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1. Pizzicato 2:30 13. My Guy’s Come Back 2:36 (Delibes, arr. Joe Rizzo) (Mel Powell–Ray McKinley) Also available in the Naxos Jazz Legends series 2. Our Waltz 3:04 June Christy, vocal (David Rose–Nat Burton) 14. It’s Never Too Late To Pray 3:25 Gene Howard, vocal (Willard Robinson–Fud Livingston) 3. Tabby The Cat 2:37 Gene Howard, vocal (Harold Dickerson–Howard Gibeling) 15. Elegie 1:57 Anita O’Day, vocal (Massenet, arr. Joe Rizzo) 4. The Man I Love 2:29 16. Got A Penny, Jenny 2:31 (George & Ira Gershwin) (Robert Scherman–Henry May) Boots Mussulli, alto sax June Christy, vocal 1-4: MacGregor LB 153, mx MMO 672 13-16: MacGregor LB 223, mx MMO 775 Recorded December 1944, Hollywood Recorded December 1945, Hollywood 5. Stars In My Eyes 2:43 17. Summertime 2:28 (Fritz Kreisler–Dorothy Fields) (George Gershwin–DuBose Heyward) 8.120517* 8.120518* 8.120684* Gene Howard, vocal Gene Howard, vocal 6. Sergeant’s Mess 2:25 18. Baby Won’t You Please Come Home 2:20 (Phil Moore) (Clarence Williams–Joe Warfield) 7. And Her Tears Flowed Like Wine 2:53 19. Fine, Fine Deal 2:03 (Joe Greene–Charles Lawrence–Stan Kenton) (Dave Matthews) Anita O’Day & Band, vocal June Christy, vocal 8. Blue Skies 2:12 20. More Than You Know 2:42 (Irving Berlin) (Vincent Youmans–Edward Eliscu–Billy Rose) 5-8: MacGregor LB 146, mx MMO 673 21. Painted Rhythm 2:48 Recorded December 1944, Hollywood (Stan Kenton) 9. I’m Going Mad For A Pad 3:02 June Christy, vocal (Joe Greene–Charles Lawrence–Stan Kenton) 17-21: MacGregor LB 237, mx MMO 776 Anita O’Day, vocal Recorded December 1945, Hollywood 10. Blow Jack 2:47 Transfers & Production: David Lennick 8.120703* 8.120658* 8.120692 (Boots Mussulli) 11. She’s Funny That Way 3:05 Digital Noise Reduction: Andrew Lang for K&A (Neil Moret–Richard Whiting) Productions Ltd. Gene Howard, vocal; Stan Getz, tenor sax Original transcriptions from the collections of 12. Artistry In Rhythm 3:17 David Lennick, Ben Hafey, Ken Crawford and (Stan Kenton) Steve LaVere 9-12: MacGregor LB 185, mx MMO 674 Original monochrome photo of Stan Kenton Recorded December 1944, Hollywood from Michael Ochs Archives / Redferns * Not available in the USA
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STAN KENTON initial 18 November 1943 date was a hit and Herd where he found his initial fame. O’Day Never Too Late To Pray while Vido Musso on this release and the MacGregor Kenton “Painted Rhythm” Kenton stayed with Capitol for 25 years. The had one hit during her period with the Kenton Elegie shows why he was so highly respected by transcriptions conclude with the catchy and The Complete McGregor Transcriptions Vol.5 steady stream of recordings helped Kenton to band, And Her Tears Flowed Like Wine, and bandleaders despite his weak sight-reading swinging Painted Rhythm which has solo space build up an audience for his group, even as he this version compares favorably with the abilities. Got A Penny, Jenny, a novelty that for Kenton and Musso. Original 1944-1945 Recordings hoped to progress from being a swing dance commercially released rendition. was recorded by the King Cole Trio, features As 1945 ended, Stan Kenton was getting band to a concert orchestra. On an uptempo Blue Skies, Mussulli takes both Christy and Musso while Howard makes ready to start his Progressive Jazz era. He still It is strange to think that there was a time when At the time of the December 1944 The Kenton Orchestra at the time of its one of his best solos, sounding like a mix of his last appearance on Summertime. Kenton had 34 more years of accomplishments ahead record labels did not want their releases to be transcriptions that open this release, Stan December 1944 McGregor transcription session Benny Carter and Willie Smith. O’Day returns starts Baby Won’t You Please Come Home a of him. But, as the MacGregor transcriptions played over the radio. The companies did not Kenton had just turned 33 and his band was not lacked any big name soloists but its ensemble for I’m Going Mad For A Pad. Blow Jack has bit like Count Basie before Musso and Mussulli show, his big band was already in its own see any benefit to offering their music to the yet four years old. Born 15 December 1911 in sound was distinctive, featuring passionate spots for John Carroll, Kenton’s piano, Emmett get their spots. June Christy sings the blues on musical category, creating jazz history. general public for free, so they discouraged radio Wichita, Kansas, Kenton had picked up brass, screaming trumpets and thick-toned Carls on tenor and Mussulli. Gene Howard Fine, Fine Deal during an arrangement that stations from playing their 78s until they important early experience playing in Los saxophonists. Kenton’s early music was swing- takes an encore on She’s Funny That Way and quotes both Blues In My Heart and Salt – Scott Yanow changed their minds in the 1950s, finally Angeles in the 1930s with several different oriented (particularly the vocal pieces) but stood then the band plays their standard full-length Peanuts. Kenton begins More Than You Know, author of 8 jazz books including Jazz On Record realizing that it was really free advertising. orchestras and dance bands including that of apart from the other orchestras of the swing era. version of Kenton’s dramatic theme song, sounding like his original idol, Earl Hines. Both 1917-76, Bebop, Swing and Trumpet Kings Because radio stations had a great deal of time Everett Hoagland, Russ Plummer and Gus The familiar classical melody Pizzicato has a Artistry In Rhythm. to fill, an agreement was reached in which radio Arnheim. He started leading a rehearsal band in brief spot for altoist Boots Mussulli (the band’s During the year that separates the December transcription companies could record the top late 1940 but it was a part-time affair until the most impressive soloist during this period) and 1944 session from the final set of radio Personnel bands of the era. These performances were summer of 1941. At that point, Kenton landed trumpeter Karl George. Gene Howard was the transcriptions, the Stan Kenton Orchestra grew made specifically to be played on the radio and a five-night-a-week engagement at the Rendez- orchestra’s ballad singer during 1944-46 and he in individuality, popularity and power. June Tracks 1-12 (December 1944): John Carroll, Tracks 13-21 (December 1945): Buddy Childers, were not for sale to the public. The result was vous Ballroom in Balboa near Los Angeles. The is featured on Our Waltz. Anita O’Day was Christy replaced Anita O’Day and immediately Buddy Childers, Karl George, Gene Roland, Ray Wetzel, John Anderson, Russ Burgher, that the discographies of many orchestras successes of that summer resulted in the Stan Kenton’s biggest attraction at the time, still had a big hit with Tampico. Other popular Mel Green, trumpets; Harry Forbes, Freddie Bob Lymperis, trumpets; Freddie Zito, Ray were doubled or tripled and, in addition to Kenton Orchestra developing its own original riding on her success with Gene Krupa’s band records for the band included Southern Scandal, Zito, Milt Kabak, trombones; Bart Varsalona, Klein, Milt Kabak, trombones; Bart Varsalona, alternate versions of selections cut for the record sound, starting to record transcriptions for the during 1941-43. Artistry Jumps and Just A-Sittin’ And A- bass trombone; Bob Lively, Boots Mussulli, bass trombone; Al Anthony, Boots Mussulli, labels, many other otherwise undocumented MacGregor company, and gaining a contract She sounds exuberant on the novelty Tabby Rockin’. Pete Rugolo was just beginning to alto sax; Stan Getz, Emmet Carls, tenor sax; alto sax; Vido Musso, Bob Cooper, tenor sax; arrangements were recorded. The radio with the Decca label, with nine songs being The Cat. Boots Mussulli wrote the arrangement contribute arrangements to the band (often Bob Gioga, baritone sax; Stan Kenton, piano; Bob Gioga, baritone sax; Stan Kenton, piano; transcriptions are also of great value because recorded during 1941-42. for The Man I Love and is the solo star. After extending Kenton’s ideas), the rhythm section Bob Ahern, guitar; Bob Kesterson, bass; Jim Bob Ahern, guitar; Eddie Safranski, bass; they fill in the gap caused by the musicians After that initial triumph, Kenton and his big Howard sings the obscure Stars In My Eyes, had the benefit of including the superb bassist Falzone, drums Ralph Collier, drums union’s recording strike against the record labels band struggled for a couple years. They toured Sergeant’s Mess features the early Kenton big Eddie Safranski, and both the tough-toned Vido during 1942-44. the East Coast for much of 1942 and became band at its best. This romp has a boppish Musso and the cooler sounding Bob Cooper The Stan Kenton Orchestra recorded an the house band for Bob Hope’s radio series for a trumpet solo from John Carroll, brief spots for were very capable soloists on tenor. extensive series of radio transcriptions for the year, a job that Kenton ended up hating because Mussulli and trumpeter Karl George, and an My Guy’s Come Back has a particularly MacGregor company during 1941-45; this is the it gave his band little to do. Much more early statement from the young tenor- cheerful vocal from June Christy, who quickly final of five CDs that reissue all of the satisfying was signing with the new Capitol label saxophonist Stan Getz, who was still three years developed into the most beloved of all Kenton performances. in the fall of 1943. “Eager Beaver” from the away from joining Woody Herman’s Second singers. Gene Howard has a warm vocal on It’s
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STAN KENTON initial 18 November 1943 date was a hit and Herd where he found his initial fame. O’Day Never Too Late To Pray while Vido Musso on this release and the MacGregor Kenton “Painted Rhythm” Kenton stayed with Capitol for 25 years. The had one hit during her period with the Kenton Elegie shows why he was so highly respected by transcriptions conclude with the catchy and The Complete McGregor Transcriptions Vol.5 steady stream of recordings helped Kenton to band, And Her Tears Flowed Like Wine, and bandleaders despite his weak sight-reading swinging Painted Rhythm which has solo space build up an audience for his group, even as he this version compares favorably with the abilities. Got A Penny, Jenny, a novelty that for Kenton and Musso. Original 1944-1945 Recordings hoped to progress from being a swing dance commercially released rendition. was recorded by the King Cole Trio, features As 1945 ended, Stan Kenton was getting band to a concert orchestra. On an uptempo Blue Skies, Mussulli takes both Christy and Musso while Howard makes ready to start his Progressive Jazz era. He still It is strange to think that there was a time when At the time of the December 1944 The Kenton Orchestra at the time of its one of his best solos, sounding like a mix of his last appearance on Summertime. Kenton had 34 more years of accomplishments ahead record labels did not want their releases to be transcriptions that open this release, Stan December 1944 McGregor transcription session Benny Carter and Willie Smith. O’Day returns starts Baby Won’t You Please Come Home a of him. But, as the MacGregor transcriptions played over the radio. The companies did not Kenton had just turned 33 and his band was not lacked any big name soloists but its ensemble for I’m Going Mad For A Pad. Blow Jack has bit like Count Basie before Musso and Mussulli show, his big band was already in its own see any benefit to offering their music to the yet four years old. Born 15 December 1911 in sound was distinctive, featuring passionate spots for John Carroll, Kenton’s piano, Emmett get their spots. June Christy sings the blues on musical category, creating jazz history. general public for free, so they discouraged radio Wichita, Kansas, Kenton had picked up brass, screaming trumpets and thick-toned Carls on tenor and Mussulli. Gene Howard Fine, Fine Deal during an arrangement that stations from playing their 78s until they important early experience playing in Los saxophonists. Kenton’s early music was swing- takes an encore on She’s Funny That Way and quotes both Blues In My Heart and Salt – Scott Yanow changed their minds in the 1950s, finally Angeles in the 1930s with several different oriented (particularly the vocal pieces) but stood then the band plays their standard full-length Peanuts. Kenton begins More Than You Know, author of 8 jazz books including Jazz On Record realizing that it was really free advertising. orchestras and dance bands including that of apart from the other orchestras of the swing era. version of Kenton’s dramatic theme song, sounding like his original idol, Earl Hines. Both 1917-76, Bebop, Swing and Trumpet Kings Because radio stations had a great deal of time Everett Hoagland, Russ Plummer and Gus The familiar classical melody Pizzicato has a Artistry In Rhythm. to fill, an agreement was reached in which radio Arnheim. He started leading a rehearsal band in brief spot for altoist Boots Mussulli (the band’s During the year that separates the December transcription companies could record the top late 1940 but it was a part-time affair until the most impressive soloist during this period) and 1944 session from the final set of radio Personnel bands of the era. These performances were summer of 1941. At that point, Kenton landed trumpeter Karl George. Gene Howard was the transcriptions, the Stan Kenton Orchestra grew made specifically to be played on the radio and a five-night-a-week engagement at the Rendez- orchestra’s ballad singer during 1944-46 and he in individuality, popularity and power. June Tracks 1-12 (December 1944): John Carroll, Tracks 13-21 (December 1945): Buddy Childers, were not for sale to the public. The result was vous Ballroom in Balboa near Los Angeles. The is featured on Our Waltz. Anita O’Day was Christy replaced Anita O’Day and immediately Buddy Childers, Karl George, Gene Roland, Ray Wetzel, John Anderson, Russ Burgher, that the discographies of many orchestras successes of that summer resulted in the Stan Kenton’s biggest attraction at the time, still had a big hit with Tampico. Other popular Mel Green, trumpets; Harry Forbes, Freddie Bob Lymperis, trumpets; Freddie Zito, Ray were doubled or tripled and, in addition to Kenton Orchestra developing its own original riding on her success with Gene Krupa’s band records for the band included Southern Scandal, Zito, Milt Kabak, trombones; Bart Varsalona, Klein, Milt Kabak, trombones; Bart Varsalona, alternate versions of selections cut for the record sound, starting to record transcriptions for the during 1941-43. Artistry Jumps and Just A-Sittin’ And A- bass trombone; Bob Lively, Boots Mussulli, bass trombone; Al Anthony, Boots Mussulli, labels, many other otherwise undocumented MacGregor company, and gaining a contract She sounds exuberant on the novelty Tabby Rockin’. Pete Rugolo was just beginning to alto sax; Stan Getz, Emmet Carls, tenor sax; alto sax; Vido Musso, Bob Cooper, tenor sax; arrangements were recorded. The radio with the Decca label, with nine songs being The Cat. Boots Mussulli wrote the arrangement contribute arrangements to the band (often Bob Gioga, baritone sax; Stan Kenton, piano; Bob Gioga, baritone sax; Stan Kenton, piano; transcriptions are also of great value because recorded during 1941-42. for The Man I Love and is the solo star. After extending Kenton’s ideas), the rhythm section Bob Ahern, guitar; Bob Kesterson, bass; Jim Bob Ahern, guitar; Eddie Safranski, bass; they fill in the gap caused by the musicians After that initial triumph, Kenton and his big Howard sings the obscure Stars In My Eyes, had the benefit of including the superb bassist Falzone, drums Ralph Collier, drums union’s recording strike against the record labels band struggled for a couple years. They toured Sergeant’s Mess features the early Kenton big Eddie Safranski, and both the tough-toned Vido during 1942-44. the East Coast for much of 1942 and became band at its best. This romp has a boppish Musso and the cooler sounding Bob Cooper The Stan Kenton Orchestra recorded an the house band for Bob Hope’s radio series for a trumpet solo from John Carroll, brief spots for were very capable soloists on tenor. extensive series of radio transcriptions for the year, a job that Kenton ended up hating because Mussulli and trumpeter Karl George, and an My Guy’s Come Back has a particularly MacGregor company during 1941-45; this is the it gave his band little to do. Much more early statement from the young tenor- cheerful vocal from June Christy, who quickly final of five CDs that reissue all of the satisfying was signing with the new Capitol label saxophonist Stan Getz, who was still three years developed into the most beloved of all Kenton performances. in the fall of 1943. “Eager Beaver” from the away from joining Woody Herman’s Second singers. Gene Howard has a warm vocal on It’s
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STAN KENTON initial 18 November 1943 date was a hit and Herd where he found his initial fame. O’Day Never Too Late To Pray while Vido Musso on this release and the MacGregor Kenton “Painted Rhythm” Kenton stayed with Capitol for 25 years. The had one hit during her period with the Kenton Elegie shows why he was so highly respected by transcriptions conclude with the catchy and The Complete McGregor Transcriptions Vol.5 steady stream of recordings helped Kenton to band, And Her Tears Flowed Like Wine, and bandleaders despite his weak sight-reading swinging Painted Rhythm which has solo space build up an audience for his group, even as he this version compares favorably with the abilities. Got A Penny, Jenny, a novelty that for Kenton and Musso. Original 1944-1945 Recordings hoped to progress from being a swing dance commercially released rendition. was recorded by the King Cole Trio, features As 1945 ended, Stan Kenton was getting band to a concert orchestra. On an uptempo Blue Skies, Mussulli takes both Christy and Musso while Howard makes ready to start his Progressive Jazz era. He still It is strange to think that there was a time when At the time of the December 1944 The Kenton Orchestra at the time of its one of his best solos, sounding like a mix of his last appearance on Summertime. Kenton had 34 more years of accomplishments ahead record labels did not want their releases to be transcriptions that open this release, Stan December 1944 McGregor transcription session Benny Carter and Willie Smith. O’Day returns starts Baby Won’t You Please Come Home a of him. But, as the MacGregor transcriptions played over the radio. The companies did not Kenton had just turned 33 and his band was not lacked any big name soloists but its ensemble for I’m Going Mad For A Pad. Blow Jack has bit like Count Basie before Musso and Mussulli show, his big band was already in its own see any benefit to offering their music to the yet four years old. Born 15 December 1911 in sound was distinctive, featuring passionate spots for John Carroll, Kenton’s piano, Emmett get their spots. June Christy sings the blues on musical category, creating jazz history. general public for free, so they discouraged radio Wichita, Kansas, Kenton had picked up brass, screaming trumpets and thick-toned Carls on tenor and Mussulli. Gene Howard Fine, Fine Deal during an arrangement that stations from playing their 78s until they important early experience playing in Los saxophonists. Kenton’s early music was swing- takes an encore on She’s Funny That Way and quotes both Blues In My Heart and Salt – Scott Yanow changed their minds in the 1950s, finally Angeles in the 1930s with several different oriented (particularly the vocal pieces) but stood then the band plays their standard full-length Peanuts. Kenton begins More Than You Know, author of 8 jazz books including Jazz On Record realizing that it was really free advertising. orchestras and dance bands including that of apart from the other orchestras of the swing era. version of Kenton’s dramatic theme song, sounding like his original idol, Earl Hines. Both 1917-76, Bebop, Swing and Trumpet Kings Because radio stations had a great deal of time Everett Hoagland, Russ Plummer and Gus The familiar classical melody Pizzicato has a Artistry In Rhythm. to fill, an agreement was reached in which radio Arnheim. He started leading a rehearsal band in brief spot for altoist Boots Mussulli (the band’s During the year that separates the December transcription companies could record the top late 1940 but it was a part-time affair until the most impressive soloist during this period) and 1944 session from the final set of radio Personnel bands of the era. These performances were summer of 1941. At that point, Kenton landed trumpeter Karl George. Gene Howard was the transcriptions, the Stan Kenton Orchestra grew made specifically to be played on the radio and a five-night-a-week engagement at the Rendez- orchestra’s ballad singer during 1944-46 and he in individuality, popularity and power. June Tracks 1-12 (December 1944): John Carroll, Tracks 13-21 (December 1945): Buddy Childers, were not for sale to the public. The result was vous Ballroom in Balboa near Los Angeles. The is featured on Our Waltz. Anita O’Day was Christy replaced Anita O’Day and immediately Buddy Childers, Karl George, Gene Roland, Ray Wetzel, John Anderson, Russ Burgher, that the discographies of many orchestras successes of that summer resulted in the Stan Kenton’s biggest attraction at the time, still had a big hit with Tampico. Other popular Mel Green, trumpets; Harry Forbes, Freddie Bob Lymperis, trumpets; Freddie Zito, Ray were doubled or tripled and, in addition to Kenton Orchestra developing its own original riding on her success with Gene Krupa’s band records for the band included Southern Scandal, Zito, Milt Kabak, trombones; Bart Varsalona, Klein, Milt Kabak, trombones; Bart Varsalona, alternate versions of selections cut for the record sound, starting to record transcriptions for the during 1941-43. Artistry Jumps and Just A-Sittin’ And A- bass trombone; Bob Lively, Boots Mussulli, bass trombone; Al Anthony, Boots Mussulli, labels, many other otherwise undocumented MacGregor company, and gaining a contract She sounds exuberant on the novelty Tabby Rockin’. Pete Rugolo was just beginning to alto sax; Stan Getz, Emmet Carls, tenor sax; alto sax; Vido Musso, Bob Cooper, tenor sax; arrangements were recorded. The radio with the Decca label, with nine songs being The Cat. Boots Mussulli wrote the arrangement contribute arrangements to the band (often Bob Gioga, baritone sax; Stan Kenton, piano; Bob Gioga, baritone sax; Stan Kenton, piano; transcriptions are also of great value because recorded during 1941-42. for The Man I Love and is the solo star. After extending Kenton’s ideas), the rhythm section Bob Ahern, guitar; Bob Kesterson, bass; Jim Bob Ahern, guitar; Eddie Safranski, bass; they fill in the gap caused by the musicians After that initial triumph, Kenton and his big Howard sings the obscure Stars In My Eyes, had the benefit of including the superb bassist Falzone, drums Ralph Collier, drums union’s recording strike against the record labels band struggled for a couple years. They toured Sergeant’s Mess features the early Kenton big Eddie Safranski, and both the tough-toned Vido during 1942-44. the East Coast for much of 1942 and became band at its best. This romp has a boppish Musso and the cooler sounding Bob Cooper The Stan Kenton Orchestra recorded an the house band for Bob Hope’s radio series for a trumpet solo from John Carroll, brief spots for were very capable soloists on tenor. extensive series of radio transcriptions for the year, a job that Kenton ended up hating because Mussulli and trumpeter Karl George, and an My Guy’s Come Back has a particularly MacGregor company during 1941-45; this is the it gave his band little to do. Much more early statement from the young tenor- cheerful vocal from June Christy, who quickly final of five CDs that reissue all of the satisfying was signing with the new Capitol label saxophonist Stan Getz, who was still three years developed into the most beloved of all Kenton performances. in the fall of 1943. “Eager Beaver” from the away from joining Woody Herman’s Second singers. Gene Howard has a warm vocal on It’s
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1. Pizzicato 2:30 13. My Guy’s Come Back 2:36 (Delibes, arr. Joe Rizzo) (Mel Powell–Ray McKinley) Also available in the Naxos Jazz Legends series 2. Our Waltz 3:04 June Christy, vocal (David Rose–Nat Burton) 14. It’s Never Too Late To Pray 3:25 Gene Howard, vocal (Willard Robinson–Fud Livingston) 3. Tabby The Cat 2:37 Gene Howard, vocal (Harold Dickerson–Howard Gibeling) 15. Elegie 1:57 Anita O’Day, vocal (Massenet, arr. Joe Rizzo) 4. The Man I Love 2:29 16. Got A Penny, Jenny 2:31 (George & Ira Gershwin) (Robert Scherman–Henry May) Boots Mussulli, alto sax June Christy, vocal 1-4: MacGregor LB 153, mx MMO 672 13-16: MacGregor LB 223, mx MMO 775 Recorded December 1944, Hollywood Recorded December 1945, Hollywood 5. Stars In My Eyes 2:43 17. Summertime 2:28 (Fritz Kreisler–Dorothy Fields) (George Gershwin–DuBose Heyward) 8.120517* 8.120518* 8.120684* Gene Howard, vocal Gene Howard, vocal 6. Sergeant’s Mess 2:25 18. Baby Won’t You Please Come Home 2:20 (Phil Moore) (Clarence Williams–Joe Warfield) 7. And Her Tears Flowed Like Wine 2:53 19. Fine, Fine Deal 2:03 (Joe Greene–Charles Lawrence–Stan Kenton) (Dave Matthews) Anita O’Day & Band, vocal June Christy, vocal 8. Blue Skies 2:12 20. More Than You Know 2:42 (Irving Berlin) (Vincent Youmans–Edward Eliscu–Billy Rose) 5-8: MacGregor LB 146, mx MMO 673 21. Painted Rhythm 2:48 Recorded December 1944, Hollywood (Stan Kenton) 9. I’m Going Mad For A Pad 3:02 June Christy, vocal (Joe Greene–Charles Lawrence–Stan Kenton) 17-21: MacGregor LB 237, mx MMO 776 Anita O’Day, vocal Recorded December 1945, Hollywood 10. Blow Jack 2:47 Transfers & Production: David Lennick 8.120703* 8.120658* 8.120692 (Boots Mussulli) 11. She’s Funny That Way 3:05 Digital Noise Reduction: Andrew Lang for K&A (Neil Moret–Richard Whiting) Productions Ltd. Gene Howard, vocal; Stan Getz, tenor sax Original transcriptions from the collections of 12. Artistry In Rhythm 3:17 David Lennick, Ben Hafey, Ken Crawford and (Stan Kenton) Steve LaVere 9-12: MacGregor LB 185, mx MMO 674 Original monochrome photo of Stan Kenton Recorded December 1944, Hollywood from Michael Ochs Archives / Redferns * Not available in the USA
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1. Pizzicato 2:30 13. My Guy’s Come Back 2:36 (Delibes, arr. Joe Rizzo) (Mel Powell–Ray McKinley) Also available in the Naxos Jazz Legends series 2. Our Waltz 3:04 June Christy, vocal (David Rose–Nat Burton) 14. It’s Never Too Late To Pray 3:25 Gene Howard, vocal (Willard Robinson–Fud Livingston) 3. Tabby The Cat 2:37 Gene Howard, vocal (Harold Dickerson–Howard Gibeling) 15. Elegie 1:57 Anita O’Day, vocal (Massenet, arr. Joe Rizzo) 4. The Man I Love 2:29 16. Got A Penny, Jenny 2:31 (George & Ira Gershwin) (Robert Scherman–Henry May) Boots Mussulli, alto sax June Christy, vocal 1-4: MacGregor LB 153, mx MMO 672 13-16: MacGregor LB 223, mx MMO 775 Recorded December 1944, Hollywood Recorded December 1945, Hollywood 5. Stars In My Eyes 2:43 17. Summertime 2:28 (Fritz Kreisler–Dorothy Fields) (George Gershwin–DuBose Heyward) 8.120517* 8.120518* 8.120684* Gene Howard, vocal Gene Howard, vocal 6. Sergeant’s Mess 2:25 18. Baby Won’t You Please Come Home 2:20 (Phil Moore) (Clarence Williams–Joe Warfield) 7. And Her Tears Flowed Like Wine 2:53 19. Fine, Fine Deal 2:03 (Joe Greene–Charles Lawrence–Stan Kenton) (Dave Matthews) Anita O’Day & Band, vocal June Christy, vocal 8. Blue Skies 2:12 20. More Than You Know 2:42 (Irving Berlin) (Vincent Youmans–Edward Eliscu–Billy Rose) 5-8: MacGregor LB 146, mx MMO 673 21. Painted Rhythm 2:48 Recorded December 1944, Hollywood (Stan Kenton) 9. I’m Going Mad For A Pad 3:02 June Christy, vocal (Joe Greene–Charles Lawrence–Stan Kenton) 17-21: MacGregor LB 237, mx MMO 776 Anita O’Day, vocal Recorded December 1945, Hollywood 10. Blow Jack 2:47 Transfers & Production: David Lennick 8.120703* 8.120658* 8.120692 (Boots Mussulli) 11. She’s Funny That Way 3:05 Digital Noise Reduction: Andrew Lang for K&A (Neil Moret–Richard Whiting) Productions Ltd. Gene Howard, vocal; Stan Getz, tenor sax Original transcriptions from the collections of 12. Artistry In Rhythm 3:17 David Lennick, Ben Hafey, Ken Crawford and (Stan Kenton) Steve LaVere 9-12: MacGregor LB 185, mx MMO 674 Original monochrome photo of Stan Kenton Recorded December 1944, Hollywood from Michael Ochs Archives / Redferns * Not available in the USA
5 8.120714 6 8.120714 STAN KENTON Painted Rhythm 8.120714 Original 1944-1945Original Recordings MacGregorTranscriptionsThe Complete Vol.5 KENTON STAN www. NOTES ANDFULLRECORDING DETAILS INCLUDED K&AProductionsLtd. NoiseReduction byAndrewLangfor Digital Transfers andProductionbyDavid Lennick h 0 MoreThanYou Know 20. Fine,FineDeal 19. BabyWon’t You PleaseComeHome 18. Summertime 17. GotAPenny, Jenny 16. Elegie 15. It’sNever Too LateTo Pray 14. MyGuy’sComeBack 13. InRhythm Artistry 12. BlowJack 10. 1 PaintedRhythm 21. She’sFunny ThatWay 11. .I’mGoingMadForAPad 9. BlueSkies 8. AndHerTears FlowedLike Wine 7. Sergeant’sMess 6. InMyEyes Stars 5. TheManILove 4. Tabby The Cat 3. OurWaltz 2. .Pizzicato 1. & g 04NxsRgt nentoa t Design:RonHoares 2004 NaxosRightsInternationalLtd naxos.com 1:57 2:30 2:47 2:12 3:04 2:28 2:37 2:03 2:29 2:48 2:25 2:43 3:17 2:31 2:36 2:42 3:05 3:02 3:25 Made intheEU 2:53 2:20 Painted Rhythm 55:54 ADD Total Time
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STAN KENTON Painted Rhythm Painted KENTON STAN 8.120714