Easy Go
Recorded between August 1950 and March 1952, these tracks emphasize the swinging, jazz-based side of Stan Kenton's orchestra, unadorned by vocalists or the strings and extended compositions of his "Innovations in Modern Music" and "New Concepts" orchestras. For those only familiar with Kenton's ambitious essays in progressive jazz, the more relaxed band heard here may come as a surprise, with drummerShelly Mannepropelling a group that happily combines bop harmony and infectious big-band swing. Kenton had pared down his forces, but the 19-piece group is still a very brassy aggregation, extending the usual big-band complement to five trumpets and five trombones, all of them surmounted by high-note specialistMaynard Fergusonand anchored by bass trombone. They add sheen and gravity to the modernist chords that Kenton and his arrangers favored, and used sparingly, as they usually are here, they could also add excitement.Gene Roland, responsible for five of the compositions, was particularly good at getting the band to move, writing riff-based tunes like "Riff Rhapsody" and "Beehive" that touch onBasiemodels. There are also some effective Latin flavors inShorty Rogers's homage toPerez Pradoand inPete Rugolo's arrangements of "Love for Sale" and his own "Francesca." The Kenton band was a significant incubator of West Coast jazz, and it shows in the strong complement of soloists, including trumpetersPeteandConte Candoli(outstanding on the moodily muted "Cool Eyes") and saxophonistsBud Shank,Bob Cooper, andLennie Niehaus. The finest solo moments belong to altoistArt Pepper, whose airy sound and flowing ideas distinguish "Jump for Joe" and his own "Dynaflow."--Stuart Broomer