Stan Kenton

Stan Kenton
Kenton in January 1947
Background information
Birth name	Stanley Newcomb Kenton
Born	(1911-12-15)December 15, 1911 Wichita, Kansas, United States
Died	August 25, 1979(1979-08-25) (aged 67) Los Angeles, California
Genres	Progressive jazz, West Coast jazz, swing
Occupation(s)	Bandleader, musician, composer, arranger
Instruments	Piano
Years active	1930–1978
Labels	Capitol, Decca, Creative World
Associated acts	Maynard Ferguson, Zoot Sims, Gerry Mulligan, Nat King Cole, Anita O'Day, Lucky Thompson, June Christy, Chris Connor, Art Pepper, Pete Rugolo, Eddie Safranski

Stanley Newcomb Kenton (December 15, 1911 – August 25, 1979) was an American popular music and jazz artist. As a pianist, composer, arranger, and band leader, he led an innovative and influential jazz orchestra (1940s through '70s) garnering many successes across several music genres. Though Kenton was to have several pop hits from the early 1940s into the 1960s, much like earlier band leader Paul Whiteman, he categorized his music as forward looking. In Kenton's own words, it was "Progressive jazz".^[1][2] He was also on the cutting edge of jazz education in creating the Stan Kenton Band Clinics starting in the late 1950s.^[1]

Early life

Stan Kenton was born on December 15, 1911 in Wichita, Kansas; he also had two sisters (Beulah and Erma Mae) born three and eight years after him. His parents, Floyd and Stella Kenton, had moved the family back to the permanent Colorado address, then finally in 1924 to Southern California in the Los Angeles region where he would primarily grow up. They settled in the Los Angeles suburb of Bell.^[1] He attended Bell High School; his high school yearbook book picture has the prophetic notation "Old Man Jazz." Kenton had started learning piano as a teen from a local pianist and organist Frank Hurst. His mother had tried to give him piano lessons earlier but he was not interested until hearing jazz records. During this time in high school at about the age of 15, the pianist and arranger Ralph Yaw introduced him to the music of Louis Armstong and Earl Hines. At the age of 16 he was already playing a regular solo piano gig at a local hamburger eatery for 50 cents a night plus tips; during that time he had his own performing group named "The Bell-Tones." His first arrangement was written during this time for a local, eight piece band who played in nearby Long Beach.^[1] Kenton graduated from Bell High School in Summer of 1930.

Career

1930s

While still in his late teens Stan Kenton toured as a member of several local groups from Southern California; his first professional work came for a trip to San Diego. He first got his notable professional work during the 1930s, first with in the dance band of Everett Hoagland in 1934. Kenton would later compliment Hoagland on his leadership skills and what he had learned from being his band. "I played with Everett for about a year and a half,and I know that of the things I applied to my own bands in later years I can trace back to the schooling I received from Everett Hoagland."^[1] Kenton met other key players in that group such as Vido Musso and Bob Gioga who would be on later bands of Kenton's in the 1940s.

In April of 1936 Gus Arnheim was reorganizing his band into the style of Benny Goodman's groups and Kenton was to take to piano chair. This is where Kenton would make his first recordings when Arnheim made 14 sides for the Brunswick label in Summer of 1937. Once he departed from Gus Arnheim's group, Kenton went back to study with private teachers on both the piano and in composition. In 1938 Kenton would join Vido Musso in a short lived band but a very educational experience for him. From the core of this group come the line up of the first Stan Kenton groups of the 1940s. Kenton would also go onto working on the NBC House Band and in various Hollywood studios and clubs. Producer George Avakian took notice of Kenton during this time while he worked as the pianist and Assistant Musical Director at the Earl Carroll Theatre Restaurant in Hollywood. Kenton started to get the idea of running his own band from this experience; he created a rehearsal band of his own which eventually become his groups in the 1940s.^[1]

1940s

Stan Kenton in Billboard Magazine, October of 1942

In June 1941, Kenton formed his first orchestra, which later he named after his theme song "Artistry in Rhythm". Kenton worked in the early days with his own groups as much more of an arranger than a mainstay, featured pianist. Although there were no name musicians in his first band (with the possible exception of bassist Howard Rumsey and trumpeter Chico Alvarez), Kenton spent the summer of 1941 playing regularly before an audience at the Rendezvous Ballroom in Balboa Beach, CA. Influenced by Jimmie Lunceford (who, like Kenton, featured high-note trumpeters and thick-toned tenors), the Stan Kenton Orchestra struggled for a time after its initial success. Its Decca recordings were not big sellers and a stint as Bob Hope's backup radio band during the 1943–44 season was an unhappy experience; Les Brown permanently took Kenton's place.^[3]

Stan Kenton with bassist Eddie Safranski, 1947 or 1948

Kenton's first appearance in New York was in February 1942 at the Roseland Ballroom, with the marquee featuring an endorsement by Fred Astaire.^[4] By late 1943, with a contract with the newly formed Capitol Records, a popular record in "Eager Beaver", and growing recognition, the Stan Kenton Orchestra was gradually catching on; it developed into one of the best-known West Coast ensembles of the 1940s. Its soloists during the war years included Art Pepper, briefly Stan Getz, altoist Boots Mussulli, and singer Anita O'Day. By 1945, the band had evolved.^[3] The songwriter Joe Greene provided the lyrics for hit songs like "And Her Tears Flowed Like Wine" and "Don't Let the Sun Catch You Cryin'".^[5] Pete Rugolo became the chief arranger (extending Kenton's ideas), Bob Cooper and Vido Musso offered very different tenor styles, and June Christy was Kenton's new singer; her hits (including "Tampico" and Greene's "Across the Alley from the Alamo") made it possible for Kenton to finance his more ambitious projects. A popular recording of "Laura" was made, the theme song from the film Laura, and featured the voices of the band.^[3]

In the mid-1940s, Kenton's band and style became known as the "wall of sound"^[7] or "wall of brass".^[8] Calling his music "progressive jazz,"^[9] Kenton sought to lead a concert orchestra as opposed to a dance band at a time when most big bands were beginning to wind up. By 1947 Kai Winding was greatly influencing the sound of Kenton's trombonists, the trumpet section included such performers as Buddy Childers, Ray Wetzel, and Al Porcino, Jack Costanzo's bongos were bringing Latin rhythms into Kenton's sound, and a riotous version of "The Peanut Vendor" contrasted with the somber "Elegy for Alto". Kenton had succeeded in forming a radical and very original band that gained its own audience.^[3]

(From left:) Pete Rugolo, Stan Kenton, and Bob Graettinger in 1948.

This overall period of the Kenton orchestra starting in 1947 (1947–1953), was the most innovative and fertile in terms of purely artistic output. Stan Kenton had reformed his orchestra in September 1947 with the avowed intention of playing "progressive" jazz designed specifically for the concert hall.^[10] Composer Bob Graettinger's music (as well as Pete Rugolo, Manny Albam, William Russo, Franklyn Marks, and Shorty Rogers) involves a great artistic departure for Kenton so to produce a New American music. Those Innovations in Modern Music Capitol Records recording sessions become a logical step for Kenton, like with band leaders such as James Reese Europe, Paul Whiteman, and others earlier attempting to elevate the art form of jazz beyond just "hot jazz" and jam session playing. There is a very clear connection to be made in the progress and innovation of large ensemble music (in both classical and jazz) music fit into and would not just 'appear out of nowhere.' Contemporaries of the 'Innovations in Modern Music' collaborations during that time such as Ralph Burns with Woody Herman, Boyd Raeburn (w/Eddie Finckel and George Handy) and Claude Thornhill (w/Gil Evans) help to clarify the important place where Innovations sits in jazz history.^[11]

1950s

After a year hiatus, In 1950 Kenton finally put together the large, 39-piece Innovations in Modern Music Orchestra that included 16 strings, a woodwind section, and two French horns. The music was an extension of the works composed and recorded since 1947 in by Bob Graettinger, Manny Albam, Franklyn Marks and others. Name jazz musicians such as Maynard Ferguson, Shorty Rogers, Milt Bernhart, John Graas, Art Pepper, Bud Shank, Bob Cooper, Laurindo Almeida, Shelly Manne, and June Christy were part of the groups. The groups managed two tours during 1950–1951, from a commercial standpoint it would be Stan Kenton's first major failure. Kenton soon reverted back to a more standardl 19-piece lineup.^[1]

In order to be more commercially viable, Kenton reformed the band in 1951 to a much more standard instrumentation: 5 saxes, 5 trombones, 5 trumpets, piano, guitar, bass, drums. The charts of such arrangers as Gerry Mulligan, Johnny Richards, and particularly Bill Holman and Bill Russo began to dominate the repertoire. The music was written to better reflect the style of cutting edge, be-bop oriented big bands; like those of Dizzy Gillespie or Woody Herman. Young, talented players and outstanding jazz soloists such as Maynard Ferguson, Lee Konitz, Conte Candoli, Sal Salvador, and Frank Rosolino made strong contributions to the level of the 1952-'53 band. The music composed and arranged during this time was far more tailor made to contemporary jazz tastes; the 1953 album New Concepts of Artistry in Rhythm is noted as one of the high points in Kenton's career as band leader. Though the band was to have a very strong 'concert book,' Kenton also made sure the dance book was made new, fresh and contemporary. The album Sketches on Standards from 1953 is an excellent example of Kenton appealing to a wider audience while using the band and Bill Russo's arranging skills to their fullest potential. Even though the personnel changed rather rapidly, Kenton's focus was very clear on where he would lead thing musical. By this time producer Lee Gillette worked well in concert with Kenton to create balanced set of recordings that were both commercially viable and cutting edge musically.

Arguably the most 'swinging' band Kenton was to field came when legendary drummer Mel Lewis joined the orchestra in 1954. Kenton's Contemporary Concepts (1955) and Kenton in Hi-Fi (1956) albums during this time are very impressive as a be-bop recording and then a standard dance recording (respectively).^[1] Kenton in Hi-Fis wide polarity and sales benefited from the fact it was his greatest hits of ten years earlier re-recorded in stereo with a contemporary, much higher level band. The album climbed all the way up to #22 on the Billboard album charts and provided much needed revenue at a time when Rock n Roll had started to become the dominant pop music in the United States.^[1] It would become more and more difficult for Kenton to alternate between 'dance' and serious 'jazz' albums while staying financially solvent.

Stan Kenton's Cuban Fire! album featured the music of composer Johnny Richards

One of the standout projects and recordings for the mid-1950's band is the Cuban Fire! album released in 1956. Though Stan Kenton had recorded earlier hits such as The Peanut Vendor in 1947 with Latin percussionist Machito, as well as many other Latin flavored singles, the Cuban Fire! suite and LP stands as a watershed set of compositions for Johnny Richards' career and an outstanding commercial/artistic achievement for the Kenton orchestra, and a singular landmark in large ensemble Latin jazz recordings.^[12][1] “CUBAN FIRE is completely authentic, the way it combines big-band jazz with genuine Latin-American rhythms.”"^[13] The success of the Cuban Fire! album can be gauged in part by the immediate ascent of Johnny Richards' star after its release; he was suddenly offered a contract by Bethlehem Records to record what would be the first of several recordings with his own groups.^[1]

At one point, Kenton faced a controversy in 1956 with comments he made when the band returned from a European tour. The current Critics Poll in Down Beat was now dominated by African-American musicians in virtually every category. The Kenton band was playing in Ontario, Canada, at the time and Kenton dispatched a telegram which lamented "a new minority, white jazz musicians," and stated his "disgust [with the so-called] literary geniuses of jazz." Jazz critic Leonard Feather, responded in the October 3, 1956 issue of Down Beat with an open letter which questioned Kenton's racial views. Feather implied that Kenton's failure to win the Critics Poll was probably the real reason for the complaint, and wondered if racial prejudice was involved. In hindsight the record shows Kenton's biggest sin is to have hastily fired off the comments. His racial views and relationships with Black or Hispanic musicians were quite good dating back to interaction with Charlie Parker, Dizzy Gillespie, Machito and Nat King Cole besides having band members such as Lucky Thompson, Curtis Counce, Ramon Lopez, Kevin Jordan, and Douglas Purviance.

By the end of the decade Kenton was with the last incarnation of a 19 piece, '50's style' Kenton orchestras. Many bands have been called a leader's "best," this last Kenton 1959 incarnation of the 1950s bands may very well be the best. The group would pull off one of Kenton's most artistic, subtle and introspective recordings, Standards in Silhouette. As trombonist Archie LeCoque recalled of this album of very slow ballads, "...it was hard, but at the time we were all young and straight-ahead, we got through it and (two) albums came out well."^[1] By 1959 Stereophonic sound recording was now being fully utilized with all major labels. One of the great triumphs of the Standards in Silhouette album is the mature writing, the combination of the room used, a live group with very few overdubs, and the recording being in full stereo fidelity (and later remastered to digital).^[14] Bill Mathieu was highly skeptical of the decision to record his music in a cavernous ballroom like Cuban Fire!. Mathieu adds, "Stan and producer Lee Gillette were absolutley right: the band sounds alive and awake (which is not easy when recording many hours of slow-tempo music in a studio), and most importantly, the players could hear themselves well in the live room. The end result is the band sounds strong and cohesive, and the album is well recorded."^[15] This is the last set of studio dates before Kenton would retool the entire orchestra in 1960.

1960s

Stan Kenton with Bill Holman in December of 1961 for the Adventures In Jazz recording Sessions at Capitol Studios, Hollywood, California

The Kenton orchestra had been on a slow decline in sales and popularity in the late 1950s with having to compete with newer, popular music artists such as Elvis Presley, Bobby Darin and The Platters. The nadir of this decline was around 1958 and coincided with a recession that was effecting the entire country.^[1] There were far fewer big bands on the road and live music venues were hard to book for the Kenton orchestra. The band would end 1959 beaten up by poor attendance at concerts and having to rely far more on dance halls than real jazz concerts.^[15] The band would reform in 1960 with a new look and new sound, this was larger group with a 'mellophonium' section added and part of an upsurge in Kenton's popularity.^[1][15]

The Mellophonium was a featured instrument by Stan Kenton from 1960 through the end of 1963. Though problematic with tuning it uses a trumpet mouthpiece for more agility when trying to improvise in a jazz setting

The new instrument was used by Kenton to "bridge the gap" in range, color, and tonality between his trumpet and trombone sections. Essentially it creates a conical, midrange sound that is common in a symphonic setting with a horn (French horn) but the bell of the instrument faces forward. The mellophonium supplies much more of a direct sound but uses a trumpet mouthpiece. Kenton's 1961 recording The Romantic Approach for Capitol is the first of 11 LP's that would feature the 'mellophonium band.' Kenton arranged the whole first mellophonium album himself and it was very well received in a September 1961 review in Down Beat.^[16]

The Kenton Orchestra from 1960-1963 had very key successes; the band had a relentless recording schedule. The albums Kenton's West Side Story (arrangements by Johnny Richards) and Adventures In Jazz, each won Grammy awards in 1962 and 1963 respectively. Ralph Carmichael wrote a superb set of Christmas charts for Kenton which translated into one of the most popular recordings from the band leader to date: A Merry Christmas!. Also, Johnny Richards' Adventures in Time suite (recorded in 1962) was the culmination of all things the mellophonium band was capable of.^[1][17] After the Fall 1963 U.S./U.K. tour ended in November, the mellophonium incarnation of Kenton bands was done. The conditions of Stan’s divorce from jazz singer, Ann Richards was that a judge ordered Stan to take a year off the road to help raise their two children or lose custody all together. Kenton would not reform another road band for tour until 1965.

Kenton had ties from earlier writing of country/western songs that were a success with Capitol and again he tried his hand in that genre during the early 1960s. In a music market that was becoming increasingly tight, in 1962 he cut the hit single Mama Sang a Song; his last US Top-40 (No. 32 Billboard, No. 22 Music Vendor). The song was a narration written by country singer Bill Anderson and spoken by Kenton. The single also received a Grammy nomination the following year in the Best Documentary or Spoken Word Recording category. The other attempt he made into that market was far less successful, Stan Kenton! Tex Ritter! released in 1962 as a full LP.

After the breakup of the mellophonium band, Kenton / Wagner (1964) was an important recording project that Kenton arranged himself, again moving towards "progressive jazz" or third stream music. This album was not a financial success but kept Kenton at the forefront of 'art music' interpretation in the commercial music world. Stan Kenton Conducts the Los Angeles Neophonic Orchestra (1965) was another artistic success and garnered another Grammy nomination for the band leader.

The 1966 - 1969 Capitol releases for Stan Kenton were a severe low point for his recording career. Capitol producer Lee Gillette was trying to exploit the money making possibilities of numerous popular hits to include the 1968 musical Hair featuring contemporary rock music.^[1] Due to lack of promotion by Capitol, four LPs were financial failures; this would be the last releases for Kenton under he aegis of long time Kenton producer Lee Gillette and Capitol.^[1] In fact, by the time it was recorded Kenton had no involvement in the Hair LP except for Kenton's name placed on the jacket cover; Ralph Carmichael and Lennie Niehaus were placed in charge of the project. Two exceptions to this late 1960s period are the Billboard charted single the band cut of the Dragnet theme (1967) and another Kenton presents release featuring the music of composer and ex-bandsman Dee Barton: The Jazz Compositions of Dee Barton (1967).

1970s

Stan Kenton with his band in Münich, Germany, September of 1973

The transition from Capitol to Creative World Records in 1970 was fraught with difficulties during a time when the music business was changing rapidly. As a viable jazz artist who was trying to keep a loyal but dwindling following, Kenton turned to arrangers such as Hank Levy and Bob Curnow to write material that appealed to a younger audience.^[1] The first releases for the Creative World label were live concerts and Kenton had the control he wanted over content but lacked substantial resources to engineer, mix, and promote what Capitol underwrote in the past. Kenton would take a big gamble to bypass the current record industry and rely far more on the direct mail lists of jazz fans which the newly formed Creative World label would need to sell records.^[18] Kenton also made his charts available to college and high-school stage bands with several publishers.

Stan Kenton with Bob Curnow, Universal Studios in Chicago, 1974

Kenton continued leading and touring with his big band up to his final performance in August 1978. In June 1973 Bob Curnow had started as the new artists and repertoire manager overseeing the whole operation of the Creative World Records.^[19] It was just the year before (in 1972) the Kenton orchestra recorded the National Anthems of the World double LP with 40 arrangements all done by Curnow.^[20] As per Curnow himself, "That was a remarkable and very difficult time for me. I was managing (Stan's) record company with NO experience in business, writing music like mad, living in a new place and culture (Los Angeles was another world), traveling a LOT (out with the band at least 1 week a month) and trying to keep it together at home."^[21]

When Kenton took to the road during the early 1970s and up to his last tour, he took with him seasoned veteran musicians (John Worster, Willie Maiden, Warren Gale, Graham Ellis and others) teaming them with relatively unknown young artists, and new arrangements (including those by Hank Levy, Bill Holman, Bob Curnow, Willie Maiden and Ken Hanna) were used. Many alumni associated with Kenton from this era became educators (Mike Vax, John Von Ohlen, Chuck Carter, and Richard Torres), and a few went on to take their musical careers to the next level, such as Peter Erskine and Tim Hagans.

Legacy

Kenton was a salient figure on the American musical scene and made an indelible mark on the arranged type of big band jazz. Kenton's music evolved with the times from 1940 through the 1970s. He was at the vanguard of promoting jazz and jazz improvisation through his service as an educator through his Stan Kenton Band Clinics. The "Kenton Style" continues to permeate big bands at the high school and collegiate level, and the framework he designed for the "jazz clinic" is still widely in use today.

His music has experienced a resurgence in interest, with later critical "rediscovery" of his music and many reissues of his recordings. An alumni band named for him tours led by lead trumpeter Mike Vax, which performs not only classic Kenton arrangements, but also new music written and performed by the band members (much like Kenton's own groups). Kenton donated his entire library to the music department of North Texas State University^[22] (now the University of North Texas), and the Stan Kenton Jazz Recital Hall is named in his honor. His arrangements are now published by Sierra Music Publications.^[23]

When comparing the four longest running touring jazz orchestras (Kenton, Herman, Basie, Ellington), Stan Kenton's band sits by itself with having the highest turnover of personnel. The one person with the longest tenure on the band would be Dick Shearer. the least lead trombone player to serve with Kenton (was with Kenton for over 10 years. The list of noted jazz players, studio musicians is impressive and the consistency of the group from 1941 to Kenton's passing in 1979 is impressive. Stan Kenton's leadership and music vision was clear to marshall the forces of such a diverse set of players and arrangers over this long period of time; Kenton stands alone in the respect.

Personal life

Kenton was born on December 15, 1911. His birth certificate states this as per further investigation by British biographer Michael Sparke.^[13] Kenton had been conceived out of wedlock, his parents told him he was born on February 19, 1912, to obscure this fact. Kenton wrongly believed well into adulthood the February date was his birthday; he even recorded the Birthday In Britain concert/album on February 19, 1973.^[24] This date remained a closely held secret, his grave marker reflects the February 1912 birthdate.^[13]

Stan Kenton had three marriages; three children were produced from the first two marriages. His first marriage was to Violet Peters in 1935, this marriage produced a daughter in 1941, Leslie, who later became an author of several books about health, spirituality and beauty.^[25][26] His second marriage was to San Diego born singer Ann Richards, the relationship produced two children; Dana (daughter) and Lance (son). The marriage to Richards was a very difficult time personally, even with his musical successes of the early 1960's. During 1961, Kenton was suffered a huge personal embarrassment. Richards had done a nude layout for Hugh Hefner's Playboy which came out in the June 1961 edition.^[27] She had also signed a contract to record with Atco, a company other than Capitol Records that her husband was unaware of.^[28] Kenton himself only found out about the Playboy layout out on the road while playing at the Aragon Ballroom in Chicago when handed the magazine by Charles Suter who was the editor for Down Beat magazine at the time.^[29] Richards was 23 years his junior and was not typically on the road with the band though she had recorded Two Much! just a couple of years earlier with Kenton. Divorce papers were filed in August 1961. His third marriage was to his public relations secretary and last business manager Audree Coke Kenton; he has three grandchildren.^[8]

Kenton had two suffered accidental falls; one in the early 1970s and then again in fall in 1977 while on tour in Reading, PA. The second fall was very serious as he fractured his skull. The last two years of his life became far more physically challenging for Kenton from the effects of the two accidents. On August 17, 1979 he was admitted to Midway Hospital near his home in Los Angeles after a stroke; eight days later on August 25th he passed. Kenton was interred in the Westwood Village Memorial Park Cemetery, Los Angeles.^[8] Kenton's consumption of alcohol grew over many years and heavily contributed to the physical difficulties he encountered during the last 10 years of his life.^[30]

After Kenton's death, Leslie Kenton wrote a book entitled Love Affair. This was published in 2010, and written about her upbringing and the close and complicated relationship with her father.^[31] She writes about very personal details about her father that cast him in a very controversial light. Leslie Kenton maintained a close relationship with her father during his lifetime, though she claims also suffering emotionally from their interaction.^{[25][26][32][9][30]}

Gold records and charts (singles and albums)

Gold Records

• 1944 Artistry in Rhythm (Capitol Records) instrumental
• 1945 Tampico (Capitol Records) vocal by June Christy and band
• 1945 Shoo-Fly Pie and Apple Pan Dowdy (Capitol Records) vocal by June Christy and band

Hits as charted singles

(Songs that reached the top of the US or UK charts)

Between 1944 and 1967, Stan Kenton had numerous hits on Billboard's charts.^[33]

Hits as charted albums

(Albums charting history with Billboard Magazine)

Awards and honors

Wins and honors from major publications

Grammy Awards^[34]

Grammy Hall of Fame

International Music Awards

Other Awards and Honors

• 1978 - Honorary Doctorate of Music: University of Redlands
• 1974 - Honorary Doctorate of Humane Letters: Drury College
• 1968 - Honorary Doctorate of Music: Villanova University
• 1967 - Intercollegiate Music Festival Hall of Fame Award
• Named to the International Association for Jazz Education Hall of Fame (1980)
• Honored on the Hollywood Walk of Fame (Recording - 6340 Hollywood Blvd.)
• "City of Glass" is honored in The Wire's "100 Records That Set The World on Fire" (While No One Was Listening)."

Posthumously Honored

• 2011 - "Stan Kenton: Artistry In Rhythm- Portrait Of A Jazz Legend" (DVD)

EMPixx Awards - Platinum Award in the Documentary Category/Platinum Award in the Use of Music Category.

Untied States Library of Congress National Recording Registry

• Artistry in Rhythm (single) - Stan Kenton - Released:1943 - Inducted: 2011 - Category: Jazz

Noted band personnel

Discography and on film and television

Studio albums

Live albums

Compilations

On film or television

Compositions

Stan Kenton's compositions included "Artistry in Rhythm,” "Opus in Pastels,” "Artistry Jumps,” "Reed Rapture,” "Eager Beaver,” “Fantasy," "Southern Scandal,” "Harlem Folk Dance", "Painted Rhythm,” "Concerto to End All Concertos,” “Easy Go,” “Concerto for Doghouse,” “Shelly Manne,” “Balboa Bash,” “Flamenco,” and "Sunset Tower.”

Although several compositions are co-credited to Stan Kenton and Pete Rugolo, Rugolo was the primary composer, with Kenton often times merely offering verbal suggestions. Some of these titles include “Minor Riff,” “Collaboration,” "Artistry in Boogie", "Theme to the West,” and “Elegy for Alto.”

Notes

References

• Easton, Carol (1981). Straight Ahead: The Story of Stan Kenton. Da Capo. ISBN 978-0-306-80152-5. 
• Lee, William F. (1994). Stan Kenton: Artistry in Rhythm. Los Angeles: Creative Press. ISBN 978-0-89745-993-8. 
• Sparke, Michael (2011). Stan Kenton: This Is an Orchestra!. North Texas Lives of Musicians Series. University of North Texas Press. ISBN 978-1-57441-325-0. 
• Colt, Freddy (2013). Stan Kenton, il Vate del Progressive Jazz. Mellophonium Broadsides, San Remo (Italy). 

External links

Wikimedia Commons has media related to Stan Kenton.

• Bell High School Alumni Page for Stan Kenton
• Article on Stan Kenton's Mellophonium Band
• An Interview with Jo Lea Starling, wife of Ray Starling
• An Interview with Tony Scodwell, Stan Kenton Mellophoniumist
• The Stan Kenton Collection at the University of North Texas
• Stan Kenton's music published by Sierra Music Publications
• Terry Vosbein's All Things Kenton site - discography, radio shows, rare images and audio.
• Creative World Records (A division of GNP Crescendo Records)
• Library of Congress essay