Contemporary Concepts

The lean, dynamic piano player with the forward-looking musical turn of mind headed his group into a recording studio in Chicago, and in a handful of sessions created an album of music as contemporary as anything the Danish craftsmen have wrought. It was the summer of 1955, and Kenton's band was in fine fettle, performing at the Blue Note to record-breaking crowds.

His men are topflight jazz musicians, one and all, whose playing reflects the understanding and the relaxed interpretation of a seasoned road band. The neatly organized ensemble sounds in each selection reflect the experience cuiled from scores of one. nighters and locations from Bridgeport, Connecticut to Omaha, Nebraska.

With one exception this is a collection of contemporary variations on standard tunes. It is diverse music, wealthy with soloists and group performances, and with that particular brash, brooding quality for which Kenton fans have been clamoring since the first progressive sound emanated from Balboa's Rendezvous Ballroom.

Generally the melodic line has been abandoned in favor of isolated themes within the melody. These have been developed and embellished with rhythmic figures and
contrapuntal solo and ensemble lines.

All the arrangements are by Bill Holman, except Limelight, a Gerry Mulligan composition. Designed according to Kenton's wishes the tunes are considerably longer than most recorded versions, sometimes dedicating an entire selection to one solo, sometimes showcasing several soloists or the ensemble work of the orchestra.

The album swings open with What's New?, displaying some spirited ensemble work by the whole band, and featuring the tenor saxophone of Bill Perkins, the trumpet of Sam Noto, the alto saxophone of Lennie Niehaus, and the trombone of Kent Larsen. The dusky beginning of Stella by Starlight offers a radical change of pace. The melodic line is closely followed, with Charlie Mariano's alto saxophone lovingly brooding over it. Then the whole group takes hold, and Stella, Starlight, and melody are turned into fine, high-flying jazz.

I've Got You Under My Skin features six Kenton soloists. Opening with the baritone saxophone of Don Davidson, it features Stu Williamson's trumpet, the tenor saxophone of Dave Van Kriedt, then Charlie Mariano and Sam Noto, and some fiery drumming by Mel Lewis.

Cherokee is a cheery vehicle for Lennie Niehaus and his alto saxophone. The abstract melodic line and the light, swinging beat combine to create happy jazz. Stompin' at the Savoy has been a standby in jazz books of every school, and here it's refurbished by some latter-day arranging that makes it an even more exciting piece than it was before. Close ensemble work punctuates the work of the soloists—Max Bennett's bass, the guitar of Ralph Blaze, and Stu Williamson, Bill Perkins and Mel Lewis.

In the plaintive Yesterdays, Bill Perkins' tenor saxophone lingers wistfully over the melody, then the whole orchestra takes it up and everybody reminisces about some sad and lovely time long, long gone by. The Mulligan Limelight accents ensemble work by the orchestra, with a sailing trombone solo played by Carl Fontana, and drumming by Mel Lewis.