Stan Kenton
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Stan Kenton – El Choclo
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Biography
Stanley Newcomb Kenton (December 15, 1911 August 25, 1979) led a highly innovative, influential, and often controversial American jazz orchestra. In later years he was widely active as an educator.
Origins
Stan Kenton was born in Wichita, Kansas, and raised first in Colorado and then in California. He learned piano as a child, and while still a teenager toured with various bands. In June 1941 he formed his own band, which developed into one of the best-known West Coast ensembles of the Forties.
Music
Kenton’s musical aggregations were decidedly “orchestras.” Sometimes consisting of two dozen or more musicians at once, they produced an unmistakable Kenton sound—as recognizable as that of the bands of Glenn Miller, Duke Ellington, or Count Basie. So large an orchestra was able to produce a tremendous, at times overpowering, volume in the dance and concert halls of the land; among musical conservatives it developed a reputation for playing strange-sounding pieces much too loudly, and indeed one comical MC introduced Stan Kenton as “Cant Standit.”
A Kenton specialty was Afro-Cuban rhythm, as exported to North America by such bandleaders as Machito (whose brass and reed sound, in turn, began to show the influence of Kenton). Translated into the Kenton idiom, however, the Latin rhythms might be scored for a full panoply of percussion instruments: tympani, bongos, conga, timbales, claves, and maracas. This component of Kenton’s work may be heard on the 1947 recording “Machito” and on the album Cuban Fire, still in print after more than fifty years of ceaseless change in popular music.
Origins
Stan Kenton was born in Wichita, Kansas, and raised first in Colorado and then in California. He learned piano as a child, and while still a teenager toured with various bands. In June 1941 he formed his own band, which developed into one of the best-known West Coast ensembles of the Forties.
Music
Kenton’s musical aggregations were decidedly “orchestras.” Sometimes consisting of two dozen or more musicians at once, they produced an unmistakable Kenton sound—as recognizable as that of the bands of Glenn Miller, Duke Ellington, or Count Basie. So large an orchestra was able to produce a tremendous, at times overpowering, volume in the dance and concert halls of the land; among musical conservatives it developed a reputation for playing strange-sounding pieces much too loudly, and indeed one comical MC introduced Stan Kenton as “Cant Standit.”
A Kenton specialty was Afro-Cuban rhythm, as exported to North America by such bandleaders as Machito (whose brass and reed sound, in turn, began to show the influence of Kenton). Translated into the Kenton idiom, however, the Latin rhythms might be scored for a full panoply of percussion instruments: tympani, bongos, conga, timbales, claves, and maracas. This component of Kenton’s work may be heard on the 1947 recording “Machito” and on the album Cuban Fire, still in print after more than fifty years of ceaseless change in popular music.
Featured tracks
Featured tracks
Top Tracks
Top Albums
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The Very Best Of Stan Kenton
10,457 listeners16 tracks
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Retrospective (disc 1)
18,200 listeners21 tracks
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The Best of Stan Kenton
7,866 listeners18 tracks
Released:
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Cuban Fire
2,916 listeners6 tracks
Released:
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