Sophisticated Approach

From the fabulous dance library of Stan Kenton comes
SOPHISTICATED
APPROACH

Utilizing the tonal chemistry of which he has long been conceded master, Stan Kenton transmutes twelve haunting ballads into glowing embers of sound…perfect for dancing, or just holding somebody close and listening.

Lambent reeds and darkly-burning brasses blend into warm, compelling colors, interlaced with solo voicings by trumpet, trombone, alto and tenor sax, and Stan's own tasteful piano.

Each orchestration, written for the Kenton orchestra by Lennie Niehaus, subtly blends languorous rhythms with lovely melody…almost magically suggesting that long-after-midnight mood…the drained cocktail glass…the forgotten cigarette…and two people on a deserted dance floor, quietly and intimately alone.

Pete Welding. "Record Review. Sophisticated Approach (Capitol)." Down Beat. 5 July 1962.

SOPHISTICATED APPROACH—Capitol 1674: But Beautiful; Darn That Dream; It Might As Well Be Spring; Moonlight Becomes You; How Do I Look In Blue?; You Stepped Out Of A Dream; How Long Has This Been Going On?; Memoirs Of A Lady; Time After Time; Easy To Love; My One And Only Love, Like Someone In Love

Personnel : Bob Behrendt, Bud Brisbois, Bob Rolfe, Dalton Smith, Marvin Stamm, trumpets; Jim Amlotte, Bob Fitzpatrick, Newell Parker, Jack Spulock, trombones; Dwight Carver, Keith LaMotte, Gene Roland, Carl Saunders, mellophoniums; Gabe Baltazar, Sam Donahue, Wayne Dunstan, Marvin Holladay, Paul Renzi, saxophones; Kenton, piano; Keith Mitchell, bass, Jerry McKenzie, drums; George Acevedo, Latin percussion.

Rating: ★ ★ ★ ½

This attractive collection of jazz-based dance orchestrations is by far the best of the several albums the most-recent Kenton band has recorded. It sets out to be nothing more than a program of warm, moody dance music with decided jazz overtones and, as such, succeeds far more admirably than have the previous, more ambitious discs.

The pace is unhurried, the playing relaxed and sure, and the dark-hued orchestrations Lennie Niehaus has provided are warm, supple, and sensuous. The arrangements, moreover, emphasize very successfully the somber, autumnal quality the mellophonium section can impact.

The band does complete justice to the scores, blending well, shading nicely, and building to effective climaxes. The intonation problems that plagued the band previously seem to be completely licked here. The ripe, full sound the band gets suggests awesome power carefully under control which is indeed the case.

In short, a superior dance-ballad collection. (P.W.)