The new jazz idiom has had more than its share of new organizations that flash quickly over the musical horizon and then die out because the basic spark is lacking. All have been accompanied by boasts, claims, and superlatives. But here, without fanfare, Stan Kenton presents the "Sounds and Songs" of the Al Belletto Sextet and lets rhythm rather than rhetoric illuminate the niche that this exciting new group has carved out for itself in a remarkably short time.

To followers of the idiom around-the country, the Al Belletto group needs no introduction. It has achieved noteworthy success in such key jazz spots as Chicago's Blue Note and Hollywood's Crescendo, and won quick return engagements in places like the White Pub in Milwaukee, the Blue Mirror in Washington, and the Frolics in Columbus. Here, on records, is captured the flavor and appeal of the fastest-rising combination in the musical world.

When originally discovered by Stan Kenton, the Belletto organization was a quintet, distinguished by the fact that most of its members played more than one instrument with equal facility. It has now been expanded to a sextet because in the original combination the bass was being swapped too frequently, and the outfit's driving arrangements required a constant in the rhythm backing.

There is an unusual versatility in the organization that is readily evident in the pulsing arrangements. Each of its members is a singer as well as an instrumentalist and the group's effective arrangements make excellent use of these voices for some fine choral sounds that augment the instrumentation. Three of the group contribute to the arrangements, although much of the work still is done by Jack Martin, a member of the original quintet who was forced out of playing participation by illness. And Belletto, who is a composer and arranger as well as an acknowledged virtuoso on the alto sax and clarinet, holds a Master's Degree in Music from Louisiana State University.

The effectiveness of the Belletto organization lies in the harmonics achieved through perfect teamwork. The individual talents mesh to provide a sound that is distinctive and a vigor that is finger-snapping. Contemporary in its over-all result, the feel of this pure jazz combination has its nostalgic derivation in the foundations of popular music.

In its "in person" appearances, the Al Belletto Sextet has been acclaimed for its strong visual as well as aural effect. It stems from an ungimmicked, pleasant presentation that has been duplicated, as far as possible, in these recordings through a careful balance of vocal and instrumental numbers.

Lead-off item in this collection is Russ Job, an instrumental that occupies an important place in the library of the group. It quickly showcases the multiplicity of talents involved, and their refreshing approach to arrangements with distinctive charm and verve. And it serves as an effective pace-maker for a collection of tunes that demonstrate the remarkable adaptability of this group to anything in jazz.

The range of ensemble talents is probably best demonstrated in March, Jazz and Fugue, longest of the recorded items, which achieves a big band feel through the swift and slick doubling and sometimes tripling of the various instrumentalists. The basic theme was written by Johnny Mandel and elaborated into its three-part form by Martin. It develops an unusual and highly satisfying tonal quality through the interpolation of a low B-flat mellophone, an instrument rarely encountered in combinations of this kind, as a counter to the basic saxophone pattern woven imaginatively by Belletto. Bebe is another example of instrumental versatility in this genre, while Little Girl Blue, which follows, is the perfect counterpoint, showing the balance of vocal harmonics which matches the sextet's strong instrumental qualities. Rarely has this favorite tune been given such a nostalgic rhythm feeling.

Driving ensemble work features three of the instrumentals, highlighted by Belletto's original, Sorry, Gone Number. Clever utilization of the individual talents in a shower of ideas fills in the framework of the blues, illustrating why this imaginative organization has so quickly captured the fancy of followers of jazz. In I Got It Bad and That Ain't Good, the standard gets a freshness of treatment that moves it from the realm of the music library to the needs of modern music, still retaining the haunting torchiness of its basic concept. Mabel is a lady whose charms are completely and totally described by the Al Belletto Sextet. On the vocal side, Make Her Mine underlines the ability of the group to provide a well-rounded sound with choral effects. The rhythm section is full and implements the lyricizing in a presentation that suggests the specialized visual presentation for which the group is known.

Three more vocals round out the package, including You'd Be So Nice to Come Home To, a slow, tender interpretation, and I Was the Last One to Know, one of the best examples of skillful use of a group of voices keyed to arrangements that get the most out of the melodic line. Jeepers Creepers, lead-off number on the reverse side, starts with an infectious instrumental beat that is maintained for foot-tapping listening.

In this package is the proof that the Al Belletto Sextet is more than just another strong instrumental jazz group. It is an organization with a jazz feel and easy style both instrumentally and vocally that have truly universal appeal.