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Oct 16 Tue 2012 07:54
爵士音樂史上，一百位最偉大的爵士大師，排行榜 No.60 Lee Konitz

爵士音樂史上，一百位最偉大的爵士大師，排行榜
No.60 Lee Konitz

Lee Konitz (born October 13, 1927) is an American jazz composer and alto saxophonist born in Chicago, Illinois.
Generally considered one of the driving forces of Cool Jazz, Konitz has also performed ⋯⋯
successfully in bebop and avant-garde settings. Konitz was one of the few altoists to retain a distinctive sound in the 40s, when Charlie Parker exercised a tremendous influence on other players.
Konitz, like other students of pianist and theoretician Lennie Tristano, was noted for improvising long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Paul Desmond and, especially, Art Pepper were strongly influenced by Konitz.
Konitz's association with the Cool Jazz movement of the 1940s and 50s, includes participation in Miles Davis' epochal Birth of the Cool sessions, and his work with Lennie Tristano came from the same period. During his long career, Konitz has played with musicians from a wide variety of jazz styles.

Contents
1 Life and career
2 Discography
2.1 As leader
2.2 As sideman
3 Television appearances
4 Compositions
5 References
6 Bibliography
7 External links

Life and career
Konitz was born in 1927 in Chicago, Illinois. At age eight Konitz received his first instrument—a clarinet—but later dropped the instrument in favor of the tenor saxophone.
Konitz eventually moved from tenor to alto. His greatest influences at the time were the swing big bands he and his brother listened to on the radio, in particular Benny Goodman. Hearing Goodman on the radio is actually what prodded him to ask for a clarinet. On the saxophone he recalls improvising before ever learning to play any standards.[2]
Konitz began his professional career in 1945 with the Teddy Powell band as a replacement for Charlie Ventura. The engagement apparently did not start out smoothly, as Ventura is said[who?] to have banged his head against a wall when Konitz played.[citation needed] A month later the band parted ways. Between 1945 and 1947 he worked off and on with Jerry Wald. In 1946 he first met pianist Lennie Tristano and worked in a small cocktail bar with him. His next substantial work was done with Claude Thornhill in 1947, with Gil Evans arranging and Gerry Mulligan as a composer in most part.[3][4]
In 1949 he teamed up with the Miles Davis group for one or two weeks and again in 1950 to record Birth of the Cool. The presence of Konitz and other white musicians in the group angered some black jazz players, many of whom were unemployed at the time, but Davis rebuffed their criticisms.[5] Konitz has stated that he considered the group to belong to Gerry Mulligan, and credits Lennie Tristano as the true forebearer of "the cool". His debut as leader also came in 1949, with the release of Subconscious-Lee on Prestige Records. He also turned down an opportunity to work with Benny Goodman that same year—a decision he is on record as regretting.[4]
In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra. In 1961, he recorded Motion with Elvin Jones on drums and Sonny Dallas on bass. This spontaneous session, widely regarded as a classic, consisted entirely of standards. The loose trio format aptly featured Konitz's unorthodox phrasing and chromaticism.
Charlie Parker lent him support on the day Konitz's child was being born in Seattle, Washington with him stuck in New York City. The two were actually good friends, and not the rivals some jazz critics once made them out to be.[2] He has also had problems with his heart which he has received surgery for in the past.[6]
In 1967, Konitz recorded The Lee Konitz Duets, a series of duets with various musicians. The duo configurations were often unusual for the period (saxophone and trombone, two saxophones). The recordings drew on very nearly the entire history of jazz, from Louis Armstrong's "Struttin' With Some Barbecue" with valve trombonist Marshall Brown to two completely free duos: one with a Duke Ellington associate, violinist Ray Nance, and one with guitarist Jim Hall.
Konitz contributed to the film score for Desperate Characters (1971).
Konitz has been quite prolific, recording dozens of albums as a band leader. He has also recorded or performed with Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan, Elvin Jones and others. Amongst his latest recordings are a pair of trio dates with Brad Mehldau and Charlie Haden released on Blue Note as well a live album recorded in 2009 at Birdland and released by ECM in 2011 featuring the same lineup with the addition of drummer Paul Motian.
Konitz has become more experimental as he has grown older, and has released a number of free and avant-garde jazz albums, playing alongside many far younger musicians. He has released albums on contemporary free jazz/improv labels such as hatART, Soul Note, Omnitone and the aforementioned ECM.
He was scheduled to appear at Melbourne's Recital Centre as a key attraction of the 2011 Melbourne International Jazz Festival. However he fell ill causing the last minute cancellation of the performance.
In August 2012 Konitz played to sell-out crowds at The Blue Note in Greenwich Village as part of Enfants Terribles, a collaboration with Bill Frisell, Gary Peacock and Joey Baron.

Discography
As leader
1949–50: With Tristano, Marsh and Bauer (Prestige)
1953: Konitz Meets Mulligan (With Gerry Mulligan and Chet Baker) (Pacific)
1954: Konitz (Storyville)
1954: Jazz At Storyville (Storyville)
1954: In Harvard Square (Storyville)
1954: Lee Konitz With Warne Marsh (Atlantic)
1956: Lee Konitz Featuring Hans Koller, Lars Gullin, Roland Kovac (Swingtime)
1956: Inside Hi-Fi (Atlantic)
1957: Tranquility (Verve)
1957: The Real Lee Konitz (Atlantic)
1958: Very Cool (Verve)
1958: An Image: Lee Konitz with Strings (Verve)
1959: Lee Konitz Meets Jimmy Giuffre (Verve)
1959: You and Lee (Verve)
1961: Motion (Verve)
1965: Trio and Quartet (Magnetic)
1966: Modern Jazz Compositions from Haiti (Impulse!)
1967: The Lee Konitz Duets (Milestone: OJC)
1968: Impressive Rome (CAM)
1968: European Episode (CAM)
1969: Peacemeal (Milestone)
1970: Lee Konitz Sax Duets (Music Minus One)
1971: Spirits (Milestone: OJC)
1974: Jazz A Juan (SteepleChase)
1974: Satori (Milestone: OJC)
1974: Lone-Lee (SteepleChase)
1974: I Concentrate on You (A Tribute to Cole Porter) (SteepleChase)
1975: Warne Marsh Quintet: Jazz Exchange (Storyville))
1975: Hal Galper: Windows (SteepleChase)
1975: Trio: Oleo (Sonet)
1975: Chicago 'n' All That Jazz (Denon: LaserLight)
1976: Lee Konitz Meets Warne Marsh Again (PAUSA)
1976: Figure and Spirit (Progressive)
1977: The Lee Konitz Quintet (Chiaroscuro)
1977: The Lee Konitz Nonet (Chiaroscuro)
1977: Tenorlee (Candid)
1977: Pyramid (Improvising Artists)
1979: Seasons Change (Circle Records (Germany), with Karl Berger)
1979 Nonet: Live at Laren (Soul Note)
1979: Yes, Yes Nonet (Steeple Chase)
1980: Martial Solal: Live at the Berlin Jazz Days (MPS)
1980: Heroes (Verve)
1980: Anti-heroes (Verve)
1982: Toot Sweet (Owl)
1983: Glad, Koonix! (Dragon)
1983: Martial Solal: Star Eyes, Hamburg 1983 (HatOLOGY)
1983: Dovetail (Sunnyside)
1983: Dedicated To Lee: Lee Konitz Plays The Music of Lars Gullin (Dragon)
1983: Art of the Duo (Enja)
1984: Wild as Springtime (GFM)
1986: Quartet: Ideal Scene (Soul Note)
1986: Medium Rare (Label Bleu)
1987: Quartet: The New York Album (Soul Note)
1988: The Space Jazz Trio: Blew (Philology)
1988: Solitudes (Philology)
1989: In Rio (MA)
1989: Konitz in Denmark (Rightone)
1989: Round and Round (Music Masters)
1990: Frank Wunsch Quartet: S'Nice (Nabel)
1990: Zounds (Soul Note)
1990: Once Upon a Line (Musidisc)
1991: Lars Sjosten Quartet: Friends (Dragon)
1991: Lullaby of Birdland (Candid)
1992: The Jazzpar All Star Nonet: Leewise (Storyville)
1992: Jazz Nocturne (Evidence)
1992: Lunasea (Soul Note)
1992: From Newport to Nice (Philology)
1992: Frank-Lee Speaking (West Wind)
1993: Rhapsody (Evidence)
1993: Renato Sellani: Speakin' Lowly, Volume 1 (Philology)
1993: So Many Stars (Philology)
1993: Rhapsody II (Evidence)
1993: Italian Ballads, Volume1 (Philology)
1993: Brazilian Rhapsody (BMG: Music Masters)
1994: Orchestra Il Suono Improvviso: A Venezia (Philology)
1994: Swiss Kiss (TCB)
1995: Haiku (Nabel)
1995: Umberto Petrin: Breaths and Whispers (Homage to Alexandr Skrjabin) (Philology)
1995: John Pl Indreberg: Step Towards a Dream (Odin)
1995: Don Friedman: Attila Zoller: Thingin' (HatOLOGY)
1995: Move (Moon)
1995: Free with Lee(Philology)
1996: Alone Together (Blue Note)
1996: Live at the Manhattan Jazz Club (GAM)
1996: Guarana (AxolOtl Jazz)
1996: Unaccompanied Live in Yokohama (PSF)
1996: Strings for Holiday: A Tribute To Billie Holiday (Enja)
1996: Lee Konitz Meets Don Friedman (Camerata)
1996: It's You (SteepleChase)
1997: Twelve Gershwin in Twelve Keys (Philology)
1997: Out of Nowhere (SteepleChase)
1997: The Frankfurt Concert (West Wind)
1997: Dearly Beloved (SteepleChase)
1997: Body and Soul (Camerata)
1998: Saxophone Dreams (Koch)
1998: Inside Cole Porter (Philology)
1998: L'Age Mur (Philology)
1998: Tender Lee (for Chet) (Philology)
1998: Self Portrait (Philology)
1998: Dialogues (Challenge)
1999: Dig-It (SteepleChase)
1999: Three Guys (Enja)
1999: Trio: Another Shade of Blue (Blue Note)
2000: The Axis Quartet: Play French Impressionist Music from the Turn of the Twentieth Century (Palmetto)
2000: rich Perry: RichLee! (SteepleChase)
2000 Quartet: Sound of Surprise (RCA Victor)
2000: Pride (SteepleChase)
2001: Franco D'Andrea: Inside Rodgers (Philology)
2001: Renato Sellani: Minority, Volume 2: All The Way (The Soft Ways) (Philology)
2001 Trio: Some New Stuff (DIW)
2001 Quintet: Parallels (Chesky)
2002: Matt Wilson: Gong with Wind Suite (Steeplechase)
2002: Irio De Paula: Duas Contas (Philology)
2002: Barbara Casini: Outra Vez (Philology)
2002: At the New Mississippi Jazz Club (Philology)
2003: Live-Lee (Milestone)
2003: Stephano Bollani: Suite for Paolo (Philology)
2003: Kenny Werner: Unleemited (Owl)
2003: A Day in Florence (Philology)
2004: BargaLee (Philology)
2004: Sound-Lee (Membran International)
2004: One Day With Lee (Capri)
2006: Ohad Talmor String Project: Inventions(OmniTone)
2006: New Nonet (directed by Ohad Talmor) (OmniTone)
2007: Riccardo Arrighini: The Soprano Sax Album: Standards (Philology)
2007: Brian Dickenson: The Glen Gould Session (Philology)
2007: Ohad Talmor Big Band: Portology(featuring the Orquestra Jazz de Matosinhos) (OmniTone)
2008: Lee Konitz & Minsarah: Deep Lee (Featuring Jeff Denson, Florian weber, Ziv Ravitz) (ENJA)
2009: Lee Konitz / Dan Tepfer: Duos with Lee (Sunnyside)
2009: Lee Konitz New quartet: Live at the village Vanguard (Featuring Jeff Denson, Florian weber, Ziv Ravitz) (ENJA)
2011: Lee Konitz/Brad Mehldau/Charlie Haden/Paul Motian: Live at Birdland (ECM)
[edit]As sideman
With Stan Kenton
City Of Glass
This Modern World
New Concepts Of Artistry In Rhythm
Sketches On Standards
Portraits On Standards
Kenton Showcase
With Gerry Mulligan
Lee Konitz And The Gerry Mulligan Quartet
Lee Konitz Plays With The Gerry Mulligan Quartet
With Miles Davis
Birth of the Cool (1949)
Miles Ahead (1957)
With Bill Evans
Crosscurrents (1977)
With Gil Evans
Gil Evans & Ten (1957)
With Max Roach
It's Christmas Again (Soul Note, 1984)
With Lennie Tristano
Lennie Tristano (1956)
With Jakob Bro
Balladeering (Loveland Records, 2009)
Time (Loveland Records, 2011)
With others
1947 – Claude Thornhill and His Orchestra: The Uncollected Claude Thornhill and His Orchestra (Hindsight)
1949 – Lennie Tristano/Warne Marsh: Intuition (Capitol)
1968 – Attila Zoller: Zo-Ko-Ma (MPS Records)
1972 – Charles Mingus: Charles Mingus and Friends in Concert (Columbia)
2006 – Francois Théberge: Soliloque (Effendi Records)
2011 - Marcel·lí Bayer: Nonitz featuring Lee Konitz (Quadrant Records)
With Arkadia Jazz All Stars
Thank You, Gerry!
With Kenny Wheeler
Angel Song

Television appearances
SOLOS: The Jazz Sessions[7] (2004)
Weightless - a recording session with Jakob Bro (2009)
Public television series in the late 50"s with Warne Marsh,Billy Taylor, Bill Evans,Mundell Lowe and others.

Compositions
Lee Konitz's compositions included "Subconscious-Lee", "Thingin'", "Sound-Lee", "Palo Alto", "Kary's Trance", "Riffin'", "Self Portrait in Blues", "Back and Forth", "Figure and Spirit", "Ice Cream Konitz", "Dream Stepper", "Without You Man", "Rebecca", "Mr. 88", "Hi Beck", "Tautology", "Sax of a Kind", "Progression", and "Gundula".

References
^ Hamilton, p. 2
^ a b Robinson, Michael. "An interview with Lee Konitz". Archived from the original on 2011-07-20. Retrieved 2007-05-31.
^ Hamilton, p. 265
^ a b Gordon, Jack "Lee Kontiz", Jazz Journal December 1998, pp. 6–8
^ "So I just told them that if a guy could play as good as Lee Konitz played—that's who they were mad about most, because there were a lot of black alto players around—I would hire him every time, and I wouldn't give a damn if he was green with red breath. I'm hiring a motherfucker to play, not for what color he is." Miles Davis, Autobiography
^ Jung, Fred. "A Fireside Chat With Lee Konitz". Retrieved 2007-05-31.
^ Lee Konitz. Solosjazz.com. Retrieved on 2012-06-29.

Bibliography
Hamilton, Andy and Konitz, Lee (2007) Lee Konitz: Conversations on the Improviser's Art, University of Michigan Press, ISBN 0472032178. Crafted out of numerous interviews between the author and his subject, the book describes Konitz’s life and music.

External linksl
A 1985 interview
Lee Konitz: 12 Memorable Duets by Thierry Quénum (Jazz.com)
Lee Konitz Trio: Live At The Village Vanguard by NPR

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Oct 16 Tue 2012 07:37
爵士音樂史上，一百位最偉大的爵士大師，排行榜 No.61 Stan Kenton

爵士音樂史上，一百位最偉大的爵士大師，排行榜
No.61 Stan Kenton

Stanley Newcomb "Stan" Kenton (December 15, 1911 – August 25, 1979)[1] was a pianist, composer, and arranger who led an innovative, influential, and often controversial American jazz orchestra. In l

ater years he was active as an educator.

Contents
1 Early life
2 Career
3 Later years
4 Criticism
5 Legacy
6 Noted band personnel
7 Discography
7.1 Studio albums
7.2 Live albums
7.3 Compilations
8 Notes
9 References
10 External links

Early life
Stan Kenton was born in Wichita, Kansas, and raised first in Colorado, then in California. He learned piano as a child, and while still a teenager toured with various bands. He attended Bell High School, in Bell, California, where he graduated in 1930. In June 1941 he formed his own band, which developed into one of the best-known West Coast ensembles of the 1940s. In the mid-1940s, Kenton's band and style became known as "The Wall of Sound", a tag later used by Phil Spector.

Career
Kenton played in the 1930s in the dance bands of Vido Musso and Gus Arnheim, but his natural inclination was as a band leader. In 1941 he formed his first orchestra, which later was named after his theme song "Artistry in Rhythm". A competent pianist, influenced by Earl Hines, Kenton was much more important in the early days as an arranger and inspiration for his loyal sidemen. Although there were no major names in his first band (bassist Howard Rumsey and trumpeter Chico Alvarez come the closest), Kenton spent the summer of 1941 playing regularly before a very appreciative audience at the Rendezvous Ballroom in Balboa Beach, CA. Influenced by Jimmie Lunceford (who, like Kenton, enjoyed high-note trumpeters and thick-toned tenors), the Stan Kenton Orchestra struggled a bit after its initial success. Its Decca recordings were not big sellers and a stint as Bob Hope's backup radio band was an unhappy experience; Les Brown permanently took Kenton's place.

Stan Kenton with Eddie Safranski, 1947 or 1948
By late 1943 with a Capitol Records contract, a popular record in "Eager Beaver", and growing recognition, the Stan Kenton Orchestra was gradually catching on. Its soloists during the war years included Art Pepper, briefly Stan Getz, altoist Boots Mussulli, and singer Anita O'Day. By 1945 the band had evolved quite a bit. Pete Rugolo became the chief arranger (extending Kenton's ideas), Bob Cooper and Vido Musso offered very different tenor styles, and June Christy was Kenton's new singer; her hits (including "Tampico" and "Across the Alley From the Alamo") made it possible for Kenton to finance his more ambitious projects. A popular recording of "Laura" was made, the theme song from the film Laura (starring actress Gene Tierney), and featured the voices of the band.
Calling his music "progressive jazz," Kenton sought to lead a concert orchestra as opposed to a dance band at a time when most big bands were starting to break up. By 1947 Kai Winding was greatly influencing the sound of Kenton's trombonists, the trumpet section included such screamers as Buddy Childers, Ray Wetzel, and Al Porcino, Jack Costanzo's bongos were bringing Latin rhythms into Kenton's sound, and a riotous version of "The Peanut Vendor" contrasted with the somber "Elegy for Alto". Kenton had succeeded in forming a radical and very original band that gained its own audience.
In 1949 Kenton took a year off. In 1950 he put together his most advanced band, the 39-piece Innovations in Modern Music Orchestra that included 16 strings, a woodwind section, and two French horns. Its music ranged from the unique and very dense modern classical charts of Bob Graettinger to works that somehow swung despite the weight. Such major players as Maynard Ferguson (whose high-note acrobatics set new standards), Shorty Rogers, Milt Bernhart, John Graas, Art Pepper, Bud Shank, Bob Cooper, Laurindo Almeida, Shelly Manne, and June Christy were part of this remarkable project, but from a commercial standpoint, it was really impossible. Kenton managed two tours during 1950-1951 but soon reverted to his usual 19-piece lineup.
Then quite unexpectedly, Kenton went through a swinging period. The charts of such arrangers as Shorty Rogers, Gene Roland, Gerry Mulligan, Marty Paich, Johnny Richards, and particularly Bill Holman and Bill Russo began to dominate the repertoire. Such talented players (in addition to the ones already named) as Lee Konitz, Conte Candoli, Sal Salvador, Stan Levey, Frank Rosolino, Richie Kamuca, Zoot Sims, Sam Noto, Bill Perkins, Charlie Mariano, Mel Lewis, Pete Candoli, Lucky Thompson, Carl Fontana, Pepper Adams, and Jack Sheldon made strong contributions. The music was never predictable and could get quite bombastic, but it managed to swing while still keeping the Kenton sound.

Later years
Stan Kenton in Munich, September 25, 1973
Kenton's last successful experiment was his mellophonium band of 1960-1963. Despite the difficulties in keeping the four mellophoniums (which formed their own separate section) in tune, this particular Kenton orchestra had its exciting moments; the albums "Adventures in Jazz" and "West Side Story" (arrangements by Johnny Richards) each won Grammy awards in 1962 and 1963. Kenton Plays Wagner (1964) was an important project, produced in concert with his interests in jazz education and encouraging big band music in high schools and colleges instructing what he called "progressive jazz." Stan knew what he had in the body of work that was The Stan Kenton Orchestra and in the remainder of his life and career, he took on the challenge of ensuring his legacy that was Progressive Jazz.
In the early 1970s Kenton split from his long-time association with Capitol Records and formed his own label, "The Creative World of Stan Kenton". Recordings produced during the 1970s on this new label included several "live" concerts at various universities and are a testament to his devotion to education. In addition, Kenton made his charts available to college and high-school stage bands. When Kenton took to the road during the early 70's and up to his last tour, he took with him seasoned veteran musicians (Willie Maiden, Warren Gale, Graham Ellis and others) teaming them with relatively unknown young artists to mentor America's youth and take advantage of the unchecked energy in those young players while at the same time preserving the legacy of his work as an active art form. New Kenton arrangements (including those by Hank Levy, Bill Holman, Bob Curnow, Willie Maiden and Ken Hanna) expanded the creative foundation that nurtured original musical exploration by these younger artists long after Gabe Baltazar's "graduation" in 1965. Many alumni became educators and itinerate clinicians caught up in the art of inspiring younger players (Mike Vax, The Baron Jon Von Ohlen, Chuck Carter, and Richard Torres). A few went on to take their musical careers to the next level (Peter Erskine, Dick Shearer) and beyond.
Jack Sandmeier, Road Manager during these years, tells the story of an unusual meeting in a hotel lobby lounge between Woody Herman and Kenton. Unusual because they both toured more than fifty (50) weeks a year "one-nighters," in order to keep their respective bands on the road, they hardly ever met. In discussing a chronically late band member, Herman said to Kenton..."Fire his ass, there's thousands of them and only two of us."[3][4]
He had a skull fracture from a fall in 1977 while on tour in Reading, PA. He entered Midway Hospital on August 17, 1979 after a stroke and later died.

Criticism
In 1956, when the band returned from its European trip, the Critics Poll in Down Beat reflected victories by black musicians in virtually every category. The Kenton band was playing in Ontario, Canada, at the time, and Kenton dispatched a telegram which lamented "a new minority, white jazz musicians," and stated his "disgust [with the so-called] literary geniuses of jazz." Jazz critic Leonard Feather, alone of all the critics, responded in the October 3, 1956, issue with an open letter which questioned Kenton's racial views. Feather implied that Kenton's failure to win the Critics Poll was probably the real reason for the complaint, and wondered if racial prejudice was involved.
Fellow DownBeat critic Ralph J. Gleason wrote that Feather's verdict was passed on Kenton "...without, unfortunately, any real forethought or public statement from the only musicians really in a position to know.”[6] Jazz writer Jack McKinney stated that the night Kenton wrote the telegram, there were two African-Americans trombonists touring with him.[7] Previous to Feather's letter, in the December 16, 1953, issue of Down Beat, critic Nat Hentoff had written that ". . . Stan is as free from prejudice of any kind as any man I know."
Feather's allegation of prejudice ignored Kenton's well-known close friendships with Duke Ellington and Count Basie.[8] In July to September, 1955, the year before Feather's letter, Kenton hosted the CBS summer replacement, Music 55, for which he invited Duke Ellington, Ella Fitzgerald, Lena Horne, Louis Jordan, Cab Calloway, and many other African-American artists to participate.[9] He toured with Basie and his Orchestra in Fall, 1960, and released a single with the Nat King Cole Trio in 1962 that included Orange Colored Sky.
McKinney wrote further, in 1965, that "All points [of the Feather letter] except the last were based on conjecture, and events preceding and following Feather's complaint have shown how ridiculous they were." He further pointed out that many budding African-American jazz musicians, such as Art Tatum and Charlie Parker, were given more exposure on Kenton-sponsored tours than elsewhere.[7] One Kenton band member, trumpeter Donald Byrd, in discussing Kenton's hands-on college and university music program, said, "My experience with the Stan Kenton clinic at the National Band Camp has left me in complete ecstasy ... The camp was interracial, both in the teaching faculty and the student body..."[7]
Feather himself realized his error, and in August, 1960, apologized for the letter he then claimed was a "result of sorrow."[6] Kenton later lamented of Feather's apology, "I think it was on the back page of the Pittsburg Inquirer."[7] Kenton reportedly felt that Feather had created a great ill feeling toward him by African-American musicians, and no matter how apologetic Feather would be, much of that "prejudice-in-reverse" would remain.

Legacy
Kenton was a salient figure on the American musical scene and made an indelible mark on the arranged type of big band jazz. Kenton's music evolved with the times throughout the 1960s and 1970s, and although he was no longer considered a contemporary innovator, he promoted jazz and jazz improvisation through his service as an educator. The "Kenton Style" continues to permeate big bands at the high school and collegiate level, and the framework he designed for the "jazz clinic" is still widely in use today.
His music has experienced a resurgence in interest, with later critical "rediscovery" of his music and many reissues of his recordings. An alumni band tours to this day, led by lead trumpeter Mike Vax, which performs not only classic Kenton arrangements, but also new music written and performed in the Kenton style.
Kenton donated his entire library to the music department of North Texas State University[10] (now the University of North Texas), and the Stan Kenton Jazz Recital Hall is named in his honor. His arrangements are now published by Sierra Music Publications.[11]
Kenton continued leading and touring with his big band up to his final performance in August 1978. He suffered a stroke in August 1979. Kenton did not recover and died on August 25, 1979. He was interred in the Westwood Village Memorial Park Cemetery, Los Angeles.
The complex machinations of Kenton's private life have recently been disclosed in the 2010 memoir "Love Affair", written by his daughter Leslie Kenton.[12] She describes her experience of life within the Kenton family and discloses secrets, including the incestuous relationship she had with her talented and celebrated, yet self-doubting and frequently troubled, alcoholic father.

Noted band personnel
Instrumentalists
Pepper Adams
Sam Aleccia
Ashley Alexander
Laurindo Almeida
Alfred "Chico" Alvarez
Jim Amlotte
Buddy Arnold
Don Bagley
Gabe Baltazar
Michael Bard
Dave Barduhn
Gary Barone
Dee Barton
Tim Bell
Milt Bernhart
Bud Brisbois
Ray Brown
Bob Burgess
Tony Campise
Frank Capp
Conte Candoli
Pete Candoli
Fred Carter
Billy Catalano
Bill Chase
Buddy Childers
Bob Cooper
Jack Costanzo
Curtis Counce
Bob Curnow
Vinnie Dean
Jay Daversa
Don Dennis
Sam Donahue
Peter Erskine
Maynard Ferguson
Mary Fettig
Bob Fitzpatrick
Dr. William "Bill" Fritz
Carl Fontana
Stan Getz
Bob Gioga
John Graas
John Harner
Dennis Hayslett
Skeets Herfurt
Bill Holman
Marv "Doc" Holladay
Clay Jenkins
Richie Kamuca
Red Kelly
Jimmy Knepper
Lee Konitz
Jack Lake
Keith LaMotte
Kent Larsen
Skip Layton
Archie LeCoque
Stan Levey
Mel Lewis
Willie Maiden
Shelly Manne
Charlie Mariano
Al Mattaliano
Jerry McKenzie
Dick Meldonian
Greg Metcalf
Vido Musso
Boots Mussulli
Lennie Niehaus
Dennis Noday
Sam Noto
Lloyd Otto
John Park
Kim Park
Art Pepper
Bill Perkins
Al Porcino
Mike Price
Doug Purviance
Ray Reed
Clyde Reisinger
Kim Richmond
George Roberts
Gene Roland
Frank Rosolino
Shorty Rogers
Ernie Royal
Howard Rumsey
Bill Russo
Eddie Safranski
Sal Salvador
Carl Saunders
Jay Saunders
Dave Schildkraut
Bud Shank
Dick Shearer
Jack Sheldon
Kenny Shroyer
Gene Siegel
Zoot Sims
Dalton Smith
Mike Snustead
Ed Soph
Lloyd Spoon
Marvin Stamm
Ray Starling
Vinnie Tano
Lucky Thompson
Richard Torres
Bill Trujillo
Jeff Uusitalo
David van Kriedt
Bart Varsalona
Mike Vax
John Von Ohlen
Ray Wetzel
Rick Weathersby
Jiggs Whigham
Stu Williamson
Kai Winding
Composers and arrangers
Manny Albam
Dave Barduhn
Dee Barton
Ralph Carmichael
Joe Coccia
Bob Curnow
Dennis Farnon
Bob Graettinger
Ken Hanna
Neal Hefti
Bill Holman
Hank Levy
Willie Maiden
Franklyn Marks
W. A. Mathieu (Bill)
Gerry Mulligan
Lennie Niehaus
Chico O'Farrill
Marty Paich
Johnny Richards
Pete Rugolo
Bill Russo
Vocalists
Anita O'Day
June Christy
Chris Connor
Jean Turner
Jerri Winters
Ann Richards

Discography
This section requires expansion. (December 2009)

"Machito", Capitol Records 78, No. 408, 1947.

Studio albums
Stan Kenton And His Orchestra - McGregor #LP201 (1941)
The Formative Years - Decca No. 589 489-2 (1941–1942)
Stan Kenton Encores - Capitol No. 155 (various early years)
Stan Kenton's Artistry In Rhythm - Capitol No. 167 ('45-'48)
Opus In Pastels - Jazz Roots (1945–1952)
A Presentation Of Progressive Jazz - Capitol #T172 (1947)
Innovations In Modern Music - Capitol No. 189 (1-30-1950)
Stan Kenton's Milesones - Capitol #T190 (thru 1950)
Stan Kenton Presents - Capitol No. 248 (1950)
City Of Glass (Stan Kenton recording) - Capitol #H353 (1951)
Stan Kenton Classics - Capitol No. 358 (various years)
New Concepts of Artistry in Rhythm - Capitol 383 (1952)
Stan Kenton's Greatest Hits (orig.recordings) - Capitol No. 398 (1943–1951)
Sketches On Standards- Capitol No. 426 (1953)
This Modern World- Capitol No. 460 (1953)
Portraits On Standards - Capitol No. 462 (1953)
Kenton Showcase: The Music of Bill Holman And Bill Russo - Capitol #W524 (1954)
The Kenton Era - Capitol #WDX569 (1940–1953)
Duet (June Christy) - Capitol No. 656 (1955)
Contemporary Concepts - Capitol No. 666 (1955)
Kenton In HI-FI - Capitol No. 724 (1956)
Cuban Fire! - Capitol No. 731 (1956)
City Of Glass And This Modern World - Capitol No. 736 (various years)
With Voices - Capitol No. 810 (1957)
Rendezvous With Kenton - Capitol No. 932 (1957)
Back To Balboa - Capitol No. 995 (1958)
The Ballad Style Of Stan Kenton - Capitol No. 1068 (1958)
Lush Interlude - Capitol No. 1130 (1958)
The Stage Door Swings - Capitol No. 1166 (1958)
The Kenton Touch - Capitol No. 1276 (1958)
Viva Kenton - Capitol No. 1305 (1959)
Standards In Silhouette - Capitol No. 1394 (1959)
Too Much (with Ann Richards) - Capitol No. 1495 (1960)
Sophisticated Approach - Capitol No. 1674 (1961)
The Romantic Approach - Capitol No. 1533 (1961)
A Merry Christmas - Capitol No. 1621 (1961)
West Side Story - Capitol No. 1609 (1961)
Adventures In Blues - Capitol No. 1985 (1961)
Adventures In Jazz - Capitol No. 1796 (1961)
Adventures In Standards - (1961)
Stan Kenton Plays 18 Original Big-Band Recordings - Hindsight #HCD=407
Mellophonium Magic - Status #CD103 (1962)
Mellophonium Moods - Status #STCD106 (1962)
Adventures In Time - Capitol No. 1844 (1962)
Stan Kenton - Tex Ritter - Capitol No. 1757 (1962)
Artistry In Bossa Nova - Capitol No. 1931 (1963)
Kenton/Turner - Capitol No. 2051 (1963)
Artistry In Voices And Brass - Capitol No. 2132 (1963)
Kenton/Wagner - Capitol No. 2217 (1964)
Stan Kenton Conducts The Los Angeles Neophonic Orchestra - Capitol No. 2424 (1965-1966)
Stan Kenton Plays For Today - Capitol No. 2655 (1966-1967)
The World We Know - Capitol No. 2810
The Jazz Compositions Of Dee Barton - Capitol No. 2932 (1967)
Hair - Capitol #ST305 (1968)
Finian's Rainbow - Capitol No. 2971 (1968)
Today: Recorded Live In London - London #B944179-80 (1972)
National Anthems Of The World - Creative World No. 1060
Birthday In Britain - Creative World No. 1065 (1973)
7.5 On The Richter Scale - Creative World No. 1070 (1973)
Kenton Plays Chicago - Creative World No. 1072 (1974)
Fire, Fury and Fun - Creative World No. 1073 (1974)
Kenton '76 - Creative World No. 1076 (1976)
Journey Into Capricorn - Creative World No. 1077 (1976)
Some Women I've Known - Creative World No. 1029
Stan Kenton Without His Orchestra (solo) - Creative World No. 1071
Street Of Dreams - Creative World No. 1079

Live albums
Stan Kenton Stompin' At Newport - Pablo #PACD-5312-2 (1957)
Road Show, Stan Kenton, June Christy, The Four Freshmen - Capitol #TBO1327 (1959)
Kenton Live From The Las Vegas Tropicana - Capitol No. 1460 (1959)
Stan Kenton at Ukiah - Status #STCD109 (1959)
Stan Kenton In New Jersey - Status #USCD104 (1959)
Live at Redlands University (1970)
Live at Brigham Young (1971)
Stan Kenton Today - Live In London - London/Creative World #BP 44179-80 (1972)
Live at Butler University (1973)
Live in Europe (1976)

Compilations
The Kenton Era - Capitol #WDX569 (1940–1953)
Stan Kenton On AFRS - Status DSTS1019 (1944-1945)
One Night Stand - Magic #DAWE66 (1961–1962)
The Complete Capitol Recordings Of The Holman And Russo Charts (Mosaic)
The Complete Capitol Recordings (Mosaic)
The Peanut Vendor
The Jazz Compositions Of Stan Kenton - Creative World #ST1078 (1945–1973)

Notes
^ Sparke, Michael (2010). Stan Kenton: This Is An Orchestra!. Denton, Texas: University of North Texas Press. p. 1. ISBN 978-1-57441-284-0. Retrieved February 2012.
^ a b c d e f allmusic Biography
^ Interview with Jack Sandmeier, June 7, 2009
^ Jack Sandmeier's unpublished memoir "Where's the Bus"
^ "Stan Kenton, Band Leader, Dies; Was Center of Jazz Controversies". New York Times. August 27, 1979. Retrieved 2009-02-19. "Stan Kenton, the band leader, died Saturday night in a Hollywood hospital. He was 67 years old. Mr. Kenton entered Midway Hospital on Aug. 17 after a stroke. His manager, Audrey Coke, said Mr. Kenton had never fully recovered from a skull fracture he suffered in a fall two years ago."
^ a b http://www.allaboutjazz.com/php/musician.php?id=8330
^ a b c dhttp://www.jazzprofessional.com/interviews/kenton%20story.htm
^ Arganian, Lillian (1989) Stan Kenton: The Man and His Music. Artistry Press. ISBN 978-0-9621116-0-0
^ http://www.imdb.com/title/tt0047759
^ http://www.library.unt.edu/music/special-collections/kentonlibrary.unt.edu
^http://www.Sierramusicstore.com/Stan_Kenton_Orchestra_s/52.htm
^ Kenton, Leslie. Love Affair: The memoir of a forbidden father-daughter relationship, Random House, 2010

References
Easton, Carol (1981). Straight Ahead: The Story of Stan Kenton. Da Capo. ISBN 978-0-306-80152-5.
Lee, William F. (1994). Stan Kenton: Artistry in Rhythm. Los Angeles: Creative Press. ISBN 978-0-89745-993-8.
Sparke, Michael (2011). Stan Kenton: This Is an Orchestra!. North Texas Lives of Musicians Series. University of North Texas Press. ISBN 978-1-57441-325-0.

External links
Wikimedia Commons has media related to: Stan Kenton
Bell High School Alumni Page for Stan Kenton
Article on Stan Kenton's Mellophonium Band
An Interview with Jo Lea Starling, wife of Ray Starling
An Interview with Tony Scodwell, Stan Kenton Mellophoniumist
The Stan Kenton Collection at the University of North Texas
Stan Kenton's music published by Sierra Music Publications

From Wikipedia, the free encyclopedia
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Stan Kenton - The Peanut Vendor: http://youtu.be/1_okd-n42p0

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Oct 15 Mon 2012 07:49
爵士音樂史上，一百位最偉大的爵士大師，排行榜 No.62 Chet Baker

爵士音樂史上，一百位最偉大的爵士大師，排行榜
No.62 Chet Baker

Chesney Henry "Chet" Baker, Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter, flugelhornist and singer.
In the 1950s, Baker earned much attention and critical praise, particularl⋯⋯
y for albums featuring his vocals, such as Chet Baker Sings. Jazz historian David Gelly described the promise of Baker's early career as seemingly representing "James Dean, Sinatra, and Bix, rolled into one.However, his "well-publicized drug habit also drove his notoriety and fame, as Baker was in and out of jail for much of his life, before enjoying a career resurgence in the late 1970s and '80s.

Contents
1 Biography
1.1 Early days
1.2 Career breakthrough
1.3 Drug addiction and decline
1.4 Comeback and later career
2 Death
3 Legacy
4 Honors
5 Discography
6 References
7 External links

Biography
Early days
Baker was born and raised in a musical household in Yale, Oklahoma; his father was a professional guitar player. Baker began his musical career singing in a church choir. His father introduced him to brass instruments with a trombone, which was replaced with a trumpet when the trombone proved too large.
Baker received some musical education at Glendale Junior High School, but left school at age 16 in 1946 to join the United States Army. He was posted to Berlin where he joined the 298th Army band. Leaving the army in 1948, he studied theory and harmony at El Camino College in Los Angeles. He dropped out in his second year, however, re-enlisting in the army in 1950. Baker became a member of the Sixth Army Band at the Presidio in San Francisco, but was soon spending time in San Francisco jazz clubs such as Bop City and the Black Hawk. Baker once again obtained a discharge from the army to pursue a career as a professional musician.

Career breakthrough
Baker's earliest notable professional gigs were with saxophonist Vido Musso's band, and also with tenor saxophonist Stan Getz, though he earned much more renown in 1951 when he was chosen by Charlie Parker to play with him for a series of West Coast engagements.[5]
In 1952, Baker joined the Gerry Mulligan Quartet, which was an instant phenomenon. Several things made the Mulligan/Baker group special, the most prominent being the interplay between Mulligan's baritone sax and Baker's trumpet. Rather than playing identical melody lines in unison like bebop giants Charlie Parker and Dizzy Gillespie, the two would complement each other's playing with contrapuntal touches, and it often seemed as if they had telepathy in anticipating what the other was going to play next. The Quartet's version of "My Funny Valentine", featuring a memorable Baker solo, was a major hit, and became a song with which Baker was intimately associated.
The Quartet found success quickly, but lasted less than a year because of Mulligan's arrest and imprisonment on drug charges. In 1956, Pacific Jazz released Chet Baker Sings, a record that increased his profile but alienated traditional jazz fans; he would continue to sing throughout his career. Baker formed quartets with Russ Freeman in 1953-54 with bassists Carson Smith, Joe Mondragon, and Jimmy Bond and drummers Shelly Manne, Larry Bunker, and Bob Neel. The quartet was successful in their three live sets in 1954. In that year, Baker won the Downbeat Jazz Poll. Because of his chiseled features, Hollywood studios approached Baker and he made his acting debut in the film Hell's Horizon, released in the fall of 1955. He declined an offer of a studio contract, preferring life on the road as a musician. Over the next few years, Baker fronted his own combos, including a 1955 quintet featuring Francy Boland, where Baker combined playing trumpet and singing. He became an icon of the West Coast "cool school" of jazz, helped by his good looks and singing talent. Baker's 1956 recording, released for the first time in its entirety in 1989 as The Route, with Art Pepper helped further the West Coast jazz sound and became a staple of cool jazz.
[edit]Drug addiction and decline
Baker began using heroin in the 1950s, resulting in an addiction that stayed for the remainder of his life. At times, Baker pawned his instruments for money to maintain his drug habit. In the early 1960s, he served more than a year in prison in Italy on drug charges; he was later expelled from both West Germany and the UK for drug-related offenses. Baker was eventually deported from West Germany to the United States after running afoul of the law there a second time. He settled in Milpitas in northern California where he played in San Jose and San Francisco between short jail terms served for prescription fraud.[6]
In 1968, Baker was savagely beaten (allegedly while attempting to buy drugs) after a gig in San Francisco, sustaining severe cuts on the lips and broken front teeth, which ruined his embouchure. He stated in the film Let's Get Lost that an acquaintance attempted to rob him one night but backed off, only to return the next night with a group of several men who chased him. He landed finally in a car where he was surrounded. Instead of rescuing him, the people inside the car pushed him back out onto the street where the chase by his attackers continued, and subsequently, he was beaten to the point that his teeth, never in good condition to begin with, were knocked out, leaving him without the ability to play his horn. He took odd jobs, among them pumping gas. Meanwhile he was fitted for dentures and worked on his embouchure. Three months later he got a gig in New York.
Between 1966 and 1974, Baker mostly played flugelhorn and recorded music that could mostly be classified as West Coast jazz.

Comeback and later career
After developing a new embouchure resulting from dentures, Baker returned to the straight-ahead jazz that began his career, relocating to New York City and began performing and recording again, notably with guitarist Jim Hall. Later in the seventies, Baker returned to Europe where he was assisted by his friend Diane Vavra, who took care of his personal needs and otherwise helped him during his recording and performance dates.
From 1978 until his death in 1988, Baker resided and played almost exclusively in Europe, returning to the USA roughly once per year for a few performance dates. This was Baker's most prolific era as a recording artist. However, as his extensive output is strewn across numerous, mostly small European labels, none of these recordings ever reached a wider audience, even though many of them were well received by critics, who maintain that the period was one of Baker's most mature and rewarding. Of particular importance are Baker's quartet featuring the pianist Phil Markowitz (1978–80) and his trio with guitarist Philip Catherine and bassist Jean-Louis Rassinfosse (1983–85). He also toured with saxophonist Stan Getz during this period.
In 1983, British singer Elvis Costello, a longtime fan of Baker, hired the trumpeter to play a solo on his song "Shipbuilding", from the album Punch the Clock. The song was a top 40 hit in the UK, and exposed Baker's music to a new audience. Later, Baker often featured Costello's song "Almost Blue" (inspired by Baker's version of "The Thrill Is Gone") in his live sets, and recorded the song on Let's Get Lost, a documentary film about his life.
The video material recorded by Japanese television during Baker's 1987 tour in Japan showed a man whose face looked much older than he was; but his trumpet playing was alert, lively and inspired. Fans and critics alike agree that the live album Chet Baker in Tokyo, recorded less than a year before his death and released posthumously, ranks among Baker's very best. "Silent Nights", another critically acclaimed release, and Baker's only recording of Christmas music, was recorded with Christopher Mason in New Orleans in 1986 and released in 1987.
Chet Baker's compositions included "Chetty's Lullaby", "Freeway", "Early Morning Mood", "Two a Day", "So Che Ti Perderò" ("I Know I Will Lose You"), "Il Mio Domani" ("My Tomorrow"), "Motivo Su Raggio Di Luna" ("Tune on a Moon Beam"), "The Route", "Skidadidlin'", "New Morning Blues", "Blue Gilles", "Dessert", and "Anticipated Blues".

Death
At about 3 am on May 13, 1988, Baker was found dead on Prins Hendrikkade, near Zeedijk, on the street below his second-story room (Room 210) of Hotel Prins Hendrik in Amsterdam, Netherlands, with serious wounds to his head. Heroin and cocaine were found in his hotel room, and an autopsy also found these drugs in his body. There was no evidence of a struggle, and the death was ruled an accident.
Baker's body was brought home for interment in the Inglewood Park Cemetery in Inglewood, California, USA. A plaque outside the Hotel Prins Hendrik now memorializes him.

Legacy
Plaque in Amsterdam
Jeroen de Valk has written a biography of Baker which is available in several languages: Chet Baker: His Life and Music is the English translation, Chet Baker: Herinneringen aan een lyrisch trompettist (remembrances of a lyrical trumpet player) is the Dutch edition (updated and expanded in 2007),[7] and it is also published in Japan and Germany. James Gavin has also written a biography: Deep In A Dream — The Long Night of Chet Baker. Baker's "lost memoirs" are available in the book As Though I Had Wings, which includes an introduction by Carol Baker.[6]
Baker was immortalized by the photographer William Claxton in his book Young Chet: The Young Chet Baker. An Academy Award-nominated 1988 documentary about Baker, Let's Get Lost, portrays him as a cultural icon of the 1950s, but juxtaposes this with his later image as a drug addict. The film, directed by fashion photographer Bruce Weber, was shot in black-and-white and includes a series of interviews with friends, family (including his three children by third wife Carol Baker), associates and women friends, interspersed with film from Baker's earlier life, and with interviews with Baker from his last years.
Time after Time: The Chet Baker Project, written by playwright James O'Reilly, toured Canada in 2001 to much acclaim.[8] The musical play Chet Baker - Speedball, explores aspects of his life and music, and was premiered in London at the Oval House Theatre in February 2007, with further development of the script and performances leading to its revival at the 606 Club in the London Jazz Festival of November 2007.
Baker was reportedly the inspiration for the character Chad Bixby, played by Robert Wagner in the 1960 film All the Fine Young Cannibals. Another film, to be titled Prince of Cool, about Baker's life, was cancelled as of January 2008.[9]
In 1991, singer/songwriter David Wilcox recorded the song "Chet Baker's Unsung Swan Song" on his album "Home Again," speculating what might have been Baker's last thoughts before falling to his death. The song was later covered by k.d. lang as "My Old Addiction" on her 1997 album Drag.
The song "Chet Baker", which appears on the 2007 CD Wally Page and Johnny Mulhern: Live at the Annesley House, by Irish folk singer-songwriter Wally Page, describes the end of Baker's life in Amsterdam.

Honors
In 1987 he was inducted into the Big Band and Jazz Hall of Fame.
In 1989 he was elected to Down Beat Jazz Hall of Fame by that magazine's Critics Poll.
In 1991 he was inducted into the Oklahoma Jazz Hall of Fame.
In 2005 Oklahoma Governor Brad Henry and the Oklahoma House of Representatives proclaimed July 2 as “Chet Baker Day”.
In 2007 Mayor of the City of Tulsa Kathy Taylor proclaimed December 23 as “Chet Baker Day”.

Discography
Main article: Chet Baker discography

References
^ Chet Baker Discography at jazzdisco.org
^ Allmusic.com
^ Gelly, David, Icons of Jazz: A History In Photographs, 1900-2000, San Diego, Ca: Thunder Bay Books, 2000, ISBN 1-57145-268-0
^ Hip, the history By John Leland. Harper Collins. p. 265
^ Gordon, R.: Jazz West Coast, page 72. Quartet Books, 1986.
^ a b c Allmusic Biography
^ Jeroendevalk.nl
^ Time after time: The Chet Baker project. (Review) (theater review) | Variety | Find Articles at BNET.com
^ MTV Movies Blog » Josh Hartnett Won’t Be Getting Jazzed For ‘Cool’ Chet Baker Flick

External links
Wikimedia Commons has media related to: Chet Baker
Chet Baker Foundation
Chet Baker at the Internet Movie Database
Chet Baker at Find a Grave
Encyclopedia of Oklahoma History and Culture - Baker, Chet

From Wikipedia, the free encyclopedia
Order Release : Tender Huang