Stan Kenton and Orchestra in Hi-Fi

New Zealand Listener, Volume 35, Issue 902, 16 November 1956, Page 11

Stan Kenton and Orchestra in Hi-Fi

Selections recorded in Hollywood during February, 1956. First Playing: Station 2YD, November 29, 9.0 p.m. Featured musicians include Kenton (piano), Vido Musso (tenor), Pete Candoli (trumpet), Milt Bernhart (trombone) and Don Bagley (bass). HE year 1942 found pianist Stan Kenton leading an unsuccessful band in the East patterned along the lines of that of Jimmie Lunceford. Realising the style was antiquated, Kenton began to change his music towards looser, more modern jazz so arranged to demonstrate the instrumental capacity of the band. He began: to build up his

library with such hardpunching, riff-laden compositions as "Eager Beaver" and "Painted Rhythm," and by 1945 "Artistry in Rhythm" was the accredited by-line of the outfit. The orchestral sound had become distinctive and different and the questing nature of arrangers and soloists alike was revealed in almost any of the fe-

cordings from the mid-forties period when some of the biggest Kenton hits came into being. Arrangements such as those of the Artistry series, which displayed the highpowered brass team, came as musical bombshells when first presented, and this programme highspots the work of the band during that period. As with the Harry James programme reviewed two weeks ago, these Kenton encores are recorded with an impact that only a live performance could have provided a few years ago. Apart from "Eager Beaver," which was first recorded in 1943, all the selections were first recorded during 1945, 1946, and 1947, and for those listeners who were thrilled by this music, this programme is a must, These years saw the birth of "progressive jazz" with Kenton as its parent, and for that reason the programme is of historical interest also. Earl Hines Plays Fats Waller Selections recorded in San Francisco during December, 1955, and January, 1956. First Playing: Station 2YD, November 29, 9.45 p.m. Personnel: Hines (piano), Duran (guitar), Reilly (bass) and Watkins (drums).

HE influence of Fats Waller as a pianist and as a composer endeared him to ell jazz enthusiasts, and in the album from which this programme is chosen, Earl Hines plays twelve compositions made popular by Waller. This is a piano and rhythm group with the Hines piano as the mainstay, Reilly and Watkins providing rhythm only and Duran used chiefly as an accompanist. Hines strides along in these tracks: and every now and then the listener hears the occasional Waller mannerism which Hines has assimililated (e.g., scale passages in octaves and

thirds). He is not quite at top form in this particular album, however. For instance, I have heard him play "Honeysuckle Rose" many times before, and on this occasion he does not draw out that caressing fullness from the piano or swing along as easily as he has done on some of his previous sets. Even with this reservation, it is still fine piano

from. one of the pioneers of keyboard jazz. Billy Maxted and his Manhattan Jazz Band First Playing: Station 2YA, November 26, 10.0 p.m. Personnel: Maxted (piano, arranger), Pace (clarinet), Forsyth (trumpet), Gifford (trombone), Traeger (bass) and Igoe (drums). VETERAN performer and boogie . woogie pianist, Maxted entered the jazz field in 1937 with Red Nichols. Since 1949 he has played practically continuously at Nick’s, the Greenwich Village mecca for Dixieland fans, with many of the Dixieland greats, This album is straightforward, happy Dixie with a good beat, but when such a group chooses standards like "At the Jazz Band Ball" it invites comparison with the older hands in the business and recordings in existence. This is not often in Maxted’s favour. I was amused at Forsyth’s quote from "That’s a Plenty" as he opened his solo on "I Found a New Baby," which also is a type of "Sing, Sing, Sing" duet between Pace and Igoe. My pick from the album is "Black and Blue," which showed up most favourably each musician in thoughtful work and style. Shelly Manne and his Friends PROGRAMME will be selected from "Tangerine." "I Cover the Waterfront," "Squaty Roo," "Collard Greens," "Stars Fell on Alabama," "The Girl: Friend." Recorded February 11, 1956. First Playing: Station 2YD, November 22, 9.35 p.m. Personnel: Manne (drums), Previn (piano) and Vinnegar (bass). ERE is a refreshing trio featuring a new and much better Andre } Previn. Although there is still that tendency towards short lines of thought, I enjoyed the album, especially "Tangerine," "Alabama" and "Waterfront,"

which are of fairly short duration and maintain interest throughout. Listen especially for the intriguing! interplay between drums and piano on "Tangerine," where the percussive nature of Previn’s playing is so appar-, ent, and also for the unusual harmonies) and alteration of the melodic line in "Waterfront" which enhances the composition. Different from the Hines combo in. that each instrument plays an important integral in the. group, their music is, worthy of careful listening. Shelly Manne’s standard of musical output is remarkably high, and this Trio set is no exception.

Ray

Harris