The Network XXV

Fall, 2000

Anthony (Tony) J. Agostinelli, Editor
Prologue For Cybernetters: NETWORK XXV is being made available to the list of Kentonians on the Kenton e-mail list. If you want this newsletter in cyberfashion, you may write me at my e-mail address, and I will send it to you. You will also note that all of the URL sites (http://) are in bold, and if your ISP supports this, you can click right on the website and be linked to it. Also, NETWORK is posted at this websites:

A Personal Fund-Raising Note from the Editor: NETWORK is now being published once annually. The number of NETWORKERS has now fallen by 10 to 1,960. I continue to rely very heavily 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. Publishing and mailing costs will have to be re-couped from your contributions! (As the 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...that nut is now up to around $3,000! I hope that you would consider a making a contribution to NETWORK operations, 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 Premium will be sent to you. This Premium is an twelve-page listing of Kenton on CD & Video — CDs & videos which have been issued — updated as new issues are known; it has been compiled by the noted Kenton discographer, Michael Sparke, with this Editor's help. Do you realize that just $1.50 from each of you, will net The Network $2,940! Wow!

As a fund-raising "gimmick," I am offering at auction "Stan Kenton! Tex Ritter!" Capitol LP ST-1757. Bidding should begin at $50. I shall keep bidding open, until 30 days after mailing of NETWORK XXV (see your USPS indicia); all who bid will NOT be notified of the winning bid and bidder. Also, I have extra LPs donated by several NETWORKERs and each are available for $15. each (includes postage)(overseas mailing add $6.00; call write or e-mail to see if I have what you may want.

"In the beginning, when did you come in contact with Stan Kenton?"

(From the Stan Kenton internet list)

DON ARMSTRONG FROM SOUTHERN CALIFORNIA TELLS US...In my beginning Stan created Southern Scandal. I think Tampico was on the flip side or maybe it the other way around...both were hits because they were together. Anyway, In 1945 Ted, Carl, Red (Eugene) and I would sit on my front porch with our Silvertone radio (with short wave), pulled out toward the front door as close as the power cord would allow and we would play Southern Scandal over and over and. That's when my dad called the Kenton aggregation the "aggravation." We went through three copies of SS before the summer ended. It was a big deal, we thought we were like the guy next door who could play piano like Stan (at 3 in the morning, yet). He smoked. So that was a big deal, but we couldn't buy "weeds" so we thought the rattan chair on the porch would be the next best thing. The nice part about this is that none of smoked after that experience. Stan Kenton .. at 15 years old we thought we just discovered the best thing in life ( 15 year olds didn't know much about girls THEN)...Two years later Jim and I snuck in to the Rendezvous Ballroom (Balboa), and hid out in the balcony. At the time we knew Stan, June and Shelly Manne. Little did we know that Childers, Wetzel, Porcino, Alvarez, Bernhart, Bert and a ton of others were the guys making that great sound. By then we had discovered "the chicks" but were soooo backward. Several more times at the Rendezvous, Palladium, and Disneyland was all I could handle after service time, marriage, children, school...I think many of you understand the drill. Now in "sort-a-retirement" the collection is complete, boxes of bootleg tapes, videos and no more stated before...I think many of you understand the drill. Love That Sound ! Don Armstrong in Pasadena

DOUG HUGHES IN MARYLAND TELLS US...Missouri Ozarks - 1957 - NIGHT FLIGHT on KTHS every evening out of Hot Springs Arkansas - 50,000 watts - Dick Landfield DJ - jazz...Heard "Artistry In Rhythm" one night - could hear every player, even on AM radio, not just the lead players...Wrote to Landfield and had him play even more...First live - October 1960 at Keil (hi Tim Alexander - he was also there that night) Auditorium in St. Louis - twin bill with Count Basie. Don't remember much of it. However, about 150 recordings later, my collection is fairly decent. One year later heard Gabe and the mellophonium band (speaking of reeds, I still consider Gabe the co-leader of that 60-63 band) at my Rolla, MO college for two concerts, got the program from Erik, filled out the form, attended the summer clinic at Michigan State the following August, came home, bought a Martin Committee trumpet and Conn mellophonium. Like the big chords still. I listen for a strong bottom. Doug Hughes in Annapolis

JERRY LAPHAM IN OHIO TELLS US...I heard about Stan Kenton while in high school from my cousin, who is 11 years older and was somehow involved in some Kenton appearances at Ohio University in the late 40s. I didn't really become a fan until my senior year ('52-53) until I heard the trombone sound of September Song on the radio...I first saw Kenton at Castle Farms dance hall, Cincinnati in the spring of '53. They opened with "23 deg N, 82 deg W." First time I saw a band with 5 trombones. My impression was: "Wow!" Jerry Lapham in Monroe, Ohio

ROBERT J. ROBBINS IN PHILADELPHIA, PA TELLS US...The earliest music I recall being exposed to came from my father's classical LP's, plus the original Broadway cast recordings of the 1950's and early '60's (e.g., "My Fair Lady," "West Side Story," "The Sound of Music," "Fiorello!," "How To Succeed In Business"..., etc.). At the age of thirteen, I discovered the music of Glenn Miller, thanks to a Neighbor's old 78's which were given to me. While in high school, my attention shifted to current pop music, with an emphasis on rhythm-and-blues (particularly James Brown) and the Beatles. As a high school senior, I began regularly attending Philadelphia Orchestra concerts, and this experience thoroughly indoctrinated me into the classics, although I had had some exposure to this music ever since childhood (through my father's records and tapes, and "Leonard Bernstein's Young Peoples' Concerts" on TV)

I first heard of Stan Kenton when I was about nine, when he appeared on Art Linkletter's daily TV show. However, I remained unfamiliar with his music until my sixteenth year, when someone gave me a copy of the Capitol 45 with "Sunny" and "Imagine" (both from "The World We Know" LP). Since I was then still heavily into my pop phase, my response was lukewarm. Finally, at nineteen, I decided to attend a Kenton concert at Central Bucks High School West in Doylestown, PA (I had just seen Maynard Ferguson, with his excellent British band, for the first time two months earlier), and these two concerts convinced me for all time that big bands were not merely items of nostalgia but could be propagators of music of a most contemporary nature.

Just over six months later, my Kenton record library had swelled, from the latest Creative World releases ("National Anthems") to Capitol 78's (including "Peanut Vendor/Thermopylae") which I found in flea markets and vintage record shops. The following summer, I attended the clinic at Towson State University in Maryland, and I found myself talking with the likes of Hank Levy, Ken Hanna, Bob Curnow, and Gene Roland, not to mention The Old Man himself! I have been firmly hooked ever since. Robert J. Robbins in Philadelphia, Pennsylvania

JUSTIN MILLER IN NY TELLS US...I am too young to have seen Stan's bands. But the first time I heard of him was in my high school stage band. The director pulled out a bunch of music and asked who'd heard of him. Nobody raised a hand. He proceeded to pass these folders out, and in them were the parts to all the songs from A Merry Christmas. I haven't been quite the same since. Justin Miller in Geneva, NY

NOEL IN THE MIDWEST TELLS US...I first heard Stan ('Southern Scandal') when I was 13. After that spent hours & hours & hours at NYC's Paramount Theater & Birdland whenever he came to town. At the time lived in Greenwich CT. Met him at Carnegie Hall midnight concert in 1948. Sat on the stage (along with hundreds of other last minute ticket holders) two feet from the end of his keyboard. When the Band broke at intermission he took me backstage and 'interviewed' me. The die was cast and as they are wont to say, 'the rest was history.' Noel in the Mid-West

ED IN LENOX, MASSACHUSETTS TELLS US...I got hooked on recordings of Intermission Riff and Peanut Vendor. Trombones and trumpets. Before that, it was Elvis, Bill Haley, etc. I was lucky enough to grow up in Bristol, Connecticut, home of America's oldest amusement park, Lake Compounce. Among its many attractions was a world-class ballroom, and the first 5-or-so times that I saw Kenton was in that room. The events run together, but together they provide a tremendous emotional high whenever I hear his music. "Ed in Lenox "

J IN PENNSYLVANIA TELLS US...My little story is this: Met a guy on the beach at Wildwood, (early 50's) continued dating back in Philadelphia. and he loved Ballroom Dancing and Stan Kenton. The first time he took me dancing, there he was, STAN. If I wanted to continue hearing this marvelous band, I had to learn to dance, quickly (musicians usually don't dance) and I DID!! Anything for STAN! Couldn't believe what I was hearing, and loved him ever since the first 3 bars. J in PA

NEW FROM TANTARA PRODUCTIONS: "STAN KENTON: REVELATIONS" Tantara Productions, Inc. has broken new ground in the jazz world with the release of "Revelations," four hours of previously unreleased performances and studio recordings by big band pioneer Stan Kenton. "Revelations" provides an entirely new listening experience for fans, critics, and newcomers alike, in that most of the selections were neither commercially recorded nor previously released as unofficial recordings. It is the only compilation of Kenton's music that spans the orchestra's entire working life, 1941-1978. There are even two "audition cuts" from Kenton's 1940 rehearsal band, prior to his booking their first official date.

The set is a departure from most such collections, which repackage and re-release previous commercially available albums, adding formerly-rejected "bonus tracks" to fill out the longer-playing compact disk format. Most of the "Revelations" selections are genuine discoveries; some of the music on the 4-CD set was experimental, some was controversial, and some comprises music that the bandleader, who died in 1979, simply never had an opportunity to record. The project is a labor of love of Tantara President William Lichtenauer, who has been following Kenton's music for 47 years and who has released three other albums of Kenton performances. But none of the other releases contained the rare compositions and arrangements of "Revelations." Even the most avid of Kenton's fans will never have heard at least three-fourths of the selections, Lichtenauer estimated. Kenton publisher Gerry Dexter called the release "one of the most important additions to Kentonia since Stan himself. It is nothing short of a work of art, done with the same energy, taste, determination and quality." \

The recordings were processed using the latest in computer-assisted noise reduction technology. Tony Agostinelli, editor of the all-Kenton newsletter The Network, observed, "Considering the age of the source tapes, the fidelity produced by the Sonic Solutions `No Noise' software utilized by mastering engineer Gary Cobb is world class." Commenting on the material's historical value, Bruce Talbot, former director of the Smithsonian Institution's jazz reissue program, said the release "demonstrates how limited and skewed a view we get when it's shaped entirely by an artist's commercially recorded output. This package has greatly widened our understanding of what Stanley was actually doing. I think `Revelations' is the most significant historical release of the year and deserves a Grammy." Summing the collection's musical and personal impact, Jazz critic and writer Steve Voce, of Jazz Journal International, said, "Kenton's Capitol studio recordings were unique in their high fidelity. But his in-concert recorded performances had a feeling of exciting presence that rivets the listener like no other music does. The Tantara set is a magical meeting of the two qualities. This is it: there can be no more such collections of the great man's music to be revealed to us. I'm amazed at the contents as well as at the high production quality." Included in the package with the four compact disks is a 44-page booklet that includes previously unpublished photographs and historical information on recording dates, locations, and soloists, with liner notes written by Kenton discographer/historian Michael Sparke.

Bill Lichtenauer at Tantara has a few more Kenton CDs:

Stan Kenton: Revelations (New!) (T4CD 1116-1,-2,-3,-4) USA $59.95 + $4.00 S&H

Stan Kenton: Tunes and Topics (Tantara T2CD 1114 & T2CD 1115)

October of 1970 at the Golden Lion in Dayton, Ohio; each double CD also includes a 1972 Stan Kenton interview Cost: $18 plus $2.00 S & H for each double CD

Stan Kenton: Artistry in Symphonic Jazz (1977) TCD 1111 ($15 + $2.00 S & H)

Stan Kenton: A Time for Love (1978) TCD 1112 ($15 + $2.00 S & H)

Available from Tantara Productions, Inc., 3533 Lake Shore Drive, Joliet, Illinois 60431, 815-436-8280 — Write or call for the complete listing of recordings available on Tantara!

STAN KENTON: THE STUDIO SESSIONS By Michael Sparke, & Pete Venudor with Jack Hartley

THE MOST COMPLETE STAN KENTON DISCOGRAPHY EVER! This fascinating, brand new discography is a very significant expansion on — and re-working of Kenton on Capitol and Creative World.

Studio Sessions adds nearly 70 pages of new material in its coverage of Kenton's recording career — which spanned almost 40 years — from Gus Arnheim's Orchestra in 1937, through the MacGregor transcriptions, his towering career with Capitol Records and then his own Creative World Records label. Decades of research has resulted in a discography which provides extraordinary detailed information about every official Kenton recording session: session numbers, dates, places, time, producers, personnel, tunes, lengths, alternate takes, matrix numbers, unreleased titles and takes, composers/arrangers, soloists, vocalists and the number of every record on which every tune was release. Also a tune index. Thousands of facts, including things new to even the most ardent Kenton fan! Also included are examples of original documentation. Sparke has also taken great pains to include comments and opinions from as many of the musicians as possible.

To view a couple of sample pages, visit the publisher's web site at: . Jazz Fans, big band buffs, musicians, researchers, writers, jazz disk jockeys and music librarians will find this book an invaluable, inexhaustible resource! Michael Sparke has been following, researching and writing about Stan Kenton's music and career for some 50 years! He has written liner notes for several Kenton CDs, among them the superb booklet included with Mosaic's 7-CD release of the 1943-1947 Capitol masters. This 8 1/2 X 11 240 page book is priced at $32.95 plus $4 priority shipping (US destinations) and is available from: Balboa Books, PO Box 493, Lake Geneva, WI 53147. Visa/MasterCard orders call 1-800-420-0579, M-F, 9 am to 5 pm, CST. Online charge card orders may also be placed at:

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 30 days after mailing of Network XXIII, GETS ONE FREE!!!!

ED BRIDE AND TONY AGOSTINELLI...Produced and presented their fifth annual Stan Kenton tribute on Public Radio in February, 2000 — the program emanated from WAMC-FM, Northeast Public Radio. As in the past, listeners could hear the program in a five-state region around Albany, New York (portions of New York, Connecticut, Massachusetts, Vermont and New Jersey; also in Quebec, Canada. It was also heard on RealAudio on the Internet. Ed and Tony are planning their sixth annual for February, 2001...check in at the WAMC website to determine day and time (we haven't nailed that down as we go to press).


Here's the first complete study of one of the music world's most fascinating arrangers-musicians.

In addition to his own orchestra, Richards not only wrote and arranged for Stan Kenton, (including such famous albums as Cuban Fire!, Adventures in Time & West Side Story), he also penned for Boyd Raeburn, Charlie Barnet, Bing Crosby, Harry James, Dizzy Gillespie and many others — plus scores for such movies as The Light That Failed, and 16 Hopalong Cassidy westerns! This new discography has details about every recording session. There is also a tune index covering some 600 titles! This is, without doubt, the definitive work about one of the most talented musicians of the second half of the 20th century.

Toll-free charge card orders to: 1-800- 420-0579, 9 am — pm EST, M-F — 8 1/2 X 11 trade paper 120 pages

$19.95 plus $4.50 shipping/handling — Balboa Books, PO Box 493, Lake Geneva, WI 53147, Online orders: and click on Balboa Books

KENTON ON CD In past issues of The Network, a "recently released" list of CDs by Stan Kenton have been included here. To save space, that short list has been eliminated. You can receive an up-dated listing of CDs and videos when you contribute to the operations of the NETWORK — send a contribution made out to: The Network, Anthony J. Agostinelli, Editor, 62 Valley Lane, Woodland Valley, Portsmouth, RI 02871-2731. For those who have access to the World Wide Web, you may visit two web sites which list Stan Kenton CDs in stock, often with sound samples: & Search for "Stan Kenton." Some of the CDs listed are "ephemeral" recordings; the producers do not pay the usual artist fees. My continuing observation is that we all want to hear Stanley's music — on Capitol, Creative World and Decca — Stan approved these releases. When we purchase an ephemeral ("bootleg") recording, we are contributing to someone who is trading on the Stan Kenton name, image and body of work. Although the quality of many of these recordings run from pretty awful, to excellent, we do get to listen to Stan Kenton's recorded music at many venues. Because these recordings exist, you all should know about them, and because they are not "authorized" by Kenton or the Kenton Estate, you might consider making a contribution a Stan Kenton Scholarship Fund every time you purchase one of the latter CDs. One is: Stan Kenton Scholarship Fund, International Association of Jazz Educators (IAJE), Box 724, Manhattan, KS 66502-0724, USA. So — contribute!


Stan Kenton — The Early Years by Edward F. Gabel. $17.95 + $2. s/h from: Ed Gabel, Dept NTWK, 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.


By Noel Wedder in the Midwest.

During the 1960 Fall Tour, and prior to the mellophoniums coming onboard, we were a sad & desperate lot. Two-thirds of the Band had been out for most of the year, having gotten only a scant three weeks rest. Certainly not enough to mend fences at home and become acquainted once again with their families. All was not well on the home front. It was during this time, too, that five of us began going through the anguish of divorce. In addition to Stan's break-up with Ann Richards, Noel had been given his walking papers by Virginia, Jim Amlotte, Marvin Stamm & Dee Barton were left in the lurch by their young wives who suddenly and without warning had decided being married to a wandering minstrel was not for them. And so it happened late one night as Eric followed the slipstream of a dozen cars to Kansas City that Bob Flanagan of Four Freshmen fame and a close friend of the Band name came up. Seems that while Flanagan was on a tour his wife said farewell and took up with, William Talman the actor who played the prosecutor, Hamilton Burger on the 'Perry Mason' television series. As you might imagine Flanigan, like the rest of us, was not thrilled to see his marriage torn asunder & left crumbling by the wayside. Didn't help either that Hamilton had moved into his house and Bob's wife was suing him for custody of the children.

Like so many unpleasant things that happened to members of the Band it wasn't long before someone (Stan more than likely) suggested we put a spin on our predicament and give it a Kenton Band twist. 'Flanagan needs our help so let's think of something that will cheer him up before we get to the hotel and I'll give him a call.' Without missing a beat Bob Fitzpatrick sardonically suggested we form an exclusive divorced men's club so we could swap stories and cry on each other's shoulders. That way the rest of the Band wouldn't have to listen to us bemoan the cruel hand fate had dealt us. 'Hey, wait a minute,' Stan laughed, 'Fitz, I think you might be onto something. What are we going to call this gathering?' Again, Fitzpatrick, without missing a beat shot out, 'How about NAGMA?' 'NAGMA?', several of us said in chorus. 'Yeah, the Wise One replied, taking another generous pull on the quart of J&B Scotch that was being passed around, 'Never Again Get Married Association!' 'Perfect!' all of us again replied in chorus. 'NAGMA,' Stan mused looking at his reflection in the window as several cars zoomed by the side of the bus, their drivers glancing over and wondering who the handsome gray haired guy lost in thought was, 'Love it. Has a nice ring to it. Also a nice play on words.' The remainder of the night was spent quibbling over rules & regulations. Stan felt only one should apply, that being if any member felt himself being seduced back into marriage he was to immediately reach out, call another member, who in turn would alert the rest of the membership and we would rally to his side immediately. Once we had ensconced in a quiet corner of some dimly-lit tavern we were to force an intervention and stay with the poor man until he regained his senses.

Officers were selected. Stan was named President. Bob Flanagan was coordinating vice president. I was secretary/treasurer. The latter designation being purely symbolic since no dues were asked for, nor warranted. Fred Rice, vice president of Capitol's creative department designed the gold & white membership cards and had 250 printed up, which were gone within 3 months. Word had quickly gotten out on the Road, regarding the spiffy new club we had formed and guys were coming out of the woodwork looking for a membership card, duly activated by Stan's signature. It should be noted that current wives, ex-wives, girl friends, passing female acquaintances and mother's were appalled at our actions. Most, if not all, thought NAGMA was childish, immature, crude & crass. One of the first things Joanne (eventually my wife) did once we were far enough into our relationship for it to be considered serious was to ask for my card. With a Machiavellian smile she tore it into several tiny pieces, then flushed it down the toilet, jiggling the flush button several times to make certain nothing remained behind. Although I thought her actions rather dramatic I was smart enough to keep my lips buttoned. In the days to come Stan was shocked I had allowed myself to be seduced so easily. Flanagan fell into a deep funk. The Band applauded. I was hailed by women everywhere as a hero. I was ecstatic I no longer had to go it alone. It should also be noted that all of us remarried in the shortest time possible. Within two short years MAGMA was just a figment of our imaginations. [Editor's Note: This editor prevailed upon Noel to write this piece. Noel Wedder has written some of the finer liner notes on LPs for the Kenton band, was a spokesperson and writer for the band in the early 60s, and has emerged as one of the principal Keepers of the Kenton Flame...he is working on a screenplay...these humorous reflections do not reflect the true talent of one of the great scribes of the Kenton era...he was advised on this writing venture by Dr. Ezekial Lipschitz himself!]

STEVEN D. HARRIS COMPLETES WORK ON THE KENTON KRONICLES Jazz archivist Steven D. Harris has completed his book, "The Kenton Kronicles."...over 100 interviews including 50 Kenton alumni...entire road itinerary...over 250 historic & rare photographs...30 interviews with Stan himself, his older sister Beulah, first daughter Leslie, and his last wife Jo Ann Kenton...forward by Pete Rugolo. Price is $65.00 plus $6.95 S&H or 45 Pounds Sterling plus 5 Pounds for S&H in UK & Abroad. Make checks payable to: Steven D. Harris, 148 N. Catalina Ave., #4, Pasadena, CA 91106, USA

HANK LEVY — VIDEO TRIBUTE & JAZZ AMBASSADORS' CD TRIBUTE: (1) Audio Visual Artists' Productions of Silver Springs Maryland has produced a video tribute to Hank Levy. A Head of Time. Ahead of Time. A video tribute to Hank Levy. Contact Richard Slade of AVA Productions, 1412 Northcrest Dr., Silver Spring, MD 20904-1453 phone 301-384-9595 or FAX 301-284-2525. Price, including shipping is: $29.95. (2) A scholarship fund for music students has been established in Hank Levy's name at Towson...THE FRANK ROSOLINO MEMORIAL FUND, INC.: The Frank Rosolino Memorial Fund (a 501-c-3 organization — all donations are tax deductible) presented its limited edition CD and its accompanying transcription and photo book to the international market — contact: Eugene E. Grissom, The Frank Rosolino Memorial Fund, Inc., 4607 Clear Lake Drive, Gainesville, FL 32607, 352-372-1835, or e-mail <> for further information.

MIKE CUSCUNA'S MOSAIC RECORDS is offering wide variety of choice jazz recordings, heretofore unavailable for some time, in high quality disc and CD formats. Many Kenton recordings and recordings by Kenton alumni are available. Send for catalogue: 35 Melrose Place, Stamford, CT 06902-7533, 203-327-7111 or FAX 203-323-3526, e-mail <>. JAZZ FILMS are available for the Kenton aficionado from Goal Productions — among the items: "The Kenton Era Today! from the panels at this year's events at the Crowne Plaza in 1997; "The Kenton Discussions" from Back to Balboa in 1991; the Woody Herman Chronicles from the Early Autumn Reunion in 1993; Blowin' Up a Storm: Jazz Stories from the KLON Jazz Symposium in 1996; and other materials. Send for their brochure: Goal Productions, 2623 East Foothill Blvd., Ste #101, Pasadena, CA 91107, 818-584-9515, FAX 818-792-2709, e-mail <>...MARVIN STAMM has a quarterly newsletter available to let you know what he's doing: Cadenzas, 130 Titicus Rd. North Salem, NY 10560-2701. Stamm has released two new CDs with Bill Mays on one and Ed Soph on the other: By Ourselves and The Stamm/Soph They've just been released — go get 'em 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

DAVID REDFERN has photographs of Stan Kenton and the band in black and white and in color, from the band's visit in the early 1960s to the last visit. Contact David directly for prints at: Redferns, Music Picture Library, 7 Bramley Road, London W10 6SZ, England, phone (0171) 792 9914, FAX (0171) 792 0921...MARGE HOFACRE'S JAZZ NEWS ($25 — USA; $35 — Canada, Mexico, USA-1st Class; $40 — Europe, Western Hemisphere; $45 — Asia, Africa, Pacific Rim) — New Address: 3913 Hwy NM, Hannibal, MO 63401-6903; Phone: 573-406-0167...her website — news...QUARTER NOTES is published quarterly by The Jazz Company, and is a southeaster New England roundup of jazz news and features. Write: Ted Belastock, Publisher, The Jazz Company, 37 Baltic Avenue, North Easton, MA 02356 ($10.00 annually)...MARINA MUSIC SERVICE...purchase your jazz ensemble charts here: PO Box 3603, 1014 First Avenue, #40, Seattle, WA 98134 —

MAYNARD FERGUSON FAN CLUB, PO Box 11056, Memphis, TN 38111. $15.00 per year; $18.00 foreign; or MF Music, PO Box 716, Ojai, CA 93024-0716...IAJRC JOURNAL, IAJRC Membership, Attn: Edward E. Nickel, PO Box 518, Wingate, NC 28174-0518...for jazz record collectors (a new newsletter, "On the Record," is also included)...annual membership dues are: US $25; family $30; student $20..(all payments in US funds)...CRESCENDO JAZZ MUSIC Journal, 28 Lambs Conduit Street, London WC1N 3LE, England; write for subscription information (one of the great jazz magazines)...INTERNATIONAL ASSOCIATION OF JAZZ EDUCATORS (IAJE): publishes the Jazz Education Journal and is "must" organization for all jazz players, educators, affiliated industries, and jazz fans. Join now! $45.00 per year. Write: IAJE, PO Box 724, Manhattan, KS 66502-0724...L.A. JAZZ SCENE is a Los Angeles jazz newspaper. 12 issues for $25 per year. Write: Myrna Daniels, L.A. Jazz Scene, 12439 Magnolia Blvd., Suite 254, North Hollywood CA 91607, phone — 818-504-2115.

THE KENTON CLAN GATHERED AT THE HOLIDAY INN IN MONROVIA, CALIFORNIA... June of 2000...a buffet lunch was served. Dave Blume played piano during impromptu jam session occurred with Bill Trujillo, Steve Huffsteter, Roy Wiegand, Gary LeFebvre, Max Bennett and George Acevedo. Milt Bernhart presented a mini-talk about the "Kenton Trombones." The band came on then to perform and it included: Jay Migliori (bari), Bill Trujillo (tenor), Gary Lefebvre (tenor), Ray Reed (alto), Jack Nimitz (bari);Bob Olson, Don Reed, Geroge Feye, Roy Wiegand and Jim Amlotte, trombones; Steve Hufsteter, Mike Vax, Buddy Childers, Clyde Resainger, and Bob Rolfe, trumpets; Mark Lebrun, keyboards; Max Bennett, bass; Mike Pacheco and son, latin percussion; Jerry McKenzie, drums; Jan Tober and Jeff Linsky, classical guitarist at Interlude...the program included Kenton chestnuts and other standards. Steven Harris presented Howard Rumsey with a tape of the last concert that was held at "Concerts by the Sea...Howard reminisced. By Don (DW) Armstrong in Pasadena [Editor's Note: for space reasons, I really had to cut this one way back...sorry Don. Perhaps this short piece will encourage others to come to the Clan 2001 next year...DW's and Steven's early attempts at this gathering started out at DW's home, with pizza and cookies being prepared by Gloria Armstrong...ah, would that this editor lived in the Southland of California and could inexpensively attend all that is going on in that earth-shaking, mud-sliding, fire-breathing, water-running country!]

LENNY KING AND THE CHICAGO METROPOLITAN JAZZ ORCHESTRA plays regularly in the Greater Chicago area. The CMJO is directed by Lenny King and is the Chicago area's newest big band. This twenty piece group consists of professional free-lance musicians, including some who have toured with the bands of Stan Kenton, Woody Herman, Buddy Rich, Maynard Ferguson, Tommy Dorsey and others. Featured with the CMJO is vocalist, Joni King. The CMJO specializes in the performance of the original arrangements of the Stan Kenton Orchestra, and playing the best of Big Band Jazz and Swing. The CD, "Live and Screamin' was released in February 1998 by the Chicago Metropolitan Jazz Orchestra. The CMJO's new CD is : "Labor of Love," released in December of 1999, and is available from Lenny King, Director. The CMJO also appears on the CD "Mile by Jazz Mile," which includes many Chicago jazz artists and was produced to commemorate The LaSalle Banks 1999 Chicago Marathon. All CDs are on the Chicago Lakeside Jazz label. Lenny King, Director,

Chicago Metropolitan Jazz Orchestra. Web Site: Info and order for "Labor of Love":, send email Phone: (847) 381-8184; Fax: (847) 304-4201.


By Lennie King of Chicago and CMJO.

We're back! The Chicago Metropolitan Jazz Orchestra had a great trip to Macau, China to perform in the Macau International Music Festival on October 7-8. Macau is an island about 40 miles off the coast of Hong Kong. The government of Macau paid all expenses plus wages to bring our band over for the festival. Very little jazz has ever been played live in China and the CMJO was the first jazz big band to play on Macau since that island became a Province of the Republic of China. The people who heard our concerts really loved the music! The pieces we played were mostly Kenton selections.

Here's the story. The band left Chicago on a Thursday morning and after a 15-hour flight arrived in Hong Kong late Friday afternoon. (13 hour time difference). A tour agent met the group and took us by bus to the Jetfoil Port in Hong Kong. We took the 55 minute jetfoil ride to Macau and then were picked up and taken by bus to our hotel - The Beverly Plaza (very nice). We had free time until our Master Class/Clinic on Saturday afternoon at a small jazz club on the waterfront. This club was only slightly larger than our bus! We manage to get the rhythm section on the small stage, and the rest of the band was stacked in rows in front of the stage - just enough room for five guys across. The rest of the club was packed with about 60 people - a mixture of adults and young people, some of them music students. We played several full band selections and then we demonstrated the sounds of each section of the band separately. Then we had one guy from each wind section present a short master class, covering topics such as correct breathing, practice techniques, improvisation tips, etc. The clinicians were Mark Colby, sax; John Mose, trombone; and Kirk Garrison, trumpet. Each of these clinicians was also showcased on a solo feature with the band. We then invited the musicians in the audience to sit in with the band — only three volunteered to do it. This session lasted about 90 minutes and was really enjoyed by the band and the audience. Our main Festival Concert was scheduled outdoors in a garden park near the waterfront. They constructed a beautiful large stage with risers and a totally professional sound system and lighting effects. Our tech rehearsal was held at 10:00 pm on Saturday - so that it was dark enough to check the lighting.

Sunday morning our hosts provided our group with a nice tour of the city, with several stops in scenic and historical places. After the tour, Joni and I treated the band to a typical Chinese Lunch in one of Macau's best restaurants. They served the food on a "lazy susan" turntable in the middle of the tables, and kept bringing dishes out until everybody was stuffed — about 12 different courses. Our big concert was Sunday night at 8:00. What a thrill that was! There were about 2,000 people there to hear us - most of them standing in the garden and streets. There were about 500 chairs set up for the VIPs and the early birds. The concert was free — so that the maximum number of people could attend. We played our typical concert program, with many charts from the Stan Kenton Library. The crowd loved the music and showed their appreciation by their loud applause. The tune that they loved the best was "El Congo Valiente" by Johnny Richards. Our closer was "Malaguena", but then we had to play an encore - the Buddy Rich chart - "Chicago". The band played really well and the sound conditions were excellent. What a night! The concert was over a little before 10:00 PM. We had to check out of the hotel by 2:00 am, catch the Jetfoil back to Hong Kong, and get to the airport for 6:00 am check-in for our 8:00 am flight to Chicago on Monday. There were not many guys awake during that trip! The plane arrived in Chicago at 9:30 am on Monday! What a trip! This opportunity to play for an audience not familiar with jazz was a moving experience. It was a privilege to be chosen to introduce these people to America's original art form - JAZZ.

CMJO Concert Program - Macau Festival: Artistry in Rhythm, Stompin' at the Savoy, A Time for Love, Stella by Starlight, When Sunny Gets Blue - vocal, All of Me - vocal, My One and Only Love, El Congo Valiente, Reuben's Blues, Send in the Clowns, Take the "A" Train, —Intermission — Magic Flea, Yesterdays, Night and Day - vocal, Fly Me to the Moon - vocal, Out of Nowhere, A Trumpeter's Prayer, & Malaguena

DENNIS NODAY's big band is featured playing in tribute to Stan Kenton often in the south Florida area; his musicians are all world-class. He has a CD which is a smash, playing in tribute to Stan Kenton. "The Dennis Noday Orchestra Presents A Tribute to Stan Kenton," DN 98-01. Write for information about the CD at: Dennis Noday, 1100 NE 16th St., Ft. Lauderdale, FL 33304, 954-763-5251,

THE 3RD ANNUAL KENTON SOUND reviewed by Steven D. Harris, author, "The Kenton Kronicles"

August 19, 2000, Zipper Concert Hall, Los Angeles, California — What does the Kenton sound mean? Unlike the still-traveling ghost bands who can, without effort, keep the nostalgic moods of Miller, Goodman and James alive, a virtual re-re-creation of Kentonia usually amounts to only a polite tribute to his memory. Even the Basie and Ellington sounds can be recreated to an approximate likeness. But for the devout "Stan fans" who have come to understand how HIS sound was solely produced, you are well aware that the "sound" actually will not — and cannot — ever exactly be duplicated. But what came across at this August 19 concert was surely as close to the real thing than ever before. I'm speaking of conductor mark Master's creation known as the American Jazz Institute Big Band. Although interspersed with seasoned veterans of the studio world (see * below), the 19 piece ensemble was mostly constituted of Kenton alumni spanning three decades.

Personnel: Saxes — Ray Reed, as; Bill Perkins, Jack Montrose, ts; Greg Smith, *Steve Hommel, bs...Trombones — Jim Amlotte, *Dave Woodley, *Eric Jorgensen (lead); Harold Garrett, Mike Suter, bt...Trumpets: Clay Jenkins, *Les Lovitt, Carl Saunders, *Scot Englebright (lead), *Ron Stout...Piano — *Milcho Leviev; Bass — *Dean Taba; Drums — Gary Hobbs. Guest Artists — Mike Pacheco, conga drums; Buddy Childers, trumpet; Gary Foster, alto sax; Conductors — Mark Masters, Robert Curnow.

What follows is my own review on the proceedings, in repertoire order and soloists, with a few comments thrown in. The majority of the works were focused on Willie Maiden, Bill Mathieu & Bill Holman.

Introduction was by Mort Sahl: his usual statements of political banter...Sahl closed by expressing: "I found Stan Kenton because I was looking for a father."

Set 1 — Masters Conducts first 8 titles and Bob Curnow conducts last 5 titles: Artistry in Rhythm. A Little Minor Booze (comp: Maiden; solos: M Leviev, G Smith, R Stout). A B flat blues written in 1969 which the Kenton band performed during the last decade of its existence; April Fool (comp: Maiden; solos: C Jenkins - muted; E Jorgensen). A pretty chart which is not played enough; Boilermaker (comp: Maiden, no solos). A very difficult piece to pull off, but the band did just that — playing it at its original tempo with only minor intonation problems; Bogota (comp: Hanna, solos: M Pacheco, E Jorgensen, S Englebright). Pacheco was featured predominantly throughout as a tribute to Ramon Lopez. Ramon always began it in rubato, but Pacheco set his own tempo in 4/4. A good performance with Jorgensen blowing upper fortissimo. The song is memorable to me, as I saw it performed live by Ramon back in '78; Solo For Buddy (comp: Holman, featuring B Childers). In introducing this number, Buddy dedicated it to Bird, telling how Parker really dug the tune when he was on tour with the band in '54. Buddy has played it only a few times since, so it's understandable that he sounded stressed during the main theme, causing a false start. After yelling "take two," the trumpet titan started to relax in the solo section, gaining much stamina; Autumn In New York (arr: Russo, featuring B Childers). This was actually a surprise to everyone, including Buddy, in that it was actually another chart entirely separate from the recorded version from "Sketches on Standards." Apparently Russo had written this version (probably in 1952) and was not happy with it. A special treat, although the recorded 1953 arrangement is superior in my opinion; Loxie (comp: B Childers). Buddy was featured in a big band arrangement of his own nineties composition based on "Indiana," and dedicated to his wife, Carol; Swinghouse (comp: Mulligan, solos: H Garrett, R Reed, J Montrose, R Stout). This version of the loose, rhythmic favorite unfortunately dragged, but featured reasonable solos. It finally came together with a tight ending; Willow Weep For Me (arr: Mathieu, solos: C Jenkins, J Montrose, H Garrett). A flawless job by the band taken from a classic Kenton album vintage '59; What's New? (arr. Holman, solos: Perk, R Stout, R Reed, D Woodley). A "Wailing Willis favorite which the band executed nicely; Of Another Time (comp: Curnow, solo: C Saunders). A beautiful, semi-symphonic moodpiece which hasn't been played since 1980, when it was recorded by the Cal State LA big band...Saunders, one of the few individualists on his horn to arrive in years, switched to flugel for this number...the band shined thru with dynamic shadings that couldn't help but move the listener; Awakening (comp: Methany-Mays, arr. Curnow solos: C Jenkins, M Leviev). An unusual and interesting piece with a "Battle Hymn of the Republic" feel in rhythm...Curnow gets to a c core of a Methany original, finding its true content and making Pat's music sound even better in big band format.

Set 2 — Masters conducts first 6 titles, Curnow conducts last 6 titles: My Old Flame (arr. Paich, solos: Perk, C Jenkins). This chart is timeless...Good performance, however, the "trumpet trills" section following the trumpet solo was omitted, which was a disappointment; The Daily Dance (comp: Holman, solo: J Montrose). This version, like the original, was fast, fun and's a wonder that any band with minimal rehearsal time could pull this off; Stairway To The Stars (arr: Holman, solo: G Foster). A superb performance...Gary's sax sound can be described as "silky," "fluid" or "smooth-toned" — a direct contrast from the original soloist Gabe Baltazar's hard swing, which sometimes ends in a Jacquet-like, audience seducing squeal...the next three numbers also featured Foster on alto sax; My Funny Valentine (arr. Holman). You Don't Know What Love Is (arr: Broadbent). It should be noted that this exceptional early '90s chard was never played by Kenton (Broadbent, famous for his various Herman arrangements, never wrote for Stan); Cherokee (arr. Holman). Played at a slower tempo that than the "Contemporary Concepts" version, but still held its own inspiring groove; Stompin' At The Savoy (arr. Holman, solos: Leviev, Perk, trumpeter). Since everyone always enjoys this ultra swinger, there's no need to comment; The Thrill Is Gone (arr. Mathieu, solos: C Jenkins, Perk, D Woodley, R Reed). This rarely heard "mood" chart was the supreme highlight of the concert...moving solos with stratospheric trumpet man Englebright in full command...(I am leaving explicit instructions to have the original '59 Kenton version played at my funeral!!); Quintessence (comp. H Levy). A typical chart of Hank's in 5/4 (c. 1977) with a fugue feel incorporated within the ensemble...not as memorable as some of Levy's other works...Curnow said that Kenton did not get around to playing it, although I'm not aware of it in my vast research; The Meaning Of The Blues (arr. Mathieu, solos: R Stout, Perk). This Bobby Troup tune was the 3rd selection of the night from "Standards in Silhouette;" Limelight (comp: Mulligan, solos: E Jorgensen, G Hobbs). One of Gerry's swinging originals which the band read down perfectly at an up-tempo...Curnow is inspiring as a conductor and he knew just how to scream the brass on the last bars...there's always one drum solo in a concert, and Hobbs finally got his chance...let's just say that as powerful as he was with Stan, he's even more so now with a strong feeling of swing; Closing Theme. While Masters conducted the opening "Artistry," Curnow conducted the close...The theme still makes people cry...However, lead trombonist Jorgensen, whenever he plays this, tends to get carried away with the next to closing note with his exaggerated slur...Did Shearer started this affect on the Redlands LP, but didn't over do it...Jorgensen has a loud, full tone which Stan would have loved, but his extreme variation only dilutes an otherwise memorable theme. (Editor's Note: Others who attended said the closing them was just great!)

KENNY ALLAN AND HIS 14TH ANNUAL TRIBUTE TO STAN KENTON...was held at the Irvine (California) Marriott in September. The 19 piece Alan Yankee Kenton Alumni Orchestra was feature. 400 listeners were present. Kenton alumni and others in the band were: Mike Vax, Dennis Noday, Buddy Childers, Steve Hufsteter and Larry McQuire on trumpets; Ray Reed, Rusty Higgins, Jay Migliori, Gary LeFebvre and Alan Yankee on reeds; Roy Weigand, Alex Lies, Gary Tole, Jim Amlotte, and Rich Bullock on trombones; Scott Smith on piano; Dave Stone on bass; and Alan Carter (subbing for Jerry McKenzie #1, who had a sore foot; Loraine Faina, Dennis Noday's drummer sat in for a few numbers, also; Henry Prego on vocals. The tunes played were: Artistry in Rhythm, Stompin' at the Savoy, Love for Sale, Between the Devil and the Deep Blue Sea, Come Fly with Me, I Only Have Eyes for You, You Make Me Feel So Young, (these latter 3 featuring Henry Prego) Here's That Rainy Day, Smoothie (featuring Buddy Childers), 23 Degrees N, 82 Degrees West, It Might As Well Be Spring, All the Things You Are, Jump for Joe (Joann Kenton was sitting front and center), Peanut Vendor, Dancing in the Dark, Reubin's Blues, Maria (featuring Dennis Noday), Intermission Riff (featuring Mike Vax), My Old Flame, Opus in Pastels, Vax Attacks (featuring Mike Vax, Dale Devoe's Godfather (?), and three by Henry Prego, A Little Minor Booze, and Artistry in Rhythm (featuring Scott Smith with a variation on Stanley's piano intro). Report by Don Armstrong, who was "recovering in Pasadena."

THE CENTRAL OREGON COMMUNITY COLLEGE presented its COCC Big Band Jazz concert in May of 2000 at the Mountain View High School Auditorium in tribute to Stan Kenton. Tom Barber is the director...JAZZ TITLES FROM SCARECROW PRESS...many jazz titles of important and not so important figures in jazz; send for catalogue: Scarecrow Press, 4720 Boston Way, Lanham, MD 20706, 800-338-4550. THE SUNSHINE JAZZ MESSENGER, the official newsletter of the Sunshine Jazz Organization; Floridians join by writing Ginny Crawford, The Sunshine Jazz Messenger, PO Box 331441, Coconut Grove, FL 33233-1441, Phone/FAX 305-234-8528; e-mail — CALIFORNIA INSTITUTE FOR THE PRESERVATION OF JAZZ, a jazz archive, sponsor of jazz performances, and a clearing house for jazz scholarship...join...write: California Institute for the Preservation of Jazz, College of the Arts, California State University, Long Beach, 1250 Bellflower Boulevard, Long Beach, CA 90840. Visit their website: http://www/ AMERICAN JAZZ INSTITUTE, To find out more about the AMJ, contact them at PO Box 5716, Pasadena, CA 91117-5716; phone 626-791-3427; Fx 626-791-3427; or e-mail them at:; visit the website at: JAZZ INSTITUTE, P.O. Box 8038, Long Beach, CA 562-627-6963 — "Houses and maintains one of the largest jazz archives in the world...its mission is to preserve, promote and perpetuate the heritage of jazz."


(October 5-9, 2000) (Editor's Note: the following comments were culled from e-mails on the internet Kenton-List. They will be repeats for the cybernetters, but new to some 1,800 of you who are not on the list...enjoy!)

Ken Poston put on another magnificent big band jazz festival. 13 big bands in 4 days plus panel discussions and rare jazz movies: The Gerald Wilson Jazz Orchestra,The Tom Talbert Orchestra, The Music of Johnny Richards conducted by Joel Kaye,The Bill Holman Orchestra, The Pete Rugolo Orchestra and the Four Freshmen, Maynard Ferguson's Big Bop Nouveau,The Phil Norman Tentet,The Clayton Hamilton Jazz Orchestra, The Frank Capp Juggernaut Vs. The Louie Bellson Jazz Orchestra (2 bands on stage, at once, a battle of the bands),The Bob Florence Limited Edition (this year's Grammy winner big band), The Terry Gibbs Dream Band, and Toshiko Akiyoshi-Lew Tabakin West Coast Reunion Band. Listed by Dave Umemoto near San Francisco

Count them...thirteen bands in all and !!!! EVERY ONE OF THEM GOT A STANDING OVATION !!!! With all that Fire Power on stage & such a wonderful atmosphere as "Redondo" one would think that the mighty Los Angeles Times could have afforded a couple of lines in there weekend edition! Or, a local TV station could have shot some footage even if it was used as a voice over! This to me is the real "tragedy" of these events! It doesn't get much better than that. We can't wait for Ken Poston's festival next year. Don Heckman gave the event a good review (couple of paragraphs) in Monday's Calendar section. He singled out Willis for praise in particular." An "artistry of expressions in collaboration," by Fred Augerman in Toronto, Dave Umemoto near San Francisco and Jim Harrod in Irvine, California

Ken Poston, & Murray Patterson deserve honorary medals from all of us for the countless hours of enjoyment they have personally provided us with over the past 10 years! I'm still talking to people about "Balboa Bash" '91,I met so many of my all time favorite Brits at Rendezvous 2000, Michael Sparke is a living, breathing encyclopedia of "Kentonia" & one of the nicest "cats" you'll ever meet. Ditto Steve Voce, ditto Ken Poston, & ditto the John's & the Donovans & the Tom Baker's & the Joel Kaye's & all the incredible talented musicians at these gigs that we worship!!!!! Pete Venudor tucked away in Holland who knows more "Kentonia" than all of us combined & has a marvelous sense of humor also!!!!!! Stan Kenton once told me "Augerman I could introduce you to Doctors, Lawyers, & Indian Chiefs and because of THIS MUSIC you would all get along" As usual "the old man" was right !!!!! By Fred Augerman in Toronto

Dave is ABSOLUTELY correct! It was a wonderful four days...and...most all of these musicians are approachable, affable, and relish the attention they and their music receive at these events. Since the 1st one "Back To Balboa" in 1991, Ken Poston has produced one memorable festival after another. I wish he had a larger attendance, and hope he finds it possible to continue. By the way, the spectre of Stan Kenton was present in many of the concerts. Bill Holman and Bob Florence "push the envelope" as Stan would have done in his own way. Joel Kaye conducted the music of Johnny Richards (his own band), none of which is on compact disc, and THAT concert was worth the price of admission. Thankfully, Joel has his own band, as you all know, in Denver, and of course merits and needs your support. His CD is a revelation, and I understand there's another one on the way. If you can't go there to hear him, you MUST buy the this activity, Stan Kenton would surely have approved. By Rod Baum in New Jersey


GERALD WILSON: The music here started Thursday afternoon with the Gerald Wilson Big Band, with Jack Nimitz (of Kenton fame) anchoring the baritone chair. I had not been a great fan of Wilson's in the past (had never seen the band before) but on records found it a bit tight, never certain whether it was a black band trying to sound white or a white band trying to sound black. It is of course both, and like most big bands that play jazz, should never have been allowed into a recording studio. Heard live, it is a roaring, loosely swinging and highly sophisticated aggregation, whose musicians rightly pride themselves in what they do. Wilson, who leads this magnificent orchestra with amazing energy and much good humour is, I was told 83. This was a wonderful start to a great 4 days. By Peter C. Newman in Canada

JOEL KAYE: The second band at the Redondo Beach Jazz Festival, Thursday night was Joel Kaye's revival of Johnny Richards music. It was very clear, listening to this amazing band (trumpeter Ron Stout told me they only had " one,gruelling rehearsal") that only Richards could challenge Stan Kenton in terms of originality in big band music. The band played none of Richards' Kenton arrangements, sticking to a chronological run through of Richards' own recordings. Joel Kaye turned out to be a pleasant, highly energetic leader, conducting Kenton-style, with waving arms, jumping off the stage. Best soloists were Ron Stout on trumpet, Roy Weigand on trombone, Lanny Morgan and Jack Montrose (yes, that one) on tenors and an amazing Rick Todd who took several, red hot solos on French horn and mellophone. A magic evening. Joel Kaye has one CD out of his Cleveland neophonic orchestra, playing Richards' originals, is planning another and told me there is a good chance his 2 LPs recorded in New York with his Richards ghost band may be reissued on CD. A fabulous evening. By Peter C. Newman in Canada

PETE RUGOLO & The Four Freshmen Way Out West: Pete's presentation was based on the Mercury album that he did "Pete Rugolo Plays Stan Kenton." He began with Artistry in Rhythm (of course) followed by: Painted Rhythm, Artistry in Boogie, Theme To The West, Opus in Pastels, Collaboration (his new shorter version), Southern Scandal (oh yeah !), and ended with (of course) Artistry in Rhythm. Pete provided a softer touch on these great pieces, but didn't remove any of the emotional impact that we expected. Feet were tapping, heads were nodding and lips were popping with the beat. Kenton alumni include: Pete and Conte Condoli, Jim Amlotte, Bill Perkins, Stu Williamson, and Chuck Flores. By Don Armstrong in Pasadena

(Editor's Note: Ken Poston...thank-you for doing what you do in conjunction with those west-coast bashes!)(Editor's Note: Not all who played were reviewed for THE NETWORK)

The Upper Register — By Joe Urso — Forword by Bobby Shew...This Limited Edition is devoted to over 200 trumpet players from the 1930s to the 1990s with many discographies on Lead Trumpets, Hi-Note Trumpeter plus the Extreme Upper Register Trumpet Men and strong trumpet sections. Stories about: Conrad "Goz" Gozzo, Bud Brisbois, Bill Chase, Maynard Ferguson, Arturo Sandoval, Jon Faddis, Al Porcino, Cat Anderson, Dave Stahl, Doc Severinsen, Dizzy Gillespie, Lew Soloff, Walt Johnson, Alan Wise, Allan Vizzutti, Bobby Shew, Roger Ingram, Chuck Findley, Jim Manely and many others. Over 100 photographs never before published. Trumpet men from every major big band — Stan Kenton, Woody Herman, Count Basie, Duke Ellington, Charlie Barnet, Maynard Ferguson. Send check or money order in the USA for $23; International Money Order from England/Europe, etc., No credit cards! TO: Joe Urso, 8115 Embassy Boulevard, Port Richey, FL 34668 USA

THE AMERICAN JAZZ PHILHARMONIC NEWSLETTER — "bringing symphonic jazz to cities across the country" — "Celebrating 20 Years!" Join — Charter Membership — $35.00. For more information, write or call: American Jazz Philharmonic, P.O. Box 34575, Los Angeles, CA 90034-0575, phone 310-845-1900, e-mail <>...Web Site: Elliott is Music Director...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)...the AJP has now combined with the fledgling HENRY MANCINI INSTITUTE (same address) — during the months of July/August, the HMI featured performances by the HMI orchestra with artists such as: Ray Brown, Dave Grusin, Roy Hargrove, Bud Shank and the Turtle Island String Quartet. Tickets were free, but reservations were necessary! At the Carpenter Performing Arts Center in Long Beach, CA.

MURRAY PATTERSON RECOVERING...just after Murray presented another great "Rendezvous 2000" he came down with a debilitating virus, which put him in hospital and in bed for a long recovery. He is now doing quite well, send him your "cheers." [Editor's Note: If you haven't signed up for or contributed to Murray's SON OF NETWORK newsletter do so now. Send him a 5 pound note Sterling at: Murray Patterson, 48 Ashley Court, Kenilworth Close, New Milton, Hants. BH25 6BN, England, 01425-619501.


for great interchange and discussion about Kentonia, it does take place on the Kenton internet list. If you want to subscribe to the Kenton-List, send an e-mail message to: (nothing on the subject line or in the body of the message).

HOW HIGH THE NET? A/K/A ARTISTRY IN E-MAIL...Where can you find Oakland's Mike Vax hanging with Chicago's William Russo hanging with Florida's John Mason hanging with Southern California's Kim Richmond and Bob Florence hanging with Alaska's Howard Hedges hanging with Ann Arbor's Noel Wedder, with an occasional drop-by from Port Townsend's Bud Shank and Bob Curnow? What do these people have in common, other than all being Kenton alumni? And equally important, what do they have in common with hundreds of other alumni, former arrangers, composers, professional jazz writers and editors, educators, fanatical supporters and just the Kenton curious? NETWORKers who are computer-enabled will be quick to reach the answer: they all participate in email discussions about Stan Kenton and his cohorts...Rather like an instant, far-ranging version of The Network (but with shorter messages), the Kenton mailing list provides an opportunity to question those who were there "at the time", who knew Stan through the good times and the bad, people in whom he confided and whose careers he helped shape. Answers to questions often come in minutes or hours from when posted. Participants come from the U.S., Canada, and Europe, with more being added continually. Many new members are in high school, giving cause for optimism that Kenton's music will not disappear when the generation of people who heard him in person have gone to our final encore...Far less time-consuming than the Internet's hit-or-miss chatrooms or discussion groups, the Kenton List is a way to participate in "group thinking" (some may say "therapy") about modern America's man of music. All it requires to be on this mailing list is a computer that accepts email from the Internet. Besides the people mentioned above, members frequently see posts from Mike Suter, John Harner, Dennis Noday, Milt Bernhart, Roy Reynolds, many of whom are still performing in big bands or small groups today...The listmembers also get early announcements of new recordings by Kenton alumni, as well as their current performance information, plus insight about how Stan influenced their playing and/or career directions. It's insight that is available virtually nowhere else, but it's free of charge to everybody who has email at work, school, or home.

To subscribe to the Kenton list, which is operated at the University of California, Irvine, just send a blank email message to: <>. The "subscription wizard" will do the rest, confirming that you want to subscribe, and quickly you'll be participating in a rich part of the Kenton legacy. If you have more than one email address, be sure to send the subscription request from the address where you want to receive mail; you cannot say "Subscribe me from my other address," as the process is automated. By Ed Bride from Lenox, Massachusetts


This Editor has listed but a few of the some 3,000 plus references to Stan Kenton on the Internet; it would take the whole issue to list them all. Please, take no offense if I have left your website from this list. Also, many websites "come and go" in the dead of night — some may longer be in force. If you would like to find other Kenton sites, use the following search engine — I have found it to be most comprehensive: here=title&where1=comparr&where2=desc1&andor=wo tists/shelly%5F1.htm

Some duplications...but here's some few more additional websites:

Noel Wedder maintains this site:

A June Christy site:

John R. Killoch maintains these sites: — Review site

Robert J. Robbins reports that Big Bands International maintains this site:

Mike Vax maintains these sites:

Kim Richmond and the summer big band camps:

Bob Crispen maintains this site:

Maynard Ferguson's website

Mt. San Antonio College features Steven Harris' "Kenton Kalendar" at this site:

Gerry Dexter of Tiare Publications has a current CD list at this site:

Terry Vosbein's Stan Kenton photographs:

Ray Avery's photographs of Stan Kenton can be found at: http://

Lenny King in Chicago plays in tribute to Stan Kenton:

William H. Alburty writes about Kenton at:

Southern Music Company also resells Kenton charts published by Sierra Music Publications:

Goal Productions sells video of the 1991 Back to Balboa and 1997 AJI panels talking about Kenton:

Midi files of Stan Kenton's music — copyrights cleared with BMI and ASCAP by Al Levy:

BJ Bromley's tribute to the Capitol Release "A Stan Kenton Retrospective." other Capitol and other releases:

Silicon Valley Music also resells Kenton charts published by Sierra Music Publications:

A comprehensive tribute to Stan Kenton:

Phil Van Auken's website about Kenton features photographs and music:

Dave Powell's tribute to Stan Kenton:

The "Ultimate" Stan Kenton website with links to others:

Michael Boyd's bio of Stan Kenton:

[Please notify this Editor if any of these sites are incorrect!]

EIGHTH ANNUAL HAWAII INTERNATIONAL JAZZ FESTIVAL is to be held July 19-22, 2001 in Hawaii, and will feature a tribute to Stan Kenton. Abe Weinstein, festival producer has already contacted Bob Flanagan of the Four Freshmen, Pete Rugolo, Gabe Baltazar, Slide Hyde, Milt Bernhart and Howard Rumsey. For further information, contact Abe at: PO Box 37725, Honolulu, HI, 808-941-9974 —

THE CHICAGO JAZZ ENSEMBLE SCORES ANOTHER HIT! Matt Spinello of the Rockford Jazz Society wrote the following for the RJS monthly newsletter. There were few posts on the Chicago Jazz Ensemble but thought some might like another viewpoint. Editorially Speaking...Historical ! Eloquent ! Spectacular...and Profound! So wrote the Chicago Tribune of The Chicago Jazz Ensemble under the direction of founder William Russo. And seconded by John McDonough of Downbeat Magazine with...this town's answer to the Lincoln Center and Carnegie Hall Orchestras.

Buddy Childers brought absolute proof of the above quotes to Rockford College's Maddox Theater on September 21st as he fronted the twenty musicians and two vocalists of the Chicago Jazz Ensemble, very much alive and in full musical splendor. The program for the evening, "Kenton ala Russo"' with a tribute to Jimmie Lunceford (a Kenton sound predecessor from the 30's), took the audience on a historical journey of bandleader Stan Kenton's musical career. Rockford Jazz Society members in the audience ranged from those who had only heard of Stan to the nearly life-long fans who have followed the man and his music from the forties through a mourning period equivalent to the loss of a family member upon the announcement of his passing in 1979. Clusters of area jazz musicians nodded affirmatively in unison following the concert when the subject turned to how tight and accurately the ensemble brought Stan and his music back to those of us who sat glued to our seats with our expressions of approval, applauding with a gusto that begged for more and in some cases the shedding of a few tears that accompanied memories past, wedded to the beauty of the music in progress. It was as though Stan Kenton was there fronting the band, or at least smiling from the wings...How fortunate were those in attendance to have witnessed the work of Stan Kenton spanning half a century, combined with the creative hearts and souls of Bill Russo, Pete Rugolo, Buddy Childers and others, and performed by one of the finest gathering of musicians in the world, under the direction of the man who has been a grand part of it, bringing it to audiences since age 16 and preserving it for generations to come. Mere thanks are not enough, Buddy! Keep it alive! And hurry Back!

THIS IS NOT QUITE KENTON, BUT...Editor's Note: Although this is not a Kenton-direct item, it has importance for Kentonians...what is being attempted here, goes to the heart of why Kenton created Creative World to handle his products; Capitol had not done it for him, or other jazz greats at the time...


[New Orleans] —- Plans for an inclusive, charitable, not-for-profit organization designed to support jazz worldwide were unveiled on Saturday, January 15, 2000 by leaders of the jazz recording industry, broadcasting, print and internet media, heads of major jazz festivals and established jazz presenters. The announcement was made at the International Association of Jazz Educators 27th Annual Conference in New Orleans. According to its mission statement, the industry-supported organization is to be a "not-for-profit corporation dedicated to expanding the audience and visibility of jazz throughout the world. Through education, leadership and advocacy, the corporation will work to improve the lifeblood of the jazz community, preserve our historical heritage and enhance the development and evolution of this national art form by instituting strategies to establish jazz as an economically viable music."

According to Bruce Lundvall, President of Blue Note Records, "The music has long needed an association involving members of the entire industry — artists, industry executives, and fans alike — who have a dedication to this great American art form. This is a significant milestone in the history of jazz as we actively promote this music worldwide to increase the audience for our American Treasure." Several organizational meetings were held during the fall of 1999. Attendees included Yves Beauvais (Atlantic Records), Paxton Baker (Black Entertainment Television), Bruce Lundvall (Blue Note Records), Jeff Levenson (Columbia Records), George Wein (Festival Productions), Bill McFarlin (International Association of Jazz Educators), Rob Gibson (Jazz @ Lincoln Center), Michael Dorf (Knit Media), Tim Jackson (Monterey Jazz Festival), Bettina Owens (National Public Radio), Barry Robinson (Recording Industry Association of America), Randall Kline (San Francisco Jazz Festival), Tom Carter and Shelby Fisher (Thelonious Monk Institute), Ron Goldstein, Tommy LiPuma and Richard Seidel (Verve Music Group), Matt Pierson (Warner Bros. Records), and Chuck Iwanusa (Independent Consultant).

Following the meetings, the group established a working executive committee. Members are Michael Dorf, Randall Kline, Jeff Levenson, Bruce Lundvall, Bettina Owens, Matt Pierson, and Barry Robinson. The committee appointed Chuck Iwanusa, past president and former interim executive director of the International Association of Jazz Educators, to serve as the association's interim executive director. Short-term objectives include applying for not-for-profit status, drafting a constitution and bylaws, developing and recruiting membership, cultivating funding sources, and establishing programmatic goals designed to fulfill the mission of the association. Long-term goals include implementing educational programs, compiling and disseminating a comprehensive database and data relevant to the field, serving as an advocate on a national level, recognizing significant contributions to the field through an industry-wide awards program, and developing and implementing national marketing strategies to increase the visibility of jazz. For information regarding the organization, its programs and membership, contact Chuck Iwanusa at (212) 275-4640; c/o Warner Bros. Records, 75 Rockefeller Plaza, 20th Floor, New York, NY 10019; email <> For Interview: Chuck Iwanusa (212) 275-4640; Randall Kline (415) 398-5655: Matt Pierson (212) 275-4510; Bruce Lundvall (212) 253-3000.

MIKE VAX PLANNING ANOTHER TOUR IN 2001 Mike is talking about a tour of the East Coast in the year 2001 if any of you out there want to book the band, know of venues which will, or bring the band into your high school or university for a clinic and a concert next year in the East, let Mike know as soon as you can. Vax has obtained corporate sponsorship, and many performances can be made available at less than what full cost would be. A live two volume video of a previous concert, "Live at Morningside College Jazz Festival, 1995," is available of the Mike Vax Big Band from Master Communications Group; also, a live CD is available entitled "I Remember You." Master Communications Group, Inc., 7222 Ohms Lane, Edina, MN 55439, 800-862-6164, FAX: 612-835-9573. To be in touch with Mike Vax, PO Box 8337, Pittsburg, CA 94565-8337, 925-427-6666 or FAX: 925-427-6789; e-mail <>. Mike's website is:

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; six issues for $22.95 — contact Don Kennedy who runs a nationally syndicated big band radio program at: 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; on the net at 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 artists, 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, USAF BAND (BABN), 201 McChord St, Bolling AFB, D.C. 20332-0202, 202-767-1756, FAX 202-767-0686, http// they play, you should be there. JAZZ AT LINCOLN CENTER, write for complete subscription information and the 1999-2000 season; Jazz At Lincoln Center, 140 West 65th St., New York, NY 10023-6969...JAZZ-INSTITUT DARMSTADT is a resource center for jazz on the Continent. If you have any questions about Continental jazz contact them at: Jazz-Institut Darmstadt, Bessunger Strasse 88d, D-64285 Darmstadt, Germany, phone 06151 96-37-00, Fx 06151 96-37-44, e-mail http://www.darnstadt/kultur/musik/jazz.html

ROY REYNOLDS is playing every Friday and Saturday night in The Bodega Grill, in Cordova Bay, various jazz festivals throughout the year. Roy has a new CD — the name of the CD is 'But Beautiful'. It is a duo format with Roy on tenor sax and Rob Cheramy on guitar. They produced it themselves, therefore, they have their own label which is Jazz 2000, number RRRC 001. This Editor has heard it's one to buy and have in your collection. They are just selling directly at this point from Roy's home...price $15. To order a CD, mail check or money order to: Roy Reynolds, 1017 Fenn Avenue, Victoria, B.C. V8Y 1P4, Canada or phone (250) 658-0300.Roy's e-mail address is: AL RAYMOND has a big band in the Greater Philadelphia area. He has several interesting CDs featuring Buddy DeFranco and other jazz greats. Send for a brochure: Al Raymond, PO Box 726, Broomall, PA 19008-0726, phone 610-356-1773.

BIG BANDS INTERNATIONAL, Roy Belcher, PO Box 111, Reading, Berkshire, RG4 &DB, England, or Robert J. Robbins, Secretary, USA, 2000 Richard Drive, Broomall, Pennsylvania 19008-2741, 610-356-3909, FAX 610-544-3489; USA $18 per year...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 and a newsletter! Tony Sturgess, Hon. Secretary, Corolanty, 1/27 Boscombe Spa Road, Boscombe, Bournemouth BH5 1AS, England, UK, Phone: 01202 301775...CRESCENDO & JAZZ MUSIC, 28 Lambs Conduit St., London WC1N 3LE — consider subscribing to it...JOEL KAYE'S NEOPHONIC JAZZ ORCHESTRA...continues to perform at Vartan's Jazz in Denver, Colorado. Great jazz people who travel through Denver end up playing with this band...

Send for the MAMA RECORDS CATALOGUE of CDs which include releases of: Bob Curnow & L.A. Big Band, Stan Kenton 50th Anniversary Celebration: Back to Balboa, Stan Kenton: The Best of Back to Balboa, Bob Florence Limited Edition, Gerald Wilson Orchestra and other great jazz performers: MAMA, 12190 1/2 Ventura Blvd., Ste 364, Studio City, CA 91604, 818-985-6565, FAX 818-985-6544...

THE STAN KENTON COLLECTION AT University of North Texas Stan Kenton bequeathed most of his orchestra library to the University of North Texas, Denton, Texas; Leon Breeden, who for years headed up the jazz band program at UNT catalogued the collection. The collection comprises some 2,000 plus manuscripts representing the work of Kenton's famous arrangers. The Stan Kenton Collection is supplemented by a gift from Noel Wedder, Kenton's publicist, of over six hundred photographs of Kenton and his orchestras. An Index to the Scores, a Gallery of Images from the Stan Kenton Collection, and Links to other Kenton resources on the Internet, can be accessed on the World Wide Web at: . UNT has issued a 4 CD set of recordings celebrating the 50th anniversary of their jazz degree program. The CDs feature their Number One Lab Band, along with some guest soloists. You may recognize some Kenton alumni along the way. The CDs may be ordered for $50, and all proceeds will benefit the UNT jazz program. Write them for the CD and send your check: North Texas jazz, PO Box 305040, Denton, TX 76203, phone 940-565-3743, or order at their website:

BIG BAND ACADEMY OF AMERICA, 6565 West Sunset Blvd., #516, Hollywood, CA 90028. MILT BERNHART is still president and managing director. Subscribe now!

THE WOODY HERMAN SOCIETY...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, 12854 S.W. Doug Drive, Lake Suzy, Florida 34266. THE HERDS is the newsletter. Al is Director and Editor; he is also a radio promoter and marketing consultant to many jazz musicians...


Nancy Marano (jazz vocalist, pianist, jazz educator) "If You Could See Us Now!" with The Netherlands Metropole Orchestra conducted by John Clayton & Jerry van Rooyen vocals by Nancy Marano; arrangements by Manny Albam — a superb set of performances, Nancy! http://www.showgigs/com/nancymarano/

Meredith d'Ambrosio (vocalist, pianist, painter {eggshell mosaics}) "Out of Nowhere" Sunnyside 2000 CD. with Lee Musiker, Jay Leonhart, Terry Clarke and Michael Leonhart, "her warm , throaty and subtle phrasing have made her a favorite among musicians" John S. Wilson of the New York Times — where do you go inside for those phrases, Meredith?!

Eddie Hazell (guitarist, vocalist)

EDITOR'S NOTE ABOUT "SPOTLIGHT" AND "PINLIGHT: This Editor wants to be able to pin- and spotlight 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!"


(Editor's Note: Burt Korall is one of the foremost world-class jazz historians and musical analysts of our time. His appreciation for Stan Kenton and his alumni was recently made public in a four-week radio series in the New York-Connecticut-New Jersey featuring Stan Kenton recordings with guests "Kenton Kronicles" author Steven D. Harris and this Editor. Because of his interest in jazz and Kenton, this Editor asked Burt to put together a biographical piece, which he did, and it appears below — with mini-minor editing by this Editor!)(Thanks, Burt!)

Burt Korall is a veteran of multiple aspects of the music business. A drummer, writer-critic, editor, recording man, broadcaster, corporate executive...he first became involved in music as an obsessive student of the drums and jazz in his early teen years. While in the Army in the 1950s, he was assigned to the Armed Forces Radio/Special Services in the Tacoma-Seattle (Washington) area. At one point in his career, Korall worked with Ann Richards.

Bassist-composer Charles Mingus' wife, Celia, was key to getting him his first job in New York after the service with Metronome, the respected jazz magazine. He was an editor and columnist for two years before moving over to Decca/Coral/Brunswick Records. For three years, he was literary editor and a jazz album producer for all three labels. In 1960, he began an association with Broadcast Music, Inc. (BMI), the world's leading music licensing organization, that has lasted to this day. For the past twleve (12) years, he has been Director of the BMI Jazz Composers Workshop. The Workshop was created by Korall in 1988 to help develop composers for big bands — the symphony orchestra of jazz. The first musical directors were Bob Brookmeyer and Manny Albam. When Brookmeyer left in the early 1990s to pursue projects in Europe, he was replaced by Jim McNeeley, no musical director of the Vanguard Jazz Orchestra and permanent director of the Danish Radio Jazz Orchestra of Copenhagen. Last year, Mike Abene, still another prominent jazz composer-arranger, joined the staff. He writes for orchestras worldwide. Albam, of course, is the veteran who has composed an arranged for literally everyone, including Stan Kenton. For a brief period, Roger Kellaway, the pianist and composer was on the faculty of the Workshop.

A key adjunct of the Workshop, the BMI/New York Jazz Orchestra — a sixteen (16) piece ensemble comprised of leading New York players — plays all the Workshop readings, concerts and club engagements. It assembles once a month at American Federation of Musicians' Local 802 in New York, to play new compositions by Workshop members. It is an excellent means of evaluating new material. In order to become a workshop member, musically literate writers should appley to Korall, c/o BMI, 320 West 57th Street, New York, NY 10019. A detailed resume, tapes and scores of material written for big bands are required. It's a competitive situation and not all applicants are accepted. BMI and BMI Foundation completely support this project. There are no tuition fees.

All along, Korall has continued to write: The Jazz Word, with Dom Cerulli and Mort Nasatir (Da Capo Press) is an anthology focused on the 1950s, featuring pieces by leading writers and musicians. Drummin' Men — The Heartbeat of Jazz — The Swing Years (Schirmer-Macmillan) and Drummin' Men — The Heartbeat of Jazz — The Bebop Years soon to be published by Oxford University Press. Both books about drumming are historical and cover the period stated and its leading drummers. Korall's articles on music and entertainment have appeared in: The New York Times, The New York Daily and Sunday News, The New York Post, Saturday Review, Down Beat, Playboy, Penthouse, Billboard, Musician, Modern Drummer, Jazz Educators' Journal, International Musician, Melody Maker (Great Britain) and other publications in Europe. He has written countless liner notes and produced festival and BMI concerts, notably the Buddy Rich Tribute at Carnegie Hall in 1982 for George Wein.

Korall's radio program, "Accent on Jazz," emanating from New Rochelle, New York, i now in its sixth year. It is simultaneously heard on WRTN ("Return Radio" 93.5 FM) and WVOX-AM in the tri-state area of New York, Connecticut and New Jersey. The day and time — Fridays from 5-6 pm. The recent four-week historical coverage of Stan Kenton had Steven D. Harris, author of "The KENTON KRONICLES" as guest for the first week and your editor, Anthony J. Agostinelli, for the last three programs. (Editor's Note: It was a "gas" to do the programs with Burt, who was so knowledgeable about Kenton, his orchestras and his personnel!)

Korall has long been interested in the Kenton band. As a matter of fact, the first record he ever bought in 1945, was "Eager Beaver!" Over the years he has been friendly with many Kenton musicians and vocalists, including: Stan Levey, Mel Lewis, Eddie Bert, Vinnie Dean, Lee Konitz, Johnny Richards, Stan Getz, Shelly Manne, Charlie Perry, Bill Russo, Bill Holman, Pete Ruygolo, Gerry Mulligan, kai Winding, Shorty Rogers Art Pepper, Larry Bunker, Bill Perkins, Sal Salvador, Zoot Sims, Bud Shank, Lennie Niehaus, Ann Richards, Al Porcino, Jerri Winters, Barry Galbraith, and many others.


[Editor's Note: The NETWORK was not in existence when Shelly Manne was riding high in the jazz community; nonetheless, Shelly's name is one of the more significant names in the pantheon of jazz. Rather than enumerate his many contributions to the jazz community, this Editor prevailed upon his widow, Florence "Flip" Manne to respond to a few questions about Shelly. Harry LLoyd, a friend of Shelly and Flip, a member of the LA Jazz Society, conducted the interview in October of 2000; he asked questions of Flip which I had sent to her. Here then is the interview.]

Harry: Shelly played with many great musicians in New York City during the 1940s. What were some your rememberances at around that time?

Flip: Shelly was in the Coast Guard at the time and he was in uniform and was stationed at Manhattan Beach and I was working at the Radio City Music Hall which was right around the corner from 52d Street. Shelly used to sit in all the time when he had liberty. He would wait for me to get out of work at night, and I would walk around the corner to join him. He was good friends with Ben Webster who had his lady friend, whom he called "Mule; she was a lovely lady, and we were good friends. "Big Sid," "Little Benny," Denzil Best and Alan Eager were all there at the time. I remember when George Shearing came over from England, Shelly and a bass player worked around "The Street" quite a lot. I remember all those smoky clubs with the little tiny tables. It was a very interesting time. Shelly took me to see "Dizzy" and "Bird" — I didn't have a clue as to what was going on — he was trying to educate me; I was fascinated with Dizzy's cheeks — the way they filled up with air. I was told by other trumpet players that it was because he didn't blow correctly; I don't know whether that was true.

Harry: Shelly played with Stan Kenton during the mid-1940s to the early 1950s; what were some of your rememberances of that period during his career?

Flip: We travelled on the bus until we moved to California in '51. Sometimes with Stan, sometimes with Woody, and sometimes with small groups, when we travelled by ourselves. We had a lot of friends on the band and we stood up for June and "Coop" (June Christy and Bob Cooper's wedding) — we were their witnesses. Occasionally, Shelly would leave Stan, and go with a small group again, and go back to Stan; when the small group would break up, we didn't have any money and lived in Belair in Bill Harris' basement for awhile before getting back on the road again...

Harry: We heard many funny stories from Steve Wilkerson who played with Stan at a later date about funny things happening on the bus...

Flip: Oh, funny things were always happening on the bus, some of them not printable...

Harry:...what about Vido Musso?

Flip: Vido was quite a character. He would take reeds and mouthpieces from kids, and never returned them. He would end up on the bus...(aside — could I get sued for that?).

Harry: Shelly was known publicly for his sense of humor. Privately, was he also funny? I think he was. What humorous incidents can you remember when he was on the Stan Kenton band?

Flip: I married him because he made me laugh. It's hard to translate this humor because it was all so spontaneous, spur of the moment stuff...he would just do crazy things...whatever came into his head.

Harry: It was the kind of humor that you had to be there...they were impromptu things and we knew hw was wasn't like funny with was funny on things which were just happening.


Harry: When Shelly was recording with Andre Previn, did he talk much about those sessions — what do you remember about those times?

Flip: Andre was married at the time to Betty Bennet, who is now married to Mundell Lowe; we were all close friends. We saw each other socially a lot...had dinner together, and things like that. One night when they were recording, Betty and I were driving together (I was driving), we got hit by a teenage boy who had been drinking, and in the whole side of the car. I thought that Shelly would be terribly upset. We went back to the recording date, and he was always "into" whatever he was doing. When there was a pause, I told him that we had been hit. Shelly said, "Oh really!" and went right back to playing, he was thinking about what he was doing, and we were in one piece, and that was it! He was concentrating on the music.

Harry: That reminds me of something, I'm going to interject something here, Tony. My wife and I an Flip have bagels and lox practically every Sunday morning; Flip told me that she and Shelly used to have bagels and lox, are you ready for this, with Soupy Sales and his wife once a week or so. That must have been very funny.

Flip: We were very close with them — unfortunately they were divorced a long time ago. Shelly met him when Soupy was a big shot in Baltimore. Shelly was going through their at one time...and then Soupy came out here and became such a big hit with his animal puppets, or whatever they were. We would go over to Soupy's and have bagels, whitefish and lox...I don't know, I haven't seen his wife in years. Another thing I remember was when they were recording the "My Fair Lady" LP, Leroy (Vinegar) was with them, and Shelly tried to get Leroy to learn how to read. He even offered to pay to have someone teach him to read, and Leroy said "No." It would destroy his solo! We went to Andre and Betty's house for dinner once, and they had been robbed; I think his car was stolen. Andre heard the commotion out there. I said didn't you go out? Andre said, "Are you crazy? They can have the car!"

Harry: Shelly provided the music for many films and TV shows during his career. Which ones did he enjoy most and which ones did he enjoy least?

Flip: Shelly always had fun at the sessions. It was like going into a club for him; he often felt that he should have paid them for letting him go in. He loved challenging music. He loved Hank Mancini, Johnny Williams, Elmer Bernstein, and people like that. He was upset on "Tall Story." He had Hamp Hawes on the band and didn't realize until he got on the job that Hamp couldn't read either. He had to replace him. He came home and said, "A guy like that with all that talent. He can't even read. How does he expect to make a living in this town?"

Harry: Was there any TV show or film that he particularly enjoyed the most?

Flip: A that time he had good writers and good readers for most of those things. It wasn't all jazz, but it was really good music.

Harry: My wife and I recently went out with Flip to the Ford (outdoor) Theatre that had beatnik stuff...Jack Kerouac, and they played one of the film clips from "The Subterraneans." Andre and Shelly played on the film track. It wasn't a good film, but the music was great. The film was MGMs version of the "beatnik" era. The film wasn't too authentic, but we were very fortunate in seeing that clip. They looked like they were having fun in that clip, in a mocked up jazz club.

Harry: Don Ellis and his musicians often played in "Shelly's Manne Hole." Do you remember anything about Don and his music?

Flip: I really don't remember anything about Don and his music — except his time signatures...rather weird. I think it was about Dave Brubeck that Shelly said that the only thing that Dave played in 4/4 was "Take Five."

Harry: Well, that's a bit of humor.

Flip: I didn't go into the club that often. It was dark and late, and I had to get up early in the morning to work horses.

Harry: What part of Shelly's musical life did he most appreciate?

Flip: He like it all. But towards the end, the studio work was getting so banal, and too much electronic stuff. He really enjoyed a good trio; he also like playing with Don Menza's big band on Van Nuys Bouldevard. He enjoyed playing with the young guys because they challenged him. Even when he tore up his leg and was in a cast, he went to play with his leg in a cast. He enjoyed good music. He loved Jean Pierre Rampal, classical guitar players...he loved music!

Harry: I really enjoyed Shelly doing the music for Dr. Seuss' "Green Eggs and Ham," with Marvin Miller doing the narration: "I do not like green eggs and ham. I do not like, Sam I am." Shelly and Chuck Berkhart played the bass. I didn't know who it was at the time; I played if for my kids all the time. Later on I saw it along with some of Shelly's other LPs. (I'm a songwriter, and my things have been kind of country and western). Shelly recorded with Tom Waites; I think he could play anything.

Flip: Mahalia Jackson always hired Shelly when she was in town. Clara Ward who had a stomping choir also used Shelly. He was like her "binky." She could hold onto his playing and knew that everything was going to be alright. Shelly was also a letter on "Sesame Street." But I couldn't remember which letter.

Harry: Flip, you told me a story when we were in my car on our way to a Stan Kenton reunion, and you told me that you were in New York with Ben Webster, and some guys were bothering him...

Flip:...oh, that was when he was in the Coast Guard and on liberty playing on 52d Street and the Shore Patrol who were pretty prejudiced saw him playing with black guys, and took him out, and said he was out of uniform. They were going to rough him up and Beb Webster and someone else, and came over and asked what was going on. I was screaming at them. They told me to go away. And I said that I was his wife. They walked us to the nearest jurisdication and judge let him go and reprimanded them for bothering him. Shelly had been overseas at the time.

Harry: I thought there was an incident when some drunk was bothering Shelly, and Ben Webster picked him up and threw him onto a car...

Flip: Oh, Ben did that on the Street — not when they were bothering Shelly — we saw Ben pick a guy up by his shirt or jacket and throw him on top of a car. Ben was gentler then, but later was a pretty rough guy.

Harry: Do you have any anecdotes about Henry Mancini?

Flip: Shelly and Hank went together all the time. Originally Hank and Ginny moved to Northbridge where we lived; then they moved to Beverly Hills. Hank said that Shelly could play anything. Once he told Shelly to play a piece like it was 1929, and Shelly said: "What month?" Hank and Shelly were close friends. Hank sent me a wonderful Christmas basket every year after Shelly died...until he died.

(Editor's Note: To all of you, "Flip" was a Radio City Music Hall "Rockette" and until recently, lived in their "handsome spread" in Sunland, California; she has since moved, but remains in Sunland. Flip! You're a gem. I thank you (and Harry) for taking to time to make this interview tape. With some minor it is!)

SPOTLIGHT ON SHELLY MANNE, CONTINUED (Editor's Note: The following brief bio about Shelly in was mostly written by Scott Yanow. Thanks, Scott! With additional comments interspersed {"..."} by Julie Sinvely of the Rockford (Illinois) Register Star. Thanks, Julie! And this Editor's additions {italics} Thanks, Tony!) (Shelly Manne — Born: June 11, 1920 in New York, NY. Died: Septemeber 26, 1984 in Los Angeles, California.)

Shelly Manne made a countless number of records from the 1940s into the 1980s but is best-known as a good-humored bandleader who never hogged the spotlight. Originally a saxophonist, Manne switched to drums when he was 18 (he "did not pick up a drumstick until he was 18") and started working almost immediately. He was with Joe Marsala's band {replacing Davy Tough} (making his recording debut in 1941), played briefly in the big bands of Will Bradley, Raymond Scott and Les Brown and was on drums for Coleman Hawkins's classic "The Man I Love" session of late 1943. Manne worked on and off with Stan Kenton during 1946-52. {Some say he played on the early Dizzy Gillespie be-bop sessions in 1945...others say it was Irv Kluger}. He also toured with Jazz at the Philharmonic (1948-49) and gigging with Woody Herman (1949). "Although Manne's performances with...the Kenton organization earned him his loyal following of fans, he's also recognized as a key figure in getting jazz musicians into the Hollywood film studios for sound track work...his work on the sound track for Hitchcock's 'Rear Window'," is well known. {Shelly also worked with: Johnny Bothwell in 1946; George Shearing and Charlie Ventura in 1947; Bill Harris in 1948-1949; and, Woody Herman in 1949}. After leaving Kenton, Manne moved to Los Angeles where he became the most in-demand of all jazz drummers. He began recording as a leader (his first session was cut in Chicago in 1951) on a regular basis starting in 1953 when he first put together the quintet Shelly Manne and His Men. {Shelly was a central figure in the "West Coast Jazz" movement}. Among the sidemen who were in his band during their long string of Contemporary recordings (1955-62) were Stu Williamson, Conte Candoli, Joe Gordan, Bob Enevoldsen, Joe Maini, Charlie Mariano, Herb Geller, Bill Holman, Jimmy Giuffre, Richie Kamuca, Victor Feldman, Russ Freeman, Ralph Pena, Leroy Vinnegar and Monty Budwig. Manne, who had the good fortune to be the leader of a date by the Andre Previn Trio that resulted in a major seller (jazz versions of tunes from My Fair Lady), always had an open musical mind and he recorded some fairly free pieces on The Three and the Two (trios with Shorty Rogers and Jimmy Giuffre that did not have a piano or bass along with duets with Russ Freeman) and enjoyed playing on an early session with Ornette Coleman. {From 1974 to 1977 Shelly was a member of the heralded "L.A. Four," which included: Bud Shank, alto; Laurindo Almeida, guitar; and, Ray Brown, bass} In addition to his jazz work, Manne appeared on many film soundtracks and even acted in The Man with the Golden Arm. He ran the popular club Shelly's Manne-Hole during 1960-74, kept his music open to freer sounds (featuring trumpeter Gary Barone and tenor-saxophonist John Gross during 1969-72), played with the L.A. Four in the mid-'70s and was very active up until his death. Throughout his career Shelly Manne recorded as a leader for Savoy, Interlude, Contemporary, Jazz Groove, Impulse, Verve, Capitol, Atlantic, Concord, Mainstream, Flying Dutchman, Discovery, Galaxy, Pausa, Trend, and Jazziz in addition to a few Japanese labels. By Scott Yanow, with interspersions by Julie Snively & Anthony J. (Tony) Agostinelli (with apologies to all).

Shelly Manne: Sounds of the Different Drummer. by Jack Brand and Bill Korst. Percussion Express. P.O. Box 1731. Rockford, Illinois 61110. 190pp. $60.00 —A bio-discography of Shelly Manne

ROSS BARBOUR has written one splendid 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 engaging, lively, very inclusive, and as dynamic as Ross is've got to read it...published by Gerry 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.

THE COLUMBUS JAZZ ORCHESTRA of the Columbus Jazz Arts Group, Ray Eubanks, Artistic Director, 709 College Avenue, Columbus, OH 43209-2308, 614-231-7836...MAGAZINE BINDERS for your copies of NETWORK are being sold by Kenneth Mason; write him and ask for a price list: 12 Wycomb Grove, Melton, Mowbray, Leicester LE13 2EQ, 0166 485 1930...JAZZ JOURNAL LTD., a magazine of great repute: 1-5 Clerkenwell Road, London EC1M 5PA, phone 0171-608 1348/1362, Fx 0171-608-1292.


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 You may also want to purchase Bob's L.A. BIG BAND CD. The Music of Pat Metheny & Lyle Mays. MAMA Foundation MMF 1009. Available from Sierrra: PO Box 928, Port Townsend, WA 98368-0928, phone: 800-255-6551; International: 360-379-9774; FAX: 360-379-9782. E-Mail:;$15 which includes shipping and handling. Featured are: Bobby Shew, Bob Sheppard, Buddy Childers, Bill Cunliffe, Steve Houghton and more.

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

THE BUD SHANK NEWSLETTER Shank has a new CD release "Silver Storm" on Raw Records 06738402010 "After Bud Shank, it's all downhill," writes Philip Ellwood, Music Critic, San Francisco Examiner; on the CD are: Shank, Bill Perkins, Conte Candoli, Billy Mays, Bob Magnusson & Joe LaBarbera. Ellwood continues, "If you love straight-ahead jazz, slide this CD into your stereo and savor music the way it was meant to be played." One can purchase the CD at the following address. "Bud Note:" Bud Shank, "Bud Note," PO Box 948, Port Townsend, Washington 98368-0948, phone 360-385-0281, FAX 360-379-9923. His website is —


It's a long list, and it's been published in past issues of THE NETWORK; because of space considerations, (it took up more than two pages of space) this Editor has decided NOT to publish the list again. If you want a complete copy of this list, contact this Editor, and it will be sent it to you (you might want to send a contribution to THE NETWORK, also?).

THE MUSIC OF JOHNNY RICHARDS...arranged for stage bands, is available. 12 arrangements from Private Library, Inc. publications, owned by Johnny and Eddie Safranski are now available in their original formats for schools (4 trumpets, 4 trombones, 4 rhythm, and sometimes a conductor's score). The set of 12 includes: La Suerte de los Tontos, Dimples, Three Cornered Cat, To a Sleeping Beauty, Run Wild, Walk Softly, Recuerdos, the Moon Stood Still, El Congo Valiente, Sunday's Child, Burrito Borracho, and Stage Twelve. Richards and Safranski had intended these for use by colleges, universities and high schools. They are being made available now. For your set, please send a check or money order in the amount of $80 made out to: Private Library, Inc., Anthony J. Agostinelli, 62 Valley Lane, Woodland Valley, Portsmouth, RI 02871-2731. The $80 covers cost of shipping and handling, and the remainder goes for the maintenance of the scores and memorabilia of Eddie Safranski and the Private Library's music of Johnny Richards. [With permission of Erica Tonner (Safranski), Eddie's daughter, acting on behalf of her father's estate who has ownership of the printed copies of Private Library, Inc.]

THE FOUR FRESHMEN SOCIETY: Join, if you haven't? New Members and Renewals: FF Society Membership Dept., PO Box 9804, McLean, VA 22102-0804. New — $30 per couple; $20 per single; $35 outside USA; $15 for USA renewals; $18 for overseas. The Four Freshmen appeared in a "Tribute to Stan Kenton" concert with the Dennis Noday Band in January in Sarasota, by Jeri Ann is organizing another "Curise New England & Canada with the Four Freshmen, September 7 to 17, 2001. Contact Jeri Ann at 800-355-4135 or 250-837-9768.

MONOGRAPHS WRITTEN by Anthony J. Agostinelli. Send your request for: Stan Kenton: The Many Musical Moods of His Orchestras, to: Tony Agostinelli, 62 Valley Lane, Woodland Valley, Portsmouth, RI 02871-2731, USA. Cost has been set at $12.00 plus $3.20 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. Also available are Agostinelli's — Some Composer/Arrangers I Have Known and Eddie Safranski: A Retrospective — cost has been set at $12.00 plus $3.20 for handling and first class postage in the USA. Same International rate as above.

STANLEY SPEAKS TO US FROM THE PAST..."Those of us who project the music of jazz always hope to play for people who can be moved emotionally, because jazz, in its expression of creativity and improivsation, ruthlessly exposes the inner musician to the audience. Jazz, a complicated music, has never appealed to the masses, whereas 'popular' music must appeal to unsophisticated judgment and taste. through simplicity. The tragedy to those of us in jazz is that jazz may never reach broader audiences. The commercial viewpoint of radio and television prohibits a wide use of jazz." Stanley N. Kenton. Creative World Magazine, Vol VII, No. #1, 1978. (Thanks to Don Beede for sharing this with us.)

STAN KENTON COLOR PAINTING FOR SALE...a full color painting of Stan Kenton is soon to be available for $39.95 plus postage. For further information, write to Bob Giuliani, 45 Parente St., Providence, RI 02908.

THANKS FOR YOUR CONTRIBUTIONS: A very special THANKS! for those who advanced money so this NETWORK could be published and mailed. Many of you have been generous to contribute to the operations of THE NETWORK — and more than once, I might add. Thanks to 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]. As usual, much material could not be used...not enough space...I'm sorry about that...especially those of you who have written something for publication I will often post those writings on The Network website Also, Because many of you wrote to let me know that you did not want your name included in NETWORK as a contributor, and because the list takes up more than half a page, I will omit the list, so there will be room for copy! 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, Cecilia, Zoey, Mark, Debra, Matt, and Fiona, and friend Dr. Ezekial Lipschitz.

EPILOGUE: [Network XXV put to bed: October 25, 2000— Autumn!]
[Typergraphical errors, and misspellings are all the Editor's!]