The tonal brilliance of the Kenton band is blended with the exciting hues of tropical tempos and Instruments in a concert of stirring Latin dance arrangements.
When it comes to blending Latin music with the North American big band style, Stan Kenton stands out among the pioneers. Past Kenton hits, such as Machito and The Peanut Vendor, have done much to influence the Latin styles heard from most of today's popular bands. And here Stan presents the Latin style of his own famous band, fusing the distinctive music of both sides of the border into a harmonious musical picture.
In this album, both standards and originals by Gene Roland are presented in the colorful Latin tempos that the band plays for dancers. The outstanding arrangements by Gene Roland offer a deft, tropical approach to the traditional Kenton sound.
side one
Mexican Jumping Bean follows its title and jumps right into uptempo play. Solos by trombone, alto, and a romping tenor sax highlight the arrangement. It closes with more of that famous, rousing section work that may leave listeners a little bit breathless (especially if they danced to this one), fully aware that they’ve been listening to Latin music as only the Kenton band can play it.
The haunting melody, Siesta, opens for easy dancing with a strong bass laying down the beat and leading the trombones in to carry the melody. As they develop this lovely theme, Bud Brisbois tosses colorful muted trumpet counter figures into the scene.
In Cha Cha Sombrero, the reeds and trombones play with the melody, then turn the second chorus over to Chuck Mariano and John Bonnie for sterling alto and tenor solos. The theme figure returns and the tune ends with the powerful, clear but disciplined section work that long has been the trademark of Kenton music.
Chocolate Caliente is a delightful tune that displays both the instrumental skills and vocal talents of the Kenton aggregation—not without some touches of humor.
Aqua Marine is a nicely arranged and written tune—rich and most danceable. The trombone section, well anchored by the bass trombone, speaks the theme with counter support from the deep sounds of the reeds, then a lush tenor solo by John Bonnie builds the ending into a brilliant blue-green mood.
side two
A fanfare opens side two as it introduces Opus in Chartreuse. Here, however, the Kenton standard is styled in a Latin way that makes it decidedly un-standard. It emerges delightfully as Opus in Chartreuse Cha Cha Cha. The trumpet quintet takes the lead, with exciting Latin things happening in the rhythm section. Tune is topped off with a fine solo by trombonist Don Sebesky.
Cha Cha Chee Boom carries on instrumentally in the cha cha rhythm, presenting more vocal touches by the Kenton bands men, with the accent on Chee Boom! The trumpet solo is by Rolf Ericson.
Adios brings back an easy dance tempo. The introduction is handled by the rhythm section sett ing a relaxed and tantalizing beat. Ericson's muted trumpet enters the scene to blow the beautiful melody. Quiet reeds and trombones provide a lush background.
Mission Trail, an original by Gene Roland, carries on with the lush dance mood. Lovely reed voices, supported by easy rhythm, move off with the theme, while a muted trumpet counters their melodic line. The second chorus is built around the tasteful tenor sax solo of John Bonnie.
Artistry in Rhythm, Stan's familiar theme, closes the set. Here it’s played in a driving, torrid tempo that makes this favorite even more exciting and stirring than usual. The cymbals chang out a rapid Latin figure chat continues behind the famous brass melody and riff until the final chorus, then the tempo suddenly drops to the usual theme mood for a fine dramatic close.
