The Network XX

January/February 1995

Anthony (Tony) J. Agostinelli, Editor
Prologue The Usual Fund-Raising Note: NETWORK continues to be published twice annually. The number of NETWORKERS has now risen to 1,586. 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 XX — SUPPLEMENT will be sent to you. This Supplement is a four page listing of all Kenton CDs which have been issued; it has been compiled by the noted Kenton discographer, Michael Sparke. [The Editor.]
By Editor

Milton "Shorty" Rogers passed away on November 7, 1995 at Valley Presbyterian Hospital in Van Nuys, California. He was 70. His obituary called him a jazz trumpeter and an arranger, and a pioneer in West Coast jazz. To so many of his jazz colleagues, family, friends and fans he was more than that. He was a musical inspiration to the world of jazz.

Shorty's birth name was Milton Michael Rajonksy; he was born in Great Barrington, Massachusetts on April 14, 1924. In the 1940s, Shorty worked with the bands of Red Norvo (who later married Shorty's sister) and Will Bradley (where he met Shelly Manne); he recorded with Norvo in 1945, and later again with Kai Winding and Stan Getz, for Savoy records. Following service with the Army, he joined the Woody Herman band in 1945; in 1945-6, he scored "Steps," "Igor" & "Nero's Conception" for the Woody's "First Herd," for the "Woodchoppers" and "Back Talk" for the full band. Rogers often told the story of how he introduced Jimmy Giuffre's "Four Brothers" (based on the chords of "Jeepers Creepers" ) to the Herman band. "Giuffre had already written it out and had it copied, but for some reason he couldn't go to the rehearsal so he gave it to me, and I took it. It was the first time it was played."

Shorty worked with Charlie Barnet in early 1947, where he worked with Bud Shank. Having moved to Los Angeles, he joined Woody's "Second Herd" and following that stint, began composing, arranging and playing with the Stan Kenton Innovations orchestras and road bands. Along with other then current and alumni members of the late 40s bands of Woody Herman and Stan Kenton instituted the West Coast phase of what has become known as Cool Jazz style.

Rogers designed, arranged or created a wide variety of compositions for the Woody Herman and Stan Kenton bands; among them: (1) For Herman — "Keen and Peachy"(with Ralph Burns), "Man, Don't Be Ridiculous," "Boomsie," "There'll Be Some Changes Made," "Baby I Need You," "Ballerina," "My Pal Gonzalez," "I've Got News for You," When You're Smiling," "Berled in Earl," "Keeper of the Flame," "I Can't Get Started," "We The People Bop," "I've Got a Way with Women," "Out of Nowhere," "That's Right," "I Ain't Gonna Wait Too Long," "Terry and the Pirates," "Jamaica Rhumba," "Lemon Drop," "Lollypop," "Pennies from Heaven," "I'll Be Glad When You're Dead You Rascal You," "More Moon," and many more. (2) For Kenton — "Jolly Rogers" ("Shorty's Tune"), "Maynard Ferguson," "Art Pepper," "Jam-Bo," "Viva Prado," "Round Robin" ("Conte Candoli"), "What's New," "Coop's Solo," & "Sambo," to name a few.

Shorty left Kenton in July of 1951, began playing the flugelhorn more and more, and extensively recorded with his own groups, including his faux name, "Boots Brown and His Blockbusters!" A few of those LPs are recalled here: "Shorty Rogers and His Giants" (Capitol); "Shorty Rogers Plays Richard Rogers," "Courts the Count," "Blues Express," "Collaboration" (with Andre Previn), "Clickin' with Clax," "Cool and Crazy" (RCA); "Chances Are It Swings," "Martians Go Home," "Martians Come Back" (Atlantic); "Bug In" (Capitol); "Jazz Waltz" (Discovery); " Yesterday, Today, Forever" (Concord) (with Bud Shank); "Back Again" (with Bud Shank and Vic Lewis)(Concord); just to name a few. Some of those wonderful LPs were reissued and the jazz world fed a Shorty Rogers revival. It has been reported that he was a member of a religious group called "Jews for Jesus." In his later years, he fixed his eyes and soul to his religious beliefs.

As a leader, during the 1950s he assembled a small group known as "The Giants," and larger big bands, releasing a variety of LPs (a number of which have been re-issued in CD format); among them: He also worked with a variety of smaller groups, among them: Shorty supervised the scoring of the music (Leith Stevens was given credit for composing the music) for the Marlon Brando cult film, "The Wild One" (1953), and Frank Sinatra's film, "The Man with the Golden Arm" (1955). In the 1960s, he wrote for television shows; some of those writing credits include: "The Love Boat" & "Starsky & Hutch."

After not playing in public for some 15-17 years, he was enticed to play in England by various friends, and in 1982, laden with musical charts from his 1950s big band days, he toured England with the National Youth Jazz Orchestra, playing to acclaim in Swansea, the Cork Jazz Festival, the Bath Jazz Festival, Chichester and other England venues.

He could always be counted on to lead and/or play at various Stan Kenton alumni concerts; and led his own band, playing those great 1950s chart, at the "Balboa Bash," so-called, of Kenton alumni for three glorious days at Newport Beach, California in 1989. He was scheduled to appear with his orchestra in the Fall of 1994 at the KLON-FM radio-sponsored "Jazz West Coast" events. At the time, he could not appear because of recurring internal bleeding. He died shortly thereafter.

Garth Jowett, on an Internet news group eulogized, "At the recent West Coast Jazz fest, Shorty's illness was the only cloud on the wonderful meeting. Here was not a panel or a presentation that did not acknowledge Shorty's vital contribution to the development of modern jazz. He was well-loved by everyone who came into contact with him." Bud Shank made the wire services with his remembrance: "Shorty's contribution was that he liked a softer, more sophisticated, more educated approach to music. More of a focus on composition as opposed to two horns standing up in front of a rhythm section." Lillian Arganian, e-mailed, Shorty is "playing with the angels now. At the Lighthouse in the Sky. And his rhythm is tapping out its pulse in our hearts, where he will live forever."

At Shorty's memorial service, in addition to welcomes, appreciations, eulogies, and recollections, the Lighthouse All-Stars played "Yesterday, Today, Forever," by Shorty Rogers. If you wish to remember Shorty in some tangible way, you may make a contribution in his name to: Shorty Rogers Scholarship Fund, New York Brass Conference, 313 West 53rd Street, New York City, NY 10019.

By Editor

Charles E. Shirley III, 74, Osprey, Florida dies on December 23, 1994. He was born on October 19, 1920 in Quincy, Massachusetts. He was a music arranger for the Stan Kenton orchestra. He was also a conductor and arranger for Ray Anthony, and other television programs. Memorial donations may be made in his name to the Sarasota Jazz Club Scholarship Fund, 290 Cocoanut Avenue, Building 3, Sarasota, Florida 34236. Among some of the arrangements that Charlie did for Stanley in 1942-44 were: "I Lost My Sugar In Salt Lake City,"("Salt Lake City Blues," "Salt Lake City Bounce") for Dolly Mitchell; "Liza" to showcase Red Dorris' saxophone playing; and, "Ride On," "Paper Doll," "In My Arms," "Four or Five Times," "The Stream Is On The Beam," "Moonlight Mood," "Constantly," & "It Could Be You." According to Howard Drazic, his friend, the last "live" Kenton music that Charlie heard then wrote about was in September of 1994 when Mike Arena led the Altamonte Springs Community Band in a second-half concert production of Kenton music. He wrote in part, "It was interesting to note that some of those whoe were complaining about the loud brass in the early part of the concert were now approving of the even more raucous Kenton arrangement which more often than not used heavy brass unisons and soaring trumpet dissonances. (In the early Kenton years, a musician friend of mine described the Kenton style as being like the end of the world every eight bars.)" Rest in Peace, Charles.

By Michael Sparke, & Pete Venudor with Jack Hartley

[Editor's Note: The ultimate Kenton discography. You can't be without it. Helps you collect Kenton and informs you about every release on Capitol and Creative World]. 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 531470493. 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).

The discography has been widely acclaimed: "It kept me up all night." Bill Coyle, Toledo, Ohio..... "It is difficult to imagine more information about the sessions being possible..." Alun Morgan, Jazz Journal International..... "The book is really a magnificent work." Michael Cuscuna, Capitol/Mosaic Records, Stamford, Connecticut....."It's a beautifully organized and incisive compilation....." Ted Daryll, Producer, Capitol Records, Yonkers, New York. "The Discography to End All Discographies...." Tony Agostinelli, Editor, The Network, Providence, Rhode Island.

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. The LARGEST SINGLE CONTRIBUTOR BY FEBRUARY 28, GETS ONE FREE!!!! The largest single contributor for the August/September period wishes to remain anonymous.

The Kenton Alumni Series: "Live at the Royal Palms Inn"
Phoenix Arizona, May 3 - August 25, 1993

A Boxed Set of 9 CDs featuring Rare Pairings of Kenton Alumni in Everchanging Quintet Settings:

#1 Conte Candoli and Carl Fontana

#2 Carl Fontana and Buddy Childers

#3 Bob cooper and Carl Fontana

#4 Bud Shank and Conte Candoli

#5 Shorty Rogers and Bill Perkins

#6 Carl Fontana and Steve Huffsteter

#7 Bill Holman and Conte Candoli

#8 Buddy Childers and Jack Nimitz

#9 Bill Perkins, Pete Candoli and Carl Fontana

CDs average 73 minutes/68 tunes of which 66 are Different

Order Before February 28, 1995, Mention THE NETWORK for the Pre-Release Price of $99 + $6 Shipping and Handling. The regular price is $149.

YES! I would like to order "Live at the Royal Palms Inn" at the pre-release price of $99. (before 2/28/95)

_____ sets at $99 + $6 S & H


Address:______________________________________City, State and

Zip_______________________ Amount Enclosed $_____________

(Allow 4-6 weeks for delivery)

Money orders or check to: Woofy Productions, Inc., PO Box 272, Phoenix, AZ 85001-0272


On February 9, 10 and 11, 1995, Morningside College will host the 23rd annual Tri-State Jazz Festival, sponsored by the Norman and Andrea Waitt, Jr. Foundation. On Friday, February 10th, the second half of the evening concert will feature the Mike Vax/Dick Shearer Big Band Featuring Alumni of the Stan Kenton Orchestra, and on Saturday, February 11, the second half of the concert will again feature the Mike Vax/Dick Shearer Big Band. Ticket prices for both concerts are $15., general admission.

On Thursday, February 9, there will be a dinner/concert for Morningside alumni, friends of Morningside College, and friends of the Kenton alumni Band. Featured at this event will be member of the Mike Vax/Dick Shearer Big Band, performing in combos. The cost is $20. per person for the evening which will included a buffet. Scheduled to play, but subject to change are: Steve Wilkerson, Richard Torres, Jack Nimitz, Roy Reynolds, Chuck Carter, reeds; Dick Shearer, Roy Weigand, George Roberts, Bill Hartman, trombones; Mike Vax, Dennis Noday, Jay Sollenberger, Steve Campos, trumpets; Don Haas, piano; Jon Ward, bass; Ramon Lopez, percussion. At this writing, a trumpeter, trombonist and drummer were to be contracted.

For Further Information Call Now: Lance Lehmberg, Music Department, Morningside College, 1501 Morningside Avenue, Sioux City, IA 51106, phone: 712-274-5210. [Editor's Note: Because of the concurrence of the publication of THE NETWORK and this event, THE NETWORK mailing list was made available in diskette format for special mailings to NETWORKERS. The event may have already been held by the time you read this.]


Stan Kenton toured Australia from Sydney on April 7, 1957 (April 11, 12, & 13 at Sydney Stadium)(near Rushcutter's Bay) to Melbourne, Brisbane, Newcastle and return to Sydney on April 25-27, 1957, amounting to some 35 concerts! The exact dates were:

Sydney (The Stadium)(April 11, 12, 13, 1957); Melbourne (April 15, 16, 17, 18, 20 & 22, 1957); Brisbane (The Stadium)(April 23, 1957); Newcastle (April 24, 1957); Sydney (April 25, 26, 27, 1957). The Kenton band included Australian and American bandsmen. The Americans were: Sam Noto, trumpet; Lennie Niehaus, alto sax; Bill Perkins, tenor sax; Kent Larsen, trombone; and, Chuck Flores, drums. The Australians included: Rick Farbach, guitar; John Hodgson (a/k/a Django Kahn), bass; Chris Hamilton, Ron Falson, Darryl May, Dick McNally, trumpets; Johnny Bamford, Arthur Hubbard, Stewart Dawkins, Billy Weston, trombones; and, Johnny Green, alto, Dave Rutledge, tenor sax, Jock McKenna, baritone sax,. Kenton was joined in the tour by the Lionel Hampton orchestra, the singers, Guy Mitchell and Cathy Carr, and Joe Martin, who may have been the compere. (There is some question as to whether there were four or five saxophones used by Kenton on the tour). The promoter was Lee Gordon.

The usual program was (with soloists): Artistry in Rhythm, Stompin' at the Savoy (Farbach, Noto, Perkins), Collaboration (Larsen), Intermission Riff (Perkins, Rutledge, Bamford, Falson), Stella by Starlight (Niehaus), Yesterdays (Perkins), Peanut Vendor (Larsen, Kenton)(the frontline shook small percussion instruments), Young Blood (Noto, Rutledge, Niehaus, Falson), and probably the closing Theme.

The Australian members of the band were not only paid for their services, but received a gold money clip (some thought it was a tie-clip, and wore it as such) inscribed from Stan by November of 1957 on one side, with each of their names sawn out on the other.

Here is one review which was of the Sydney event — perhaps the first of the tour. From Music Maker, May, 1957, page 8. (I have excerpted only the portion of the review pertaining to Kenton):

"Stan Kenton's US-Australian orchestra, despite the Stadium's terrible acoustics, sounded wonderful. Kenton wisely stuck to his familiar standard material, opening and closing with the famous "Artistry in Rhythm" theme. "Stompin' at the Savoy" feature Ricky Farbach, Sam Noto and Bill Perkins, and in "Collaboration," Kenton Larsen played the now famous trombone solo. Perkins and Dave Rutledge shared an excellent duet in "Intermission Riff," to which Johnny Bamford and Ron Falson contributed brilliant solos.

Also in Music Maker, the following squib appeared," I believe nearly every musician in Brisbane attended the Stan Kenton show. Special mention here for the excellent work done in this show by guitarist Ricky Farbach, whom we have come to consider as a bona fide Brisbane-ite by now."

"In their big solo numbers, Lennie Niehaus ("Stella by Starlight") and Bill Perkins ("Yesterdays") showed why they rate among the world's top saxophone stylists. Kent Larsen and Stan Kenton had superb solos in "Peanut Vendor." "Young Blood" brought forth wonderful solos from Noto, Rutledge, Niehaus and Falson (briefly).

"All told, the Australians acquitted themselves magnificently, handling the difficult scores (particularly the brass parts) with an aplomb that completely justified our pride in them."

And the magazine interviewed Stan; here's what was printed:

"STAN KENTON. Quiet, modest, philosophical Kenton had many interesting things to tell us. On his return to Hollywood, he'll endeavor to catch up with his recording commitments. 'They'll be more commercial than before, so that the discs can get more playing time on the air,' he said. 'If a band doesn't get air time in the U.S., it has a constant battle for survival. We plan to do one concert tour a year and a tour of ballroom dates to keep up the fan interest.'

"Kenton seemed despondent about the present state of jazz in the U.S. 'With so much calypso and rock 'n' roll dominating the scene, jazz is having a lean time,' he told us. In the course of a long discussion on the subject, he commented, 'A lot of bad jazz is played in the U.S., but the musicians are too close to it to realize this at the time. We only see these things in retrospect.'

"About the future of jazz? 'It will always be with us in some form or another,' he said. It is a constantly growing thing. But there are great problems in presenting good jazz to the minority who appreciate it, or want to learn about. There is always someone to underwrite a symphony orchestra, someone to maintain it so that the public can consistently hear the classics. But who will underwrite jazz? We work in a medium where we have to fight every inch of the way — or go down.'"

And one last quote from the Brisbane (?) Telegraph (undated): "The "Big Show" with Stan Kenton's band will give unscheduled repeat shows at the (Brisbane?) Stadium tonight at 6 and 8. Last night promised a record Stadium audience he would "raise the roof." He nearly did with his 17-piece orchestra (including 10 brass instruments) — but demonstrated superbly his unique talent for producing unorthodox, exciting big band music."

[Editor's Note: The above is the eighth written draft about the Australian tour. If anyone else has anything to contribute about this tour please write this Editor. Also, I have begun to research the Mexican and Japan tours; if you have any information to contribute about these tours (see below), please also write].

The Stan Kenton Orchestra: The Japanese Tour —1974

A tour was conducted by the Stan Kenton Orchestra through Japan during April 7-19, 1974.

April 6, 7: Band flies from Seattle, Washington, Northwest Orient Flight 7, Depart 1:45 pm,
arriving Japan at approximately 6:00 pm
April 8: Tokyo
April 9-10: Getsusekai Night Club, Tokyo
April 11: Sendai
April 12,13: Unknown location
April 14-15: Tokyo
April 16: Shizuoka
April 17: Nagoya
April 18: Osaka
April 19: Kyoto
April 20: Band flies from Tokyo to Honolulu, leaving at 7:30 pm


Trumpets: Glenn Stuart, Mike Barrowman, Kevin Jordan, John Harner, Mike Snustead
Trombones: Dick Shearer, Lloyd Spoon, Brett Stamps, Bill Hartman (bass trombone), Mike Wallace (tuba)
Reeds: Tony Campise (alto sax), Richard Torres (tenor sax), Dick Wilkie (tenor sax), Roy Reynolds (tenor sax), Rich Condit (baritone sax)
Kerby Stewart (bass), Peter Erskine (drums), Ramon Lopex (congas), Stan Kenton, piano

The Stan Kenton Mexico Tour — 1960

The tour was sponsored by Carta Blanca Brewery [Aqua Caliente; Escuadron, Tijuana, Mexico 2013300] and there were performances in these cities:

June 7: Auditorio Municpal, Tampico, Tamaulipas
June 8 & 9: Arena Coliseo, Monterrey, Nuevo Leon
June 10: Concha Acustica del Agua Azul, Guadalajara, Jalisco
June 11: Auditorio Nacional, Mexico City
June 12: Palacio de Bellas Artes, Mexico City
June 13: Plaza de Toros Alberto Balderas, Ciudad Juarez, Chihuahua

Personnel ?


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.

Capitol Records and Mosaic Records are planning these releases in the very near future according to Michael Cuscuna, Ted Daryll and Michael Sparke: (1) The Bob Graettinger Charts — liner notes by Gunther Schuller; (2) The Best of Stan Kenton — liner notes by Ted Daryll — due out in April& to include: Artistry in Rhythm, Eager Beaver, Artistry Jumps, Painted Rhythm, Intermission Riff, Collaboration, Lover, Unison Riff, Peanut Vendor, Interlude, Love for Sale, Laura, 23oN 82oW, Invention for Guitar and Trumpet, Stompin' At The Savoy, La Suerta De Los Tantos, Waltz of the Prophets, & Malaguena; (3) Day Dream — with June Christy's '47-'50 material on her own as well as two more duets with Kenton previously unissued; (4) The Kenton Era Boxed Set (in association with the Smithsonian Institution; and, the Complete Capitol Recordings of the Pete Rugolo Charts (1944-1952) — Mosaic boxed set.

Below listed are a number of issues/reissues of Stanley's music; other releases have been listed in past issues. New additions to the list are emboldened.

Artistry 002 IN CONCERT — 1956
Artistry 003 THE EUROPEAN TOUR — 1953
Astral Jazz 101CONCERT IN WEISBADEN — 1953
Capitol CDP 7 89285 DUET — May, 1955
Capitol CDP 7 92865 2NEW CONCEPTS OF ARTISTRY IN RHYTHM — Sept., 1952
Capitol CDP 7 96260 2CUBAN FIRE! — May, 1956
Capitol CDP 97350 4RETROSPECTIVE — 1941-1968
Capitol CDP 7 98451 2KENTON IN HI-FI — 1956
Capitol TOCJ 5651-5655 5 THE CREATIVE WORLD OF STAN KENTON — 1941-1954
Capitol CDP 7243 8 29914 2 7Stan Kenton's West Side Story — March/April, 1961
CEMA/Capitol CCM 001 S-21 18053 June Christy and the Stan Kenton Orchestra — '45-'51 *
Channel Crossings CCS 6394 CITY OF GLASS (The Ebony Band, Holland) — 6/93
Garland 006SUMMER OF 1951 — March, 1951
Hindsight HCD 157THE STAN KENTON ORCHESTRA, Vol 5 — 1945-1947
Hindsight HCD 40718 ORIGINAL BIG BAND RECORDINGS — December, 1961
Jazz Unlimited 2008LIVE AT CORNELL UNIVERSITY — October, 1951
Laserlight 15 725STAN KENTON (Sound '62)
Laserlight 15 770INNOVATIONS IN MODERN MUSIC — October, 1951
MCA MCAC 20522GAMBLER'S BLUES — 1942 (Decca 78s)(Cassette Only)
Magic DAWE 43THE RED HILL INN — 1961/1962
Magic DAWE 50 & 53LIVE AT THE MACUMBA, 1 & 2 — November, 1956
Magic DAWE 56, 57 & 58 LIVE AT THE PATIO GARDENS, 1, 2 & 3 — 1957
Magic DAWE 64 & 65LIVE IN COLOGNE 1976, 1 & 2
Magic DAWE 66STAN KENTON: ONE NIGHT STAND — September, 1961 & July 19, 1962
Natasha 400623 DEGREES NORTH, 82 DEGREES WEST — 1952
Natasha 4017CONCERT IN MINIATURE ENCORES — 1952-1953
Spectacular SPVD 2204STAN KENTON & HIS ORCHESTRA — 1961
Status 102 & 108AT THE RENDEZVOUS, Vols I & II —1958
Status 104IN NEW JERSEY — 1959
Status 109AT UKIAH — 1959
Status 112LIVE IN PALO ALTO — May 13, 1955
Status DSTS1001STAN KENTON LIVE AT BARSTOW — January 30, 1960
Status DSTS 1003Stan Kenton Live at the London Hilton 1973, I — February 21, 1973 **
Status DSTS 1005Stan Kenton Live at the London Hilton 1973, II — February 21, 1973 **
Tantara TCD 1112 STAN KENTON: A TIME FOR LOVE — April 21, 1978
Total 3002IN A MELLOW MOOD — 1958
USA Music GroupUSACD 600 SOUNDS OF THE BIG BANDS, VolsI & II [3 Kenton Cuts]

* This June Christy CD set is only available at this time from: Collectors' Choice Music, 1-800-923-1122, PO Box 838, Itasca, Illinois 60143-0838.

** SUBMARINE (Magic & Status) 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

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 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.


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. (The Dennis Noday Stan Kenton Alumni Band). 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 an expression of many written letters — "by the numbers!"]

JAZZ AT CCM (University of Cincinnati) Presents:
A Tribute to Stan Kenton on Sunday, March 5, 1995 at 4:00 p.m., in Corbett Auditorium. For ticket information, the CCM box office at 513-556-4183

By Ed "Gabe" Gabel

Stan wasn't making any extra money; he barely met the payroll. He paid everyone in cash; no one complained about their salary. Everyone in the band had faith in Stan and the music. His presence and enthusiasm on the bandstand led the musicians to play with a driving force and intensity unheard of until they played the exciting new arrangements that Stan had written. When Stan, seated at the piano, played the introduction to Artistry in Rhythm, the hair on the back of my neck bristled from the emotional, romantic mood the piece created. To be associated with the best musicians in the country and the exciting, dynamic music of the Stan Kenton Orchestra was a thrill of a lifetime.

"Gabe," Stan said, "You have never been to California. You'll love it. It's time to go home." We headed west on the Union Pacific Railroad, with scheduled stop-over dance engagements along the way. During the war, the Union Pacific had a transcontinental train called the Challenger. It was appropriately named, for it was crowded with GIs being transferred between bases so finding a seat, or even a place to stand, was nearly impossible. I chose to sit on luggage in the vestibule between the passenger cars. Fortunately, after riding two thirds of the way across the country, we were able to break up the journey with planned stops in Denver and Salt Lake City.

In Denver, we played for a week at the Elitch Gardens, an amusement park in a suburb of Denver. It was a fun week. We all enjoyed the various rides the park offered and it was a relief to stay in one place again, even if only for awhile. We had been on the road for five months and I was looking forward to getting to Hollywood. Stan and I were rooming together. One Sunday morning at 6:00 a.m., I was awakened by knocking on the door. While Stan slept, I called out, "Who is it?" "This is the FBI! Open Up!" Stan awoke, sat up in bed and said, "Gabe, let them in." Two FBI agents were looking for two underage runaway girls whom the agents had reason to believe had followed the band from out of state. They showed us pictures of the girls; I recognized them but had not seen them in the last two days. Thank goodness! Trouble with the law and the Federal Mann Act (which prohibited the interstate transportation of women for immoral purposes) was the last thing we needed!

We continued our trip to Hollywood on the Challenger. Our train took us through Las Vegas, Barstow and San Bernardino. California's palm trees came into view along the railroad tracks. I rubbed my eyes, thinking the sight was a mirage. Then I realized I was near Hollywood. The weather was delightfully warm.

Excerpted from Stan Kenton — The Early Years by Edward F. Gabel. $17.95 + $2. s/h from: Balboa Books, P.O. Box 493, Lake Geneva, Wisconsin, 53147-0493. Visa/Mastercard orders: 1-800-420-0459. Monday to Friday, 8 a.m. to 6 p.m. CST.


Jazz archivist Steven D. Harris is hard at work preparing his forthcoming book, "The Kenton Kronicles." It will feature 50 Kenton alumni interviews and over 100 historic photographs of Stan and the band in action from 1941 through 1978. Currently, Steven has completed 30 interviews and has collected close to 1,000 unpublished photographs. The book promises to be packed with anecdotes and unknown facts and will be completed in approximately two years. It will also included the transcribed words of Stanley Newcomb himself from some 30 separate recorded interviews. Already included are: Pete Rugolo, Bill Holman, Lennie Niehaus, Don Bagley, Ray Reed, Stan Levey, Peter Erskine, Jack Costanza, Clay Jenkins, Jim Amlotte, Bill Perkins, Conte Candoli, Eddie Bert and both Jerry McKenzie (yes, there are two drummers with the same name!). Any musicians with Stan's band who is interested in participating in the book are welcome to call Steven at 818-793-1477 for an interview. To get on the mailing list, fans can contact him at: 148 N. Catalina #4, Pasadena, California 91106.


[Editor's Note: Following the publication of NETWORK XIX, Peter B. Young of Marlboro, Massachusetts, raised a number of issues about the Michael Sparke's presentation (made at Daventry, England in the Spring of 1994 about the Innovations Orchestras and their composers/arrangers) in a letter to me. I sent the letter to Michael (of Hounslow, Middlesex, England); letters were exchanged between Peter and Michael. With their permission, I have excerpted the letters here. I believe their interactive commentary mirrors discussions of Kentonians and Networkers world-wide. Enjoy their interaction!]

Young to Agostinelli (September 3, 1994): "The presentation by Michael Sparke was superb, though his conclusions are quite arguable.....throughout the issue, most especially in the several references here and there to Bob Graettinger, I caught echoes of the dispute that rocked the jazz world (and Kenton fans) in the 1950s. You know (or can guess) my position on this dispute. I had not problems whatsoever 3with the Rugolo arrangements circa 1947-1949, because even though he was heavily influenced by his professor, modernist Darius Milhaud, he (Rugolo) never strayed all that far from his, or Kenton's jazz roots. Yes, Rugolo experimented with 'classical' harmonies, voicings and time signatures, but those often self-conscious 'experiments' enriched the jazz tradition; they did not violate it. The same can be said for the magnificent stable of Kenton arrangers: Ken Hanna, Gene Roland, Bill Russo, Dee Barton, Johnny Richards, Lennie Niehaus, Hank Levy, Bill Holman, Bob Curnow, Shorty Rogers, etc. Not so for Mr. Graettinger!

"As a dedicated Kenton fan, I listened repeatedly to 'City of Glass' in 1951. I listened as thought Stanley were saying, 'Take this Graettinger medicine; it will make you feel better.' Well, it didn't. I finally concluded that either Stanley was crazy, or I was. Since the latter could not possibly be the case (1), and since I was no more 'crazy' than any other Southern California adolescent of that period, I refined my conclusion to one further, focused point: It was Stanley who gone around the bend, not I." I had previously brushed off the Innovations orchestra and concert tour with the snide comment that if I wanted strings, I'd seek out 'Phil Spitalny and His All-Girl Orchestra, featuring Evelyn and her Magic Violin.' And I note with considerable interest Sparke's observation that the successor to Innovations, the New Concepts band, 'continued to play a number of Innovations scores, ableit, with the strings." I note also (and disagree with) Sparke's conclusion that the Innovations orchestra 'Kentonized' the strings and was 'perhaps Stan's greatest artistic achievement'."

"Sorry, on those comparatively rare occasions when I'm in the mood for Kenton with strings, I'll go to the Rugolo arrangements in the 'Lust Interlude' album — which, incidentally, offers yet another example of the strong Hollywood influence on its most famous bandleader-in-residence, Stanley Newcomb Kenton. Kenton in Hollywood, and the interplay between Kenton and Hollywood, is a neglected part of his life story. And as for Stanley's 'greatest artistic achievement,' well, we're all free to make a pick on that one. My own choice might well be a 10-inch, 78 rpm Capitol shellac (Spring, 1947?), with 'Concerto to End All Concertos, Part I' on the 'A' side, then flip it over real quick and pick up the incredible trombones choir coming in so majestically on the opening bars of Part II! Bottom line: Sparke makes the point that there was no 'master plan' for the Innovations orchestra. I go a bit further and say that the Grettinger-Innovations period was nothing more (nor less) than Artistry in Hype, scribbled on the back of an envelope and driven by Stan's own nagging insecurities and persistent feelings of inferiority vis-a-vis the classical crowd. Sparke calls this period a 'noble failure.' I call it, 'The Lost Decade'."

"'This is an orchestra!' , shouted Stan, rather shrilly, on one of the more embarrassing recording from this period. Compare that scripted monologues with the far more spontaneous 'band call' in Europe during the 1970s, ending exuberantly with, 'The band!' Band, si, orchestra, no! So I and numerous other hard-core Kenton-ites fell off the bandwagon (no pun intended) for more years that I want to recall. Oh, here and there, I'd get back in the old groove. I'd spot an LP like 'Kenton in Hi-Fi,' or 'Back to Balboa,' and I'd pick it up and take it home. But it wasn't until 1971, when I wandered into a crummy joint in Atlantic City and heard THE BAND plying the 'Redlands' book that all the original feelings and excitement came flooding back. Stanley, what took you so doggoned long?! Because that is where the questions arises, and that is where the answer can only be found: right in the middle of the complex Kenton psyche. My guess is that Stanley contended throughout his life with personality problems arising from his raw brilliance (which isolated him), his sheer physical size which casued him to manifest a certain awkwardness, and his lack of formal education, musical and otherwise. He loved to banter with his fellow jazzmen, but he stood (awkwardly) in awe of the classically trained virtuosos, arrangers and composers."

"I got just a glimpse of this side of Stanley in the late summer of 1947, when he was wood-shedding the Progressive Jazz band into some new Rugolo charts. The scene was the ballroom of the shuttered Westlake Hotel, which (I think) later became the first site of the Westlake Conservatory. John Eppolito and I drove over from Pasadena and sat in the bleachers of this old ballroom for most of one day. Late in the morning, a quiet gentleman came up to the bandstand. He was carrying a guitar case. With deference more appropriate to royalty, Stanley introduced Laurindo Almeida to 'the boys.' The cultural gap was unmistakable — and not only on Stanley's part. 'The boys' were also intimidated. So Stanley pursued for the better part of a decade. It was blind and sterile alley. It was what Texas oilmen call a 'dry hole.' Thank God that under the pressures of dire financial necessity, Stanley returned to his authentic jazz (and Hollywood) roots in the closing years of his life. He was a good jazz pianist and fine jazz composer-arranger. He was a GREAT bandmaster and music educator, by far the best in the history of jazz, our unique American art form — which need not tip a deferential hat to anybody else's music, because it can stand so very proudly on its own. Stanley didn't need to tip HIS hat to the atonal classicists....but he did, and for too many years. But by the time of his death, Stanley knew and accepted the reality that his big, awkward over-sized feet were firmly planted in Mississippi mud. Both he and THE BAND were better off for that acceptance!

Sparke to Young (having received a copy of Peter's letter to Tony)(September 19, 1994): "You will appreciate that the Innovations piece was intended as a spoken talk, which could be altered or added to as it proceed, and not primarily as a written essay.....As a matter of act, someone stood up at Daventry during a subsequent panel discussion and in summary made exactly the same points as you make. In his case, he said he switched allegiance to the Shorty Rogers Big Band, because Stan's switch to classicism in his music turned him off. Bud Shank (who was on the panel in question) made a diplomatic response that he enjoyed playing all types of Kenton-music, and I must say there was a discernible rustle of dissent from the audience when the gentleman made his remarks. However, I am sure you and he are not alone, and that a sizeable portion of Stan's fans did not approved of Innovations. In fact, there can't be any doubt of it, or it wouldn't have been the financial failure it was. To each his own! Where I cannot agree with you is that the decades that followed Innovations continued this trend. Sure, I make the point that 'New Concepts' grew out of Innovations rather than 'Artistry in Rhythm,' but Graettinger apart, I think Russo was more in Rugolo's league than anyone, and Holman in Roland's. Kenton played so much great music during the Fifties and Sixties (as well as some that was really quite commercial), I really can't see how you can dump these years quite so unceremoniously."

"Kenton's ethos (right from 1940 with his 'Theme' and the four saxophone piece of which 'Opus in Pastels' became the best known) was always to mix jazz with classical overtones. You make the point quite rightly that Rugolo did this with finesse and skill, and never lost the jazz feeling in his work. To my ears, the only SK arranger who DID lose jazz in his writing was Bob Graettinger. The other Innovations composers retained enough jazz to satisfy my love of the music, thought the strings inevitably gave the music more of a classical influence than would otherwise have been the case. Graettinger was often too much for me, and I do make this point in my dissertation. I DO like Bob's writing in 1947-1948 of standards, only one of which was ever officially recorded (in 1952 — 'You Go To My Head'). And, I do find pleasure in 'Incident in Jazz,' 'A Horn,' and a 'Trumpet.' I did make those points fairly explicitly (see NETWORK, XIX, page 10, paragraph 2). I speak of the possibility of Stan not wanting to alienate the audience; that Gunther Schuller found no jazz in 'City of Glass;' that Robert Morgan termed it 'familiar Graettinger cacophony;' and that 'City of Glass' is not the Graettinger that a lot of people, including myself, enjoy the most."

"When Bob had the advantage of a melody to work with, he was marvelous and different. The 1948 standards that he scored (sometimes for June Christy), such as 'April in Paris,' 'Lover Man,' 'Autumn in New York,' and 'Laura,' for example, are examples of that talent. He was unique, and I think that was why Stan liked him so. He represented an entirely new sound in music, and Stan never made a secret that that was his musical goal. After 'Thermopolae,' the 1948 version of 'City of Glass' (without the strings of course) must have appeared a break-through, thought there is little evidence that the band played these things very much in public during 1948. With Innovations, I fancy Stan saw in Graettinger the New American Music that he was seeking. And compared to even the other Innovations material, Graettinger was far-out. Too far-out for the majority of even 'Progressive Jazz' fans, as it happened! Because it may have been Progressive, but the Jazz element was all-but missing. It is perhaps unfortunate that Stan, for whatever reason, saw fit eventually to record officially ONLY Graettinger material from the 1951 season, because it inevitably raised Bob's profile in people's minds to a level that was never even vaguely realized in live concerts, when perhaps only a single Graettinger score would be played."

"Peter, you attribute certain motives to Stan's championing of Graettinger which would not know about. I give some of my conjectures in the NETWORK article (top of page 10). I describe Bob's writing as 'a unique talent, music that was beyond category.' I stand by that, but do no assume from that, that I ams saying I personally LIKE it. I think Graettinger was unique, and I do think his writing was beyond category. It certainly wasn't jazz, or even classical, as I understand these terms. So, you and I don't differ so much on Graettinger as you may have thought, but of course, we did differ very much indeed in our appreciation of Innovations as a whole. for me, it was the culmination of a process which began with 'Artistry In Rhythm,' advanced into 'Progressive Jazz,' and matured with 'Innovations In Modern Music.' But please, Peter, because you didn't like the strings or the 'classical' influence of Innovations, do not dismiss the next two decades as an extension of Graettinger's atonality. In point of fact, the 1955-1956 'Contemporary Concepts" period is usually designated as the most jazz-influenced of Kenton's whole career.'

"Band or orchestra? I don't give a damn! Makes it easier when writing to use both terms to avoid repetition. 'Concerto To End All Concertos/' The GREATEST, and certainly Stan's own finest composition. The writing for the sections in turn is sheer MAGIC. Unsurpassable. If you really 'fell off the bandwagon' for some 20 years, there's a helluva lot of fine music out there waiting for you to discover. I envy you! We may not always agree on all the finer details, but I am sure Stan's devotees will always stick together in declaring and knowing he was the...." [Editor's Note: and here, Michael's comments have been obliterated on the copy of his letter to Peter; as Alfano did for Puccini, I will attempt to complete the sentence].....well-spring of our collective musical souls.

Young to Sparke (October 6, 1994): "I was pleased to learn that you are most certainly NOT a fan of the late Bob Graettinger. Graettinger did not have very many fans in the course of his eccentric career. But he did have one BIG fan, namely, Stanley. And that is something we can both puzzle over, and learn from. Kenton's long flirtation with classical music or, more precisely, a Kentonian fusion of jazz and classical music, did indeed have its constructive (as well as destructive) aspects. Stripping way the promotional hype, I suggest to you that if we consider Stanley in the context of his time, the flirtation (fixation? obsession?) with classical modes becomes more understandable and, yes, even forgivable! Here's some of what Stanley was seeing when he looked out at the musical scene in the 1940s:

1944 — Ellington premiers 'Black, Brown and Beige' at Carnegie Hall; 1944 — Impresario Norman Granz presents his first 'Jazz at the Philharmonic' in Los Angeles....Illinois Jacquet is the star (my crowd of young hipsters in Pasadena used to call him 'Ill Noise' Jacquet!); 1944-1945 — Benny Goodman plays concert gigs and record dates with the Budapest String Quartet....Goodman surprises everybody but himself with his 'classical' virtuosity.......1945-1946 — Woody Herman commissions Igor Stravinksy to write 'Ebony Concerto,' which Woody then premiers at Carnegie Hall....(Ralph Burns does a much better composition for Woody — the four part 'Summer Sequence,' each part kept to a three minute length for the 10 inch shellac 78 rpm disks...the last of the four parts is 'Early Autumn'); 1946 — Switching labels and cities from New York-based Musicraft to Hollywood-based Jewel, Boyd Raeburn records 10-15 "weird" arrangements by George Handy, most notably 'Yerxa,' Tonsillectomy,' and the haunting 'Memphis in June' (Ginny Powell on vocal) 1949 Handy is replaced by Johnny Richards as Raeburn's principal arranger....Richards augments the traditional big band instrumentation with harp (!) and French horns — thus foreshadowing and perhaps inspiring Stanley's later experiments with the mellophoniums; 1949 — Classically trained pianists like Dave Brubeck and Lennie Tristano emerge...ditto for young Andre Previn."

"That's a partial listing, but you get the idea. It must have appeared to Stanley that everybody was flirting with 'classical.' And, indeed, 'everybody' was. Well, he'd show them! And with his competitive juices gushing at full tilt, Stanley discovered (God help us all) Bob Graettinger! Since Stanley (to my knowledge) left very little in the way of written documentation, the music has to speak for itself. Some of it was magnificent ("awesome,' as the kids of today would say), most of it was very good, and some of it was very good; and some of it was an embarrassment. Say this for Stanley: he was not afraid to experiment, not averse at all to risk-taking. But my quarrel with most (many?) of the Kenton buffs is that they take Stanley's promotional labels much too seriously. Sure, take the music seriously. You bet! But the labels — 'Artistry in Rhythm,' 'Progressive Jazz,' 'Innovations,' were just that. No more, no less. They were only the shifting billboards under which Stanley hung his music for a year or two or three."

"Yes, Stanley fought his way out of the Graettinger blind alley — and the full-blown string section (led by a concertmaster, no less!) ended mercifully after a couple of years, in large part as you pointed out for financial reasons. In the (late) 1960s when Stanley...(leased)...his masters back from Capitol and started his own Creative World label, it seems to me that he did indeed enter into one of his strongest periods. As I've written, I missed out on most of this action, and did not pick up the thread again until 1970 when I caught The Band in Atlantic City playing the Redlands book. And it was from that point on that I did the 'catching up' you referred to. Well, I'm rather fully caught up now, and can tell you (and others) what you already know:"

"Stanley was a truly great jazzman and bandleader. And, sadly, it does seem as though we will never see his like again. He was an American original.

Sparke to Young (October 13, 1994): "My impression is that around the years 1950-1951, Stanley was intent on creating a new American music which he hoped would be neither jazz nor classical, but something different from either, and that he recognized this in the music of Bob Graettinger. In general, his other Innovations arrangers fused classical techniques onto a jazz foundation (which is what I enjoyed). Much of Graettinger was certainly not jazz-based, at least to my ears, and I fancy it wasn't classical either in the literal sense (though I am not expert in that field). I enjoyed Graettinger's unique tone colors and arranging skills when he had a melody to play with, as in the 1948 charts on standards, of which only was ever officially recorded ('You Go To My Head'). I also like the more jazz-oriented of Bob's own compositions, such as Incident in Jazz' and 'A Horn' (for John Graas). He lost me however, when he lost his jazz background for the cold atonality of 'City of Glass' and the like. I'm sure Stanley would have been disappointed in me, that along with many others, I couldn't make that quantum leap."

"I take your point that many jazz artists were flirting with classical elements from the mid-forties onwards, but I would suggest to you that Stan's interest in such a fusion precedes all the instances you mention, and dates to his very beginnings as a composer in 1940-1941, with "Artistry in Rhythm' ('Theme'), and 'Suite for Saxophones' (including 'Opus in Pastels' and 'Etude for Saxophones'). These examples contain strong classical influences, and were quite revolutionary for their time. So I certainly do not disapprove of Kenton's jazz/classical fusion, which it seems to me permeated his whole career, and is the foundation upon which his music was based (obviously, at some points more strongly than others). In fact, this intellectual approach (as well as the tremendous excitement of that SOUND) is a main reason for my passionate involvement in the Kenton music. It was only when the jazz feeling faded to zilch, at the opposite extremes of the band's output (with BG at one end and the most blatant examples of commercialism at the other) that I was confused or disappointed."

"As for words (band/orchestra) and the labels given to different periods, these are surely unimportant in themselves: they operate merely as handles, as useful identification markers. The important thing is that you are back among the believers. Anyone who writes about the band and Stanley himself as sharply and as graphically as you do, has got be a member of the Kenton Cause!"

[Editor's Note: For the record, Bob Graettinger was born October 31, 1923; he studied saxophone at the age of nine, played and wrote for Bobby Sherwood at 16. He also worked with Benny Carter, Johnny Richards, Alvino Rey, and Jan Savitt. He joined Kenton as a composer/arranger in late 1947. In April of 1948, the band/orchestra played the Chicago Opera house and performed the 'City of Glass Suite.' Stanley was quoted in one of the brochures heralding Innovations : "All modern designers of musical sounds strive, or should strive, to express an honest and unaffected portrait of their own emotions. This is not supposed to be governed by any standard form of acceptance." Stan was also quoted about Graettinger's 'City of Glass:'It's different! Very different! We'll record it, as I like things that are different." Graettinger, having undergone surgery for lung cancer, died in the Spring of 1957.]

Art Pepper recalled: "Graettinger didn't just write for a band, or for sections; he wrote for each individual person, more less as Ellington did. It was difficult to play because you were independent of the guy next to you. But in order to do this, he spent a long time traveling with the band. We did mostly one-nighters, and we'd be on the stand playing and all you'd have to do was to look out in the crowd and your see him (Graettinger) immediately. He was very tall, and had those strange, haunting eyes and he stood out. Then in the next set he'd be at another spot. He would block out everything, if he could, and listen to just one particular person, and get the person's sound; the way that person played. He spent months just doing that, just standing and listening to the band."

1975, Stanley was asked by Sam Bertshe of The Manhattan Mercury about Graettinger's influence on the Kenton sound; his response: "Graettinger was a great composer, but he didn't have much to do with the development of the character of the band....(he) was a highly experimental composer. His music was very advanced and a lot of people didn't understand it."]


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. BILL .....BILL SWANSON'S LITTLE RED BOOK OF JAZZ DEFINITIONS has been published after 5 years! $19.95 + $3.30 s & h, (overseas add $2.25). Only 500 copies have been printed! Write him at: 7817 Tree Swallow Dr., SE., Grand Rapids, MI 49508, or call: 616-281-2376 to order a copy.......CHET BALL, who replaced Art Pepper the first time Art was on the band, writes "I was a member of the Kenton band from 1941-1945, with Skinnay Ennis, and Stan Kenton. and again with Skinnay, until I was drafted." He sent a flyer about Bob Hope, who is now selling a series of CDs, videos and a book about "Bob Hope Remember...World War II (Kenton may be mentioned or heard, Chet?). For further information write: Hope Enterprises, Inc., PO Box 1218, Burbank, California 91510. Also, write Chet when you can at: Astoria Terrace Retirement Center, 14060 Astroria St., Sylmar, California 91342, 818-367-1947. Ray Barron's Pick Up The Beat And Swing is a new book about the music and culture of 30s to the 50s. $19.95 plus $3.75 S&H. Call: Emerging Press, Ltd., 126 State St., Boston, MA 02109. 800-821-1492.....When you are in and around Pottsdown, Pennsylvania, Networker Jerry Molitor advises that you may want to visit the historic Stretwieser Foundation Trumpet Museum, 880 Vaughn Road, Pottsdown, PA 19464. The museum will showcase the contributions of key brass horn jazz figures: Louis Armstrong, Harry James, Dizzy Gillespie, etc.

The Jazz Ensemble at the Arts Center at the College of DuPage, Glen Ellyn, Illinois gave a "half-tribute" to Stan Kenton on December 2, 1994. Tom Tallman was the director — pros, semi-pros and student musicians played in the ensemble. The second half of the concert featured: "Collaboration," "Walkin' Shoes," "What's New," "Stompin' at the Savoy," "Opus in Pastels," "Fuego Cubano," and "Malaguena." Gerry Dexter of Tiare Publications said that there was a 45 minute lecture on Stanley prior to the concert which included music samples and video excerpts from the Balboa '91 discussions....also, Joel Kaye, and other "survivors of the big-band era," performed at Vartan Jazz in Denver in the Fall. The 24 member band is dubbed the Neophonic Big Band, and according to the Denver Post, the band "revives Kenton's musical style." [Editor's Note: Joel, did you do it regularly in the Fall, or was it just a one- or occasional-shot doing the Neophonic charts?]....and, the 15th Annual Montreux Detroit Jazz Festival in September, 1994 in Detroit, featured A Tribute To Stan Kenton; Johnny Trudell assembled a special 20-piece orchestra, fronted by Kenton drummer, Jerry McKenzie, and revived Kenton's colorful, explosive charts. It was sponsored by Americtech and Ford.

It's Here — "The Way of the Wind," the hot new JazzMania CD from SAL SALVADOR & CRYSTAL IMAGE; it features Mike Giordano on guitars, Chris Coogan on keyboards, Phil Bowler on bass, Scott Latzky on drums and percussion and Annette Sanders on well as Sal himself. The CD is available at all major outlets....and, LAURINDO "LINDO" ALMEIDA's CD, Artistry in Rhythm is available; it's a Concord Jazz release, number CCD-4576. Order it! [Editor's Personal Note to Lindo: Lindo, when I had my Saturday evening jazz program on radio, your version of "Artistry In Rhythm," from that CD, was always playing in the background between records, as I voiced over announcements, introduction and just disc-jockey chit chat. No dead space on air.....just the lyrical Lindo playing. Thanks.]

REUNION for all U.S. Navy Musicians at the All Eastern Band and Instrumental Clinic, Armed Forces School of Music, Little Creek, VA, April 5-8, 1995. Contact: Ralph Aurillo, 151 Carter Lane, Camden DE 19934, 302-697-450.


The Woody Herman Society lives! 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. Al has written the USPS to suggest a block of four stamps for Woody, the Count, the Duke and Stanley; if you're interested in these kinds of stamps in which Stanley is included — please write: The Citizens Stamp Advisory Committee, USPS, 475 L'Enfant Plaza, SW, Washington, DC 20260-2437.


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 NEWS ($25 — USA; $38 - $42 depending on Western, Eastern, or Pacific Rim) 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, 6092721487; 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; incidentally, Mosaic has released The Complete Roulette Recordings of Maynard Ferguson and His Orchestra — 10 CDs....MOSAIC RECORDS, Michael Cuscuna, 35 Melrose Place, Stamford, CT 06902, Tel: 203-327-711; FAX: 203-323-3526.....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....CRESCENDO JAZZ MUSIC Journal, 28 Lambs Conduit Street, London WC1N 3LE, England; write for subscription information.

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.)...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.....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....THE NOTE, a regular news release from the Airmen of Note, Washington, D.C. To get on the list: Airmen of Note, ATTN MSgt Dudley Hinote, USAF BAND (BABN), 23 Mill St., Suite 5, Bolling AFB, D.C. 20332-5401, 202-767-1756.

BIG BANDS INTERNATIONAL, Roy Belcher, PO Box 111, Reading, Berkshire, RG4 &DB, England, or Robert J. Robbins, Secretary, 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....BBC BIG BAND is 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 .....SCREAM! c/o Jeff Schaefer, 1977 Shorewood Drive, Grapevine, TX 76051, 817-421-8541 evenings or weekends (for high-note trumpeters).....As you know, Charlie Garrod at JOYCE RECORDS, has been releasing many previously unreleased works of the Stan Kenton orchestras, most of them "live," on-site, off-air, and the like. There has been some talk about some of those "live" recordings being released on CD. To express your interest, write: Charlie Garrod, Joyce Record Club, P.O. Box 1687, Zephyrhills, FL 33539-1687....THE MIDDLE HORN LEADER, PO Box 8402, Paducah, KY 42002-8402; Scooter Pirtle is the "Overlord," and Networker Joe Urso from Port Richey has been a frequent contributor

DISCoveries magazine will soon publish an article by Christopher Popa about big bands, jazz and vintage pop societies, fan clubs, and appreciation groups. If you believe that a group that you belong to should be represented, write Christopher at: 565 West Broadway, Alliance, OH 44601-2238.

For those of you NETWORKERS in the Greater Worcester area, you are aware that MARY MARDEROSIAN, noted disc-jockey on public radio has retired. [Editor's Note: We've all enjoyed you over the years, Mary; we do hope that from time-to-time we will hear you again on the air-waves. Ad Multos Annos, Mary].


Tony Agostinelli is still looking for one CD recording: STAN KENTON RECORDED LIVE IN LONDON, 1972 — the 2 CD set, please — London 820-466-2. [Editor's Note: I was able to purchase the LP "Wedding In Monaco," Mercury MG 20149]....Ray Whitehouse, 33 Harbour Lane, Milnrow, Rochdale, OL16 4EL, England is looking for jazz magazines in good condition; he's especially interested in USA's down beat, down beat Music Yearbooks, & The Jazz Review,. He will pay a reasonable sum per copy — send details. He is also interested in: Jazz Forum (Poland — English Edition), Crescendo, and Discographical Forum.


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 99019-0543, 800-255-6551, FAX: 509-255-9224. 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. You may also want to purchase Bob's L.A. BIG BAND CD. The Music of Pat Metheny & Lyle Mays. MAMA Foundation MMF 1009. Available from Sierrra: $15 which includes shipping and handling. Featured are: Bobby Shew, Bob Sheppard, Buddy Childers, Bill Cunliffe, Steve Houghton and more.

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.

THE COLUMBUS JAZZ ORCHESTRA AT BATTELLE 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.


The Cleveland Jazz Orchestra (CJO) will present its final 1994-1995 season concert with special guests, The Four Freshmen, in it annual "Tribute To Stan Kenton" on Friday evening, May 19, 1995 at Parma Highs School Auditorium, 6285 West 54th Street, Parma, Ohio and Saturday evening May 20, 1995 at the Fairmount Temple Auditorium, 23737 Farimount Boulevard, Beachwood, 8:00 pm for both performances. In addition to Freshmen favorites, the CJO will also perform the monumental ten-movement "West Side Story Suite," recorded originally by the Kenton band, and recently re-issued CD format.

Tickets are $14.00, general admission seating for Friday evening and reserve seating for Saturday evening available in advance by check or money order (add $1.00 per order for mailing and handling) mailed to: Cleveland Jazz Orchestra, P.O. Box 360140, Cleveland, Ohio 44136, or by Mastercard/VISA by calling the CJO at 216-572-2562. Tickets will be available at the door the evenings of the performances (call for sell-out information); there is a $1.00 discount for seniors.


...will perform a Kenton Retrospective on Sunday, February 12, 1995 in the Grand Rapids, Michigan area. That's all this Editor has on this one. For further information, call: Bill Swanson, 7817 Tree Swallow Dr., SE, Grand Rapids, Michigan, 616-281-2376.


Ask Murray Patterson, premier Kenton producer, and Editor of the British "Son of Network," as to whether there will be another Rendezvous with Kenton in Britain in May of 1996. Well, Murray. What's the word? In fact, inquire of Murray at 9 Western Avenue, Barton-On-Sea, New Milton, Hants, BH125 7PY, England, UK or phone 04 25 619501.


....sounds like a good place to be for Kentonians! The 22d Annual Convention of the International Association of Jazz Educators (IAJE) was held January 12-15, 1995 in Anaheim, California. Although this Editor (co-chair of IAJE's planning and development committee) was still recuperating from major surgery in the Fall, he went. IAJE stages a leadership conference, jazz and clinics, an exhibition hall, wall-to-wall, hour-by-hour, overlapping events annually; it's where the jazz community congregates. It always makes for a "grand hang!"

Among those Kentonian this Editor either broke bread with, talked to or saw were: Dan Salmasian, Marvin Stamm, Steven Harris, Don Evans, Ed "Gabe" Gabel, Lennie Niehaus, Bud Shank, Herb Geller, Bob & Darlene Curnow, Audree Coke, Mark Taylor, John Prince, Bill Prince, Joel Leach, Bobby Shew, Dave Barduhn, Pete Rugolo, Alan Yankee, Jack Wheaton, Bill Yaeger, Buddy Childers, Rick Condit, Bill Lee, Conte & Pete Candoli, Ray Reed, Pete Christlieb, Tom Ferguson, Al & Nan Fluck, and so many more that I may have missed listing.

Curnow organized a panel of Kenton arrangers who spoke about their time with the Kenton band, and some of the arrangements they contributed to the various bands. Participants included: Rugolo, Niehaus, Taylor, Barduhn and Yankee. Bill Russo was scheduled to be present but a previous conducting commitment prevented him from attending. Dee Barton was also scheduled but did not attend.

Because of heavy rains, mud slides, and flooding which was occurring as the convention began, making it difficult to rehearse, the Stan Kenton Collegiate Neophonic Orchestra, conducted by Jack Wheaton, did not perform as scheduled. Nor did a scheduled meeting of the Kenton Klan and this Editor take place because of the foul Southern California weather.

This Editor presided over the performance of the Nabuko Trio, and was to have introduced record producer, Helen Keane; however, she was not able to attend because of illness, but was given an award in absentia.

[Editor's Note: Many of the clinics, panels and performances were recorded. If you would like to obtain a listing of what is available, write: Nationwide Recording Services, Inc., 8500 N Stemmons, Suite 3069, Dallas, Texas 75247, 214-638-8273, FAX 214-638-0954. ($10.00 per tape plus $3.00 S & H)(Overseas — $16.00 S&H; Canada — $4.00 S & H) Here are some of the tapes which might interest you: V28 — Mt. Hood Community College Jazz Ensemble, Dave Barduhn; V56 — Tom Talbert Big Band; V112 — Mt. Hood Community College, Genesis; V120 — Bob Curnow and the LA Big Band; C78 — Panel Jazz Composers/Music of Stan Kenton; and, Clinic C139 — Marvin Stamm].


Dr. William Lee, Executive Director of IAJE, has announced a newly re-issued Stan Kenton: Artistry in Rhythm. It has been published in soft-cover with editing by Audree Coke and foreword by Mort Sahl. It is available again. So if you have been looking for a copy, send check or money order in the amount of $19.95 plus $3.00 plus postage and handling to: IAJE, PO Box 724, Manhattan, KS 66502-0724.


The music of Stan Kenton got major attention at the 4-day "Jazz West Coast" celebration in late October at Redondo Beach, California. Highlights in the Kenton vein included a tribute conducted by Pete Rugolo and Mark Masters, with a 21-piece alumni band, and a concert by Rugolo playing his own music. Masters opened the Kenton set with "Trajectories," with trombonist "Slide" Hyde in the spotlight, and followed up with other selections from the Innovations Era. Rugolo's segment included a 5-star rendition of "Collaboration," followed by "Love For Sale," with Hyde contributing a robust solo. Masters, subbing for ailing Shorty Rogers, returned to offer "Jolly Rogers" and "Round Robin" prior to an excerpt from "City of Glass." Gabe Baltazaar then drew standing-o raves from the crowd at the Holiday Inn Crowne Plaza for his inspired playing on "Art's Solo," and "Art Pepper." [Editor's Note: I've seen a video of this event, and Gabe, you played your socks off!]

The band included: Bill Perkins, Med Flory, Jack Nimitz, Eddie Bert, Kenny Shroyer, Buddy Childers, Frank Szabo, the Candoli Brothers, Don Bagley and drummer Chuck Flores, plays a string section. It was so well rehearsed that it was a "deja-vu" experience for the Kentonites in the audience. Rugolo with a 19-piece band, opened with a gorgeous "California Melody" then slowed the tempo for "These Foolish Things," featuring the guitar of Ralph Blaze and Pete Christlieb's tenor sax. "Sunday, Monday and Always" gave pianist Ross Tompkins an opportunity to bask in the spotlight. Bert's trombone was featured on "You Stepped Out Of A Dream." Julie Kelly, a local singer, triggered memories of June Christy with her stylish versions of "Something Cool" and "How High The Moon." Carl Saunder's muted trumpet graced "Nancy With The Laughing Face." "Dream Of You," with the wa-wa trombone sounded reminiscent of the Lunceford band, incorporated nostalgia with Rugolo's more contemporary sounds via John Leitham's walking bass and Gary Foster's piccolo. Perkins' tenor sax was featured on Neal Hefti's "Fauncy Meeting You," then the band finished the concert with Hyde, Christlieb and the ensemble doing an outstanding job on "Concerto To End All Concertos."

Lennie Niehaus conducted an all-star band a few nights later to play a Kenton arrangement he had done of "You Turned The Tables On Me." Niehaus then conducted a top-drawer "Tribute To Stan Kenton" which he had penned for the University of Nevada at Las Vegas. Memories of Kenton were also provoked when Carlos Vidal sat in on conga drums, on a Bob Cooper tune, in the finale of a concert devoted to music played at the Lighthouse Cafe in the fifties.


Over the last several months, Bill Russo conducted the Chicago Jazz Ensemble, a professional jazz orchestra sponsored by Columbia College in Chicago, in concerts at the Pace Theatre in Manhattan, at the Getz Theater of Columbia College, and at Grant Park, the latter a joint concert, with the Grant Park Symphony. Those performances were given "rave" notices by the Chicago Tribune (Howard Reich reported that "Russo studied with no less than the daring bandleader-pianist Lennie Tristano in the early '40s, led the groundbreaking Experiment in Jazz band in the late '40s and penned some of Kenton's most searing and revolutionary charts in the '50s, the man has the big-band tradition coursing through his veins. Where other repertory bandleaders reinvestigate the past, Russo lived it, breathed it and played it") and the Chicago Sun-Times, as did down beat...Russo's latest composition, "In Memoriam, Hermann Conaway," with text by Langston Hughes, was performed by the Black Music Repertory Ensemble at Orchestra Hall in Chicago. The Chicago Sun-Times, and the Chicago Defender wrote quite highly about the work and the performance..."Image of Man," a piece that Russo composed for a string quartet, guitar and flute or saxophone, is published by Margun Music in Newton Centre, Massachusetts. In addition to "Image," Margun has published: "Carousel Suite, op. 63," "Daffodil's Smile," "East Hampton Blues," "Hello, Jelly Roll," "Theme and Variations," and "A Thought" for jazz ensemble. In addition, several other of Bill's major works for larger orchestra, are available for rent from Margun. Margun publishes for sale these Russo pieces arranged for the Kenton orchestra ($24.50 to $37.00) — "Egdon Heath" (1954), "Ennui" (c.1951), "Gazelle" (c.1953), "Improvisation" (c.1951), "My Lady" (1952-4), "A Study for Bass" (1952-4), "A Theme of Four Values" (1953), "23oN 82oW" (1953) and "Vignette" (c.1953).


In the fall, Leo Curran, Ed Bride and this Editor got to see and hear MORT SAHL perform his one-man show, "Mort Sahl's America," at the Cambridge Theatre Company at the Hasty Pudding in Cambridge, Massachusetts. Vintage Sahl, contemporary issues! Stan Kenton's music playing as the audience is seated! Leo and he renewed old friendships with Mort, and Ed and this Editor, got to chat with Mort after his performance, also. See "Mort Sahl's America" — intellectually stimulating, uproariously funny, and topical! While in Boston, Mort was interviewed by Ron Della Chiesa of WGBH-FMs "MusicAmerica," and told Ron that he was working on a screenplay about Stan Kenton, not about facts, but about truth.

Mort, a dear friend of Stanley's, began his career at the Hungry i in San Francisco. Where other comedians wore tuxedos and talked about their mothers-in-law, Sahl wore a sweater and talked about presidents. He was the first humorist to appear on the cover of Time magazine and the first humorist to address the National Press Club in Washington, D. C. He was also the first humorist to perform on college campuses, performing at an average of 200 every year. He has been Master of Ceremonies for the Annual Academy Awards as well as the Newport Jazz Festival and the inaugural Playboy Jazz Festival. He was the first non-musician to win a Grammy Award. He has had regular programs on all three networks as well as two syndicated shows. His local television in Los Angeles out-rated the "Tonight Show" for over a year. He has written 18 screen plays and an autobiography, "Heartland," as well as speeches for John F. Kennedy, Ronald Reagan and Alexander Haig. The PBS documentary on Mort Sahl which aired as part of the American Masters Series was nominated for an Emmy Award. He is currently planning a new television series.


He joined the band in January of 1977 at 23 years of age, and was on the last road tour in 1978, joining the band in Buffalo in January of 1978 (seven months after Stan's accident in Reading in May of 1977) After leaving the Kenton band in 1978, BOB DOLL toured and recorded with Buddy Rich in 1980. He also toured and recorded with Van Morrsion from 1983-1986. Between road gigs, Bob freelanced in the San Francisco Bay area; he also worked with TRPTS, the group that included: Mike Vax, Warren Gale & Steve Campos. Bob is living and working in and around Fairlawn, Ohio.


This Editor wants to be able to pin- and spot-light as many alumni as possible. There has been not attempt to keep anyone from being given attention. If you want to let NETWORKERS know what you are doing....please, please, send me copy....articles, brochures, whatever highlights what it is that you are doing now....with a review of what you have done before and after Kenton. Consider this as your "alumni newsletter!"

The Frank Rosolino Memorial Fund

The Frank Rosolino Memorial Fund was established in March, 1994 by Conrad Herwig, New York free-lance trombonist and Eugene E. Grissom, Professor Emeritus, University of Florida, to provide additional support for the Frank Rosolino Memorial Scholarship (FRMS) for Jazz Trombone. FRMS has been funding winners since 1979, when the fund was established following the death of Rosolino in November of 1978. In order to make a contribution to the fund, make checks payable to: Gainesville Friends of Jazz, Inc., for The Frank Rosolino Memorial Fund. (The contribution is tax-deductible, the GFJ is a 501c3 not-for-profit organization.


...under the direction of Sonny LaRosa! That's how Sonny LaRosa bills his group of young jazz musicians. In order to be a member, one is required to be less than 13 years old. Band members are selected through private auditions and interview. The band has been in existence for 12 years, and has given concerts ranging from beach resort hotel guests to jazz enthusiasts, and for charitable organizations. The mission of the band is wide-ranging, and it is children oriented. It was the cover story of The Jazz Educators Journal in May of 1994. If you want to know more about this band....and perhaps book it write: Sonny LaRosa, 1129 Pelican Place, Safety Harbor, Florid 34695, 813-725-1788.


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
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, AR 71730-0943
DAYBREAK M.O., INC. 140 West 22nd St., 12 Floor Front, NY, NY 10011, 800-666-5277.
DISCOLLECTION (hard to find discks), PO Box 501832, Indianapolis IN 46250
DOWNBEAT, Jazz, Blues & Beyond, 180 West Park Av., Elmhurst, IL 60126, 708-941-2030
EAST BREEZE 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, 617-332-6398
GARY'S EXCHANGE, PO Box 6297, Newport News, VA 236066297, 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 ASt. Michael Av., East Point, GA 30344
WARREN W. HICKS, Box 176, Georgetown, CT 06829-0176, 203-544-9081, FAX: 203-544-9311
HINDSIGHT 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
J & R MUSIC, New York City, NY, 800-221-8180
JAZZ COLLECTIONS, 3803 Idle Court, Bowie, MD 20715-1402, 301-464-2137
JAZZ ETC. PO Box 393, Bergenfield, NJ 07621-0393
THE JAZZ RECORD CENTER, Frederick Cohen, 236 W 26th St. #804, New York, NY 10001, 212-675-4480 (VISA, MasterCard, AMEX)
JAZZ RECORD EXCHANGE, Richard Hartig, PO Box 125, Jamaica, NY 11415-0125, 718-849-6176
LRC LTD., 16 Montrose Pl., Melville, NY 11747, 516-643-9259
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, 800-331-4528
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,, Phone: 0242-677257
MOR MUSIC CLUB, P.O. Box 20066, St. Petersburg, FL 33742, 800-227-5000, FAX 813-579-4667
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
ARTHUR L. NEWMAN, (current and out-of-print jazz books), 10325 Elk River Ct., Fountain Valley, CA 92708, 714-968-3706 & 714-968-3921
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, 711 West End Arcade, Nottingham, England, NG1 6JP, 0602-470754
PAUL SCRIVEN, 238 W State St., Nile, OH 44446
SHIPPED DISCS, PO 410, Annandale, VA 22203-0410, 703-764-9786
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
WALRUS MUSIC PUBLISHING, PO Box 11267, Glendale, CA 91226-7267
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 (Gene Norman)(GNP Crescendo), 8400 Sunset Boulevard, Hollywood, CA 90069, 213-656-2614 & 800-654-7029


Each year NARAS, who gives out the Grammies, give a "Lifetime Achievement Award" for live and dead people in the music industry who have made a major impact in modern American music. A number of NETWORKERS and others have written suggesting that Stanley deserves such recognition. If you concur, send a letter to NARAS, 3402 Pico Boulevard, Santa Monica, California 90405, phone: 310-392-3777, or FAX 310-392.2778.


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.


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.)
The Frosh did two October, 1994 dates with Johnny Trudell's big band, Jerry McKenzie drums, playing in tribute to Stan Kenton at the Arriva Ristorante in Warren, Michigan. Understand that it was a blowout.

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 easiest to change into USA currency.

Excerpted from Bluff Your Way in Jazz by Peter Clayten and Peter Gammond

"Stan Kenton: 1912-1979; Band leader who made the fundamental mistake of telling everybody what he thought he was doing, instead of waiting for them to tell him. So when in the late 1940s, he announced that the enormous noise his band was making was progressive jazz, the only people who really believed him were those who didn't like jazz anyway. He would call his records (and sometimes his concerts) artistry in this and that and innovations in the other. A practice which particularly annoyed the critics because words like "artistry" and "innovations" belonged exclusively to them and weren't supposed to be used by anyone else. Thus, "progressive" became something of a dirty word, and we suggest you never employ it yourself, unless you say it in quotes, as it were. If you do hear it used, it will almost certainly be in connection with that period when Kenton, noting that the dancing audiences were getting smaller and smaller, made his band bigger and bigger and went on to progress, not round the dance halls but the theatres, turning Jazz into a concert music."

[Editor's Note: Stanley was born in 1911 (not 1912) as attested by Bill Lee's search and find for his correct birthdate. The two Peters may have their 15 minutes of fame — but, who are they anyway? We all know that Kenton's artistry was certainly progressive, and he always looked for something "new, exciting and different!" That's why Stanley was who he was, we are who we are, and Pete and Re-Pete are who they are!]

A First-Person Reflection

Do we ask this question of ourselves? Do many get asked this question? Do others ask this of us? Do our spouses think we are crazy for carrying this torch for a dead artist? Are the eaves of our attic, the bays of our garages, the caverns of our cellars....filled to overflowing with our Kenton Kollections? Is a band playing "in tribute" to Stanley, break with his testament of no 'ghost bands?' Do we trammel his name and wishes by playing Kenton recordings on air? What about owning and buying 'ephemerals' ('bootleg recordings')? What's it all about, Kenton Krazed?

As Editor of the NETWORK, I often am asked, and have to reflect upon these and other questions about the Kenton legacy. I haven't answered all of the above questions, and even when I do, I don't know whether I'm responding correctly. Here's what I think.

Stanley never meant for us to stop listening to his music. He never expected that educators would stop teaching music associated with the various incarnations of the Kenton orchestra (band?). In fact, his actions demonstrated the opposite. He gave collections of his music to Leon Breeden at the University of North Texas, so that the music would be played by students. He donated part of his collection to Paul DeLuca at the Esquire Music Foundation, to be played by young musicians. He provided that the ownership of his various corporations be passed along to his heirs to continue to release recordings (Creative World Records); for the music to be published (Sierra Music Publications); and, the Estate has authorized various tributes in Stanley's honor (the "Balboa Bash" in Newport Beach, California; the University of Las Vegas Concert in Las Vegas, Nevada; the concert at the Bud Shank Music Camp in Oregon; etc.).

In sum then, Stanley willed that his estate have complete control over his name, image and body of work — not to obliterate his name, image and works, but to properly regulate their use, for the benefit of his Estate....while at the same time, the works associated with his various orchestras, be played and enjoyed.

THE NETWORK has never been hassled or enjoined from being published. Although, on occasion, mostly through innocence, the Estate's rights may have been parried in some ways, the editorial attempt has always been to sustain and cheer Stanley's name, image and body of work. In that respect, THE NETWORK falls into the category of a "fan" letter....the courts have made minimal encroachments upon this form of publication.

THE NETWORK has always confirmed Stanley's wishes in that it acknowledges the rights of his Estate to control the image, the name and the body of work of our collective Mentor. In being published as a 'fan' production, it brings to NETWORK subscribers all that it can in the way of Kentonianya — to pay homage to and to celebrate — Stanley Kenton.

In the process, we enable that Kenton Kraziness to take wing, and empower the throb within our individual and collective breasts to be beat in empathy with the 'many musical moods' of the Stan Kenton benefaction to the world of contemporary music. When we are asked any of the questions in paragraph one.....our answers are ready: 'We listen, we enjoy and we pay tribute, as he would have liked it!'

(c) By Jack Wheaton, Past President, IAJE

He like to be called "Hank"
by those close to him.
He never lost his center,
he always knew where he came from.

He liked to hang out with the jazz players.
He had great admiration for their skills.
He though of Plaz Johnson (tenor sax)
before he wrote the "Pink Panther."

He did what he could to help jazz education.
When I first called him
he said he had been waiting for some time
for someone
in the educational world
to tap into his enthusiasm, his talent
and his time.

He helped IAJE
by appearing on a video-tape
of the organization.
He liked young players.

He was kind,
he was gentle,
he paid his dues
and he paid his debts.

He revolutionized
television and film sound-tracks.
He brought jazz into everyone's
living room with "Peter Gunn."

He had a marvelous sense of humor
and was very sensitive to being used
or patronized.
Musicians responded easily
to his quiet authority on the podium.

Hank, we'll miss you
and we thank you
for a myriad of beautiful melodies
and hours of beautiful music
and for caring —
about jazz, kids
and IAJE.

[Editor's Note: In 1967, when Jim Amlotte took over the administration of the Stan Kenton Clinics, Hank Mancini joined the summer faculty at San Jose State University with other celebrated musicians such as Sam Donahue, Russ Garvia, Bill Holman, Shelly Manne, Pete Rugolo, Gerald Wilson, Gen Hall, Matt Betton, Bill Perkins, Bud Shank, Herb Patnoe, Eddie Safranski and Lennie Niehaus......Hank also wrote an original piece for the Collegiate Neophonic in 1966].


Many of you have been generous to contribute to the operations of THE NETWORK; your last names are being listed. If I left you off the list, contact me! (This list includes all from July 28, 1994 to February 1, 1995; it includes money, stamps, LPs, CDs, tapes, etc): Aldred, Anderson, Armstrong, Michael & Robert Baker, Barduhn, Beisel, Bennet, Bottoroff, Braune, Brechler, Breighlie, Bristol, Burtch, Carson, Cerchia, Chase, Christiansen, Ciardello, Clark, Colaluca, Conrad, Coughlin, Cowie, Crull, Curnow, Dexter, Di Fernando, Drazic, Elkind, English, Everett, Falconer, Falkenstine, Fancy, Favaro, Fields, Fluck, Fursim, Ruby & William Fisher, Ford, Gatch, Georgeson, Grady, Grinnell, Grissom, Gum, Hall, Hammer, Hansen, Hardish, Harrop, Haseltine, Hirai, Hornsby, House, Hughes, Kahaian, Keller, Kirby, Lally, Lanzillo, Lavoie, Lenson, Lichtenauer, Linder, Malatras, Marra, Martin, Mash, Mauger, McBride, McGinley, Messier, Richard & Elmer & John Meyer, Mikity, Mitchell, Moore, Munson, Mupo, Nielsen, Olsen, Overbagh, Palmer, Peloquin, Pettibone, Phelan, Pierce, Powers, Richardson, Rittweger, Rowe, Schibener, Schuijf, Sparke, Stancik, Stephen, Sullivan, Swanson, Taylor, Thiede, Tomlinson, Al & June Tozser, Walsh, Warner, Weeks, Weichert, Whitford, Whitehouse, Wiley, Wilkinson, Woker, Wooley, Zriny, Zulli, Zuraw, Zweig.....& R. H. WHITEHOUSE for mailing the NETWORKS in the UK & to the Continent. [Editor's Note: if you live in the UK, or Ireland, send your contributions to: Ray Whitehouse, 33 Harbour Lane, Milnrow, Rochdale, OL16 4EL, England.


Do you want to reach me by Electronic Mail? CompuServe: 70544,1336; Internet: Do you want to send me a FAX? FAX: 401-831-8838. NETWORK XX can be accessed on Internet: to subscribe: — in body of message: ; follow instructions. NETWORKS 15 through XX are now available through Internet; and, you can purchase a diskette (5 1/2 or 3 1/4) in WordPerfect 5.1+) of 15-XIX or XX in MSWORKS 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: 2/10/95]