The Jazz Compositions Of Dee Barton

This is not just another jazz album.

It is a tribute to the mutual respect one composer holds for another. For with this richly inventive collection of jazz standards, Dee Barton emphasizes that he, too, belongs in that select company of orchestrators who have helped make Stan Kenton’s name synonymous with contemporary music.

A member of the orchestra since 1961, Dee began his career with Stan as jazz trombonist. After the band’s return from Europe, two years later, he gave up his trombone for the drum chair. Obviously, as evidenced by the dynamic performance he gives on this album, a sound decision.

As far back as Dee can remember, he's always wanted to write for the Kenton Orchestra: “As a matter of fact, much of the material I wrote while attending North Texas State University was sketched with Stan's .band in mind. little did I realize that two things I composed in my senior year, Waltz of the Prophets and Turtle Talk, would be used a year later in a jazz album he recorded with the mellophoniums.”

Although Barton has taken an occasional leave of absence to front his own group and to compose jingles for advertising agencies (“…an experience that will stay with me for some time”); his first love Is writing for a big band.

“When you write for all the sections, you not only gain an abundance of freedom, but communicate a fresh point of view. I especially enjoy building a mood and then letting a soloist improvise over my harmonic and rhythmic structures. As long as he doesn't violate the order in which I've arranged them, I'm never too concerned with what he does.

“For me, this is contemporary writing in its most original form. Anyway, who's to say what's right and what’s wrong? I've always felt that the biggest contribution we could make to music would be to throw away the rule book. It's time we stopped trying to enforce personal prejudices on the 19 or 20 guys who are responsible for breathing life into our arrangements.

“Whenever possible, I think it important to establish a rapport between the musicians and music For by doing so, you’ll enrich, and make more meaningful, the listening experience.”

It is apparent, from first to last note, that this album was created by men who share Dee Barton’s musical philosophy. In a superb blend of musicianship and imaginative writing, Dee has forcefully etched for Stan Kenton's creative world a concert program of towering significance.

SIDE I
Man. (4:27) Like an amiable conversation among friends, Man bubbles with an effusive jazz spirit. After a sinewy Introduction, the trombones set the mood of things to come. Written in 3/4 time, this rollicking arrangement is complemented by solos from Jay Daversa and Ray Reed. Muscular ensemble work, kept on fire by Barton's drums, builds toward a spark-filled climax ringed with Mike Price's trumpet resolutions.

Lonely Boy. (2:48) Lush, lovely, and Latin, this blues standard was written early one morning as the band made t heir way across the desert into New Mexico. Notice the feeling of great longing as the sections drift back and forth over the 5/4 accents of the bass and drums. Particularly arresting is the way the saxes keep re-stating the classically sad melody line.

The Singing Oyster. (3:34) follows its title and jumps right into uptempo play. Spotlighting the muted trumpet of Daversa, this musical whimsy emphasizes the shoulder-shaking sound of the Kenton Orchestra.

Diiemma. (5:54) Opening with a stately declaration from the full orchestra, Dilemma demonstrates Barton’s ability to fuse scattered bursts of dissonance with orthodox harmonies. Solos by Daversa and Reed set the direction, with all sorts of happy sounds emerging from the sections. Paced by brisk rhythm figures, Dilemma builds to hurricane proportions, abundantly fulfilling Barton's desire to “communicate a fresh point of view.”

SIDE II
Three Thoughts. (5:30) is a musical mobile with which Barton blends colorful tonal sequences into explosions of excitement. The driving 'opening, frontlined by Don Bagley’s bass, creates a rich back drop for solos by Daversa and Reed. Countermelody builds upon countermelody as the sections race up and down Barton’s pyramiding harmonic structures. From beginning to end, Three Thoughts is a brilliant example of the beauty and power unleashed by Stan Kenton's Orchestra.

A New Day. (7:32) again showcases the lyrical trumpet of Jay Daversa. After a haunting, baroque statement from the brass, Daversa poignantly describes the highs and lows that evolve between dawn and dusk. His free-form soliloquy fills the air with bittersweet memories, challenging the listener with highly personal, yet universal statements about life and love.

Woman. (6:16) is a sensitive, witty composite of ladies known and loved. After a puckish introduction by Daversa and Ray Reed (this time on flute), subtle underscoring takes over until trumpet and flute go their separate ways. By establishing a "chatty" narrative that evokes both humor and affection, Barton creates a resonant portrait of a woman who is all things to all men. And who never misses an opportunity to tell you, “she, too, loves you madly.”

— Noel Wedder