1953 - New Concepts of Artistry in Rhythm

WHAT NYMITH SAYS

I'm not anything like knowledgeable enough to tell what on earth the "new concepts" are which controversial jazz artist Stan Kenton (1911-1979) is introducing on this album. As big band goes, it is no doubt somewhat skewed and willing to try new things but it contains the requisite tight playing, fast pace, and loud, brash performance - everything I want from the style. Why the controversy? Why such polarized opinion on Stan Kenton? Why the continuous claim that the man couldn't swing?

Simply because Kenton rarely emphasised swing. The scarily-titled New Concepts of Artistry in Rhythm is actually one of his most accessible recordings, which saw him returning to the realm of popular music hot on the heels of projects such as 1951's City of Glass (Robert Graettinger interpretations). It isn't at all difficult to get a handle on this album, provided you enjoy the big band sound and crave diversity.

Kenton's sound is multi-faceted. The album starts out suave ('Portrait of a Count'), quickly heats up and proceeds to offer rolling layers of trombones ('23 Degrees North - 82 Degrees West'), Latin rhythm overlayed with a boiling orchestra of swing ('Taboo') and freaky, emotionless torch singing ('Lonesome Train'). The singer in question is Kay Brown and she sings it like Beth Gibbons would later sing Portishead - triggering the same creepy-crawly reverberations up my spine.

The manic energy never dissipates and it only finally slows down on 'Improvisation.' Kenton clearly liked his orchestra to be raucous. If you prefer your jazz to be chill, then you might find New Concepts of Artistry in Rhythm sonically abrasive. In that case, we must part ways. I love it. I love the dark ambience of 'You Go To My Head,' where you can just picture the helpless protagonist pursued down alleys by searchlights and cop cars. I love the way what promises to be a perfectly typical big band experience takes a sharp left on track five and never quite returns to normal. I love the chugging noir horror of 'Lonesome Train...'

In fact, the only thing I don't love is the opening number, 'Prologue (This is an Orchestra!)' where Kenton introduces all his players with a mixture of pomp and goofiness. It takes ten minutes and gives the wrong impression of the record as something fussy, dated and self-important. Actually, judging by his comments, that last one was true: Kenton believed modern music to be on a downward slide that could only be saved by innovation and New Concepts... In 1953. The poor man must have keeled over when Bill Haley got going.

However, none of that applies to the actual music, which is a blast and a must-have for your music collection. Ken Burns ignored Stan Kenton - make sure you don't do the same.

WHAT TICHARU SAYS

Convinced of their own greatness I'm reminded of the Bowie song "The Supermen" when listening to Stan Kenton records. These were top flight musicians playing wildly difficult material forced to dumb it down for the unwashed masses. Tragic figures who would never convince the record buying public to up their game.

I would think if you're a prog rock fan you'd certainly get some mileage out of a Stan Kenton record. I particularly loved City Of Glass and this record, skipping the opening pretentiousness of "Prologue", in fact I'd start with the track "23○ N - 82○ W" with an amazing trombone/tuba thing lurching into some Latin shuffle and pyrotec horn blasts, it's a groover.

Dip in and out or just experience the whole thing, go on give it a try, turn it right up too, give yer stereo speakers a chance to blow some of that dust off. "But I'm listening to an mp3 with earbuds?" Oh dear... maybe not then... best let Stan rest in peace. Go get yourself some proper kit and then come back to this record.