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
