Customer Reviews

Adventures in Blues

5 star:		(7)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

There's nothing quite like that full orchestral big band sound that the Kenton band could project with the addition of mellophoniums to the brass section. That is what epitomizes this CD.

But all that power is not forced upon the listener. All the selections, with the exception of one, were arranged by Gene Roland and are slowly developed to often dramatic ensemble explosions of exquisite taste and execution by the veteran personnel.

The CD has two bonus tracks, "Ten Bars Ago" and "Lady Luck." They are not merely add-ons, but excellent tunes as well. The recorded sound is excellent, but the stereo separation on the original 9 selections is barely noticeable with most of the instrumentation clustered toward the center.

Nevertheless, lovers of that big Kenton sound will be roundly rewarded with this CD.

I have been waiting for someone to remaster this recording for YEARS. This recording exemplifies Kenton's genius for producing a multitude of ensemble sounds and textures. A must-have for any serious listener.

Even though lots of musical events (from great to forgettable) have happened since his death in 1979, Mr. Kenton remains a monument in the world of American music. His highly personal contribution to the development of jazz writing is priceless and so was his engagement in favor of music education. The reissues of his masterworks such as the Adventures In Blues album can only be mostly welcome.

This album presents Kenton's dazzling "New Era" Mellophonium Orchestra in a dynamic, richly textured exploration of the Blues. As he guides the band through the seemingly familiar blues landscape, composer/arranger Gene Roland charts a strikingly different course, creatively utilizing the enormous potential of the Kenton orchestra to examine and reveal intimate levels of emotion and expression therein. Roland's composition "Dragonwyck" is a masterpiece. He establishes a dark, quizzical mood with his savory soprano sax work, travelling through a terrain of shifting instrumental structures that set the stage for dramatic blasts of sheer Kenton pyrotechnics. This is the blues according to Kenton/Roland, and those who enjoy the thrilling music for which they are known will not be disappointed. It is hard to imagine that some lack the ability to comprehend and enjoy this type of music, but it seems that a work like "Adventures in Blues" is as inaccessable to some as the Monolith was to the apes in "2001: a space odyssey" !!!

This album, as you may surmise, is one of original blues compositions by Kenton arranger/writer Gene Roland. The music is really beautiful, and very haunting. As always, the musicality is superb, the usual Kenton standard. Whats even more amazing, is that Roland also solos on several instruments, with wonderful results.

As everybody of a certain age knows most CD's have a slightly cold metallic sound when compared to their vinyl originals. With bass notes often sounding hard rather than warm. So the only comment I want to add to the plaudits of others is this must be one of the best-ever transfers of the full Stan Kenton sound from Capitol's vaults into glorious scratch-free digital sound.

The only proviso being that to enjoy the deep sonorities of these particular arrangements you must have a really large speakers. If you have then you'll get to hear an amazingly distinct mix of mellophoniums, 2 bass trombones, a bass saxophone and of course a string bass. I'm guessing none of this can be appreciated when listening with ear buds.

Certain superficial commentators compare this album's ensemble tracks (and beat) to that of the Basie band. But after comparing Gene Roland's mainly slow arrangements with Neal Hefti's "Lil' Darlin'" on a Rolette CD my verdict is Kenton makes the full Basie band sound remarkably tinny. So if you want deeply satisfying big band ensemble arrangements (devoid of the usual string of irritating solo statements) this has to be one of the greatest easy-listening albums ever made. With big speakers whether it's in mono or stereo is an irrelevant side issue. You'll still have more than enough "lease-ending" heart warming rumble to satisfy the soul.

For years I have had a tape copy of the LP issue of this album. My copy sounded pretty good, but I knew that a good CD reissue could sound even better, so I recently picked up the 1999 Capitol reissue that can be found here. I was shocked when I heard the CD--although the sound was very clean, certainly a carefully done transfer, it was obviously done from a monophonic tape. What happened to the original, 1961 stereo master, which sounded glorious? Perhaps it was damaged or lost--who knows.

That said, if you don't have access to a copy of the stereo LP, this CD is well worth hearing, for the quality of the music, arranging, and playing. Some of the other reviewers go into detail about Gene Roland and his innovative charts for this album, so I will not repeat them here. Recommended, with reservations about the mono sound.

This is absolutely my favorite big band album. I bought the original vinyl LP when it was first released and my friends and I would listen to it several times a week. We would crank up the sound and listen intently to the beautiful big band jazz written by Gene Roland with some arrangements by Stan. We often visited Don Mupo's Gold Nugget, located across the bay from San Francisco. They played only Kenton big band sounds on a superb sound system. Track 5 is entitled "Night at the Gold Nugget", which features mellophoniums at their wailing best. I consider this album the epitome of Big Band Jazz and Stan Kenton was truly the King.

I bought the original LP many years ago and am delighted that it's now available on CD with two additional tunes. Gene Roland did a lot to help shape the Kenton sound. He was responsible in the late 40s for adding the 5th trumpet to the band. His arranging was always straight-ahead and swinging, and these charts are good examples of his talent. "The Blues Story" ought to get you out of your seat when Roland himself tears up the ending on mellophonium. Dee Barton's trombone is great on this one too. Kenton shows on this album that he and his arrangers could work with the blues quite effectively. I would have liked a little more solo work, but this album is mostly about the ensemble, and the ensemble does some righteous shouting.

Despite his critics, Kenton always loudly defended his many orchestral incarnations, some of which have stood the test of time. Others, like the early sixties "mellophonium band" that made this recording, have not. What was the strange power Gene Roland had over Kenton to persuade him to add a section of "mellophoniums" -- ill-tuned mellophones with straightened bells -- to his already ponderous band? And, having done the deed, why did Kenton record these bland, unmemorable Roland arrangements that have almost no connection to the jazz-blues tradition? Imagine the Basie band without soul or soloists. Does this album swing? Sometimes. Are there memorable solos or (for Kenton lovers) walls of sound? No. Even today, critics jaw about whether Kenton's bands swung -- a red herring if they'd listen to the whole Kenton book, but understandible in the light of this episode. Stan always rebutted such critics, not by saying his band swung, but by publicizing his latest "innovation." Okay, Stan. But, innovation-wise, you must have slept through this record date.