Stan Kenton The Ballad Style of Stan Kenton Capitol 1958

Stan Kenton The Ballad Style of Stan Kenton Capitol 1958 CAT# T1068

This album is a nice set of slow-moving, romantic ballads Kenton arranged. It's nice and all, but I find it hard to believe anyone cares about this album anymore. Unless you're playing it a swanky dinner party, someone MIGHT say, "This music is nice," and that'd be your extent of anyone caring about Kenton, anymore.

Truth is, I only bought it because Kenton is a Wichita, KS, native and the price. Check that out, 49 cents and buy one get one free. I got it for a quarter. For a quarter, I'm cool with having some square Wichita jazzman's LP that only listen for the sole purpose of this blog, then shelve it and never pull it out again.

The Night We Called It a Day

Pat Metheny & Lyle Mays As Falls Wichita, So Falls Wichita Falls ECM 1981

Pat Metheny & Lyle Mays As Falls Wichita, So Falls Wichita Falls ECM 1981 CAT# ECM 1-1190

Lee's Summit native Pat Metheny made a lot of albums, with a lot of different people. This one is supposed to be pretty good. Listening to it, it sounds dreamy, there's elements of prog-rock mixed in, but I'd rather talk about something else.

My dad gave me this album. Not because he's a Metheny fan or anything, just because he hordes records and came across this one. Years ago, my dad was decorating his garage with vintage things. Just random stuff he'd come across on Craigslist. For Father's Day or his birthday (can't remember which) I gave him a stack of LPs and an old Fisher Studio Standard turntable I had lying around, just to fit the vintage motif in his garage and because I didn't want to go anywhere I try to buy a present.

My father grew up in a time when vinyl was king. I remember growing up with my parents playing albums pulled from there Peaches wood crate that set next to a Sony stereo system. However, as my parents got older and moved from place to place, the stereo stopped being a part of household and my dad started tuning into talk radio instead of the local classic rock station. Point is, giving him a record player and some albums wasn't introducing him to anything new. Rather, it was giving him back something from his past.

I didn't really think giving him a turntable would be any sort of problem. I just thought he'd play the old albums he still had, maybe buy a few that he lost along the years, but mostly, I thought the turntable would just be a conversation starter in his garage/man-cave. What happened is that my dad went full tilt on records. He moved his man-cave to the basement and it became nothing but records and turntables. Every time I came over, more records would be there, another receiver or another turntable. He started trying make it a lifestyle, buying tee shirts related to vinyl and turntables. Texting me about finds and "digs". He got to know other area collectors by going to Estate sales and stores.

At first, I didn't mind, I'd thumb through his new stuff, he'd grab local stuff for me when he saw it. But anymore, it's a bit too much, I can't keep up. There's also the annoyance of him thinking it's "cool." Similar to a millennial bragging about a bullshit Ryan Adams LP sounding great on a Crosley turntable, he began to think of the hobby as cool, something unique to him. Vinyl isn't inherently cool. And, collecting vinyl is anything but cool. It's a nerdy hobby. It used to be filled with weird old guys it sweatpants that loved to talk about Elvis Presley, which is anything but cool. Sure, there's a revival. However, despite the revival, it doesn't make an obsessive vinyl collector with a Rush t-shirt anymore attractive or cool.

Regardless of hipness, one thing that is true for most new collectors is that he or she gets a bit value-obsessed. The question, "What's it worth?", becomes a huge part of the vocabulary. This was most certainly true of my dad, although, I think he's slowed down on that aspect. This record came to me at his height of what's-it-worth-syndrome. At his job, he has access to some sort of cellophane wrapper and he was using it to re-seal old LPs. When I first asked, he described it as an easy way to preserve albums. To which I'd reply, shrink wrap isn't a good way to store records, it's a only a good way to warp them as the shrink does what the name implies, it shrinks over time and puts pressure on the record eventually warping it if you don't break the seal. However, it became apparent that it wasn't really about preserving them, it was an attempt to elevate the value.

The first time he showed me this record, he bragged about it's sealed condition. And if that were correct, yeah, it's true, mint condition Pat Metheny albums do hold some value to nerdy audiophiles. However, when I looked at it, it was painfully obvious it wasn't an original seal. The wrap it was thin and not typical. But, the dead giveaway was the water-stains along the spine. I didn't have the heart to call him out, just said, "Yeah, that's cool."

He probably tried to trade this off and couldn't and that's probably good because I don't see a bunch of re-sealed LPs at his house anymore. It's a shady practice and most people see through it. Eventually, he gave this LP to me, still re-sealed. I opened it up, thinking maybe it is legit, but no. It's got scuffs, it's got signs of usage, it's not mint. It still plays nice and all, I'm just saying, the weird re-sealing thing could have really pissed someone off if he sold it on eBay. And, it's weird, right?

John Bayley Minstrel of the Morning... Lifetime Records 1976

John Bayley Minstrel of the Morning... Lifetime Records 1976 CAT# 2001

When I first found this I sent a photo to a friend who stated, "That cover is a constant source of conversation and inspiration." The same LP sits among some other framed LPs my friend has displayed. Looking at it, how could it not want to start a conversation? There's just so much going on in this cover. Where to even start? Is that a living room? Where'd you get that sweet tiger? What's up with the white lady and her kid? Is that John Bayley's girlfriend/wife? And dude, where did you score the killer threads?

The backside notes indicate Bayley was heavily influenced by the Jesus Music scene of the 70s, or trying to fit into it. However, the tunes are fairly secular, unless you group songs about "love" into a religious setting. Even when Bayley tries to be religious, it's a bit off. The song "It's Good To See You," states, "I've laid a thousand women, but come back to see you." So he tries to find the Jesus scene, but you can tell, the dude just likes to write tunes.

And, his tunes are a bit all over the place. If it had to be labeled, outsider folk would be the best term. However, there's elements of Indian music, jazz, singer/songwriter, rock, and a lot of reggae floating throughout. It's an interesting work and far better than most "outsider folk" private albums you'd come across. There's a fair amount of experimentation throughout the LP. Also clever, Bayley filled out the sound remarkably well with only a few players. He plays a host of guitars and does his own lead and background vocals. There's limited synth, but he found some guys to do some violins and wind instruments in addition to recording with a drummer.

The LP was also recorded in the Cavern in Independence, Missouri. Lifetime Records (Bayley's private label) shows an Independence as well, but could just as easily be a Kansas City guy. If you YouTube him, you'll find he's channeling George Clinton's fashion sense and playing experimental gospel music over in Colorado now-a-days.

Going Home Alone

Deryl Barnett The Gospel Soul of the Saxophone and the Evangelist Temple Inspirational Youth Choir Savoy 1977

Deryl Barnett The Gospel Soul of the Saxophone and the Evangelist Temple Inspirational Youth Choir Savoy 1977 CAT# Savy 14428

Deryl Barnett is a native Kansas City saxophone player who grew up in the church as his father was a Reverend. This album was recorded live in KC and put out by the Savoy record label. Savoy is a rather diverse label and put out numerous quality gospel LPs as well as a host of jazz releases.

This album is centered around Barnett's soulful saxophone. It flirts with jazz, but he basically runs soulful lines throughout numerous gospel songs. The Evangelist Temple Inspirational Youth Choir takes a back seat to Barnett throughout the LP, but when they're featured, it's in the best parts of the album.

Appears this is really the only thing Barnett released. Although, who knows, maybe there are some locally pressed 45s and the like, but it does appear this LP is about it. Which is odd. You'd think releasing a saxophone LP on the Savoy label would lead to some other recordings, whether it be as a front man are part of a group, but the dude just dropped this LP and must have went onto to concentrate on God's work.

Pat Metheny Group S/T ECM 1978

Pat Metheny Group S/T ECM 1978 CAT #ECM 1-1114

This is the first album released by Lee's Summit native Pat Metheny under the name the Pat Metheny Group. Don't really need to go into the group members, because they're listed rather stylishly on the cover, This group created a string of well regarded release up through the 80's.

The music is very technical and sophisticated. It's on ECM, which is kind of a big deal for 70's and 80's jazz. The players are all great. The music kind of floats and noodles around a lot. Like, you'll leave the room for 5 minutes thinking you'll come back to another song and Lyle Mays is still slowly pounding out the same chord progression on his keyboard while Metheny just kind of splashes his guitar around. It's heavy in electronic instruments, but still sounds organic. Listening to it, even if it's not your thing, you can understand why it might be someone else's.

Also, below is a link of this guy on YouTube getting all sorts of pumped for a reissue of this LP. It's called an "Unboxing" video, which is these record collectors on YouTube just opening up packages of records they received in the mail, which is an actual thing that other people like to watch. They don't play the records due to copyright laws, which begs the question why are people so into watching these videos. I guess there's writing a blog on records nerdy, then there's next level YouTube nerdy.

This Fucking Guy and YouTube Unboxing Videos...

Stan Kenton Kenton with Voices Capitol 1957

Stan Kenton Kenton with Voices Capitol 1957 CAT #T810

I think this is my last Kenton record until someone just dumps them on my lap. Which, judging by the water stains on this LP, I think someone did just give me this...I hope I didn't buy it (although, the vinyl is pretty nice).

I've been through multiple Kenton releases and I'm at the point where I'm pretty sure I don't need to hear anymore. This sat on my 'To Be Listened To' shelf for months before I finally put it on. And, like all the Kenton LPs I've heard, it's about ten times better than I though it would be. He's just an artist that's really easy to listen to. Sure, he's square, but he excelled at taking sophisticated musical ideas and making them sound natural.

Kenton With Voices sounds a product of it's time in many places, you know, like grandma and grandpa music with a mix of some torch songs. Then, out of nowhere, there's these songs that just come out of left-field with space-age, bachelor pad sounds and exotica drum work. Those parts are worth listening in addition to the classier torch songs.

Softly

Count Basie and Orchestra On the Road Pablo 1980

Count Basie and Orchestra On the Road Pablo 1980 CAT #D2312112


This is a late-era Basie LP, recorded live apparently throughout a 1979 European tour. Features a host of brass players, Mickey Roker on drums, Keter Betts on bass and Freddie Green on guitar.


It's a good sounding recording as most Pablo releases are. It doesn't sound dated or dull. It's Basie bashing out classic tunes with a solid group of players.


In A Mellow Tone

David Bowie and the Pat Metheny Group This Is Not America Single EMI 1985

David Bowie and the Pat Metheny Group This Is Not America Single EMI 1985 CAT# 8251

Further proof that Pat Metheny's skills are not to be scoffed at. He collaborated with one of the most admired pop-stars of all time, David Bowie. Metheny did soundtrack work for the 1985 John Schlesinger film, The Falcon and the Snowman. I don't have the album, yet, but I do have this single featuring David Bowie on vocals.

The song is cool, it's got Bowie's signature vocals and Metheny noodling around on guitars and synths. When I finally got around to this release, I had grandiose plans to discuss how cool Kansas City can be. Here's this jazz guitarist from Lee's Summit with enough clout to get the most stylish rock star of a generation (lifetime) to work with him. Then Bowie died, and now I just want to talk about how much I love David Bowie.

I've always been really attached to music, it's something that always brought a smile to my face, it's always helped me through tough times and helped make the good times better. My earliest memories are of me sitting in the back seat of the family station wagon and notifying my parents whenever a Beatles track came on the radio. I was proud of being right, at least they always told me I was. As I got older, the love for music just became stronger, I started to notice that sometimes (often) my enthusiasm for it wasn't the same as everyone else's. To this day, my closest friends are those who share the same enthusiasm for music.

Somewhere around 3rd or 4th Grade, I think my mom started to realize I was seeking out things that were different. Challenging myself to seek out music that wasn't on the radio, the deep cuts. I started digging through my parent's LP collection trying to find something new for me to get into. My mom pulled out a beat up copy (all my parents' albums were beat up) of David Bowie's The Rise and Fall of Ziggy Stardust and pointed out the backside liner note which stated, "TO BE PLAYED AT MAXIMUM VOLUME."

So I did. That album opened me up. Before it, the strangest tracks I was digging on were "I Am the Walrus" by the Beatles or Doors albums. Here's this album that tells a story about an interstellar rock star, an androgynous one, and the music isn't backwards, but it's from another planet when compared to the Appetite For Destruction cassette I was fond of. It opened things up for me. I had to seek out more albums like this. I bought Rykodisc reissues of Bowie's catalog. Then it was finding more of the glam rock Bowie championed in the 70's. And that sent me down the path I'm at today....this rabbit hole of continually seeking out another album, seeking out another genre or style. That's how Bowie opened me up, I mean the guy touched almost every genre throughout his catalog, how could it not.

For a long time, there was a full-fledged Bowie obsession. While it's cooled down since high school and college, I'm still very much a fan of his music. In college, I wrote a paper about Bowie's androgynous Ziggy character and how, in a way, it made gay cool. Of course, I embellished the point for the purpose of my paper (the professor pointed this out, not me), but what is important about the story is that it made gay acceptable for me. Obviously, in 4th grade, I wan't comprehending what Ziggy was about. Ziggy, to 4th grade me was asexual, which was odd, but I wasn't old enough to understand sexuality.

As a young adult reading about it, it became a bit more clear. Bowie's sexuality was up in the air, probably bisexual, but pretty clear, not a straight laced heterosexual. And, I want to be careful here, because I've never had it in me to hate, but as a heterosexual teenager, the idea of homosexuality is well, queer, for lack of a better term. Even my aunt is gay, I knew that before Bowie, but I just kind of choose to ignore it to avoid confusion. At that age, it's easier to question things that are different from you rather than accept them. And sometimes, you just don't bother to come to terms with it. But, here is this guy, this hero of mine, who was different than me, who was gay. I had to accept that. So, beyond the music, I credit Bowie for making me a better person.

Rest in peace David Bowie and thank you.

This Is Not America

The Gaslite Gang Paul Gray's Jazz Place Presents Audio House Unknown Year

The Gaslite Gang Paul Gray's Jazz Place Presents Audio House Unknown Year CAT #AHS177F75

This isn't much different than the 1980 release by the same group, in fact the titles are virtually the same, except they spell Gaslite Gang consistently on this LP (additional release). One difference is that Paul Gray opted to release under the Audio House label rather than his own private imprint. By that, its assumed this predates the 1980 release, but it's hard to know for sure as this release isn't dated.

The Gaslite Gang adhere to New Orleans/ragtime styles here, with the exceptions of  a few ballads. The vocal numbers are fun and give you the sense these were just young, fresh out of college guys being hipsters.

It's fairly enjoyable in that it's fun. It won't hurt you to play it a few times. The cover, albeit just an advertisement for Paul Gray's Jazz Place is great in it's simplicity and style. Later, the Jazz Place would be renamed the Jazzhaus and was (last I knew) still situated upstairs in an old downtown building.

The Gaslight Gaslite Gang 1980 Private 1980

Some pretty hip outfits and sweet facial hair.

The Gaslight Gaslite Gang 1980 Private 1980 NO CAT#

Paul Gray was a KU undergrad from 1965 to 1969. He started this group and opened his own Jazz House in 1972, later which was renamed the Jazzhaus. Paul Gray fronted his own house band and led a small Lawrence Jazz scene during the time. The band actually did get some pub, appearing on an early reality TV show titled 'Your All-American College Show' plus were featured on an Andy Griffith TV Special, but, never made any major label recordings.

The group is pretty standard, swing and bop, nothing groundbreaking. Sometimes they get a bit New Orleans and Dixie, but I find the band more rooted in the KC Swing sound. What's funny about the release is the multiple errors that adorn the jacket and label. For one, according to the cover, the LP is by the Gaslight Gang and titled, Paul Gray's Jazz Place Proudly Present the Gaslight Gang. The backside, shows an over-the-top bio and would have you believe the title of the album is Gassing With Gray. Yet, the title I'm going to use here is the the record label, which simply states Gaslite Gang 1980 (notice, the change in the spelling of Gaslight).
 It's a pleasant, easy to listen to live recording.

Bob Brookmeyer Portriat of the Artist Atlantic 1960

Bob Brookmeyer Portriat of the Artist Atlantic 1960 CAT# 1320

Bob Brookmeyer was born in Kansas City, MO and began his career in town. He was renowned as a valve trombonist throughout his career working with many jazz greats throughout his career. However, as this compilation showcases, he was also an accomplished pianist.

As a teen, he attended the Kansas City Conservatory of Music, but began playing professional as a pianist prior to graduation. His jazz stardom came to when he concentrated on valve trombone while a part of a Stan Getz led group that featured Gerry Mulligan.

This album also showcases his skills as an arranger and it should be noted, trombone isn't the typical instrument for a bandleader, although others did do it. Again, though, Brookmeyer wasn't limited to the trombone. He arranged at the piano and let his classical music education work it's way into his jazz arrangements. He's pretty square, but can be as complex as another area jazz great, Stan Kenton.

The music featured here is almost cinematic in scope. He can swing when he wants, but he concentrates on trying to impress. The liner notes present a "Gee Shucks" kind of character, but given the amount of respect Brookmeyer had at this time-he was trying to show off. The first side is entitled, "Blues Suite" and seperated into 4 movements. The second side is more basic, but still pretty cinematic in it's approach. The best moments are when he came up with a melody that gets it's legs from guys like Ellington and Monk. Those are the moments is his work that the listener can connect with and hold on to.

Blues Suite-Fourth Movement

Stan Kenton Artistry in Rhythm Capitol 1947

Stan Kenton Artistry in Rhythm Capitol 1947 CAT #H167

There's a bunch of Kenton comps that go by this title and there's even an album previously discussed, New Concepts of Artistry in Rhythm.  It's all because this is widely considered his signature album during his big band period.

It's an enjoyable collection of music.  If someone just threw it on and listened to it today, I'm not sure they'd call it jazz.  It sounds much more like a soundtrack score.  The stuff Kenton was doing wasn't really for dancing, he was trying to advance the art form and usually comes off pretty pompous in liner notes.

The best moments and the ones I think people can grab onto easier now-a-days are the tracks featuring a cool-toned June Christy, "Willow Weep For Me" and "Ain't No Misery in Me."

Ain't No Misery in Me

Marilyn Maye The Happiest Sound in Town RCA/Victor 1968

Marilyn Maye The Happiest Sound in Town RCA/Victor 1968 CAT# LSP-4054

Found this at a garage sale down the street.  Boxes of easy listening and Christmas records.  There may have been a few Beatles LPs before I got there, there probably was a few things like Gerry and the Pacemakers, but overall, there was nothing cool.  There was this, though.  Not considered a cool record to anyone, but seeing how she's local, it was my lone purchase.

Should be easy to buy a record for a dollar at a garage sale, but, no.  You have to talk about why you are purchasing the record, and field the question, "Do you still have a record player?"  Or, "What do you do with all these old records?"  Since Marilyn Maye is from KC and proud about it, this purchase took a considerable amount of time.

First the homeowner selling the record got excited and stated, "Oh, Marilyn Maye, I know her!"  That was genuinely interesting so I replied thinking there was maybe a family relation.  No, instead I got, "Well, she's local, I don't know her, but..."  Oh good, you don't know her, can I have my change, now?  "But, my brother's girlfriend used to have a brother that dated her years ago.  She's still around though, we always go see her perform at the community college."  Wow, terribly interesting, but, to her benefit, she was right, Marilyn Maye does perform at the Johnson County Community College from time to time...she should kept the record and asked her to sign at the next one she went to.

The album is enjoyable.  It does get over-the-top Hollywood at times, but the bulk of the first side and some of the second are based in a much more traditional vocal jazz approach.  Plus, she puts a ton of pzazz in her rendition of the classic tune, "Kansas City."

Stan Kenton Presents: Capitol 1950

Stan Kenton Presents Capitol 1950 CAT# L248

Wichita born Stan Kenton tried a lot of things, some of which stuck in jazz for decades.  This LP however represents one of his attempts at innovation that did not catch on. Regardless, it is a fairly interesting listen and a good attempt at something new.

The album saw Kenton putting together an amazing set of players, some tunes even feature names of the band, "Maynard Ferguson," "Shelly Manne," "June Christy," and "Art Pepper" are all track names and players on the LP.  Throughout the tracks, Kenton took highly sophisticated jazz structure and merged it with classical movements and ideas.

The release isn't as challenging as some of his later work and experiments, it's fairly pleasant and easy to listen to.  It's easy to see why the classical/jazz merger didn't stick with others or even Kenton, it sounds forced and segmented.  Still, it's interesting hearing something tip toeing around Stravinsky before it goes full out jazz band.

"Maynard Ferguson"

Marilyn Maye Meet marvelous Marilyn Maye RCA/Victor 1965

Marilyn Maye Meet marvelous Marilyn Maye RCA/Victor 1965 CAT# LPM-3997

This is Marilyn Maye's debut for RCA.  TV personality and the guy who discovered Maye pens the back cover and gushes on and on about her greatness.  The LP actually boosts some talented arrangers drawing both from Don Costa and Manny Albam, but all in all, just really pop vocal tracks with a singer that has a background more in theater than jazz.

The theatrical value of her voice and the arrangements on this LP give it a very big showbiz sound.  Highlights include the uptempo "Get Me To the Church on Time," the simple bass line vocal pairing of "Washington Square" until it gets full-blown, her rendition of "Take Five" is fun, outside of that, many ballads, nothing that stands out too much or has become the definitive version of a song.

I Love You Today

Pete Eye Trio S/T Cavern Custom Recordings 1976

Pete Eye Trio S/T Cavern Custom Recordings 1976 CAT# 41287

First, this is sought after, namely for the first track, Pete Eye's workout of "Sissy Strut."  While $50 may seem like a lot for something so obscure and unassuming, the guys forking over money for it are spot on with this this tune.  It's epic, challenges even the Meters.  Eye's work on the keyboard is funky and light, the stand up bass keeps the song rooted in jazz, and the drums are tight, no huge breaks, but tight and well done.

From that track, the album does what Pete Eye was known for.  He was a well studied piano player, showcasing most his skills surrounded by jazz arrangements.  While the rest of the LP isn't as awesome as "Sissy Strut", it does show that Eye is a great piano player. Many tracks see Eye just showing off in almost a classical sense.  Then there are more funk driven moments.  He throws down on the organ, "Good Bait," gets bluesy on "Back at the Chicken Shack."  The final three tracks "Sumthin You Got" is soulful, with vocals who I assume are Eye's.  He's not an amazing singer, but gets his point across.  The band does a workout of "Them Changes" which was made famous by Buddy Miles, the vocals lessen the tune, but still an enjoyable rendition.  The Trio dips into rock n' roll on "Pete Eye's Boogie" which sounds a bit hooky, but the organ riffs are spectacular.  Finally, all the tracks, show off the skills of his supporting artists, John Hatton on bass and Barry Gould on drums.

Eye was actually born Byron Floyd Eye in Indianapolis, Indiana.  His family would move to Kansas City and Eye graduated from Central High School in KCMO.  He served overseas in Korea as part of the US Navy, but after his service returned home to Kansas City to live and play in the historic jazz scene.  He was well known player around town, but was sought after just as much as technician and tuner of the instrument.  He sadly passed away in 2010.

Sissy Strut

Marilyn Maye A Taste of "Sherry!" RCA 1967

Marilyn Maye A Taste of "Sherry!" RCA 1967 CAT# LPM-3778

Marilyn Maye McLaughlin was born in Wichita, KS, but would begin her singing career in Topeka as child performer in local talent shows.  After her parent's divorced, she spent some time in Des Moines, Iowa, gaining some attention as  teen on radio.  She would later move to Chicago, but quickly come back home to Kansas City.

Performing throughout the Midwest she was discovered by the first show of the Tonight Show, Steve Allen. The relationship landed her a recording contract with RCA and in her prime, she was somewhat of a regular on the Tonight Show appearing 76 times.

This album is typical of her jazz vocal style that is heavily laced with pop.  She's no June Christy or even Julie London.  Rather, she's far more routed in the theater and cabaret traditions than jazz.  She's got a clear, brassy voice, that's suited for the grandiose arrangements that usually surround her.  There's some fun moments on this LP, which represents her early work, "Java" is pretty goofy, "Sherry!" is surprisingly quirky, and her cover of "You've Lost that Lovin' Feelin" works well.

Marilyn Maye - Java

Chris Connor Sings Lullabys For Lovers Bethlehem 1954

Chris Connor Sings Lullabys For Lovers Bethlehem 1954 CAT# BCP 1002

Love everything about this Bethlehem release from Kansas City's Chris Connor.  The cover shot, the title, the now rarely used 10" format, the misspelling on the title, the album is aesthetically pleasing to me.

There's no complaints about the music.  It's a lo-key affair, but still swings.  Connor's voice was in top form and like all her work, she kept things cool.  You also get an almost restaurant/mood music feel from the use of both an accordion and clarinet throughout the album, but it works here, doesn't fall into the hooky category at all.

She was joined by the Vinnie Burke Quartet on the album, hardly a household name anymore, but a capable band nonetheless.  Oddly, the album doesn't credit production.  Apparently in the 50's all that mattered was the singer and the band.

Kinda digging this guy's vinyl rip to You Tube of the album

Stan Kenton New Concepts of Artistry in Rhythm Capitol 1952

Stan Kenton New Concepts of Artistry in Rhythm Capitol 1952 CAT# H383

So, when I first embarked on this project and found out Stan Kenton was from Wichita, KS, I was like, "Sweet!"  Then, as I started actually keeping my eyes peeled for all records that have a Kansas connection and saw how many Kenton albums are out there I said to myself, "Fuck, Stan Kenton is from Wichita."  I mean seriously, how many things can I possibly come up with to say about Stan Kenton?

Luckily, this 10" is pretty interesting and at points, challenging.  Kenton was in transition and on this album his orchestra had just begun it's experimentation with swing.  The first track, "23 Degrees North - 82 Degrees West" comes in with killer horns that take a bit to come together, but it works within a few seconds.  The Latin flair on that track is the most exciting part of the album, but there are other moments to explore, love the guitar lines on "Invention for Guitar and Trumpet," and the revamped ballad, "My Lady.".

As per usual, on this album Kenton's orchestra is loaded with talent, Maynard Ferguson, Lee Konitz, and Gerry Mulligan, just to name a few.  Of course, Kenton tells you all about that on the back side of the album in true douche-bag form.  The guy describes all the tracks like his work is for the better good.  But, outside of that, solid album, cover art is incredible.

23 Degrees North - 82 Degrees West

Stan Kenton Kenton in Hi-Fi Capitol 1956

Stan Kenton Kenton in Hi-Fi Capitol 1956 CAT#W724

Stan Kenton was born in Wichita, Kansas.  He would later move to Colorado at a young and also to California.  Can't find much on how much time he spent in Kansas, but nevertheless, he was born in the state.

Looking at records and photos of the guy, he looks awful square for a jazz musician.  More square than Glenn Miller.  It's not like he was on a label known for spitting out ultra-hip Jazz in Capitol, either.  So, all indications, not that cool of a guy (there's also some personal issues going on with Kenton, but I'm just saying as a Jazz musician right now, he's no Coltrane).  However, listening to some of his material, there are some definite high points and creative exploration.  I have some 10"s of his that really surprised me, nothing I would call abstract, but certainly not expected.  He was initially focused on what he termed "progressive jazz," focusing on movement and shying away from anything considered to be dance music.

Later, he explored the big band sound and attempted to maintain creative exploration within the tunes.  This LP represents that period.  It does swing, you could dance to it easily, but it wasn't cut and dry and maintained the Kenton sound.  It also further explored the Kenton Wall of Sound that he developed previously in the 1940's.  He layers everything up, so much so it feels as if your speakers could explode.  Phil Spector would use the term later when recording his doo-wop masterpieces and rock and roll.

His personal stuff I'll share another time.  Rather focus on the good for now.  The artists this guy worked with and brought to the scene is incredible.  Just a few, June Christy, Chris Connor, Art Pepper, Neal Hefti, Stan Getz, Kai Winding, Maynard Ferguson, Lee Konitz, Bud Shank; it's an amazing list that just goes on and on.  I mean, it's almost as if you had to first play in Kenton's band prior to venturing out as a stand alone musician.

Artistry in Boogie & Minor Riff