- Byname of:
- Stanley Newcomb Kenton
- Born:
- December 15, 1911, Wichita, Kansas, U.S.
- Died:
- August 25, 1979, Los Angeles, California (aged 67)
- Awards And Honors:
- Grammy Award (1962)
- Grammy Award (1961)
- Movement / Style:
- Modernism
- big-band jazz
- jazz
Stan Kenton
-
Who was Stan Kenton?
Stan Kenton (1911-1979) was an American jazz pianist, composer, and bandleader who promoted modern composer-arrangers. Kenton combined formal education with big-band jazz, leading to the stage (or concert) band movement of the 1960s and 70s. He arranged for dance bands in the 1930s and formed his own band in 1940, continuing to create bands and tour until his death.
Kenton's music is more like 20th-century concert music than dance or jazz music. While his bands featured jazz improvisers, Kenton emphasized complex arrangements and unusual instruments, such as French horns, mellophoniums, and strings. His signature sound included loud trumpet playing, harmonies in the trombone section, and saxophone passages. Kenton ran Creative World, his own record company and publishing house, starting in 1970. His best-known piece is "Artistry in Rhythm," which was the band's theme song.
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What type of music was Stan Kenton known for?
Stan Kenton was an American jazz musician known for combining formal education with big-band jazz. He is known for leading the stage (or concert) band movement of the 1960s and 70s.
Much of Kentonâs music is more like nonswing 20th-century concert music than jazz or dance music. Kenton was responsible for the âprogressive jazzâ label. Some critics place his music in the âcool jazzâ category, and many of his players were identified with West Coast jazz, a subcategory of cool jazz. Kenton showed a keen interest in Latin-American music and often used a Latin percussionist.
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What is a big band, and how did Stan Kenton lead his?
A big band is a large ensemble, bigger than a combo, that plays jazz or swing music with a mix of ensemble sections and solos.
Stan Kenton (1911-1979) was a jazz bandleader, pianist, and composer. In 1940, Kenton formed his own band and continued to create bands and tour. His music emphasized elaborate arrangements over improvisation, using instruments not common in earlier jazz, such as the bass saxophone, tuba, French horn, strings, and mellophonium. Kenton's band sound was known for high, loud trumpets, harmonies in the trombone section, and saxophone passages. He ran Creative World, a record company, publishing house, and promotional network, from 1970. "Artistry in Rhythm" was his best-known piece.
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How did Stan Kenton's style of jazz differ from other musicians at the time?
Stan Kenton's jazz style differed from that of his contemporaries through his combination of formal education with big-band jazz, which produced the stage (or concert) band movement. Kenton's music resembled 20th-century concert music more than traditional jazz or dance music. While featuring jazz improvisers, his emphasis was on elaborate arrangements, using instruments uncommon in earlier jazz, such as the bass saxophone, tuba, French horn, strings, and mellophonium.
His signature sound included loud, high, block-voiced trumpet playing, trombone harmonies, and rapid saxophone passages. Kenton's interest in Latin-American music and the use of Latin percussion further distinguished his style. He is also known for the "progressive jazz" label.
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What are some famous songs or albums by Stan Kenton?
Some of Stan Kenton's popular recordings include "Artistry in Rhythm," which was the band's theme song, "Intermission Riff," "Eager Beaver," and "Peanut Vendor." Kenton commissioned and promoted works by modern composer-arrangers such as Robert Graettinger ("City of Glass"), Johnny Richards ("Cuban Fire"), and Russ Garcia ("Adventures in Emotions").
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How did Stan Kenton influence the development of jazz and American music?
Stan Kenton significantly impacted jazz and American music by combining formal education with big-band jazz, leading to the stage (or concert) band movement in schools during the 1960s and 70s. Kenton's music, featuring complex arrangements and uncommon instruments, leaned towards 20th-century concert music rather than traditional jazz or dance music.
He also showcased talented jazz improvisers such as Art Pepper and Lee Konitz, while his band sound was marked by loud trumpet playing, complex trombone harmonies, and rapid saxophone passages. Kenton's interest in Latin American music and his use of Latin percussion further enriched his sound. He is also responsible for the "progressive jazz" label. Creative World, Kenton's record company, publishing house, and promotional network, was founded in 1970.
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Stan Kenton (born December 15, 1911, Wichita, Kansas, U.S.âdied August 25, 1979, Los Angeles, California) was an American jazz bandleader, pianist, and composer who commissioned and promoted the works of many modern composer-arrangers. He combined formal education with big-band jazz and produced what became the stage (or concert) band movement of the 1960s and â70s, involving thousands of high school and college musicians.
Kenton was conceived before his parents were married; they therefore lied about his date of birth, claiming he was born on February 19, 1912, which he celebrated as his birthday into his adulthood. His birth certificate, according to researchers, states that he was born on December 15, 1911. Kenton began writing music in his teens, was a pianist and arranger for dance bands in the 1930s, and was influenced by Earl Hines as a pianist and by Claude Thornhill and Benny Carter as an arranger. Kenton formed his own band in 1940 and continued forming bands and touring almost until his death.
Much of Kentonâs music is more like nonswing 20th-century concert music than jazz or dance music, especially the serious works of Robert Graettinger (âCity of Glassâ), Johnny Richards (âCuban Fireâ), and Russ Garcia (âAdventures in Emotionsâ) and pieces by Bill Holman, Bill Russo, and others.
Kenton also featured outstanding jazz improvisers, including saxophonists Lee Konitz and Art Pepper, trumpeter Conte Candoli, and trombonist Frank Rosolino, but his emphasis was less on improvisation than on elaborate arrangements, often employing instruments uncommon to earlier jazz such as bass saxophone, tuba, French horn, strings, and mellophonium (a trumpetâFrench horn hybrid commissioned by Kenton). He also showed a keen interest in Latin-American music and often used a Latin percussionist.
Kentonâs most typical band sound involved high, loud, block-voiced trumpet playing, with five- and six-note chords, and open-voiced trombone-section harmonies. Saxophone passages written in sixteenth notes were also a Kenton trademark, as was his use of the full range of loudness levels that could be extracted from a band.
Kenton was responsible for the âprogressive jazzâ label that some mistake for all modern jazz and some use to identify all Kenton-linked jazz. Some critics place his music in the âcool jazzâ category and, being based in California, many of his playersâincluding Shorty Rogers, Bill Perkins, and Shelly Manneâwere identified with West Coast jazz, a subcategory of cool jazz.
From 1970 Kenton ran his own combination record company, publishing house, and promotional network, called Creative World. His best-known composition is âArtistry in Rhythm,â the bandâs theme. Among his most popular recordings are âIntermission Riff,â âEager Beaver,â and âPeanut Vendor.â