The Network XVII

September 1993

Anthony (Tony) J. Agostinelli, Editor
Prologue NETWORK is published now twice annually. The number of NETWORKERS has grown to about 1,400, and continues to hover at that number. As I wrote in NETWORK XVI, 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 the NETWORKS, 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. For those of you who have contributed — no matter what amount — THANKS! Enough of this fund-raising talk.
By Burt Folkart, Staff Writer, The Los Angeles Times, August 7, 1943

Bob Cooper, the lanky, laconic tenor saxophonist whose improvisations helped shape that straight-ahead, swinging sound known as West Coast jazz, is dead. Cooper, who played the ordinary reeds — clarinet and sax — and the more esoteric ones — oboe, English horn and four kinds of flutes — was found dead in his auto Thursday (August 5, 1993), an apparent heart attack victim. Frank Capp, a longtime friend and leader of the jazz ensemble Juggernaut, speculated that Cooper was on his way from his Sherman Oaks home to a rehearsal in Hollywood when he pulled off the road. He was taken to Queen of Angels Hollywood Presbyterian Medical Center, where he was pronounced dead. Cooper was 67 and had undergone heart valve surgery several years ago but was thought to have been in relatively good health.

For more than 40 years, after he left the Stan Kenton band, Cooper was omnipresent on the Los Angeles jazz scene. Beginning in a transformed Chinese restaurant on Pier Avenue in Hermosa Beach, where he was a seminal member of the now-celebrated Lighthouse All Stars, he moved to the anonymous world of studio music, where he scored and wrote for films and TV show, and in recent months worked in "reunion" concert. Wherever he worked, "Coop" was considered the most versatile of the purveyors of modern jazz. Milton (Shorty) Rogers, the trumpeter who had played with Cooper since the Kenton days, remembered him as a "brother and friend. There was no nicer person or finer musician." Cooper, who gained the affection of the jazz world not only for his performances but also for the gentle care he gave to his dying wife, singer June Christy, probably could have become a world-renowned performer had he been more gaudy than scholarly. For much of his career, he labored in the shadows of the studios, working occasional week-ends at many of Los Angeles' now-departed clubs such as Carmelo's, the Haig and Donte's. But as those clubs vanished because of changing tastes and a population that hesitated to leave home after dark, the sandy-haired, soft-spoken musician was forced to retreat further from live performances.

Times jazz critic, Leonard Feather, said in a review of a performance last month in Burbank, that Cooper remained "rewarding evidence of the small group setting...His sound is big and bold...yet gentle and appealing." Cooper had originally been intrigued by the tenor sax styles of Coleman Hawkins and Don Byas and the sound of the Benny Goodman and Duke Ellington bands. But he switched styles, he told The Times in a 1986 interview, after hearing the more delicate techniques of Zoot Sims and Stan Getz. He was 19 and a high school graduate in his native Pittsburgh, Pennsylvania, where he studied clarinet. He was asked to sit in at a Kenton concert after Getz was fired. That was the beginning of a six-year road tour that ended when he settled in with the small group that former Kenton bassist Howard Rumsey had formed with other Kenton alumni at the Lighthouse. The Lighthouse was a small room with a large bar. Rumsey had owner John Levine build a bandstand where he, drummer Shelley Manne, saxophonist Jimmy Giuffre, pianist Frank Patchen, Rogers and trombonist Milt Bernhart performed. Cooper, who was honored by the Los Angeles Jazz Society in 1989 for his "contribution to the development and history of jazz," is survived by a daughter, Shay, from his marriage to Miss Christy.

[Editor's Note: Coop also performed either in the films or soundtracks of the following: "Barefoot Adventure" 1961 — sndtrk; "A Building Is Many Buildings" 1961 — cmpsr & cndctr; "Heart Beat" 1979 — sndtrk; "Let's Make Rhythm" 1947 (SNK ork) — sndtrk, on film; "Lighthouse All Stars" 1962 — sndtrk, on film; "Lonnie" 1963 — wrote score; "Mad at the World" 1955 — w/Lhthse Alstrs — playing his 'Witch Doctor'; "Man with the Golden Arm" 1955 — sndtrk, on film, w/other Kenton alums; "Mr. Novak" 1963-1965 — TV series — sndtrk; "Private Hell 36" 1954 — on sndtrk w/other Kenton alums; "Richard Diamond" 1959-1960 — TV series, Rugolo wrote, on sndtrk w/other Kenton alums; "Shelley Manne All Stars" — TV short at Shelley's "Manne Hole" — sndtrk, on film; "Stan Kenton and His Orchestra" 1976 — BBC-TV Omnibus special, Coop interviewed; "Stan Kenton and His Orchestra: Artistry in Rhythm" 1945 — sndtrk, on film; "Talk about a Lady/Duchess of Broadway" 1946 — with SNK sndtrk, on film; "Tarzan the Ape Man" 1959 — Shorty Rogers did score, Coop on sndtrk; "War Hunt" 1961 — Bud Shank did score, Coop on sndtrk; "The Wild One/Hot Blood" 1953 — The Brando film, Leith Stevens score, Shorty Rogers & Giants, Coop on sndtrk; and, "The Wild Party" 1956 — on sndtrk].

Special to THE NETWORK

Steven Harris, former DJ and host of KPCC's "Artistry in Kenton," emanating from Pasadena, California, had the rare opportunity and unforgettable pleasure of interviewing jazz great, Bob Cooper at his Sherman Oaks home, just two days before Coop's untimely passing. The interview, mixed with music, was aired in its entirety that following Sunday after Coop's death on DJ Simon Barley's "Stolen Moments" jazz program on station KUOR-FM at Redlands University. Bassist Howard Rumsey, who was listening from his home in Hemet, California, and his wife was listened in and were moved by the tribute to Coop. The following are some few excerpts from what was to be Coop's last interview (the contents of this interview will be happily shared with all fans of Kentonia when Steven finished the book he's currently writing on "Stan The Man."

Sherman Oaks, California, Tuesday, August 3, 1993 — Reflections on Kenton: "It always amazed me since Stan's death, his fans have been so loyal, it's just unbelievable...they'll have Kenton reunion concerts and people will show up from all over the world. I was just in Port Townsend (Washington) with Shank, Rugolo, Bernhart, Perk...and the auditorium was packed full because of Stan's name...and the fact that we were there playing the music....I think maybe more so than any other band leader, he (Stan) has people so devoted to him that it will not go until they (the fans) all die...I have a lot of admiration for Stan because of that...he was like a father figure to everyone, and I know people hate to hear that, abut the band was full of nineteen year old like I was and he helped us through a lot more than music...he was a good example for most of his life for people to emulate." [Editor's Notes: so, as we are saying to so many Kenton alumni, "Godspeed, Coop!" Also, Bud Shank's wife passed away!]

By Tony Agostinelli

I am now part owner, with Gene Milton — (the Gene Milton Big Band of Rhode Island) of the last 28" Medium Ride Cymbal made by the Avedis Zildjian company in Norwell, Massaschusetts; it's from the same mold that made several of the Stan Kenton orchestra's 26" cymbal which was dubbed "the Eliminator!" According to Lennie DiMuzio, the mold has been broken, and the Zildjian company has not made and will not make another (unless there is a demand). "The Eliminator 28," as I've dubbed it, now in our possession, could be made available for use/lease by orchestras who want to create "an oven's roar," for which Stanley's orchestras were known. Use should be limited to orchestras who will be playing in tribute to Stan Kenton. [Editor's Note: How should we pursue this possibility; would appreciate your views.]

How did this all come about? When Gene Milton was rehearsing his band for the concert on March 20th at Brown University, I suggested to Gene that he borrow a 26" cymbal, to enhance the sound of the band. I also suggested that the Zildjian Cymbal company might have a 26 incher in stock. Gene Roma, the drummer who was slated to play with Gene, is a promoter for the Zildjians. Gene called Lennie, and Lennie said that there weren't any 26 inchers, but that he would see if there was 28 incher in the warehouse. Seems there was, and he loaned it to Gene Roma, who picked it up and brought it to a rehearsal and the concert. Lennie pointed out that it was the last 28 incher they had.

The following is quoted from a news release which was issued by the ZILDJIAN cymbal company: "At a recent tribute to Stan Kenton at Brown University's Salomon Hall in Providence, Rhode Island, the Avedis Zildjian Company in Norwell, Massachusetts donated an exact duplicate 28" Ride Cymbal that the Stan Kenton Band had used throughout his career. The concert program featured the Gene Milton Big Band under the direction of Gene Milton, also featuring nationally acclaimed trumpeter Marvin Stamm, a former member of the Kenton orchestra. In addition, an historical talk was given by Kenton expert, Anthony Agostinelli, faculty member at Roger Williams University in Bristol, Rhode Island.

"Gene Roma, a Gene Milton Band alumnus from Cohasset, Massachusetts and one of Boston's finest drummer, visited Zildjian and met with Lennie DiMuzio, Zildjian's Director of Artist Relations, to select and test play this very unique and exciting cymbal. Due to its extraordinary large size and incredible tone, Gene said it was just 'awesome', and he never played on a cymbal so large, yet so sensitive with such a beautiful rich sound. Roma stated, 'only Zildjian could make something so unique; it should be in the Smithsonian museum'."

On Thursday, March 25, 1993, Gene Milton and I, joined Gene Roma at the Zildjian Company when Gene Roma returned the cymbal — Lennie wanted to have a few publicity photographs made (which we did among the cymbals in the warehouse, at one of Buddy Rich's old drum kits and under the sign of the Zildjian Company). I enquired whether it was available for purchase, and Lennie said that it was, checked the computer for price, and it was listed as item number A90128 and was for sale; Gene Milton and I agreed on the spot to purchase it. I wrote out the check, and Gene Milton gave me his share of the cost in the form of a check; and, we walked away with the cymbal.

According to Lennie, since there is no call for cymbals of that size (Mousey Alexander and Shelley Manne are dead, and Stan Levey is no longer playing, etc.), and the mold, which was broken some time ago will not be remade, this is the last of the 26 to 28 inch models. I inquired as to what would make them re-make cymbals this size....Lennie's response was that "if there was a demand." Many drummers nowadays use smaller, flatter-sounding and less heavy cymbals.

Why so much about "Eliminator 28?" I guess as a piece of history of why and how the various Kenton orchestras got that distinctive sound — the real "Eliminators" (26 inch Medium Ride models made by Zildjian) had much to do with that sound.

The cymbal is now in my possession. I keep it in my study, and occasionally give it a work out with home made tympani mallets! Gene Milton will use it whenever his band plays. Talk about the roar of an oven! Rush of the sea!

Thanks to Zildjian, Lennie and the two Genes; the "Eliminator 28" becomes part of Kentonia history. [Editor's Note: the concert given by the Brown University Jazz Band (BUJB) and the Gene Milton Orchestra was SRO; many had to listen from the foyer. The BUJB played the charts of Joe Coccia, who was in attendance with his wife Rose and family; the Gene Milton Orchestra played many Kenton chestnuts and featured MARVIN STAMM as soloist.]

Excerpts: The Seattle Times, July 24, 1993,
Art Eiffert & The Official Program

Joe Wheeler, executive director of Centrum, which produces the Port Townsend Jazz Camp and Festival was quoted: "I think the biggest thing we've got going for this one it the Stan Kenton Tribute Band. A hundred years from now....people will look at Stan Kenton as one of the giants, because he was the innovator. He turned big bands into a different art form." The Tribute Band performed in the Mc Curdy Pavilion at Fort Warden State Park on July 22-23, 1993. Among those known to have performed or participated, were: Bob Cooper, Bill Perkins, Bud Shank, Bob Curnow, Milt Bernhart, Pete Rugolo, Dave Barduhn, Conte Candoli, Bobby Shew, Jiggs Whigham, Pete Christlieb, Red Kelly, Audree Coke, and others. (Art Eiffert's review arrived too late for inclusion).

Stan Kenton Tribute: Stan Kenton, musician, and composer, represents a major epoch in the development and evolution of this very special American art form called JAZZ. His vision, his creativity and his courage were the catalysts to great innovation in big-band jazz, to the development of many individual jazz careers, and to placing jazz at the very center of public school music education. He will be recognized as a 20th century giant. The performance was a tribute which featured many of his most illustrious alumni. MILT BERNHART, narrated the tribute. PETE RUGOLO lead the band. BILL HOLMAN was also on hand to lead his charts. In addition to the above listed tributees, Dave Barduhn, Frankie Capp, Bill Ramsay, Red Kelly, and Greg Metcalf. Listed as "ringers" were: Wayne Andre, Doug Miller, Dan Marcus, Brad Allison and Jay Thomas. DAVE BARDUHN called me with the lineup of tunes played at the alumni tribute concert, and this Editor has misplaced same! (Sorry!)

Special seminars were conducted which covered the various "Kenton Eras." The panels included many of the above, including Audree Coke, Stanley's companion and personal manager. Those participating and attending were ecstatic about the interest in The Man, His Music and The Alumni!


[Editor's Note: Howard suffered a heart attack and stroke, and is slowly coming 'round. Many of you were in contact with him. He writes....]

(Homer, Alaska, June, 1993) — Dear Friends: Tony has graciously consented to including our letter in THE NETWORK. We've kept track of everyone who has been in touch with us and it has been my wish to get back to everyone individually. Since it has taken 2 days just to assemble this letter due to stroke issues, you'll understand if I ask you to read on and know that we think of you all. We want to thank everyone who has helped us through generous gifts and letters. As I write this, it's been a little over 2 months since the stroke hit. There is great optimism that most, if not all, of my left side functions will return with time. Getting the horn back together still remains the sticky issue. I promise I will not become a player that will sit in a section and tell everyone how good I USED to be. The one gift that comes from playing in one of the greatest Trombone Sections in one of the greatest Orchestras of all time at such an early age, is that after that experience, everything else is icing on the cake! If I've gotta walk away from it, I can be proud of what I've done. Although, I'm not giving up on playing, I do have the clear conscience to direct my energies elsewhere.

As I continue my rehabilitation, I am directing those energies towards finally getting a degree and moving into Eduction. I've had the great fortune to learn from many of the "Old Masters" and I hope to be able to pass along those lessons. On the home-front, Michael Kenton continues to flourish and will be around 7 months old when this gets to you. He's really coming on and is wearing 12 month sizes! Kathy and I are having a great time being parents. In closing, we would like to thank Tony, Barbara and THE NETWORK family for all of your support. You've made all the difference. Love: Howard, Kathy, and Michael Kenton (Hedges). [Editor's Note: Howard, you and Kathy are bloody wonders. You have all my admiration! Stay on it and in it! NETWORKERS: please send CDs and LPs to Howard for use when he does his public radio program — Howard Hedges, PO Box 779, Homer, Alaska 99603-0779, 907-235-2701; and, to contribute towards the Howards' rehabilitation program, send your contributions to: Lora Wilkie, In Trust for Howard Hedges, 3913 Kackemak Way, Homer AK 99603.]


By Peter C. Newman

Hollywood North is a flea-trap night club, just steps from Vancouver's tenderloin district on Seymour Street, but for one night it was transformed into a magical place. Fred Stride, who teaches music at the University of British Columbia, organized, rehearsed and led a 25 -piece orchestra that played some of Stan Kenton's best (as opposed to best known) charts. As the players shambled on a stage that took up at least one-third of the club's meager floor space, the omens were not good. They looked like a gang with uncertain intentions that Straide had picked up at a bus stop on his way to the gig. The first numbers, "Eager Beaver" and "Opus in Pastels," were standard Kenton fare. Then the mood grew serious: "Elegy for Alto" (with a shimmering alto solo by Monik Nordine; "Invention for Guitar and Trumpet (with Brad Turner hitting the high notes), "Swing House" and "Zoot" (featuring Jim Pinchin on hot tenor). And as a special treat, the full concert version of "Artistry in Rhythm," with the poetic Peter Berring reproducing those magic Kenton triads.

At one point, Stride strode to the microphone and announced the next number: "La Suerte de Los Tontos" ("Fortune of Fools"), one of Johnny Richards' defining charts that even the Kenton band played at its own risk. There was so much electricity in the air, you could have lit half of Vancouver with it. The band never missed a note or a beat; it could have been a one-take recording. [It's a measure of Stride's dedication that when he couldn't find the Richards' chart, he copied it (and half a dozen other numbers) off the recording.] "My Old Flame," "Chiapas," "Machito," "Interlude," and "Malaguena" (featuring Tom Keenleyside on a stratospheric tenor) were some of the other numbers. When Stride counted "Malaguena," he warned the audience: "You're going to have your hair parted!" And it was.


Michael Sparke continues to compile a most comprehensive listing of Kenton recordings. From time-to-time, he needs information. I have listed his requests below. He suggests that you identify your source (he knows all of the standard sources published), and would prefer that you have the item in hand, and that you know of it first hand. His address: 39 Wills Crescent, Hounslow, Middlesex, TW3 2JA, England, UK.

1. a. What is the prefix to the Cassette release of 48437 — STAN KENTON'S GREATEST HITS?

b. Does the Cassette release follow the CD issue CDP 7 484372 and does it contain the hi-fi masters of some of the titles, or does it use the original recordings from the 1940's?

2. What titles are on EAP 2-932 and EAP 3-932, RENDEZVOUS WITH KENTON?

3. What is the Cassette prefix of A MERRY CHRISTMAS issued at the same time as the CD & with the same number: 94451?

4. What titles are on Cassette 4xL-9236: GOD REST YE MERRY GENTLEMEN?

5. Was STAN KENTON PRESENTS issued on 10" LP H-248 as well as L-248?

6. Was NEW CONCEPTS OF ARTISTRY IN RHTYHM issued on 10" LP L-383 as well as H-383?

7. Was more than EAP 1-1130 issued on EP from LUSH INTERLUDE?

8. Was more than EAP 1-1276 issued on EP from THE KENTON TOUCH?

9. Were there any EP issues from ST-1166, THE STAGE DOOR SWINGS?

10. What is the individual F-prefixed number on the 45 rpm of THEME TO THE WEST, contained in album CCF-323 PIANO STYLISTS?

11. Is INTERMISSION RIFF on Disc 2 of the 3-CD set CAPITOL JAZZ 50TH ANNIVERSARY COLLECTION (CDP 7 98931 2) the mono or stereo version of the Hi-Fi recording? (In stereo, Fontana's trombone solo is missing altogether)?

12. Which recording of EAGER BEAVER is used on SLER-6529, a 3-LP set called BIG SOUNDS OF THE BIG BANDS?

13. Questions about the Hindsight Label:

a. There are a number of compilations that include SK on reissue LPs/CDs. Are Hindsight LPs HSR-307 and HSR-310 on CD as well as LP?

b. Is the CD prefix of others in this series HCD? (304, 308, 311, etc.)

c. Is the series title the UNCOLLECTED BIG BANDS (again) or THE BEST OF THE SWING BANDS?

If you know the answers to these questions, please drop a line to Michael. I am sure he will appreciate it greatly.


By Lillian Arganian

"With high regard and respect for each other's individuality, the ingredients and the variety of a group of personalities can make a music wide in scope, from tender soft sounds to screaming dissonance. THIS IS AN ORCHESTRA!" Familiar words, those, to any Kenton fan, for they are from the brilliant "Prologue Suite," THIS IS AN ORCHESTRA, that was such an influence on so many that it changed the direction of their lives. And in those familiar stentorian tones, our man Stan's voice went booming out over the air waves on radio stations KSDS-FM (Jazz 88) and KFMB-AM (760 on the dial) in three Memorial Weekend tributes hosted by Gerald Cirrincione and Rod Page, with yours truly as the guest.

Initially, a promotional idea for the book Stan Kenton: The Man and His Music, set up through an invitation for an interview from Program Director Tony Sisti of KSDS-FM (the voice of San Diego City College), the interview idea was extended to include three programs instead of one. And so it was that on Friday, May 28th at 1:00 pm, the first one was aired on KSDS-FM in the second segment of a three-hour interview show hosted by Gerald Cirricincione. At 11:00 pm Saturday night, the thrill theme of "Artistry" came rushing into the serene night air from KFM-AM, a 50,000-watt station beamed all up and down the West Coast, from Pointe Barrow, Alaska, to Baja, California, as the second hour of Rod Page's regularly scheduled two-hour show, repeated from midnight until 2:00 am. And on Sunday, back on KSDS, from 4:00-6:00 pm on the great day itself, May 30th, the 52nd anniversary of the start of the Kenton band at the Rendezvous Ballroom at Balboa Beach, California, the music of Stan Kenton was to be heard in all its glory. It was even suggested by the author in a moment of wild indulgence the we should all be wearing our Stan Kenton tee-shirts every Memorial Day, all over the world (are you reading this UK-ers?), as she was on that day in San Diego.

Music included a wide range, from "La Suerte de los Tontos" from Cuban Fire, the London album version of "Artistry in Rhythm" with all that wonderful cheering), "Bahia," "Adios," "All the Things You Are," "Midnight Sun," "I'll Remember April," "Rika Jika Jack," "Collaboration," "Concerto to End All Concertos," Stan's hysterically funny "St. James Infirmary," ("I swear, some day I'm gonna have a band with no musicians in it." "Ya got one!"), Hanna's exciting "Beeline East," Rogers' soaring "Maynard Ferguson," Russo's awesome "Halls of Brass," and Rugolo's epochal "Mirage," to name just a few. (There you are, the "three R's" of big band jazz!) And all that just felt like a warm-up! as these tribute shows tend to do. ("We've got to do 'Malaguena!' "We can't! We're running out of time!") There's never enough time to play it all, but it worked out just right as the Four Freshmen, leading up to the "Artistry" big finish, sang "There was no one before you...who could thrill me like you do...and there'll never be...anyone...After You..." Very fitting. And so true.

DICK MEYER'S COLLAGES of the Kenton orchestras.....are still available for purchase; write/call Dick at 6507 Kentucky View Dr., Cincinnati, OH 45230 513-232-3750. LARGEST SINGLE CONTRIBUTOR BY OCTOBER 15, GETS ONE FREE!!!!


...directed by Mike Arena, presented a Tribute to Stan Kenton on Sunday, April 25, 1993 at the Eastmonte Civic Center in Altamonte Springs. Don Kirby of WLOQ-FM was Master of Ceremonies. Howard Drazic attended with his wife, Ann, and Kentonian, Bill Conrad. According to Howard, "Mike Arena's group is first rate and well rehearsed — so good that I've talked our jazz club president into having the same show at the Sarasota Opera House on September 12, 1993. This will be a free "Big Band Bonus Concert" for members only." [Editor's Note: From looking and listening to the video of that concert, this Editor can only reiterate Howard's comments. "First rate and well-rehearsed."]

In an article entitled "First-Rate Jazz," by Verne Tietjen in Central Florida, August, 1990, Michael J. Arena was called "a veritable legend and even institution in his own time....a strict disciplinarian on the bandstand, Arena rehearse his 19-piece group every Sunday night for three hours....the result has been a tight, precise band......" Arena grew up near the Eastman School of Music in Rochester, New York....played professionally with Chuck Mangione...he recently retired from his "day gig" as a computer-assisted draftsman designing microchip printed circuits with Stromberg-Carlson...he composes and arranged with a Yamaha keyboard, and plays the full range of reed instruments.


You can always 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. For we New Englanders, the Frosh have been in the area this month — Massachusetts, and for the first time in 30 years in Rhode Island (at Chan's in Woonsocket). Also, a Carnival Cruise is being planned for March of 1994. Be in touch with John Bangs.

By Dick Baldwin

The 5th annual Four Freshmen clambake took place on July 30-31 at the Holiday Inn in Columbus, Indiana. Dick Baldwin writes: "The new Four Freshmen are Five Stars under Mike Beisner. The sound lives and will excite the country later this year with the Sinatra CD with the Lew Anderson Orchestra. The vocal things have been written with maybe three more to come. The Frosh are so talented that it's scary — Kevin Stout's trombone makes one search around the room to make certain that his playing is really happening and that other folks are hearing the same thing. Stan would have to put with Kevin's guitar to get to his trombone. Bob Ferreira sings from his heel plates and plays many drums to accent a real rhythm section. Greg Stegeman is a stylist lead voice; he caps a beautiful mix. Mike Beisner plays any instrument in the hall (well!) with the exception of muted acoustic saw. When it's Beis' turn, one has to also check the area to know that others are taking in the same sound. Stan's taste lives and multiplies through the Beisner highs and the Frosh sound. "The Kenton Lady," Nan Fluck with Al, was at the bash. She fit in nicely with the Frosh fans, while Al told great Kenton stories. The best shirt of the weekend award went to Bill Lichtenauer, a white item with Stan's caricature on the upper right front and the SNK Ork credit on the pocket side — a beauty. Next big Freshmen reunion will be July 15-16, 1994 in Oshkosh, Wisconsin. The 1993 registration was in the 300 range. There was Kenton talk all the way through, including continuing and interesting Bob Flanigan things. Flan tells great tales!"

[Editor's Note: I am told by Don Boland, that at one point there were nine
Freshmen on the stage at the same time. Wow, what a sound that must have been. John Bangs told me that the Frosh on stage were: Flan, Mike Beisner, Greg Stegman, Bob Ferreira, Kevin Stout, Autie Goodman, Gary Lee Rosenberg, Ross Barbour and Bill Comstock. There were a two hour Friday and a three hour Saturday evening concert. About 315 ate dinner together. Autie did his "Sonny Gets Blue," Bill did his "Act III," and Ross did his "Durability!" Anyone — any tapes? Wish I could have been there. I am also told that the Frosh are three tunes away from completion with the Lew Anderson big band for their CD.]

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! New: Cassettes KJ-201, 202 & 203

Ask for ALL the Kenton Status CDs — 101 through 104, 108, 109, 112


By Lillian Arganian

That piercing high sound to be heard on Prologue and "Maynard Ferguson" is still going strong, and was heard in the birthday tribute concerts at Las Vegas last year (1992). People don't even use the dude's last name anymore, but everyone knows whom you mean. Maynard! He thrilled the crowd with many tunes, including "St. Thomas," "Get It to Go," A Night in Tunisia," "Take the 'A' Train," "But Beautiful" and, of course, "Birdland" and "Rocky." Maynard also has an article in the July issue of Down Beat magazine. In the article, entitled, "Wanna Play High Notes?" he says, among other things:

"Something I did in the beginning to improve my range was to play beautiful melodies that I was familiar with and liked. I would advise that the ballad you choose should have an elongated melody. In doing so you are getting rid of some of those boring, long-tone exercises this trumpet player always hated. Then practice playing that same melody a minor third higher—sometimes with vibrato, sometimes without. Stop playing as soon as you lose any of the beauty that you had in the lower key. The minute it sounds strained, stop and rest. Then play it again, still up in the minor third, until this feels total natural and lyrical. Eventually, take it up a fifth, always without increasing intensity. A very important thing happens: as you begin to think of this new key as normal, you have elevated the center of your range both mental and physically. [Editor's Note: in a previously written article, Lillian forgot that Maynard was en scene, and left out commentary about his performance; this makes up for it!][Editor's Note for New Englanders: Maynard will be with his Big Bop Nouveau Band next April 10th at St. Anselm's College in New Hampshire.]

By Ed Gabel
An Overview

Stanley Kenton took to the road with joy, and musical drive. He stood near the zenith of music for nearly four decades, but it may be that he only found happiness in his orchestras. The joy wasn't just in the money he had earned over the years. An astute businessman, Stanley's musical abilities had earned him a fortune that he spent on his twelve different orchestras. And, as the years passed, he was a happy man because the bruising battles with the critics were behind him. In the world of music he was a beloved elder statesman both in America and in Europe. Because unlike some others of his generation, he had orchestras he could mold into greatness. He was a happy man, it was obvious from his facial expression. The scars of creating his own style of music were etched deeply into his soul. His true happiness and satisfaction were apparent only in the exuberant joy of his music-making. That's how it was.

In previous years, over the decades, the orchestras impressed local ears with its strength in all sections, though the results were dependent through the degree of commitment from his conducting. He was in charge. Stanley at the helm was a commanding presence. He stood tall on the dais — no podium, no music stand, no waving a stick, no music score — willfully shaping every musical expression with sometimes over expressive gestures. Playing a well-chosen program, he sounded out a three months' old music hall's acoustics like a test driver checking out a new model — musically kicking the tires, getting a feel for the grip, letting out the clutch and gliding down the road. He played romantic music, conducting each bar as if it were the most important phrase in the score, languishing over details, de-emphasizing the legato, playing indulgent rubatos and challenging accellerandos.

From muted quiverings to explosive hammer blows, the orchestra responded like a well-oiled precision instrument. The reed section emoted an emotional blend, the brass section demonstrated quiet sensuality and stirring crescendos, they didn't shrink from making gloriously loud passages. The percussion driving beat showed meticulous care in creating Stanley's style. Stanley's music put a flattering spotlight on many of the orchestras principals, who executed their solos with refreshing freedom and spontaneity. That's how it was!

[Editor's Note: Edward F. "Gabe" Gabel is on the verge of publishing The Story of Stan Kenton: The Early Years a "behind the scenes...historical adventure story with the first Kenton Orchestras 1941-1947. It is to be published by Gerry Dexter's Tiare Publications (213 Forest Street, Lake Geneva, Wisconsin 53147), "probably under a new imprint, Balboa Books," according to Gerry and Gabe. More as the publication date is known.]

[To get in touch with Gabe: Edward F. Gabel, 1620 Avenida Loma Vista, San Dimas, CA 91773, 818-331-3917.]


As many of you know, although I have listed recordings of the various Kenton bands in past issues of THE NETWORK, I have not publicly endorsed the practice of producing "ephemeral" ("bootleg") recordings. As any discographer, this Editor only lists these recordings because they "de facto" exist, and most record collectors would be pleased to have them in their collections. It is my belief, and always has been, that a person's creative body of work, name and image, is his/her's or his/her estate's to promulgate according to his/her expressed wishes, and desires as have become protected by copyright laws. Nothing here should be construed as conspiratorial to the production and distribution of ephemerals.

Because these recordings exist, you should know about them; and, because many are ephemerals, you might consider a contribution to a STAN KENTON SCHOLARSHIP FUND. One of which is: STAN KENTON SCHOLARSHIP FUND, International Association of Jazz Educators (IAJE), Box 724, Manhattan, Kansas.
Another has been the City National Bank, PO Box 4072, Beverly Hills, CA 90213.

So, below listed are a number of reissues of Stanley's music that I know of:

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, 3002, 3003 & TRCD 3 CD Set-302
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
LIVE AT THE PATIO GARDENS, I, 2 & III, Magic CDs 56, 57, & 58
OPUS IN PASTELS, (1945-1952), Jazz Roots CD 56023
PLAYS CHICAGO, Creative World STD 1072
RETROSPECTIVE, Capitol Jazz CDP 7 97350 2 (1943-1968)
7.5 ON THE RICHTER SCALE, Creative World STD 1070
STAN KENTON, (1961 [Mlphnms]) SPA Edition Movieplay SA (Portugal) JTM 8112
STAN KENTON: INTERMISSION RIFF, (1952-1956), Giants of Jazz CD 53109
STAN KENTON LIVE! (CIM & Encores)(1952-1953), Natasha CD-NI 4017
STAN KENTON: LIVE IN COLOGNE (1976), Volumes 1 & 2, Magic DAWE 64 & 65
STREET OF DREAMS, Creative World STD 1079
(For One Kenton Cut — SAX OF A KIND (Lee Konitz), Dragon LP DRLP-18

** [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]


JUST BONES and SAVE THE BONES FOR MR. JONES were charts included in the Kenton repertoire; who wants to write something about either for next issue?

Two other great events on the West Coast since last issue: The Stan Kenton Alumni Band directed by Alan Yankee with the Four Freshmen (Ken Allan produces each year), and the coming Woody Herman Tribute, with ex-Hermanites and ex-Kentonians on that alumni band!

BILL TRUJILLO available for gigs, especially on the eastern seaboard — as a soloist with big band or combo, saxophone or improvisation clinician: 3328 Sagebrook Lane, Las Vegas, NV 89121, 702-456-1039.

Saw PETER ERSKINE & HANK LEVY, perform and conduct, respectively, with the Manhattan School of Music Jazz Band in the Spring. An entire concert devoted to works performed by various Stan Kenton bands. Peter and Hank spoke about Stanley, and Hank conducted his tribute, "With The Old Man In Mind." Erkskine used a 30 inch cymbal supplied by Lennie De Muzio of the Zildjian Company. MSMers are under the director of Dick Lowenthal. Many NETWORKERS and Kenton alumni present: BILL HOLMAN, MANNY ALBAM, CLEM DE ROSA, and NETWORKERS, Jerry Tanack, Bill Mummery, Dr. and Mrs. David Erskine, Bill Warfield, Ira Gitler, Kurt Ward, Mario Zulli, Ernie Favaro, Bob Geis, among others.

Writing of Erskine reminds me to encourage you to purchase his new release, You Never Know, on ECM Records.

Nan Fluck reports that their blue Tabby, STANLEY NEWCOMB KITTY, won 3rd best in the Household Speciality out of 57 cats...9 best in All Breed at a recent cat show. According to Nan, SNK sits and listens while Kenton music is played!

And, according to Ted Daryll, who's produced the last several Capitol CD releases, "Blue Note/Capitol Jazz...had decided to let '93 go by without a Kenton release....sales on the "Retrospective" and Holman/Russo sets have been quite respectable I'm told and the powers are pleased both with them and the favorable reviews that the packages have been getting." Some new issues ("Sketches & Portraits" & "Contemporary Concepts") will be prepared for 1994 release. Write Capitol to release them!

Patricia Graham Haworth, daughter of THE Graham who kicked off the jazz thing at University of North Texas wants me to make NETWORKERS aware of: "One O'Clock Standard Time," a Celebration of Contributions by (the late) Gene Hall to the University of North Texas. Time: 6:30 pm. Date: October 7, 1993. Place: Silver Eagle Suite in the University Union on the UNT campus. Reservations: $50 and $100. Black-tie optional. Evening features the One O'Clock Lab Band and includes dinner/program/dancing. For information call: Darla Mayes at 917-565-3743. The UNT 1 O'Clock Band nominated for Neil Slater's arrangement of "Values".

Photographs of S. Kenton Street (Urbana, Illinois) and W. Herman Street (Yellow Springs, Ohio) have crossed my desk. If you know of any streets named after Kenton, let us know about them.

JAZZ WEST COAST: REUNION AND REMINISCENCE. This gig scheduled to take place August 26 & 27, 1993 at Lake Arrowhead Hilton Resort, California, featured HOWARD RUMSEY AND THE LIGHTHOUSE ALL STARS; scheduled to appear at this writing were: SHORTY ROGERS, BUD SHANK, CONTE CANDOLI, BILL PERKINS, LOU LEVY, Eric Von Essen and Sherman Ferguson. BOB COOPER was also to have appeared; RIP Coop!

PAUL COLALUCA, for eons, the shepherd of the Esquire Foundation, was recently given the Fine Arts Award by the Mayor and City Council of the City of Torrance, California for "Outstanding Contribution in Music." The City of Torrance also sponsored "Dancing Under The Stars With The Esquires on Friday, August 27, 1993 at the Cultural Arts Center; trust you in the area went to see and hear this great group.

DAVE BARDUHN has sent along the latest CD of his Mt. Hood Community College vocal jazz group, Genesis. As usual, they are well-rehearsed, sing spontaneously well, and their music is WOW, NOW!

has released her ninth album. Al Julian recommends her highly. The CD is SHADOWLAND. The title tune is by Dave McKenna, and Meredith wrote the lyrics. Lovely CD; great vocalist!

JOE VERNON, played with the Kenton band in 1942, 1943 & 1944; a chiropractor in Sun City, Florida, he plays drums with the Sun City Big Band. His real name is Joe Toscano, and Vernon was his middle name. Hence, Joe Vernon! Joe is quoted in Bill Lee's book on Kenton. Joe also worked for Bobby Sherwood, Johnny Long, Ben Pollack and for many movie studios. Nice to have you on board, Joe.

Compositions and arrangements by STAN KENTON, PETE RUGOLO, BILL HOLMAN, DEE BARTON, HANK LEVY, WILLIE MAIDEN BOB CURNOW, HUGO MONTENEGRO, GENE ROLAND, KEN HANNA, MAYNARD FERGUSON, GERRY MULLIGAN, DON SEBESKY, 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, LIBERTY 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 to a high of $80, depending on the chart.


Paul Colaluca of the Esquire Foundation (see address herein) is offering over-stocks charts from the Foundation's collection. $10 each, but not singly. $50 will bring you 5 special arrangements plus one stock FREE. $100 for 11 special arrangements and one stock FREE. Check must accompany order, exchanges will be allowed on an individual basis. Paul writes, "if it doesn't move, I'll donate to schools and colleges!"

Bob Curnow of Sierra Music Publications (see address herein) who has publishing rights to certain Creative World music, writes about Paul's practice, "neither your non-profit status nor any definition of how you came to have all of this music exempts you from a probable violation of the copyright laws of this country....the Copyright Revision Act of 1976 (effective January 1, 1978) is quite specific about the use of music, and certainly the SALE of music, without prior consent or a Print Right Contract with the appropriate copyright owner." Bob suggests "donating the whole collection to a college music library."

Both Paul and Bob have been in touch with this Editor on the matter. Bob wrote me, "my current 'mission' in life is to acquire Print Rights to as much of the music written for the Kenton band as possible....those who bypass the system, for whatever supposed 'laudatory goals' are breaking the law." He writes further, "every composer and/or publisher who legally owns a piece of music has the RIGHT to say "No" to a request for use in print....anyone who chooses to ignore the system...or plead ignorance the undermining the good and proper things we are trying to do."

With no intent to "aid and abet," nor issue a disclaimer, this Editor places these arguments before you; no Editorial position is or will be taken. As mentioned above with respect to "ephemeral" CDs, the reporting in NETWORK is done based on the REALITY that these items are out there.....!


It's a long list, and it's been published once or twice before in NETWORK; the following flyers come regularly across my desk between issues of NETWORK:

BILL BACIN, Box 394, Ingram, TX 78025
BERT'S, Music & Video for the Connoisseur, 2901 Concord Pike, Talleyville, DE 19803, 302-478-3724
BIG BANDS RECORD LIBRARY, (Aerospace) Ray Anthony, 9288 Kinglet Drive, Los Angeles CA 90069, 310-858-1992 or 800-845-2263 (Great big band CDs!!)
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 71730-0943
FACETS VIDEO, 1517 W Fullerton Avenue, Chicago, IL 60614, 800-331-6197
GM RECORDINGS, Gunther Schuller, 167 Dudley Road, Newton Centre, MA 02159,
GARY'S EXCHANGE, PO Box 1300, Robbinsville, NC 28771-1300
WARREN W. HICKS, Box 176, Georgetown, CT 06829-0176
INTERNATIONAL RECORDS, PO Box 11117, San Bernadino, CA 92423-1117, 909-796-6110
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
MARINA MUSIC SERVICE, INC., (Charts only), PO Box 46159, Seattle, WA 98126, 800-331-4528

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.

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, 203-327-7111 (BILL RUSSO, BILL HOLMAN & SHORTY ROGERS & others)
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
PARNASSUS RECORDS, Leslie Gerber, 56 Parnasuss Lane, Saugerties, NY 12477
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 23060-1047
VGM, PO Box 288, Ashland, OH 44805, 419-289-1866
VSOP, 8426 Vintage Park Drive, Sacramento, CA 95828
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 1922, Novato, CA 94948-1922, 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

By Pete Venudor


1. City of Glass — Version #11.Thermopylae

2. Graettinger #22.Conflict (Rugolo)

3. Graettinger #33.Trajectories (Marks)

4. Incident in Jazz4.Untitled Original

5. April in Paris5.City of Glass — Version #2

6. Laura

6a. Encore #1: Laura

7. Mirage (Rugolo)

7a. Encore #2: Trajectories

Note: The above program was broadcast live over NOS-Radio (Nederland 4) as part of the annual HOLLAND FESTIVAL.


Same as above, except Encore # 2: Incident in Jazz. Note: Both concerts were recorded for future CD release (provided permission can be obtained from the Stan Kenton Estate, which seemed doubtful at this writing. Narration by Werner Herbers.

Notes on the Music

1. I find this much less developed than the 2nd version, and I can not even conceive it as 'more jazzy'. The 2nd version has a much wider scope and, I think, should not be considered as a mere re-write of the initial one.

2. For the strings, a la "House of Strings," but better in my opinion: a miniature suite in 4 movements including a short solo passage for 'cello, then viol and double bass interludes. It's a more emotional and more subtle piece than "House."

3. This certainly belongs to Graettinger's best writing for the full Innovations line-up. A pity this wasn't recorded at the time. It includes a lot of ideas he later developed. You'll hear woodwinds a la "A Thought" and lost of seminal "City of Glass #2" sounds. Very interesting to hear.

4. Prominent lead alto: must indeed have been written with George Weidler in mind. Gorgeous dissonance in what was to become known as Kenton's 'Wall of Brass'. I particularly notice that Graettinger writes very effectively, as well as very beautiful parts, for bass-trombone. The Ebony Band has a stellar player of this instrument in Peter van Klink. Another which dawned upon me during the concert, is the unique rhythmical concept Graettinger applies. Sometimes, sections of the orchestra seem to operate on their own impetus; thereby anticipating developments in other groups. This is not the usual way of writing 'swing' into the music, but it certainly has a similar effect. There is a trumpets-line in this adaptation which is quite remarkable in this respect. Perhaps the problem with his kind of swing is that it's not of the on- going, uninterrupted variety known in most of let's say traditional jazz.

5. Trombone and trumpet solos. What tremendous difference with the Rugolo chart of the same period. What a unique way to treat this kind of popular music. The belongs to a period in Kentonia we've been deprived of due to the aftermath of WWII. Must have been exciting times: Graettinger traveling with the band and dishing out this kind of wonderful new approach to big band music. He already was far beyond the progressive state Kenton and Rugolo heralded at the time.

6. What a joy to be able to hear this live. I haven't checked, but there seems to be a short interlude played by the bones just before the strings re-enter, which I do not recall from the recording of this piece.

7. Again: what a joy to hear this live. Must have been a tremendous musical experience to hear the Innovations in Modern Music Orchestra in person. It is now, hearing all these nuances, subtleties and general extras you only get when you are able to be a witness of a liver performance. It may be different with stat-of-the-art digital techniques, but....aren't we listening to Monaural Innovations recordings of over 40 years ago? I share Werner Herbers' intense feeling for the music when he takes bob Cooper's oboe-solo out into openness.

1. After the intermission, a revisiting of the piece which introduced us all to the singular world of one Robert Frederick Graettinger. It is of personal interest to see that this piece is being related to Mossolov's "Iron Foundry," a fact already duly noted in "I Believe in Kentonia," writing by Pete Venudor and Frank Visser as early as 1953. The saxophones play their prominent parts standing up in order to compete with the generally loud brass.

2. Like "Mirage," performance includes 2 double-basses and tuba.

3. Once more: what a precious joy. Maybe too much Tchaikovsky (the pizzicato strings), but nevertheless melodically the piece with the most meat for musical memory. I never before became aware of the important role the piano plays here: a very beautiful part accompanying the strings.

4. Big Band music of an unusual nature, even for BG. It sounds like having been written in an odd meter, but Gunther Schuller told me it's simply done alla breve ("nevertheless giving the players all the chances of getting lost easily"). This really is theatre music for big band, or maybe even some kind of circus music as it had a definite humorous effect.

5. A live performance of his masterpiece. What else to wish for? Especially when played with so much love and respect. Gunther Schuller is a marvelous conductor giving the music all it needs and deserves. While being very precise, he allows the tutti to become as thunderous as Kenton would have, but overall his concern with dynamics is superior, with the result that the City becomes more accessible.

[Editor's Note: what follows are excerpts and paraphrases of Venudor's original copy to me.]

Schuller called Graettinger a Complete Original, (which he found even more remarkable to acknowledge, when on e considers his limited musical education). "There's not a trace of Stravinsky or Berg or Schoenberg, etc. If you really want to detect some kind of influence, oddly enough, you'll have to refer to one of your very own composers: Willem Pijper. But Graettinger can not have been familiar with his music, so he's really a truly original." Schuller considers Robert Graettinger a major American composer of this century. This will all find expression when he has finished the 3rd volume of his scholarly work on jazz ("Early Jazz," "The Swing Era"). He said, "don't look for it within the next five years.

[Editor's Note: Schuller promised in his inscription to me of The Swing Era, that much of the last volume will include the music of Stan Kenton and Don Ellis.]

People reacted enthusiastically to the concerts. All the major newspapers had big write-ups about the event. Liberal use was made of quotes from Carol Easton's book on Kenton. Headlines looked like this:




Summa summarum: What an exciting week it was. A musical event of the first order. Fail to recall now, after exactly 40 years, whether the famous Kenton 1953 Concert was equally successful in a strict musical sense. One thing I can say for sure, having known Stanley in an intimate way in this respect, had he been able to attend, he would have been moved to tears. Just like I was, with this unique, powerful, and definitely emotional music going straight ahead to my center. Thank you Bob Graettinger (for your magnificent world of music). Thank you Werner Herbers (for making your cherished dream a happening, a reality). Thank you Gunther Schuller (for your gusto as a Maestro). Thank you Stan Kenton (for a lifetime's worth of musical excitement and discovery). [Editor's Note: an thank you Pete Venudor for this special piece about the revivus Graettinger music given to us by Schuller and Herbers.]

WGBH-FM 13TH ANNUAL TRIBUTE TO STANLEY planned for December 15, 1993 on WGBH-FM, 89.7. Don't forget to tune in. For you eastern New Englanders and visitors, listen in regularly to Ron Della Chiesa, on his much-heralded and listened to, "MusicAmerica!" M-F in the afternoon. If it's who you want to listen to — he's got them!


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.




And....I still urge you to write the United State Postal Service to encourage, urge, stampede them into ISSUING A STAMP ON BEHALF OF STANLEY NEWCOMB KENTON. It's always time to do it, again! CITIZENS' STAMP ADVISORY COMMITTEE, U.S. Postal Service, c/o Stamp Development Branch, 475 L'Enfant Plaza SW, Washington, DC 20260. GERRY DEXTER has heard back that the stamp "subject proposal....has been submitted to the Committee and currently remains under consideration." Write, darnit, write!


Although this section is not oriented to Kentonia, there are some good things out there that deserve your attention, like:

THE BIG BAND ACADEMY OF AMERICA, Milt Bernhart is the executive director. They publish a newsletter, BANDSTAND, and put on concerts of big band music. Join. 6565 W. Sunset Boulevard, #516, Hollywood, California 90028.

BIG BANDS INTERNATIONAL, Robert J. Robbins, USA Secretary, 2000 Richard Drive, Broomall, PA 19008-2741; In the UK: PO Box 111, Reading, Berkshire, RG4 7DB, England.

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, East Stroudsburg University, Music Department, East Stroudsburg, PA 18301 — Larry Fisher is the man.

, 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.

'FESSORGRAM: The Newsletter of the Floyd Graham Society (Floyd was predecessor to Gene Hall at University of North Texas), c/o Patricia (Graham) Haworth, Graham Public Relations & Management, 1506 Highland Park Road, Denton, TX 76205, 817-382-9669 or FAX 817-382-5962.

GENE LEES JAZZLETTER, PO Box 240, Ojai, California 93024-0240. $50 USA; $60 Overseas. You may want to buy Gene's latest book, Jazz Lives at 39.95.

CHET'S CHOICE, a newsletter dedicated to Chet Baker and his music. Elizabeth F. Little, USA Editor, 412 McNeil Street, Gastonia, North Carolina 28504, or Gunther Skiba, Nieder-hochstadter Str. 12, W-6374 Steinback/TS Germany, European Editor. Larry Whitford is copy editor at 5014 Dunbar Road, Raleigh, North Carolina 27606. Phone: 919-851-4422 or FAX 919-851-8968.

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 is now run by Melanie Sunbeam Smith, 53 Harmony Lane, Midway, KY 40347-9739; renewals, $15, and new $20.

THE MIDDLE HORN LEADER, is the "Unofficial, Unauthorized, Underground Publication 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 May, 1993 issue was entirely devoted to articles pertaining to "The Stan Kenton Mellophoniums." Send in your membership and obtain a copy of that fact-filled issue.

THE AIRMEN OF NOTE continue to play around! NETWORKERS, be on the alert for them. 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.

FOR A MULLIGAN'S INTERNATIONAL STEW, about Gerry Mulligan is published by: Gerard Dugelay, 14 Avenue A. Malraux, 57000, Metz, France.

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 dissatisfied with their performance! And, look for their CD with the FOUR FRESHMEN, soon due out.

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. 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.

JAZZ-INSTITUT DARMSTADT, a research library for jazz, Kasinostrabe 3, D-1600, Darmstadt, tel. (0 61 51) 13-28 77).

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
NETWORKERS, consider purchasing the book; all/write, Al Raymond, 2191 Winding Way, Broomall, Pennsylvania 19008, 215-356-1773 or -9245.


Don Ream writes of the event: "When Ray Eubanks announced that the nights' program was going to be different, he certainly knew what he was talking about! He said that due to the special nature of the guest artist, the format would be different in that the band would have the first half to themselves. Of course, they shared it with some of the greatest Kenton music ever written. Ray also said that the band had had more time to practice for this concert, therefore giving them the opportunity to do some more difficult numbers, i.e., "Chiapas," "Minor Booze," "23 o N - 82 o W." It was apparent right from the concert version of "Artistry in Rhythm" that this was going to be a special night as the audience could sense that the members were really 'on' and would be going for the moon. After a torrid first half, Ray and the band returned to the stage where he introduced 'one of the greatest tenor sac players around today, Gordon Brisker." He and the band went through an up-tempo version of "Just One of Those Things." I did not feel that Brisker felt very comfortable and time for his 'big number' could just as well been spent on another number by the band. But, it was a swinging chart and the audience seemed to welcome it, if only in anticipation of what was to come. Anita entered stage left and immediately established a presence that let everyone know that she was 'in command'. The first couple of numbers were of the 'feeling out type' whilst she could get at ease with the stage and the rhythm section. She cued them in and out, calling them by first names and establishing a great aura of letting the audience know that this was not going to be just a routine performance. On each tune, Gordon Brisker moved in, out and around her voicings, either on tenor, but also a lot on flute. He was defiant plus on the ballads and here again, it was easy to detect that these two artists had done this type of thing many times over. After what was almost a set in itself, Anita then moved into several numbers with the band, Brisker serving as director. He also did the vocal part on 'Let Me Off Uptown'. This part of the concert ended all too soon but Ray did ask her to do an encore and I doubt if anyone had ever heard 'I'll See You in My Dreams' sung like that! That brought the house to its feet with a prolonged standing ovation and the end to what has to be classified as one of the greatest nights ever by The Jazz Arts Group. Disappointed that she did no sing 'And Her Tears Flowed Like Wine'....sure, since it was a Kenton Tribute, I was hoping, almost expecting, that she would do this classic, and perhaps on some of the other nights she did, but it wasn't missed too much and certainly cannot be a mark against anyone for its not being included. She is a great performer, which to me is beyond just being a singer. She is a beautiful woman, doing what she loves to do and felt the enthusiasm of the house for the music she brought us. On to Kenton XIV!"

By Lillian Arganian

It was 1941 all over again — except it wasn't! Anita O'Day moved around in time, but proved herself to be very much a contemporary jazz artist in her first-ever appearance with the Jazz Arts Group of Columbus, Ohio in its thirteenth annual Kenton Tribute, April 28-May 2, at Battelle Auditorium. She had the second half of the concert pretty much all to herself, and it was a concert within a concert as she evoked the intimacy of a night club with her personal jazz style, singling out members of the big band for duets, or trios, or sectional accompaniment, or en masse for big-time excitement. Anticipation hung in the air through a rousing first half of the show that had Ray Eubanks leading his charges through smokin' field of chestnuts and wild time signatures, weaving a solid fabric of styles into sixty-minutes-or-so of Kenton panache. With the fine contributions os soloists Michael Cox on alto sax, Byron Rooker on tenor, Gary Carney and Ola Hanson, trombones, and Bob Birkhimer, trumpet, it was an evening to remember. Actually, five evenings, with a different house each night. All Kenton groovers. ("Well, come here, Roy, and get groovy." Whoops—we're getting ahead of ourselves.)

Peter Larson did the honors on piano as JAG opened with "Artistry in Rhythm." With spine-tingling impact, first the saxes and percussion, then the trombones, and finally trumpets in their ear-splitting climax recreated the soul-searing theme identified with Stan the Man. More Kenton sounds followed in "Eager Beaver," with Rooker lending the laid-back solo counterpoint to the brassy goings-on building up behind him. "In Lighter Vein" was next, and Cox, whose sound and style were just right for the Holman chart originally written for Lee Konitz, moved nimbly through the number with fresh invention. Eubanks introduced the next tune, Bill Russo's great hit "23 Degrees North, 82 Degrees West," by explaining its various time changes and complexities. Two trombones start off this exciting number — in this case Carney and Pat Lewis set the pace with thrilling precision — then a third joins in, then the other two. Then, of course, the percussion makes it crazy, and the saxes complicate matters, and then a new sequence is added in the trumpets — while trombones are still holding their own pattern. Superbly presented, all the lines clear and knitting impeccably together, with solos by Carney and Cox, this piece led Eubanks to observe, "The opening — sounds like bumblebees," as he looked back mischievously at the band. "I'm insulting them — it's going over their heads — but that's alright," he confided to the audience, and they moved on into a sizzling rendition of "A Little Minor Booze," with Steve Genteline on bari sax super-cool over the hot rhythm and the trumpets. Continuing a focus on the seventies, JAG took on Hank Levy's great chart, "Chiapas." Starting with the innocuous little beginning of triangle and bass guitar, followed by Tommy Dale's trombone solo on the theme, before long it was watchout! time, and the ol' 5/4 rhythm really came out. Who says 5/4 doesn't swing? Cox disproved that theory in his solo, artfully weaving in the strains of "Caravan," and Hanson was simply roaring in his. Holding it all together was the unwavering rhythm section of Paco Girer, congas; Bob Breithaupt, drums; Al Berry, guitar and Larson, piano. In a complete change of mood, Larson played the exquisite "Interlude," joined by Breithaupt with brushes on the drums, Berrys' underlying triplet on guitar and trombones' soft chords. Ray made a point of calling the next number "Aircraft Carrier Swing," Stan's own "Pained Rhythm." Seldom has this number sounded so great, with Hanson and Rooker super in their solos. It was followed by "Stompin' at the Savoy," with "Intermission Riff' leading to the intermission.

"Opus in Chartreuse" started off the second half, then Anita O'Day's music director, Gordon Brisker, joined in on sax and followed with "Just One of Those Things." O'Day materialized quietly onstage following Eubanks' introduction — "Ladies and Gentlemen, Miss Anita O'Day" — and eased gently into the soft bossa nova, "The Wave," accompanied by Brisker on flute. Anita was Anita, all involved with the music, cueing the band, expressing the lyrics and the sounds musically, her voice an instrument in and of itself. "Boogie Blues," the number made famous during O'Day's time with the legendary drummer and bandleader Gene Krupa, turned the calendar back to the forties. (When's the last time you heard that live? A sheer delight!) Creating hits for bandleaders is something O'Day has done more than once. For her tenure with Kenton it was, of course, "And Her Tears Flowed Like Wine," attendees at the 1991 Balboa Bash will fondly recall her reprise of that great tune. "S'Wonderful," featuring a rarely-heard drum solo by Breithaupt, JAG's own "drummin' man," was next, followed by "They Can't Take That away from Me," and then a charming duet, just O'Day and Berry on guitar, doing "Honeysuckle Rose" in a great arrangement, with Birkhimer joining in after several measures followed by the trombones and Brisker on alto. In "Let Me off Uptown" — with Brisker taking the place of Roy Eldridge for the occasion — O'Day showed the flair and style that only she could have created for this number.. And talk about improvisation! O'Day became a "brother" in the next tune, using her voice as a sixth saxophone with the five in the band as they played Woody Herman's "Four Brothers" — joined by Brisker as a seventh after a few bars. O'Day was a singer with Herman's band for six weeks in 1943. It was interesting to speculate what would have become of a longer stay with that swingin' herd. All too soon it became encore time, and Anita sang her farewell with "I'll See You in My Dreams." (Sigh!) Another JAG Kenton Tribute for the books! This one took its place as a concert of fascinating textural variety and contrast, sparkle and vitality, spanning many decades of the great American art form known as jazz.


Dan Bied sent along information that Bob Lorenz produced at the Royal Palms Inn in Phoenix, Arizona, a summer-long series of jazz featuring Kenton alumni. Scheduled to appear over the summer were: CARL FONTANA, CONTE CANDOLI, BUDDY CHILDERS, BOB COOPER, BUD SHANK, SHORTY ROGERS, BILL PERKINS, STEVE HUFFSTETER & BILL HOLMAN, backed by a rhythm section of local musicians. It was worked out so that there would be at least two Kenton alums for each gig. Lorenz said, "These men are still doing one-nighters after all these years because they truly love the music." [Editor's Note: if any of you heard/saw these gigs, please drop NETWORK a line as to what it was like.]


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 with 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, Gillespie, 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.


NETWORKER Francis H. Luttrell recently wrote: "wile visiting Springfield, Missouri, a couple of weeks ago, I had the good fortune to be there while Drury College was holding its annual Jazz Camp. You will recall that Drury is where Stan had his Band in Residence Program. I can report that after hearing three concerts by the Jim Widner resident band, the big band sound is in fine shape. Several Kenton chestnuts were played, as well as Holman, Rugolo and other arrangers' works. An excellent orchestra.....the Kenton legacy is alive and well as witnessed by the college President's remarks and by the number of Kenton sidemen in the band. DENNIS NODAY did his 'famous' impression of Maynard Ferguson on MARIA (the students went wild), JOHN HARNER played I WRITE THE SONGS sustaining high notes that most people can't even find on a trumpet and CLAY JENKINS and RICHARD TORRES were in rare form each time they soloed."

The faculty and staff included Kentonians: BILL FRITZ, JOHN HARNER, CLAY JENKINS, DENNIS NODAY, RICHARD TORRES, and others. With respect to the College President's comments: "This program is closely intertwined with the history of music and jazz at Drury, tracing its roots to the Stan Kenton music camps once held at Drury."


JOHN HARNER was recently spotlighted in THE NETWORK.....BILL FRITZ is a former saxophonist and arranger with the Stan Kenton Orchestra and instructor at the Kenton Clinics. He is currently on the faculty of Pembroke State University in North Carolina where he teaches composition and jazz studies. Prior to this, Bill was an active studio musician, woodwind specialist, and arranger in Los Angeles. You may remember his work with the College Neophonic Orchestra, with JACK WHEATON.....CLAY JENKINS is a graduate of the University of North Texas. He is a former member of the Stan Kenton Orchestra, Count Basie Orchestra, and the Buddy Rich Orchestra. He lives in Los Angeles where he has recorded with several artists including the John Clayton/Jeff Hamilton Orchestra, Bill Perkins, Pat Coil, Lyle Mayes, and Billy Harper. He has released two solo records, Rings and Give And Gather. He teaches at California Institute of the Artists and R.D. Colburn School of Performing Arts in Los Angeles......DENNIS NODAY was born in Youngstown, Ohio and later moved to Los Angeles in 1960 where he attended Hawthorne High School with the Beach Boys and Fred Dryer of the TV series "Hunter." After graduation, Dennis joined the Army for 3 1/2 years and was stationed at Fort Ord, Monterey, California. Noday joined the Stan Kenton Orchestra in 1969 recording ten double albums, making three European tours and presenting numerous clinics. As a member of the Maynard Ferguson Band, Dennis made three tours of Japan and cut four albums. He has recorded the sound tracks for several TV shows including: Hawaii Five-0, Quincy, and The Incredible Hulk. Noday currently resides in Fort Lauderdale, Florida and is an active free-lance musician and also has his own beg band, "The Jazz Connection"......RICHARD TORRES was a saxophone player with the Stan Kenton Orchestra for four years. He is currently living in Indianapolis, Indiana and working as free-lance musician.


According to Murray Patterson, "yes, it looks like there will be a RENDEZVOUS IN BRITAIN '94. Date: Saturday, April 30 to Monday, May 4, 1994. Location: The Resort Hotel, Daventry, Northampshire. HAYDN "JIGGS" WHIGHAM has already been signed. BOB COOPER had also been signed, but will not be able to be present (see obituary above). The Midland Youth Jazz Orchestra will certainly be present along with two other bands. [Editor's Note: Murray, Barbara and I had intended to be present, however, it seems that my son Mark, who works in London, and was with us last November, will be married in the USA on the very next weekend. I will most certainly miss being there with all my great UK friends.] Plan to attend!


In June of 1993, GABE BALTAZAAR played a gig at the Monterey Jazz Festival Down Under in Christchurch, New Zealand and at a local club. Gabe shared the bill with jazz luminaries: Bill Berry, Margie Baker, DON MENZA, the California All Star Big Band and Jazz Choir and New Zealandites, Brian Smith and Rodger Fox. Quoting the reviewer for The Press, Allan Francis, "coming from the Stan Kenton band...he could hardly fail to sparkle...his performances then and now are legendary....sheer drive and naked power....took his audience into uncharted territory, and they loved the experience."

Quoting again from The Press (June 15, 1963), "Hawaiian saxophonist Gabe Baltazaar is still as passionate about jazz as when he began playing nearly half a century ago....." he worked with the bands of Dizzy Gillespie, Cannonball Adderly, and did a worldwide satellite concert from Hawaii with Elvis Presley. He played in the 1985 Inaugural Ball Orchestra. He has a new CD available called, BACK IN ACTION (VSOP #85, recorded October, 1992).


With the Kenton Sweatshirt. Bright Blue lettering on a quality white sweatshirt. XL only! Album and selection titles emblazoned on front and back.
$29.95 + $2.00 shipping and handling USA. For information and overseas shipping and handling contact: TIARE, PO Box 493, Lake Geneva, WI 53147.


This Editor spoke with Jay Cummings earlier this month and he was enthusiastic about the possibility of playing on the "monster" Eliminator 28" cymbal. He's inquired about a special case to be built for it. He is still working and living in Atlantic City, New Jersey; he's been there for almost 10 years. He's played with every major local artist, and most recently played two weeks at Michael's Pub in New York City; he performed with pianist, John Colianni, who is presently with Mel Torme. Althought Jay has yet to work with Mel, Colianni put together a big band of his charts and played a lot of Sy Oliver charts. His band consisted of some of New York's finest. He's also performed in small combos with Ken Peploski, tenor and Warren Vache, cornet. He would like to play someday in a Kenton tribute, such as he did in England several years ago with the SHADES.


[Editor's Note: I continue to receive requests from NETWORKERS for the out-of-print Stan Kenton: Artistry in Rhythm. It must be reprinted/reissued. Perhaps we might prevail upon IAJE or some other publisher to put it back in print. If you have any ideas on this matter, be in touch with me.]


Joined forces this summer and presented live outdoor concerts in their amphitheatre. Appearing this summer and into September were/are: The Bob Florence Limited Edition, The Jack Sheldon Big Band, The Bob Cooper-Conte Candoli Quintet, The Bill Holman Orchestra, The Music of Lee Konitz and Lennie Tristano, Mark Masters Jazz Orchestra and the Tom Talbert Jazz Orchestra.

"Early Autumn," an all-star celebration of the Woody Herman Orchestra (including many Herman and Kenton alumni) will be held at the Hyatt Newporter on September 23-26, 1993. Ken Poston, producer, writes that over 50 Herman alumni will participate in: 9 panels, 16 concerts, films will be shown, and there will be a record/memorabilia trading room. The illustrious names read like a an who's who of Kenton and Herman alumni. Call 310-420-7480 for flyer.


The following is excerpted from a note from "Lindo" and an article that appeared in the "Valley Life" section of The Los Angeles Times, Febreuary 26, 1993, by Leonard Feather....."he arrived in 1947 and promptly leaped to fame as a featured guitarist with the Stan Kenton Orchestra".....he had had a "substantial" career in his native Brazil," for some time before....he worked in Japan last summer with the Modern Jazz Quartet....last August a malignant tumor was found in his stomach for which he was operated....he underwent radiation treatment, had another examination, and "everything was negative!...he recorded with Stan Getz in 1963, made a series of samba recordings with Bud Shank in 1954 — precursors to the bossa nova craze...he has won many awards, including 5 Grammys, and last year, the Latin American & Caribbean Cultural Society honored him in London, 9, he was transcribing the piano works of Mozart and Chopin for the guitar.....he worked for a radio station, and traveled, playing cruise ship 17 he heard Stephane Grappelli at the Hot Club de France....Grappelli and Charlie Christian were his jazz "were true guitar geniuses for me," along with Christopher Parkening and Andres the 1940s he had a hit called 'Johnny Pedlar' which got him enough royalties to come to the USA....he worked on the soundtrack of "A Song is Born," Kenton heard him, and the rest is of his Grammies was for his work "Discantus,' which tied with Stravinsky in 1961 for best contemporary composition....his film and TV credits include: "The Old Man and the Sea," "Camelot," "Wagon Train," "Bonanza,: and Clint Eastwood's, "Unforgiven."...his most recent Concord CD is "Outra Vez," a meld of the music of Beethoven, Monk and Jobim..he also has toured New Zealand, and is working quite regularly. "Lindo," keep at it!

DR. MORRIS EUGENE 'GENE' HALL (June 12, 1913-March 4, 1993

Dr. M.E. "Gene" Hall, the father of jazz educations , died recently in Denton, Texas. He founded the first collegiate jazz degree program at the University of North Texas, also created the Michigan State University jazz programs, co-founded the National Stage Band Camps, and served as Dean of the Stan Kenton Clinics from 1959-1967. He was one of the founders of the International Association of Jazz Educators (IAJE) and served as its first president in 1968. In 1992, he was a recipient of the Down Beat Achievement Award; for Jazz Education, a fitting compliment to his being honored by IAJE in 1981 with the Hall of Fame Award "to honor those whose musical contributions and dedication to jazz education over the past 25 years have created new directions and curricular innovations for music education worldwide." Memorial contributions may be sent to the Gene Hall Scholarship Fund, University of North Texas, Department of Jazz Studies, Box 5308 NT Station, Denton, TX 76203.

By Lillian Arganian

[Editor's Note: Because of space limitations, I had to really cut this down. Sorry, Lillian]

Cleveland, Ohio, March 12, 1993 — Starting grandly with the "National Anthem," arranged by Bob Curnow, the CJO offered up the first night of its two-day fifth annual Kenton Tribute to a warmly appreciative crowd in the Cuyahoga Community College Auditorium. The CJO present the complete Richards' score of West Side Story and the presences of former Kenton trombonist JIGGS WHIGHAM thrilled the packed house and led to eruptions of applause and standing ovations throughout the evening...."Opus in Chartreuse" led to "West Side Story" which was beautifully played...demanding to play, always rewarding to hear....the searing emotion of the music was hauntingly portrayed; the orchestra was joined by four French horns for this monumental work....."A Little Minor Booze" and "Peanut Vendor," which kicked off the second half of the concert, Whigham, a huge favorite among Kenton followers world-wide (lives in Bonn, Germany, professors at Cologne University, and does August vacationing on Cape Cod), was home again in Cleveland; he said, "to be in Cleveland, playing with the CJO, playing Kenton music, is heaven." Jiggs soloed on "I'll Be Around," "Frank Speaking," "Polka Dots and Moonbeams" and a special composition written for him by Paul Ferguson, "Buckeye Blues," ending with "It Could Happen to You." Anticipation for the next day's concert was high...and on March 13, 1993: What a difference a day made...twenty-four little hours...brought the snow and the showwwwwwers...where there used to be sunnnn. Such timing! Really. Not just a passel of flurries, but the STORM OF THE CENTURY blanketed the entire eastern third of the USA, including Cleveland.... Stories of Kenton band members holed up in Midwestern towns playing cards through snowstorms came to mind....Stan himself, perhaps, roaring, "Pete!" "Hank!" "Johnny!" "Ken!" "Marty" — write a new version of the theme! Call it — Artistry In Snowstorm!"...The concert didn't play. "Wait'll next year!" And, be grateful for the night before! (ROLAND PAOLUCCI — great going!!!!!)




Want to reach me by Electronic Mail? CompuServe: 70544,1336; Internet: NETWORK XVII can be accessed on Internet: to subscribe — — in body