Easy Go by Blue Note Records at Your Free Album. Hurry! Limited time offer. Offer valid only while supplies last. Recorded between August 1950 and March 1952, these tracks emphasize the swinging, jazz-based side of Stan Kenton's orchestra, unadorned by vocalists or the strings and extended compositions of his ''Innovations in Modern Music'' and ''New Concepts'' orchestras. For those only familiar with Kenton's ambitious essays in progressive jazz, the more relaxed band heard here may come as a surprise, with drummer Shelly Manne propelling a group that happily combines bop harmony and infectious big-band sw
Product Description & Reviews
Recorded between August 1950 and March 1952, these tracks emphasize the swinging, jazz-based side of Stan Kenton's orchestra, unadorned by vocalists or the strings and extended compositions of his "Innovations in Modern Music" and "New Concepts" orchestras. For those only familiar with Kenton's ambitious essays in progressive jazz, the more relaxed band heard here may come as a surprise, with drummer Shelly Manne propelling a group that happily combines bop harmony and infectious big-band swing. Kenton had pared down his forces, but the 19-piece group is still a very brassy aggregation, extending the usual big-band complement to five trumpets and five trombones, all of them surmounted by high-note specialist Maynard Ferguson and anchored by bass trombone. They add sheen and gravity to the modernist chords that Kenton and his arrangers favored, and used sparingly, as they usually are here, they could also add excitement. Gene Roland, responsible for five of the compositions, was particularly good at getting the band to move, writing riff-based tunes like "Riff Rhapsody" and "Beehive" that touch on Basie models. There are also some effective Latin flavors in Shorty Rogers's homage to Perez Prado and in Pete Rugolo's arrangements of "Love for Sale" and his own "Francesca." The Kenton band was a significant incubator of West Coast jazz, and it shows in the strong complement of soloists, including trumpeters Pete and Conte Candoli (outstanding on the moodily muted "Cool Eyes") and saxophonists Bud Shank, Bob Cooper, and Lennie Niehaus. The finest solo moments belong to altoist Art Pepper, whose airy sound and flowing ideas distinguish "Jump for Joe" and his own "Dynaflow." --Stuart Broomer
Features & Highlights
Blue Note Records
Blue Note Records
NR (Not Rated)
Original recording remastered
4.75 x 0.25 x 5.03 inches
4.97 x 0.54 x 5.55 inches
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