trombone playing has created an unparalleled following among musicians. He is a legend in his own time. Bob will continue to travel with the group for the foreseeable future to nurture and support the continuation of that unique Freshmen Sound. Under the direction of Mike Beisner, The Four Freshmen tradition of excellence is in very talented hands. The new group is exciting. The hauntingly beautiful harmonies they give to the presentation of ballads are, pure and simple, and outstanding. And their upbeat jazz numbers would receive Stanley Newcomb Kenton's highest praise. Vocally, the blend of the new group is unbelievably close to the recordings you've heard from the 50s and 60s, and instrumentally this may well be the best configuration of musicians ever assembled by the Four Freshmen. Bob Flanigan is truly joyful. He told FFS members that he is as excited about the new group as he was when the original group was formed!

In the liner notes of a new demonstration audiocassette produced by the new group Bob writes: "The new Four Freshmen have the talent and dedication to carry on the Freshmen Sound well into the 21st century with all of the enthusiasm and excitement that we created in the early 50s. They truly embody the Freshmen 'Experience'."

Freshmen fans can look forward to the production of a new album in the not too distant future; in the meantime, if you have a chance to see and hear them in person, don't miss it! You have to hear them to believe it! (Editor's Note: I've heard their debut in Columbus this past summer, and have heard the audiocassette [but, unfortunately, missed them in Boston]; I can reiterate Chick's observations. They sound "fantabulous!")

(Dave Kay)
Dept NTWK, 29 May Road, Rochester, Kent, ME1 2HY, England
Phone Dave Kay at: 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


Status CDs are Dave Kay's specialty!
Ask for ALL the Kenton Status CDs — 101 through 108, and 111, 112


Below listed are a number of 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 SYMPHONIC JAZZ, Tantara Productions **
BACK TO BALBOA, (50th Anniversary Celebration)
The MAMA Foundation, MMF 1003 (5 CDs)
BIRTHDAY IN BRITAIN, Creative World STD 1065
FIRE, FURY AND FUN, Creative World STD 1073
THE GREAT CONCERT, (Limited Edition), Jazz View COD 012
IN A MELLOW MOOD, Total 3002
HIS INNOVATIONS ORCHESTRA, (October, 1951), Laserlight 15 770
KENTON '53: CONCERT IN WEISBADEN, Astral Jazz ACD 101 (Jazz Hour)
#I, Magic 50 & #II, Magic 53
KENTON '76, Creative World STD 1076
LIVE IN 1957-1959, Total 3001
LIVE AT BUTLER, Creative World STCD 1058
LIVE AT BUTLER (With the Four Freshmen), Creative World STCD 1059
LIVE AT PALO ALTO, (May 13, 1955) Status CD 112
OPUS IN PASTELS (1945-1952), Jazz Roots CD 56023
PATIO GARDENS BALLROOM, 1957, (3 CDs), Magic DAWE 56, 57, & 58
PLAYS CHICAGO, Creative World STD 1072
RETROSPECTIVE, Capitol Jazz CDP 7 97350 2
7.5 ON THE RICHTER SCALE, Creative World STD 1070
STAN KENTON, (1961 [Melphoniums]) SPA Edition Movieplay SA (Portugal) JTM 8112
STREET OF DREAMS, Creative World STD 1079

** [Still available: 1991 compact disc release of a 1977 Kenton Orchestra club date performance including never before released versions of "Satin Doll," and "This Is All I Ask." To order, send $18.50 to Tantara Productions (formerly Rendezvous Productions), 2709 Black Road, Joliet, Illinois 60435, 815-744-3333]


I recently heard Bruce Boyd Raeburn speak about his dad and mom at Brown University and heard the Brown University Jazz Ensemble play music of the Dizzy Gillespie mid-40's big band, and the Boyd Raeburn orchestra from the same period. Of particular interest to NETWORKERS is that they did quite nobly when they did JOHNNY RICHARDS' lush and reedy chart "Prelude to the Dawn," which he had written for the Raeburn orchestra.

CHET BALL is interested in hearing from early Kentonians; he was on the band in the very early years. He has asked about the whereabouts of: Duane Tatro, Art Goux, Don Swan and some few others. Write him: Chet Ball, The Astoria Convalescent Center, 14040 Astoria Street, Sylmar, California 91342, 818-367-5881.

STAN KENTON'S 1978 tour started out in Buffalo, New York (January 10-13, 1978); the band opened at De Pew High School in that city. George Beck introduced the band, and a partial listing of charts played were: "Body & Soul," "Minor Booze," "Chelsea Bridge," and "Rhapsody in Blue." If any NETWORKER has the complete concert on tape, I would love to have it.

Another NETWORKER sent along a copy of the Chapter, "Artistry in Rhythm," from Orrin Keepnews & Bill Grauer, Jr., London: Spring Books, 1955, pps 258-263; brought back a flock of memories.

I brought the students of my class in the evolution of jazz to see/hear THE JAZZ AMBASSADORS, under the direction of Charlie L. Booker, Jr., in Newport, Rhode Island. As usual, they were a hit!


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: Seen at the IAJE Conference in San Antonio in January were: MANNY ALBAM, MATT BETTON, LEON BREEDEN, TONY CAMPISE, BOB CURNOW, MAYNARD FERGUSON, TONY CAMPISE, CHUCK IWANUSA, BILL LEE, ED SOPH, TOM FERGUSON, JACK WHEATON, JIGGS WHIGHAM, and some few others. (Audiotapes of the clinics, special concerts and meetings, master classes, and of course, PERFORMANCES are available at $9.00 per tape [plus shipping and handling] from Nationwide Recording Service, Inc., 15385 S 169 Highway, Olathe, Kansas 66062, 913-780-3307. Write or call for an order blank. Of interest to NETWORKERS would be the music of: The BILL LEE Quintet; the TONY CAMPISE Quartet; the UNIVERSITY OF NORTH TEXAS Faculty Jazz Quintet; the BMI Jazz Composers Workshop with BURT KORALL and MANNY ALBAM).

KEITH "RED" MITCHELL, internationally recognized as one of the great innovative bassists, passed away Sunday, November 8, 1992. A memorial concert was held in honor of this great bass player who worked with Stanley, Gerry Mulligan, Hampton Hawes, Shorty Rogers, Andre Previn, Frank Sinatra, Henry Mancini, Elvis Presley, the MGM Staff Orchestra, and on film and television programs, recordings, and the like. He moved to Stockholm, Sweden in 1968, and used that as a base for his world-wide performances. He returned to Salem, Oregon in March of 1992. Contributions may be made to the Keith "Red" Micthcell memorial fund, Liberty & Skyline Branch of First Interstate Bank, PO Box 13087, Salem, Oregon 97039.....TONY CAMPISE is playing, doing clinics, a wide variety of clinics, and sounding as good as ever. After playing with Stanley in the mid-seventies, he played behind Frank Sinatra, Ella Fizgerald, Sarah Vaughn an Tony Bennett. He's also gigged with Joe Henderson, LEE KONITZ, Arnette Cobb and other. In Jazz Times, Chuck Berg said of him, "I can't think of anyone who has a greater command of both alto and tenor, not to mention flutes, piccolo and earthy vocals — than Campise — a huge talent deserving far greater recognition." His latest release is on Heart Music Label (Houston, Texas) entitled "Once in a Blue Moon," and he plays the music of Monk, "Bird," Porter and Strayhorn. The Houston Post wrote of him, " Campise plays the saxophone like a dveil with angel's wings!" Editor's Note: I enjoyed his enthusiastic program of music at the IAJE gig. Nice going, Tony!

Ran into JAY SOLLENBERGER's father-in-law, Charlie Molina who works for United Musical Instruments U.S.A., Inc. He told me that "the best thing Jay ever done was his seven year old grandson, Brandon!" (Editor's Note: That and some great music on a regular basis, eh Jay?) RAMON LOPEZ, recovering from a stroke nicely, recently was heard on TOM FORT's tribute to Stanley. He said, "I'm feeling better, and ready to go to work again." He had been working around the Tampa Bay, Florida area at the Columbia Restaurant and the Paragon Music Store. While he was in the hospital he got a lot of support from area musicians and friends, and thanked them all for their concern. He has sat in at the Jazz Cellar, and will play there again sometime in March. Editor's Note: Great to hear that your back and into it, Ramon! (NETWORKERS JOE URSO & SHERM WILKINSON called into the radio program).

Spoke to DICK SHEARER recently. Dickus has just released a CD entitled "Dick Shearer and His Stan Kenton Spirits," on Joe Jan Jaros' Americatone (AMT-CD-1992006) International -USA. Arrangements on the CD are by: BOB CURNOW, KEN HANNA, DALE DEVOE, MARK TAYLOR & HANK LEVY. It's a most interesting trombones and rhythm offering, with Dickus' wife Cheri, and ex-Kentonian, DALE DEVOE playing (among others). Dale's "Tribute" has portions of "September Song," "Artistry in Rhythm," "Theme to the West," and "Theme for Sunday," running through it. You can obtain the CD from Dickus for $15.00 plus S & H at: 13163 Thomas Road, Molalla, Oregon 97036, Fax 503-829-9687 (Editor's Note: Buy the CD, and drop him a line!)

BILL PERKINS's new CD is a smash! It includes John Tribasso, drums; Alan Broadbent, piano; Peter Smith and Gene Cherico on bass. It is on Interplay Records (IPCD 8606-2), PO Box 9135, Calabasas, California 91302. On it you'll find tunes like John Carisi's "Israel," Bird's "Yardbird Suite," and Coltrane's "Naima," among other jazz and pop standards. (Editor's Note: I've got AL JULIAN to thank for this one....thanks, Al!) As some of you may know, Perk, had a slight set-back in July after going-off the "Tonight Show" band; he had lung surgery, but has bounced back, nicely. He went to Japan in late October with "The Lighthouse All-Stars and worked locally with his quartet and with Frank Strazzeri. He has a CD out on Candid; he was featured with the 50 piece Netherlands Metropole Orchestra conducted by Bob Pronk. He is also feature with Strazzeri on Jazz Mark , "Woodwinds West"....TOM TALBERT has two recordings available and can be ordered through him: LOUISIANA SUITE and THINGS AS THEY ARE. CDs are $12, LP is $5, and cassette is $8; $2 postage in USA: Tom Talbert, PO Box 1746, Beverly Hills, California 90213-1746, 310-276-5951.

BOB BURGESS was reported to be in the USA in early September, having spoken with NETWORKER CHARLIE WIECHERT; he was in the USA showing his 14 year old German -born son the USA. In early October, "Butter" returned to Centralia, Illinois for his 45th high school reunion, and gave a concert with a local college band. Unfortunately, Wiechert, whose wife's reunion it also was, could not attend......BOB FLORENCE is about to release a new CD on the MAMA label — FUNUPMANSHIP is the catchy title....PEPPER ADAMS blows some fine baritone with his quintet on "California Cookin', also on Interplay (IPCD 8608-2). Pepper, you'll remember went with Stanley's band just before the Macumba Club gig in San Francisco. (Thanks, Al).

Kentonian VIC HALL, after 25 years on the air, is still playing the best in modern jazz on his "Sound of Jazz" program which can be heard on radio station WUSF-FM in Tampa, Florida. Vic regularly features Stanley's music in his programming, so, if you happen to be in and around the west coast of Florida between nine and midnight on a Saturday, tune him in at 89.7 FM. If you do call, tell him Agostinelli sent you!....Heard from former Kenton player, DERRYL GOES, percussionist with the Stage Band Clinics for several years; he toured with Stanley in the mid-1960s. He left in 1965 and settled in Greeley, Colorado. He taught percussion and ran the jazz bands at the University of Northern Colorado for 20 years. He has been free-lancing for several years in the greater Denver area, and enjoys working on his home which he has built near Estest Park, Colorado. Derryl is the drummer on the 1965 Wally Heider video; others on that band recorded at a resort ballroom in Indiana were" RONNIE OSSO, DALTON SMITH, JOEL KAYE, & KEITH MOON, according to Derryl.

PAUL COLALUCA, Esquire Music Foundation, Prez, ("Celebrating over thirty years teaching hish school and college music students to play the beautiful dance music made famous during the 'Big Band Era' and awarding over $100,000 in scholarships to assist in completing their college education") was Nominated as "Outstanding Nominee," by the National Philanthropy Day in Los Angeles Committee in November. Editor's Note: Hooray, Paul! JACK WHEATON has been published, again. And All That Jazz, New York: Ardley House, 1992 (320 Central Park West, New York, NY 10025, 212-496-7040. The book helps the reader understand and appreciate the excitement, originality, and historical significance of jazz, which has been a major influence on all contemporary styles of music. Order your copy today!

New NETWORKER JEFF DAVIS, writes that he had been a Stan Kenton fan since he learned to play trombone in high school. Many NETWORKERS have a similar firts time experience. Jeff went on, "For four years I played in the Pennsbury Concert Jazz Band, directed by Gene Polaski, an ardent Kenton fan also. Our entire concert repertoire consisted of Kenton tunes, some old and some that were current at the time (1976-1979). The Orchestra played annually at our school (Pennsbury High School, Fairless Hills, Pennsylvania) and conducted clinics as well as an evening concert. At Lehigh University, I directed the jazz ensemble there as a senior and introduced several Kenton tunes to their books also." (Editor's Note: Many of us do remember Gene and that band, and I have heard at least two taped recordings of that band; once, when a tune had been written by Gene, and played by the orchestra, in tribute to Stanley. Thanks for the recollection, Jeff.)

HENRY J. "HANK" HORN died in Chehalis, Washington. His obituary included the notation that he had played saxophone with the Stan Kenton orchestra; he also reportedly worked with Louis Armstrong and Tommy Dorsey. Do any of you NETWORKERS remember him, I cannot find anything in my files about him?


Russo's nativity opera, "The Shepherds' Christmas," with a libretto by Jon Swan, was broadcast on WFMT in Chicago on December 17, 1992. The broadcast was taken from the first performance of the work, given at St. James Cathedral in December of 1979. "The Shepherds' Christmas" has subsequently been performed at the Arts Club and the Getz Theater in Chicago and at Christ Church in New York.....Blues soloist Corky Siegel and the Colorado Symphony Orchestra, conducted by Newton Wayland, performed Russo's "Street Music, a blues concerto" in early January in Denver......The Minnesota Orchestra will perform Russo's "The Golden Bird," with a libretto co-written with Albert Williams, in April of 1993....The Joseph Holmes Dance Theater Company has asked Russo to write the music for a new dance work, "Listen Beneath," to be choreographed by Randy Duncan. The new work will be performed at the Civic Opera House on March 24, 26 and 28, 1993. The music will be played by the Classic Jazz Ensemble, which appeared last year at the Chicago Jazz Festival and at Jazz Panorama. It will be conducted by Russo....."Dubrovsky," Russo's grand opera in three acts, Donald T. Sanders, librettist, was performed at Emanuel Church, in Boston, Massachusetts, on July 11, 1992. It was conducted by Craig Smith, who conducted the celebrated PBS productions of three of Mozart's operas that were directed by Peter Sellars last year. The work was recoreded for broadcast on WFMT-FM in Chicago in early 1993 and will be narrated by Norman Pellegini. Frank Kelley sand the title role; Mlle. Michaud, one of the two other leading roles, was sung by Carol Loverde....Russo continues to his very best in a variety of compositional and performing media.

By Lillian Arganian

Resounding, almost deafening applause bounced off the walls in the Judy Bayley Theater of the beautiful University of Nevada Las Vegas in a superb tribute to Stan Kenton on February 15th and 16th, 1992, part of last years' four-day birthday celebration honoring the man who made "Theme to the West" a household word, so to speak. Kenton musicians love to congregate for these tribute concerts, and since Las Vegas has a bunch in residence already, it seemed a natural to spring this on unsuspecting Kenton lovers in the middle of Winter. Middle of Winter? The temperature was in the low sixties, the sun was shining (except for one day when it rained) and the breeze said it with a sigh: "The Old Man can still thrill you. New, fresh and exciting. 'Twas ever thus, and still is."

Two "new, fresh and exciting" compositions were indeed part of the celebrations, with their composers on hand to conduct them: "With the Old Man in Mind," by Hank Levy, and, "Kenton Tribute," by Lennie Niehaus. Levy told the audience he wanted to write "a happy piece," and it was — a "5/4 bossa nova" in that unique Levy style, with a nice unison passage in the trombones and a totally wild Latin percussion interlude, with young UNLV drummer, Joe Malone commanding in a dazzling display of drive and fire. Levy premiered his composition with the UNLV jazz ensemble on the 15th, and Niehaus did his with the Alumni Band on Sunday afternoon, the 16th. Niehaus' composition could have been subtitled, perhaps, Artistry in Swing, for it was an ingenious melding of the Artistry theme with new ideas, a sophisticated, subtly swinging tempo, and a big Kenton-type "Paaaahdah, dah-dah-dah-dah-daaaaah" finish. For both performances, Maynard Ferguson and the Four Freshmen were special guests and added memorable segments. A glance at the surroundings showed the theatre to be packed smack up to the exit signs, people filling in the spaces on the stairs or standing wherever they could, all transfixed focus on the stage.

In such a setting, you could be sitting next to a Kenton star yourself, and I was — a dude next to me seemed all caught up with the drumming, tapping out rhythms in the air quietly, his concentration so rapt you'd have thought he was performing onstage. Turned out to be Jimmy Campbell, himself a Kenton drummer from the late fifties. There were others, too, mixed in with the crowd — Paul Renzi, Jack Crown — in fact, the program listed twenty-three Kenton alumni living in the area. As emcees for the two band concerts, Leon Breeden shared anecdotes and added personal touches that enhanced the enjoyment of the music. Frank Gagliardi, director of the UNLV jazz program, conducted at both concerts, along with Levy and Niehaus. Ken Hanlon, project coordinator, kept events going smoothly. Both bands started their concerts with the haunting strains of "Artistry in Rhythm." Composition played by the UNLV Jazz Ensemble, included: "Eager Beaver," "I've Never Been in Love Before," "23 Degrees North, 82 Degrees West," with a neat opening by Malone on drums, and "Between the Devil and the Deep Blue Sea." Those performed by the Alumni Band included: "Stompin' at the Savoy," "Yesterdays," "Chiapas," (conducted by Levy himself, to be sure), "Intermission Riff," "But Beautiful," "My Old Flame," "Take the 'A' Train," and "I Concentrate on You."

The Frosh sang "After You" and "There'll Never Be Another You" with UNLV and did "Angel Eyes" and "Day In, Day Out" with the Alumni Band. Mike Beisner joined the trumpet section when he wasn't busy down front with the group. Bob Flanigan made it a point to demonstrate his — shall we say, unique? — imitation of "Kenton kicking off the band, to the delight of both the audience and the band — who say it from the other perspective. ("You've been practicing, haven't you?" one his colleagues noted.) At Breeden's suggestion, UNLV ended their set with "Malaguena." A rollicking "Peanut Vendor" closed out the Alumni Band's performance. Among the alumni contributing their efforts were: BILL TRUJILLO, ARCHIE LE COQUE, BILL PERKINS, CARL FONTANA, VINNIE TANNO, BILLY ROOT, RALPH BLAZE, GABE BALTAZAR, FREDDIE ZITO, TONY SCODWELL, and some few others. It was nothing short of amazing to see this stellar assortment of players all at once. (Where was Kenton hiding, anyway? Wasn't he here, somewhere?)

Friday night's first event, on the 14th, was a panel discussion moderated by Leon Breeden, with panelists Chico Alvarez, Alan Grant (a prominent area deejay, jazz promoter and producer/host of a national radio show entitled Monday Night Jazz At The Four Queens), Levy, Niehaus (who had earlier presented a lecture on the scoring of the movie, "Bird"), and Dr. William F. Lee (former Gene Krupa pianist and well-known Kenton biographer). Breeden went down the line, asking each panelist specific questions related to his area of knowledge or experience. Afterward, CHICO ALVAREZ was all smiles as he was presented with a special award of recognition as one of the original member of the Kenton band at Balboa in 1941. (Editor's Note: Chico passed away in August, 1992.)

Besides the big band concerts there was some terrific jamming in small ensembles featuring Fontana, Perkins, Baltazar and Buddy Childers, backed by former Kentonian, Carson Smith on bass, and Tommy Ferguson on piano. The first of these gigs took place Friday after the panel discussion, with two sets performed by the Carl Fontana Quartet, featuring Kentonians Fontana on trombone, and Smith on bass, with Ferguson on piano and Steve Houghton on drums. Fontana softly bopped his way through up-tempo numbers like "I Won't Dance," "Poinciana," "The Girl from Ipanema," "Limehouse Blues," and "Night Has a Thousand Eyes," crooned through "Nina Never Knew," joined talents with singer Joanie Janak in an exquisite rendering of "My Funny Valentine" and just in general kept everyone spellbound.

Las Vegas is not a city to restrain itself when it comes to flash and pizzazz, but even a city as dedicated to sparkle as this one is, seems to outdo itself "downtown," where, a taxi driver informed me, "it's so bright at night you think that the sun's out," and so the block where the Four Queens Hotel dominates the pavement dazzled the visitors to the French Quarter evening Monday night, the 17th. In a very cozy, darkened, theatrical atmosphere — the French Quarter Room — three sets showcased Fontana, Perkins, Baltazar and Childers in some of the most exciting jazz to be heard anywhere. Not only was this historic, it was downright surprising, for at one point, Don Menza, who was in the audience, picked up his axe and joined in. When announcer Grant introduced Fontana as "one of the greatest trombone players in the world," Tom Ferguson rose out of his seat at the piano and made a point: "Not one of the greatest. The greatest!" Grant duly repeated, "the greatest!" Few would argue with him. Fontana is a sensational player. His big, round, warm, smooth-and-silken-as-vintage-wine sound is augmented with limitless invention and a soaring imagination in his improvisations. He filled in on just about a moment's notice for Conte Candoli, who had originally been scheduled to be part of the tribute but had to cancel at the last minute for health reasons.

A (first-time-ever!) visit to the lush Tropicana Hotel (site of the Kenton album LIVE AT THE TROPICANA) was a must for this writer, a natural opportunity to check out this famous Kenton venue. Past the posh entrance, into the luxurious interior, and there, among exotic palms, darkly dramatic lighting and verdant grandeur, one could almost suspect that Stan the Man was luring somewhere in the shadows. If he was, he would have been smiling. And would not doubt have been heart to comment to his surprised listeners, as he had so many times before: "Very interesting." (Editor's Note: Lillian, I think that you could have come up with a few lines about Maynard's performance...even if it was only: "and Maynard Ferguson played or didn't play!" Lil, redeem yourself with a one paragraph-er for next NETWORK. P.S This editor heard Maynard at the IAJE Convention in San Antonio, and as usual, he brought the house down with his all-round great playing.)


is looking for these 45s on Capitol: F 4629 — "Gee Officer Krupke"/"Theme from Splendor in the Grass;" F 4477 (Guy Lombardo) "After You've Gone"/"Belly Up to the Bar, Boys;" F 5480 "007"/ "Theme from Peyton Place"/; and, F 5572 "A Patch of Blue"/"Make Me Love You." If you can accomodate him: George Walsh, 19 E Alamar, Thouswwand Oaks, CA 91360

has snap, crackle and pop in these albums: THE ROMANTIC APPROACH, BALLAD STYLE, SOPHISTICATED APPROACH, & STANDARDS IN SILOUETTE; if you know where he can obtain same, or you wish to trade with him, write: John L. Volanski, 55 Wilmington Drive, Painesville, Ohio 44077

is looking card board poster supplied by the Booking Agency to announce the appearance of big bands "all over town;" if you can direct him to the appropriate place, write him at: 15 Knowlton Road, PO Box 395, Nashua, New Hampshire 03061

, Professor of History, The William Paterson College of New Jersey, Wayne, New Jersey 07470, 201-595-2319 is developing a video documentary "Jazz Returns to Paterson;" he is having a difficult time locating old movie footage of big bands that played at Frank Dailey's Meadowbrook Inn. Can you help him locate such films? If so drop him a line or call

is looking for a copy of ADVENTURES IN TIME (either Capitol ST 1844 or Creative World ST 1011): write him at PO Box 1544, Ogunquit, Maine 03907

is holding a photograph that he took of a San Diegoan and SHORTY ROGERS who was at the Newport Beach "Rendezvous" in 1991 at the "ballroom feed;" we have been trying to locate the Kentonian from San Diego. Jack will give you the photo: 1039 Hall Street, Manchester, New Hampshire 03104

is looking for CDs of "Basie-Zoot," and the soundtrack of "The Cotton Club;" he also has "thousands" of downbeats, Metronomes, and other jazz magazines for trade or sale: 1942 S East Avenue, Berwyn, Illinois 60402, 708-484-3587.

will make available tapes of: 1009, 1037, 1041, 1049, 1050, 1061, 1757 Kenton albums to the NETWORKER who was looking for them: Edward R. Lipor, 5607 Highway V, Caledonia, Wisconsin 53108.

(Remember This?)
down beat November 26, 1970

After 27 years and 47 albums, Stan Kenton and Capitol Records have called it quits. Stan attributed his personal protest to "the company's lack of interest in and ability to promote my style of music." As Kenton severed all contractual ties with Capitol, he issued the following statement:

"There are at least a million jazz buffs in this country but their tastes are bypassed by companies who cater to the rack jobbers who control the industry. They (the rack jobbers) tell the manufacturers what they want to sell and what records they want to handle. Capitol succumbed to their control, as did every other record company I can think of." Therefore Kenton is declaring war on his nemesis, the rack jobber, by re-organizing his own production company, "The Creative World of Stan Kenton," and forming a diskery adjunct, "Creative World Records." He will produce and distribute his own product, with initial distribution handled solely by mail order. Last year, when the concept of mail order began to appeal to him, Kenton said, "It's very discouraging to my fans to know that all the albums I cut for Capitol, only three are available. The trouble is, once the sales go below a certain level, Capitol takes it out of the catalogue. Now I know there's a vast audience out there with good taste and I also know that I can reach them if I make my albums available to them."

What will become available goes back to 1943 — one year after Capitol became a corporate entity. It was almost 27 years to the day — November 19, 1943 — that Kenton cut his first four side: "Eager Beaver," "Do Nothing 'Til You Hear From Me," "Harlem Folkdance," and his theme, "Artistry In Rhythm." Currently, Kenton and his 19-piece band are on tour, and his road trips take on added significance as he adds to his growing mailing list. (Editor's Note: With the volume of releases on CD coming from Capitol and Mosaic, one almost can think "Stan told you so!")


In a recent letter from Scooter of The Middle Horn Leader, he writes: "I did some research on the tragic death of on-time Kenton trumpeteer BILL CHASE while I was in college. I also have a friend who has extensive information on Bill's career. I will be contacting hims soon and I would like to submit to you a small article on Bill Chase for THE NETWORK. We would be very pleased if you felt it was worthy of publication. We have found there to be an extensive underground cult associated with Bill Chase. We have even contemplated producing a book on his life. THE NETWORK could really help us assess the feasibility of such an undertaking and connect us with some other Chase fanatics." (Scooter Pirtle, The Middle Horn Leader, PO Box 8402, Paducah, Kentucky 42002, 502-441-7848). (Editor's Note: Call or write, to let him know what you think!)


Now that this editor has written that, I urge you all to log on to or boot up your computer, call up your word processing program, and get off a letter (type or write) to write Ray Anthony, and encourage him to record an album featuring Stanley's orchestrations. Encourage him that each of you (some 1,400, will purchase at least two apiece, and those of you who run record/CD outlets, that you will order at least 50-100 or more; let him know that there are Kentonians out here who would welcome his entrance into our market! Oh yes, the address and phone number: RAY ANTHONY, 9288 KINGLET DRIVE, LOS ANGELES, CALIFORNIA 90069; 800-845-2263 OR 213-858-1980. (Editor's Note: Ray, I hope you don't mind this approach; it would be wonderful if you did record some Kenton orchestral charts!)(Is this Editor to understand that Ray's Aerospace company will distribute the Toshiba/EMI 5 CD Japanese set of the Stan Kenton Orchestra's Capitol records output from 1943-1954, reported on in the last issue of THE NETWORK?)


Compositions and arrangements by STAN KENTON, PETE RUGOLO, BILL HOLMAN, DEE BARTON, HANK LEVY, WILLIE MAIDEN BOB CURNOW, HUGHO MONTENEGRO, GENE ROLAND, KEN HANNA, and others. Bob Curnow, long-associated with Stanley and Creative World Publications is offering these great Kenton orchestral charts from his: 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 $35 to a high of $80, depending on the chart.


It's a long list, and it's been published once or twice before in NETWORK; send SASE for the complete list; the following flyers come regularly across my desk:

BILL BACIN, Box 394, Ingram, TX 78025
BIG BANDS RECORD LIBRARY, Ray Anthony, 9288 Kinglet Drive, Los Angeles CA 90069, 310-858-1992 or 800-845-2263
ED BURKE, 4870 SW 103 Avenue, Cooper City, FL 33328 or Jazz Hour, PO Box 841408, Pembrook Pines, FL 33084
CADENCE, Cadence Building, Redwood, NY 13679, 315-287-2852, Fax 315-287-2860
JOHN CLEMENT, PO Box 20602, Park West Station, New York, NY 10025
CRAIG MOERER, Records By Mail, Portland, OR 97280, 503-232-1735
CRAIG RECORDING, PO Box 943, El Dorado, AZ 71730
GM RECORDINGS, Gunther Schuller, 167 Dudley Road, Newton Centre, MA 02159,
GARY'S EXCHANGE, PO Box 1300, Robbinsville NC 28771
WARREN W. HICKS, Box 176, Georgetown, CT 06829
J & N IMPORT-EXPORT RECORDS, PO Box 765, Camden, AR 71701-0765, 501-231-4244
JAZZ COLLECTIONS, 3803 Idle Court, Bowie, MD 20715-1402, 301-464-2137
LEON LEAVITT, PO Box 38395, Los Angeles, CA 90038
DANIEL LINK, "Mr. Jazz," 11523 Edgewater Drive, Cleveland, OH, 216-631-3990
|MAINLY BIG BANDS, John R. Killoch, PO Box 605, Sutton Coldfield, West Midlands B74 2LD, England, [011-44]-021-355-0426, Fax [011-44]-021-355-0211; Catalogue of Big Band Jazz Arrangements available; send 1.50 pounds Sterling plus to-USA adequate postage; he also may have the Seattle Concert on CD at 13.95 pounds.
MARINA MUSIC SERVICE, INC., (Charts only), PO Box 46159, Seattle, WA 98126, 800-331-4528
MOLE JAZZ, 291 Pentonville Road, London N1 9NP, England, 071-278-8623
CHARLES P. MORRISON, "Mr Nostalgia," PO Box 26494, Tamarac, FL 33320
MOSAIC RECORDS, Mike Cuscuna, 35 Melrose Place, Stamford, CT 06902-7533, 203-323-3526
MUSE RECORDS, 160 W 71 Street, New York, NY 10023, 212-873-2020
MR NOSTALGIA, Charles P. Morrison, PO Box 26494, Tamarac, FL 33320-6494, (305)-726-5420
RAY'S JAZZ SHOP, 180 Shaftesbury Avenue, London, WC2h 8JS, England, 071-240-3969
STASH-DAYBREAK M.O., 140 West 22nd Street, 12th Floor Front, New York, NY 10011, 212-243-4321, FAX 212-243-4483, 800-666-JASS
THE RECORD FINDER, PO Box 1047, Glen Allen, VA 23060
VGM, PO Box 288, Ashland, OH 44805, 419-289-1866
VINTAGE DISTRIBUTING, INC., 8211-R Cloverleaf Dr., Millersville, MD 21108, 800-
523-2036, FAX 800-523-2035
VIDEO & RADIO YESTERYEAR, Box C, Sandy Hook, CT 06482, 800-243-0987
WORLDS RECORDS, PO Box 2613, San Rafael, CA 94912-2613, 800-742-6663 & 415-898-
1609, FAX 415-898-6348
CREATIVE WORLD RECORDS (GNP Crescendo), 8400 Sunset Boulevard, Hollywood, CA
90069, 213-656-2614 & 800-654-7029


Well, we did it for a twelfth year; each year becomes a great event. This year, along with RON DELLA CHIESA and me, FRANKIE DI ORIO, and AL JULIAN guested, as did NETWORKER, JOHN MASON. A word about John: he intended to drop in and join in. Well, join in he did. He manned the telephones. As soon as that program goes on, the phones light up like a marquee. John took messages, addresses of Kentonians who wanted to become members of THE NETWORK, and came in once an hour, to report on what he had spoken with. He really worked harder than all of us. Thanks, John. I'm sorry that I could not get to talk with all callers, and that all callers did not get through; the phones lit up like Christmas trees! This year, with the exception of a few 45s used as "Ron Della Chiesa Extras," (Ron is host of "MusicAmerica" the daily afternoon program on 'GBH), this year was an all CD spectacular. As always, we made new friends, and gathered up a host of new NETWORKERS. We'll do the 13th Kenton on Wednesday, December 15th, 1993!


Is now in its third printing and is available from Lillian Arganian; write her at 716 Ann Street, East Lansing, Michigan 48823. And don't forget to send a SASE or International Postal Coupon if overseas.


WARREN GALE has proven to be one of the most versatile and creative musicians to emerge from Los Angeles and the San Franscisco Bay area. His virtuostic abilities on trumpet combined with his vast range of experience have brought him to a position of pre-eminence as one of the most innovative of performers. His unique abilites as an improvisor, arranger and composer have made him indispensable to the greatest jazz artists in history. He has displayed his superb abilities as leader of his own quartet/quintet and in a wide variety of performing and recording situations. In his performance, Warren displays an uncanny combination of advanced technical knowledge, spirited soloing abilities, intuitive communication and projection oan exciting joyous feeling to his audiences. Warren began working in the Los Angeles area in 1958 with Claude Gordon, Gerald Wilson, Curtis Amy, Hampton Hawes, Horace Tabscott, Stanley Cowell, Joe Gordon and others. He left for New York in mid-1965, where he worked with Billy May, Claude Thornhill, Elmo Hope, Joe Henderson, George Coleman, Woody Shaw, Roland Kirk and others. He worked with the original Joe Henderson/Kenny Dorham Big Band in the San Francisco area.

From 1968 to 1971, Warren was on the road with the Buddy Rich and Stan Kenton bands. During the mid-1970s he worked with Horace Silver and Joe Hernderson Quintets and with the Circle Star Theater Orchestra, backing such performers as Sammy Davis, Jr., Ella Fitzgerald, Sarah Vaughn and others. While going to college and completing his Bachelor of Arts and Master of Arts degrees in music education from the mid 1970s to 1988, Warren was active in the music business, working with Pete & Sheila Escovedo, Earl "Fatha" Hines (lead jazz trumpet), Michel Legrand/Phil Woods, Henry Mancini, Charlie Haden Liberation Orchestra and the Oakland and Sacramento Symphonies, with TRPTS (Trumpets). Other activities have included performing with the premier of Charles Mingus' "Epitaph" at Davies Symphony Hall and the Dizzy Gillespie Big Band, the McCoy Tyner Big Band, extensive performing with Bebop and Beyond and TRPTS and recording music for various commercials and TV show including "The Twilight Zone." Warren has very extensive educational experience. He has taught jazz improvisation, trumpet and history at Stanford Jazz Workshop, Berkeley High School, Sonoma State University, Los Medanos College, California State University, Hayward, Texas Christian University, Missouri State University and many others. He has written several books for his Jazz Analysis Series, including complete editions of works of Fats Navarro, Clifford Brown, Lee Morgan, Booker Little, Charlie Parker and John Coltrane.

Warren Gale is available for artist residencies, clinics, concerts, workshops, conventions, clubs, festival adjudication, summer jazz camps and private instructions. He has performed on these albums: LIVE AT REDLANDS UNIVERSITY (Stan Kenton); EVIL EYES (Mike Vax Big Band featuring Art Pepper); ONE FOR THE BIRD ("Bishop" Norman Williams/Pepper Adams); READY FOR THE 90s (Buell Neidlenger); MOMENTS (Mike Cohen); TRANSFORMING TRADITIONS (TRPTS [Trumpets]); PLAY THELONIUS MONK FEATURING JOE HENDERSON, PLAY DIZZY GILLESPIE FEATURING DIZZY GILLESPIE (Bebop & Beyond); and, others. He can be reached to be booked: WGM, PO Box 1284, El Cerrito, California 518-235-6715 & 310-427-1747. (Editor's Note: Looks like Warren has a full plate! Way to go, WG!)


By Rosi Mackey, Dayton Daily News, September 23, 1992

Xenia High School is sporting a young, newer band this year. With nearly half the participants freshmen, no wonder their director, John Harner, calls them "the New Breed." Harner himself is new to the job and is only the third band director in 25 years at Xenia. Although Harner is new to the job, he has lengthy experience as a performer, both locally and in Las Vegas. In fact, he got his job experience before he finished his degree. As a student at Cedarville schools, Harner says he wasn't an outstanding musician. "I was just another fifth-grade student," when he started playing trumpet. He liked it, and band director Jerry Robinson influenced him to seek a musical career. When he graduated from Cedarville High School in 1967, he headed toward Ohio State University. But he was immediately put in remedial trumpet class. He jokes about it now. "The summer before I started at OSU, I thought it would be a good idea to meet the trumpet instructor. I started taking trumpet lessons from him, and he changed the whole way I played. At the end of my freshman year, they suggested I not continue playing.

"They thought I should pursue arranging and composing." Harner did meet people who liked his original style, and he fell in love with jazz. One of those who helped him was Carmine Caruso, who taught Harner in New York City. By 1971, Harner was a free lance trumpet player known throughout Ohio. Too busy for school, Harner was making money as a musician. When orchestra leader Stan Kenton heard him, Harner became his new first chair trumpet player and recorded three albums with the group before moving to Los Angeles to play with professional groups. He gained some attention there and eventually was recruited by bands in Las Vegas. Between 1977 and 1984, he played first trumpet at different times for the Dunes, Sahara, Sands and Caesar's Palace Hotels. He has played with hundreds of performers, including Steve Allen, Frankie Avalon, Pearl Bailey, the Four Seasons and Frankie Valli, Crystal Gayle, Wayne Newton, Liberace, the Mills Brothers and Frank Sinatra, Jr.

"My favorites were Don Rickles and Al Hirt. Don Rickles is very nice, not at all like his act. I really enjoyed working with him. And Al Hirt, he and Doc Severinsen, they were great." Sometime in the early 1980s, Harner some writing on the hotel walls. He saw the end of the era of live musicians. After a stint at the Burt Reynolds Dinner Theatre, Harner came back to Ohio to finish his degree. "A lot of people don't know it, but there are only two live shows in Vegas, now. They think they'll go there to see live musicians, but they won't,' Harner said. They won't see Harner, either. He graduated from Ohio State University in 1985 with his bachelor's in education. Following graduation, he taught at Warner Junior High until this summer when he took on his new role at Xenia High School. He is still working on his master's degree at Wright State University.

Things have changed since his OSU marching band days. Band directors used to spend hours drawing marching band formations, tediously hand-placing each marching unit. Harner uses his computer and new software to chart formations, move units around the screen and speed his shows along. Today, with the assistance os several directors, including William Shumanker, Steve Lummer and Steve Shively, the band plays five entirely new shows for the 10 football games, four contests and three parades, and hosts its own invitational band fest in October. Additionally, the Xenia High School band members help staff the Haunted Trail at the Blue Jacket grounds four nights a week in October. They still paly standard music such as jazz and pop songs and the school fight song, but this fall they're also playing "Achy Breaky Heart." Occasionally, Harner still performs professionally. (Editor's Note: John, I got most everything except the "Haunted Trail" at the "Blue Jacket." What's that all about? Stay on it!)

(Klavier Two Records, KD-77001, December 1990)

Al Yankee has made quite a name for himself and his musicians during the last ten years. In performances throughout Southern California, his groups have set the standard for fun and entertainment at events both large and small; from multinational conventions to intimate gatherings of friends and family. Recently, his groups have backed such luminaries as" Harry Connick, Jr., Lou Rawls, The Temptations, Maureen McGovern, Marilyn McCoo, Johnny Mathis and Ray Charles. Yankee has been leading musical organizations since he organized his first band at the age of fourteen. He has taught arranging and jazz improvisation at Mt. Hood Community College at Gresham, Oregon, and was on staff of the National Stage Band Camps and the Stan Kenton Summer Jazz Clinics. For three years he toured and performed as saxophonist and assistant conductor of the Stan Kenton Orchestra. As a composer and arranger, his works have been commissioned and performed at the Interlochen Arts Academy and the Monterey Jazz Festival as well as performed by the Count Basie Orchestra. Many of his works for jazz band and combos have been published. His professional affiliations include membership in The American Society of Music Arrangers, The National Academy of Recording Arts and Sciences, The International Association of Jazz Educators, and the American Federation of Musicians. (Editor's Query: Alan, will we ever hear a CD recorded version of your arrangement of "Chelsea Bridge?)


Every so often, I mention to you to write the United State Postal Service to encourage, urge, stampede them into ISSUING A STAMP ON BEHALF OF STANLEY NEWCOMB KENTON. Isn't it time to do it, again? I guess it's: Postmaster General, United States Postal Service, Washington, DC 20013.


Although this section is not oriented to Kentonia, there are some good things out there that deserve your attention, like: ||||| THE IAJRC (INTERNATIONAL ASSOCIATION OF JAZZ RECORD COLLECTORS, (This editor is now a full-fledged member), write: IAJRC Membership Director, C/O Vic Hall, PO Box 75155, Tampa, Florida 33605; cost is US $20.00 per annum. ||||| THE NOTE, The Al Cohn Memorial Jazz Collection, West Stroudsburg University, Music Department, East Stroudsburg, PA 18301 — Larry Fisher is the man. ||||| NO NAME JAZZ NEWS, is a newspaper worth subscribing to; all you need to know about what's happening, in chapter and verse can be found therein. Write: Marge Hofacre, NO NAME JAZZ NEWS, PO Box 2441, Idyllwild, California 92549. Subscription is US $25 or $31 for 1st Class Mail. ||||| WALRUS MUSIC PUBLISHING, PO Box 11267, Glendale, California 91226-7267; you'll find charts by RAY BROWN, MATT CATINGUB, BOB FLORENCE, JOHN PRINCE, and others. ||||| The MIKE CUSCUNA produced Mosaic Records' Stan Kenton's Capitol Recordings composed and arranged by BILL HOLMAN & BILL RUSSO are worth owning, if you don't own the set already; Mosaic Records, 35 Melrose Place, Stamford, Connecticut 06902. ||||| JAZZ JOURNAL INTERNATIONAL, 1/5 Clerkenwell Road, 2nd Floor, London EC1M 5PA, England, 071-608-1348/1362; a jazz magazine for jazz enthusiasts and record collectors. ||||| WORLD JAZZ NETWORK, Diz Greer runs this internet of jazz aficionados from: Box 2226, Corvallis, Oregon 97339, USA. ||||| THE SARASOTA JAZZ FESTIVAL will be held March 31-April 3, 1993, and will include many stellar jazz artists; for more information about this and other Sarasota Jazz Club events, call 813-366-1552, or write them at: 290 Cocoanut Avenue, Building 3, Sarasota, Florida 34236. ||||| THE MIDDLE HORN LEADER, is the "Unofficial, Unauthorized, Underground Pulication of the Bluegrass Brass Mid-Voice Section;" Scooter Pirtle is the "Overlord/Publisher." Scooter is trying to be in touch with as many living, breathing (playing or not) KENTON MELLOPHONIUM players, so get in touch with him you "elephant horners" at: Post Office Box 8402, Paducah, Kentucky 42002. Subscription is $6.00 per annum. ||||| THE AIRMEN OF NOTE will be playing their spring tour in April through some parts of Florida, Mississippi, Alabama, Georgia and South Carolina; you NETWORKERS in those states be on the alert for them. Look for them on February 24th at George Mason University at Fairfax, Virginia and at the Fullerton Jazz Festival on April 3rd in Fullerton, California. For further information, contact: MSgt Craig R. Gentsch, USAF Band, Operations, Bolling Air Force Base, DC 20332-6488, 202-767-4582. ||||| BBC BIG BAND CLUB, BBC Studios, Delaware Road, Maida Vale, London W9 2LG, 081-462-4559. ||||| THE LEW ANDERSON BIG BAND is something else to hear; they have two CDs out (FEELIN' GOOD, YEAH, on Sovereign CDSOV-503, and FIRED UP on Sovereign CDSOV-504); they play regularly at the Red Blazer in NYC; if you have a few extra pennies to purchase beyond Kenton, write Ruby Fisher, Sovereign Records, 1697 Broadway — Suite 903, New York, New York 10019, 212-247-2904. You won't be disatisfied with their performance! ||||| While I'm on the subject, you might also listen to the JEFF HOLMES BIG BAND (Signature SRP 9201 CD), recorded whilst the band toured Russia in November of 1991 at the invitation of the Leningrad/St. Petersburg Center of Jazz Music. AL JULIAN, one of the nicest independent label CD distributors in New England, turned me on to this one, also. You can make inquiries of: Signature Records, 215 Burligame Road, Palmer, Massachusetts 01069. ||||| THE NATIONAL YOUTH JAZZ ORCHESTRA (NYJO), Bill Ashton, 11 Victor Road, Harrow, Middlesex, HA2 6PT, England, UK, 081-863-2717. ||||| THE NEWSPEPPER, a newsletter devoted to the music of ART PEPPER; Tabasco Pete Webb, Los Altos, 34C Dengrove Park, Canterbury, CT2 0PY, England, UK, 0227-712342. ||||| NETWORKER GERRY L. DEXTER has written a bunch of things, of some interest might be: So You Bought A Shortwave Radio! A Get Acquainted Guide to the Wide World of Shortwave, Lake Geneva, Wisconsin: Tiare Publications, 199?, PO Box 493, Lake Geneva, Wisconsin 53147. ||||| PENDER'S MUSIC CO., a catalog of the most complete listing of jazz ensemble charts: 314 South Elm, Denton, Texas 76201, 800-772-5918 or 214-434-1333. ||||| AL RAYMOND, Swinging Big Bands..into the 90s, Broomall, PA, 199?. Write Al to obtain a copy of this book endorsed by Steve Allen, Mel Torme, Maynard Ferguson, Buddy De Franco, Ray Anthony and others. Harmony Press, PO Box 726, Broomall, Pennsylvania 19008. $15.00 per book. ||||| NETWORKER STIX LEONARD from Maine, is still writing his column for the Jazz Messenger, a CJC Publication. ||||| JIMMY WILKINS CULTURAL FOUNDATION, INC.,20101 Basil Street, Detroit, Michigan 48235. ||||| THE MAYNARD FERGUSON FAN CLUB [Fanatics for Ferguson], 1745 Houston Ct., New Albany, Indiana 47150, offers recordings, videos, clothing, charts, and the like; join — it's $15 per year USA, International — $18.00. ||||| MIKE VAX has a "Mike Vax and His Great American Jazz Band Fan Club;" Charles Dunham is the Editor; you can keep up with what Mike is doing, purchase products, and become fully informed about with whom he is working. Write: Charles Dunham, The Great American Jazz Band Fan Club, PO Box 8337, Pittsburg, California 94565, 510-427-6666 or FAX 510-427-6789.


All you ever wanted to know about the big band business: 1935-1992

(Editor's Note: I haven't readily reviewed much of anything for THE NETWORK, asking others to do the duty for me. Isn't that what an editor does?) I wrote Al that I would not review it, but haven't received the review yet, so I will quote from my letter to him: "I did enjoy it. It provided a clef-to-clef review of the big band business, the current state of big bands, and windows in time when those bands were in their heydays. You wrote about those times, and you wrote about the hay-day of today — one cannot be close to the jazz music scene without recognizing the number of "name" big bands still recording, their "ghosts" still on the road, new and exciting community groups, regional groups, high school and college ensembles and so many other bands of an international character; as the commercial touts, "it's in there!" Your book covers those notions nicely. The anecdotal material — some of which has become legend, and some stuff which is new to read — made the read all the more wonderful." So, NETWORKERS, consider purchasing the book; all/write, Al Raymond, 2191 Winding Way, Broomall, Pennsylvania 19008, 215-356-1773 or -9245.


OK. This annual gig led by RAY EUBANKS, and played by the JAZZ ARTS GROUP of Columbus, Ohio this year is on again in April. Tickets are probably hard to come by, but call for them. Write: Jazz Arts Group of Columbus, 709 College Avenue, Columbus, Ohio 43209-2308.

By Lillian Arganian

There is a quality that is strikingly in evidence whenever the music of Stanley Newcomb Kenton is performed, especially when that music is served up by intelligent, capable , knowing musicians. Drama! Sheer drama it is when, from spotlighted pianist Mark Flugge at the left of the stage in the darkened theater weaving a familiar introduction, suddenly the lights come up, turning the stage to flaming amber, and the Artistry theme develops in full force. Then, the stark whole-tone scale of that great Dee Barton tune, "Waltz of the Prophets," keeps the theatrics coming at you. Followed by all the sizzle of "The Big Chase," with Sonny McBroom and Michael Cox doing their bit from the sax section. And later in the program there is Kenton alumnus John Harner, whose clear, solid, powerful and true notes on the trumpet solo of "Send in the Clowns" fit right into the scene.

In the case of Ray Eubanks and the Jazz Arts Group at Kenton XII, the plot is perfect, the timing superb, and the cast of characters memorable. Academy Award time! For five evenings last April, Wednesday through Sunday, the 22nd through the 26th, at Battalle Auditorium in Columbus, Ohio, the drama came in many ways. Some of in terrific, innovative solos, most notably by guest saxophonist and Kenton star BILL PERKINS, whose soulful explorations through artful modulations in tunes like "Body and Soul," "Stairway to the Stars," "Yesterdays," and "Out of Nowhere" were an event in themselves. Some of it in unusual chords crashing at the ends of certain numbers, like "Peanut Vendor." And some it in those wild, crazy songs that only Stan Kenton would have taken on — and embellished! Sung by local thrush Michele Horsefield Carney, "Orange-Colored Sky" and "Across the Alley from the Alamo" allowed for plenty of flash, bam and alacazam. Michele also treated the audience to the forties favorite, "Willow Weep for Me." Add a few choruses of "Intermission Riff" and you have the makings of a Kenton concert to remember.

But wait! That was just the first half! We haven't told you about John Von Ohlen yet, have we? That's right, Kentonians, John the Magnificent was there. Or, to repeat a bit of backstage talk before the second half began: Eubanks: "Here we go, guys....Is John here yet?" John was there, all right. Yes indeed. Came in from the other end of the stage. Kicked off "Opus in Chartreuse" — a lightly swinging Kenton classic — with dramatic precision. Went on with excellent leadership through "Mellophobia," — yes, to this stellar cast add 'The Four Horsemen of the Apocalypse,' the mellophonium players! — "Between the Devil and the Deep Blue Sea," "Yesterdays," with Perkins, "Limehouse Blues," which has its own little pleasures, as in "Boom, bomm, pay! Pah-da-dah...." Well you know the scene. "Out of Nowhere," and then: Are you ready?

Cuban Fire. Right. Best for last. And it was, in a word, smashing. Naturally. With that irresistible rhythm all through the suite, the indelible Kenton presence, the solos of trombonist Tommy Dale and others, the big finish and all, it was a section of time and pleasure that one can't hear too many times, especially when played by this cast of characters. That expression, cast of characters, tells you a lot. Music at its finest has a lot of touches that set it off from the un-extraordinary. One thing to listen for when this wonderful bunch serenades you (it's a serenade if you're a Kenton-lover, right? Hmmm?) is the precision with which various musicians hit their cures. Right-on-the-button entrances. JAG, of course, has the world's greatest Kenton trombone section, most fearsome trumpet wall (made all the more imposing by the presence this week of Harner), most Kentonesque saxophones, most fantastic mellophonium players playing the most wonderful Kenton mellophonium charts, greatest rhythm, most dedicated players, hardest-working bandleader, nicest female singer in the whole world, and most appreciative audience. (That should start the arguments rolling. Go ahead, it keeps us all healthy and, well, competitive.) Ray brings in Kenton alumni each year, and turns 'em loose. (Next will be Anita O'Day, and if you don't have your tickets yet, run, don't walk, to the nearest telephone and plead with the man.)

To borrow a phrase from Michele Carney, as she summed it all up following the playing of "Orange etc.": Awesome, guys! (Editor's Note: I think that Lillian enjoyed the gig!)

Excerpts from the Article appearing in Texas Monthly, November, 1992
By John Morthland

(Editor's Note: the whole article appeared as mentioned above, and it was about the juggernaut, University of North Texas One O'Clock Lab Band and the jazz program at that institution; in the article, there was commentary about Stan Kenton's association with the program — thought it would make for good copy in this issue.)(These are two excerpts).

"But the late Stan Kenton casts the longest shadow over the program. Upon Kenton's death in 1979, his collection of more than two thousand compositions passed to the lab band library. 'He did that because he didn't want a professional ghost band,' says (Neil) Slater's assistant Mike Bogle. "But, in effect, the One O'Clock is the Stan Kenton ghost band.'

"The connection goes back to 1960, when Kenton was one of the judges who awarded the Two O'Clock Lab Band (then top guns on campus) first prize at the Notre Dame Jazz Festival. Kenton began recruiting new band member out of Denton (Texas, where U of NT is located) because they sight-read flawlessly. At one time fully half his orchestra was made up of North Texas players." (Editor's Note: interesting commentary about U of NT program and Lab Band, eh?")


Special to THE NETWORK
By Mike Weatherford
Special Thanks to the Las Vegas Review-Journal, August 4, 1992

Alfred "Chico" Alvarez, a long-time Las Vegas musician charter member of the Stan Kenton band, died Saturday (August 1st) of cancer. He was 72. Alvarez played trumpet with the Kenton band from its debut in Balboa Beach, California, in 1941. He was a featured soloist on more than 30 Kenton recordings and toured with the band until 1951. The innovative Kenton was known for sharing the spotlight with his soloists, and Alvarez once told the Review-Journal he received bags of his own fan mail during the band's heyday. In 1958, Alvarez moved to Las Vegas and became a showroom and lounge musician. He was a business agent for the Las Vegas Musicians' Union, served as president of the Allied Arts Council and was a chairman on the Nevada State Council on the Arts in the 1970s. After his official retirement, Alvarez headed an informal band that played Fridays at Pogo's Tavern. He continued to sit in with the band even after treatment for abdominal cancer in 1990. In February (of 1992) Alvarez was recognized for his contributions to Las Vegas musical culture with a special award presented during the "80th Birthday Celebration" Kenton retrospective at the University of Nevada, Las Vegas. He is survived by his sons, Gary Greene of Las Vegas and Phillip Greene of California; daughter, Faith Chapin of Las Vegas; and six grandchildren. The services were private.


Sal Salvador is a self-taught musician. In 1945-1946 Sal became a jazz buff, bought a guitar and practiced eight hours a day, studying correspondence courses and asking questions of local professionals. About eighteen months later, Sal had his own trio and was playing local dates. Tommy Dorsey advised Sal in 1949 to heard for New York with his guitar, and Sal quickly got work there with groups, led by the likes of Mundell Lowe and Terry Gibbs, before going into Radio City Music Hall and becoming a staff musician with Columbia Records. He backed the likes of: Rosemary Clooney, Frankie Laine, Mindy Carson, Tony Bennett, Marlene Dietrich and the like. He also toured the country with Robert Goulet and Carol Lawrence with his own quartet; and for 1 1/2 years he and Joe Morello co-led their own group.

He was summoned by Stan Kenton in 1952 and Sal toured the country as a featured soloist with the Kenton Orchestra for eighteen months, winning acclaim for his renditions of such numbers as "Invention for Guitar and Trumpet," which also featured Maynard Ferguson on trumpet, and "Frivolous Sal." He formed his own combo in 1954 and came in amongst the top two in the Playboy Magazine and downbeat jazz polls. "Invention" was used in the movie, "The Blackboard Jungle." The combo traveled the country and played many of the jazz palaces, including Birdland, The Pad, The Embers, Oscar Pettiford's Black Pearl, the Blue Note and Sweet Basil's. He has been recognized each year by the Playboy Jazz Poll and Guitar Player Magazine as on of the outstanding jazz artists.

He formed "Colors in Sound" for a Decca recording date for its Mood/Jazz Hi Fi series, waxing the album, "Colors in Sound." Its critical praises prompted him to retain the unit. He changed the instrumentation slightly after this LP, although he kept the mellophonium. According to Sal, he was the first bandleader to use, feature and record the instrument - the mellophonium. The next album for Decca was called "The Beat for this Generation." He then recorded on Audio Fidelity's Dauntless label, releasing an album called "You Ain't Heard Nothin' Yet." He has recently released his 19th record album on Stash REcords, which has been produced by the highly respected, Teo Macero. This CD features Sal's new 5 piece group called "Sal Salvador and Crystal Image. It has won critical praised and in the foremost project of this prolific jazz musician. A new album is in the works, and his 17 piece big band is still occasionally active.

He was a clinician at the first Stan Kenton Summer Band/Jazz Camp and does jazz clinics and performances at many universities, including Syracuse University and New Jersey State College. His first two books, Single String Studies and Complete Chord Book, have become standard fare for guitarists of all types, everywhere. Sal says, "I've been asked to keep on writing more and more books — my own choice of material. It's a very exciting experience, and one I take very seriously. I wouldn't want to have anything on the market that I'd be embarrassed about. Books stay out for a long time, and you can't hide from them, if you're the author. They represent you!" Currently, Sal is writing the Sal Salvador Jazz Series of six professional guitar books for Mel Bay Publishers. The first four books in the series are already in print. His book Complete Guitar Method for Beginners/Intermediates has recently been released by Branch Publishing. He is listed in Who's Who in America, Who's Who in the World, Who's Who in Education, The Directory of Distinguished Americans, Guitar Players, Jazz Guitarists, The Jazz Guitar: Its Evolution and Players, The History of the Jazz Guitar in America, and other publications.

He has for many years been head of the Guitar Department at the University of Bridgeport, Connecticut, and head of the small group department and jazz guitar ensembles; he also teaches privately in New York City. He lives in Connecticut with his wife, Dody and their three children, Barry, Danny and Lori. He operates a publishing firm, Lorido Music, specializing in music for recording, and also has his own record label, Danbar. (Editor's Note: I have a complete listing of his recordings, should you want to have them, drop me note and SASE.

By Bud Pearson

I still have it....who wouldn''s a treasure. I've often reminisced while looking at my program titled "Stan Kenton and his Orchestra in a CONCERT OF PROGRESSIVE JAZZ featuring June Christy at Lincoln Auditorium in Syracuse, New York on February 10, 1948 at 8:30 pm Tuesday evening." I can't remember where I first found out about the concert, but I knew I had to attend. There was no way I could let this opportunity to see the Stan Kenton Orchestra pass by. I loved the music...from the first time I listened to a Stan Kenton recording. I had started collecting his records a couple of years earlier and probably had a grand total of five.

Barely fourteen years old, I attended the concert alone, (my friends couldn't understand the attraction of SK) and wandered up the squeaky wooden stairs of the high school where the auditorium was located to take my seat in the balcony. When I had entered the lobby earlier, I was handed a program with the selections the band was to perform that evening. I couldn't resist buying a glossy booklet which announced on the cover "Stan Kenton and his Orchestra Artistry in Rhythm" (same as his first album cover) which I quickly opened to view the photos of Stan and all the guys in the band along with June Christy. This was my first time ever to experience a real orchestra in a live performance. I didn't quite know what to expect. The program listed all the selections that band would play....among them I recognized my current favorites: "Intermission Riff," "Artistry Jumps," "Artistry in Boogie." Missing were: "Eager Beaver," "Painted Rhythm," and "Harlem Folk Dance." I am forever grateful though, that this was indeed a concert setting. Stan could have been playing a dance at the local armory. A fourteen year old kid like myself would have had little chance of attending (my parents were even skeptical of a concert). I waited for what seemed to be an eternity and finally the curtain parted and a voice said: "Ladies and gentlemen...Stan Kenton and His Orchestra!" Wow, the band hit "Artistry in Rhythm," and the sound was enormous. The goose pimples rose. Out strode this tall handsome guy in a dark suit. He then went immediately to the piano at the left of the band and gave the downbeat for "Artistry Jumps." My eyes moved over each member of the orchestra....hey, there's Shelly...Safranski....and Bob Cooper...and Art Pepper....Chico and Ray Wetzel. Who are those bones....a glance at my program in the dim light revealed them to be Bernhart, Bert, Betts, Forbes and Varsalona. The trumpets...let's see....Childers, Wetzel, Porcino, Alvarez and Hanna. Wow, what a brass section. Now the saxes...the Weidler brothers...Coop ...Pepper and Gioga. My eyes once again focused on Shelly drum idol...The music was heating up now and old Shelly was leaning in on his ride cymbal. Eddie Safranski, head bent over was strong a hard four on his bass. Almeida and Costanza were bearing down as "Artistry Jumps" came to its exciting conclusion. My dreams had come true. Here on stage were five trumpets, five trombones, fives saxes and five rhythm playing the music that I loved.

In retrospect, the music that was missing from the current favorites...were to Stan, old material. Of course, he was always moving on to new and exciting music. Believe me, there was plenty of new and exciting music that evening. New for me then were: "Collaboration," "Elegy for Alto," "A Message to Harlem" ("Harlem Folk Dance" revisited), "Interlude," "Machito," "Lover," and to wind up the concert....."Concerto to End All Concertos." This, plus a classic performance by June Christy ("How High...," "Willow....," "I Told Ya I Love Ya....," "I'll Remember April," "Lonely Woman," "Rika, Jika, Jack," and "Over the Rainbow") left the fourteen year old kid with enough memories to last the past forty plus years. As I rode home on the bus that night, I dreamed of taking Shelley Manne's place just to perform "Intermission Riff" or "Artistry Jumps," once more. I saw Stan and the band several times in later years, but it was always the first time....that first night...seeing my first orchestra in person....that was unforgettable and began my love affair with the Kenton music. (Editor's Note: Bud sent me a photocopy of the program. There were a few more charts listed, and an interesting note: "Miniature scores of all the Kenton recorded works are now available for your study. They can be secured by contacting Leslie Music Company, RKO Building, New York City." How many of those miniatures are still around? Great heart-felt piece, Bud.)


Bill Gottlieb, the much published photographer of jazz, circa 1938 to 1948, has several dozen photos of Stan Kenton and his musicians, many of them taken during the time he toured the the band. Sixteen of the images are in his book, The Golden Age of Jazz, now in its eight printing. But there are many more, including those showing conferences with the booking and promotion staff, scenes outside and inside the band bus, and even shots of the gang playing soft ball. Although he considers his Kenton shots better than those of any of the other jazz giants he covered, he has gotten almost no "action" with them. Various producers use his photos on T-shirts, posters, postcards, album covers (more than 200 to date), art exhibitions (70 of them from Sweden to Japan); but, the produces NEVER EVEN ASK TO EXAMINE his Kenton stuff. And his sales to private collectors is almost nil. (Museum quality prints range upward from $300 for 11 x14s, thought sets of Kenton 8 x 10s, would run much less). His prices aren't cheap; but that goes for prints of Ellington, Gillespies, Monk, Sinatra, Reinhardt and dozens of others, which he sells in substantial numbers. Why not Kenton, Bill wonders. Any thoughts out there? Write/call him at: 11 Market Lane, Great Neck, New York 11020, 516-466-0495 or FAX 516-829-2447.

By Bob and Sue Strickland

CONRAD GOZZO was considered by his fans and his peers to be the best big band and jazz lead trumpet player who ever lived. Using his power, phrasing, and his impeccable sense of timing, Gozzo shaped the way big bands have sounded for the last 50 years. To this day, his influence on young trumpet players is astounding, given that he was seldom a soloist and that he passed away over 25 years ago. The deterioration of his health, ending with death at the young age of 42 was a shock to his family and a great loss to the field of popular music. He was a member of the NBC Hollywood staff orchestra at the time of his death in October of 1964. During his brilliant 25-year career, Gozzo was ubiquitous on recordings, sometimes playing on three recording dates a day in addition to his work on television shows. Gozzo was Frank Sinatra's favorite. Billy May said of him, "He just inspired you!" He worked with: Glen Gray, Van Alexander, Nelson Riddle, Ray Conniff, Jerry Fielding and Shorty Rogers. Always played on Henry Mancini's recordings....and can be heard on the movie tracks of "Bye Bye Birdie," "Call Me Madam," and "Cleopatra." He is heard on the recordings of Sinatra, Dean Martin, Sammy Davis, Jr., Vic Damone, Nat King Cole, Ray Anthony, George Shearing, Equivel, Pete Fountatin, Al Hirt, etc.

Why a book about Conrad Gozzo? I (Bob) wanted to write a book about him. It is unfortunate that the events of my own life did not allow it for over 20 years, because time has witnessed the passing of many key persons in Conrad's story. I married in 1984, and in 1990, I confidently announced to her (Sue), "I have decided to write a book about Conrad Gozzo." She replied, "Who is that, and why do you want to write a book about him?" We listened to some records, and Sue shared my "gooseflesh reaction" to Conrad's sound. At home, we call Gozzo, Conrad or "Goz;" he is a member of the family. (Editor's Note: for reasons of available space, I have condensed this exposition by Bob, and briefly note that Bob and Sue have been in contact with so many of Goz's relatives, friends and fans, and urges you to be in contact with him IF YOU HAVE ANY FIRST-HAND, RELIABLE INFORMATION ABOUT CONRAD GOZZO, CALL THEM AT 800-358-7898 or write, Bob and Sue Strickland, 355 W Fain Street, Duncanville, Texas 75116-3305 or Phone/Fax: 214-283-6877.) (Bob and Sue: Sorry I had to reduce the length, and re-work; I believe we got the message across?)



"Doing the Right Thing"
By Ed Gabel

Stanley Kenton provided the music business with both the vision and the integrity that has enriched our lives for many years. Stan (as he was called by his fans) passed away in 1979 at the age of 67. He was musically active nearly to the end. Stan was one of the great musicians, composer, and piano players of his era. His knowledge and wisdom were formidable, but he was also a great student of how to treat people because, he felt that no matter what one did in life, one always had another responsibility as a citizen; and, Stan wanted to prepare for his. His manners were refined. Stan, tall and erect, gray haired, the soul of integrity, was also a gentleman.

He had himself gone from a farm boy in Kansas to a poor young man in Bell, California. His father was never home, his mother raised him. All his life he was devoted to his mother. His contempt for small-minded people who were afraid of any change or any new ideas was always gently expressed, but profound. Stan was such a striking California figure — so at variance with the typical orchestra leader. There wasn't an ounce of snob in him, but he simply could not bear meretriciousness or snobbishness in form.

Stan was on the road with the band most of the year, every year, he could not forgive himself for not being with his children. He was a great man. I was very close to him, but he was not an easy one to be close to. He had such extraordinarily high standards of conduct himself — such integrity. He was a man of such rectitude, but it was easy for lesser mortals to be around him. I always thought part of Stan's life was rather sad. Sad that such a gifted man of such exceptional character who was so devoted to his music was not given more recognition. He certainly deserved it. He went through life more or less knowing what is right, but not often or able to measure up to his own standards, to be who he wanted to be. I never knew anyone quite as good as Stan Kenton at simply "Doing the Right Thing," without ever counting the cost, simply because it never occurred to him to do anything else.

Rest in peace, Stanley Newcomb Kenton. (Editor's Note: Ed "Gabe" Gabel is writing an autobiography about his life with Stan Kenton, "The Early Years: 1941-1947. He writes that the work will include a historical and pictorial record of the first Kenton Orchestra, along with the World War II European Invasion Script from the Bob Hope radio broadcast. His target date is for late Spring or early summer publication. If you want to be in contact with Gabe, he's at: 1620 Avenida Loma Vista, San Dimas, CA 91773.)(Gabe, also reminds me that Stanley's daughter's books on her life and about women are available worldwide — Leslie Kenton!).


I've gotten more into these 19 pages of copy than ever before; and still, there is stuff left over — no room to article about TOM TALBERT; another review of the CJO's tribute to Stanley; BOB ZENTER waxing nostalgic about his visits to the Kenton band phenomena (at my request); a record review of the the Stan Kenton "Retrospective" and the "Back to Balboa" packages; an article from the New York Times about jazz losing its soul; brief "Pinlights" on Paul von Adam (Adamson), Derryl Goes, etc. If you are interested, send a SASE. Oh, and thanks to all of you who sent me Christmas and New Year greetings. I was not able to respond to all of you; success to you in 1993.

[My CompuServe mailing address is: 70544,1336; my Internet mailing address is]