Adventures In Jazz

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Adventures In Jazz
Adventures In Jazz.jpeg
Studio album by
Stan Kenton
Released1962 (LP)
1999 (CD reissue)
RecordedJuly 5, 1961
in Hollywood at Capitol Records
September 26, 1961
at Manhattan Center in New York City (original LP)
December 11/12/14, 1961
in Hollywood at Capitol Records (extra re-issued material on CD)
GenreJazz, big band
Length35:32 (LP)
53:11 (CD reissue)
LabelCapitol
ProducerLee Gillette (LP)
Michael Cuscuna (CD reissue)
Stan Kenton chronology
Adventures in Standards
(1961)
Adventures In Jazz
(1962)
Adventures in Blues
(1961)
Capitol ST-1796 (LP)
Creative World ST-1010 (LP)
Capitol Jazz 7243 5 21222 26 (CD)

Adventures In Jazz is an album by the American jazz bandleader Stan Kenton, recorded in late 1961 but not released until about a year later in November 1962.[1] The album won a Grammy Award in the category for Best Jazz Performance – Large Group (Instrumental) category in 1963. This would be Kenton's second Grammy honor in as many years with the first being Kenton's West Side Story winning the Best Large Jazz Ensemble Album in 1962. Adventures In Jazz was also nominated for Best Engineered recording (other than classical and novelty) for the 1963 Grammys.[2] The 1999 CD re-issue of Adventures In Jazz is augmented with two alternate takes from the original recording sessions and one track from Kenton's release Sophisticated Approach.

Background[edit]

The Kenton orchestra had been on a slow decline in sales and popularity in the late 1950s with having to compete with newer, popular music artists such as Elvis Presley, Bobby Darin or The Platters. The nadir of this decline was around 1958 and coincided with a recession that was affecting the entire country.[3] There were far less big bands on the road and live music venues were hard to book for the Kenton orchestra. The band would end 1959 beaten up by poor attendance at concerts and having to rely far more on dance halls than real jazz concerts.[3][4] The band would reform in 1960 with a new look and new sound; Adventures In Jazz would be one of the albums to be part of an upsurge in Kenton's popularity.[5]

This set of record dates for the Kenton organization's Adventures In Jazz is a high point for what was known as the "mellophonium band" (after the new brass instrument prominently featured) or as Kenton himself had coined the phrase "A New Era In Modern American Music."[6] The group was able to turn a minimal profit and use those resources to record what would be the total of 11 albums in a three-year span.[3] With touring going on 9 months out of the year it did not leave a whole lot of time to record; studio schedules were hectic.[6] On the other hand, the band had been playing together so much on the road they were musically familiar and close-knit with one another. As a unit, the quality of the Kenton orchestra on the December 1961Adventures In Jazz LP tracks is outstanding even with being expanded to an orchestra the size of 22 musicians to include a mellophonium section.[3] Kenton had tried to staff a musical group larger than this during the "Innovations in Modern Music" tour and recording sessions from 1950 with it ending in financial failure. Though not considered a "financial windfall," Adventures In Jazz and other "mellophonium band" projects were far more solvent compared to those of the aforementioned group from more than a decade earlier.

Up until the "Adventures" recording sessions of December 1961 the history of the Kenton band using mellophoniums was a rocky road. Though the band was touring with a mellophonium section throughout the second half of 1960, it was not until the Merry Christmas recordings of February and March 1961 that Lee Gillette and Stan Kenton deemed any recordings with a Kenton mellophonium band acceptable for release to the public.[5] The instrument itself plays notoriously out of tune and trumpet players had to be converted over to the mellophonium, before June and July 1960 the horn was new and untested in a real, musical playing environment.[5] Two entire albums of material (sessions from Sept. 1960 and Feb. 1961) were left unreleased for over a decade due to the problems associated with recording mellophoniums. Kenton commented, "The mellophonium is a peculiar instrument when you get in the upper register, you don't know what's going to come out from the thing, and it's hard to control."[5] The kinks were worked out and the personnel of the Kenton orchestra persevered, Merry Christmas become both Billboard and Variety's top Christmas LP; both Kenton's West Side Story and Adventures In Jazz earned Grammys in 1962 and 1963 respectively.[7]

For Kenton himself it was a very difficult time personally, even with the successes of the West Side Story and Adventures In Jazz albums. During the time of the recording in 1961, Kenton was suffering a huge personal embarrassment that surfaced in his professional life. His wife Ann Richards had done a nude layout for Hugh Hefner's Playboy which came out in the June 1961 edition.[8] She had also signed a contract to record with Atco, a company other than Capitol Records that her husband was unaware of.[9] Kenton himself only found out about the Playboy layout out on the road while playing at the Aragon Ballroom in Chicago when handed the magazine by Charles Suter who was the editor for Down Beat magazine at the time.[10] Richards was 23 years his junior and was not typically on the road with the band though she had recorded Two Much! just a couple of years earlier with Kenton. Divorce papers were filed in August 1961.[6] While Kenton was being confronted by the personal embarrassment of the situation and the divorce was going through the courts in Los Angeles, he was riding on a new wave of success with the West Side Story album charting for 28 weeks in Billboard peaking out at #16.[3] They had done the initial recording for Adventures In Jazz and would record the entire "Adventures" sessions in December.[5]

Adventures In Jazz marks a high point in Kenton's jazz career as a band leader due to the mellophonium experiment succeeding to at least a moderate level even with the LP released as a loose, disparate set an instrumental based titles. The timing and success of Adventures in Jazz as a serious jazz album is of no coincidence preceded by both hit LP's Merry Christmas and West Side Story. Through these two previous LP's the public got re-acquainted with Stan Kenton allowing better acceptance of a lesser known set of musical numbers on Adventures In Jazz. Kenton also recorded a country single in September 1962 (as singer/narrator on Mama Sang a Song) that made it to #32 on the Billboard Top 40 thereby helping to fund projects like the "Adventures" records.[5][11] The LPs recorded with Tex Ritter and singer Jean Turner just before Adventures in Jazz did not gain any acceptance or financial gain.[12][13] The environment for Kenton's pop music commercial successes was far more measured compared to 10 years earlier; the sound of a 22-piece mellophonium-style orchestra did not sell well to anything but a smaller, serious jazz audience. The group was far better equipped to present music designed specifically for only jazz instrumentals on a recording such as Adventures In Jazz

This would be the last set of Kenton bandsmen that were closer to him in age and respectability as "jazz stars." Sam Donahue appears as a soloist, arranger, and section player having established himself on earlier Artie Shaw and Woody Herman recordings; Donahue had a couple of successful recordings with Capitol himself. By December 1961 Kenton had turned 50, many of his contemporaries from earlier Kenton groups had established their own careers and moved on. On Adventures in Jazz the Kenton band plays at a mature, musical level due to the set of older players with much more diverse backgrounds than later personnel on the bands. The very talented younger players just out of school such as Dee Barton, Marvin Stamm, and Dwight Carver were able to be trained by veteran players such as Bob Fitzpatrick and Gene Roland. This was not necessarily the case in the late 1960s and 1970s Kenton bands having to rely heavily on schools such as University of North Texas, Berklee School of Music, and Eastman School of Music. Those schools could provide young, adept jazz players who could travel but unfortunately were far less experienced in professional musical settings. The artistic success of Adventures In Jazz is a testament to a combination of Kenton's perseverance, timing, individual musicians, and talented composer/arrangers who were a part of those recording sessions.

The Music for Adventures In Jazz[edit]

Turtle Talk starts the album and is the "opening act" for Dee Barton as a composer and new trombonist for the Kenton Orchestra. Barton would later take the drum chair on the Kenton band showing the multi-talents he brought to the table for this group and later studio work he would do.[3] Both Turtle Talk and Waltz of the Prophets use the same harmonic pallet of relying on augmented chords and whole tone scales. Waltz of the Prophets had been recorded a couple of years earlier by the University of North Texas One O'Clock Lab Band and was Barton's resume material to write for the Kenton group.[3] Both works carve a new niche in the Kenton book but do not vary in terms of fit a finish for what is expected from the Kenton repertoire. Waltz of the Prophets is unique in the overtly gospel aspects of the work showing Barton's musical roots having been raised in Mississippi. These two works as well as several others on the CD served as mainstay pieces that would be played for years to come in live performances for the Kenton orchestra; not all Kenton works lasted this long on the bandstand. Barton later went on to fame (like other Kenton writers Pete Rugolo and Lennie Niehaus) as a composer for films such as Clint Eastwood's Play Misty for Me.

Easily the two tracks making the album sparkle are Limehouse Blues and Malagueña arranged by Bill Holman. Though Holman is well known for Kenton charts on the New Concepts of Artistry in Rhythm, Contemporary Concepts, and Stan Kenton Presents Bill Holman LP's, these two instrumental charts penned for Kenton are now hallmarks of the modern jazz orchestra repertiore. Kenton would use Malagueña with the band all the way to his death in 1978.[3] The two charts have also become staples of both drums corps[14] and marching bands because of the inventiveness Bill Holman has with musical material.Great credit should be given to the band itself, these are very difficult works Holman created. These are flagwaiver pieces that catch the ears of the normal listener and especially a NARAS/Grammy panel that might not know the jazz orchestra genre but certainly knows exciting and well played music.[3]

Holman does the best with everything, so he wrote great for mellophoniums. Malagueña stands out, that was probably one of the best arrangements ever written.

Carl Saunders[5]

Malagueña itself had a history with the Kenton Orchestra due to the second time this Ernesto Lecuona piano work was arranged for the group. Kenton's desire for having several arrangers do a chart on the same source material was not uncommon during this period.[3] The first arrangement of Malagueña for the band was done by Stan Kenton himself for the 1956 LP Sketches On Standards due to Kenton's affinity for piano music (a skillful pianist himself) and finding material suitable for the orchestra. This was just after Malagueña was recorded by the composer as a piano solo on the 1955 RCA Victor LP Lecuona Plays Lecuona. Malagueña later shows up in 1960 on the flipside of Connie Francis #1 hit single My Heart Has a Mind of Its Own, helping prompt Kenton to revisit the piece.

A third chart from Holman on the LP is Stairway To The Stars featuring alto saxophonist Gabe Baltazar. The work was commissioned by Kenton in wanting another alto feature like those written in the past for Art Pepper, Bud Shank, and Lee Konitz.[3] This would be the piece most closely associated to Baltazar for the rest of his playing career signifying his 5-year stint with the Kenton orchestra.

Longtime Kenton composer and arranger Gene Roland penned the mellophonium feature of Misty for Ray Starling. Roland was the person who first brought the idea of the a mellophonium section to be added to Kenton.[3] Roland can also be heard on track #8 of the CD re-issue playing mellophonium, he is familiar with the instrument and creates a nice framework for Starling.

With the addition of Sam Donahue to the band as a featured tenor sax soloist, Kenton also includes Body and Soul on the recording to feature Donahue as both soloist and arranger.[3] The chart itself is not at the level of others from the LP but has great appeal due to Donahue's muscular tenor playing. The listener is reminded of earlier Kenton sidemen such as Vido Musso or a tenor player such as Charlie Ventura.[3]

Ironically, due to the nearly year delay for a release, the music from Adventures In Jazz had been played many times over and even previewed on Steve Allen's highly acclaimed show Jazz Scene USA earlier in 1962.[15] It was well worn material and not a surprise to a great deal of the jazz listening public by the time the release surfaced in late 1962.[16]

Recording Adventures In Jazz[edit]

By the time the LP Adventures In Jazz was released in late 1962 there were already several other recording projects that had made it to release dates the Kenton orchestra had completed after the December 1961 "Adventures" sessions.[5] The original set of tracks were recorded as part of a flurry of studio activity in December 1961 constituting the bulk of the "Adventures" series of LPs: Adventures in Blues, Adventures in Jazz and Adventures In Standards.[5] The tracks for the fourth in the series, Adventures in Time, would be recorded later in September 1962.[5]

As mentioned earlier, the group did not play well on the initial recording date during September 1961 in New York. Kenton envisioned recording a real "jazz album" of this kind being completed in New York with his new configuration. The sound of the room and the situation did not lend itself to optimal tracking conditions leaving both Kenton and producer Gillette to abort the session.[3][5][17]

The December 11 take of Malaguena was rejected due to the poor quality of the bands playing. Kenton truly believed the band played better when the studio was cold. Before the December 12th session the air conditioning was left on all night, Kenton, "...told the band to wrap up well and not grumble, and we got a good take inside a half-an-hour."[5]

This album stands as a pinnacle during the "Golden Age of Hi-Fi" and having a large ensemble playing nearly uncut and unedited with uncompressed sound. Adventures In Jazz was also nominated for Best Engineered Large ensemble recording for the 1963 Grammys.[18] The studio at Capitol is relied upon to produce a natural set of acoustics. Between the fact an actual touring group of this caliber is being recorded without massive editing or overdubs and little to no compression or reverb is added makes it as close as one can get to 'live.' This is as clean and clear a large ensemble jazz album can be; nearly flawless playing is executed by the Kenton band on the recording. One has to REALLY work hard to find mistakes when listening repeated times; the sound is unequaled by many later recordings of the band relying on far more recording technology.[19]

Soloists from Adventures In Jazz[edit]

The solo feature for Gabe Baltazar is a perfect setting and allows the alto player to turn in one of the very best performances during his tenure with the Kenton orchestra. This is the solo Baltazar becomes known for and is much like Lennie Niehaus being associated with the solo on Chreokee, Bud Shank on Elegy For Alto, or Art Pepper on Art Pepper. Baltazar sounds comfortable and mature, this is the pinnacle of his playing that is associated with the Kenton organization. He is sensitive on the ballad part of the arrangement and is highly adept and responsive at the fast tempo. His solo Limehouse Blues is also quite impressive. This is one of the two stand-out solo features on the LP and Baltazar is impressive.[3]

During his time with Stan Kenton, Marvin Stamm becomes a major name in jazz circles and the solos from this album helped to make this happen. Stamm is equal to the task of great trumpet soloists from past Kenton groups such as Jack Sheldon or Conte Candoli. He plays over the changes of two contrasting works which are quite notable; this includes solos on Limehouse Blues ("the fluid trumpet of Marvin Stamm has its say") and Waltz Of The Prophets.[20]

Misty features Ray Starling, this is the first true mellophonium feature recorded by Kenton on a Capitol release. In many ways it is sad the earlier mellophonium features such as Four Of A Kind did not get recorded in the studio like this.[3] Starling is a converted trumpet player like others such as Carl Saunders and Misty certainly makes the case for his inclusion as a sensitive and formibable soloist. Starling shows the mellophonium is worthy of being included as a jazz instrument that can be heard improvising.[3]

Adventures in Jazz is greatly helped by Sam Donahue being included as a soloist. One might think he is not to the standard of modern soloists but Donahue does not take a back seat to the other players. His style is more in the style of a 'Texas tenor' player such as Arnett Cobb or an earlier Kenton tenor player such as Vido Musso but it balances the LP out very well. He matches the big Kenton sound very well and turns in some great playing on the feature of Body And Soul as well as Limehouse Blues, and Malaguena.

Legacy of Adventures In Jazz[edit]

Adventures In Jazz is easily the seminal work that defines what the Kenton band sounds like in the early 1960s until Kenton's death in 1979. One can easily argue it crosses the band over into being known as a much more concertizing orchestra rather than a dance band. While Kenton was still being defined by Dynaflow and The Peanut Vendor up to that time, pieces like Malaguena' and Turtle Talk would redefine the repertiore the public knew from the Kenton band. This is one of the finest albums ever recorded by the Stan Kenton Orchestra.[21]

Some of the best drumming to be heard on record for large jazz ensemble is done by Jerry McKenzie. Again, the Holman charts are very demanding and McKenzie demonstrates he is easily on par with highly regarded drummers of that era such as Sonny Payne with the Count Basie Orchestra and Jake Hanna or Ronnie Zito with the Woody Herman Orchestra. This specific recording and drummer are cited by Peter Erskine who would later become famous with the Kenton orchestra of the mid-1970s. Erskine talks about the influence McKenzie's playing would have on him growing up and how he learned a great deal from McKenzie when on his first gig with the Kenton band backing June Christy at Lincoln Center in New York.[22]

Grammy Awards
Year Result
1963 Adventures In Jazz Best Engineered LP (non-classical, non-novelty) Nominated[23]
Adventures In Jazz Best Jazz Performance – Large Group (Instrumental) Won[23]

Reception[edit]

Professional ratings
Review scores
SourceRating
Billboard Magazine
November 17, 1962
4/4 stars
(Jazz LP's review
strong sales potential) [24]
Jazz Journal Magazine
May, 1963
United Kingdom
favorable[25]
Down Beat Magazine
January 31, 1962
2/5 stars[26]
Billboard Magazine
Feb. 16, 1963
#3 New Action LPs
(stereo)
Strong sales[27]
Allmusic4.5/5 stars [28]
All About Jazzoutstanding [29]
Penguin Guide to Jazz3/4 stars [30]

"The Stan Kenton orchestra turns in ear-catching performances here of a flock of new and old tunes, all of them featuring big styled, full blown arrangements. The orchestra sells them with the tonal color that Kenton has stressed over the last few years."

Billboard Magazine, November 17, 1962 4/4 stars

"Kenton always has an affinity for bombast, but his bands have recorded some notable music: the LP with Young Blood and My Lady (New Concepts of Artistry in Rhythm) is one of the finest modern big-band albums ever cut. Unfortunately, this session seems to be devoted to cacophony..."

Down Beat Magazine, January 31, 1963 2/5 stars
  • Recent review on 1999 CD re-issue

"This excellent outing by the 1961 edition of Stan Kenton's orchestra has one classic (Bill Holman's arrangement of Malaguena), a superior solo by altoist Gabe Baltazar on Stairway to the Stars, a feature for Ray Starling's mellophonium (Misty), a good workout by veteran tenor Sam Donahue on Body and Soul, Holman's reworking of Limehouse Blues, and two colorful Dee Barton composition/arrangements. This well-rounded LP (which also has some solos by trumpeter Marvin Stamm) is one of Kenton's best of the era."

Scott Yanow, Allmusic Guide

Track listing[edit]

No.TitleWriter(s)Length
1."Turtle Talk"Dee Barton5:32
2."Stairway to the Stars"Matty Malneck/Mitchell Parish/Frank Signorelli5:50
3."Limehouse Blues"Philip Braham/Douglas Furber4:29
4."Malagueña"Ernesto Lecuona4:25
5."Misty"Johnny Burke/Erroll Garner3:37
6."Waltz of the Prophets"Dee Barton6:45
7."Body and Soul"Frank Eyton/Johnny Green/Edward Heyman/Robert Sour5:20
8."It Might as Well Be Spring"Oscar Hammerstein II/Richard Rodgers5:17
9."Waltz of the Prophets (First Version)"Dee Barton6:32
10."Body and Soul (First Version)"Eyton/Green/Heyman/Sour5:24

[31]

  • Tracks 1–7 comprised the original Capitol ST-1796, Adventures In Jazz LP (1962)
  • Track 8 was first issued on Capitol ST-1018, Sophisticated Approach LP (1962)
  • Tracks 9 & 10 are alternate takes from the original recording sessions

Recording sessions[edit]

Tracks 1–7 – December 11/12/14, 1961 in Hollywood, CA. at Capitol Tower Studios[3]
Track 8 – July 5, 1961, in Hollywood, CA. at Capitol Tower Studios[3]
Tracks 9–10 – Sept. 26, 1961 Manhattan Center, New York, N.Y.[3]

Note 1 – It Might As Well Be Spring was first released on Sophisticated Approach (Capitol ST 1674) and added to 1999 CD release

Note 2 – The first tracks for Adventures In Jazz were done in September in New York but scrapped for the later takes done in December in Hollywood (please refer to narrative for "recording")

Personnel[edit]

Musicians[edit]

Tracks 1–7[edit]

  • Piano, Conductor – Stan Kenton
  • Alto saxophone – Gabe Baltazar
  • Tenor saxophone – Sam Donahue (3/4/6/7), Buddy Arnold, Paul Renzi
  • Baritone saxophone – Allan Beutler
  • Bass saxophone – Joel Kaye
  • Trumpet – Dalton Smith, Bob Rolfe, Marvin Stamm, Bob Behrendt, Norman Baltazar
  • Mellophonium – Keith LaMotte, Carl Saunders, Ray Starling, Dwight Carver
  • Trombone – Bob Fitzpatrick, Dee Barton, Bud Parker
  • Bass Trombone or Tuba – Jim Amlotte, Dave Wheeler
  • Bass – Pat Senatore
  • Drums – Jerry Lestock McKenzie

Track 8[edit]

  • Piano, Conductor – Stan Kenton
  • Alto saxophone – Gabe Baltazar
  • Tenor saxophone – Sam Donahue, Paul Renzi
  • Baritone saxophone – Marvin Holladay
  • Bass saxophone – Wayne Dunstan
  • Trumpet – Dalton Smith, Bud Brisbois, Marvin Stamm, Bob Behrendt, Bob Rolf
  • Mellophonium – Keith LaMotte, Carl Saunders, Gene Roland, Dwight Carver
  • Trombone – Bob Fitzpatrick, Jack Spurlock, Bud Parker
  • Bass Trombone or Tuba – Jim Amlotte, Dave Wheeler
  • Bass – Red Mitchell
  • Drums – Jerry Lestock McKenzie

Track 9–10[edit]

  • Piano, Conductor – Stan Kenton
  • Alto saxophone – Gabe Baltazar
  • Tenor saxophone – Sam Donahue, Paul Renzi
  • Baritone saxophone – Marvin Holladay
  • Bass saxophone and Baritone saxophone – Allan Beutler
  • Trumpet – Dalton Smith, Bob Rolfe, Marvin Stamm, Bob Behrendt, Norman Baltazar
  • Mellophonium – Keith LaMotte, Carl Saunders, Ray Starling, Dwight Carver
  • Trombone – Bob Fitzpatrick, Dee Barton, Bud Parker
  • Bass Trombone or Tuba – Jim Amlotte, Dave Wheeler
  • Bass – Pat Senatore,
  • Drums – Jerry Lestock McKenzie

Production[edit]

  • Producer for all tracks: Lee Gillette
  • Re-issue (CD) producer: Michaal Cuscuna
  • Digital transfers (CD): Ron McMaster
  • CD design: Patrick Roques
  • Liner notes: unknown (from original LP)

References[edit]

  1. ^ Best estimate of release is just before November 17, 1962, because this is the first date it shows in Billboard as a new release
  2. ^ Billboard Magazine, Apr 20, 1963, pp.30
  3. ^ a b c d e f g h i j k l m n o p q r s t u Sparke, Michael (2010). "Stan Kenton: This Is An Orchestra". University of North Texas Press. p. 138 ISBN 1-57441-284-1.
  4. ^ Ironically, Standards in Silhouette was recorded at the end of this very difficult financial period in the last studio sessions with this 1950s incarnation of the Kenton orchestra. The album is one of the crowning artistic achievements of Kenton's musical career.
  5. ^ a b c d e f g h i j k l Sparke, Michael; Venudor, Peter (1998). "Stan Kenton, The Studio Sessions". Balboa Books. ISBN 0-936653-82-5.
  6. ^ a b c Easton, Carol, Straight Ahead: The Story of Stan Kenton. William Morrow & Company, Inc. New York, N.Y. 1973.
  7. ^ Note from editor: The Sept. 26 1961 New York sessions containing Body And Soul and Waltz Of The Prophets can be heard on the reissued CD. In sharp contrast to the later December sessions these are not good. The band is sloppy and soloists sound like they are sleeping (Sam Donohue's solo sounds very distracted); mellophoniums are a problem but not the biggest one. It is no wonder Kenton rejected this initial "Adventures" session.
  8. ^ Playboy Magazine, June 1961, Ann Richards photo layout
  9. ^ The LP cover photo of Ann Richards for the Atco Records release is a picture taken from the Playboy photo shoot, but edited
  10. ^ Harris, Steven. The Kenton Kronicles. Dynaflow Publications. 2000. ISBN 0-9676273-0-3
  11. ^ Stan Kenton – Mama Sang A Song
  12. ^ Stan Kenton/Tex Ritter – High Noon
  13. ^ Stan Kenton/Jean Turner – Love Walked In
  14. ^ Bill Holman's arrangement of Malagueña has become the signature work for the Madison Scouts Drum and Bugle Corps, winning them a DCI championship in 1988
  15. ^ Newcomb, Horace. Encyclopedia of Television, Volume 1. Museum of Broadcast Communications, pp. 1572, The Jazz Scene, 1962.
  16. ^ Malagueña on Jazz Scene USA
  17. ^ Note from author: the poor level of recording and how the band plays is clearly evident when listening to the CD re-issue with those tracks included.
  18. ^ Billboard magazine, May 25, 1963, pp. 3
  19. ^ editors note: I have produced 5 CDs for record labels and own close to 5000 CDs. This is the RIGHT BAND at the RIGHT TIME in the history of studio recording. All aspects of the album are excellent, it especially stands out after being converted to digital
  20. ^ Adventures In jazz, original liner notes, 1962
  21. ^ Grimm, William. All About Jazz, November 13, 2002
  22. ^ Erskine, Peter. Masterclasses at C.S.U.L.A. in 1988 and the University of Memphis in 2000 talking about Jerry McKenzie's influence on him as a drummer, author present for these talks with Erskine.
  23. ^ a b "Grammy Awards 1963".
  24. ^ Billboard Magazine, November 17, 1962, page 18.
  25. ^ "Shera, Michael. Jazz Journal, Review, May, 1963, supplied by All Things Kenton". Archived from the original on 2015-10-01. Retrieved 2015-09-30.
  26. ^ Downbeat Magazine, Review, January 31, 1963, pp. 27-28
  27. ^ Billboard Magazine, Feb 16, 1963, Jazz LP sales figures
  28. ^ "All Music Guide, SCOTT YANOW, review".
  29. ^ "All About Jazz, WILLIAM GRIMM, review, November 13, 2002".
  30. ^ Cook, Richard. The Penguin Guide to Jazz on CD, 6th Edition, (2002), Penguin Group, London. pp. 832
  31. ^ "Adventures in Jazz – Stan Kenton Credits". AllMusic. Retrieved 24 February 2017.

Bibliography[edit]

  • Easton, Carol, Straight Ahead: The Story of Stan Kenton. William Morrow & Company, Inc. New York, N.Y. 1973.
  • Lee, William F., Kenton, Audree Coke. Stan Kenton: Artistry In Rhythm. Creative Press of Los Angeles. 1980.
  • Sparke, Michael. "Stan Kenton: This Is An Orchestra". University of North Texas Press. 2010.
  • Sparke, Michael;, Venudor, Peter. "Stan Kenton, The Studio Sessions". Balboa Books. 1998.

External links[edit]