Stan Kenton Conducts The Los Angeles Neophonic Orchestra

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Dawn of a New Sound: The Los Angeles Neophonic Orchestra

On January 4th, 1965, another historic milestone was reached in contemporary music. On that memorable evening the Los Angeles Neophonic Orchestra, the world’s only permanent resident orchestra devoted to contemporary music, gave the first of four highly successful concerts in the Pavilion of the Los Angeles Music Center.

Significantly for contemporary music, another opportunity for ebullient expression had arrived. In a dazzling blend of superb musicianship and imaginative writing, the Neophonic Orchestra gave dramatic evidence that it was capable of conveying a wide spectrum of superb. sound.

For Stan Kenton, conductor of the Orchestra, it was the culmination of a twenty-five year artistic struggle to find the perfect time and place to present a fresh concept in order to fuse between performer and listener a unique musical experience.

For those who have followed Kenton’s eclectic career the announcement that he had been invited to premiere the Neophonic Orchestra in Los Angeles’ multi-million dollar Music Center came as one more victory over the many prejudices contemporary music has been subjected to over the years.

Who can ever forget the Carnegie Hall concert of 1948! Kenton was permitted to perform in that august hall with the stipulation that he go on at midnight. The Carnegie Hall management felt that lovers of good music would be upset if the concert were scheduled at a more reasonable hour. Imagine their surprise when, within forty-eight hours, “lovers of good music” bought out every seat in the house, including 300 folding chairs placed upon the stage.

Seventeen years later this same type of unexpected encouragement and enthusiasm was still very much in evidence, and helped to equal the creative and financial odds against presenting contemporary music in concert. In retrospect, the four neophonic concerts emphasized that the American public will participate in—and support—an art form rich in spirit and invention. An art form undeniably theirs by heritage.

These five compositions, carefully selected from the thirty-one which received their world premieres during those four concerts, reflect the unorthodox harmonies, flailing rhythms. intonation, phrasing and articulation now characteristic of the Neophonic Age

Their composers represent the modern tradition of contemporary composition. They, like many others, are part of that vast group who have formed together to explore this music’s texture, tension, range and volume. Make no mistake. This is a revolutionary new music which has evolved by creating its own intrinsic forms, thematic lines and sound patterns. And, because it is a new sound, nothing short of a new name—neophonic: from the Greek meaning new sound—would do.

In answer to why a new music…the reason is simple. Since the turn of the century American music has been in a constant state of flux and transition. It developed, flourished and passed through a myriad of styles and instrumentation until the term “jazz” was no longer meaningful or adequate. In short, jazz became such a catch-all term for any and all types of contemporary music from ballads to blues, Jelly Roll Morton to Kenton, that any attempts at valid, serious writing were rudely misinterpreted or ignominiously lost among the numerous schools purporting to be representative of the Jazz Age.

In 1950, in an effort to rectify this unenviable situation, a wealth of experimentation began taking place in American music. Composers and instrumentalists, working with various new techniques and voicings, exploded into an ambitious period of interdependence. Throughout the country a conscientious attempt was made to break down the restrictive harmonic and orchestral limitations of jazz.

Then, almost without being aware of it, the symphony orchestra became an inspiration to composers. It offered a virtually untapped outlet for presenting their works. In an unplanned mutuality of respect and interest, jazz and classical music “found” each other. Without a doubt, 1950 will long be remembered in music circles as the year Kenton formed the forty-piece Innovations in Modern Music Orchestra. Structured along the lines of a miniature symphony—woodwinds, violins, cellos and tympani augmented his now world-renowned eighteen-piece orchestra—Innovations was hailed by critics as the first successful attempt to bridge the gap between jazz and classical music.

Nevertheless, although “classical jazz” enjoyed an unprecedented success, ironically the wedding together of the two forms was short-lived. It was neither all jazz, nor all classic, but an exploitation of one while demanding the rigorous disciplines of the other. For musicians, the two combined had an arbitrary, artificial sound. Consequently, within a few years the symphony ceased to function as an interpreter of contemporary music.

And so the search continued. In New York, Gunther Schuller, John Lewis and George Russell began experimenting with “third stream” music, which although a throwback to classical tradition, was a step in a new direction as far as segregating one precise form in order to build upon it.

Simultaneously in Los Angeles Kenton went through a trial and error period of instrumentation in which he used ten trumpets (five B-flat and five E-flat); five German miraphones, complemented by five B-flat trumpets; and finally four mellophoniums (alto brass instruments which pick up a range between trumpets and trombones).

Kenton toured for two years with the Mellophonium Orchestra—as it had become known—and played to capacity houses both here and on the continent. During that time he called upon some of the finest writers in the country, including Bill Holman, Ralph Carmichael, Johnny Richards, Pete Rugolo, Dee Barton and Jimmy Knight to write for what TIME Magazine called, “the most exciting and original band in the last decade.”

Just before leaving for England in the winter of 1963, Kenton began giving serious thought to forming and writing for an altogether different orchestra, one which could be permanently based in Los Angeles and would utilize many of the people who; from 1941 to the present day, have graduated from the band, most of them now playing and writing for television, the motion picture and the recording industries.

Twenty-two months of touring had convinced him that, although the music that was being written in New York, Chicago, Los Angeles and a dozen other cities was being accepted and actively supported, there was still a definite need to analyze where “third stream,” the “mellophonium music,” and jazz were going.

What actually were they contributing to the mainstream of American life, thought and culture?

Somewhere west of Detroit, and north of Houston, the search for a new sound and the desire to execute that sound were fulfilled. Thirteen days out of Los Angeles on a tour that had carried him back and forth across the country seven times in as many months, and to England for sixteen short, successful days, Stanley Newcomb Kenton made his decision. He would remain in California for one year and expend every effort toward gathering together the finest composers in contemporary music to write for the exciting, new Neophonic Orchestra. Captured between the covers of this album is a sample of that extraordinary musical effort.

It is a fresh musical concept, dependent upon the creative energies of hundreds of dedicated men, working and writing in what novelist Lisa Miller thoughtfully appraised as “the neo-renaissance of contemporary music.” Don’t be surprised if scattered among trumpet blasts, trombone exclamations and saxophone sighs you sense the same exhilaration these men experienced on their way to January 4th, 1965; a most historic date for you…and for them!

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The Music

Side One

FANFARE / Hugo Montenegro

Sinewy, full-throated statements arcing gracefully back and forth between the brass sections and tympani signal the beginning of a new era. Fanfare for the New, filled with verve and fire, illustrates several facts: the Neophonic Orchestra is well suited to executing beautifully-incisive ensemble work and the music it plays is admirably free of time-worn harmonic clichés. Hugo Montenegro’s vibrant and electrifying score, surging with fierce 20th Century inventiveness, is the impressive harbinger of things to come.

PRELUDE AND FUGUE / Johnny Williams
Bud Shank — Alto Saxophone Solo

A medievally-inspired introductory line begins softly, then swells and gathers momentum as brass and percussion are called upon to deliver a more formidable message. The variety of ideas subtly but precisely woven throughout the score perfectly complement Williams’ geometric, liturgical-in-mood constructions. Thematic lines, forcefully etched against shifting counter lines, heighten the suspense and excitement as the Orchestra keeps surrendering one aural experience after another. Dedicated to pianist Claude Thornhill, whom Williams knew as a child, Prelude and Fugue is an outstanding example of the awesome beauty and incredible power that can be unleashed by the Neophonic Orchestra.

PASSACAGLIA AND FUGUE / Allyn Ferguson
Gary Barone — Trumpet Solo
Bud Shank — Alto Saxophone Solo
Emil Richards — Vibes
Bill Perkins — Tenor Saxophone Solo

By using baroque forms in conjunction with contemporary rhythms, Allyn Ferguson emphasizes that a number of musical techniques, no matter how old or formal, can be used simultaneously as long as they work together. Ferguson proves his point by writing a legitimate fugue and wedding it to a thematic variation based upon the passacaglia (a slow, stately dance of the 18th Century), and then swinging them over a big-band dance arrangement. The result is a successful combination of good taste and musical brilliance. Particularly arresting is the sensitive way in which the Orchestra keeps earnestly threading its way back to the beautiful primary theme.

Side Two

MUSIC FOR AN UNWRITTEN PLAY / Jimmy Knight
Bud Shank — Alto Saxophone Solo

Jimmy Knight’s musical play in three movements stresses the close relationship which exists between drama and music. Both forms depend heavily upon an interplay of emotion, plus the many highly-personal imagery patterns that begin evolving once the main statement is introduced. Because of this, Jimmy feels that the listener should not be told beforehand what to listen for, or to see in music. “By being left alone to develop his own story line,” says Knight, “the listener adds another dimension to the music, enriching the dramatic experience and making it more meaningful. I have found that most people are against programmed music and that given the opportunity will quickly establish a rapport between themselves and the music. This is extremely important to me as a composer.”

ADVENTURE IN EMOTION / Russ Garcia

Pathos
Bud Shank — Alto Saxophone Solo

Anger
Gil Falco — Trombone Solo

Tranquility
Gary Barone — Trumpet Solo

Joy
Bob Cooper — Oboe Solo

Love-Hate-Love
Bud Shank — Alto Saxophone Solo

A wealth of unorthodox harmonic techniques and thematic devices demonstrative of emotion were employed by Garcia in his five movement suite. Each of the movements—ranging from the reflective "Pathos" to the tragically—explicit is a tonal tour de force. Marvelously intricate chord designs and colorful neophonic scale patterns have been effectively used to give the Orchestra an abundance of expressive freedom. Sections arid soloists were permitted to interpret and improvise upon Garcia's harmonic structures as long as they did not violate the order in which he had arranged them.

This is contemporary writing at the highest level! Superbly original, but not so rigidly enforced as to minimize the inherent creativity of these musicians molded into one remarkably cohesive unit.

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The Players

DALTON SMITH / Lead Trumpet
Born In Forest, Mississippi in 1936, Dalton has recorded over 15 albums with the Kenton Orchestra. A high-note specialist, he Is in constant demand for movie, television and recording work and has worked with Nelson Riddle, Charlie Barnett, Judy Garland and Johnny Mathis.

GARY BARONE / Jazz Trumpet
Following his graduation from Michigan State with a BA degree in Economics, Gary went to Cleveland to play in a television studio orchestra. However, alter three months of playing nothing more exciting than entrance and exit music, he came to the West Coast determined to join Kenton and the Neophonic Orchestra.

RON OSSA / Trumpet
Ron joined the Orchestra in 1963, just in time to make the European Tour. Born 30 years ago In San Francisco, he’s played with Del Courtney, Liberace, Ralph Carmichael, Jane Powell, Leighton Noble and Will Osborne. He’s also worked with small groups and big bands In Las Vegas and Reno

FRANK HUGGINS / Trumpet
Not content to rest on his laurels as a top trumpet player with the bands of Woody Herman, Terry Gibbs, Les Brown, Benny Goodman and Stan Kenton—to name only a few—Frank began studying piano and composition last Spring in order to write original music for television and the Neophonic Orchestra.

BOB FITZPATRICK / Lead Trombone
Fitz’s lead trombone work with Kenton spans 15 years and 21 albums. Largely responsible for the distinctive choral sound of Kenton’s trombone section, he is known throughout contemporary music as a master technician. His recorded solos are widely used as teaching aids in many of the major universities.

GIL FALCO / Jazz Trombone
As far as Gil is concerned the opportunity he had to work with Tommy Dorsey was one of the most meaningful experiences of his career. “Tommy was not only a fine musician, but also a gifted and dedicated teacher. The things I learned from him made it possible for me to break Into television recording work.”

VERNON FRILEY / Trombone
Ray McKinley, Woody Herman and Les Brown are among the bands Vernon worked with alter leaving Marshall, Missouri. Although most of his time is taken up by Paramount Pictures and ABC Television, he still jumps at the opportunity to play and record with a big band.

JIM AMLOTTE / Bass Trombone
Jim not only holds down the bass trombone chair; he’s also the road manager for the Kenton Orchestra. When on tour he averages about four hours sleep a night; less if he’s signing the band into a foreign country. With the Orchestra since 1956, Jim has also recorded with June Christy and The Four Freshmen.

JOHN BAMBRIDGE / Tuba
John climaxed his musical education in St. Louis by playing with that city’s symphony orchestra. In addition to recording with Shelly Manne, Johnny Williams, Peggy Lee and Nat Cote, John has worked on a number of television series and movies for Warner Bros., Universal and MGM Studios.

BUD SHANK / Alto Saxophone and Woodwinds
Bud played lead alto and flute on Stan’s “Innovations In Modern Music” Orchestra until 1951. Upon returning to Los Angeles, Bud became part of that unofficial group responsible for “West Coast Jazz.” In addition to recording with his own group, Shank has written origin al music for three motion pictures.

BOB COOPER / Tenor Saxophone and Woodwinds
An alumnus of Stan’s “Artistry in Rhythm” and “Innovations in Modern Music” Orchestras, Coop—together with Bud Shank—is credited with establishing the sax sound for “West Coast Jazz.” Bob has recorded a number of albums for Capitol Records and scored a series of documentary films on our space program.

DON LODICE / Tenor Saxophone and Woodwinds
Don considers the years he spent on the Tommy Dorsey, Bunny Berigan and Gus Bivona Orchestras, and the 18 years he’s worked at MGM, Desilu, Warner Bros., 20th Century–Fox and Paramount Studios “almost as Important—but not quite in the same league—as the love songs I wrote with vocalist Matt Dennis.”

BILL PERKINS / Tenor Saxophone and Woodwinds
“Perk” first worked with Stan in 1954, and was a member of the band Kenton took to Europe in 1956. After touring with the Woody Herman, Louis Bellson, Terry Gibbs and Benny Goodman Orchestras for five years, Bill settled down in Hollywood where he is now firmly established as a top recording and studio musician.

JOHN LOWE / Baritone Saxophone and Woodwinds
John always clarifys what instrument he should bring to the date. “Otherwise, I’d feel pretty foolish showing up with my flutes, clarinets and saxes when the part called for just a piccolo. During the years I was on the road with Ray Anthony, Les Elgart and Ray Conlff my nine instrument cases made quite a hit with the bus drivers!”

CLAUDE WILLIAMSON / Plano
A native of Brattleboro, Vermont, Claude toured for years with Charlie Barnett [sic]. In 1955, his highly-original piano work on Claude Reigns at Midnight brought him to the attention of Capitol Records, who signed him to record for their “Stan Kenton Presents” Jazz Series. He is now on the music staff at 20th Century-Fox.

JOHN WORSTER / Bass
John first worked with small groups up and down the West Coast, and then throughout the country with the big bands of Les Elgart, Ralph Marterie, Ray McKinley and Sam Donahue, “mentally and physically preparing myself for Stan’s 1963 tour of the United States, Canada and England.”

DENNIS BUDIMER / Guitar
Dennis spent the early part of his career touring with Harry James, Chico Hamilton, Peggy Lee and Julie London. Alter an endless succession of lonely hotel rooms, bromo-seltzers before and after meals, and hassles with laundries to deliver his shirts on time, he became a free-lance Hollywood studio musician.

NICK CEROLI / Drums
Although Nick calla Niles, Ohio, home he hasn’t seen much of the Buckeye State since he came West. Successive tours with the big bands of Gerald Wilson, Les Brown, Ray Anthony, Ralph Marterie and Lionel Hampton have taken him to almost every major city, town and hamlet in the United States and Canada.

EMIL RICHARDS / Vibes
Since leaving Hartford, Connecticut, Emil has played with George Sheering, Don Ellis, Paul Horn and Shorty Rogers; worked with many of Hollywood’s movie and television studios; and written a book of jazz compositions based upon the unusual time signatures—5½/4, 10½/4, 19/4, 13/4, 11/4—used in India.

FRANK CARLSON / Percussion
Remembered by jazz fans as long-time drummer with the first of the great Woody Herman bands, Carlson has in recent years broadened his range of Instruments to become a leading percussionist. He has played frequently with the Los Angeles Philharmonic Orchestra, and has recorded with most of the notables.

VINCE DE ROSA / French Horn
Noted critic Alfred Frankenstein said of his playing on a recording of Bach with guitarist Laurindo Almeida, “the most astonishing example of virtuosity on the horn I have ever heard on records.” Whenever French horns are heard on a West Coast recording session, Vince De Rosa is likely to be on the date.

BILL HINSHAW / French Horn
Like his four colleagues on this recording, Hinshaw is one of the few horn players whose versatility and skill make it possible for him to excel for both the jazz and symphony conductor. His past assignments include nearly every orchestra of prominence to use a horn section in a Los Angeles recording.

RICHARD PERISSI / French Horn
Dick is one of those rare players who’s equally al home In any style of music. He’s played with Arturo Toscanini and the New York Philharmonic, Dizzy Gillespie, Miles Davis, The Surfers. The Lettermen, The Rolling Stones, and made innumerable movies and television shows for Universal Studios.

JOHN CAVE / French Horn
John holds the distinction of having been with Artie Shaw when he recorded “Frenesi” and “Begin the Beguine.” Born in Spokane, Washington, John came to Los Angeles alter he finished school and joined the MGM Studio Orchestra, where for the past 30 years he has worked with some of the greatest stars of all time.

ARTHUR MAEBO / French Horn
Arthur decided to become a French horn player white attending school In Detroit, Michigan. “As a youngster I had a difficult time making up my mind what instrument to play, but after learning how much in demand the horn players were In Hollywood I quickly made my decision and haven’t regretted It since.”

OLLIE MITCHELL / Trumpet
When he Is not recording for the movie and television studios—Cleopatra, Music Man, Gypsy, Burke’s Law, Branded, Honey West, Voyage to the Bottom of the Sea, and 12 O’Clock High are listed among his many credits—Ollie spends his “free” time teaching and helping young musicians to develop their careers.

McPartland, Marian. "Record Review. Conducts the Los Angeles Neophonic Orchestra (Capitol)." Down Beat, 21 April 1966: 35.

STAN KENTON CONDUCTS THE LOS ANGELES NEOPHONIC ORCHESTRA—Capitol 2424: Fanfare; Prelude and Fugue; Passacaglia and Fugue; Music for an Unwritten Play; Adventure in Emotions.

Personnel : Dalton Smith, Gary Barone, Ron Ossa, Frank Huggins, Ollie Mitchell, trumpets; Bob Fitzpatrick, Gil Falco, Vern Friley, trombones; Jim Amlotte, bass trombone; Vince DeRosa, Bill Hinshaw, Richard Perissi, John Cave, Arthur Maebo, French horns; John Bambridge, tuba; Bud Shank, Bob Cooper, Don Lodice, Bill Perkins, John Lowe, reeds; Claude Williamson, piano: Emil Richards, vibraharp: John Worster, bass; Dennis Budimir, guitar, Nick Ceroli, drums; Frank Carlson, percussion.

Rating: ★ ★ ★

When one thinks of Kenton, one sees a man of great charm, of musical integrity, sincerity, and with a flair for the dramatic.

He has always been associated with musical endeavors that had dignity and class, and the works performed by this orchestra are no exception. These highly competent musicians and composers have turned out some well-written, workmanlike pieces interweaving classical forms with jazz rhythms. However one categorizes it, this music is well played and engrossing.

On the first side, there are three pieces, Fanfare by Hugo Montenegro, Prelude and Fugue by Johnny Williams, and Passacaglia and Fugue by Allyn Ferguson.

I found Williams’ piece particularly appealing, perhaps because, as the notes say, Williams had a definite image in mind, one with which I, too, can identify: the late Claude Thornhill. And Williams shows the affection and respect he has for Claude in the music. It suggests stylistically the great arrangements made by Gil Evans for Thornhill years ago, and he achieves this without being obvious or derivative. The soft, insistently recurring theme creates a mood that is both thoughtful and tender.

Much of the music in this album, however, seems to consist of somewhat conventional material. There's something rather safe about it. But it is beautifully recorded and played, and there are some outstanding soloists, notably Shank, who solos on almost every selection with his usual impeccable taste and sensitivity.

Adventure in Emotions by Russ Garcia is an interesting idea. Though rather stylized, it has some imaginative moments and some excitement. The composition’s section called Pathos sounds more like anguish. Anger predictably shows itself in the guise of loud drum and tympani effects. (Drummers have a lot to answer for; in these mood pieces, they are usually called upon to portray some excess of feeling, and they do it quite well.) Tranquility I found an imaginative section, one highlighting a beautiful trumpet solo by Barone. Joy comes skipping in with a glad feeling, like children running free, with hops and skips…but mischief rather than joy. Some humor here…The Games People Play set to music! Love and Hate: love gives way to hate rather early in the game. As the drums crash and thunder, then comes the haunting recapitulation by Shank, returning to the Love theme, quite beautifully done.

In Music for an Unwritten Play, by Jimmy Knight, I thought there were some Thornhillish moments too. Again there's a solo by Shank, giving the piece moments of added beauty.

Much praise should go to Kenton for organizing a thoroughly worthwhile project, by surrounding himself with talented musicians and composers, and giving them free rein. (M.McP.)