Stan Kenton Conducts The Jazz Compositions Of Dee Barton

 

Dilemma

From The Creative World Of Stand Kenton

Stan Kenton Conducts The Jazz Compositions Of Dee Barton

Produced by Lee Gillette

Cover Photo: Capitol Studio - Ed Simpson

Capitol Records ST 2932

1968

Piano - Stan Kenton

Trumpets - Mike Price (lead), Jim Kartchner, Carl Leach, John Madrid, Jay Daversa

Trombones - Dick Shearer (lead), Tom Whittaker, Tom Senior, Jim Amlotte (bass), Graham Ellis (tuba)

Saxes - Ray Reed (alto & flute), Mike Altschul (tenor), Kim Richmond (tenor), Mike Vaccaro (baritone), Earle Dumler (baritone & bass)

Drums - Dee Barton

Bass - Don Bagley

From the back cover: This is not just another jazz album. 

It is a tribute to the mutual respect one composer holds for another. For with this richly inventive collection of jazz standards, Dee Barton emphasizes that he, too, belongs in that select company of orchestrators who have helped make Stan Kenton name synonymous with contemporary music.

A member of the orchestra since 1961, Dee began his career with Stan as jazz trombonist. After the band's return from Europe, two years later, he gave up his trombone for the drum chair. Obviously, as evidenced by the dynamic performance he gives on this album, a sound decision.

As far back as Dee can remember, he's always wanted to write for the Kenton Orchestra: "As a matter of fact, much of the material I wrote while attending North Texas State University was sketched with Stan's band in mind. Little did I realize that two things I composed in my senior year, Waltz Of The Prophets and Turtle Talk, would be used a year later in a jazz album he recorded with the mellophoniums."

Although Barton has taken an occasional leave of absence to front his own group and to compose jingles for advertising ("...an experience that will stay with me for some time"), his first love is writing for a big band.

"When you write for all the sections, you not only gain an abundance of freedom, but communicate a fresh point of view. I especially enjoy building a mood and then letting a soloist improvise over my harmonic and rhythmic structures. As long as he doesn't violate the order in which I've arranged them, I'm never too concerned with what he does.

"For me, this is contemporary writing in its most original form. Anyway, who's to say what's right and what's wrong? I've always felt that the biggest contribution we could make to music would be to throw away the rule book. It's time we stopped trying to enforce personal prejudices on the 19 or 20 guys who are responsible for breathing life into our arrangements.

"Whenever possible, I think it important to establish a rapport between the musicians and music. For by doing so, you'll enrich, and make more meaningful, the listening experience.

It is apparent, from the first to last note, that this album was created by men who share Dee Barton's musical philosophy. In a superb blend of musicianship and imaginative writing, Dee has forcefully etched for Stan Kenton's creative world a concert program of towering significance.

Man

Lonely Boy

The Singing Oyster

Dilemma

Three Thoughts

A New Day

Woman