The Network XVIII

March 1994

Anthony (Tony) J. Agostinelli, Editor
Prologue NETWORK continues to be published twice annually. The number of NETWORKERS has stabilized at about 1,410. Over the years, I have relied on your contributions to help out with NETWORK operations and I make 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.

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 MARCH 15 , GETS ONE FREE!!!!

A NETWORKER who wishes to remain anonymous got one free last time!

Providence, RI (February 17, 1994) — Joe Georgianni and the Loew's Big Band will perform in tribute to Stan Kenton at the Providence Performing Arts Center on April 23, 1994, with very special guests, THE FOUR FRESHMEN! As of this writing, details have not yet been set. This editor will send flyers to New England NETWORKERS as soon as final details are set. Plan to attend this exciting event. Call for tickets at the Providence Performing Arts Center, 401-421-2787.

By Ed Gabel

Edward F. "Gabe" Gabel HAS PUBLISHED The Story of Stan Kenton: The Early Years a "behind the scenes...historical adventure story with the first Kenton Orchestras 1941-1947." It is published by Gerry Dexter's Tiare Publications, Balboa Book Division, PO Box 493, Lake Geneva, Wisconsin 53147-0493). $17.95 plus $2.00 s & H. [To get in touch with Gabe: Edward F. Gabel, 1620 Avenida Loma Vista, San Dimas, CA 91773, 818-331-3917.]

Ed Gabel, San Dimas, California, authors new book entitled, "Stan Kenton: The Early Years." A true to life story of road life with the world famous orchestra leader during the period 1941-1947. The behind the scenes adventure story takes place during World War II. 'The Early Years,' delves into the triumph and tribulations of Stan's travel with the band and the Bob Hope NBC radio show, during 1943-1944. The book explores in depth the mystique of Stan Kenton and Bob Hope during his tours of military bases during the war. Big band and jazz fans, along with World War II history buffs who will be celebrating the 50th anniversary invasion of Europe on June 6, 1994, will be intrigued by the Bob Hope invasion monologue which is quoted in the book."


A rare opportunity has emerged to purchase a one-of-a-kind original painting of Stan Kenton, acrylic on masonite, approximately 3' x 4', by internationally famous artist, Leroy Neiman. The painting is available through Time Again Collectibles in Hilton Head, South Carolina. The asking price is $30,000. Bids are invited and flexible payment terms are available. The painting was privately commissioned in 1975 and is a premier example of modern jazz art. Some Neiman paintings are appraised in excess of $50,000. For more information call or write Charles and Faith McCracken, Time Again Collectibles, PO Box 8042, Hilton Head, SC 29938, 803-842-6616. Complete proof of ownership and letters of provenance will be provided the buyer.

Please mention THE NETWORK when you call. Help the McCrackens find a good home for this hallmark Stan Kenton collectible. A Maynard Ferguson companion painting is also available...same size, cost with provenance.


Stan Woolley has amassed quite a bit of material on Pete Rugolo; over this last Christmastime, he sat down at his word processor and pulled together his interviews with and information about, Pete Rugolo; it is now in published format and is available. "Among classical composers, musical collaboration is rare. Similarly in jaz,z but there are two notable exceptions: the partnership between Duke Ellington and Billy Strayhorn and the special relationship which existed between Stan Kenton and Pete Rugolo during the mid- to a jazz context, Rugolo's place in the history books is assured as being, arguably, the first arranger-composer to pioineer the use of jazz in films and television, a practice which has now become commonplace in film-making all over the world." These are the opening and closing lines of Pete Rugolo: A Three Part Profile, by Stan Woolley. Copies of Stan's booklet can be obtained from Stan Woolley, 89 Beresford Drive, Churchtown, Southport, PR9 7LQ, England, UK. Price is 2.50 pounds Sterling plus postage and packing: 60p (UK) & 2 pounds Sterling (USA). (Editor's Note: I've read it, and the series that appeared in the Jazz Journal International (somewhat similar — the booklet covers more ground); (it is very much worth the minimal investment).

By Art Eiffert

THE day for Big Band Music Lovers in the Pacific Northwest was Saturday, July 24, 1993. That was the afternoon for the Stan Kenton Tribute Band to play at McCurdy Pavillion as part of the 1993 Jazz Port Townsend in the State of Washington. This festival was the 15th annual event presented by Centrum and the 10th that Bud Shank has been artistic director for both the Jazz Workshop and the Festival......The Kenton concert was narrated by world famous trombonist, Milt Bernhart. Milt not only has a pleasing voice and excellent delivery, but also is a tremendous fount of knowledge about the various Kenton bands......Bud Shank outdid himself in rounding up talent for the band and our ears were treated to both Bob Cooper and Bill Perkins on tenor saxes. Bud Shank and Greg Metcalf ably filled the alto chairs, while local music hero, Bill Ramsay, played baritone sax. Dave Barduhn did a top job on piano and Frank Capp worked the drum kit quite well. Doug Miller played fine 'standup' bass. It was our pleasure to hear Conte Candoli and Bobby Shew on trumpets, along with Bradd Allsion, Jay Thomas and Gary Barone. The trombone section was composed of Dan Marcus, Wayne Andre, Jiggs Whigham, Mike Barone and Ken Shirk.....Premier Kenton composer and arranger, Pete Rugolo, led the band on: 'Collaboration,' solo by Whigham and 'Machito,' solo by Andre and Barone. On 'Machito' and 'Peanut Vendor,' a six person percussion group from the Workshop was added. (Editor's Note: did not Stan hire latin percussionists, who doubled on trumpets?!?) The early years were represented by short versions of 'Arkansas Traveller,' from 1941 and 'Eager Beaver.' Additional numbers played by the band included: 'Coop's Solo,' with great solo work by Bob; 'Pennies from Heaven,' perfect solo by Candoli; 'Tour de Force,' amazing solo by Shew; 'Yesterdays,' truly fine solo by Perkins; and 'Stella by Starlight,' top solo by Shank......This was followed by an entertaining and humorous talk about Kenton memories by stellar bassist, and another local music hero, Red Kelly. He also honored us with his singing of 'You and I and George.' It would have been even better to hear Red play some bass....For the finale, the band was conducted by Bill Holman doing his 'The Tall Guy.' Much standing and applause brought back the band for an encore of 'Stompin' at the Savoy.'....MEMORIES OF THE KENTON TRIBUTE BAND CONCERT — McCurdy Pavillion was an excellent site for the concert; the seating is comfortable and the sound system well-suited to the building; 'Pennies from Heaven' and 'Yesterdays' showed off the fine ballad sound of the band; just when you think the sax section is best, then you hear that fine trombone or trumpet section; what a treat for the ears!


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.

Below listed are a number of issues/reissues of Stanley's music; other issues/reissues have been listed in previous NETWORKS:

Aerospace (Video) 1002 — ARTISTRY IN RHYTHM (Canada, 1977)
Ajazz Cassettes #C-39 (From Charlie Morrison) — SATURDAY NITE DANCE PARTY
(June 15, 1952)
Artistry 002 — STAN KENTON '56 CONCERT
Astral Jazz JDC 101 — CONCERT IN WEISBADEN, 1953
Capitol CDP 789285-2 — DUET (Stan Kenton & June Christy)
Capitol 96260 — CUBAN FIRE
Captiol 97350 — RETROSPECTIVE ($58.00)
Capitol 98451 — KENTON IN HI-FI
Echo Jazz 05 & 09 — STAN KENTON, VOLUMES 1 & 2
Garland 006 — SUMMER OF 1951
Laserlite 15 725 — (The Jazz Collection Edition) — HOLD IN RESERVE (1962)
MAMA Foundation 1003 — BACK TO BALBOA (50th Anniversary Celebration)($49.95)
Magic DAWE 32 & 35 — LIVE & RETURN TO BILOXI (1959)
Magic DAWE 50 & 53 — LIVE AT THE MACUMBA, PART 1 & 2 (1956)
Magic DAWE 64 & 65 — LIVE IN COLOGNE, PARTS 1 & 2 (1976)
Magic DAWE 66 — ONE NIGHT STAND (1961-1962)
Mark 56 860 — INNOVATIONS ORK, SEATTLE, 1951
Natasha 4006 — 23o NORTH, 82o WEST
Rendezvous 1001 — STAN KENTON, LIVE! 1951
Royal Jazz 504 — STAN KENTON IN PARIS, 1953
Swedish Radio 104 — JAZZ YEARS, LIVE IN STOCKHOLM, 1956
Tantara 1111 — ARTISTRY IN SYMPHONIC JAZZ (1977)**
Total 3001 — LIVE! 1957-1959
Total 3002 — IN A MELLOW MOOD
Total TRCD 302 (3 CDs)(Includes #3001 & -2) — LIVE, 1957-1959
Total 4001 — I HEAR MUSIC (Ann Richards, 1957-1958)
VJC (Video) 2007 — STAN KENTON: MUSIC OF THE 60s
Shanachie Video (Due out this year) — STAN KENTON: JAZZ SCENE USA (10/62)

** [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].

About other releases: Capitol will release WEST SIDE STORY; and, Mosaic is considering another arranger-oriented set, perhaps PETE RUGOLO & LENNIE NIEHAUS. Also, Goal Productions still has video of the panels of the Kenton Back to Balboa event (see address below).

By Bill Lichtenauer, Tantara Records

"Tales of Stanley helping others with their careers are legion. One of the most noteworthy and one that remains visible, to a point, is the KENTON PRESENTS JAZZ series of albums issued on the Capitol label. Artists in whom Stanley believed, were given the opportunity of having their work displayed as a featured player. The jacket of each album contained supporting testimony by Stanley of each player's unique gift to jazz. These recordings have been collectors' items for quite some time. As an aid to NETWORKERS who may not be aware of the entire selection of discs or for those trying to accumulate the full set, here is (hopefully) an accurate disco."

Capitol NumberRecord TypeArtistDate(s) RecordedLocation
H/L 650010" LPBill Holman5/4 & 12, 8/2, '54Hollywood
H 650110" LPBob Cooper5/14 & 7/30, '54Hollywood
H 650210" LPClaude Williamson6/29 & 7/29, '54Hollywood
EAP 1-650345 RPM EPBoots Mussulli6/14/54NYC
EAP 1-650445 RPM EPFrank Rosolino3/12 & 16, '54Hollywood
H & T 650510/12" LPsSal Salvador10/9/54NYC
H & T 650610/12" LPsBoots Mussulli11/7/54NYC
T 650712" LPFrank Rosolino11/6/54NYC
3/12 & 16, '54Hollywood
EAP 1-650845 RPM EPAl BellettoDecember, 1954Chicago
T 650912" LPFrank Rosolino5/4 & 5, '55Hollywood
T 651012" LPSerge Chaloff4/4 & 5, '55NYC
T 651112" LPClaude Williamson5/2 & 19, '55Hollywood
T 651212" LPKen Hanna Orchestra4/30, 5/7, '55Hollywood
T 651312" LPBob Cooper4/26, 6/13 & 14,'55Hollywood
T 651412" LPAl BellettoUnknownUnknown

Most or all of the above LPs were also released in 45 RPM EP format. I'm aware of the following singles on Capitol: 6F-65000 (Holman); 6F-65001 (Rosolino); 6F-65002 (Mussulli); 6F-65003 (Williamson); & 6F-60005 (Salvador).

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 and Cassettes


For all you audio fidelity buffs out there, there is a $3,000 item that Ed Burke has been working on called the DIGITAL NOISE ELIMINATOR or DNE-2000. It is supposed to eliminate all clicks and pops, hum, buzz, tape hiss, 99% of surface noise and scratch in real time from any sound source. Once it is in one's sound system, it will automatically process whatever one plays and increase the dynamic range to over 90db. Processing will not effect the material in any way. It will sell for just under $3,000. It is being developed by Ed Burke at Jazz Hour Compact Classics, PO Box 841408, Pembroke Pines, FL 33084.


DICK SHEARER called and briefed me about "Just Bones!" Randy Taylor wrote the chart for Dickus and Stanley encouraged that the chart be published by Dickus' music publishing company. The band played it on occasion during the early 70s. ....DICK SHEARER has a trombones and rhythm CD available ("Dick Shearer and His Stan Kenton Spirits")(some DAVE DEVOE charts). $20. will cover cost and S & H; 13163 Thomas Rd., Molalla, OR 97036....JAY CUMMINGS writes that he is still working in and around Atlantic City, NJ, and has done some road gigs....LEE COHEN is reading Ornette Coleman's biography, A Harmolodic Life, written by John Litweiler. In it, Ornette is quoted as saying that while living in Texas, Stanley came through and asked Ornette to "go" with him. Cohen asks, "What do you think the possibility of that is?" Anyone out there know of this?

(Supposedly occured in Ft. Worth, Texas in 1952).......CHET BALL is still interested in hearing from NETWORKERS; he's still in a nursing home: Astoria Terrace, 14060 Astoria St., Sylmar, CA 91342, 818-367-1947 — give him a call....DALE DEVOE has worked on cruise ships, and in and around the Philadelphia area with some modern groups.....A tribute to Stanley was held in Edmonton, Alberta, Canada in early November; PAUL VON ADAM & JERRY MC KENZIE were scheduled to perform....tributes are scheduled for other northwest Canada venues this month; Paul played his country's 'O Canada' on trumpet at the Northlands Coliseum (Edmonton Oilers vs. Ottowa Senators....MIKE VAX worked the Sun Valley "Dixieland Jazz Festival....ROY REYNOLDS was featured with the "Dixieland Express...Mike with the Great American Jazz Band (remember Mike did great work with a well-known, New Orleans-based, Dixieland group, some time ago!)l Last Fall, Mike was artistic director for the San Francisco Jazz Festival tribute to Louis Armstrong.....MAYNARD FERGUSON was to have performed and taught at a clinic and concert at North Penn High School in Lansdale, PA on February 19th, Stanley's public birthday!.....GEORGE BECK is planning another tribute to Stanley on July 2, 1994 at Art Park; joining George will be RAMON LOPEZ & JERRY MC KENZIE...You remember this Editor's comments about Meredith d'Ambrosio in last issue; watch for her this Spring at Pizza on the Park in NYC, and for her new CD on Sunnyside....REBECCA PARRIS, vocalist of some note, has a new CD out with Gary Burton and PETER ERSKINE; look for it.......CHARLIE MARIANO is the subject of a book, Charlie Mariano: Tears of Sound, by Lothar Lewien, published by Hannibal Verlag (A-3423 St. Andra-Worden)(170 pps)(75 pages of Discography by NETWORKER ROBERT PETTIBONE; the author's address is: Ubierring 35, 5000 Koln 1, Germany.....WHERE IS: JEAN TURNER....does anyone know? TOM LORD has written 7 Volumes of The Jazz Discography ("A" through "Go"); it is being published by Cadence Jazz Books, Cadence Building, Redwood, NY 13679, 315-287-2852; available at $50 for overseas, and $45 for USA.


TRPTS was formed in the mid-1980's by MIKE VAX. Vax is a Pittsburg, California educator, trumpeter and former big band leader. TRPTS is a jazz band unique in that it features a front line of four trumpeters — MIKE VAX, WARREN GALE, STEVE CAMPOS & JOHN WORLEY, all from the San Francisco Bay area. VAX, CAMPOS & GALE are alumni of the Stan Kenton orchestra and all are able to play notes faster that the human ear can perceive. But they also appreciate and play traditional jazz music, and have performed Louis Armstrong's music for the San Francisco Jazz Festival; they harmonize his charts as he played them and then take their turns adding their own solo statements. TRPTS' 1987 album included Armstrong-oriented material ("Wild Man Blues," & "Louis Meets the Bird")as well as the material of others, has just been reissued on CD, and is available from Vax.....Vax, the leader, has performed and/or recorded with such jazz greats as Stan Kenton, Clark Terry, Art Pepper, Freddy Hubbard, Louis Bellson, Joe Williams, Maxine Sullivan, Anita O'Day, John Handy, Al Greay, the Four Freshmen, and the Dukes of Dixieland in New Orleans. He has appeared as a soloist with sypmphony pops orchestras in New Orleans, Atlanta, Oakland, San Diego, Sacramento, and the All American Collegiate Orchestra at Epcot Center. As a recording musician, he has appeared on more than 25 albums, including nine under his own name. Mike's military service time was spent as lead trumpet and arranger for the U.S. Navy Show Band, touring all over the USA and South America. Mike has done workshops, clinics and concerts in over 800 schools and colleges all over the world and is very active as a clinician and soloist in classical and jazz idioms. He is a clinician for Schilke Music Products....Stanley said of him: "Mike Vax's future is assured because of his driving desire to express himself and to lead." His leadership of bands includes: Great American Jazz band, Mike Vax Big Band and the Mike Vax Sextette. (Editor's Note: Mike has it, and I can't see him losin' it!).


William (Bill) Russo, Director of the Contemporary American Music Program at Columbia College, Chicago....the Birmingham Royal Ballet (formerly the Sadler's Wells Royal Ballet) world premiered and performed a new ballet, 'Street,' based on Russo's 'Street Music,' six times in June of 1993 at the Hippodrome in Birmingham, England (Sponsored by Friends of Covent Garden). The ballet was also performed in November of 1993.....On September 19, 1993, Russo's grand opera in three acts was broadcast on WFMT in Chicago, and was narrated by Norman Pellegrini. The opera is based on a story by Alexander Pushkin. The opera was performed at Emmanuel Church in Boston, Massachusetts in early summer of 1992, and was conducted by Craig Smith, noted Mozart interpreter......On September 25-27, 1993, Russo participated in a three-day jazz festival, a homage to Hans Koller, called "Hans Koller, the Man Who Plays Jazz," in Vienna, Austria. Koller is considered to be one of the three principal European jazz figures, along with Stephane Grapelli and Django Reinhardt. Russo conducted several pieces, including five of his own compositions created between 1952 to 1993. His latest composition, "The Garden of Virtue," was also performed. In addition, he played the valve trombone, an instrument which he achieved prominence in the 1950s, but has not touched since, as a featured soloist with Koller and other European jazz celebrities. According to Russo, he approached that performance "filled with trepidation and excitement at the thought of my 'comeback' as an instrumentalist." Reno Barth, in 'Die Presse' (Vienna), said, in part: "Russo showed what a brilliant leader, even with relatively little rehearsal time, can get out of an orchestra....He gave a demonstration of that most remarkable phenomenon in the performance of music: the mysterious alchemy...that not more than a handful of geniuses can produce in the sound of an ensemble."


Texas-born pianist, Dr. Bill Lee, has performed extensively in the United States, Euopre, South America, and the Far East. Bill is a founder and past president of the then National Association of Jazz Educators. Lee is the recipient during the years 1968-1980, of twelve consecutive awards from ASCAP for the quality and frequency of performance of his serious compositions. His more than fifty published books and compositions include: Stan Kenton: Artistry in Rhythm, and an extended work, "Eight Vignettes for a Festive Occasion — A Simul-Sensory Experience," which brought him a Pulitzer Prize nomination. He is currently Professor of Music and Dean of the College of Fine Arts and Humanities at the University of Texas at San Antonio. Since his arrival in San Antonio, Bill has provided successful DRO appearances at locations in the Greater San Antonio area. As any performing jazz player, Bill has played for many weddings, receptions and private dinner/cocktail parties. A typical evening of music with Bill includes music by all the great American standards' composers. He is available as a soloist or with a trio, quartet or quintet; has tux, will travel.


The Cleveland Jazz Orchestra (CJO) presents its final 1993-1994 season concert with special guests, THE FOUR FRESHMEN, in its annual "Tribute to Stan Kenton" on Friday, May 13, 1994 at Lakewood Civic Auditorium, 14100 Franklin Boulevard, Lakewood, Ohio, and Saturday, May 14, 1994 at the Fairmount Temple Auditorium, 23737 Fairmount Boulevard, Beachwood, Ohio. Both performances will begin at 8:00 pm. The concert will feature the Freshmen performing many of their classics alone, and with the big band accompaniment of the CJO. The CJO will also perform some of Stan Kenton's greatest big band hits......the FOUR FRESHMEN have been one of America's popular vocal groups since their beginning in 1948. Their first big hit was "It's A Blue World," followed by such hits as: "Graduation Day," "Poinciana," "The Day Isn't Long Enough," " Route 66," "Day By Day," and, "On The Atchison, Topeka and Santa Fe." The Freshmen modeled their vocal sound after the trombone section of the STAN KENTON ORCHESTRA....Tickets are $13. general admission seating, available in advance from the CJO by check or money order (add $1.00 per order for mailing and handling) at PO Box 360140, Cleveland, Ohio 44136, or by Mastercard/Visa by calling at 216-572-2562. Tickets will be available also at the door evening of the performance. There is a $1.00 discount for seniors, WCPN and NOJS members.


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.

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.


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:

RAY AVERY JAZZ ARCHIVES, 1800 N. Beverly Glen Blvd., Los Angeles, CA 90077, 310-474-0634
ANTIQUE EDISON, 301 Murray Avenue, Bridgeville, PA 15017, 412-221-4946
BILL BACIN, Box 394, Ingram, TX 78025
JEFF BARR, All Jazz Records, PO Box 1141, La Quinta, CA 92253
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!!)
BOSE EXPRESS MUSIC, The Mountain, Framingham, MA 01701, 1-800-451-BOSE
ED BURKE, 4870 SW 103 Avenue, Cooper City, FL 33328 or Jazz Hour, PO Box 841408, Pembroke Pines, FL 33084
CADENCE, Cadence Building, Redwood, NY 13679, 315-287-2852, Fax 315-287-2860
CD BANZAI, Los Angeles, CA, 800-621-8206
WILLIAM & A. CARRARO, 25 Aberdeen St., Malverne, NY 11565
JOHN CLEMENT, PO Box 20602, Park West Station, New York, NY 10025R.
CRAIG RECORDING, PO Box 943, El Dorado, AZ 71730-0943
DOWNBEAT, Jazz, Blues & Beyond, 180 West Park Av., Elmhurst, IL 60126, 708-941-2030
FACETS VIDEO, 1517 W Fullerton Avenue, Chicago, IL 60614, 800-331-6197
FANTASY, INC., 10th & Parker, Berkley, CA 94710
GM RECORDINGS, Gunther Schuller, 167 Dudley Road, Newton Centre, MA 02159,
GARY'S EXCHANGE, PO Box 1300, Robbinsville, NC 28771-1300
H & B RECORDINGS DIRECT, Sant Antonio, TX, 800-222-6872
JIM HARTLEY, "The Record Hunter," 1430 A-St. Michael Av., East Point, GA 30344
WARREN W. HICKS, Box 176, Georgetown, CT 06829-0176, 203-544-9081 (phone/fax)
HINDISGHT RECORDS, Pete Kline, PO Box 7114, Burbank, CA 91510, 315-769-0638
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
LRC LTD., 16 Montrose Pl., Melville, NY 11747, 516-643-9259
JAZZ ETC. PO Box 393, Bergenfield, NJ 07621-0393
LEON LEAVITT, PO Box 38395, Los Angeles, CA 90038
DANIEL LINK, "Mr. Jazz," 11523 Edgewater Drive, Cleveland, OH, 216-631-3990
MAMA FOUNDATION, 12190 1/2 Ventura Blvd.,Suite 364, Studio City, CA 91604
MARGUN/GUNMAR MUSIC, INC., Gunther Schuller, Music Charts of BILL RUSSO & GERRY MULLIGAN, 167 Dudley Road, Newton Centre, MA 02159, 617-332-6398
MARINA MUSIC SERVICE, INC., (Charts only), PO Box 46159, Seattle, WA 98126,
R. MC CARTER, Record Auction, 126 E. Harmony, West Grove, PA 19390, 610-869-2042 MOBILE FIDELITY SOUND LAB, 105 Morris Street, Sebastopol, CA 95472 800-423-5759
CRAIG MOERER, Records By Mail, Portland, OR 97280, 503-232-1735
MOLE JAZZ, 291 Pentonville Road, London N1 9NP, England, 071-278-8623
MONTPELLIER RECORDS, 23A Church Road, Bishop's Cleeve, Glos. GL52 4LR, England, 0242-677257
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
NAUK'S VINTAGE RECORDS, 6323 Inway Dr., Spring, TX 77389-3643, 713-370-7899 & FAX 713-251-7023
MR NOSTALGIA, Charles P. Morrison, PO Box 26494, Tamarac, FL 33320-6494, (305)-726-5420
OTTER DISTRIBUTORS, PO Box 11267, Glendale, CA 91226-7267
PARNASSUS RECORDS, Leslie Gerber, 56 Parnassus Lane, Saugerties, NY 12477
RAY'S JAZZ SHOP, 180 Shaftesbury Avenue, London, WC2h 8JS, England, 071-240-3969
THE RECORD CENTRE, 45/46 Loveday Street, Birmingham, England, 021—359-7399
THE RECORD FINDER, PO Box 1047, Glen Allen, VA 23060-1047, 804-266-1154
ERIC ROSE's Music Inn, 7-11 West End Arcade, Nottingham, England, NG1 6JP, 0602-470754
PAUL SCRIVEN, 238 W State St., Nile, OH 44446
GEORGE SILHA, The House of Music, 2057 W 95th St, Chicago, IL 60643-1129, 312-239-4114
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
TOWER RECORDS, New York, NY, 800-648-6844
VGM, PO Box 288, Ashland, OH 44805, 419-289-1866
VSOP, 8426 Vintage Park Drive, Sacramento, CA 95828
VINTAGE JAZZ MART/MODERN JAZZ MART, Russ Shor, PO Box 8184, Radnor, PA 19087
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
GEORGE WILSON, 1079 Stuart Rd., Princeton, NJ 08540, 609-921-8370

CREATIVE WORLD RECORDS (GNP Crescendo), 8400 Sunset Boulevard, Hollywood, CA
90069, 213-656-2614 & 800-654-7029


.....was held on December 15, 1993 on WGBH-FM, 89.7. Many of you tuned in and called in, and sent contributions shortly thereafter. 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. As I have written in the past, "If it's who you want to listen to — he's got them!"


PAUL COLALUCA of the Esquire Foundation, 2406 W 171 Street, Torrance, CA, 213-323-9202, is still offering over-stock 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. Send SASE for information.

Excerpted from "Phil In The Gap,"
Phil Woods' interview with Zoot Sims
Originally appeared in a French jazz magazine
Reprinted in The Note (January, 1994)

Phil Woods (PW): Did you like working for Stan Kenton?
Zoot Sims (ZS): It was alright, except for my shoes.
PW: What about your shoes?
ZS: Well, I had some of those $72.50 Murray Space Shoes. Remember those?
PW: Not really.
ZS: You put your foot in a pan of sand and they make a mold of it and that's the way the shoe looks: like a foot. Stan took one look at those shoes, and at first he didn't say anything, but when we got to Germany, we had big scene. He told me not to wear them any more. I said, "I paid $72.50 for those shoes and they're black! I've got bad feet and for $72.50, I'm wearing them!" He really hated those shoes. But they were great. You could stand up forever!

(Editor's Note: there are so many Zoot stories. One more outlandish than the other. Do you guys remember any).


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.


According to Dennis Legg and correspondence received from the highest quarter in the British Government by this Editor, "representatives of BBC Radio Two informed the members of the BBC Big Band that they would be made redundant on the 31st March 1994. Reasons given: (1) "A reassessment of the output of all Radio Networks which shows that Radio 2 is facing an over production of Big Band repertoire," and (2) "a need for Radio 2 to identify further savings of 10% of its total budget, most of this will come from the Light Music Department."

"Because this is of great importance to the survival of Big Band Music as it is known on BBC Radio 2, and in the UK, you are urged to write in protest of this decision as soon as possible," writes Dennis Legg, Hon: Secretary of the BBC Big Band Club. This Editor has written the Right Honorable John Major, Prime Minister, outlining his concerns about the loss of such a national treasure, with copies to: Liz Forgan, Managing Director, Network Radio, BBC; Marmaduke Hussey, Chairman, BBC; John Birt, Director General of the BBC, BBC, Portland Place, London, W1A 1AA (if only one letter, write Birt); and, Rt. Hon. Peter Brook, MP. In his letter NETWORK Editor noted urged that the Prime Minister, "re-evaluate (his) decision to make the (BBC Big) Band redundant, and insure the survival of the BBC Big Band as an important cultural and educational institution of Great Britain.".....SEND YOUR LETTERS NOW! For further information, be in touch with: Dennis Legg, Hon: Secretary, BBC BIG BAND CLUB, BBC Studios, Delaware Road, Maida Vale, London W9 2LG, England (081-462-4559 — phone).


A Star in Heaven
By Ed "Gabe" Gabel

In 1979, the world lost a gifted orchestra leader and a true friend of fans and musicians throughout the Western (and Eastern) world. The words hurt almost as much as if we had just learned of a death of a family member or other close friend. Stnaley Kenton was more than just a complex human being. To those of us who worked with him or knew him, he was our father figure. For nearly foud decades he invested his talent in planning, testing, learning, problem-solving and teamwork to create the modern music all Kenton fans will love until it is time for them to leave the world.....I am taken to the analogy of losing a friend who had reached the zenith of his career. Every musician knows of the excitement, pride and love he showered on ever whose path in life merged with Stanley's. It started with a dream and the birth of his first orchestra in 1941, and carried through to his twelve separate orchestras. It became an example for all to follow. But not all dreams are realized. Sometimes fate seems terribly cruel when a bright star is taken from us.......While a machine is not a man, we all have a tendency to give life to inanimate things; our cars are given names, our hurricanes become "Andrew" or "Hugo," and our space programs take on human names. The machines still become endowed with the pseudo-life of anything with so much human time invested in here we are, the fans, THE NETWORK, trying to deal with the loss of someone that holds so much of ourselves. It feels a lot like the loss of a loved one. We can't help it. It is human nature. But we have memories.....Let us direct our energies to the future. Stanley often said "yesterday is over; tomorrow is what counts!" Why not petition the Citizen's Stamp Advisory Committee for a stamp to honor our fallen leader? Why not contribute whatever we can to the Stanley Kenton Scholarship foundations, or provide money in our wills to provide an opportunity for music students to carry on the legacy of our fallen friend? I'll volunteer, will you?"

And....this Editor still urges 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 & ROBERT CRULL have heard back that the stamp "subject proposal....has been submitted to the Committee and currently remains under consideration." Write, darnit, write!


With the celebration of Woody Herman at Newport Beach, California, Ms. Ingrid Herman, Director of the Woody Herman Society and Mr. A. J. Julian, Assistant Director, are asking Alumni, Fans and Friends to support their newly created organization, THE WOODY HERMAN SOCIETY. The WHS goals are: (1) To make the Society financially sound; (2) To establish a scholarship for deserving and students in financial need; (3) To sponsor concerts and clinics conducted by the current edition of "The Herd" and the alumni; (4) To create a publication, "The Herds," that will print reviews, background information on Woody and the Band and activities of the current Herds and the alumni....In establishing this society, their hope is to prove this endeavor will be a success in keeping Woody's memory and music alive. The Society asks that if any NETWORKERS have any information and news items, please send them to the Society address: The Woody Herman Society, 40 Cottage Avenue, Winthrop, Massachusetts 02152. You can join the Society by writing Al Julian at the Society address. Woody Herman: Chronicles of the Herds, by Bill Clancy, due out Fall, 1994. And, Goal Productions, which released the Kenton Back to Balboa CDs is also releasing the Woody Herman panels. Ask about these items when joining. (Goal Productions, 2623 E. Foothill Blvd., Pasadena, CA 91107; 818-584-9515)(Editor's Note: 1st issue already out!)


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 ($15.00) . Their next gig is a Reunion Dinner Honoring BILLY MAY, Monday, March 7, 1994, The Sportsmen's Lodge, Ventura at Coldwater Canyon Boulevards. Send for further information. {|||||} 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. IAJRC is holding its 1994 convention in London, England this year on August 7, 1994 at the International Hotel, Canary Wharf. Write IAJRC for information. {|||||} THE NOTE, The Al Cohn Memorial Jazz Collection, East 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. {|||||} '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." The last issue featured "everything known" (well, maybe not everything) about mellophone player, Don Elliott. 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. {|||||} BILLY TAYLOR'S SOUNDPOST; subscribe now: PO Box 630305, Bronx, NY 10463. {|||||} JAZZ HERITAGE REVIEW is published 13 times annually; it is an outlet for a wide variety of jazz CDs and Cassettes. Call them to get on their mailing list of offerings: 908-531-7003. {|||||} AL JULIAN, one of the nicest independent label CD distributors in New England, has a fine repertoire of jazz artists which he is promoting. His latest batch of CDs he's distributing includes: Frank Wess, Walt Boenig, Dan St. Marseille & Mark Marino. You can make inquiries of him at: 40 Cottage Avenue, Winthrop, MA 02152, 617-846-4963. {|||||} THE NATIONAL YOUTH JAZZ ORCHESTRA (NYJO), Bill Ashton, 11 Victor Road, Harrow, Middlesex, HA2 6PT, England, UK, 081-863-2717. {|||||} THE INTERNATIONAL SOCIETY FOR JAZZ RESEARCH, an association of jazz scholars, musicians, friends, musicologists, ethnologists and educators...for the systemateic explorations of jazz; address: Leonhardstrabe 15, A-8010 Graz, Austria. {|||||} 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. {|||||} BUDDY DE FRANCO NEWSLETTER, John Kuehn, Editor, 267 Lucerne St., PO Box 29, Lucernemines, PA 15754-0029. {|||||} 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 PRODUCTIONS: you can keep up with what Mike is doing, purchase products, and become fully informed about with whom he is working. Write: Mike Vax, Mike Vax Productions, PO Box 8337, Pittsburg, California 94565-8337; phone: 510-427-6666; FAX: 510-427-6789. {|||||} SEGUE, a publication of the American Jazz Philharmonic is a newsletter covering the AJP's national tours, composer's profiles, and charter membership; $35 tax deductible contribution. Checks to: American Jazz Philharmonic, 11601 Wilshire Boulevard, 8th Floor, Los Angeles, CA 90025. Compact disc available featuring the music of Jack Elliot and the AJP and the works of Ray Brown, Manny Albam, John Clayton & Claus Ogerman. Subscribe stat! {|||||} AMERICAN FEDERATION OF JAZZ SOCIETIES, established to support jazz: 2787 Del Monte Street, W. Sacramento, CA 95691, 916-372-5277, fax: 916-372-3479. {|||||} BIG BAND JUMP NEWSLETTER, Don Kennedy, Crawford Houston Group, Inc., Box 52252, Atlanta, GA 30355-0252, @ $19.95. {|||||} THE DALLAS JAZZ ORCHESTRA, "Feel The Heat" — 13 sizzling performances by one of the great big band jazz orchestras. Contact the 24 hour DJO hot-line at 214-644-8833 for the Spring, 1994 season. {|||||} CRESCENDO & JAZZ MUSIC, is "The Musicians' Magazine" in the UK. Dennis Matthews is the Founder & Editorial Editor, and Ken Rattenbury is the Music Editor. Subscribe now: 28 Lambs Conduit Street, London WC1N 3LE, 071-405-6556; L2.45 UK; $7.00 USA. {|||||} JAZZART features jazz portraits by Edward Koehler; frameable prints from original drawings. Prices range from $30 to $45 per print; Box 132, 258 Harvard St., Brookline, MA 02146, 617-566-7882. Two Stan Kentons are on the list. Send SASE for list. {|||||} LETTER FROM EVANS is a quarterly journal with an editorial focus on jazz piano playing and jazz trio playing as influenced by the late Bill Evans. A variety of subscription fees, depending on where you are in the world: Win Hinkle, Editor, 2712 Cady Way, Winter Park, FL 32792-4856. {|||||} THE EROOL GARNER CLUB, Jim Doran, PO Box 601, Pomona, NY 10970-0601.


JOHN MASON is writing a book about the Stan Kenton Orchestra which will cover the period from aproximately 1947-1962. It will tell the story of the band's activities during this fruitful time, and will draw upon many interviews John has taped over the last few years with musicians and others associated with the orchestra. Included will be the: Progressive Jazz, Innovations, New Concepts, Contemporary Concepts and the Mellophonium periods. John is looking for photos and will welcome any additional stories that will add to the legend. Write to: John Mason, PO Box 1328, Olivebridge, NY 12461-1328. (Editor's Note: another author joins the group [Arganian, Easton, Gabel, Harris, Lee, Shearer, and Pirie's bio-discography; and, Sparke, Hartley and Venudor's "Kenton on Capitol" as well as Garrod's three volume discography] of those who have written, have planned to, and who may)!


It was (allegedly) reported recently in Leonard Feather's "American News," that the Kenton Estate has granted rights to Mort Sahl to write a Stan Kenton biography with tentative title, Artistry in Rhythm. (This will make the second such work with that name in the title, if this report is accurate). Bill Lee's book, Stan Kenton: Artistry in Rhythm, is the other. If any NETWORKERS have heard or read of this, please let this editor know, and cite source from where your information came. This editor does not have corroborating evidence at this time. Perhaps this effort might become the basis for a film or video documentary of the life and times of Stan Kenton? (Editor's Note: Leonard, will you corroborate this for us, please?)


Murray Patterson, announces that there will be a RENDEZVOUS IN BRITAIN '94. Date: Saturday, Sunday and Monday, April 30 to May 2, 1994. Location: The Resort Hotel, Daventry, Northampshire. VIC LEWIS will be guest of honor and will be interviewed by MALCOLM LAYCOCK. HAYDN "JIGGS" WHIGHAM, BILL HOLMAN, BUD SHANK & BILL PERKINS have already been signed. MICHAEL SPARKE to discuss the Innovations Period; STAN WOOLEY to discuss GENE ROLAND; ARNIE CHADWICK to discuss the 1973 tour of England; DAVE KAY of KayJazz Videos to show films and videos; BOB HOLNESS will moderate a panel of experts; REG WING to discuss the STAN KENTON at the beginning; the RADIO BIG BAND, under the direction of BARRY FORGIE to play; the MIDLAND YOUTH JAZZ ORCHESTRA, under the direction of John Ruddick, to play; CYRIL PELLUET will introduce KEN ORTON who will lead the DON ELLIS CONNECTION jazz orchestra; and, record/memorabilia trading room. Plan to attend. For further information, contact: MURRAY PATTERSON, 9 Western Avenue, Barton-on-Sea, New Milton, Hampshire BH25 7PY, UK., Phone: 0425 619501. Call and plan to attend!


BILL COYLE loaned someone his Volumes 1 & 2 of Chris Pirie's book, Artistry In Kenton. He asked that an inquiry be placed in this issue. He writes, "he/she could mail it from across state lines so as not to figure out the "crook" that is holding on to them." 'Fess up NETWORKER, or at least send it back, STAT!.... JAMES A. HANSEN, 396 McClure Avenue, Elgin, IL 60123, 708-697-4887, plans to got to England for the Daventry gig; wants to know who else from his corner of the world/nearby, anyway, is going. He wants to link up with you for the trip over, there and back. Be in touch with him.....LARRY GRINNELL is looking for VIVA KENTON LP; if you can oblige, be in touch with him at:920 Lenox Road, Glenview, IL 60025......FRED BOUCHARD, 89 Stedman St., Brookline, MA 02146, has a few copies of back issues of Jazz New England, one of which has an art cover of Stan Kenton done by the artist, Ed Koehler; if you want to spring for one, be in touch at $7.50 postpaid.....EUGENE E. GRISSOM, 4607 Clear Lake Dr, Gainesville, FL 32607 has a bio-discography in progress on FRANK ROSOLINO; he's looking for any information concerning photos, articles, gig data, transcriptions, videos, commercial/non-commercial recordings/records, cassettes, clinics, or festivals.


A musical tribute to Stan Kenton was held on October 20 & 21, 1993 at the Arriva Italia Ristorante, featuring the Johnny Trudell Orchestra, with Matt Michaels conducting. JERRY MC KENZIE, who was featured drummer with two eras of Kenton bands (in the late 50s and the early 70s) performed as the driving force of this tribute. Midge Ellis (Mama Jazz) and Bob Talbert of Detroit Free Press, were major promoters of these concerts. Listed as Kenton band alumni on the program were: Larry Nozero, Mike Suter, Bob Lymperis and Mc Kenzie. The concerts were a sellout. A CD of the concerts is planned; and another concert, at a larger venue is also planned. NETWORKERS in the Greater Detroit area, stay tuned!

By Lillian Arganian

Stan Kenton music was served up in a special way on the evening of October 19, 20 and 21, 1993 in the lovely Arriva Italia restaurant in the Detroit suburb of Warren, Michigan, where the gig kept selling out and more nights had to be added. (Kenton concerts have a way of doing that, don't they?) Detroit-area Kenton fans had been STARVING for a does of the live Kenton stuff, and they got it, in the form of Johnny Trudell and his Orchestra, a great bunch of Detroit-area all-stars, many of whom have their own bands in the Motor City area. Kenton alumni Mike Suter (bass trombone and tuba), Jerry McKenzie (drums), Bob Lymperis (trumpet) and Larry Nozero (reeds) lent their considerable talents to the already sizzling band. Twenty-five numbers were played, keyed off at the very beginning by the voice of THE MAN HIMSELF from the Rendezvous Ballroom in 1941 (actually from Macgregor Transcriptions Studios) via a tape recording. What a great touch! "We hope you enjoy our musical offerings," Kenton intoned, and they did, they did! By far this reporter's favorite of the evening was the exciting presentation of Ken Hanna's thrilling "Bogota," featuring Trudell's son, Jeff, in a phenomenal solo on congas. Close on the heels of that, Hank Levy's "Pegasus" was a very welcome addition, as were Bob Curnow's "Alone," Willie Maiden's "No Harmful Slide Effects," and "A Little Minor Booze," Kenton's "Street of Dreams" and "Dynaflow" and, you know — just the whole show! There was plenty of artistry on hand — " Rhythm," " Boogie," "....Jumps" — all of it terrific. It was so well-received, that it may become an annual thing. An excellent idea! (Editor's Note: and pasta by the foot!).


The Northeast Big Band conducted by Clayton Poole presented a tribute to Stan Kenton, with music covering "The Early Years," 1941-1959, at the University of New Hampshire at Manchester in September, 1993. This Editor and friend Bob Giuliani attended....the music was well-played, scrumptious, and did do justice to the Kenton ork charts. DAN NOLAN, who played with Stanley in 1959, was in the trumpet section, and was featured on "Willow Weep for Me." Another outstanding soloist was Mark Pinto, alto saxist, who soloed on Holman', "In Lighter Vein." A young drummer, Jim Lattini, kept strong time, soloed well, and was able to create "ocean's roar" with his cymbals. Clayton Poole is well-known throughout New England as a fine conductor and puts together some great bands doing some great tributes.

KEN ALLAN AGAIN PRESENTED THESE 7th ANNUAL TRIBUTE TO KENTON.... the Rendezvous Ballroom, Irvine Mariott Hotel, in Irvine, California on February 13, 1994 from 6 to 10 pm. A special salute to music legends PETE RUGOLO & BOBBY TROUP has taken place, again. Alumni performed under the leadership of SHORTY ROGERS, substituting for ALAN YANKEE. BUDDY CHILDERS, PETE CANDOLI 7 RALPH BLAZE, were in the band, along with other southern California notables. Featured were the fabulous FOUR FRESHMAN. KEN ALLAN, organizer of these Irvine Marriott affairs, announced the 8th Kenton-Four Freshman concert for June 19, 1994.


The JAZZ ARTS GROUP under the direction of RAY EUBANKS, will be in concert as usual in April for KENTON - XIV - WEST SIDE STORY, the JAGs annual tribute to Stan Kenton. In addition to other Kenton favorites, the JAG will perform highlights from WEST SIDE STORY — revisited! Former Kenton drummer, JOHN "THE BARON" VON OHLEN will be featured. Ticket prices are reasonable — $18 — for such talent. April 27th to May 1, 1994. They usually sell out all performances; so, call now! Box office: 614-231-7836. While you're at it order you copy of their latest CD, "Night Magic," on CD or Cassette (CD - $17. and Cassette - $10. + $2. S & H. (Editor's Note: One of these days, Ray, I'll surprise you and come).


A free outdoor concert was held in Milwaukee, WI in August of 1993 paying tribute to Stan Kenton's music. Twenty-two musicians under the direction of Dr. Nicholas J. Contorno, director of bands for Marquette University, recreated the unique Kenton sound. TOM BAKER, who played in Stanley's last touring band in 1978, was featured on trumpet. The Kenton-based repertoire included the old chestnuts, the ballads and the barn-burners. Contorno regards Stanley as "a musician's musician, a truly gifted artist who was eager to share his music with students."


Need we tell you to join, if you haven't? John Bangs, 738 Monroe Street, Oshkosh, WI 54901-4649, 414-426-4284. So — call John and Join!

By Patricia Myers

Phoenix, Arizona (May/August, 1993) — Rare pairings of Stan Kenton alumni were showcased in a nine-part series of concerts from May through August, 1993 that featured ever-changing combinations of Kenton veterans.....The kickoff concert teamed trombonist Carl Fontana with trumpet titan, Conte Candoli. Through the ensuing weeks, Fontana also was paired with Buddy Childers, Bill Perkins, Steve Huffstetter and Bob Cooper (who also was scheduled to perform with Childers in August, but died fives days before the return booking).....Other duos were: Conte Candoli & Bud Shank, Shorty Rogers & Bill Perkins, Buddy Childers & Jack Nimitz, and rare performance session by composer-arranger Bill Holman & Conte Candoli......Among the peaks of the series was a 20-minute interpretation of 'Poiniciana' by Fontana and Candoli. Also memorable was the closing-night Kenton Summit, featuring the Four Hornmen of the Apocalypse: Perkins, Fontana and Conte & Pete Candoli. The fare ranged from be-bop to ballads and beyond, culminating in a lengthy version of 'Caravan.'.......At other concerts, a session pairing Childers on trumpet and flugelhorn with Nimitz' bari, handled material ranging from 'Scrapple from the Apple' to a tender rendition of 'Sophisticated Lady.' The Rogers-Perkins duo featured original like, 'Have You Hugged Your Martian Today?' and 'Oryx.' (By the way, Perkins, who played both tenor and soprano, still does his trademark 'jazz dance' when he gets deep into a chart). ......The format during the four-month-long series was conceived by producer Bob Lorenz of Woofy Productions, Inc. Lorenz, a Phoenix resident and life-long Kenton fan, had been traveling frequently to Los Angeles and Las Vegas to hear his favorites, and decided to bring his turf and share the wealth with other local fans. Performances were held in an intimate dining room (seating fewer than 100) at the fabled Royal Palms Inn, a resort built in the late 1940s, not long after Stanley Newcomb Kenton launched his first 'Artistry in Rhythm' orchestra....Eas of the sessions was backed by Phoenix-based rhythm sections, also LA pianist Brian O'Rourke, whose 31 year-old chops astounded not only new fans in the audience, but the Kenton vets as well.....The spirit of Stan Kenton, the man whose music always looked to the future, was so pervasive that I sear I heard Stan say, as he frequently did, "Gentlemen, this is jazz!" The series was to have resumed in early January, two sets nightly every other Friday and Saturday, through May at the Beefeater Restaurant, 300 West Camelback Road, Phoenix, 602-264-3838. Next year, Lorenz plans to issue a 10 CD set from the original series. (Editor's Note: Patricia, keep NETWORK posted about the release!).

By Robert S. Crull

When the Editor of THE NETWORK asked me to write an article on the 'Stan Kenton Mellophonium' orchestra, I knew, that for me, it was going to be a very 'moving' experience. Why? Because early on in my life, and from the very first time that I heard 'The Kenton Sound," and much later met and worked for the Man himself, it has literally been a life-changing experience, musically, as well as in many other ways — far more than talking about any one instrument, whether it be a mellophonium, or trumpet, or conga drum......After a few years of buying the records of Count Basis, Les Brown, Ted Heath, Ray Anthony, and really loving the big band scene early on, a fellow high school band member and good buddy of mine brought to my house, a new record to listen to. The fellow that brought the LP, was John von Ohlen (sound familiar?). John and I became very close friends during those years in many important wayS, as the two of us went from high school in Indianapolis to North Texas State University together, and John was also the 'best man' at my wedding in December of 1962. As most of you know, John von Ohlen became Stan's and Woody Herman's driving drummer in the late 60s and early 70s.....the title of the LP was Portraits on Standards (1953), by the Stan Kenton Orchestra. The first track I heard was 'April in Paris' with Buddy Childers on the super high trumpet work. I absolutely fell in 'love' with the 'Kenton Sound' at that very moment. I had never heard anything like it, and my love for the 'Kenton sound' or 'Stan the Man, Himself' has never left me. Probably for many reasons: no other big band has ever had that 'hug' sound; for Stanley being so creative and sometimes so far ahead of the times (his music still sounds fresh and new to me — thirty years later); for Stan being such a highly-principled individual, and truly a father figure for all of us; and, oh, that charisma — whoever said that if Stan had gone into religion he would have been another Billy Graham, was correct. It was truly all that I could do to withstand Stan's charisma and presence. I have often felt that if the band sounded like it gave 100% every night — it was because of Stan's presence, it demanded as well as encouraged you to give your all each and every performance. And for Stan making himself available to all who desired to talk with him for whatever reason. And for Stan having so many very, very talented individuals expose their talents tin his orchestra, and in turn so many becoming major names in professional jazz and studios and recordings, etc........So, from about the time I was fourteen years old and on, my whole life and the love of my life for years to come was the trumpet, big bands, two years in the trumpet section of the North Texas State Lab Band (NTSU)(we won first place at the Notre Dame Jazz Festival both years under the direction of the excellent teacher, Leon Breeden) and always with the main goal of somehow, someway, someday, becoming involved with my idol — Stan Kenton (and his orchestra). During the summer of 1960 and 1961 the NTSU band was the invited 'guest'band at the Kenton Clinics at Indiana University. Don Jacoby, Conn trumpet clinician was there and used several players for his Decca Records series, 'College All-Stars' recorded at Universal Recording Studios in Chicago. Interestingly enough, seven musicians from that album (out of eighteen) ended up in Stan's band (John von Ohlen, Dee Barton, Al Beutler, Gary Salvo, Tom Wirtel, Dave Wheeler and myself).....Then, along with college, I took a full time job six nights per week at the Statler-Hilton Empire Room in Dallas. Needless to say, my grades went down rapidly. My roommate (Jim Knight — his brother, Bob Knight was bass trombone with Stan's band in the late 1950s) joined Stan's new 'Mellophonium Band.' He was with the band for only a month and got drafted into the US Army! Stan tried to keep him — but could not. I got word of Stan's need for a replacement for the mellophonium section — called Jim Amlotte, the band manager, and got the job! So — the road from early on in high school had finally let to being able to fill a need and become a member of the Stan Kenton Orchestra! A thrill that I could not even begin to describe in just words.

The band had just won a Grammy Award for the Best Big Band Jazz Album of the Year — West Side Story, and had also been named #1 Big Band Jazz in Playboy's jazz poll.....For a musician to experience and be a part of the 'sheer power' of the Kenton Orchestra was an ongoing exhilarating experience, and one that every musician should experience. You just had to give 100% to be able to play the charts properly and to accomplish the sound and effect that Stan demanded. Stan's arrangements, for the most part, were so complex and involved that is was always interesting and quite a challenge. And sometimes even 'painful' — some charts were so physically demanding that there were times that fainting was always a possibility!......Stan and his music not only appealed to the 'feet' on the swinging charts, or to the 'heart' on the warm, soft, romantic ballads, but that which also made Stan so uniquely different from all the other big band leaders, I believe, was that Stanley took great pride in challenging the public, as well as the musicians —intellectually. This set Stan apart from all the others, I believe. And all through his years, something new and different, and creative,always willing to take a chance. I personally have never ever met or been involved with anyone like Stan Kenton, nor do I ever expect to. Stanley was willing to sacrifice mass public appeal for quality and intellect, and the challenge of something new.....So, even as a 'supporting' cast member (second chair mellophonium both tours), I am just as thrilled and proud to have been associated with Stan's band as if I had been sitting in the first trumpet chair. Rya Starling was lead mellophonium and jazz chair on my first tour. Tony Scodwell was lead mellophonium and jazz chair on my second tour. And Tony was one fine brass player! We were proud of the sound and section work of 'The Mellophonium Band' of 1963. The last month of Stan's Mellophonium Orchestra was a month-long tour of England. President John F. Kennedy was shot while were in Concert at Royal Albert Hall in London, England. The next night's concert was canceled out of respect for the slain US President. The very last concert of the Mellophonium Orchestra was November 30, 1963, at Bournemouth Wintergardens in London. Then, a California judge ordered Stan to stay off 'the road' for one year, in order to gain custody of his two young children, Lance and Leslie. Stan did just that! Contrary to some reports, the band was very well received in England. The British were 'wild' about Stan and the Band! I feel that it is the responsibility of every one of us that was ever 'touched' by Stan and his music, to continue to keep the memory of Stan the Man and his music alive and well. And, I know that as for each and every member of THE NETWORK, Stanley would be very pleased, and would very graciously have said, "Thank you!" (Editor's Note: Bob, keep out there doing what you're doing; and keep writing!)

By John De Muro

Weehawken, NJ (June 1, 1993) — It was late 1947. I was a senior in high school and one of the Kenton band's greatest fans. I had cut class to see the band at the Paramount Theatre in NYC and noticed Al "Porky" Porcino in the horn section. He had been a friend of my girlfriend's brother and I had seen him Weekawken years before. After the show, I ran around to the stage entrance, armed with notebook and pencil, and spotted Porcino, who was just going out. I introduced myself to him and told him I was writing an article for the school paper. "Porky" was very helpful. He took me to Stan's dressing room and introduced me to Stan and Carlos Gastel, his manager. Stan was very cordial and cooperative. He answered all of my questions regarding his concept of big band music and gave me a lengthy explanation of what Progressive Jazz was all about. I jotted down the answers and not that we were "friends," I told him I wanted to join the band. Gastel was listening and asked, "What instrument do you play?" I stammered and gulped and told him, "I don't play any instrument." (I lied; I had taken accordion lessons for 5 years. What Italian kid didn't?) "I just want to work for the band as a band boy, set up drums, and music stands, go for coffee; anything. Just to be with the band and hear those great sounds every day." Gastel smiled (I'm sure he had heard this story before) and told me to finish High School, learn to play an instrument and when I got real good, he would audition me. He set me down very gently. Our conversation ended and Stan stood up. Boy, he was tall, grabbed my hand in both of his huge mitts and shook my hand for what seemed an eternity. I was on cloud 9!

I floated home and polished my notes and gave them to our school paper's editor. She promptly lost them and the article never did get printed. (I suspect she was a Claude Thornhill fan who could not really understand that history was being made in the music world). End of story! (Editor's Note: the story continued, John, because here you are telling it, and Stanley went on to bigger and better things; and the world of music is the better for it. Thanks for relaying that story to us, John.)

Reprinted from Downbeat, March 6, 1958

Through the years, a marked characteristic of Stan Kenton's personality has been undeviating loyalty to his band-of-the-moment. This, of course, is understandable: no leader is going to sell short a musical organization into which he has put incalculable emotional and physical effort.

While is perhaps undeniable that Kenton has had bands superior to his present Rendezvous crew (it is generally accepted this 1955 band was probably best of his career), his faith is strong in the future. "The band is very good right now," asserts the leader. "Of course, we've got a fine group of musicians. Most of 'em are young, though quite a few aren't too well known yet. But," he added confidently, "I assure you that in a matter of six months they will be well known because they've got the ability, talent, and a real enthusiasm to play." So far as individual sidemen are concerned, Kenton considers bass trombonist Kenny Shroyer "...the greatest talent to come into the band in recent years. he's soloing more and more now, and knocks me out. Just fabulous. I think Jerry McKenzie is going to make it too," he continued. "This kid began drumming when he was 5, and I think he'll have a fine future. He's really beginning to swing the band now. Bill Perkins is still developing, of course. He hasn't levelled off at all in his playing and is beginning to show considerable promise as a writer. Lennie Niehaus, too, is starting to write some exciting things. You know, Richie Kamuca is back with the band — that's a ball in itself. Then, we've got the two baritones, Steve Purlo and Bill Robinson, to really anchor the sax section."

In an act that could be construed as symbolic of his grand plan to establish permanently the band at the Rendezvous Ballroom in Balboa Beach, California, which he now owns, Kenton disclosed that henceforth all his recording sessions will be held in the ballroom. "I want the band to sound the same on record as it does on radio, " he declared. "Furthermore, the band I take on the road will be the recording band established at the Rendezvous. Those who come to hear us in Iowa or Pennsylvania will be listening to the same outfit that makes the regular weekly broadcasts." The greater part of Kenton's presently active book has been written by Johnny Richards and Providence, Rhode Island school teacher, Joe Coccia. There are also current charts in the book by Niehaus and Perkins. Stan envisions the band's orchestral development along the same general arranging lines as heretofore. "However," he explains, "much of the new ideas will come from the fellows as they get with the music. The soloists will be the key to future development of the band's character." In view of the increasing trend by today's jazz listeners toward the school of eastern funk (an idiom apparently alien to the Kentonian theory of jazz over the past 15 years), what does the leader think of the present direction jazz is taking?

Stan replies slowly. "The fans control what comes out of jazz. They buy the records and pay to see, and listen to, their favorites. Today, the fans are returning to jazz that has heart and vigor. They've gone back to try to discover jazz that really has depth to it. The reason for this, I believe, is simple. Jazz fans have been subjected to an avalanche of LPs — good, bad and indifferent albums. Now, this has reached the saturation point, and obviously the fans are not buying every jazz LP in sight. so many of the jazz albums release in the past few years have had perhaps one good musician and four bad ones; or two fairly good men, and say, three mediocre players. But now, the people are wise, they're not so ready to spend their money. Above all, they want value." Kenton had a word for this, more "valuable" mode of jazz expression. He calls it "heartfelt." Dryly, he says, "Maybe if the expression 'heartfelt jazz' takes hold, it might influence both fans and musicians. It can start a new thing in the music." First to admit that "....too much of the jazz that came out of the west coast had no emotional content, so necessary in any healthy art," Stan adds the observation, " jazz goes back to emotional projection, it's much better for the music as a whole. The west coast experimentations were interesting for awhile, but today a lot of this music has fallen by the wayside. You see, it had to get some heart; it had to get away from an over-intellectualism that drained it of its emotional content.

Inasmuch as the so-called 'west coast movement' was initiated for the most part of ex-Kentonsidemen, what role then does the leaser believe his musical influence played in its encouragement? "I think the band did influence this intellectual approach," he frankly confessed. "What happened, however, was that some of the fellows who came out of the band became too engrossed with intellectuality. Principally, this was because during their terms as sidemen, they began seriously to study, became better schooled musicians, began to master more and more of the technical aspects. So, as they improved their overall musicianship, they began to put into practice these new, more intellectual jazz concepts. What came out was west coast jazz," he shrugged.

In animated commentary on the lack of major figures on today's jazz scene, Stan asks, "How many Roy Eldridges do we have around today; do we have a Charlie Parker around today? Stitt and Rollins may possibly arrive at somewhere near Parker's stature, but I can't think of others. "One tenor man I find increasingly impressive though, is the fellow that plays with Curtis Counce. What's his name? Harold Land...that's it. I think he's a tremendous player. To me, a greatly under-appreciated musician is Lionel Hampton. No one play like Hamp; but nobody knows, because of his circus antics. Milt Jackson, for example, never played like Hamp does. Lionel cooks all the time; his solos build on intelligent lines — he knows the value of building to a musical climax. Hamp's a master — that's all."

In a most telling remark bearing on the future direction of his music, an avenue now indicated by the number of Johnny Richards charts in the band's book, Kenton predicts," In the future, Afro-Cuban rhythms are going to loom big in modern jazz; so big that people will stop thinking of 'em as strictly Afro-Cuban. One day, American music will have swallowed up completely the Cuban rhythms. As I see it, that's where the future lies." (Editor's Note: Thanks, Stanley!).

(With apologies to Mozart, the researchers, and Robert Lee Hotz of the
Los Angeles Times)

Those who hope to seem smarter by listening to the music of Stan Kenton may be onto something. At least temporarily. Researchers at the Center for Artistic & Rhythmic Opuses, at the University of the Balboa Beach, have determined that 10 minutes of listening to a Kenton orchestral tone poem raised the measurable IQ of college students by up to 20 points. The effect on the intelligence of students in the study, however, barely lasted longer than the echo of the "eliminator" cymbal. The IQ boost dissipated within 15 minutes, the research team reported in THE NETWORK. However, the study continued, that the energy released by that 20 point IQ increase, wedded the subjects to Kenton's music for a lifetime. The researchers suggested that Kenton's music may enhance abstract reasoning, such as that involved in metaphysics or cosmology, by reinforcing certain complex patterns of neural activity. They suspect that the complexity of the music itself, is the key. Simpler, repetitive rhythms of rock or minimalist New Age jazz, may actually interfere with abstract reasoning. Moreover, making music, rather than simply listening to it, may have a more permanent impact on the intelligence, they said. "Everybody is intrigued by this study because it fits everyone's intuition about music and metaphysics," said Dr. Ezekial Lipschitz, Kenton's long-time mentor. Efforts to increase intelligence are as controversial as the IQ tests themselves. Increased income has been shown to increase IQ scores, while the disruption of summer vacations has been shown to lower scores, but none of these studies is conclusive. Working on the road with a mickey-mouse band has decreased one's intelligence notably, while those on the road with Stan had noticeable highs (names of bandsmen withheld). "It is remarkable, if it is true," said Dr. Ken Stanton, Kenton's alter-ego, whose research focused on emotion and mental effort. "The finding is one long intuited, even though the whole point of an IQ is that it is supposed to be unchanging from conception to death." However provocative the new music study seems, other historical researchers who have eschewed Kenton's music throughout his lifetime, warned that the study is still inconclusive. For the time being, in order to sustain the IQ high, listen to Kenton every 15 minutes. (Editor's Note: Prompted by a suggestion by Robert Crull — you know those mellophonium players!)(Further note: this editor disavows all reponsibility for content of this report)!

By Stan Kenton

"I would like to take this opportunity to personally thank you — our audience— for you sustained interest in our creative and musical activities. I consider each one of you that has come to listen to our music, representatives of an internationally important group of people. For it is you people who consistently demonstrate because of your interest in, and patronage of the Orchestra that enables it to grow in scope and structure......Maintaining an Orchestra as large and with as much creative responsibility as mine, is a continuing experiment; an experiment that represents a creative and financial gamble which involves many people! As leader of the Kenton Orchestra, I cannot possibly hope to survive with the inspiration and encouragement of our executive staff; our booking agency; Lee Gillette, our producer at Capitol Records; our arranging staff; and most important of all, you, our audience. For I think it only apparent and logical that no Orchestra — especially ours — can give its best if everyone involved in creating — and then supporting — its growth pattern, does not sincerely believe in the music it executes."

*From "Dedication," in the one of the Mellophonium Band Concert Programs.

STAN KENTON: THE MANY MUSICAL MOODS OF HIS ORCHESTRAS Anthony J. Agostinelli, is a paper presented by this author at a convention of the International Association of Jazz Educators a few years back. The monograph proceeds from the premise, that the Kenton orchestras did not have one monolithic sound, but was made up of a variety of musical moods and sounds. The paper includes an extensive bibliography from 1941 through and beyond the year of Stanley's death. It is again available for your reading pleasure. Send your request for — Stan Kenton: The Many Musical Moods of His Orchestras, to: Tony Agostinelli, 176 Everett Avenue, Providence, Rhode Island 02906-4651, USA. Cost has been set at $12.50 plus $2.50 for handling and first class postage in the USA. For the UK, a ten pound (L 10.) Sterling note will suffice (postage included); allow 2-3 weeks for delivery. For other parts of the world, use the USA rate as the basis for your computation. International postal money orders are best changed into USA currency.



By Charles H. Loos
(Reprinted from the Newport Beach Daily)

Orange Coast College, Costa Mesa, California (August 14, 1978) — Every Stan Kenton fan has personal memories of seeing the tall, rangy iconoclast of big band jazz lead his musicians through a powerful performance somewhere. Was it at some college campus? Or was it at the opera house in San Francisco with June Christy and the Four Freshmen? Or maybe, best of all, was it at the old Rendezvous Ballroom in Balboa, where it all began in 1941?

If you were at Organ Coast College in Costa Mesa, where Kenton and his current band played Sunday night, you couldn't help feeling it was all coming to a close just six miles from where that big barn of a ballroom once stood on the Balboa Peninsula. It wasn't the same Stan Kenton who shuffled onto the stage Sunday night. The tall frame, older now, was bent. The speech was slurred, the talk rambling. He sank heavily onto his seat at the piano. When he stood, he held onto the piano for support. And his gestures, formerly dramatic, sweeping motions of those enormously long arms, were more like weak waves.

The band will scatter and Kenton will take a rest. It never has been made clear just what happened to him and a cynic might say that was on purpose, perhaps to maintain the Kenton mystique. But two things Sunday night defied that cynical explanation. It was obvious that Stan Kenton, at 66, isn't well. Kenton has never been one to dwell on the past, preferring to highlight new music, new arrangements, new musicians. But he seemed, for him, almost nostalgic Sunday night.

"Did you know we started in Balboa?" he asked the audience at one point. At the end (of the concert, and after he had spent several long moments describing his condition and the fact that the band would be disbanded the following week), there was a long standing ovation. The ovations wasn't for the band, although many of the 900 or so in the audience wanted to hear more. The band stood, too, joining in the applause.

The ovation was a tribute to The Man.


As editor of THE NETWORK, I have had the opportunity to be in touch with you Kentonians world-wide. Your letters, your cards, your gifts and your encouragement spur me on. I will never be able to return your generous offerings in kind. Occasionally, when I have time to tape an item or two, I have been known to send along some music to you; I have a couple of you still on the cuff, and will get to that stuff in time. All's I can do, is publish THE NETWORK for you twice a year, and answer your every inquiry or request. I will continue to do so, so long as you would like, and so long as the light lasts.


Do you want to reach me by Electronic Mail? CompuServe: 70544,1336; Internet: NETWORK XVII can be accessed on Internet: to subscribe — — in body of message: . NETWORKS 15 through XVIII are now available through Internet.