Stan Kenton: This Is an Orchestra! (North Texas Lives of Musician Series) [Hardcover]

Mr. Michael Sparke (Author)

Book Description

Publication Date: April 20, 2010 | Series: North Texas Lives of Musician Series (Book 5)

Stan Kenton (1911–1979) formed his first full orchestra in 1940 and soon drew record-breaking crowds to hear and dance to his exciting sound. He continued to tour and record unrelentingly for the next four decades. Stan Kenton: This Is an Orchestra! sums up the mesmerizing bandleader at the height of his powers, arms waving energetically, his face a study of concentration as he cajoled, coaxed, strained, and obtained the last ounce of energy from every musician under his control.

Michael Sparke’s narrative captures that enthusiasm in words: a lucid account of the evolution of the Kenton Sound, and the first book to offer a critical evaluation of the role that Stan played in its creation. Insightful and thought-provoking throughout, and supported by liberal quotes from the musicians who made the magic, even at his most contentious the author’s high regard and admiration for his subject shines through. The most knowledgeable of Stan’s fans will learn new facts from this far-reaching biography of a man and his music. Stan Kenton will be essential reading for every Kenton devotee and jazz historian.

Editorial Reviews

Review

“Michael Sparke’s book, the first general history of the Kenton Orchestra, is the best evaluation yet of Kenton’s 40-year musical development.”

(The Wall Street Journal )

"This detailed and fascinating look at Kenton''s long career is the best book on this musician and impresario since Carol Easton''s Straight Ahead: The Story of Stan Kenton (1973). Recommended for all readers with an interest in Americana, jazz, or music generally."

(Library Journal )

"Packed with fascinating anecdotes and exhaustive research this book will be welcomed not only by Stan Kenton devotees but by all aficionados of the big band era."

(Jazz Journal )

"Michael Sparke has written a detailed, fascinating chronicle of the Stan Kenton Orchestra that enjoyed a performing and recording career covering four decades (''40s-70s). . . . Sparke''s devotion to his subject is evident in his attention to detail and in presenting Kenton both as a person and as a professional."

(All About Jazz-New York )

About the Author

Michael Sparke was born in Greater London, England, and continues to live there after retiring from teaching. He was first switched on to good music after hearing Woody Herman’s First Herd in 1945, and with Stan Kenton soon afterwards via Capitol shellac 78s from America sent by a pen-pal. Collaboration with the Dutch discographer Pete Venudor resulted in the discographies Kenton on Capitol and The Studio Sessions. Sparke has written liner notes for Kenton CDs on several labels, but this is his first full historical narrative about his favorite subject.

Product Details

• Hardcover: 384 pages
• Publisher: University of North Texas Press; 1 edition (April 20, 2010)
• Language: English
• ISBN-10: 1574412841
• ISBN-13: 978-1574412840
• Product Dimensions: 9.2 x 6.1 x 1.2 inches
• Shipping Weight: 1.5 pounds (View shipping rates and policies)
• Average Customer Review: 4.0 out of 5 stars  See all reviews (10 customer reviews)
• Amazon Best Sellers Rank: #876,499 in Books (See Top 100 in Books)

More About the Author

Michael Sparke is a retired teacher living in London, England and was introduced to good music by Woody Herman's First Herd in 1945. Stan Kenton quickly followed on Capitol 78 rpm imported from America. Michael was thus involved with Stan's music almost from the beginning, allowing an insight into all stages of the leader's long and eventful career.

Several Kenton discographies (compiled in collaboration with Pete Venudor and Jack Hartley) culminated in 1998 with "Stan Kenton - The Studio Sessions", published by Balboa Books, and sometimes referred to by collectors as "The Bible".

Stan himself helped with the discography, both from his own recollections, and by setting up introductions at Capitol and other sources of information. Michael first met Kenton in 1963, a relationship that developed during the Orchestra's many visits to Britain in the Seventies, when Stan volunteered several interviews that provided first-hand material from the maestro himself, as well as valuable insights on less "formal" occasions, often detailed in Michael's new book, "This Is an Orchestra!", a title adopted from Stan's iconic 1952 recording "Prologue".

Though many fans will already be familiar with Michael's writing from his many CD liner notes, "Stan Kenton - This Is an Orchestra!" is his first full-length narrative, and as the title implies, is a critical evaluation of the music and musicians, not unsubstantiated incidents in Kenton's private life. Thought-provoking throughout, and at times contentious, "Stan Kenton - This Is an Orchestra!" reflects Michael's deep admiration and regard for both the man and his music, expressed both by the author and in carefully selected quotes by the musicians who made the music. The book is backed up by a companion 2-CD set with the same title on the prestigious Tantara label.

"Stan Kenton - This Is an Orchestra!" has already received critical acclaim from musicians, including Mike Vax, Bob Curnow and Joel Kaye.

Customer Reviews

Most Helpful Customer Reviews

6 of 7 people found the following review helpful:

2.0 out of 5 stars ONLY FOR THOSE WHO WANT "ILLUMINATING" KENTON ANECDOTES", December 20, 2010

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W. BUTLER "lost in las vegas" (NEVADA USA) - See all my reviews
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This review is from: Stan Kenton: This Is an Orchestra! (North Texas Lives of Musician Series) (Hardcover)

I can't help wondering if any of the 5-star reviewers really like Stan Kenton's music? If they do what then is to be gained by reading endless mean-spirited "Kenton gossip" when surely the main purpose of any biography about a musician is to increase one's pleasure in listening to their music? In this instance extremely easy because thankfully Stan Kenton's entire output is safely preserved to be discovered (and demanded) by an entirely new generation who are beginning to realize he was a monumental American original (still ostracized by the jazz establishment. I.e. only 3 unflattering pages in Ken "Burns's Jazz TV/book).

Clearly Mr. Sparke is catering for another kind of "fan" who want Stan Kenton's musical career spiced up with quotes from contemporaneous lesser lights - who more often than not contribute something derogatory to fill Mr. Sparke's filing cabinet. Thus one learns Stan wasn't such a great composer, eventually lost his touch as an arranger and had a very limited piano style. With so many of his ex-comrades chiming-in with their irrelevant "opinions" I suggest if you want to continue to enjoy Stan Kenton's music without any literary interference this book is definitely not for you.

As the prescient 3-star reviewer points out the other big problem is that although Mr. Sparke appears to have "cornered the Kenton market" a huge question mark hangs over his musical tastes. What he thinks is good or bad about Kenton's music and albums seems to be constantly out of sinc with the views of the Kenton faithful. A typical example being Amazon reviewers' reverence for the wonderful mellophonium album "Adventures in Jazz" and Mr. Sparke, who concludes it is "Not an album I can return to with unreserved enthusiasm" (truly pompous?). For him it's "a mixed bag" with "Waltz of the Prophets running far too long for its limited inspiration". Inevitably he adds a quote from another nonentity who says "It was kind of trite repetitive stuff". Stan's next great album "Adventures in Blues" only gets a half-page - with no accolades about its thermatic unity and the unique sonorities provided by 4 bass instruments. But of course we get another nasty quote about Roland writing a few good arrangements but "a lot of duds". Why does he think we need to read this stuff?

Later on Mr. Sparke says the only recording truly showcasing the mellophonium period "as it really sounded" is to be found on "Concert in England". Yet on Amazon this CD has only one tepid 3-star review saying "the sound is poor and the brass sound as if they were playing in the next room". Were they listening to the same CD?

One of the main reasons for me to buy a new Kenton book is to discover which non-Capitol recordings the author recommends. Especially of concerts where Stan's more spontaneous performances are to be found but which often come up short because they're poorly recorded. Again Mr. Sparke lets us down by failing to identify those with BOTH valuable content AND good sound. But when he does pass judgment again his tastes seem to be diametrically opposite to those expressed by Kenton fans on both sides of the Atlantic. Just compare the ecstatic Amazon reviews for his 1972 English concert "Stan Kenton Today" and then read Mr. Spark - who considers the entire enterprise something of a disaster. In his opinion "The end results were listenable but far from spectacular". When in actuality this is a crystal clear recording with the English audiences' rapt appreciation for his slow classics and wild enthusiastic applause after (and during) the fast numbers explaining exactly how and why Stan Kenton's appeal transcended all the limitations of "authentic jazz". (In this same hall I never heard anything but respectful ripples of applause for Duke Ellington's big-name band - who usually looked even more bored than the audience while "going through their paces" playing the same basic program - for about 10 years)

Regarding the legacy of the 2 great men Duke's tunes may live on but his arrangements can't because they were entirely dependant on the talents of unique band members. But for proof Stan Kenton's unique sound palette is still alive and well try visiting YouTube and clicking on "Malaguena" played by the Michigan Marching Band. No amplifiers or synthesizers, just incredible waves of pulsating sound produced by real instruments played with maximum force by over 400 instrumentalists. The same pulse-raising martial music one suspects was once used to inspire Roman Legions before they proceded to demolish opposing naked hordes. I venture to say these magic modern BRASS SOUNDS are the true legacy of one charismatic obstinate Californian - who followed his own star to the very end.

6 of 7 people found the following review helpful:

3.0 out of 5 stars Good but biased, October 4, 2010

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K. R. Ward - See all my reviews
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This review is from: Stan Kenton: This Is an Orchestra! (North Texas Lives of Musician Series) (Hardcover)

First let me say that I am thrilled that a new book has been written on Stan! Really

While there are some often poetical poetic passages contained within I cant help but cringe at the unfaltering bias the author has towards the end of Stans career. As a 42 year old who first heard Kenton live with my father at the at of 6, I can say that the 70's bands were Thrilling and Fantastic! The comments in regards to comparing solos from the early years to the 70's is completely wrong. Ill give you one example of Hey Jude - I heard the Kenton version before I even knew who the Beatles were and I still prefer Kentons. The solos in this piece are breakthrough and highly engaging. Also the authors criticism of Levy's chart smake me wonder if his sentimentalty overrides his enthusiam for music. Kenton was a god. Period. Not only was he the warmest individual I ever met but the most inspiring! So for Kentons fans do read this latest bio but overlook the authors attempt to be a music critic and listen to Kentons library yourself to make your own judegment.

p.s. The entire Lush Interlude album still brings tears to my eyes!

2 of 2 people found the following review helpful:

4.0 out of 5 stars The band's four-decade history, warts and all, April 3, 2011

By 

James A. Vedda (Alexandria, VA USA) - See all my reviews
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This review is from: Stan Kenton: This Is an Orchestra! (North Texas Lives of Musician Series) (Hardcover)

For long-time Kenton followers, this is an excellent read that will bring back great memories and illuminate the ups and downs of the band's history. Sparke is not shy about expressing his opinions on the musical and business decisions made over the years, and not all readers will agree with his assessments. But it's clear that this book is a labor of love by a lifelong fan, who fortunately doesn't try to sugar-coat this tribute to his jazz idol.

This is not a traditional biography. The book's treatment of Kenton the man is mostly found at the beginning and end, while the bulk of the text is about Kenton in the context of the organization he led (which was, admittedly, the overwhelmingly dominant aspect of his life). Still, there's plenty to be learned about his devotion to his music, his generosity as a leader, and the sad decline of his health in the 1970s.

Sparke has compiled research spanning decades, including interviews and correspondence with many of the key players, including Kenton. The result is a thorough treatment that will warm the hearts of those of us who have been steeped in Kenton lore for most of our lives. However, readers may quickly get bogged down if they are only marginally familiar with the man and his music. This book is aimed at Kenton aficionados, not at winning over new fans. The cast of characters is large, encompassing musicians, singers, arrangers, managers, and others over the band's four-decade history. Specific recordings and arrangements are discussed at length. The author makes some assumptions about the reader's familiarity with all of this, and doesn't always adequately explain the identity or importance of certain people, events, or pieces of music.

Overall, I found this to be a satisfying portrayal of one of the most memorable leaders in jazz. As Sparke and others have noted, the orchestra was Kenton's instrument. On a good day, there was no one who played it better. This book chronicles how hard he worked, and what he sacrificed, to make that happen.