A Presentation of Progressive Jazz

“In this album we try to prove that jazz is not just an emotional projection from an individual musician, not something always set to a definite beat, but instead as music of string emotional impact even WITHOUT rhythm, or possibly in a five-four, seven-five, three-quarter or even at times a s rubato movement. This is one of the many ways Progressive Jazz differs from jazz in its primitive forms. The following eight selections are, we believe, good instrumental and vocal examples of jazz in the progressive vein.” — Stan Kenton


LAMENT is a Pete Rugolo composition written especially as a showcase for the talent of Brazil-born Laurlndo Almeida. The use of the guitar In this way is quite new to the annals of modern jazz, inasmuch as a polyphonic style is utilized almost entirely. The side begins with a rich chord by the five trombones, out of which comes a guitar cadenza which accelerates with the band into the main theme. This theme is played completely unaccompanied one time through, and then, as it is repeated, the rhythm section enters one at a time. The brass plays the same figure set by the guitar, with the bongo playing the last three beats in each bar. This eight-bar phrase is repeated, following which the tempo is doubled and the second theme begins. This theme is more in an ad lib vein with the rhythm section and band playing an off beat background. There is a short cadenza which leads into the original theme, this time being played in three-quarter time. There is a short passage of four-four before the side is ended with another fast cadenza and a full band chord.

IMPRESSIONISM is another composition by Pete Rugolo and was written with the idea in mind to “create descriptive impressions by evoking moods.” This is composition of symphonic type, and, unlike so many of the Kenton-Rugolo musical compositions int he past,is entirely a legato movement. It features an extremely long introduction which is built on two themes. The first is the bass theme which has all of the lower octave instruments playing in unison. An unusual thing heard in this is the use of the triangle, heretofore unheard-of in jazz bands. The melodic theme is next, played by a trumpet, alto sax and trombone. This phrase is repeated over and over but each time in a different tempo, going from two-four to six-four. Out of this comes the main theme of composition chichis played by the alto with the accompaniment of the remaining saxophones. Intermittently will be heard legitimate sax work which was write-in the French style, somewhat like that a string section. The trumpets achieve an ethereal effect with the trombones behind, and an occasional passage shows off the talent of lead trombonist Milton Bernhart. After another passage of legitimate sax wrk the side ends with the same three bars used in the first theme of the intro.

MONOTONY is the unusual Kenton-Rugolo composition over which such a controversy arose. The composition truly lives up to its title and features the same rhythmic figure from beginning to end. After the arco bass introduces the figure in the introduction Stan announces the theme at the piano with the guitar contributing numerous cadenzas. The five trombones follow immediately playing in the same theme, after which is heard a conglomeration of unusual effects but with the ever-present monotonous rhythm still continuing. The original melodic theme is take-up again by the trombones, but this time with the high unison trumpets playing the same unvarying sound with the rhythm section. Through the latter passages of this side this effect continues to increase in volume until the listener is truly in a state of frenzy.

FUGUE FOR RHYTHM SECTION is a contrapuntal record written by Pete Rugolo especially for the use of six rhythm instruments, utilizing the effects possible with the instrumentation found in the Kenton band. The section is divided into two parts: the percussion section, which is made up of drums, bongos and maracas. and the melodic section, which is the piano, guitar and bass. The side begins with the percussion section, and the main subject is introduced by the bongo and drums and is based on two notes (fifths). The maracas enter last. The melodic theme begins with every fourth bar in three-quarter time and as each instrument comes in it is accompanied by one of the opposite section. In the middle the fugue is temporarily discontinued, and the theme is taken up by the guitar and bass, with the percussion instruments accompanying. The percussion section then retards into the main subject, which in a legato mood and is written in modern polytonal harmony, and which leads into a retarded church like fugue and remains unresolved. The side is ended with the percussion section playing the first tow bars of the theme together. This is strictly a technical work, and was written primarily to show the legitimate effects possible with a rhythm section heretofore used strictly for dance tempos.

LONELY WOMAN is a production arrangement written in an impressionistic fashion, and features the voice of June Christy. This is Stan’s first presentation of June’s singing in a heavier vein, and it is projected against am abstract background that has no feeling of meter. The effect is especially evident in the verse, at the beginning. Almost every bar is rendered in a different tempo, and each word throughout the song is more of less described by musical phrasing. Arranger Pete Rugolo has created the mood of melancholia, and has sustained it in support of the theme: loneliness, This number might be described as a tone poem, set to Benny Carter’s lyrics.

CUBAN CARNIVAL is another Kenton-Rugolo composition that blends the rhythm of Cuba with our modern jazz idiom. In order to create a more fiery spirit, this record features seven rhythm instruments: bass, guitar, bongos, maracas, cow bell, drums and conga drum. The arrangement starts out with Laurindo Almeida’s guitar soloing in slow tempo, establishing the theme. As interlude follows with the brass section taking over and picking up the tempo to a bright beat for a solo by Milton Bernhart. Then a fast alto solo by Art Pepper leads into the very exciting finale, with the whole band playing against the rhythm section. The high screaming heard in the latter part of this arrangement is Al Porcino’s trumpet.

THIS IS MY THEME demonstrates how a jazz artist, such as June Christy, can project a jazz emotion by the very sound of her voice, even when she isn’t actually singing words. She sings a one bar theme several times in different places, sometimes humming, sometimes using an open voice sound, each time setting a mood for the spoken lines that follow. She speaks—rather than sings—the lyrics on this record. Her only singing is a single bar, repeated several times. This arrangement and treatment creates a “psychiatric” feeling, able to cause any emotion. Progressively the lyrics and June’s singing are soft and mellow, developing a feeling of disturbance, a tinge of anxiety, a switching total frustration culminating in a driving climax, with the band blowing tensely strong and June yelling her lyrics louder and louder. The record closes in a strange peacefulness, with the theme repeated.