Customer Reviews

Viva Kenton

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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!

Take one look at Stan Kenton's discography during the late 50's, and it's clear "Viva Kenton" was cut during one of his low periods when to generate cash for the band (and Capitol Records) he recorded a string of "ballad" albums with a sad or romantically happy girl on the cover. If you're looking for authentic Big Band Jazz steer clear of these Bert Kaempfert confections. But as Stan has always specialized in Latin-American rhythms one had every reason to hope "Viva Kenton" might be an interesting jazz project as 11 of the 12 songs were composed and/or arranged by Gene Roland who did a fantastic job on "Adventures in Blues" made 2 years later in 1961.

And it's true his first 3 tracks auger well. But from then on, as "a concept album" things start to go awry. The Cha Cha Cha may be an official latin dance but has limited jazz potential. Especially when band members perform 2 amateurish sing-alongs. Then 2 quiet arrangements are played back-to-back. Who one wonders decided the most dynamic number - Stan's Latin "Artistry in Rhythm" should be the last track - instead of where it is in any Kenton concert - at the start? Perhaps this was Stan's generous concession to Gene Roland.

Although "Viva Kenton" was re-released by Capitol some of the transfers sound unusually flat. For a direct comparison listen to 4 of these tracks on an Italian "Giants of Jazz" CD of a Jan 30 1960 concert at Barstow California. Despite not being a studio recording, with the saxes closely miked Roland's arrangements have full Kentonian warmth - and in the 4 months since the recording session the band has got them down pat.

Now the really irritating disappointment. Although this CD is only 52 minutes long Michael Sparke (compiler) and Michael Cusana (producer) decided to axe half the tracks from the accompanying album "Artistry in Bossa Nova" (and mess with their order). Whose interests did this serve? Certainly not the Kenton faithful who are now denied hearing one of the master's more integrated albums as he designed it (and his 2 new latin compositions). Coincidently one reads in Mr. Sparke's 2010 Kenton book he considers Stan was "cashing-in on the new dance craze" and thinks the whole project was flawed because "Stan Kenton and Bossa Nova were incompatible"! (poor Stan!) It's worth noting none of these sentiments were mentioned in his 2005 sleeve notes - nor were the missing 6 tracks.

Thankfully the vinyl "Bossa Nova" can still be heard in it's entirety. Unlike the hotchpot "Viva Kenton" it's an infinitely superior "concept album" with an insidious beat backing Stan's piano lead on every track. Mr. Sparke, as is his wont says "grafting" bossa-nova rhythm onto Stan's classics was a bad idea. I found it just the reverse. This is what he and Pete Rugolo did so well - and I for one can never hear enough different interpretations of their most famous compositions. Kenton fans are therefore entitled to ask why were 6 unique Kenton tracks struck off off an OFFICIAL Capitol release? I.e. is there anyone left who can protect Stan Kenton's legacy in the same way Stanley Dance, Mercer Ellington and Sony records did for Duke Ellington after his demise?