The intense imagination of Stan Kenton gave pulsing life to Artistry in Rhythm more than ten years ago, and today the freshest and most stimulating ideas of modern music are still in his work—in his New Concepts of Artistry in Rhythm.
Throughout the ten years of the Kenton Orchestra's life its music has gradually changed—in accumulated knowledge, experimentation, and association—to bring the listener an ever fresh approach.
This album discloses even more exciting developments in the orchestra's brilliant sound. Masterful musicians like first trumpeter Buddy Childers, first trombonist Bob Burgess, first saxophonist Vinni Dean, and drummer Stan Levey give it the mark of their personalities; and above all stands the dynamic quality of Stan Kenton, inspiring his orchestra and, indeed, a whole profession—carrying the vibrant message of his music to hosts of eager listeners everywhere.
The format for this album was sketched by Kenton himself, and his staff arrangers have developed and interpreted his ideas with rare skill and understanding. New Concepts of Artistry in Rhythm is a tribute to these men of the modern school whose stature is ever increasing. It is their ingenuity and creative ability that is directing the course of tomorrow's music.
23ºN–82ºW
Composer: Bill Russo
This pulsating original by Bill Russo captures the authentic flavor of Latin America but retains the color and emotion of American jazz. Following the introduction, in which the trombone section sets the rhythm pattern, the solos of Frank Rosolino and Lee Konitz, the driving beat of drummer Stan Levey, and the impeccable lead trumpets of Buddy Childers and Maynard Ferguson effect a perfect merger of the musical expressions of both regions.
young blood
Composer: Gerry Mulligan
Stemming from the pen of one of the leaders in the field of contemporary music, this is a living example of modern “big band jazz.” Utilizing a linear style of composition, Mulligan possesses a faculty for writing easy, happy swing, and is destined to achieve even greater importance in American jazz.
portrait of a count
Composer: Bill Russo
Written especially to showcase the versatility of Conte Candoli, this could truly be called a self. portrait, picturing both sides of his personality with warm, colorful sounds and exciting, rhythmic jazz. Tailor-made to exploit the talent of this youthful artist, the composition is enhanced by the drive of Stan Levey on drums and the fiery first trumpet of Buddy Childers.
invention for guitar and trumpet
Composer: Bill Holman
This composition introduces the writing talents of tenorman Bill Holman, whose arranging abilities have only recently been realized. Similar in structure to a fugue, it was one of the most difficult sides to record; its counter-melodic lines were preconceived and expounded upon at the session by guitarist Sal Salvador and trumpeter Maynard Ferguson.
improvisation
Composer: Bill Russo
Adapted from a composition originally introduced by the Innovations in Modern Music Orchestra, Improvisation will no doubt be one of the most controversial selections in this album. Contrapuntally designed, it employs the imaginative ideas of trombonist Bob Burgess—who introduces the main theme—Lee Konitz on alto, Buddy Childers on trumpet, tenorman Bill Holman, and trombonist-composer Russo. As this group continues to improvise, the orchestra functions as an additional voice used at Kenton's disposal.
The second part begins with Sal Salvador’s guitar as background, and as the side progresses the orchestra enters softly behind Konitz and builds until the intensity completely engulfs the alto solo. Ending with a gigantic climax, this composition is a great tribute to the arranging genius of Bill Russo.
frank speaking
Composer: Bill Russo
The happy spirit of Frank Rosolino is reflected in this musical portrait. It is an outstanding example of his feel for jazz and shows to advantage his uninhibited improvisational fluency.This exciting, lighthearted composition is an appropriate showcase for Rosolino's talents.
my lady
Composer: Bill Russo
In this jazz ballad, the orchestration is merely a track or backbone for Lee Konitz' colorful alto sax improvisation. With a melody line only partly preconceived, Konitz has an opportunity to show his amazing technique and imaginative qualities. This is the first time his talent has been enhanced by an orchestration in the “big band” idiom, designed expressly for him. Numerous takes were made to capture the feeling of Konitz and the orchestra melting into one pure sound. Konitz, the perfectionist, leaves little question as to his unchallenged leadership.
