The Network XIX

August/September, 1994

Anthony (Tony) J. Agostinelli, Editor
Prologue NETWORK continues to be published twice annually. The number of NETWORKERS has now risen to 1,488. I continue to rely on your contributions to help out with NETWORK operations and I make up the difference in costs. 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! If you do make a contribution, a NETWORK XIX — SUPPLEMENT will be sent to you — material scheduled for publishing, but not able to fit because of space limitations! [The Editor.
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. Send SASE. Winner for last issue was: Keith Tunnicliffe, from England. LARGEST SINGLE CONTRIBUTOR BY SEPTEMBER 15, GETS ONE FREE!!!!

A Discography

By Michael Sparke and Pete Venudor with Jack Hartley

Without a doubt, this is the most complete and detailed discography of Stan Kenton's recorded work ever published. Written and compiled by two of the world's most respected authorities on Stan Kenton — Michael Sparke and Pete Venudor (with the assistance of Jack Hartley, a third). The book covers all of Kenton's recordings on Capitol and Creative World Records, as well as those on London and Decca Records (unauthorized releases are not included)......Every known recording session is detailed. Recording dates, locations, matrix numbers, release numbers, composers/arrangers, alternate titles, alternate takes and unissued selections are all noted. And, of course, the personnel on each. (In many instances the authors examined AFM contracts to settle about what musicians were involved).

Readers will learn that there was an earlier title for "Concerto to End All Concertos," and the name of the then not-yet-famous newscaster who announced the first test sessions in 1940. The book reveals the name of the co-composer of "Winter in Madrid" who was the brother of a famous Kenton arranger. Readers will discover the significant differences between the mono and stereo LP (and CD) releases of "Kenton in Hi-Fi." And, the name of the never released eighth selection in the "Cuban Fire! Suite" (and why no real stereo version of that LP could be released).......Kenton on Capitol and Creative World is an astounding discographical achievement — the result of literally decades of painstaking research. It is an endlessly fascinating source of essential Kenton information and minutiae — much of it unknown until now — even to the most ardent Kenton fans.

FOR USA RESIDENTS: Kenton on Capitol and Creative World: ISBN: 0-936653-58-2, 8 1/2 X 11 paper, approximately 180 pages. Retail: $27.95 — plus $2.00 shipping and handling for United States Postal Service book rate. For priority mail, add $2.00 additional. Order from Balboa Books, P.O. Box 493, Lake Geneva, Wisconsin 53147-0493. Visa/Mastercard order phone toll-free: 1-800-420-0579 between 8 am — 6 pm CST.

FOR UK, EUROPEAN AND OTHER RESIDENTS: Order directly from Michael Sparke, 39 Wills Crescent, Hounslow Middlesex, TW3 2JA, England. The inclusive cost is £20 (no extra postage & packing), and those living outside the UK should send an International Money Order for £20 sterling made out to Michael Sparke, and DRAWN ON AN ENGLISH BANK. (Please arrange with your own bank for the order to be payable at Michael's end without any charges to him. Bank charges are quite high).

[Editor's Note: Since this discography has been published, I have been pleased as punch. When researching Kenton on Capitol and Creative World, as I am wont to do very often, I have had to go to many differing sources — dog-eared and out of date listings, scraps and bits of paper, liner notes (frequently in error), my own notes and notations, and the like. Not only is this so handy, it is easy to research, easy to read, and easy to understand. For other than Capitol and CW, I still have my main and other sources, but this work is outstanding and superb. As new material becomes available on those two labels, I am sure that given Michael's attention to detail, he will be right on top of those changes....his sobriquet, "THE Kenton Expert," is well given. You are that, Michael!]

Further Note: Michael Cuscuna of MOSAIC records has called the discography, "a magnificent certainly dwarfs any discography that I've ever seen." You can be in touch with Cuscuna at: MOSAIC Records, 35 Melrose Place, Stamford, Connecticut 06902, 203-327-7111, FAX 203-323-3526.


Joe Giorgianni and the Loew's Big Band performed in tribute to Stan Kenton at the Providence Performing Arts Center on April 23, 1994, with very special guests, THE FOUR FRESHMEN! The concert was entitled: Springtime Serenade: The Four Freshmen with the Loew's Big Band. Those who attended could not remember when they had a more exciting Freshmen/Big Band time!

By Edward F. "Gabe" 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. $2.00 extra for priority mail. Visa/Mastercard orders call 1-800-420-0579. [To get in touch with Gabe: Edward F. Gabel, 1620 Avenida Loma Vista, San Dimas, CA 91773, 818-331-3917.]

By Edward F. "Gabe" Gabel

Excerpted From Stan Kenton: The Early Years

"In 1940 the Hollywood Palladium was the premier dining and dancing spot in the nation. Its location in the heart of town was close to the motion picture and recording studios. It was a favorite hangout of songwriters and radio and movie celebrities......Stan Kenton and Maurice Cohen, General Manager of the Palladium, had signed a two year contract with a three year option guaranteeing two appearances a year at the Palladium, scheduled six months apart. At the time it seemed like a good deal, but the Bob Hope radio show contract Stan had recently signed left him short of money. Under the terms of the Hope contract, we were not allowed to perform within 100 miles of Hollywood between the Palladium dates. The local musician's union had an escape clause in their contracts that allowed renegotiation for an increase in pay after the second year due to inflation. Mr Cohen kept stalling on a second year pay increase until Carlos told him that otherwise, Stan would refuse to appear the third year. The dispute was finally settled with an increase in gross pay to $3,500 a week. Stan finally was able to pay the band payroll and transportation bills without worrying if the checks would bounce. With a little extra money in the bank, he gained additional confidence in the band's future.

"Gabe," he often said, "we're on the right track. There's not stopping us now. I really believe our music will be successful with the public. Let's go to dinner. My treat." Our Palladium appearances during 1942 and 1943 drew capacity crowds six nights a week. The ballroom was large and oval shaped. The main and second floors had no pillars to block the view. With its lower floor dining area and large dance floor the ballroom easily accommodated 75 hundred guests....Every night, military personnel, celebrities and civilians lined up for blocks in either direction, past the CBS and NBC radio studios, for tickets to see and hear the Stan Kenton Orchestra. Doris Day, Ava Gardner, Gary Cooper, Fred Astaire, Ginger Rogers and Johnny Mercer stopped in regularly. Mel Torme and Buddy Rich dropped in often to play a set with the band, exciting the fans with their drum solos....with our Decca recording contract, airtime was the name of the game. It gave us an opportunity to reach across America and sell our newly issued recordings. We broadcast coast-to-coast every Friday and Saturday nights on the CBS and NBC networks."


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 releases have been listed in past issues.

Artistry 001 — CONCERT IN MINIATURE BROADCASTS — 1952-1953

Artistry 002 — IN CONCERT — 1956

Artistry 003 — THE EUROPEAN TOUR — 1953

Astral Jazz 101 — CONCERT IN WEISBADEN — 1953

Capitol CDP 7 89285 — DUET — May, 1955

Capitol CDP 7 92865 2 — NEW CONCEPTS OF ARTISTRY IN RHYTHM — Sept., 1952

Capitol CDP 7 96260 2 — CUBAN FIRE! — May, 1956

Capitol CDP 97350 4 — RETROSPECTIVE — 1941-1968

Capitol CDP 7 98451 2 — KENTON IN HI-FI — 1956

Capitol TOCJ 5651-5655 5 — THE CREATIVE WORLD OF STAN KENTON — 1941-1954

Channel Crossings CCS 6394 — CITY OF GLASS (The Ebony Band, Holland) — 6/93

Garland 006 — SUMMER OF 1951

Hindsight HCD 157 — THE STAN KENTON ORCHESTRA, Vol 5 — 1945-1947

Hindsight HCD 407 — 18 ORIGINAL BIG BAND RECORDINGS — December, 1961

Jazz Unlimited 2008 — LIVE AT CORNELL UNIVERSITY October, 1951




Magic DAWE 50 & 53 — LIVE AT THE MACUMBA, 1 & 2 — November, 1956

Magic DAWE 56, 57 & 58 — LIVE AT THE PATIO GARDENS, 1, 2 & 3 — 1957

Magic DAWE 59 & 61 — LIVE AT THE SUNSET RIDGE COUNTRY CLUB, 1 & 2 — 1976

Magic DAWE 64 & 65 — LIVE IN COLOGNE, 1 & 2 —

Magic DAWE 66 — STAN KENTON: ONE NIGHT STAND — September, 1961 & July 19, 1962

Magic DAWE 69 & 70 — STAN KENTON LIVE AT CARTHAGE COLLEGE, 1 & 2 — February 10, 1974

Natasha 4006 — 23 DEGREES NORTH, 82 DEGREES WEST

Natasha 4017 — CONCERT IN MINIATURE ENCORES — 1952-1953

Spectacular SPVD-2204 — STAN KENTON & HIS ORCHESTRA — 1961


Status 102 & 108 — AT THE RENDEZVOUS, Vols I & II — 1958

Status 103 — MELLOPHONIUM MAGIC — 1961

Status 104 — IN NEW JERSEY — 1959

Status 106 — MELLOPHONIUM MOODS — 1962

Status 109 — AT UKIAH — 1959

Status 112 — LIVE IN PALO ALTO — May 13, 1955

Status DSTS1001 — STAN KENTON LIVE AT BARSTOW — January 30, 1960

Tantara 1111 — ARTISTRY IN SYMPHONIC JAZZ — 1977

Tantara TCD 1112 — STAN KENTON: A TIME FOR LOVE — April 21, 1978

Total 3001 — STAN KENTON AND HIS ORCHESTRA, 1957-1958

Total 3002 — IN A MELLOW MOOD —

USA Music Group USACD 600 — SOUNDS OF THE BIG BANDS, Vols I & II — [Three Kenton Performances]

[Editor's Note: Reportedly, Blue Note and the Smithsonian are going to collaborate on a re-birth of The Kenton Era expanded into four CDs. Also, MOSAIC has a Rugolo project in mind; or, a complete Kenton (1943-1947)(Capitol studio and electric transcription recordings). Capitol is still interested in coming out with a Kenton/Capitol CD annually.]

13 Gardenia Road, Bush Hill Park, Enfield, Middlesex, EN1 2JA England

Dept NTWK, 29 May Road, Rochester, Kent, ME1 2HY, England
Phone Dave Kay at: 0634 40598 FAX: 0634 403732

SEND 2 International Mail Return Certificates or large SASE (2 stamps) for
Catalogue of over 100 videos all in stock


Status CDs are Dave Kay's specialty!

Ask for ALL the Kenton Status CDs and Cassettes

TANTARA RECORDS (Bill Lichtenauer)
Dept NTWK, 2709 Black Road, Joliet, IL 60435, Phone: 815-744-3333

Although not generally sold through retail outlets, sales of their new Tantara TCD 1112, CD featuring Stan Kentons' last (1978) roadband have been encouraging. The CD is entitled "A Time For Love," a tune arranged by Hank Levy, and previously unreleased by the Kenton organization. Sixty-eight well recorded stereo minutes from an April 21, 1978 concert at William Rainey Harper College, Palatine, Illinois. This is the only commercially available recording of the last Kenton Orchestra. To purchase a copy, send $16.50 (USA Dollars)(includes S & H) be sent to Tantara at the above address.

By Dick Baldwin

BG's group started it all at the Palomar Ballroom in LA with his 13-pieces swing band in 1935, but Stan, too, played his way into dance history with a big book and an ongoing talent stream. Dancing in the 30's and 40's grew into one of the nation's great pleasures in the Miller Mood, Society Swinging with Lester Lanin, Tommy Tucker Time, Charlie Spivak's Sweetest Trumpeting, Sammy's Swing & Swaying, Shep's Rippling Rhythms, James, the Dorsey, Welk's Bubbles and Wine, plus King-Pastor-Barron-Carle-Thornhill. The dance halls were refueled in the 50's by Les Elgart, Ray Anthony, the Ralphs — Flanagan and Marterie, and Billy May. Aside from all of the styles and hard driving by Basie, Ellington, Herman, Krupa, Barnet — choose your favorite — the all-time dance dates were played by Stanley Newcomb.

A recent rendezvous with Jerry McKenzie on July 2, for the Kenton-Freshmen Salute in Lewiston, New York (ArtPark with George Beck's orchestra), ignited a long-standing big band revelation — STAN KENTON PLAYED THE BEST DANCE EVER! Although he tended to make light of his troop's ability to please on the floor versus from the stage, it was less than real. There has never been anything before or since to match a full evening of those fat Kenton sections finessing a Lennie Niehaus chart. You know the tunes — "Begin the Beguine," or "It Might As Well Be Spring." It's a piece of history listening to late rounds of CDs by the Kenton gangs with Stan calling out the numbers — 18, 44, 26, 19, 46/460, 33/133, 73, and 22. "But Beautiful," "Watch What Happens," "Laura," "A Foggy Day," The Shadow of Your Smile," "Sophisticated Lady," "Between the Devil and the Deep Blue Sea," "Lullaby of Birdland," and "You Stepped Out of a Dream" — Niehaus pages all. Those charts were great Kenton.

More dancing? O.K., more Niehaus — "The End of a Love Affair," "I'm Glad There is You," "All of You," "So in Love," "You Turned the Tables on Me," and "We Laughed at Love." Plus, plus, plus! Stan's arranging of course was a major part of the book. Some of his favorites were: "Girl Talk," "September Song," "I Understand," "Sunny (88)," "When Your Lover Has Gone," and a classy medley of "Eager Beaver/Opus in Chartreuse/Jump for Joe/Artistry."

There were still many more big section frameworks for vintage soloing by Willie Maiden, J. Harner, Bill Fritz, Pete Rugolo, Ray Wetzel, Gene Roland, Ray Starling, Joe Coccia, Johnny Richards, and Marty Paich — just touching part of the dance book, sizeable in its own right. Break time. Stan to the audience, "Thank-you! We'll be excuse ourselves for a short period, and be right back with you. Thank you!" To the Band, "20 minutes! Please be back on time because I don't know where you're going to be. Get back here!"

Surrounding all of the plush dance things Stan would signal some of the more traditional Kenton signatures, pieces featuring that mighty sound. The dancers dug it all. Maybe the audience was ever inattentive and jabbering, the Band would recapture them in a quick, laying down of a smooth "September Song." The Dance Of The Century would have been a night of Kenton, June and the Freshmen. Did Road Show ever play a country club, a homecoming weekend [Editor's Note: the Purdue Concert was a homecoming concert], or remember those old roller rinks in New England near the water? And, now the winner — Stan Kenton and his Orchestra. Everyone and everything else comes in second.

So, when the subject surfaces again, remember the best dance band in the land was Stan's! When Messrs. Manne, Levey, Lewis, Erskine, Hobbs, Von Ohlen, the other McKenzie, Barton, or After "Thunder Sticks" (Mike Beisner's tag) Mc Kenzie, pumped and ready to play, broke out his pair of 27+" Zildjians, it was time for the young and old at heart to make with that smooth footwork.

Remember how it used to go?

OPEN MUSIC: Kenton Ork Establish "Artistry in Rhythm"


END MUSIC: Artistry Theme concludes


Can you hear it happening? There has never been anything like it on a warm summer evening at Old Orchard Beach, Maine. Mix the ocean breeze and the charm of Stan Kenton with that distinguished sax section, brass solos and big cymbals. Beautiful! Stan could make you really wanna dance. [Editor's Note: GEORGE BECK did indeed conduct another tribute to Stanley at ArtPark; the concert was held on July 2d, and included the FOUR FRESHMEN, ROY REYNOLDS, RAMON LOPEZ, PAUL VON ADAM, and on of Detroit's finest, JERRY MC KENZIE.]


There have been a few preliminary discussions between Howard Drazic of South Florida and Hank O'Neil and Shelley Shier of HOSS, Inc. to schedule either a big band or jazz Caribbean cruise (perhaps on the Norway) with an alumni band playing in tribute to Stan Kenton. DENNIS NODAY is most interested in assembling the musicians; in addition to the concert charts, the Kenton dance book will be very much in evidence. If you are interested let it be known to Hank O'Neil & Shelley Shier and Howard Drazic. (Hank O'Neil & Shelley Shier, HOSS, Inc., 830 Broadway, New York, New York 10003, 212-674-0265, FAX: 212-475-1567. Howard Drazic, Lakeshore Village, 3857 Circle W., Sarasota, Florida 34238, 813-922-4101; write your interest in the letter, so that Drazic and O'Neil might have the weight of many written letters — "by the numbers!"]

By Bill Lichtenauer

Actual CONN mellophoniums were seen in the hands of humans on the evening of June 9, 1994 at Cathedral Square in downtown Milwaukee. The humans holding those four horns were local musicians and part of a full, 23-piece jazz ensemble paying homage to our man, STANLEY! For the second consecutive year, this tribute was fronted by Dr. Nicholas J. Controno, Director of Bands, at Marquette University. And make no mistake, Nick loves Kenton, the man and the music. The band was tight, especially considering that little rehearsal time was available. Mr. Tom Baker, lead trumpeter on the 1978 and final Kenton band was the lone alumnus. His strong playing provided additional accuracy and stability to a very able section. The program included the following charts: "Body and Soul," "A Little Minor Booze," "The Opener," "Love For Sale," "Everytime We Say Goodbye," "Hey There," "Bali Hai," "Here's That Rainy Day," "I Remember You," "Baubles, Bangles And Beads," "There'll Never Be Another You," and "Artistry In Rhythm." The horns were included on five of the selections. Memorable music on a beautiful summer night. Approximately 1,000 people attended.


KLON FM 88.1 presents a four day celebration of West Coast Jazz, October 27-30, 1994 at the Holiday Inn, Crowne Plaza, Redondo Beach, features 15 concerts, 10 panel discussions, film showings, a record and memorabilia trading room. Scheduled to appear are: Gerry Mulligan Quartet, Dave Brubeck Quartet, Shorty Rogers and His Giants, Stan Kenton Alumni Band, Bud Shank, Jimmy Giuffre, Buddy Collete, The Lighthouse All-Stars Revisted with Howard Rumsey, Central Avenue Revisited, Teddy Edwards, Dave Pell Octet, Leroy Vinegar, Pete Jolly, Lou Levy, Gerald Wiggins, Bill Perkins, Pete Rugolo, Jack Montrose, Gerald Wilson, Herb Geller, Jack Sheldon, Harold Land, Bill Holman, Marty Paich, Conte Candoli, Charlie Haden, and many more. Panels will cover: Central Avenue, 50th anniversary of the JATP, Bebop, Kenton's Innovations in Modern Music (Rugolo, Rogers, Childers, Bernhart, Shank, Almeida, Bagley), The Lighthouse, The Record Companies, The Arrangers. Rugolo and Rogers will conduct the Stan Kenton Alumni Band — Innovations In Modern Music. Call 310-985-5566 or write: KLON FM 88.1, Jazz West Coast, 1288 N. Bellflower Boulevard, Long Beach, California 90815.


The interim executive director of the International Association of Jazz Educators is BILL LEE; Bill has offered IAJE the opportunity to publish an updated version of his book, "Stan Kenton: Artistry in Rhythm....CHUCK IWANUSA is the new president of IAJE....longtime NETWORKER and modern American music great, HENRY MANCINI has passed away.....The BBC Radio Big Band has survived, and is playing dates in England as THE RADIO BIG has DANNY NOLAN, former Kenton trumpet player in New Hampshire......Kenton alumnus STEVE WILKERSON has produced a video entitled The Art of the Jazz Saxophone...for information contact Rovner Products at 800-899-7750...the umpty-ump tribute was held this past Father's Day at the Irvine Marriott's Rendezvous Ballroom led by ALAN YANKEE....players and attendees included: PETE CANDOLI, STEVE WILKERSON, RAY WEIGAND, RAY REED, GREG SMITH, GEORGE ROBERTS, BUDDY CHILDERS, THE KENTON KLAN (Steven D. Harris, reporter) and AL & NAN FLUCK...there were many other Kenton stalwarts present, to be sure.......MIKE VAX will be performing at the Dixieland Jazz Festival at Sun Valley on October 14 through 17, 1994.....JAY CUMMINGS and DALE DEVOE report that they are working the high seas on cruise ships (not together, separately).....

SAL SALVADOR's "Crystal Image" has signed with Jazzmania Records. The working CD title is: "The Way of the Wind." Coinciding with the release of the CD, Mel Bay Publications will publish a book of Sal's guitar transcriptions. A video release is scheduled for September — Arlen Roth's "Hot Licks Video (tm)" is producing the video. Finally, Heritage Guitars who is making a guitar to Sal's exact specifications. To receive Sal's newsletter, write: Sal Salvador, 50 Barholm Avenue, Stamford, Connecticut 06907. Tell him you read about it in THE NETWORK!

FRED ZITO, who played trombone with Kenton (1944-1945) was a member of a very talented Utica, New York family. His dad, Fred, Sr., played bass with Phil Spitalny and Fred's brothers (Arthur, Torrie, Ronnie) made their own connections. Torrie does freelance work from Manhattan, worked with Jerry Vale and Tony Bennett, arranged for Perry Como, Frank Sinatra and Steve Lawrence, and does work for the Boston Pops Orchestra. After Kenton, Zito toured Charlie Barnet, Glen Gray, Artie Shaw, Boyd Raeburn and Tommy Tucker, to name a few. He worked in and around NYC and played in the pit of Broadway shows ("Bye Bye Birdie," "Once Upon a Mattress"). He moved to Las Vegas in 1978 and played with show bands there. He died in July of 1979 in Vegas, just 5 days short of his 75th birthday. [Information supplied by new NETWORKER, John C. Behrens.]

MARVIN STAMM has a quarterly newsletter available to let you know what he's doing: Cadenzas, Arcadian Arts, Inc., 15 Butler Hill Road, N Row, Somers, NY 10589, Phone/FAX: 914-277-6963.

By Michael Sparke

[Editor's Note: These are edited excerpts from the presentation that Michael Sparke made at Daventry, England, on the occasion of Rendezvous in Britain '94, April 30-May 2, 1994. Michael used recordings to highlight his presentation; they are listed herein][Suggestion: as you read this, break out your versions of the recordings listed, and listen in!]

[Opening Theme — Mark 56 CD]. That sounds good to me. I find Innovations one of Stan's most rewarding periods. Innovations is one of the briefest creative periods, covering just the years 1950 and 1951. The large Orchestra with strings, which made two concert tours, and the Innovations dance band, which made some money for Stan in between. [Michael concentrated on the innovative Concert Orchestra].....Concerts were very dear to Stan;'s heart, and this band played the finest concert halls in America, from the Hollywood Bowl in California, to Carnegie Hall in New York. Above all, the music was so diverse, from out-and-out Modern Jazz, to out-and-out Modern Classical, with all stages in between.......It was all new, exciting and different, but of course, we all like some better than others. One of my favourite pieces has always been Neal Hefti's IN VERADERO, described by George Simon in Metronome as: "A thrilling Cuban piece, with the band singing effectively behind Bud Shank's hot flute, and Shelly Manne playing great drums." And do listen out for some wonderful tenor from the late, great Bob Cooper. [In Veradero — Capitol].

It's an interesting story how Innovations came about, because contrary to some beliefs, Stan had no blueprint, no great master plan that he was following. In fact, in the summer of 1949 Stan had decided he wanted to return to the band business, but was quite undecided about how he should do it. If he came back with the same band he'd given up in 1948, and with Pete Rugolo ding the writing, he'd be right back where he left off, and Stan wanted much MORE than that. He wanted to make his comeback in a big way, and with an entirely new dimension to the music......You can tell Stan hasn't made any decisions, in an excerpt from a broadcast made in July 0f 1949 from the Rendezvous Ballroom, when Stan explained his current (then) thinking. [Stan Speaks, Joyce LP].....Less than 2 months later, Stan's plans were set. In 1948, he'd given a long interview to downbeat, in which he was asked about strings playing jazz: "Definitely not — they can't get the feel. A big string section is a thrilling sound, but not for jazz or jazz bands. Certainly not for ours.".....What made Stan change his mind? Well, Clinton Roemer was the band's chief copyist. He and Stan had been friends since 1941. According to Roemer, Pete Rugolo was in Hollywood in September, 1949, to write and conduct for Bill Eckstine. Kenton attended the session, and fell in love with Pete's writing for strings with a big band, and it was after this that the idea for Innovations began to germinate. Pete stayed on in LA for discussion with Stan, and they decided to add strings and french horns to the basic Kenton instrumentation, thus doubling the size of the Orchestra. The book would have no dance library — this was to be strictly concerts only. Because of his other commitments to such singers as June Christy and Peggy Lee, there was no way Rugolo could come up with an entire library in time to suit Stan. Once the way ahead was clear, Stan wanted to -GO!! So, they decided to extend the arranging staff, and invite around a dozen composers active in Modern Music to write for the Orchestra. In Stan's words: "I chose guys whom I respect, and who know what I can do. I told them they had complete freedom in whatever they wrote, but that I expected integrity. All I said to them was: 'What would you write, if you had the chance to create the greatest thing you know how'?" [Salute (originally Pete called it "Salute to the Americas" — Capitol).]

I suppose the most controversial aspect of the Innovations ensemble was the strings. Dance bands had often employed a string section in the past, but almost always as a schmaltzy cushion for their singers. Stan's vision was very different. The string playing in many of the Innovations charts is quite extraordinary. No doubt the writing has a lot to do with it, but so has the interpretation, led by concert-master George Kast. The strings have become — "Kentonized." By which I mean, they play in an avant-garde style quite unlike the saccharine sound usually associated with strings in jazz. The string sections produce a hard, brilliant tone which matches the familiar resonances of the Kenton brass sections. Neither was Innovations structured along the lines of a miniature symphony, as is sometimes suggested. It was pure Kenton, with twice as many trumpets and trombones as a conventional symphony, but far fewer woodwinds and strings. In fact, the strings probably had to play loud and hard, just to make themselves heard above the brass! From all accounts, it took awhile for the jazz men and the long-hair string players to adjust to each other. I think they came together more quickly musically than they did socially. The difference was illustrated at the first rehearsal. When Kenton walked on-stage, the jazz-men went right on chewing the fat, while the string players all stood deferentially and bowed to the leader, as they would to a classical conductor. Because of the numbers of musicians, it took two coaches (buses) to transport the orchestra between dates. The string players travelled in one, call the "School Bus;" the jazz players travelled in the other, known as the "Balling Bus." It isn't recorded which one Stan was on, but I think I can guess!

According to first violinist, George Kast: "At first we were like newly-weds, surprised to be in the same room together. But as the tour went on, we got to know each other better, and mixed much more freely." What you might call a shot gun wedding! One must ask the question: "Was stan right to jeopardize the whole enterprise by the extra expense of the string section?" Some of the pieces, like JOLLY ROGERS, didn't use them at all. On others, the strings were almost superfluous. Both COOP'S SOLO and IMPROVISATION were recorded without string, and sound just fine. But, on so many pieces the strings were essential, creating extra range and scope to the music. It couldn't and wouldn't have been Innovations without the additional tone colours and classical influence only the strings could provide. As an example, here is an original by Bill Russo to feature the strings, in particular, the cello. It isn't one of the Capitol-recorded things, and Russo told me he just called it CELLO PIECE, thought it was also named after the soloist, GREGORY BEMKO, who described it as "a wild Oriental dance with much fire and drive." [Gregory Bemko — V.O.A. Tape 910/19/51)].

A few names to jog the memory: Buddy Childers, Maynard Ferguson, Shorty Rogers, Conte Candoli, Milt Berhnahrt, Bob Fitzpatrick, Bill Russo, Bud Shank, Art Pepper, Bob Cooper, Shelly Manne, June Christy — they couldn't help but make beautiful music! Having put together a magnificent Orchestra, Kenton was now faced with the dilemma that everyone thought he was out of his mind, and not even Stan's reputation could convince a promoter to finance the tour. In the end, Kenton had to book the band himself, through his Manager, Bob Allison, working from his own office. Any profits would be all Stan's — but so would 100% of any losses! But Stan's imagination was fired, and the creative juices were flowing, money was the last thing on his mind. In retrospect, in the changed musical climate of 1950, he didn't stand a cat's chance in hell of breaking even. Everyone told him so, but Stan's mood was: "We'll never know until we try it, so let's GO!!"

Maybe even then, he sensed this was the nearest he would ever come to leading a fully-fledged Concert Orchestra, playing America's finest auditoriums and concert-halls, and performing a new, exciting and original form of Progressive American Music. For four months the Innovations caravan criss-crossed the United States and Canada. Maynard Ferguson told it right: "The Innovations Orchestra was a tremendous organization of some 45 people. There were at least 80 band uniforms, and everything from an aluminum foldaway band-stand to 2 massive coaches to transport all the equipment, and the musicians, on the series of concerts, some of them, 1,000 miles apart. There were also 3 or 4 band boys. We all found Stan a pretty easy guy to work for. But he ran a pretty difficult book, and it took you all your time to master it. Stan was thoroughly dedicated, and so were his musicians. There was never any questions of paid rehearsals. You never quit early for a date with a girl. working with Kenton was a full-time job!" Some of the concerts were sell-outs, others were poorly attended. A majority of the critics were skeptical — thought that was nothing new. And I have to admit to a grudging admiration for the journalist who wrote: "June Christy has a distinctive, urgent style, and a throaty contralto, that sounds like an inspired newsboy, mortally wounded." More alarming was the fact that many of the fans, especially the kids, were not reacting to the music with the same enthusiasm they had shown in the past. With hindsight, we know that big bands were doomed anyway, especially playing the kind of music Stan was featuring, and with a weekly pay-roll of $13,000 dollars, the band was losing money hand over fist. Stan wound up convinced the tour had been his greatest artistic success ever, and with a financial loss of over $125,000 dollars to prove it. And that was in 1950 money, of course.

For Stan, the music made it all worth while. A "ringer" at the concert was a Dennis Farnon arrangement of ALL THE THINGS YOU ARE, which Maynard Ferguson had recorded for Capitol with the Charlie Barnet Orchestra. Kenton considered it as a fine show-case for Maynard's talents on the trumpet, and since Stan had given Barnet a flock of Rugolo arrangements in 1949, it was only fair that he got something back in exchange. Anyway, Stan was playing ALL THE THINGS YOU ARE NIGHTLY, when he suddenly goat a call from Capitol Records telling him to stop at once. Jerome Kern's widow had heard the Barnet record, and was threatening to sue for half-a-million dollars. According to Ferguson: "Actually, our version wasn't that wild. It only took off after the first 16 bars of melody, which was treated quite legitimately. But I suppose after that, the treatment, which allowed me plenty of scope to display my high-not trumpet, was pretty far out to anyone accustomed to hearing it played or sung straight." This version with Innovations is not terribly well recorded, but Maynard comes on pretty strong, so this is the arrangement all the fuss was about in 1950. And if we get sued for half-a-million dollars, I disclaim all responsibility! [All The Things You Are — Concert Tape, Oakland, California 2/16/50].

After that, Shorty Rogers came to the rescue, and wrote the chart entitled after Maynard's name (MAYNARD FERGUSON). Shorty also did several other name-pieces, featuring the soloists, including the compositions named after ART PEPPER, BOB COOPER and CONTE CANDOLI. Even then, the solos were often written out, and the men had to perform within tightly written frameworks, and I think it must be true to say that Innovations was a Composer's Orchestra, rather than an Improviser's. Very important to the repertoire was the writing of Kenton himself, and his chief arranger, Pete Rugolo. Rugolo deserves a program of his own, but of all his contributions, my vote goes to MIRAGE, from the first Innovations album. Most of you I am sure will be familiar with MIRAGE, a descriptive work which lent itself especially well to lighting effects, producing a stunning combination of music and electronics, Kenton-style. During the opening passages, while the various instruments create an illusion of a mirage forming, the orchestra was bathed in a red glare. The was transformed into a flood of white light during the climax, as the full orchestra displayed the expanse and splendour of the complete mirage. Then, as the vision begins to fade, the musicians played in near darkness, until at the end as one realises it was only an illusion, the lights flashed bright again. What wouldn't we all five to be able to attend such a concert today?!

Two men who were to become important contributors in the future, first entered the Kenton orbit in 1950. Johnny Richards's first score for Kenton was the gorgeous SOLILOQUY. It was the only work by Richards played by the Innovations Orchestra, though Johnny did write others. Presumably, Stan didn't like LUCIFER AND JOHN DOE, or 17 MICE ON A CONGA DRUM, because to my knowledge they were never played in public, though they were copied for the bad by Clinton Roemer. Bill Russo also entered the Kenton book at this time, with SOLITAIRE and HALLS OF BRASS. Milt Bernhart was the soloist on SOLITAIRE, and he told me he'd first played the piece in 1948, when it was called FOR ROGER, in Bill Russo's "Experiments In Jazz" Orchestra in Chicago. Bernhart said that only the first chorus of SOLITAIRE was written out, and for the reminder he followed the chord symbols. Russo also arranged for June Christy, who returned to the tour with both editions of Innovations. Stan was very interested in exploring the use of the voice in wordless form, as another instrument of the Orchestra, and encouraged his arrangers to experiment in this way. Although the concept proved something of a blind alley in the long term, it worked superbly well in Pete Rugolo's CONFLICT, as well as in Stan's own name-piece, JUNE CHRISTY. Anyway, Russo took his cure from Rugolo's LONESOME ROAD, and arranged GLOOMY SUNDAY, to include wordless portions as well as the song lyrics. It's a pretty complicated score, but June sings with great authority, as befits "The Voice of the Stan Kenton Orchestra." [Gloomy Sunday — Mark 56].

When Innovations 1 disbanded in June of 1950, instead of resting and preparing for the next concert tour as he'd intended, Stan was forced to swallow his pride and return to the dance halls and jazz clubs with a "dance" band, and a hit record on SEPTEMBER SONG. Actually, this "dance" band, basically the unit from Innovations, played great jazz, and some of the critics maintained this was the music the musicians preferred. Several protested, Shorty Rogers and Shelly Manne among them, and said they stayed with Stan because they approved o Innovations, and wanted to remain a part of it. Milt Bernhart told me: "The 1950 Carnegie Hall concerts were the high spots for me. Carnegie Hall, even at this late date, is a name synonymous with prestige and achievement. But in 1950, with an Orchestra that did bridge a gap between jazz and symphonic music, before the most highly kind of sophisticated audience, in the city that was then certainly the musical capital of the world — the feeling of walking to stage front and playing an extended solo on SOLITAIRE, knees knocking, heart pounding, but living through it, hearing the applause, feeling the elation — how else can it be described except as the biggest thrill a lifetime can offer." Equally emphatic was Shelly Manne. downbeat asked him outright which he preferred playing on, a jazz record like HOW HIGH THE MOON, or his Innovations name-piece, SHELLY MANNE. Said Shelly: "I am happier with the symphonic Kenton Orchestra than I was with the Artistry band. I enjoyed making the SHELLY MANNE record better than HOW HIGH THE MOON. Definitely! HOW HIGH THE MOON was just a fine jazz record. The best of the Innovations music will set a pattern for the future."

Despite all the warnings and financial drawbacks, Stan kept faith with his fans and his musicians, and organized the second Innovations tour in September of 1951. It's amazing how similar the personnel was, and for almost 2 years on, the saxophones were identical to Innovations 1 — Bud Shank, Art Pepper, Bob Cooper, Bart Caldarell, and Bob Gioga. So don't tell me the musicians didn't support Stan's aims. Unfortunately, few of the new works by Shorty Rogers, Bill Russo, Manny Albam, Franklyn Marks and Pete Rugolo were recorded, because Capitol was coming on strong. The first Innovations In Modern Music album had carried the tag: "Volume One;" but it had not sold well, and Capitol flatly refused to title a second album with the name "Innovations," which they saw as a turn-off for the fans. So Stan abandoned plans for Innovations Album Volume 2, and instead, resolved to record in its entirety the most advanced piece of music in the whole Innovations repertoire. Bob Graettinger's CITY OF GLASS dated from 1948, but the rewriting in 1951 to include the strings turned it into virtually a new composition. I believe Stan rated Graettinger so highly for several reasons. And Stan did unreservedly approve of Graettinger's music, and couldn't understand why many of those people who enjoyed Progressive Jazz in general, did not respond to Graettinger in the same way. I am sure Stan was fascinated by Bob's life-style. God knows, Kenton took chances, but Graettinger did not have a commercial bone in his body. He literally lived for his music, didn't give a damn about money or possessions, even eating and sleeping were disruptions to his work. Such extreme dedication must have impressed Kenton deeply. Even more, Stan recognized in Graettinger's writing a unique talent, music that was beyond category. In Graettinger's work, Stan found an intensity and passion — A SOUND — that gratified his senses. Bob's writing was hard, crisp, skillfully constructed, energetic and LOUD — all the "masculine" attributes that Kenton most admired.

Bob's description of CITY OF GLASS took up a whole page in the 1951 Innovations program, and was the only composition named. But only a single selection — either REFLECTIONS or DANCE BEFORE THE MIRROR — was ever played in concert; the reasons given being lack of rehearsal time. I suggest it may equally have been a desire not to alienate the audience. Because although the name GRAETTINGER and CITY OF GLASS are inseparable, this is not the Graettinger that a lot of people, including myself, enjoy the most. Bob was not a thematic writer, and CITY OF GLASS contains little in the way of a recognizable theme. You do NOT go away humming the melody! It is rather 16 minutes of atonality, or as Bob's biographer, Roger Morgan phrased it, "Familiar Graettinger cacophony." In my experience, those with a regard for modern classical music are the most likely to champion CITY OF GLASS, and they include my good friend and colleague Pete Venudor, who incidentally is here with us this week-end. Third Stream expert (and coiner of the phrase, "third stream") Gunther Schuller found in CITY OF GLASS: "Almost no jazz material, certainly not from any conventional point of view, but it came to be confused with jazz by many people, simply because it was performed and recorded by Stan Kenton and his Orchestra." There is, of course, much more to Bob Graettinger. His unique style of writing is outstanding on the arrangements of standards, like YOU GO TO MY HEAD, and compositions like A HORN, and INCIDENT IN JAZZ. Much has been made of Bob's practice of writing for individuals within the band, to draw on their own personal styles of playing. The most convincing example is the piece called simply, A TRUMPET. Willie Maiden has said that Graettinger listened closely to Maynard Ferguson for hours on end, before writing a note. Bob was there even while Maynard was working-out before performances, and incorporated these warm-up exercises into the final score. A TRUMPET is altogether a much more complex and musical work than the Rogers' title-piece, MAYNARD FERGUSON. Sure, the high-note work is there when Maynard shrieks out his challenge, but A TRUMPET explore the whole range of Ferguson's virtuosity, in the well-integrated, carefully-crafted concerto. Please note — in talking about Graettinger, I managed not to use the word "controversial" once! [A Trumpet — Capitol].

When Innovations 2 ended in December of 951, so did this period of Stan's career. But as one thing ends, so does another begin. Stan's musicians left the band in droves, and men like Bud Shank, Shelly Manne, Shorty Rogers, Bob Cooper and John Graas, settled in Southern California. They used their classical experiences with Kenton to form the vanguard of the new West Coast Jazz movement, which flourished for the next decade. Kenton had to rebuild a completely new orchestra, which he tactfully termed, NEW CONCEPTS — OF ARTISTRY IN RHYTHM. If you can bear with me for a few moments more, I'd like to suggest that the second half of this title is a load of cobblers. Capitol wouldn't wear it, but a much more factual name would have been: NEW CONCEPTS OF INNOVATIONS IN MODERN MUSIC. Because, NEW CONCEPTS was no retreat to 1946! Consider: (1) The NEW CONCEPTS band continued to play a number of Innovations scores, albeit, without the strings — SOLITAIRE, ENNUI, COOP'S SOLO, IMPROVISATION; (2) The band went right on playing and recordings Innovations-type material. Most of Graettinger's THIS MODERN WORLD was written for and recorded by the NEW CONCEPTS band....and what are DUSK, EGDON HEATH, MY LADY, A THEME FOR FOUR VALUES, if not Innovations minus the strings?....(3) Even the NEW CONCEPTS swingers — YOUNG BLOOD, SWING HOUSE, BILL'S BLUES — bear no resemblance to SOUTHERN SCANDAL or PAINTED RHYTHM....both in terms of writing and of solos, they are much closer to the Innovations' JOLLY ROGERS or BLUES IN RIFF.

There was no retreat on Stan's part. The strings had to go, and dances had to be played, but otherwise he continued moving straight ahead, as ever. And, meanwhile, we have the recorded memories of "The Noble Failure" — it was just too expensive to succeed, but remains perhaps Stan's greatest artistic achievement. [Love for Sale — Cornell CD][Closing Theme — Mark 56 CD].

[Editor's Note: nicely articulated, Michael. I wish that I were in Daventry to absorb the entire effect of your presentation! Magnifique!]

By Lillian Arganian

Imaginary scenario: On a beautiful Spring afternoon in the brightly-lit ballroom of a resort hotel nestled in the heart of England, Stan Kenton sits front and center, suit impeccably pressed, silver-blond hair sleeked back, grinning broadly. The band on the stage is not his. They are not playing his music. They are not even wearing matching outfits! He seems not to notice, for he is hearing something that excites him. A new sound, in an exotic meter! Toying with the idea of dismissing the members of his own band and hiring these musicians on the spot, he leads the applause grandly at the end of the first number, "Thus Spake La Frustra," smiling at the reference to his own "2001 Revisited." Leader Kent Orton acknowledges the applause for his Don Ellis Connection big band. His set continues with "Passacaglia and Fugue," by Hank Levy. And while Stan might well have poked Levy in the ribs at this point and demanded,"How come you don't write that way for me?!" the fine line of imagination evaporates, the image of Stan the Man disappears, and what remains is one of the freshest, most delightful concert jazz fans have heard in years.

Rendezvous in Britain '94, a three-day celebrations of the life and music of Stan Kenton held April 30-May 2, had at its center the welcome explorations of the music of Don Ellis, at its end the return to Kenton standards and favorites, performed by the Radio Big Band (formerly BBC Big Band), and at its very beginning, a plunge into Kenton's own experimentation, in an enlightening presentation by Kenton discographer, Michael Sparke, entitled "The Innovations Orchestra." [Editor's Note: Presentation excerpted herein.] Held in Daventry, England, which lies eighty miles north of London and forty miles south of Birmingham in a peaceful, bucolic setting, Rendezvous '94 continued the tradition of Kenton tributes in the UK that have been occurring almost annually since "Viva Kenton!" — the World's First Stan Kenton Convention, at Oldham/Lees in 1987. (Seems like the day before yesterday, doesn't it?). Murray Patterson and John Healey were the organizers, with assistance from Arnie Chadwick, and if there is a more fun way for a Kenton fan to spend three days than this, it must be a dream. Breakfast with Kenton fans, stimulating early-morning discussions, bright concerts highlighted with the presence of Kenton alumni — in this case: Bill Holman, Roy Reynolds, Bud Shank, Jiggs Whigham and Bill Perkins — and late-night gabfests where you could argue/rehash/share a laugh/forget to its end there was just one glimmering thought i people's minds: "When's the next one?"

"Artistry in Rhythm" opened the proceedings and, after introductions and announcements by host Murray Patterson, started off the first presentation as played by the Innovations Orchestra, with Michael Sparke, Kenton discographer at the helm. [Editor's Note: The Sparke presentation appears elsewhere in this issue as does information about Kenton on Capitol and Creative World.]....Panel Number 1 featured Roy Reynolds, Ernie Garside, Vic Lewis and Arnie Chadwick and was hosted by Bob Holness. These sessions always elicit some wild story of other from someone's not-so-distant memory, and flesh out the image of Stan the Man and his sidemen in their own special way. Reynolds, for example, told the story of how he intended to give his notice after three years, and was sitting at the bar gathering up the courage, when Stan noticed him. "Hey, Roy!" Stan said, and "Bartender! Give him a double vodka!" After that, of course, Reynolds' resolve turned to soup. "How can you give your notice after something like that?" he laughed. "I stayed on the band another three years!" .......At about 5:30 Saturday after noon, we sat around like little kids at the cinema, waiting for the start of the much-heralded film "Bound to Be Heard," starring Stan Kenton and his band. It started dramatically, with Stan conducting "Malaguena" against a fiery orange background. It was absolutely smashing! The cinematography was superb! There were scenes of Balboa, of Stan talking, of a very young Dick Shearer as band manager, of the band behind the scenes warming up. One comment from a young North Texas State player was telling: "I don't think I've ever played as loud and as soft on the same chart." Stan was eloquent as he philosophized: "Why are people so reluctant to accept new music?" And, "If we didn't have young people to play to, music would never change." His dedication to new ideas was very apparent throughout the picture.

Young people were the stars at the celebration's first live music fest in the form of the Midland Youth Jazz Orchestra, led by John Ruddick, Saturday night. At times the sheer virtuosity and rapid-fire articulation of the ensemble work in this band were nothing short of astounding. A good example was in their playing of "Scrapple from the Apple," where the Parkeresque phrasing and expression were downright mind-blowing. Their wide repertory included tunes by Tom Kubis, Bob Florence (a band favorite, this reporter was told) in his composition "Willowcrest," Frank Rosolino's "Blue Daniel," Bob Brookmeyer's "Skylark" as well as Kenton's "Body and Soul" and Holman's "Malaga," and their unbridled enthusiasm was catching. Reynolds, Whigham, Perkins and Shank wach played solos with the band, and the band, and the band featured several very capable soloists from among its own ranks.

Following an unexpected "alarm call" that roundly permeated the rooms of the hotel (set off by "the local Glenn Miller Society" someone facetiously offered up) and a good English breakfast, Day 2 was off and rolling with Reg Wing's presentation "Stan Kenton: The Beginning." If the alarm didn't wake the delegates, the first recorded sound of Stan Kenton on piano from July 22, 1937 certainly did. Stan could be heard striking swinging chords in Gus Arnheim's orchestra, doodling the tune behind singer Jimmy Farrell. Many other interesting early examples followed, following Stan through the bands of Vido Musso and Manny Strand, leading up to Stan's own early disks, where the driving force of his band was already apparent. One very surprising number arranged by Ralph Yaw and featuring Marvin George on drums bore a striking resemblance to "Sing, Sing, Sing."........Panel #2, featuring Whigham, Holman, Shank and Perkins, with Vic Lewis as moderator, was opened to the audience for questions right at the start. Questions ranged from those of instrumentation and style to the Innovations and Neophonic orchestras, impressions of the '56 tour (remembered with startling recollection by Perkins — "We were existing on raw adrenalin — we didn't get much sleep...."), to a comparison of Kenton drummers to what the band members listened to in their off-hours. Sometimes the answer got a bit off-course, but usually some bit of inside information came to light in unexpected fashion, such as Capitol Records' somewhat disconcerting echo effects used in recording at the Rendezvous Ballroom in 1958, or Stan at one point needing a second alto in the worse way — and hiring a second baritone! Or a colorful way of describing a thing came forth, as Whigham's relating of one drummer's experience trying to drive some bands as being "like pulling the Queen Mary through a sea of Mars bars." Laughter was abundant and a good exchange between audience and musicians was present. Shank's comment in response to a Ferguson question was typical. "Maynard was the young kid who came out of Canada with a trumpet in one hand and a quart of milk in the other. He was Mr. Pure. That all changed later...." You get the idea....."

Don Ellis was greatly criticized by the critics and a lot of other people and other musicians and was laughed at because of his willingness to step out on the edge of a cliff. That's what my band's going to do in a few minutes' time." With these words Ken Orton hoped to prepare the audience for his concert of Ellis music as played by his band, the Don Ellis Connection. It was closer of some very enlightening background on Ellis presented by Orton and Cyril Pelluet in a pre-concert introduction. So why was it, then, that the music that followed sounded exactly right, thoroughly delighted the audience, crackled the air with excitement, set off odd-meter vibes in all directions, and got everyone to talking about for hours afterward? Wy, because it was innovative. And fit into the Kenton celebration like electric lights on a Christmas tree....Martyn Harris on trumpet and flugelhorn, plying Don's part, was brilliant, taking to his role as if born for it. In fact, the whole band seems ideally suited to play this music. "Turkish Bath" was this writer's favorite. Another beauty was the "Princess (theme) from Star Wars." And there was "Eros," "Mercy, Maybe Mercy," "Indian Lady," "A New Kind of Country," and "Excursion II." With gorgeous quarter-tones and reverb effects and incredible time signatures. All served up with passionate conviction. And leaving the indelible impression that Ellis is a man for our time whose time has come. (This reporter had to miss the Vic Lewis interview with Malcolm Laycock, because of a pre-arranged interview).

Stompin' At the Danetree......Sunday night went out with a bang. Jammin' time, and they let it fly — Shank, Whigham, Perkins, Reynolds, and a great British rhythm section comprised of Dave Newton on piano, Paul Morgan on bass and Martin Drew on drums. "What Is This Thing Called Love," an uptempo piece that really cooked, features some exciting contrapuntal lines among the four horns near the end. Jiggs Whigham was having all kinds of fun, playing on Stan's words as he introduced numbers in Stan's language. "What we'd like to do next is a DESIGN on of the great Thelonius Monk's tunes. We like to call this a design on "Blue Monk." And, later, "We'd like to our design on "Autumn Leaves." In the second half each guy took turns with the rhythm trio. Shank was first, playing "Night Has A Thousand Eyes," followed by Reynolds in "The Way You Look Tonight," Whigham in "Body and Soul," and Perkins on soprano sax in a walkin' blues that was wailin' before long. The rhythm group did a solo section, then a great closer in "Straight No Chaser" closed the set with full ensemble.

"Tampico," yes. But "Artistry in Harlem Swing???" Stan Woolley entitled his Monday morning presentation "Gene Roland: A Many of Many Chart" — and set out to show just that through the several decades of Roland's association with Kenton. "He was a prolific composer," Woolley began. "In fact, I'd even go so far as to say he was a compulsive writer....He simple couldn't stop writing." And, "If there was a mainstream to Stan Kenton's music, that mainstream was provided by Gene Roland. He was a constant thread right through the music from the mid-1942 when he first came on board the band as a writer and trumpet player and right through all the various eras." .....Woolley offered up a neat insight: "I think he tended to look at sections of an orchestra as band within bands, and he wrote for these in his arrangements. He piles one on top of the other and in the end they all came together." Woolley began his musical illustrations smack dab in the middle, with the Mellophonium Band and "Reuben's Blues," (from "Reubin, Reubin") from December, 1961, composed and arranged by Roland, with Roland on soprano, and followed with a comprehensive sampling ranging from "Tampico" to "Everybody Swing," to "Shoo Fly Pie and Apple Pan Dowdy," to, yes, "Artistry in Harlem Swing" (from April, 1947! A new one for this writer!) and turned up many surprises on the way. You see, that's why these things are so enlightening. Woolley discussed Roland's colorful history at length, including his association with Jimmy Giuffre and the genesis of "Four Brothers," which he called "Gene Roland's idea turned into a composition by Jimmy Giuffre, arranged by Al Cohn," stating that even Giuffre credited Roland with the piece. He played "Opus in Beige" and, from the "Viva Kenton!" album, "Mission Trail;" also, "Dragonwyck" in Roland's role as "architect of the Mellophonium Orchestra," and "Country Cousin" from the 70s.

Arnie Chadwick addressed his audience following a particularly smashing, all-stops-out, bring-the-house-down recording of a 70s performance of "Malaguena." "I was speaking to my next-door neighbor the other day. He's a Kenton fan..." The audience burst out laughing. Music that was recorded by various people at various placed in 1973 — the same band that was on the '73 English tour — was the theme of Chadwick's presentation. [Performances from that period were played]. Arnie said, "I hope it's illustrated to you that the bands of the seventies were excellent bands. They've got everything, as far as I'm concerned — superb soloists, superb rhythm sections, superb section work, and by God, they had enthusiasm." He concluded with a stellar recording of "Artistry in Rhythm," and cheers at the end from the audience were as much for him as for Stan. "Artistry" kicked off the final event of the celebration, the Gala Concert featuring the Radio Big Band. Its opening strains were led by Vic Lewis, who then introduced bandleader, Barry Forgie. In true Kenton style, Forgie's first choice was a slow, emotional rendering of "Here's That Rainy Day." (Don't you love it?) Then "A Little Minor Booze," "23 Degrees North, 82 Degrees West," followed by "Roy's Blues," with Roy Reynolds in the starring role, and a Kenton medley of such favorites as "Eager Beaver," "Painted Rhythm," "Jump for Joe," and "Opus in Pastels." Two numbers by Mulligan were next, "Youngblood" and "Walkin' Shoes," then a neat collaboration with Whigham playing the trombone solos in "Collaboration" and "Peanut Vendor." (Not too many concerts with that set-up!) Next was "Pennies from Heaven," followed by a special treat, Hank Levy's tribute premiered at the Las Vegas gig of 1992, "With the Old Man in Mind," with charts flown over just for that night......memorable in the second half of the concert were performances by the Kenton alumni, with the band led by Bill Holman. Shank's "Stella by Starlight" solo and "Lover Man," were outstanding. Whigham, introduced Holman as "the talented, charming, affable, groovy," addressed the audience to say that "a sense of family, a sense of Stan" were there, and he dedicated his number, "I'll Be Around," the memory of former Kenton drummer Mel Lewis. Perkins showed that with each successive performance of "Yesterdays" the messages life has taught come home in his ever more insightful and deeply-felt playing; he followed with "Out of Nowhere," also arranged for him by Holman....Holman "soloed" as bandleader with his own arrangements of "Hav-A-Havana," "Stompin' at the Savoy," and "Malaguena," to the crowd's delight. The concert concluded with "Intermission Riff" and following many thank-yous and farewells, the closing "Paaa.....daaa!" and final measures of "Artistry in Rhythm."

It was hard to wrap up such a gig, hard to say goodbye to friends one will not see again for probably a couple of years. Monday night the delegates who remained behind gathered in informal groups and finally made their way for one last showing of Kenton movies, then it was time to say goodnight. On the way out from the cinema, we were discussing who was the greatest Kenton fan of all. Arnie Chadwick summed it up: "Roy Edwards (of the Birmingham Stan Kenton Appreciation Society) defined it well: 'The greatest Kenton fan of all is the one who has TWO copies of 'City of Glass' — and one of them is worn out!'"

[Editor's Note: Murray, John — sorry I couldn't be there! UKer George Mitchell summed it up nicely "a musical's finest musicians."]


This could be your last chance to join the Woody Herman Society. The last issue of THE HERDS, included this message: "Regrettably, due to the lack of enthusiasm, interest and slow membership returns in the Woody Herman Society, the Fall Issue will most likely be the last publication of THE HERDS and the Society will be dismembered. To All Of Our Society Members, our heartfelt thanks for your support and encouragement, for trying to keep Woody's memory and music alive. We have never become financially sound to support our established goals. Whatever monies are left at the time of dismemberment will be given to the Berklee College of Music. Although there may not be a sufficient amount to support a scholarship, perhaps the College can purchase something in Woody's name." [Editor's Note: Don't let this happen, NETWORKERS. Send in your words of enthusiastic support and application of $15.00 per annum to: Al Julian, The Woody Herman Society, 40 Cottage Avenue, Winthrop, Massachusetts 02152. Woody deserves better!]


The Big Band Hall of Fame, Robert De Mars, Promotion Director, Sutton Place South #305, 2778 South Ocean Boulevard, Palm Beach, Florida 33480, 407-832-4607.

....Bill Gottlieb, 11 Market Lane, Great Neck, New York 11020, 516-466-0495, FAX 516-829-2447, still has photographs of Stan Kenton available for sale. His jazz book and files include more photos of Kentonians than any other jazz group, his jazz images appear on more than 300 album covers, posters, postcards and T-shirts, and this year, three of the four jazz singer stamps (Billie Holiday, Mildred Bailey & Jimmy Rushing) which will be issued by the USPS are based on his photographs. Gottlieb's book, The Golden Age of Jazz, is still available with 16 photographs of Kentonia at $18, including priority mail ....The World Jazz Network's JAZZ CONNECTION continues to be published by Melanie Sunbeam Smith, 53 Harmony Lane, Midway, Kentucky 40347-9739.....MARGE HOFACRE'S JAZZ N.E.W.S ($3.50 USA) PO Box 2441, Idyllwild, California 92549-2441....

For Frank Sinatra Fans, you can purchase interesting videos of Frank from Rick Apt, PO Box 343, Linwood, New Jersey 08221, 609-272-1487; send for order form and listing of available videos.....Maynard Ferguson Fan Club, PO Box 11056, Memphis, TN 38111. $15.00 per year; $18.00 foreign....IAJRC JOURNAL, USA: Murray Slockover, PO Box 855, Tenafly, NJ 07670; Europe: Barbara A. Sparling, 51 Ashtree Road, Bitterne Park, Southampton SO2 4LY, England...for jazz record collectors.....Sherm Wilkinson has been tearing up the computer bulletin boards and has been talking up Kenton on the Prodigy Music Bulletin Board; Prodigy subscribers, try him at: Sherm Wilkinson UVVA94B....THE TOLEDO JAZZ ORCHESTRA under Nick performed in tribute to Stan Kenton to a 2 night sold-out audience recently ....CRESCENDO JAZZ MUSIC Journal, 28 Lambs Conduit Street, London WC1N 3LE, England; write for subscription information.

BILL RUSSO & The Chicago Jazz Ensemble performed in NYC recently. The performance by musicians, singers and dancers feature the music of Ellington, Kenton, Basie and Russo. The attendance was not strong (finals of the Soccer World Cup were on concurrently), but the response of the audience was overwhelming. Russo and troop performed the same concert at the Getz Theatre in Chicago, shortly thereafter, and with the Grant Park Symphony Orchestra, the ensemble played a wider selection of Russo's music. "A vivid and potentially lasting impact on music in this city." " A top notch ensemble." Chicago Tribune.

THE MIDLAND JAZZ CLASSIC is being presented by the Midland Jazz Association (Texas) for the 17th season — September 29th through October 2, 1994. For further information write: Midland Jazz Association, Bobby J. Crues, PO Box 4054, Midland, Texas 79704-4054, 915-683-5208, -682-5334, -694-2136.....THE AMERICAN JAZZ PHILHARMONIC Newsletter — "bringing symphonic jazz to cities across the country" — Los Angeles, New York and Atlanta, this year. For more information, write or call: American Jazz Philharmonic, 6022 Wilshire Boulevard, Suite 200A, Los Angeles, California 90036, 213-937-4905, FAX — 213-937-4908; a CD is available GRP Records, GRD-9730 (Ray Brown and Phil Woods, soloists) (arrangements by Manny Albam, Ray Brown, John Clayton and Claus Ogermann)....

BIG BAND JUMP NEWSLETTER, Box 52252, Atlanta, Georgia 30355; a lot you'll want to know about big bands, their leaders, their recordings, books and the like...

..NATIONAL YOUTH JAZZ ORCHESTRA (NYJO) — to keep abreast of what's going on with them, write: Bill Ashton, 11 Victor Road, Harrow, Middlesex, HA2 6PT, England, 081-863-2717, FAX: 081-863-8685.....JO STAFFORD & PAUL WESTON (a/k/a Jonathan and Darlene Edwards). Their music can be obtained from: Corinthian Records, PO Box 6296, Beverly Hills, California 90212-6296. (LPs or Cassettes: $8.98, CDs $14.98, plus $.90 cents $.25 cents per item after the first.)...Listen to AL RAYMOND's "Swinging Big Bands into the 90s" radio program in the Greater Philadelphia area; WPEN-AM 950 stereo am, Sundays at 1:00 pm..... MIKE CUSCUNA & TED DARYLL report that Capitol Records is still planning to release "West Side Story" by the Kenton band, perhaps as early as this summer.

THE THIRD STREAM FOUNDATION (501 (c) 3 non-profit, tax exempt educational foundation) "for a culturally diverse view of music." The foundation is led by several well-known third stream artistes, including: GUNTHER SCHULLER & RAN BLAKE. Send for literature: PO Box 1865, Brookline, Massachusetts 02146-1865, 617-868-8388....Be on the look-out for a Denon CD, "Double Standards," by Nancy Marano & Eddie Monteiro, vocalist and jazz accordionist. They are something to hear and behold!.....THE NOTE, a newsletter of the Al Cohn Memorial Jazz Collection, housed at East Stroudsburg University: Dr. Larry Fisher, Music Department, ESU, East Stroudsburg, Pennsylvania 18301.....TED HEATH MUSIC APPRECIATION SOCIETY, Pete Jones, Secretary, 138, Downs Barn Boulevard, Downs Barn, Milton Keynes, Bucks, MK14 7RP, England, 0908-232588....GREENWOOD PUBLISHING GROUP, 88 Post Road West, Box 5007, Westport, CT, 800-225-5800 for discographies of all kinds and stripes!

BIG BANDS INTERNATIONAL, Roy Belcher, PO Box 111, Reading, Berkshire, RG4 &DB, England, or Robert J. Robbins, USA, 2000 Richard Drive, Broomall, Pennsyvania 19008-2741......For A MULLIGAN'S INTERNATIONAL STEW (Gerry Mulligan fanletter), Dugelay Gerard, 14 Avenue Andre Malraux, 57000 Metz, France.....DIVA, "NO MAN"S BAND," recommended listening by NETWORKER, Joe Urso. Based in NYC, they are an all-women's 15-piece jazz group who'll knock the socks off of any jazz ensemble of that size. Urso says, "DIVA will challenge any big band!" Watch for it and buy the CD when it comes out.....BILL WARFIELD'S BAND....a NYC-based group. Catch it when you're in NYC....BBC BIG BAND now an independent band of musicians! It survives! Write: Dennis Legg, 10, Courtlands Ave., Hayes, Bromley, Kent BR2 7HZ, England, UK....JAZZ TRUMPET JOURNAL, Jazz Fidelity, PO Box 2564, Bassett, CA 91746-2564, 818-337-8546.

JOE COCCIA and his trombone choir debuted at Brown University this Spring; MATT MC GARRELL's university production was one of the best performances, yet.


Dave Hubert is looking for these Capitol Transcriptions in good to excellent condition — #A-9 [I Got The Sun In The Morning/They Say It's Wonderful/Who's Got A Tent For Rent/Come Rain Or Come Shine] and #A-14 [That's The Least You Can Do/Sepulveda/You May Not Love Me/I'd Be Lost Without You]. You can reach Dave Hubert at: 409 North 42nd Street, Seattle, Washington 98103, 206-633-4935....Tony Agostinelli is looking for two recordings: Geoffrey Corbett's Mercury recording of Kenton and Rugolo music for Princess Grace of Monaco's Coronation — HOMAGE TO A PRINCESS —Mercury MG 20149 (LP); and, STAN KENTON RECORDED LIVE IN LONDON, 1972 — the 2 CD set, please: London 820 466-2....Lou Di Fernando wants to purchase a copy of Bill Lee's book, Stan Kenton: Artistry in Rhythm. Write him if you know where to get one: 2415 N.E. 7th Avenue, Wilton Manors, Florida 33305.....Eberhard Rittweger has an MS-DOS computer program to catalogue his Kenton holdings; when they are completely tested, he would consider offering the program for a small fee, perhaps, to NETWORKERS; if interested write or call: Vestnertorgraben 1 A, 90408 Nurnberg, Germany, 0911/351284...Bob Fitzner would like info on singer Kay Lorraine; 1943 S. East Ave., Berwyn, IL 60402.


The Cleveland Jazz Orchestra (CJO) presented 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. Another special guest was BOB DOLL, now an Akron, Ohio businessman (Bella Dora Realty, Inc.), Bob was a member of the Stan Kenton Orchestra in 1977 and 1978, touring on the bus to "NOWHERE" in the U.S. and Canada. Doll was a member of the trumpet section, and recalled that each of its players was given an opportunity for jazz solos. Doll said, "Stan Kenton was like a father to me, he liked my performance and pushed his soloists to try new things, so we all tended to grow as a result of his leadership. We worked hard, doing nightly concerts and also conducting educational clinics during the day. We only had one night off a month, and we toured about 45 weeks a year. Stan directed differently every night, and he would surprise us with tempo changes on songs. He did "Body and Soul" differently every time. The band got lots of direction from Stan in terms of dynamics and tempo. Kenton was more of a pure conductor than other band leaders. Stan always rode on the bus with the band and that did much to build the fellowship and esprit de corps that was one of the band's strengths." Doll graduated from Bowling Green University, and also played with the Buddy Rich Orchestra, the Full Faith and Credit big band and the Cleveland Jazz Orchestra.

Among the selections played were: "The Star Spangled Banner," "Stan Kenton Hits Medley — Eager Beaver, Opus In Chartreuse, Dynaflow, Artistry In Rhythm," "Fascinating Rhythm," "End Of A Love Affair," "Swing House," & "Peanut Vendor." The Four Freshmen took up the entire second half of the performance.


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, 21B Kings Road, Sutton Coldfield, West Midlands B73 5AB, 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...he has the Gabel book at 17.95 pounds plus 1 pound for postage.


KENTON XV — KENTON JAM: Bud Shank — Saxophone; Jiggs Whigham — Trombone; John Von Ohlen — Drums

The Kenton Legacy included great music and the great players who frequented the orchestra. For the 15th Anniversary concert, Ray Eubanks and the Jazz Arts Group (JAG) will bring to the stage players representing 3 decades of Kentonia. Since their Kenton days, all three have become Giants in their own right. March 22-26, 1995. Write now or call for tickets to: JAG, 709 College Avenue, Columbus, Ohio 43209-2308, 614-231-7836....these tickets go quickly. If you don't buy now, you may not have a chance to do so later! Others in the JAG subscription series include: Benny Carter, Louie Bellson, Buddy De Franco and Jon Faddis. In another series, JAG will be featuring: Dionne Warwick, Arturo Sandoval and Mel Torme. DON REAM's comments about "Kenton — XIV" were apt: "The devotion of the Jazz Arts Group helps keep the (Stan Kenton) spirit alive — and well!"


Keep the date open for those of you in the Greater Cincinnati area; the University of Cincinnati Jazz Ensemble will play Kenton music on Sunday, March 5, 1995 at 4:00 pm. JOHN VON OHLEN & TIM HAGANS, among others, will be featured. Do not have location at this time; call University of Cincinnati for further details.


It's a long list, and it's been published in past issues of THE NETWORK; only those flyers which come regularly across my desk between issues of NETWORK are printed here:

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/JAZZ MARK, PO Box 943, El Dorado, AZ 71730-0943

DAYBREAK M.O., INC. 140 West 22nd St., 12 Floor Front, NY, NY 10011, 800-666-5277.

DOWNBEAT, Jazz, Blues & Beyond, 180 West Park Av., Elmhurst, IL 60126, 708-941-2030

EAST BREEZ RECORDS, LTD., 850 Field St. Bldg., 7 #1, Camden, Ak 71701

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 6297, Newport News, VA 23606-6297, 804-596-3298

JAMIE GIBSON'S GIBSON BOOKS, PO Box 271, Pamona, CA 91769-0271, 800-8-KENTON, FAX: 909-623-1381 [LPs, CDs, Videos, Books — [Strong/Serious Kenton sales]

H & B RECORDINGS DIRECT, San 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, 2094 W Redlands Boulevard, Redlands, California 92373-6287 Tel/FAX: 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 33320-6494, 305-726-5420

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

NAUCK'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

THORNBURY-HALL COLLECTIONS (Rare Jazz Auction), PO Box 1938, Beverly Hills, CA 90213-1938, FAX: 310-275-1891

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, 609-921-837

CREATIVE WORLD RECORDS (GNP Crescendo), 8400 Sunset Boulevard, Hollywood, CA

90069, 213-656-2614 & 800-654-7029


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.


BOB DOLL got out of the music business around 1988. When he moved to Ohio in 1990, he thought that he was really done with playing. Some of his old buddies back there talked Bob into playing again, and he is having fun! He is just playing jazz. As you know from elsewhere in this issue, he finished a tribute to Stanley with the Cleveland Jazz Orchestra in May, and is now playing with Ernie Krivda...."a good chance to blow some bebop," as he said. "It's good to be playing again, but hard to keep the level of performance high with just playing part-time......Bob spends most his waking hours working in real estate. He owns and manages a residential real estate brokerage firm as well as manages several large apartment complexes. He has two daughters: Alexandra is 6 years old and going into first grade this fall. Katherine is 1 1/2 years old and can sing about four songs with the correct pitches. Alex can also play the piano and is in his third year of ballet. [Editor's Note: Perhaps next issue, we can prevail upon Bob to let us know some things about his tour with the band?]


Grapevine, Texas — SCREAM!, a newsletters promoting the music of high not trumpet players, will release its debut issue in August, 1944. SCREAM! will celebrate trumpet players who have mastered the upper register. The editor of SCREAM! is Jeff Schaefer, a devoted follower of high note trumpet jazz for 17 years. He welcomes writing submissions, artwork and photography. Subscriptions are $15 per year (make payable to Jeff Schaefer) A sample "test" issue is available for $2; 30-word classifieds are available. Write: SCREAM! c/o Jeff Schaefer, 1977 Shorewood Drive, Grapevine, TX 76051, 817-421-8541 evenings or weekends. [Editor's Note: I've read the test issue; you'll love SCREAM!.]


Would you like a good read? Would you like to vicariously attend past jazz events with NETWORKER DAN BIED? Would you like to revisit with jazz greats: STAN KENTON, Earl Hines, Duke Ellington, Count Basie, Harry James, Woody Herman, and others? Would you like to remember the places that jazz happened — Eddie Condon's, The Garrick Stage Bar, Sweet Basil, the Metropole, and other venues? Would you like to see photographs of jazz greats, STAN KENTON, Billy Butterfield, Louis Armstrong, Ray McKinley, Anita O'Day, and others, through the lens of another photographer? Well, if your answer is "yes" to all of these questions, then you will have to buy and read: Dan Bied's, Jazz Memories, Burlington, Iowa: Craftsman Press, Inc., 1994. Send a check for $15.00 to Dan Bied, 108 Leffler Street, West Burlington, Iowa 52655.....Here's a sample, reprinted in part with permission of Dan Bied. "My first chance to see Stan Kenton's band was in early October, 1944, at the RKO Theater near Boston's infamous Scollay Square, a risque area young GIs such as myself had been warned to avoid. I was more interested in hot music than wild women anyway. So I went to the was an exciting show with the hipster, Anita O'Day, doing such tunes as "Are You Livin' Old Man?" and some kind of rambling "blues." Karl George provided some impressive straight-on trumpet breaks. Our outfit was headed to Europe on the Aquitania in a few days. Being able to see Kenton, instead of an "ickie" band that could have been at the theater, was a real kick." And, it continues in that manner. Order your copy now.


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! Their new CD is out: Hindsight Records ($12. the CD, $8. the Cassette)(Membership: $25. for couple, $16. for single, $30. for outside USA. Renewals $10. & 16.)

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, Europe and other international locations an International Postal Money Order in the amount of £10 sterling will cover the costs (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.




Do you want to reach me by Electronic Mail? CompuServe: 70544,1336; Internet: NETWORK XIX can be accessed on Internet: to subscribe — — in body of message: ; follow instructions. NETWORKS 15 through XIX are now available through Internet; and, you can purchase a diskette (5 1/2 or 3 1/4) WordPerfect 5.1+) of 15-XIX for $10.

You can sign on to a Kenton chat list on Internet by sending an e-mail message to and in the body of the message: . {Put to bed: 8/1