The Network XXI

August/September 1995

Anthony (Tony) J. Agostinelli, Editor
Prologue You know, we have one heckuva bunch of Kentonians! You are wonderful as individuals and as a group....diehard fans of Stanley, and all of his orchestras! You have been most generous to me — sharing your thoughts, interests in Kentonia, tapes, recordings, CDs, etc......and, sharing with each other! The mini-Networks of Kentonians who reciprocate with each other and with me, world-wide, continue to amaze me. I am grateful and thankful that you're all out there......let's keep hearing from you, and interacting with each other!

The Usual (Same) Fund-Raising Note: NETWORK continues to be published twice annually. The number of NETWORKERS has now risen to 1,675. 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. Continuingly, 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 XXI — SUPPLEMENT will be sent to you. This Supplement is a four page listing of Kenton on Video — videos which have been issued; it has been compiled by the noted Kenton discographer, Michael Sparke. [The Editor.]
Laurindo "Lindo" Almeida
By Anthony J. Agostinelli, Editor
The Network
(Compiled from Wire Service Reports and other sources, including LP and CD liner notes)

Van Nuys, California, July 26, 1995 Laurindo Almeida, Brazilian born acoustic (unamplified) guitarist, and well-known for his jazz, classical and bossa nova recordings, a resident of Encino, California, died on Wednesday, July 26, 1995 at the Valley Presbyterian Hospital in Van Nuys, California; he was 77. According to his wife, Deltra, the cause of death was leukemia, while other wire reports indicated he died of stomach cancer. He had suffered from cancer from 1993, when surgical intervention removed a significant portion of his stomach in attempts to arrest the cancer's growth; he undertook radiation therapy to also retard the cancer's excrescence. "Lindo" was a marvelous talent and a wonderful person, the world music community will be lessened by his passing.

Laurindo's complete name is: Laurindo Jose de Araujo Almeida Nobrega Neto; he was born in the village of Prainha, Brazil neighboring Sao Paulo, Brazil on September 2, 1917. It has been said that he had no formal training and was self-taught.

During his lifetime, Lindo merited an Academy Award ("Oscar") and five Grammy Awards (NARAS). He has been credited with being among the first to commingle Brazilian samba rhythms and jazz (with Bud Shank) with two acclaimed LPs — "Brazilliance, Volume I & II (4/53 and 3/58 respectively). These recordings were the opening statement for the bossa nova rhythms which became popular into the 1960s.

Lindo's "Oscar" was won for his film score for the 1970 animated motion picture, "The Magic Pear Tree." His guitar can be heard throughout the film. In addition, he composed scores for at least 10 major movies, including "The Old Man and The Sea." His compositions number over 1,000. He can be heard on several Elvis Presley films, playing the mandolin for "The Godfather," and the lute for "The Ten Commandments." Other films on which he worked include: "Camelot," "Funny Girl," and "The Agony and the Ecstacy." He was also heard on such TV themes as: "Bonanza," "Rawhide," and "Wagon Train."

Laurindo garnered Grammies for his classical-oriented: "Spanish Guitars of Laurindo Almeida," and "Conversations with the Guitar" LPs in 1961. In 1962, he warranted the Grammies for: "Reverie for Spanish Guitars," and "Discantus" LPs; in 1965, he again won the Grammy for his "Guitar from Ipanema" LP. He was nominated for at least 11 times during his professional career.

Lindo began his career as a classical guitarist in Sao Paulo, Brazil, and became a well-known interpreter of Brazilian music on radio and in nightclubs. He worked for Radio Magrink Veiga in Rio de Janeiro, while leading his own orchestra at the Casino da Urca in Rio. In 1936, he played aboard a cruise ship, and made his way to Europe, where he met famed Gypsy guitarist Django Reinhart in Paris, from whom he was animated to play jazz.

As a young man, Lindo wrote "The White Clothes Village," renamed "Johnny Peddler," when recorded by the Andrews Sisters; the song became a hit in the USA, and his royalties financed his emigration to the USA. Upon arrival in the USA, he played guitar on the soundtrack of "A Star Is Born."

Lindo joined Stan Kenton but a few months after coming to this country in 1947 from his native Brazil. He was introduced to Kenton by Kenton arranger, Joe Rizzo. He was unable to speak English, and was able to converse in Italian through Sicilian-born, Pete Rugolo, Stanley's key arranger at the time. Stan endearingly called him, "Amigo." Rugolo composed "Journey to Brazil" (Capitol T-155), "Lament" (Capitol H-172) to feature Lindo's playing for the Kenton Progressive Jazz Orchestra which Stanley then had on the road; later he was featured on his own composition, "Amazonia" (Capitol WDX-569). with the Innovations in Modern Music Orchestra. Lindo co-wrote "Baa-Too-Kee" (Capitol WDX-569) with Dante Varela, and recorded by Kenton. He was also featured with guitar fill-ins for "Solitaire" (Capitol ST-2132). Following his various stints with the Kenton organization, he joined the radio and movie-music community in Los Angeles.

History has forgotten that it was Almeida who introduced the bossa nova (the fusion of Brazilian folk songs, samba rhythms and contemporary/cool jazz) to the USA in 1953 and 1958 through a series of World Pacific recordings with Bud Shank, the alto sax player, also a Kenton alumnus. Those recordings, "Brazilliance, Volume 1 & 2," (Pacific Jazz PJLP-7 & -13)(Now on CD World Pacific CDP 7 96339 2 & 96102 2) were acclaimed for their innovative blend of Brazilian music and American jazz. Nat Hentoff wrote of the 1953 LP: "A valuably unusual collection...... after several listenings, I feel both the need and desire to hear this even more thoroughly.....congratulations to Pacific Jazz for a legitimately different approach to contemporary sounds and structures." (downbeat, March 10, 1954).

Lindo was an eminent figure in the classical element; he recorded at least 10 albums in that vein for Capitol Records.

Almeida became a naturalized United States citizen in 1961. In 1962, he shared guitar honors with Sal Salvador for the Playboy magazine's all-star poll. In 1964, Lindo released an LP entitled "Collaboration," a joint effort with the Modern Jazz Quartet (Atlantic Records). In 1965, Lindo again joined Kenton for the series of concerts staged by Stan Kenton and his Los Angeles Neophonic Orchestra in 1965-1966. In 1974, with Bud Shank he organized the celebrated "L.A. Four," which also included Ray Brown on bass, and Chuck Flores on drums (replaced in later years by: Shelley Manne and subsequently, Jeff Hamilton on drums;

As a teacher/author, he created two books of guitar instruction: Guitar Tutor in Three Courses, 1957 and Contemporary Moods for Classical Guitar, 1970.

Among his recordings are: (1) the above-mentioned "Lament" and "Amazonia," with the Stan Kenton orchestra, and many other Stan Kenton orchestral LPs as a sideman, (2) the Almeida and Shank collaboration of the early 1950s, (3) 10 classical albums for Capitol Records, (4) a blue ribbon series of recordings in the late 1970s and 1980s on Concord Records (20 LPs)(including duets with guitarist Charlie Byrd, recordings with the LA 4, and other Bud Shank efforts), and (5) a marvelous Angel/EMI LP, "romantic studies for guitar on music by Debussy, Ravel, Falla, Albeniz, Granados, and Villa Lobas" (Lindo recorded all of the parts himself). Almeida also worked on recordings with Anita O'Day (GNP Crescendo), June Christy (Capitol), Paul Cacia and the Stan Kenton Alumni (Happy Hour Music), Stan Getz (Verve),, and, Carlos Barbosa-Lima (Concord).

In recent years, Almeida gave concerts of classical, Brazilian and jazz music; he frequently toured with his Canadian-born wife, Deltra Eamon, who is an accomplished lyrical soprano. In addition to his wife, he is survived by a son, Laurindiniho; two brothers, Edgar and Geraldo, and a sister, Gezina, all of Rio de Janiero.

A guitarist of excelsior proportions whose unique understanding of folk, jazz and classical music, has been praised world-wide, has gone on to his eternal reward.

A Partial Discography

Anita O'Day Mello'dayGNP Crescendo GNP 2126 — 1978
June Christy The Misty Miss ChristyCapitol T 725 —1955-56
June Christy Best of June ChristyCapitol CDP 7925882
Laurindo Almeida TrioArtistry in RhythmConcord CJ 238 —1984
Laurindo Almeida TrioConcierto ArnjuezEW 35JDBP51 -1985
Laurindo Almeida Quartet
Featuring Bud ShankPacific Jazz PJ 7, 13 — 1954/58
Laurindo Almeida/Charlie Byrd Quartet
Latin OdysseyConcord CCD 4211— 1982
Brazilian SoulConcord CJ 150 —1980
Laurindo Almeida/Carlos Barbos-Lima/Charlie Byrd Quintet
Music of the Brazilian MastersConcord CCD 4389 — 1989
Laurindo Almeida/Charlie Byrd Quartet
TangoConcord CJ 290 — 1985
L.A. 4 The L.A. 4Concord CCD 4018
Watch What HappensConcord CCD 4063
The L.A. 4 Scores!Concord CCD 6008 — 1975
Live at MontreuxConcord CJ 100 — 1979
Just FriendsConcord CJ 199
Executive SuiteConcord CJ 215 — 1982
The Concord SoundConcord CJ 278 — 1977
Paul Cacia and the Stan Kenton AlumniHappy Hour Music HH 6001-1
Stan Getz/Laurindo Almeida
Stan Getz Featuring L. A.Verve 823149-2 — 1963
Stan Getz Compact Jazz: Stan GetzVerve 831368-2 — 1963
Stan Getz/Laurindo AlmeidaBest of Bossa Nova Verve 833269-2 — 1964
Stan Kenton Kenton Presents (1950)Creative World ST-1023
Collector's ChoiceCreative World ST-1027
Fabulous Alumni of Stan KentonCreative World ST-1028
Some Women I've KnownCreative World ST-1029
Stan Kenton EncoresCreative World ST-1034
The Christy YearsCreative World ST-1035
Concert in Progressive Jazz ('47)Creative World ST-1037
Artistry in Voices and Brass ('63)Creative World ST-1038
By Request, Volume 2Creative World ST-1040
Sketches on Standards ('53-'55)Creative World ST-1041
Portraits on Standards ('51-'54)Creative World ST-1042
Artistry in RhythmCreative World ST-1043
By Request, Volume 3Creative World ST-1062
By Request, Volume 4Creative World ST-1064
By Request, Volume 5Creative World ST-1066
Jazz Compositions of Stan KentonCreative World ST-1078

Bob "Fitz" Fitzpatrick


[Notes: This is a compilation of Fitz' curriculum vitae and an obit which Roy Weigand, trombonist, and personal friend of Fitz', wrote for "Overture," the Los Angeles Musicans' Local 47, in April of 1995. Special thanks to Michael Sparke and Pete Venudor, with Jack Hartley, "Kenton on Capitol and Creative World," 1994; William Lee, "Stan Kenton: Artistry in Rhythm," Creative World Press, Inc., 1980.][Edited by Anthony J. Agostinelli]

Bob "Fitz" Fitzpatrick, trombonist, passed away in Los Angeles on February 17, 1995. Fitz' career was many faceted. He was born in Des Moines, Iowa some 74 years ago, and joined the Stan Kenton Innovations Orchestra in 1950. The trombone section at the time included Kenton alumni: Milt Bernhart, Harry Betts and Bart Varsalona. He and Bill Russo were new to the Kenton trombone section.

Fitz was also in the Innovations II band with: Betts, Russo, Dick Kenny and George Roberts. In early June, Fitz was a player in the so-called "Concerts in Miniature" road band. On June 24, 1952, Bob "Butter" Burgess replaced Fitz on the band. For the European tour in September of 1953, Fitz, at 34 was an old-timer at 34 and was assistant leader. When the band was on the road in 1954, Fitz played lead trombone; and Fitz played lead in the so-called "Contemporary Concepts" band.

By the summer of 1955, Fitz was in the traveling and recording band, while Johnny Richards conducted rehearsals for another hand-picked band for the CBS-TV "Music '55" series.

In the early '60s, Keith Lamotte recalls the story of Fitz' trombone case, "the most beat up case and horn on earth. The thing that was so funny was the stuff you were apt to find in the case. One night, some of the guys gathered a whole bunch of junk, and when Fitz wasn't looking, took his horn out and put the junk in. There was a hammer, a saw, a bunch of wire, some pieces of wood, a big piece of pipe, and God knows what else. Fitz picked up the case it was so heavy he almost broke his back. When he opened it, it was like a clown act in a circus — he was throwing stuff in all directions." (Lee, 1980)

Jiggs Whigham replaced Fitz in the Mellophonium Band in 1963. In 1965, Fitz returned to play in the Los Angeles Neophonic Orchestra, which Kenton had organized to play as one of the resident orchestras in the Music Center for the Performing Arts in the Los Angeles Civic Center. He also worked in the Orchestra for the 1966 season. Dick Shearer replaced Fitz playing lead in the summer of 1966.

According to the liner notes on the Capitol Neophonic LP, "Fitz's lead trombone work with Kenton spans 15 years and 21 albums. Largely responsible for the distinctive choral sound of Kenton's trombone section, he is known throughout contemporary music as a master technician. His recorded solos are widely used as teaching aids in many major universities."

According to Roy Wiegand, writing in the April, 1995 of Musician's Local 47's "Overture," "during Fitz's Kenton tenure, he kept busy, when in town, with recording work. Fitz recorded with Maynard Ferguson's Dream Band and later with Bill Holman's band. He also did a stint with the Harry James band in Las Vegas. Fitz played with Woody Herman's band at various times through the years. From 1958 to 1960 he was in the house band at the Moulin Rouge. Ace Lane's "Kicks" band was a regular blast when he was in town. His last engagement was a a Kenton Alumni concert with the Four Freshmen at the Irvine Marriott in June of 1994. He also did concerts and recordings with the Paul Cacia orchestra." Weigand continues, "It has been said many times that Fitz was a 'Daddy' of the trombone. His approach was unique. His 'time' was impeccable. He played with so much feeling."

Weigand goes on, "He was quite an adventurer, visiting his daughter, Judy in Australia in 1991. As Pete Candoli said, 'Fitz was his own man.' Fitz was loved and respected by so many people for his sense of humor and with. He was my friend and mentor. I will never forget him."

Fitz' first professional band was with the Hervie Kay Society Band from Chicago. He attended Drake University on a full scholarship. He joined the army where he had the unenviable job of bugler. Later on he had his own band. After the war, Fitz moved to Los Angeles and played in 1946. Fitz worked with Skinnay Ennis, Woody Herman, Harry James, Paul Whiteman, Bobby Sherwood (1946) and Gene Krupa (1947-48), before joining Kenton.

Fitz is survived by his daughter, Judy, and son, Tim and Shannon and grandson, Barney.


Wiegand noted that Fitz' first recorded solo with Stan was on "Easy Go."[August 21, 1950, Capitol 1191]. He also can be heard on many air checks during that period with the travelling (non-Innovations Orchestra).

He also soloes on "Halls of Brass" [May 18, 1950, Capitol 28010]; "Night Watch," [June 29, 1951, Capitol 1774]; "Stardust." [March 19, 1952, Capitol 2214]; "Bill's Blues," [March 20, 1952, Kenton Era, Capitol WDX-569 LP]; "A Theme of Four Values," [March 2, 1954, Capitol Showcase LP, Capitol H-526]; "Egdon Heath," [March 3, 1954, Capitol Showcase LP, H-526]; "Speak Low," [January 21, 1958, Capitol Back to Balboa LP, Capitol T-995]; "Maria," [March 15, 1961, West Side Story, Capitol T-1609]; "America," [March 16, 1961, West Side Story, Capitol T-1609]; "My One and Only Love," [July 7, 1961, Sophisticated Approach, Capitol, T-1674]; "Magic Moment," [December 12, 1961, By Request VI, Creative World ST-1069]; "Fitz," [December 15 & 16, 1961, Sound '62, Hindsight HSR-195]; "Artistry in Bossa Nova," [April 17, 1963, Artistry in Bossa Nova, Capitol ST-1931; "Prelude to Tristan and Isolde," [September 18, 1964, Kenton/Wagner, Capitol STAO-2217]; and, "Adventures in Emotions, Part V, Love and Hate," [September 28, 1965, Neophonic, Capitol SMAS-2424]. [This author may have missed some few soloes with the Kenton band, but this will give you a soupcon]

Martin ("Marty") Louis Paich

By Anthony J. Agostinelli

Santa Ynez, California, August 12, 1995 — Martin Louis ("Marty") Paich, conductor, composer, orchestrator, producer and arranger, died at his ranch home today in Santa Ynez, California. He was 70. The cause was colon cancer, said Mark Hartley, his manager.

"Marty" was a native of Oakland, California; he studied at San Francisco State University, the University of California and the Los Angeles Conservatory of Music and Art, where he earned his master's degree in composition. He studied composition with Arnold Schoenberg and Mario Castelnuovo-Tedesco. He moved to his ranch in 1971 to continue to expand his interests in collecting Western memorabilia. He was steeped in classical music, and went on to play piano, arrange, compose, conduct and produce jazz, rock, popular and classical records over a 40 year span.

Marty's arrangements of "My Old Flame," "The Big Chase," and "Body and Soul," were among the those of the Stan Kenton orchestra's most asked for by Kenton's fans. Other scores in the Stan Kenton Library by Paich were: "You Go to My Head," "Pink Coats," "April in Paris," He also guest conducted Kenton's Los Angeles Neophonic orchestra in the mid-1960s.

Paich began his musical career as a jazz pianist before becoming an arranger for many leading voacalists, including Frank Sinatra, Ella Fitzgerald, Ray Charles, Mel Torme, Lena Horne, Carly Simon, Natalie Cole, Sarah Vaughn, and Aretha Franklin. He was producer and arranger for Barbra Steisand's hit recording of "The Way We Were," and worked with Michael Jackson. As a pianist,, he often performed with singers for whom he did arrangements, including Mel Torme, Sarah Vaughn, in many locations.

Paich also orchestrated many film scores, including those for "Pretty Woman," "The Fugitive," and "Prince of Tides;" he wrote the incidental music for Hanna and Barbera's first feature length cartoon in 1964, " Hey There, It's Yogi Bear;" he was partly responsible for the music and song sung by Louis Prima in the Hanna and Barbera animated film, "The Man Called Flintstone" in 1966. Also in 1966, he wrote the film score for the Ann-Margret film, "The Swinger." He arranged "Your Zowie Face" in the James Coburn film, "In Like Flint," in 1967, and the music track with songs by Peggy Lee and Sonny Burke in the animated Disney film, "Lady and the Tramp" in 1955. In 1967, Marty arranged the Jerry Goldsmith song, "Comes the Night," in the spy film, "Sebastian." He wrote the music for the film "Model Shop" in 1968 with Anouk Aimee. For television he was musical director for Glen Campbell, Andy Williams and Sonny and Cher. He received an Emmy award for his music for "Ironside."

He is survived by his wife, Linda, and a daughter, Lori Cohen, and a son, David, a rock musicians, both of Los Angeles. Services were held at St. Francis De Sales Catholic Church in Sherman Oaks, California. The family has asked that memorial donations be made to San Lorenxo Seminary, 18032 Sky Drive, Santa Ynez, California 93463 or to Sant Barbara Cancer Foundation Research, 300 West Pueblo, Santa Barbara, California.


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. The book details in full all of Stan's phono and studio recordings.] 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 53147Ä0493. 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).

Contents of both editions are essentially the same, but the productions differ in other respects. Covers are totally different, the US edition is glue-bound and printed on both sides of the paper, the UK edition is spiral bound and printed one side only. Keenest Kentonians may want to obtain both versions, and should write accordingly. An SASE of International Reply Coupon with queries is appreciated. Get your copy without delay while the book is still readily available.

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 OCTOBER 15, GETS ONE FREE!!!!

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 ever changing 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 AND Mention THE NETWORK for the Special Release Price of $99 + $6 Shipping and Handling. [The regular price is $149 — Don't miss this last opportunity to purchase the CD set at this Price! A world-class musical buy!]

YES! I would like to order "Live at the Royal Palms Inn" at the special release price of $99.

_____ sets at $99 + $6 S & H


Address:_______________________________ Phone:______________________

City:________________________ State:____________ Zip__________________

Amount Enclosed $_____________ (Allow 4-6 weeks for delivery)

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



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 CD releases in the very near future according to Michael Cuscuna, Ted Daryll and Michael Sparke: (1) Kenton on Capitol: 1943-1948 — A multi-CD set of Kenton's 1940's recordings and transcriptions; scheduled for November, 1995 release [UK Networker Michael Sparke, publisher of the discography, "Kenton on Capitol & Creative World is writing the descriptive notes for the accompanying booklet][Michael tells me this issue will cover the complet Capitol Studio recordings from the 1940s, probably the most significant decade musically of Stan's entire career]; (2) Live at the Tropicana: 1959 — all titles previously issued; (3) The Kenton Era: 1941-1953 — Smithsonian and Capitol still have plans to reissue on CD next year this 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 101 CONCERT IN WEISBADEN — 195│
Astral Jazz JCD 102 LIVE AT KEESLER — November 11, 1958
Capitol CDP 7 89285 DUET — May, 1955
Capitol CDP 7 92865 2 NEW CONCEPTS OF ARTISTRY IN RHYTHM — September, 1952
Capitol CDP 7 96260 2 CUBAN FIRE! — May, 1956
Capitol CDP 97350 4 RETROSPECTIVE — 1941-1968
Capitol CDP 7 98451 2 KENTON IN HI-FI — 1956
Capitol TOCJ 5651-5655 5 THE CREATIVE WORLD OF STAN KENTON — 1941-1954
Capitol CDP 7243 8 29914 2 7 STAN KENTON'S WEST SIDE STORY — 3/4 1961
Capitol CDP 7243 8 31504 2 7 THE BEST OF STAN KENTON — 1943-1961
Capitol Jazz 7243 8 32084 2 5 STAN KENTON PLAYS BOB GRAETTINGER — '47-'53 Capitol/Blue Note AQBLU84522 THE MISTY MISS CHRISTY (1956) ¬
Capitol/Blue Note AQBLN692 SOMETHING COOL (June ChrIsty)(1953-1955) *
Capitol Jazz 7243 8 32084 2 5 DAY DREAMS (June Christy)
CEMA/Capitol CCM 001 S-21 18053 JUNE CHRISTY &THE STAN KENTON ORCHESTRA — 1945-1951 *
Collectors Choice AQJAM03012 ANN RICHARDS: I'M SHOOTING HIGH (1959)
Four Star 40090 STAN KENTON: OUT OF NOWHERE — 1959 (?)
Fresh Sound FSCD-1011 JUNE CHRISTY: EARLY YEARS — 1945-1946
Channel Crossings CCS 6394 CITY OF GLASS (The Ebony Band, Holland) — 6/93
Garland 006 SUMMER OF 1951 — March, 1951
Hindsight HCD 157 THE STAN KENTON ORCHESTRA, Vol 5 — 1945-1947
Hindsight HCD 407 18 ORIGINAL BIG BAND RECORDINGS — December, 1961
Jazz Unlimited 2008 LIVE AT CORNELL UNIVERSITY — October, 1951
Laserlight 15 725 STAN KENTON (Sound '62)
Laserlight 15 770 INNOVATIONS IN MODERN MUSIC — October, 1951
MCA MCAC 20522 GAMBLER'S BLUES — 1942 (Decca 78s)(Cassette Only)
Magic DAWE 43 THE RED HILL INN — 1961/1962
Magic DAWE 50 & 53 LIVE AT THE MACUMBA, 1 & 2 — November, 1956
Magic DAWE 56, 57 & 58 LIVE AT THE PATIO GARDENS, 1, 2 & 3 — 1957
Magic DAWE 64 & 65 LIVE IN COLOGNE 1976, 1 & 2
Magic DAWE 66 STAN KENTON: ONE NIGHT STAND — September, 1961 & July 19, 1962
Natasha 400623 DEGREES NORTH, 82 DEGREES WEST — 1952
Natasha 4017 CONCERT IN MINIATURE ENCORES — 1952-1953
Spectacular SPVD 2204 STAN KENTON & HIS ORCHESTRA — 1961
Status 102 & 108 AT THE RENDEZVOUS, Vols I & II —1958
Status 103 MELLOPHONIUM MAGIC — 1961
Status 104 IN NEW JERSEY — 1959
Status 106 MELLOPHONIUM MOODS — 1962
Status 109 AT UKIAH — 1959
Status 112 LIVE IN PALO ALTO — May 13, 1955
Status DSTS1001 STAN KENTON LIVE AT BARSTOW — January 30, 1960
Status DSTS 1003 STAN KENTON LIVE AT THE LONDON HILTON I — February 21, 1973 **
Status DSTS 1005 STAN KENTON LIVE AT THE LONDON HILTON II — February 21, 1973 **
Status DSTS 1011 STAN KENTON: AT MARCH FIELD AFB — December 13, 1959
Tantara TCD 1112 STAN KENTON: A TIME FOR LOVE — April 21, 1978
Total 3001 STAN KENTON AND HIS ORCHESTRA — 1957-1958
Total 3002 IN A MELLOW MOOD — 1958
USA Music GroupUSACD 600 SOUNDS OF THE BIG BANDS, Vols & II [3 Kenton Cuts]

* These June Christy & Ann Richards CDs are 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

(Dave Kay)(Status)
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.


At this time, the Kenton Jazz Cruise negotiations have ceased. There is no interest by the potential producers to bring about a Kenton Jazz Cruise at this time.


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 still at work preparing his forthcoming book, "The Kenton Kronicles." If you want to share anecdotes of your association with Stanley, please be in touch with Steven: 148 North Catalina, Apt. 4, Pasadena, CA 91106, 818-793-1477.


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 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


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. (See elswehere herein about a Stamp for Stan).


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 in more than 300 album covers, posters, postcards and T-shirts, and this year, three of the your 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, 609Ä272Ä1487; send for order form and listing of available videos .....MAYNARD FERGUSON FAN CLUB, PO Box 11056, Memphis, TN 38111. $15.00 per year; $18.00 foreign.....IAJRC JOURNAL, USA: Vic Hall, P.O. Box 75155, Tampa, FL 33675; Europe: Barbara A. Sparling, 51 Ashtree Road, Bitterne Park, Southampton SO2 4LY, England...for jazz record collectors.....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.....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! It continues to have a club! 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, FL has been a frequent contributor.......CRESCENDO & JAZZ MUSIC, 28 Lambs Conduit St., London WC1N 3LE — consider subscribing to it.

NETWORKERS WHO HAVE PASSED ON......Don Evans....while walking on the pier at Seal Beach, California....on August 17, 1995. Also passing on....Ann Broadhurst of IAJE. Joseph Anthony Richards, son of Johnny Richards at 45 of a heart attack. Don Dennis Kenton alum. RIP


Review by Joseph Rothstein
With Permission of The Honolulu Advertiser (August 4, 1995)

Last night's opening concert of the second Hawaii International Jazz Festival was a tribute to Stan kenton, and innovative and influential leader of big bands during the World War II and postwar era. He was among the first to combine classical and jazz music, and was a crusader for formal programs of jazz education. Each of the three featured performers at the Sheraton Waikiki had a close association with Kenton.

It was on Kenton's recommendation that The Four Freshmen, who opened the show, were signed to their first recording contract. The University of Nevada-Las Vegas Jazz Band, which followed, epitomizes the sort of college-level jazz program that Kenton championed. Finally, alto saxophonist Gabe Baltazar, a featured performer, was a member of the Kenton band. The Four Freshmen have become, over the course of 40 years, as much a concept as a musical group. Although the group's personnel has changed, the group remains true to its roots, playing/singing a repertoire that's heavy on the standards in a style that's heavy on the standards in a style that emphasizes tight vocal harmonies and multi-instrumental skills. Each member played two or three different instruments, often in a single tune, while navigating through some of the trickiest vocal harmonies in popular music. When they nailed those vocals, as in two Four Freshmen signatures, "It's a Blue World" and "Graduation Day," the arrangements brought back an eerie echo of the 1950s. At other times during their hour-long set, the performances seemed like an exercise in musical nostalgia, despite the group's impressive skills.

If the Four Freshmen are a link to the history of jazz, the UNLV Jazz Band is a look at the stars of tomorrow. The fresh-faced college students in their suits and ties looked more like a church choir than a big band. Once they got the downbeat from Frank Gagliardi, the group's director, thought, these kids poured it on. The have technique way beyond their years; they read from charts that are knockouts; and they swing with the intensity of seasoned pros. After four numbers by the band alone, Gabe Baltazar joined them on stage, and the show finally took off. Baltazar is a fixture on the local jazz scene, so it might be easy to lose sight of what an immense talent he is if he didn’t prove it afresh each time he picks up his horn. From the first note of his introduction to the jazz standard, "Take the 'A' Train," sound poured from his horn like honey, and the near-capacity crowd lapped it up. Gabe's instrument may be alto sax, but his message is a transcendent combination of technical skill, vaunting imagination and irrepressible spirit.

On "Stairway to the Stars," he showed complete control of pitch, timbre and vibrato. The tune was for years his featured solo with the Kenton Band, but as he caressed and shaped each sound, he made it a fresh, compelling experience. Baltazar close with "Europa," a tune composed by Lalo Schifrin, who will be among tonight's performers. Gabe and the band brought many in the crowd onto the Sheraton's dance floor, where their only regret was that his set ended so soon.


This section is devoted to news of alumni and other jazz colleagues; let's get to it!...If you haven't yet purchased BILL HOLMAN'S new CD on JVC, "A View From The Side" (JVC-2050-2), you're missing one great recording; Quincy Jones, Peggy Lee and Don Sebesky have given it acclaim, as have so many others. RICHARD TORRES & PETER ERSKINE, along with Alan Pasqua, piano and Alan Carpenter, bass, have recorded material for a CD and it includes 6 originals and two Kenton chestnuts, "Artistry in Rhythm" and "Intermission Riff;" the CD will be released in the Fall on Fuzzy Records......ED "GABE" GABEL is ecstatic over the music of the Roland Furman Orchestra, a big band which plays the music of Stan Kenton, Glenn Miller, Tommy Dorsey, Sammy Nestico, and others; the group is centered in the Diamond Bar area of for every occasion...Also, The Ira B. Liss Big Band Jazz Machine has been making important sounds in the Greater San Diego area; when you're in the area, "run, don't walk" to hear them! His CD, "First Impressions is available from Cadence Magazine.

AL FLUCK celebrated his 75th birthday recently, with a bash thrown in his honor by "Lady 'K' NAN FLUCK; music was provided by: Mike Vax, Dale Devoe, Ed Greene on piano, Jeff Lee on bass and Jim Miller on drums....happy 75th, Al! ... JEFF UUSITALO & GARY HOBBS were heard playing with Art Abrams' band in Downtown Portland, Oregon. Richie Cole was featured....The Berklee College of Music presented a HERB POMEROY Tribute Concert in honor of his retirement from teaching after 40 years at Berklee Herb's career has been a full one, and he continues to gig and teach. The Mayor of Boston, the Governor of Massachusetts, and so many other notable figures proclaimed his professional career. Illustrious jazz people performed in his honor, including: Toshiko, Gary Burton, John Abercrombie, Sada Watanabe, Chris Hollyday, Ray Santisis, Joe Zawinul, and the Berklee Concert Jazz Orchestra.

and the Chicago Jazz Ensemble will be opening for the GRP All Star Big Band and the Dr. John Big Band at the Navy Pier in Chicago, during the weekend of September 16, 1995. The ensemble has been playing to "rave" reviews in and around Chicago, playing a wide repertoire of the music of Kenton, Russo, Richard Peaslee and Ellington .....Word around Hollywood, and now the World, is that Lennie Niehaus' score to the "Bridges of Madison County," and Clint Eastwood's song from the film, will stand alongside the film music of "Godfaterh," and "Love Story." For those of you who haven't listened to the score, it is on CD. Lennie's score will take it's place in the annals of "The Greatest Movie Scores!"

has one heckuva book about the times of the Four Freshmen, entitled: Now You Know: The Story of the Four Freshmen; I have read it and it is interesting, enchanting, very comprehensive, and as upbeat as Ross is've got to read it....published by Gerry (see that, Gerry, I do know your name) Dexter, Balboa Books, a division of Tiare Publications, PO Box 493, Lake Geneva, WI 53147-0493, or send $23 to: John Bangs, Four Freshmen Society, 738 Monroe Street, Oshkosh, WI 54901-4649.....CONTE CANDOLI recently played the Idyllwild Jazz Fest at Isomata, California.....JOE URSO is still working diligently on his "Upper Register" book about high-playing trumpet players. He will let us know when the book is near done, and how you can obtain a copy. Joe is also high on Dan McMillion, and his new CD, "Blown Away," for which he has written the liner notes. Great CD! [Bojangles Productions, 6615 South Macdill Avenue, Tampa, FL 33611. $13.50 for the CD. $10.00 for the cassette].

METROPOLITAN JAZZ ORCHESTRA under the direction of Lenny King is playing in the Chicago Metropolitan Area, "featuring the sounds of Stan Kenton." In the spring, they played the MJO played in tribute to Stan Kenton at Gaffney Auditorium. They are planning a UK/European tour in conjunction with their appearance at the Monterey Jazz Festival in 1996.....THE WESTERN ILLINOIS UNIVERSITY JAZZ STUDIO ORCHESTRA, directed by Dale Hopper, presented several early spring concerts entitled "The Artistry and Rhythm of Stan Kenton.....THE TOLEDO JAZZ ORCHESTRA under the direction of Dave Tippett, also presented a tribute to Stan Kenton. Near capacity audience that was most appreciative. The audiences commented, "Please continue on doing this for us.".....THE DALLAS JAZZ ORCHESTRA also played the music of Stan Kenton at a gig at the Village in Dallas in June.....LILLIAN ARGANIAN continues to appear in print. Most recently, as the cover story of Marge Hofacre's Jully/August JAZZ NEWS; "Their Melodies Linger On," about Don Ellis and Stan Kenton. Subscription information is listed herein.


Dr. William F. Fritz holds the degrees Bachelor of Music in Flute from California Institute of the Arts, Master of Arts in Composition from California State University, Northridge, and Doctor of Musical Arts in Composition from the University of Miami. He has studied composition with Alexander Tcherepnin and William Russo in Chicago, with Aurelio de la Vega in Los Angeles, and with Dennis Kam in Miami. While residing on the West Coast, Dr. Fritz was involved with the studios in Los Angeles as a woodwind specialist, arranger and conductor. He was associated with the Stan Kenton orchestra as saxophonist and arranger for four years and as Educational Coordinator at Kenton's summer workshops for an additional nine years. He also served as Assistant conductor for Kenton's Neophonic Orchestra at the Los Angeles Music Center. Dr. Fritz had received grants for composition from the National Endowment for the Arts and from the Idaho State Arts Council. He is the author of several books on music theory and jazz and currently teaches theory and jazz studies at Pembroke State University. He is a member of the North Carolina Jazz Repertory Orchestra.


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 MetÞeny & L¨le Mays. MAMA Foundation MMF 1009. AvailaÔýe from Sierrra: $15 which includes shipping and handling. áFeatured 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 [011-41]-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.


Murray Patterson, premier Kenton producer, and Editor of the British "Son of Network," will produce another Rendezvous in Britain May 25-27, 1996. Here's the lineup so far: Lee Konitz, Buddy Childers, Jiggs Whigham & Roy Reynolds. Vic Lewis, the very well-known Brit bandleader, music/jazz producer, cricketeer, will be Guest of Honor. The bands thus far booked are: The Radio Big Band, Barry Forgie, Director; The National Youth Jazz Orchestra, Director, Bill Ashton; The Tinity College Big Band, Director Bobby Lamb. Panelists will include: Michael Sparke, Arnie Chadwick, Stan Woolley, and Tony Agostinelli. Murray keeps telling me of a BIG SURPRISE...however, when NETWORK went to press, the surprise was still un-spring! Write Murray at: 9 Western Avenue, Barton-On-Sea, New Milton, Hants, BH125 7PY, England, UK or phone 04 25 619501.


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.


"Kenton Showcase — The Music of Bill Russo and Bill Holman
Capitol 12 in. LP, T-524 (March 1-3, 1954)
Excerpted from Music Maker, December, 1958

Because he is that rare kind of person who can inspire others to explore and experiment, Stan Kenton has always attracted talented arrangers to his band: e.g., Pete Rugolo, Gerry Mulligan, Shorty Rogers, the late Bob Graettinger — and the tow who are represented on the LP, Bill Russo and Bill Holman. In effect, the Kenton band, in its greatest era, was always something of a workshop in which the arrangers could develop and expound their ideas while retaining the characteristic sound that made the orchestra immediately recognizable. This album presents a stimulating contrast in arranging styles. Russo, an unusually intelligent and literate musician, experiments interestingly with different patterns of rhythm and tone-colors. Sometimes he hovers on the brink of pretentiousness. Holman, on the other hand, writes in lighter, more swinging style, with plenty of scope for the soloists to improvise freely over simple rhythmic structures......for Kenton devotees, a long-delayed album form the band's most productive years — G. H. [Editor's Inquiry: who is the G.H. who wrote this review?]

By Steven D. Harris

Pasadena, California — Saturday, July 15, 1995. While most of the city was involved in their everyday routine of life and reality, a minute corner of town catered to a special private party for big band jazz fans, specifically in the name of Stanley Newcomb Kenton. The happening was in a private room of the Pasadena Cafeteria and, naturally, good "easts" were being catered as well. But the main purpose for this 4th annual gathering of THE KENTON KLAN was to pay homage to their favorite band leader via rare videos, anecdotes and live musical entertainment. Produced by yours truly along with Don Armstrong, on hand for this event were 65 devoted fans and alumni, who, not by coincidence averaged 65 in age as well. Commencing promptly at noon, Kenton "soundies" were shown for the first hour while everybody had lunch, met old acquaintances or browsed through several scrapbooks of photos and memorabilia circulating around the various tables.

"Woody's Whistle" was blown and Don Armstrong greeted everyone for the opener. "Speaker of the House" Ed Gabel, Stan's road manager in the forties, followed with some more banter and plugged the new Four Freshmen book, "Now You Know," recently penned by Ross Barbour. The two impromptu monologues by Don and Ed segued into things to come that afternoon as I took the floor to announce the Kenton alumni who wanted to be there, but for whatever circumstances couldn't. A pre-recorded, one-minute "message from Maynard" was also played and seemed to go over well. Ferguson would have liked to be present but started his tour of Europe earlier that week. Then came the introductions of the dozen Kenton alumni who were in attendance. A round of applause was sounded off as each individual was introduced along with their tenure with the Kenton band: road manager George Morte (1947-1955); latin percussionist Mike Pacheco (1959); trumpeter Bob Rolfe (1960-1962); bassist Glen Roberts (1953); trombonists Geroge Faye (1942-1944), Kenny Shroyer (1956-1958), Jim Amlotte (1956-1968), Roy Wiegand (1956), Don Reed (1957-1958), Bob Olson (1958-1959), and Mike Suter (1973-1975. As the "roll call" was ending, curiously noting the unbelievable presence of so many bone players, a distinct voice rang out from the back: "Shaddup, already!" Yet another trombone legend, Milt Bernhart (1946-1951), had made an entrance.

First on the agenda of videos of the Kenton band documented on film were Stan's debut on Ed Sullivan's "Toast of the Town" which aired live over CBS on December 3, 1950. It featured "Lover," "Maynard Ferguson," and "Viva Prado" which incorporated the use of 3-D camera angles not often used on television in 1950...a masterpiece! That was followed by a mind copy of a 1/2 hour TV show called "parade" done in Toronto, Canada on August 20, 1961 and featured a true-to-life glimpse of the neglected Mellophonium Orchestra with Ann Richards as vocalist. (Note: Stan and Ann didn't make too much eye contact on the show as this was right after Ann secretly posed for Playboy for the June, 1961 issue.....we suspect that didn't make Stan too happy. One of the stars of Kentonia was brought up to the microphone as he accurately reminisced about a 1953 recording date with Frank Sinatra and the Nelson Riddle Orchestra. His name was Milt Bernhart and the tune he was referring to was "I've Got You Under My Skin." Milt expressed to the attentive audience about how Frank fetched a stool for him to play a trombone solo. Sinatra wanted him to play loud and closer to the microphone. That's when the stool came in and they ended up doing 22 takes. (Note" George Roberts, also on the session, told me that Nelson was specifically looking for a trombone effect for the ensemble behind Frank's vocal. George had suggested to him to use the trombones patterns of Bill Russo's "23oN-82oW." If you listen to the record, that's exactly what you hear).

Next came a bit of humor as Milt led the crowd in a mock seance for Stan. "Something is about to happen that I'm sure you didn't expect," Bernhart relayed to the audience. "I've fallen into a group of people in recent times who truthfully believe that we can bring back the departed — if only for a few minutes — so we're going to try it right now. It's broad daylight here in Pasadena but what the hell. Darken the lights please, thank you. I'm going to try to invoke the spirit of Stan Kenton into this surrounding by just asking him directly. Stan, if you're here will you give us a sign?" A loud, "thump, thump, thump" could be heard in the back of the room as Bob Olson led a trombone quintet into "Artistry in Rhythm" — a chart by Frank Comstock specifically written for trombones only. This was beautifully done, seeing the group had no pre warm-up for their chops and were sight-reading; it came as a surprise for many of the patrons in attendance who expected nothing more than jazz videos. Some jovial applause and whistles followed the tune, and Milt continued: "Stan, if you heard that will you knock once. Once more Stan....I said once, you dumb ?#*!" (laughs from audience). I don't believe it's you but if it is, can you give me the tempo to "Intermission Riff?" A rhythm section of two softly plays the changes to this familiar Ray Wetzel chestnut with more of Milt's commentary: "Ladies and gentlemen, we were just having can turn the lights back on. It really isn't necessary to do this kind of thing because Stan's spirit was so gigantic that it remains so in our lives and it won't go away ever, as long as we're here. Pass it on hopeful to some young folks...that would be nice too. In the meantime, guys, I appreciate all of this, it's been a pleasure. My compliments to everybody. I just want to say that his is my kind of crowd....old!"

If the theme got everyone's attention, the music to follow would be like re-living the past. On electric keyboards was Dave Blume. Dave, a gifted pianist/arranger, works for the Los Angeles Times and also runs a dance studio. He had the ultimate pleasure of opening twice for the Kenton band at Fort Bragg, North Carolina in 1958-1959. Bassist Dave Borkenhagen supplied a rhythmic foundation and Dennis Burger guested on tenor and a lot sax. On the latter he displayed the singing feel of Art Pepper and ethereal tone of Bud Shank. Although Dennis had never played for Stan, he received more applause than anybody.

The most worthy and unexplainable mention would be the fact that a total of eight Kenton trombonists were present this day, covering a span of more than 30 years and 4 decades. (You can be that more than a few photos were taken of all 8 of them together for a historic shot). Four of them played in the ensemble starting with George Fayer from the first band and bass trombonist Mike Egan from the seventies. Wiegand, Olson and Roland Fruman rounded out the powerful brass section creating the sound that gave the impression of what Stan's music was really all about....trombones. Roland teaches music and had the opportunity to sit in with Stan's band for some rehearsals in the seventies.

After the swinging "Intermission Riff" (arr: Comstock) another Kenton war horse was played, Pete Rugolo's lovely ballad "Interlude," again written specifically for the bones and rhythm. I was told by one of the musicians to warn the audience in advance about the next tune played, Russo's "Egdon Heath" from the excellent Kenton Showcase LP from 1954. This really needs a strenuous workout and to perform it with no rehearsal — sans the original trumpet and sax parts — was quite a challenge. It obviously didn't come off too well, but it didn't matter. It was a gas just to hear these familiar charts! The next number was announced as being Kenton's favorite song and so it was appropriately played. It was the haunting 1930 ballad, "Body and Soul." There at least six documented variations I know of this tune that were performed by Kenton and company starting with: (1) Stan's first rehearsal band in 1940 — arr. Kenton; (2) a 1945 version; arr. Rugolo; (3) a piano-vocal duet by Kenton and Christy in 1951; (4) a 1953 version; arr. Russo; (5) a 1961 version; arr. Sam Donahue; and, (6) a 1973 version; arr. Paich. This is evidence enough that Stanley was crazy about the ballad. [Editor's Note: I believe that the 1945 version of "Body and Soul" was arranged by Boots Mussulli; the duet by Kenton and Christy was cut in 1955, and the arranger had to be Kenton himself; Kenton also arranged one of the "rejected" 1961 versions, as did Donahue — finally, a Donahue arrangement was released in late 1961].

For this particular 1995 treatment of "Body and Soul" by the "Kenton Klan All-Stars," Blume started the Johnny Green classic and Bob Olson opened with the main theme as the "choir" joined in. This was a head arrangement and yet it sounded as if it had been scored by any one of the great Kenton arrangers. Everyone stretched out with a solo — even Suter on bass trombone — and ended with the bones playing counterpoint...a Brubeck-Desmond effect. I must say, the performance was flawless. Gloria Armstrong, Don's beloved and adorable wife, requested "Here's That Rainy Day" for her hubby, his personal favorite. By this time, some of the musicians had left but most came back to join in. The event was plugged over radio station KGRB in West Covina and was also covered in the Pasadena Star News edition two days in advance. After all of this was over, one woman who read about it in the paper asked about the KK meeting. "I can't really say, miss. I'm sure it will be soon," I told her. "It can't be soon enough," she quipped!


Don Armstrong has started a petition signing campaign to the National Academy of Arts and Science for a Lifetime Achievement Award for Stan Kenton; he also has suggested that we continue to petition the Citizen's Stamp and Advisory Committee for a postage stamp in Stanley's honor. You can sign on to these petitions by contacting Don Armstrong. Use this format on two different sheets of paper:

I, (FirstName MiddleInitial LastName)(Address)(City/Town-PostalCode-Country) petition.

(Sheet of Paper 1) the Citizen's Stamp and Advisory Comitte for a U.S. Postage Stamp for Stan Kenton.

(Sheet of Paper 2) the National Academy of Arts and Science for a Lifetime Achievement Award for Stan Kenton.

Send both sheets to: Don Armstrong, 2570 Las Lunas, Pasadena, CA 91107, 818-793-7543. More petition blanks can be obtained from him if you wish to maximize the effort in your various communities.

By Doug Hughes

Each NETWORKER caught the Kentonia disease a different way. Many caught it by being hired to play in the band. The rest of us caught it in smaller doses. My own case became incurable after a week at the Michigan State University National Stage Band Camp in early August of 1962. My prior exposures were small and manageable — KTHS-AM one-hour jazz show from Hot Springs each night from 9 to 10, Modern Music Masters group from our small Missouri Highs School taking a bus to the joint Basie-Kenton concert in St. Louis on October 28, 1960, a few 45s, etc. Then the mellophonium band played two concerts at my college in Rolla, Missouri on October 23, 1961. The bug bit.

I attended both concerts and bought a program from Erik. The back page had the camp application. I saved up from my part time job, got my college band director to sign, arranged to be off the first week of August, 1962, and caught a round-trip greyhound. This was at a time in history when jazz was making a mild resurgence. Rock hit hard in the mid 1950s, and folks were either wild about it or looking for alternatives about 1961. The Beatles had not yet arrived.! There was a "time revolution" going on in jazz being lead by Dave Brubeck with TIME OUT and TIME FARTHER OUT. At least a dozen big bands were out on the road. My trumpet chops were mediocre at best, so I took my trombone to the camp, too. Bone players are always in demand. Wrong!

The others on the bus to East Lansing were easy to spot. We were all about the same age and carried similar luggage. Jim Cuomo was a reed player from San Antonio, Joe Barnhill was drummer from Jeff City, Missouri and Don Cox was from Wichita. Can't remember Don's main axe. We promised to stay in touch, but never did. Jim turned out to be one of the best alto players at the camp and made it into the Head Band. I heard later that he went to North Texas State and did graduate work at the University of Illinois. I roomed with Joe.

Michigan State was a short Sunday morning taxi trip from the bus station. After finding our rooms, it was time to audition and take theory tests. Nerves! I got there to find Herb Pomeroy, Marvin Stamm and Gary Slavo. They asked me to read, improvise, which I blew! I ended up as third trumpet in Band Eight of 10! I left the trombone in the case all week. I did fairly well on the theory test but not well enough to get into Johnny Richards' arranging class. We were all in one dorm, Robert S. Shaw Hall. It was huge! The cafeteria and all rehearsals were there. Meeting other campers in the dorm revealed a high percentage of them were drummers.! 42 showed up, including seven-year-old Peter Erskine and his dad. Conversely, the bass players stayed home in droves! Each band had three drummers and each sectional rehearsal had one. They were everywhere.! A trombonist from the Kenton Band even started playing drums! They walked around the dorm clapping in 7/4 time. It was infectious. To this day, I still find myself applauding on counts 2, 4, 6, and 7!

The first meal of "basic bulk" was at 5:30 pm followed by an 8:00 pm General Meeting where we were introduced to the entire camp staff and fiven rules (no blowing after 10 pm, lights out at midnight, no booze, etc.). We discovered that the entire Kenton Band was on the staff plus John LaPorta and Herb Pomeroy from Berklee, drummers Darrell Goes and Clem DeRosa, pianist Ray Santisi, trumpeter Donald Byrd, accordionist Art Van Damme, copyist Clinton Roemer, composer/arranger Johnny Richards, a lot of college teachers, etc. The room was full of "top cats."

The Kenton Band included: Kenton; Bucky Calabrese, bass; "Detroit" Jerry McKenzie, drums; Dalton Smith, Gary Slavo, Bob Behrendt, Keith LaMotte, and Marvin Stamm, trumpets; Bob Fitzpatrick, Dee Barton, Bud Parker, Jim Amlotte, and Dave Wheeler, trombones; Gabe Baltazar, Charlie Mariano (on jazz tenor, awful sound!), Ray Florian, Allan Beutler and Joel Kaye, saxes; Ray Starling, Dwight Carver, Jim Knight and Lou Gasca, mellophoniums. There had been some changes since Rolla, the prior October. LaMotte had move to trumpet; Sam Donahue, Bob Rolfe, and Carl Saunders had departed — but it was still a great band. Ma¯y were fresh from Leon Breeden's North Texas Stat music program.

Monday morning saw band assignments posted. That assignment determined student's scheduling matrix for the rest of the week. Band Eight was lead by Ralph Mutchler, a college Teacher from the Pacific Northwest. He knew his stuff a lot better than we could blow. We got much better as the week went on. Only seven bass players came, so we got Bucky Calabrese! The only tune I remember playing, 33 years after the fact, was a John LaPorta composition called "A Minor Affair." I remember that Band One did a tough chart from Berklee called "March of the Cyclops."

Typical day: 7 - 8 — Breakfast (staff sat at the same tables with us); 8 - 10 — Theory class with Russ Garcia (chords, transposing, circle of fifths, voicings, great stuff!); 8 - 10 — Arranging with Johnny Richards for students who quizzed into his class; 10 -11 — Trumpet sectional (Dalton Smith led ours — great cat — he answered every dumb question); 11 - 12 — Free; 12 - 1 — Lunch; 1 - 2 — Workshop; 2 - 4 — Band Eight rehearsal; 4 - 5 — Free or John LaPorta's Head Band; 5:30 - 7 — Dinner; 7 - 8 — Kenton Hour; 8 - ?? — Evening Sessions. Careful planning was required for even a bathroom break!

A word about band assignments. The talented players were distributed through all 10 of the bands so that performance levels were almost equal. Band One, however, got goof players at every section level. The top players in the camp were invited to play in an additional band, John LaPorta's Head Band. This band did not use published charts and played their own head arrangements. I think I remember them doing "Watermelon Man." The points drilled into use during sectionals were to always follow the lead players with phrasing, dynamics, attacks, cut offs, etc. Another emphatic point was for the lowest voice in the soli passages to be the loudest with the voices above playing progressively softer so that the lead player had a lot of support without playing his lip off. I was a section player, so I remember how hard it was to concentrate on what the lead trumpet was doing and how loud to play. Smith also told us how to play unisons. The key was to lay back and to concentrate on the intonation to sound like only one player.

The 1 pm workshops were: Monday — General Scheduling; Tuesday — Clinics (Dalton Smith led the trumpet one); Wednesday — Big band analysis with the Kenton Band; Thursday — Clinics (Marvin Stamm with trumpets); Friday — Kenton Band reading of arranging class charts. The Friday workshop was fascinating. About half the arranging students were drummers. They all wrote great charts! The arranging class students were easy to spot all week. They got no sleep and were constantly either copying parts or seeking a piano! There were no such things as Personal Computers and Finale in 1962. One young woman student took a Four Freshman chart and arranged it for the mellophonium section. Her open voicings were out of range for the horns. After repeated trials and failures, Stan finally said, "It's a great arrangement, but my horn players are just not good enough!" What a politician!

The 7 pm Kenton Hours were also great. Students were allowed to ask questions. I asked about Joel Kaye's age. He was my age! Monday — "General Forum" with Kenton and Russ Garcia; Tuesday — "Taste & Style in Jazz" with Donal Byrd and John LaPorta; Wednesday — "Musicianship" with Art Van Damme and Johnny Richards; Thursday — "Camp Evaluation." Concerts were held at 8 pm: Monday — Combo with LaPorta, Santisi, Stamm, Goes, Peterson & Calabrese; Tuesday — Combo lead by Ray Starling with staff and invited students (including bus mate Jim Cuomo) as members; Wednesday — Combo with Byrd, Mariano, Santisi, Perry & Calabrese, plus Art Van Damme group (Van Damme played the most swing heard all week); Thursday — Buddy Baker Bones followed by the full Kenton Band.

Friday night concerts started at 7 pm with three tunes from each of the ten bands, plus the Head Band, and ending with the Kenton Band. The Kenton Band did their "comedy" concert, the first time I'd ever experienced it. It included practical jokes between members, whoopee cushions, tuba-piccolo duets, etc. The band was very loose. The concert was held outside, and a lot of local folks showed up. The full concert was recorded. The sleeping portion of the night was very short! Graduation was Saturday morning after breakfast. Stan shook everyone's hand. He was ubiquitous all week. He popped into our sectional one day and asked if we were the trumpet section from Band One since we sounded so great! He probably said the same thing at each sectional! He would listen to our band rehearse a few minutes each day and always had an encouraging comment.

Most of us did discover that the Kenton Band had a rehearsal with Johnny Richards from 4 - 5:30 each afternoon. They were doing some new Richards' music that was to become the "Adventures in Time" album two months later. Those charts were tough due to unusual time signatures, but reading mistakes were rare. Most mistakes were copying errors, which Richards could hear instantly. I ran from our band rehearsal each afternoon to get that first-row chair right in front of Gabe Baltazar. Saxes aren't supposed to be as loud as brass, but they were with Gabe's section. Two things, in addition to him finding copying mistakes, I remember from Richards' direction was advice for soloists to stay close to the stated melody and for more volume from the lower voices (Kaye, Beutler, Amlotte, and Wheeler — who also had a tuba). He never said a word about balance from the trumpet section. Bob Behrendt was probably the loudest fifth trumpet player in the history of the instrument! He would say "and now it's time for a solo from the boss" prior to Kenton's solos.

The week was way too short. All four of us bought those famous white cotton long-sleeve Kenton Clinic sweat shirts and wore them proudly, in the 100 degree hear, all the way home on the Greyhounds. I still have mine. Wish it still fit!

I had the Kentonia disease so bad the next two years that I both a Martin Committee trumpet and Conn mellophonium and attended the National Stage Band Camp again two years later (1964) at Phillips University in Enid, Oklahoma. I walked in the first day and Leon Breeden came up and asked what camp I had attended before! What a memory for faces! Kenton wasn't there since he had disbanded to spend more time with his children. It was still great. I auditioned with Pomeroy again, and ended up as second trumpet in a band led by Charlie Mariano. He made it a fun week! We started playing the first day a bit timidly, so he stopped the band and said to start playing from our "B—s!" I pointed the bell right at him and did. He stopped the band again, pointed to me, and said, "Yeh, I can hear you." A common statement from leaders at both camps concerned mistakes. They always said to not make them timidly. Mistakes are to be honest ones that everyone should hear! We did four tunes: "A Rocker for the Prez," (in honor of President John F. Kennedy's rocking chair), "Sweet Tutti," "The Principle is the Thing," and Dee Barton's famous whole-tone jazz waltz, "Waltz of the Prophets." I brought the "Waltz of the Prophets" chart, and Charlie Mariano nearly groaned when I loaned it to him for the week. He said he hated it after playing it "a thousand times."

I also did better on the theory test and quizzed into Marty Paich's arranging class. I've been doing amateur arranging every since. I played in a local Annapolis rehearsal big band for five years in the 1980's including doing their arranging. They preferred playing Nestico and Wolpe charts to Holman and Levy even though I found about a dozen from the Kenton library to donate. They would play "Theme and Variations" and "My Old Flame" only rarely. I aways got the nine-measure bridge trumpet solo on Paich's famous chart. I now just play the mellophonium in a church brass sextet and try to find big band recordings at Tower Records with bands plying 11th and 13th chords, straight eighths, horn sections with the strongest players on the bottom notes, etc. You Networkers know of my dilemma. Rob McConnell is the only one who even comes close, but his french horns are to timid and his ballads too fast.

Can this disease ever be cured?


By Dan Bied

Lush, brass-laden Kenton sounds by an authentic "labor of love" alumni band highlighted the 23rd annual jazz festival at Morningside College in Sioux City, Iowa, February 9-11. The 19-piece band, led by enthused Mike Vax, who also performed with the crew's five-member trumpet section, included several of Stan's sidemen who hadn't played together for 16 or more years. It was a crisp, precise ensemble, nevertheless, that triggered emotional response with such landmark Kenton numbers as "Peanut Vendor," "Malaguena," and of course, "Artistry in Rhythm." The ban's two concerts were preceded by a jam session at the Holiday Inn that featured tenor men Roy Reynolds and Richard Torres, latin percussionist Ramon Lopez, bassist Jim Widner, trombonists Denny Brunk and Roy Wiegand, reedman Steve Wilkerson, drummer Jerry McKenzie, pianist Don Haas and Vax. Vhuvk Vsttrt, known for his virtuosity on baritone sax, grabbed a clarinet for a Dixieland romp through "Indiana," that excited the Iowa crowd. Brunk chipped in with a velvet-toned "Stardust" and Andrea Baker, a statuesque blonde from Los Angeles, delivered a stylish "The Nearness of You," with tasteful asides from Vax.

The opening night concert, including 18 standout numbers, began with a gorgeous "Somewhere," the finale from a 1961 "West Side Story" suite, arranged by Johnny Richards. Willie Maiden's uptempo "A Little Minor Booze" was next, featuring brisk solos by Carter, Wilkerson, Haas and high note trumpeter Steve Campos. Another composition by Richards was punctuated by Joel Kaye's joyful bass sax and a booting tenor solo by Torres. "Vax Attacks," arranged by Lennie Niehaus, was a flag waver for Vax, Reynolds, Torres and Wiegand, who was featured on robust solos much of the night. The tempo was slowed for "If," which was arranged in Kenton style after Stan's death in 1979 and highlighted the trombone choir along with Vax's impressive trumpet and sax sections. Wilkerson, who was a treat all weekend on alto and flute, vied with Wiegand for solo honors on "Peanut Vendor," a tour-de-force that ignited roaring approval from the seats. Alan Yankee's elegant score of Billy Strayhorn's "Chelsea Bridge," which was featured by Kenton in 1978, but never commercially recorded by the band, was one of the concert hight points, thanks to forceful support from McKenzie, Widner and Lopez.

Brunk, who has a mellow voice on top of his prowess with the sliphorn, drew spirited applause for his "Don't Worry 'Bout Me." He was with Kenton in 1978 and seems talented enough to gain national stature. "Samba Degamba," composed and conducted by former Kenton trumpeter John Luebeke, now with the Sioux City Symphony, rocked the auditorium's walls with help from Wilkerson's buoyant flute, Widner's booming bass and McKenzie's emphatic poundings. "Malaguena," a favorite with many college bans, was a vehicle for the brass, especially Wiegand's blaring solos and piercing high notes from Jim Oatts and Dennis Noday. There was a hush moments later, as bass trombonist George Roberts paced a Niehaus chart of "'Round Midnight" that pretty stuck to Monk's original theme. Justin Kisor, a teen-age whiz from Sioux City, joined in sparkling trumpet duet with Vac on "There'll Never Be Another You," with blistering solos by Reynolds and Wilkerson as icing on the entree. Baker, in a shimmering red gown, delighted the audience with a swinging, "It's A Wonderful World" in which she resisted the urge to emulate O'Day, Christy, Connor et al.

Lopez, still effervescent after his 16-year hiatus from Kenton ranks, was featured on a Chico O'Farrill chart, "Ramon Lopez." Then the band responded with a dazzling "Intermission Riff" as a tribute to Stan. The number included inspired solos by Torres, Wiegand, Campos, Carter, Wilkerson, Oatts and trombonist, Billy Hartman. Haas, a tall, white-haired Californian with awesome credentials who, as a bonus, resembles the band's creator, launched the concert-ending "Artistry In Rhythm" with a solo that combined musical suspense with brilliant technique. The number ended as a crescendo, with Widner on his tiptoes to conduct, that drew a "standing O" from the cheering crowd. The event, Vax reported, was a year in the making with phone calls, letters, etc., between himself, the Morningside faculty and the musicians. It was worth the effort, surely, as everyone ruled the music "an artistic success."

By Michael Rydsynski
[Reprinted with permission of The Irvine World News, Irvine, California, July 20, 1995]

Leave it to Ken Allan, Irvine Marriott's hair stylist and big-band showman to hire on the best "reunion" group for his jazz/ballroom dance series. Saxophonist and band-director Alan Yankee led a 19-piece Stan Kenton Reunion Orchestra in Sunday's ninth annual Kenton tribute at the Marriott. Dubbed the "Rendezvous Ballroom" after the original in which Kenton gave regular concerts in Orange County in the 1940s, the huge hall inside the Marriott was decked out as usual with dance floors on either side of the band. Unfortunately, this looked like the most dance-shy audience ever to attend the series in its nine years. Few couples ventured onto the dance floor for the band's 33 songs from the Kenton library during the four-hour evening.

However, the musicians were not disheartened from giving it their best. The usual mix of up-tempo numbers and slow ballads was presented in an expert blend of collective ensemble and individual virtuosity. The band performed with impeccable timing, clear articulation, extraordinary harmonizations, a sense of swing, and an unflgging level of enthusiasm. The saxophone section played en masse in mellifluous harmony in Johny Burke and James Van Heusen's "Here's The Rainy Day." The trombones were sumptuously featured in Victor Young's "Street of Dreams," while the trumpets played raucously delicious dissonances during the rhumba favorite, "Peanut Vendor," a number with an increasingly pervasive beat.

Kenton arranger Bill Holman's dynamic version of "Kingfish" wound up in a breathtakingly and unsuspectingly soft manner. The band played Johnny Richards' early '50s arrangement of the Brazilian standard, "Tico Tico" with all the sound trappings of a Carmen Miranda setting. The early Kenton hit "Jump for Joe" built successively in a masterful way from a jogging bass line to a trombone-section melody to a saxophone-section countermelody to a muted-trumpet counterpoint added on top. Lennie Niehaus' arrangement of Kenton's "Artistry in Bolero" taking its cure from the 1928 Ravel ballet score, likewise layered it on richly and thickly.

Holman's swinging interpretation of the chestnut "Happy Birthday" was unleashed to honor Allan, whose birthday just happened to be that Sunday. Set-drummer Ron Jones' hefty and heavy solo led to a slowed-down ending of an otherwise hep and far-ranging "Birthday." Jones also soloed extensively in Kenton and Art Pepper's "Dynaflow." Alto saxophonist Steve Wilkerson who performs Tuesday at the Cannery in Balboa Island, appeared to have a lion's share of the solos and excelling in every one. From frenetic scale-like runs in rapid succession on "A Little Minor Booze" to the intricate finger work of Niehaus' arrangement of "But Beautiful" to the extensive solo in "Street of Dreams" that proved at times to be technically brilliant and melodically soothing, — Wilkerson alone was worth the price of admission.

Fellow saxophonist Kim Richmond took center stage, literally and otherwise, in a flavorful flute solo during "Peanut Vendor." Greg Smith demonstrated how agile his immensely bulky baritone saxophone could be in his surprisingly agile solo in "Artistry in Boogie." Both trumpet player Clay Jenkins and pianist Larry Flahive had extensive and wonderfully involved solo turns in "Dynaflow" and less lengthy (but not less artistic) ones in "Kingfish." Flhaive began the 1941 Kenton theme song "Artistry in Rhythm" with a contrasting, unaccompanied, pseudo-Impressionist solo that segued into the band's entrance. Vocalist Andrea Baker, looking like a blonde femme fatale, couldn't make up her mind who to sound like as she varied styles and vocal ranges in such numbers as Duke Ellington and Don George's 1944 "I Ain't Got Nothing but the Blues" and Alan Yankee's own arrangement of "Watch What Happens." She should have had faith in her own manner of delivery and stuck with that. In the Ellington number, though, she had a superb, bluesy duet with Wilkerson, who this time played clarinet and even managed to interject a touch of Gershwin's "Rhapsody in Blue."

Between sets of the Reunion band, the Johnny Carson Tonight Show Band's All-Star Quartet played soothing, velvety music that seemed ideal as background music to dine to and talk through. Trumpet player Conte Candoli, just out after bypass surgery, showed he still had his technique and musicianship in high gear through expert displays of rapidly repetitive tonguing and smoky full-toned melodies in such numbers as John Coltrane's "Equinox" and Sigmund Romberg and Oscar Hammersteing II's "Softly, As in a Morning Sunrise." Pianist Ross Tompkins, bassist John Heard and drummer Jake Hanna ably assisted him and showed off their skills in their respective solo turns as well.


By Dick Baldwin

A drum roll, please; and a giant fanfare! The hear was on for a beautiful July 28 summer evening at Chautauqua. Kenton music before 4,000 at the Chautauqua (NY) Institution Amphitheater mixes with the cooling lake breezes. It's a night for Stan, The George Beck Big Band, the Fabulous Four Freshmen and a large Kenton Korps. If it gets more bountiful than this — where?

George's Ork, starring alums Roy Reynolds, John Harner, Dale DeVoe and Ramon Lopez, was featured with Bob Flanigan's Frosh. The evening's line-up was immense and the now annual salute to Stan on the Niagara Frontier was back. Messrs. Reynolds, Harner, De Voe and Lpoez were of course top-o-the bill with the Freshmen. Roy had his time on "Roy's Blues" (conducted by Dale) and the stunning "Street of Dreams." Mr. Reynolds continues to be a talented gentleman of the highest order. John played a smooth "Send in the Clowns" and "Ice Castle." Dale did “Over the Rainbow," and "Can You Read My Mind" (from "Superman"). Ramon tapped out "Inner Crisis" All carry the Kenton professionalism with them on these alumni dates such as the Beck Bash. John (almostt a Freshman) Hasselback's piano supported every tune. The crowd-approved charts included Bill Holman's "Stompin' at the Savoy," the Kenton beauty "I've Never Been In Love Before," and the flag waver, "Intermission Riff," which made room for the Freshmen — Greg Stegeman on flugelhorn, some startling Alan MacIntosh piano (leader Beck's observation), textbook/seminar and big gig trombone by Kevin Stout, plus scat time with Bob Ferreira, courtesy of his Lambert-Hendricks-Ross attachment.

The Freshmen simmered with the backing of Beck's Brigade. Bob Rerreira debuted "More Love," arranged by Greg, with the big band. All of the Freshmen fare included !st set: "I Hear Music," "Poinciana," "Girl Talk," "Witchcraft," "Nancy," and "Day By Day."


Juergen Neudert, Germany at the 1995 International Trombone Workshop held at the University of Nevada, Las Vegas, May 30-June 3, 1995. Neudert is a student of Jiggs Whigham at the Musikhochschule in Koln, Germany. He appeared in concert with Jiggs and John Fedchock. Professor Emeritus Eugene E. Grissom is co-sponsor of the Rosolino Scholarship. Jazz performers at the event included: Carl Fontana, Bill Watrous, The Bay Bones with Tom Ervin and Buddy Baker and the Capitol Bones, Wayne Andre and others.


....the upcoming 76 Plus 4 trombone extravaganza at the University of Nevada, Las Vegas on October 29, 1995. Doc writes that "it is a dream come true" for him. Plan to attend!

CHRIS PIRIE'S BOOK "IS PRINTED AND AT THE CHECKING-BEFORE-BINDING STAGE..... according to Susan Beaven, Pirie's associate in the project.


This Editor wants to be able to pin- and spot¡light as many alumni as possible. There has been no attempt to keep anyone from being given attention. No one has an "inside" track. If you want to let NETWORKERS know what you are doing....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!"


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 BAND JUMP, Box 12,000, Atalnta, GA 30305, 800-377-0022
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.
ALAN COOPERMAN, (Mostly trad jazz), PO Box 310, Millington, NJ 07946, 908-604-4906
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, Indianpolis 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 23606-6297, 804-596-3298
H & B RECORDINGS DIRECT, San Antonio, TX, 800-222-6872
HAROLD HANSEN, 7344 Coronado Dr., Burnaby, B. C., V5A 1R1, Canada, 604-420-9232
JIM HARTLEY, "The Record Hunter," 1430 St. 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 MUSICAL SUPPLIERS, P.O. Box 357, Mt. Prospect, IL 60056-0357, 800-762-8126,
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
JOYCE RECORD CLUB, INC., Box 1687, Zephyrhills, FL 33539-1687
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
MUSIC FOR PLEASURE Catalogue (EMI Records, Ltd.), FREEPOST License No. 2437, Hayes, Middlesex, UB4 0BR, England, UK
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
PENDER'S MUSIC COMPANY, Jazz Catalog, 314 S. Elm, Denton, TX 76201, 800-772-5918
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, 7Ä11 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
STASH MAIL ORDER, 140 West 22d St., 12 Flr., New York, NY 10011, 800-666-5277
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
TIME WARNER SOUND EXCHANGE Catalogue, 54 N Industry Ct., Dee Park, NY 11729-4614, 800-521-0042, FAX 516-254-7988
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
KEN WHITEHOUSE, 18 St. Peter's Close, Stonnall, Staffs, WS9 9EN, England, UK, 01543-370959
GEORGE WILSON, 1079 Stuart Rd., Princeton, NJ 08540, 609-921-837
WORLDS RECORDS, PO Box 1922, Novato, CA 94948-1922, 800-742-6663 & 415-898-1609, FAX 415-898-6348
[Editor's Note: I have removed Jamie Gibson Books from the list. No response to phone calls, return receipt required letters. At this time, I would not recommend doing business]

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


The New Jersey Jazz Society and Rutgers University Institute of Jazz Studies inducted Stan Kenton in their American Jazz Hall of Fame at the 13th annual induction ceremonies on Sunday, May 7, 1995. Others inducted were: Barney Bigard, Dave Brubeck, Warren "Baby" Dodds, Dick Hyman, Illinois Jacquet, Eddie Land, Jimmy Rushing, Francis "Mugsy" Spanier, and Joe Wilder.


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. (See Call for Petitions elsewhere in this issue).


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!] [The Four Freshmen invite you to join them on the Royal Odyssey (cruise) for Alaska — 7 days...departs August 6, Jeri Ann, 800-355-4135.]

Dick Baldwin writes: "I attended the Freshmen Reunion in Huron and Lakeside, Ohio July 7-8. Nice time with approximately 300 on hand.....there are new tunes in the book, I mean new, old things...Greg did a Chet Baker tune 'But Not for Me,' and it was a swinging piece.....Stan was mentioned all weekend...Ray Brown, Rod Henley, Ross Barbour, Autie, and of course Flan was on hand."


by 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.


Many of you have been generous to contribute to the NETWORK — and more than once, I might add; your last names are being listed. If I left you off the list, contact me! (This list includes all received from February 1, 1995 to Augustá31, 1995); it includes money, stamps, LPs, CDs, tapes, etc)(oh, if you have contributed, and your name is missing — please, let me oversight, I assure you): Agnessens, Allan, Bruce & William Anderson, Arganian, Arkelian, Armstrong, Bachraty, Bakke, Baldwin, Bangs, Barduhn, Bayless, Beaudoin, Bennet, Bert, Bloom, Boivin, Breeden, Burke, Carnevale, Castanha, Chenail, Chiara, Chisholm, Churchill, Claussen, Cody, Cohen, Colaluca, Cowie, Craig, Crull, Curnow, D'Ambrosio, Dexter, DiSantis, Evans, Falkenstine, Favaro, Fields, Larry & Reuben Fisher, Fitzner, Fleming, Al & Nan & John Fluck, Folson, Fort, Gabel, Glasgow, Grim, Grimes, Grinnell, Hardish, Hartley, Hartshorn, Harvey, Hasper, Hatfield, Heinel, Heriot, Heycock, Hirsh, Hornsby, Huber, Hudson, Arthur & Wendell Johnson, Katnorski, Kosloski, Kelly, King, Krea, Lamas, Lannen, Latus, Libby, Lichtenauer, Lenson, Leonard, Long, Loose, Luke, Luttrell, McBride, McCarthy, McParland, McWilliams, Molitor, Nelson, Nemec, Newman, Norris, Olsen, Paglia, Palmer, Pandozzi, Partridge, John & Murray Patterson, Pearson, Proulx, Rainone, Rank, Regas, Rittweger, Rosa, Routt, Salmasian, Sauter, Schaeffer, Searles, Shelhammer, Smith, Sparke, Stancik, Stein, Steinlauf, Stenbergh, Strait, Sullivan, Sultanoff, Svenson, Sydlowski, Taylor, Thacker, Thorpe, Tsolainos, Turner, Unemoto, Urso, Bob & Kurt Ward, Warner, Watters, Weichert, Weinert, John Whitehouse, Wilkinson, Wolf, Wooten, Yankee, Young, Zenter, Zigmont....& 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. Thanks also are due to members of my family et al for their help in putting out NETWORK over the years: Barbara, Maria, Denis, Kate, Frank, Francesca, Zooey, Mark, Debra, Matt, Christine and Fiona.


As usual, I did not have enough space to include other items of interest to Kentonians. I will carry these over to the January/February issue NETWORK XXII. This issue was delayed because of "financing challenges" at the beginning of September! Both Barbara and I had delayed paychecks because bargaining units to which we separately belong were still negotiating contracts. Do you want to reach me by Electronic Mail? CompuServe: 70544,1336; Internet: or .

Do you want to send me a FAX? FAX: 401-831-8838. NETWORKS 15 through XXI are now available on disk; you can purchase a diskette (5 1/2 or 3 1/4) in WordPerfect 5.1+) of 15 through XIX or XX & XXI in MSWORKS for $5. You can sign on to a Kenton chat list on Internet by sending an e-mail message to and in the body of the message: . [Put to bed: 8/31/95]