Stan Kenton - The Chronogical Classics: 1947 vol. 2 '1999

Tracks list

Tracklist

1 Curiosity - 2:40
2 Theme to the West - 3:08
3 Abstraction (Prologue, Suite, Third Movement) - 3:02
4 Fugue for Rhythm Section - 2:57
5 Monotony - 3:07
6 Unison Riff - 3:09
7 Lament - 3:05
8 Introduction to a Latin Rhythm (Prologue Suite, First Movement) - 2:41
9 Impressionism - 3:00
10 I Told Ya I Love Ya, Now Get Out - 2:46
11 He Was a Good Man as Good Men Go - 2:34
12 Cuban Carnival - 2:45
13 The Peanut Vendor - 2:44
14 Lonely Woman - 3:28
15 Thermopylae - 2:53
16 Metronome Riff - 2:42
17 Introduction to a Latin Rhythm (Prologue Suite, First Movement) - 2:42
18 Journey to Brazil (Prologue Suite, Fourth Movement-Finale) - 3:01
19 How High the Moon - 2:29
20 Harlem Holiday - 2:31
21 This Is My Theme - 3:14
22 Bongo Riff - 2:06
23 Somnambulism - 3:06
24 Interlude - 3:09

Like its immediate predecessor, volume five in the Classics Stan Kenton
chronology contains a substantial amount of material composed and/or arranged by
Sicilian-American Pete Rugolo, a student of Darius Milhaud and Kentons
right-hand man during the mid- to late 40s. It was Rugolo who assisted Kenton
during his experiments with modernized, progressive big band jazz. (Speaking of
modern jazz, note the return of alto saxophonist Art Pepper on the session of
October 22, 1947, which opened with Rugolos Unison Riff.) Following the example
of Dizzy Gillespie, Kenton was now incorporating more Latin percussion and
Caribbean rhythms than ever into his music, and even hired Cuban bandleader
Machito to play maracas on the sessions which took place during the latter part
of December 1947. Smug, contentious and successful, Kenton attracted controversy
like a lightning rod. Part of the reason for this was the unusual and at times
startling nature of his brand of musical futurism.

A more unsavory aspect of Kentons reputation was his annoying habit of making
what appeared to be arrogantly racist statements. The most famous example of
this regrettable tendency was remembered by several eyewitnesses who claimed
that Kenton, after participating in a battle of the bands at the Savoy Ballroom,
got drunk and staggered up to Dizzy Gillespie saying We can play your music
better than you can. Diz -- to his credit -- simply shrugged, said yeah and
walked away. Walter Gilbert Fuller adds: He was juiced. But he was saying while
he was juiced what he really meant. Heres how Gillespie assessed the overall
situation: Stan Kenton was the copyist. Stan Kenton went out and got a conga
drummer after he saw me with one. He hired Carlos Vidal, lured him away from
Machito, and put him along with another Latin drummer, Jack Costanzo, in his
band. But Stan didnt know what to do with it. He just left it there and they
made up their own minds what to play. All this happened after he came up to the
Savoy and heard us while Chano Pozo was in the band. Now, I dont just take what
they do and leave it there. I dont pass myself off as an expert on Latin music,
but the guys who play it respect me for knowing how to take what they do, put it
in with my music, and make it right. I never take nothing from nobody without
delivering something in return. I think when people figured we might make a lot
of money -- that started the controversy about who would get credit for creating
modern jazz. My viewpoint was always that the credit should go to the ones who
developed and played it best.

Interestingly, Dizzy Gillespie is heard on this disc alongside Buddy DeFranco,
Bill Harris and Flip Phillips as members of the Metronome All Stars in
combination with Stan Kenton & His Orchestra (a total of 28 players!) on Pete
Rugolos Metronome Riff, which was recorded on December 21, 1947. Gillespie even
toured with Kenton, sometimes leading the band. Later in life, Gillespie bluntly
asserted that Kenton left out the fundamentals, unlike Miles Davis whose music,
said Diz, is based on rhythm and also the blues. Whether or not you agree with
that assessment, and while many of Kentons recordings, including some of the
examples heard on this compilation, had plenty of artistic merit, music does not
exist in a social vacuum. As a member of the dominant social group, Kenton could
and should have shown more respect and gratitude to the African-American artists
from whom he borrowed (or swiped) ideas, textures, rhythms and inspiration. That
would have been honorable.
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EAC extraction logfile from 21. January 2008, 18:54

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