Customer Reviews

New Concepts of Artistry in Rhythm

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A controversial, marginal jazz figure to some (Kenton barely rated a mention in Ken Burns' 20-hour jazz series on PBS) and a giant who attracts cult-like devotion from many others, Kenton's career from 1941 to 1979 provides plenty of musical evidence for all hypotheses about his originality and influence, not to mention the perennial question of whether he "swings." Of all his recordings, "New Concepts" is the most non-controversial and perhaps the most musical. The emphasis is on fresh, swinging mainstream jazz influenced by the innovations of Bird, Miles, and the beboppers. I can think of no other recording by Kenton, and perhaps by any other musician, that features so many great arrangers and players--from Bill Russo and Bill Holman to Maynard, Rosolino, and Lee Konitz. In fact, in the company of these cutting-edge arrangements and inventive solos, the inclusion of a "pretentious" Kenton production number--"This Is an Orchestra," narrated with great dramatic flare by Stan himself--is a welcome bonus.

The band of 1956 ("Kenton in Hi-Fi" and "Cuban Fire") proved to be Stan's most popular ensemble, but musicians and serious listeners will want to pick up the 1952 "New Concepts" album first. With this one in the collection, you might be forgiven for indulging yourself in Kenton's 44-piece Innovations Orchestra as well as the garish but bracing Wagnerian textures and brassy brilliance of the Neophonic and Mellophonium ensembles that would come later. I won't tell anyone (especially since at the moment I'm luxuriating in the sheer sonic sensuousness of the trombone choir on Stan's "Here's That Rainy Day").

Just found Kenton's New Concepts in Artistry in Rhythm after a long search. It's like renewing a friendship with an old friend. In my opinion the Prologue is a classic and the entire album is wonderful. I guess I just don't agree with those who said Kenton didn't swing. Maybe I'm one of the "cult" members (never been a cult member before!) or just maybe Stan, even many years after his death, is still so far ahead of his time (as I believe he always was) that there are many who "just don't get it."

After emerging from his psuedo-symphonic fling, Kenton assembled a hardbodied, swinging (detractors take note) band of phenomenal soloists who were equal to the sometimes overtaxing arrangements. There are some astounding performances here, and those who like to say Kenton's band didn't swing should take another listen to this session. From a jazz perspective, this is probably Kenton's best and most lasting album

This CD is an intimate portrait of one of the best bands ever. It's a "MUST" for any Stan Kenton fan. I never tire of hearing it.

Invention for Guitar and Trumpet amazes me every time I hear it. If you've never heard this one, Maynard and Sal will blow you away. The entire album is a talent showcase with no "space fillers".

I have been looking for Prologue this is an Orchestra for quite a few years. I was excited to find such a well produced album. I have enjoyed every song on it. This takes me back to when I saw the Kenton Orchestra in 1955-6? in Detroit. This CD is all that I expected and more. Roger Curavo St. Petersburg Fl

While indicative of the Kenton style, it's not as "in your face" as are CUBAN FIRE and ADVENTURES IN TIME. For a treat, track down PORTRAITS IN STRINGS for a wonderful neophonic sound.

Everything comes together here: The Russo compositions and arrangements, the unique Kenton ensemble voicings, and the soloists. It is perfect, timeless music, way up there with anything Elligton ever did. The entire album is totally fresh, original and brilliant, and the solo work is superb. This was the original progressive jazz of the early '50's -No wonder the beatniks and bohemians, Keroac, Ginsberg and all, thought Kenton was cool. It was because of Russo, Lee Konitz, Maynard Furguson,Frank Rosolino, Bill Holman,and others who made these sessions what they were. Apparently Stan didn't even play, but we know he brought it all together. Just as was said of Sinatra, this was Stan's world and these guys were lucky to be in it. They each benefited from the Kenton Band grounding influence without which they would have sounded adrift, but with the rich ensemble underpinnings the soloists always stayed 'at home' with their work, the band providing the structured, saturated environment for them to 'blow'. Every jazz purist has got to love this work.

During the early 1950s, Kenton came up with some unsuccessful ideas about blending a huge band with strings and some really far-out orchestrations that some defined as jazz. If you would rather have Kenton's all-star lineup swinging hard, playing jazz with lots of be-bop influence, then THIS is your CD. In particular, this Japanese miniature LP edition beautifully replicates the original LP (the 1952 10" version expanded to fill out its 12" replacement in 1954). The music has been remastered in 20-bit sound and, if you can find it, this is the edition to grab!

This cd proves that Stan Kentons music will never die out.It was ahead of it's time when it first came out and still sounds fresh. It should be on everbodies starting list for beginners. It illustrates the art of clever arranging clearly and is amust for any collection Mike Clarige UK