(Editor’s note: Sam Geati is a resident of Sun City whose musical background covers over 60 years. Currently, Sam can be seen and heard as a percussionist with the Sun City Concert Band, the “Let’s Dance” swing band, which he helped form, and his own trio called “Blue Skies.”)
Next up is one of my favorite big band leaders, pianists, composers, and arrangers, Music Hall of Famer Stan Kenton.
Stan Kenton was born on December 15, 1911 and passed away on August 25, 1979. He led an innovative, most influential, and often controversial American jazz orchestra. I first came upon his works while in high school and had to have any LPs he produced. He took the big band sound to a new level and dimension. This was during the time when rock and roll was just beginning to hit the music scene. In those days, I couldn’t stand rock and roll, because by comparison to Kenton’s music, it was like “rap” (or “crap”) is to me today, if you get my drift. (Sorry for the editorializing, but it’s my column, so I get to sound off on music topics.)
Kenton not only wrote some ingenuous compositions, but he surrounded himself with some of the finest virtuosos on the jazz scene. Players including Maynard Ferguson, Conte Condoli, and Pete Rugulo were featured and could be heard screeching in the high ranges of their horns (as in “Peanut Vendor”). Kenton needed their skills to match up to the challenging scores he composed. Any jazz musician would have considered it an honor to be chosen to play in this man’s orchestra.
To his legion of fans, Kenton was a jazz music god, utilizing dissonant chords and, at the time, way-out rhythm patterns that challenged the listener’s musical intellect. To appreciate this, one just needs to listen to a few of his most famous compositions, such as “Artistry in Rhythm.” He artfully integrated other genres including classical and Latin music into his arrangements. Listen to “Concerto to End All Concertos” and “Peanut Vendor” as examples of his range of composition.
Another of my favorites is “Misty,” featuring an all-time great, Frank Rosolino on trombone. Listen to the way Kenton scores the bridge with the orchestra; it’s magical. Another great selection by Rosolino is “Frankly Speaking.” Just when you think the song is ending, it suddenly jumps to double time, and Rosolino dazzles you with his amazing virtuoso skill. Another great composition synonymous with Kenton is “Intermission Riff.” It is filled with counter melodies layered perfectly by “the master.”
Kenton himself on piano leads the way in a beautiful rendition of “Somewhere” from West Side Story. Talk about unique styling; try “Maria” on for size. It is so Kenton, so way ahead of his time. He produced an album called “Kenton’s West Side Story” that takes the listener to a different dimension instrumentally. It is a must-have in a serious Kenton fan’s collection.
That’s “all that jazz and more” for now. I hope you enjoyed this musical trip down my Kenton memory lane. My next column will spotlight the vocal styling of one the all-time great jazz vocalists, Al Jarreau. Please send your comments to me at greengeezer9@comcast.net. I’d love to hear from you.
