Daily Dose Of Jazz…
Stanley Newcomb Kenton was born on December 15, 1911 in Wichita, Kansas and was raised in Colorado, then in California. Conceived out of wedlock, his parents told everyone he was born on February 19, 1912 and believing this as fact well into adulthood, he recorded an album Birthday in Britain in 1973 and his grave marker even reflects this erroneous date.
Kenton learned piano as a child, influenced by Earl Hines, attending Bell High School, graduating in 1930 and while still a teenager toured with various bands. He played in the 1930s in the dance bands of Vido Musso and Gus Arnheim, but his natural inclination was as a bandleader.
In June 1941 he formed his own band, which developed into one of the best-known West Coast ensembles of the 1940s. It was later named Artistry in Rhythm after his theme song. In the mid-1940s, Kenton’s band and style became known as “The Wall of Sound”, a tag later used by Phil Spector.
Much more important in the early days as an arranger, Stan was an inspiration for his loyal sidemen in his first band such as Howard Rumsey and Chico Alvarez. Influenced by Jimmie Lunceford and his high note trumpeters and thick-toned tenors, the orchestra struggled after its initial success. Record sales were low and even being Bob Hope’s backup band was not a pleasant experience.
By 1942 Kenton was in New York City, the band was catching on with an endorsement by Fred Astaire on the Roseland Ballroom marquee. He had Art Pepper, Stan Getz, Boots Mussulli and Anita O’Day as part of the ensemble. Lyricist Joe Greene put words to the songs And Her Tears Flowed Like Wine and Don’t Let The Sun Catch You Cryin. Stan would bring in Pete Rugulo as his chief arranger along with Bob Cooper and June Christy. The band’s popularity increased with Christy hits Tampico and Across The Alley From The Alamo, and recorded the popular tune Laura, the song from the film.
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. Over the years he would employ Kai Winding, Buddy Childers, Ray Wetzel, Al Porcino, Jack Costanzo, Shorty Rogers, Shelly Manne, Bud Shank, Laurindo Almeida, Maynard Ferguson, Gerry Mulligan, Marty Paich, Bill Holman, Mel Lewis, Pete and Conte Candoli, Bill Perkins, Stan Levey, Lucky Thompson, Jack Sheldon, Frank Rosolino, Sam Noto, Carl Saunders, Lee Konitz, Chris Connor and the list goes on.
Kenton won Grammy awards in 1962 and 1963 for his Kenton’s West Side Story and Adventures In Jazz, respectively. He had several Top 40 hits, founded his own label, “The Creative World of Stan Kenton”, recording several live concerts. As an educator he encouraged big band music in high schools and colleges, instructing what he called progressive jazz, making available his charts to the bands. He donated his entire library to the music department of the University of North Texas and the Stan Kenton Jazz Recital hall is named in his honor.
Entering Midway Hospital on August 17, 1979 after suffering a stroke, pianist, arranger, composer, bandleader and educator Stan Kenton, who recorded over seven-dozen albums with an innovative and often controversial jazz orchestra, passed away on August 25, 1979.
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Daily Dose Of Jazz…
Dave Brubeck was born David Warren Brubeck on December 6, 1920 in Concord, California and grew up in Ione. His father, a cattle rancher, his mother Studied piano with intention to become a concert pianist, taught he son to play. He could not read music during these early lessons, attributing this difficulty to poor eyesight, but faked his way well enough that this deficiency went mostly unnoticed.
Brubeck entered the College of the Pacific studying veterinarian science but changed his major to music at the best of the head of zoology. Discovered that he could not read music he was almost expelled but his ability with counterpoint and harmony more than compensated.
In 1942, Brubeck was drafted into the U.S. Army, and serving in Europe played piano at a Red Cross show and was such a hit that he was spared from combat service and ordered to form a band. He created one of the U.S. armed forces’ first racially integrated bands, The Wolfpack. It was here that he met Paul Desmond in early ’44. He returned to college after discharge, completed his studies, worked with an octet and with an experimental trio with Cal Tjader and Ron Crotty, and often joined onstage by Desmond.
He recorded his first sessions in 1949 for Coronet Records, soon to become Fantasy Records owned by the Weiss Brothers. In 1951 he organized the Dave Brubeck Quartet with Paul Desmond on alto saxophone, taking up a long residency at San Francisco’s Black Hawk nightclub. During this period he recorded a series of albums and gained great popularity touring college campuses.
Dave signed with Fantasy Records, worked as an A&R man and brought in Gerry Mulligan, Chet Baker and Red Norvo. Discovering he only owned half interest in his own recording and not the label he moved to Columbia Records.
In 1959, the Dave Brubeck Quartet recorded Time Out, a seminal album that featured unusual time signatures that quickly went platinum and was the first jazz album to sell more than a million copies. A high point for the group was their 1963 live album At Carnegie Hall, arguably his greatest concert.
Over the next several decades Brubeck would record many albums, develop a jazz musical, The Real Ambassadors, working with Louis Armstrong, Lambert, Hendricks and Ross, and Carmen McRae, perform at the Monterey Jazz Festival, did a series of Jazz Impressions albums, and was the program director of all-jazz format WJZZ-FM radio.
Of his many honors pianist Dave was inducted into the California Hall of Fame, was honored with a Time Magazine cover that he felt should have gone to Duke Ellington, and received an honorary Doctor of Music degrees from the Eastman School of Music, Berklee College of Music and George Washington University.. He was honored by the Kennedy Center, was awarded the Miles Davis Award and Bruce Ricker and Clint Eastwood produced the documentary Dave Brubeck: In His Own Sweet Way.
Pianist and composer Dave Brubeck, considered to be one of the foremost exponents of cool jazz, passed away of heart failure, ironically, on his way to a cardiology appointment, on December 5, 2012, in Newark, Connecticut, one day before his 92nd birthday.
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Daily Dose Of Jazz…
Machito was born Francisco Raúl Gutiérrez Grillo on December 3, 1909 in Havana, Cuba. He began playing music as a child and started playing professionally in his teens before emigrating to America in 1937 as a vocalist with La Estrella Habanera.
In the late 30s he worked with several Latin artists and orchestras, recording with bandleader Xavier Cugat. An attempt to launch a band with his brother-in-law Mario Bauzá failed, but in 1940 Machito founded the Afro-Cubans and was the front man, singer, conductor and maraca player. The following year he hired Bauzá as his music director, a working relationship that lasted for 35 years.
Under Bauzá’s influence, Machito began hiring jazz-oriented arrangers and his bands of the 40s were among the first to fuse Afro-Cuban rhythms with jazz improvisation that greatly inspired jazz giants Dizzy Gillespie and Stan Kenton. Throughout his career he played and recorded with Charlie Parker, Dizzy Gillespie, Buddy Rich, Cannonball Adderley, Herbie Mann, and Johnny Griffin, held a spot at the Palladium and recorded Decca, Mercury and Clef labels.
In 1983 he won the Grammy Award for Best Latin Recording for Machito & His Salsa Big Band ’82. In 2005, his 1957 album, “Kenya”, was added to the list of “1001 Albums You Must Hear Before You Die”. He played a huge role in the history of Latin jazz and passed away after suffering a fatal stroke on April 15, 1984 while playing on stage at Ronnie Scott’s in London. He was 74. A documentary of the great Cuban musician, Machito: A Latin Jazz Legacy was released in 1987.
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Daily Dose Of Jazz…
Sylvia Syms was born Sylvia Blagman on December 2, 1917 in Brooklyn, New York. As a child she contracted polio but overcame it and by the time she was a teenager she was hanging in the infamous jazz haunts on 52nd Street. She received informal training from Billie Holiday and in 1941 she made her debut at Kelly’s Stable.
In 1948, performing at the Cinderella Club in Greenwich Village she was seen by Mae West, who gave her a part in a show she was doing. Among others who observed her in nightclubs was Frank Sinatra who considered her the “world’s greatest saloon singer.” Sinatra subsequently conducted her 1982 album, Syms by Sinatra.
Signing a redocrd deal with Decca Records in 1956, Sylvia had her major success with a recording of I Could Have Danced All Night selling over a million copies garnering a gold disc. She would appear regularly at the Carlyle in Manhattan, at times, impromptu, while enjoying a cocktail in the bar of the Carlyle, she would walk on stage and perform with the cabaret’s other regular, Bobby Short.
She had a lung removed in 1972, despite which, she shortly thereafter performed as a well received Bloody Mary in South Pacific for several months at the Chateau de Ville Dinner. Vocalist Sylvia Syms, who recorded seventeen albums, appeared in six films and guested on The Tonight Show, Merv Griffin, Dinah Shore, Mike Douglas, Dick Cavett, Playboy’s Penthouse, and American Masters, passed away of a heart attack while on stage at the Oak Room in the Algonquin Hotel in New York City at age 74 on May 10, 1992.
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Daily Dose Of Jazz…
Born Mary Louise Tobin on November 14, 1918 in Aubrey, Texas and at age fourteen in 1932 she won a CBS Radio Talent Contest. Following a tour with society dance orchestras in Texas, she joined Art Hicks and his Orchestra in 1934. At that time, Harry James was playing first trumpet in the band and a year later she and James were married.
Tobin brought Frank Sinatra to James’ attention in 1939 after hearing him sing on the radio. James subsequently signed Sinatra to a one-year contract at $75 a week. While she was singing with trumpeter Bobby Hackett at Nick’s in the Village, jazz critic and producer John Hammond heard her and brought Benny Goodman to a performance and soon joined the Goodman band.
Louise went on to record There’ll Be Some Changes Made, Scatterbrain, Comes Love, Love Never Went To College, What’s New? and Blue Orchids. Johnny Mercer wrote Louise Tobin Blues for her while she was with Goodman and was arranged by Fletcher Henderson. In 1940 Tobin recorded Deed I Do and Don’t Let It Get You Down with Will Bradley and His Orchestra.
By 1945 Tobin was recording with Tommy Jones and His Orchestra, Emil Coleman and His Orchestra and through the decade performed and recorded with Skippy Anderson’s Band at the Melodee Club in Los Angeles, and with Ziggy Elman and His Orchestra.
Taking a long hiatus to raise her children, Louise came back in 1962 at the Newport Jazz Festival, met second husband Peanuts Hucko, acquired a regular gig at Blues Alley on Washington, DC and moved to Denver, Colorado and opened the Navarre Club as co-owners. They would go on to lead and sing with the Glenn Miller Orchestra, touring worldwide with Louise singing and recording various numbers with the band.
In 2008 Tobin donated her extensive collection of original musical arrangements, press clippings, programs, recordings, playbills and photographs to create the Tobin-Hucko Jazz Collection at Texas A&M University-Commerce.
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