Stan Kenton Music

Stan Kenton conducted his band for several decades during the twentieth century; and they often drew upon classical and Latin influences when they performed. This CD gives us excellent examples of Kenton and his band mates using Latin musical influences of the early 1960s to make some mighty beautiful music.

The CD starts with a number called "Mexican Jumping Bean;" and when the liner notes comment that this number "moves at a fast lick" they sure weren't kidding! The ultra fast tempo mimics the action of a jumping bean to get the track set off to a very strong start.

"Siesta" starts off with some great bass; and when the entire band gets playing in a minor key the number really shines! The slower tempo suggests that this would be very romantic music for dancing, too. The arrangement uses the horns and percussion very well. In addition, "Cha Cha Sombrero" really sounds like that awesome cha cha music everyone loved in the early 1960s. The horns are great and the beat is perfect for dancing, also.

"Chocolate Caliente" features some great vocals; the men sing of how they want nothing more in life than the pleasure of hot chocolate. The melody moves along at an even beat and the men harmonize well. This somewhat silly, playful ode to hot chocolate is sure to please you!

Other gems on this CD taken from the record album of the same name include "Opus In Chartreuse Cha-Cha-Cha" which boasts a magical yet classic cha cha music type of continental flair; and "Mission Trail" has another beat that will grab your attention. "Mission Trail" is music that practically begs you to dance to it; it's THAT good. Great percussion and horns on "Mission Trail," too!

The CD also provides us with six bonus tracks taken from another record album which was entitled Artistry In Bossa Nova. "Artistry In Bossa Nova (aka Artistry In Bolero)" plays with key changes to enhance the beauty of the number all the while keeping a solid, steady beat. This is another number that you just might enjoy while you dance with your partner. "Opus In Pastels" works well; Stan Kenton himself solos on the piano very well. I think "Opus In Pastels" comes off sounding better than it would have if the trumpets had been allowed into the musical arrangement.

The CD closes with the playful number entitled "Loco-Nova." The tempo changes for this number depending on which instrument each band member played; but the overall result is a golden nugget shining brightly! "Loco-Nova" makes for an excellent finish to this superb CD.

The liner notes feature the song credits; and Michael Sparke writes an informative essay about the making of the record albums, Stan Kenton and his band, too. The cover art shows good judgment.

Stan Kenton remains a force for younger musicians to emulate and study as they go on their way to becoming their own artists. Stan's music and his arrangements always worked well and they entertained millions of people in their day. I recommend this CD for fans of band music; and people who enjoy a more traditional American band sound influenced by a Latin beat will love this CD also.

¡Viva Kenton!

Most of the selections fall into the subtlety category--most danceable and refreshingly Latin. The soloists are most apt and the arrangements seem to spotlight their best efforts. The Latin tempos are secure and the percussion keeps them pleasant. I particularly like the novelty gang-sing on Chocolate Caliente; the reminisces of Opus in Chartreuse, Adios, Opus in Pastels, Artistry (both versions), and Concerto. The trombone of Don Sebesky is a surprise on Chartreuse--altho' quite pleasant. I could say something complimentary about all of the cuts, but then I'm a most biased Kenton fan. If anyone likes the Stan sound, plus subtle tempos and solos from (to me) new artists, they will love this journey south..

Stan Kenton conducted his band for several decades during the twentieth century; and they often drew upon classical and Latin influences when they performed. This CD gives us excellent examples of Kenton and his band mates using Latin musical influences of the early 1960s to make some mighty beautiful music.

The CD starts with a number called "Mexican Jumping Bean;" and when the liner notes comment that this number "moves at a fast lick" they sure weren't kidding! The ultra fast tempo mimics the action of a jumping bean to get the track set off to a very strong start.

"Siesta" starts off with some great bass; and when the entire band gets playing in a minor key the number really shines! The slower tempo suggests that this would be very romantic music for dancing, too. The arrangement uses the horns and percussion very well. In addition, "Cha Cha Sombrero" really sounds like that awesome cha cha music everyone loved in the early 1960s. The horns are great and the beat is perfect for dancing, also.

"Chocolate Caliente" features some great vocals; the men sing of how they want nothing more in life than the pleasure of hot chocolate. The melody moves along at an even beat and the men harmonize well. This somewhat silly, playful ode to hot chocolate is sure to please you!

Other gems on this CD taken from the record album of the same name include "Opus In Chartreuse Cha-Cha-Cha" which boasts a magical yet classic cha cha music type of continental flair; and "Mission Trail" has another beat that will grab your attention. "Mission Trail" is music that practically begs you to dance to it; it's THAT good. Great percussion and horns on "Mission Trail," too!

The CD also provides us with six bonus tracks taken from another record album which was entitled Artistry In Bossa Nova. "Artistry In Bossa Nova (aka Artistry In Bolero)" plays with key changes to enhance the beauty of the number all the while keeping a solid, steady beat. This is another number that you just might enjoy while you dance with your partner. "Opus In Pastels" works well; Stan Kenton himself solos on the piano very well. I think "Opus In Pastels" comes off sounding better than it would have if the trumpets had been allowed into the musical arrangement.

The CD closes with the playful number entitled "Loco-Nova." The tempo changes for this number depending on which instrument each band member played; but the overall result is a golden nugget shining brightly! "Loco-Nova" makes for an excellent finish to this superb CD.

The liner notes feature the song credits; and Michael Sparke writes an informative essay about the making of the record albums, Stan Kenton and his band, too. The cover art shows good judgment.

Stan Kenton remains a force for younger musicians to emulate and study as they go on their way to becoming their own artists. Stan's music and his arrangements always worked well and they entertained millions of people in their day. I recommend this CD for fans of band music; and people who enjoy a more traditional American band sound influenced by a Latin beat will love this CD also.

¡Viva Kenton!

Most of the selections fall into the subtlety category--most danceable and refreshingly Latin. The soloists are most apt and the arrangements seem to spotlight their best efforts. The Latin tempos are secure and the percussion keeps them pleasant. I particularly like the novelty gang-sing on Chocolate Caliente; the reminisces of Opus in Chartreuse, Adios, Opus in Pastels, Artistry (both versions), and Concerto. The trombone of Don Sebesky is a surprise on Chartreuse--altho' quite pleasant. I could say something complimentary about all of the cuts, but then I'm a most biased Kenton fan. If anyone likes the Stan sound, plus subtle tempos and solos from (to me) new artists, they will love this journey south..

This album gives us a great collection of jazz numbers by some of the very best female jazz artists of the twentieth century--and more! We get some very special, hard to find songs on CD; and just one listen proves it!
The track set starts with "Bluer Than Blue" by Lil Armstrong. The horns sound great at the beginning; and when Lil comes in this number takes flight! Lil's voice, clear as a bell, bolsters her performance. Lil laments that her man left her; and the melody works wonders for "Bluer Than Blue," too. Connie Boswell does a sublime rendition of "Mama Don't Allow It." Connie delivers this ballad without a superfluous note; and those musicians really jam! Connie never sounded better either. In addition, the immortal Bessie Smith gives us her all on "Down Hearted Blues." Bessie sings of unrequited love; and she never misses a note! You can tell Bessie's number was cleaned up somewhat and then just copied from a 78 rpm record; but this number is sure to please you anyway.

Ella Fitzgerald swings brightly on "Flying Home;" this number has a great piano arrangement and Ella scats flawlessly! Ella's vocal gymnastics make her performance of "Flying Home" a very special treat. I predict that you will enjoy "Flying Home" very much. Listen also for Adelaide Hall to perform a heavenly rendition of "That Old Feeling." Adelaide infuses this number with so much heart and soul that it truly sounds like one of the best torch songs you've ever heard. The organ enhances the natural beauty of "That Old Feeling," too.

"I'm Gonna Lock My Heart (And Throw Away The Key)" features Billie Holiday giving her all for this awesome number! Billie's voice sounds great and the melody sports a jazzy quality that enchants me. The musicians have some fun jamming, too! Listen for that great horn solo on "I'm Gonna Lock My Heart (And Throw Away The Key)." "Why Don't You Do Right" showcases a young Peggy Lee who was still working with Benny Goodman when this was recorded. Peggy sounds great and the musical arrangement lacks nothing--it's THAT good. What a great number!

Lee Wiley performs an excellent rendition of "Let's Fly Away" with some great orchestration; and the CD ends fittingly with "A Slick Chick (On The Mellow Side)" by the great Dinah Washington. The horns wail so well; and when Dinah comes in she gives this ballad the royal treatment with her excellent diction, heart and soul. Excellent job, Dinah!

The liner notes give us the song credits and a well written essay about these numbers. The artwork reflects good judgment.

A Woman's Place Is In The Groove is truly a must-have for any jazz fan; and fans of classic jazz vocals will want this in their collections as well.

Enjoy!

Woman's Place is in The Groove - Women in Jazz 1923-1947
Acrobat (label) U.K. #ACRCD 163

Tracks/Artists are:
1. Bluer than Blue - Lil Armstrong
2. Oops! My Lady - Beryl Booker
3. Mama Don't Allow It - Connie Boswell
4. Bully Wully Boogie - Hadda Brooks
5. Down Hearted Blues - Bessie Smith
6. Shoo-Fly Pie & Apple Pan Dowdy - June Christy with Stan Kenton and His Orchestra
7. Piano Boogie - Dorothy Donegan
8. Flying HOme - Ella Fitzgerald
9. A Woman's Place Is In The Groove - Vivien Garry Quintet
10. That Old Feeling - Adelaide Hall
11. I'm Gonna Lock My Heart (And Throw Away the Key) - Billie Holiday & Her Orchestra
12. Vi Vigor - The International Sweethearts of Rhythm
13. Snatch And Grab It - Julia Lee
14. Why Don't You Do Right? - Peggy Lee with Benny Goodman and His Orchestra
15. I Can't Dance I Got Ants In My Pants - Valaida Snow
16. Share Croppin' Blues - Kay Starr With Charlie Barnet and His Orchestra
17. Interlude (A Night in Tunisia) - Sarah Vaughan
18. Let's Fly Away - Lee Wiley
19. Harmony Grits - Mary Lou Williams' Girl Stars
20. Louisiana Lisa - Blanche Calloway and Her Band
21. A Slick Chick On The Mellow Side - Dinah Washington