1.    Prologue
2.    Something's Coming
3.    Maria
4.    America
5.    Tonight
6.    Cool
7.    I Feel Pretty
8.    Officer Krupke
9.    Taunting Scene (The Rumble)
10.    Somewhere – Finale

Bass – Peter Chivily
Drums – Jerry Lestock McKenzie
Drums [Latin] – George Acevedo (2)
Mellophone – Dwight Carver, Gene Roland, Gordon Davison, Keith Lamotte
Percussion [Utility] – Larry Bunker, Lou Singer
Piano, Conductor – Stan Kenton
Saxophone – Gabe Baltazar, Marvin Holladay, Paul Renzi, Sam Donahue, Wayne Dunstan
Trombone – Bob Fitzpatrick, Dave Wheeler, Jack Spurlock, Jim Amlotte
Trumpet – Bob Rolfe, Bud Brisbois, Conte Candoli, Dalton Smith, Ernie Bernhardt, Sanford Skinner
Tuba – Clive Acker

When the producers of the film West Side Story heard a sampling of what the Stan Kenton Orchestra had done to their score, they were disappointed that they had not thought to ask the band to play on the soundtrack. Johnny Richards's arrangements of ten of the famous play's melodies are alternately dramatic and tender with plenty of the passion displayed by the characters in the story. Soloists include altoist Gabe Baltazar, veteran tenor Sam Donahue and trumpeter Conte Candoli, but it is the raging ensembles that are most memorable about the classic recording. This CD reissue is highly recommended. ---Scott Yanow, Rovi

This is one that ranks up there with the Beatles'"Abbey Road," Coltrane's "A Love Supreme," Brubeck's "Time Out," Sinatra At the Sands," etc., as one of the great albums of ANY genre!! Take a marvelous Bernstein score and give it to collaborators Stan Kenton and Johnnie Richards (who had previously scored BIG on "Cuban Fire") and you end up with a sum greater than the parts. The producers who brought "West Side Story" to the screen were heard to lament after hearing this album, "If we'd known about THIS at the time, THIS would have been the movie score!" Almost all of the score is heard, arranged for the famous "Mellophone Band," with featured soloists Gabe Baltazar, Conte Candoli, Bob Fitzpatrick, Dwight Carver, a percussion section anchored by drummer Jerry McKenzie (with George Acevedo, Mike Pacheco & Larry Bunker) and, of course, Stan. (You jazz and Kenton fans can see where THIS has to lead...). If you loved the show or the movie or just the MUSIC, you're okay here, too! This is just GREAT MUSIC. ( The three ballads, done with Richards' scoring for the mellophones up in the stratosphere, will make those little hairs stand up on the back of your neck, and are worth the price of the CD by themselves!!). All of the fire, fun, beauty and emotion of Leonard Bernstein's monumental creation are captured for the ages on this CD. But writing is BORING...LISTENING is ENJOYING!! (I'm sure not gifted enough to describe how great this sounds anyway...it would be like trying to describe a sunrise!). BUY THIS CD....if you don't agree it's magnificent, please have your hearing checked right away!! ---C. Law, amazon.com

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1. Then I'll Be Tired of You
2. More Than You Know
3. When Stars Looked Down
4. The End of a Love Affair
5. A Sunday Kind of Love
6. Moon Song
7. Early Autumn
8. How Am I to Know?
9. The Things We Did Last Summer
10. We'll Be Together Again
11. How Deep Is the Ocean?
12. The Night We Called It a Day
13. Ill Wind

Musicians:
Stan Kenton - piano
Lennie Niehaus - alto saxophone
Bill Robinson - tenor, baritone saxophone
Richie Kamuca, Bill Perkins - tenor saxophone
Stephen Perlow - baritone saxophone
Phil Gilbert, Bill Catalano, Don Fagerquist, Jules Chaikin, Ed Leddy, Lee Katzman - trumpet
Bob Fitzpatrick, Kent Larsen, Don Reed , Archie LeCoque, Jim Amlotte - trombone
Kenny Shroyer - bass trombone
Mel Lewis, Jerry McKenzie – drums

Stan Kenton's early arrangements set the tone for his orchestra, but through the years, he generally farmed out the writing chores to other talented arrangers who could move the big band forward. However, he did arrange occasional ballad charts, and this 1958 album (reissued on CD in 1997) showcases Kenton's writing. The Ballad Style of Stan Kenton is an unusual set, for other than some muted trumpet, Kenton's melodic piano is the only soloist. The 13 ballads (a dozen standards and a band original) are given restrained treatments which hint at the band's power without overtly expressing it, and the music is both romantic and danceable. An underrated set. ---Scott Yanow, Rovi

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1.    What Are You Doing the Rest of Your Life
2.    A Little Minor Booze
3.    My Old Flame
4.    All the Things You Are
5.    90° Celsius
6.    The Peanut Vendor
7.    Artistry in Rhythm
8.    Take the 'A' Train

Alto Saxophone – Terry Layne
Baritone Saxophone – Alan Yankees, Greg Metcalf
Bass – John Worster
Bass Trombone – Allen Morrissey, Doug Purviance
Congas – Ramon Lopez
Drums – Gary Hobbs
Piano – Stan Kenton
Tenor Saxophone – Roy Reynolds, Teddy Andersen
Trombone – Dick Shearer, Jeff Uusitalo, Mike Egan
Trumpet – Dave Kennedy, Jay Sollenberger, Joe Casano, Steve Campos, Tim Hagans
Tuba – Doug Purviance

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A1 	Sunny	3:01
A2 	Imagine		3:00
A3 	A Man And A Woman	4:43
A4 	Theme For Jo	3:30
A5 	Interchange		3:02
B1 	Invitation	3:18
B2 	Girl Talk	4:22
B3 	The World We Knew	2:24
B4 	This Hotel	2:32
B5 	Changing Times	3:28
B6 	Gloomy Sunday	4:47

Jim Amlotte 	Trombone
Dee Barton 	Drums
Monty Budwig 	Bass
Bob Dahl 	Sax (Tenor)
Jay DaVersa 	Trumpet
Graham Ellis 	Trombone
Bill Fritz 	Sax (Baritone), Sax (Bass)
Stan Kenton 	Piano
Jack Laubach 	Trumpet
Carl Leach 	Trumpet
John Mitchell 	Sax (Baritone)
Clyde Reasinger 	Trumpet
Ray Reed 	Sax (Alto)
Alan Rowe 	Sax (Tenor)
Tom Senff 	Trombone
Dick Shearer 	Trombone
Dalton Smith 	Trumpet
Chino Valdes 	Bongos, Congas
Tom Whittaker 	Trombone 

Remarkably, after over two decades as an active recording artist, Stan Kenton (piano/arranger) could still pull off efforts as interesting as World We Know (1968). Combining divergent reworkings of pop music standards with his own undeniably unique originals, Kenton applies his trademark intricate and individual harmonic phrasings. The consistent results bear out his ability to augment his highly stylized arrangements within a framework of familiarity. While there is no mistaking this platter for rock or even what would be considered as 'pop' circa 1968, Kenton's adaptation of Bobby Hebb's soulful "Sunny" is given a spry up-tempo demeanor, building from a bop-influenced piano line to a full-blown big band drill. Similarly, Neal Hefti's "Girl Talk," taken from the film Harlow (1965) , is also rerouted, bringing out the smouldering and scintillating melody as it perpetually yields to a brash and bouncy conclusion. Another mid-'60s soundtrack-derived side is "Man and a Woman," from the Claude Lelouch film Un Homme et une Femme (1966), which has been turned around into an affective, if not somewhat darker piece. Kenton's compositions present his own formidable talents with an equally broad spectrum of sonic techniques. At the heart of "Changing Times," or the moody and romantic "Theme for Jo," is Kenton's uncanny marriage of memorable tunes and interpretive keyboard lines leading the larger ensemble through his voicings and contrasts in tempo. While enthusiasts of the artist's work will undoubtedly be impressed, to modern ears the easy listening orchestration may seem heavy-handed, if not lackluster. In 2003, Collectors' Choice Music continued their reassessment of Kenton's copious catalog, issuing World We Know alongside the ten-track Finian's Rainbow (1968) long-player onto a two-fer disc, releasing both on CD for the first time. ---Lindsay Planer, AllMusic Review

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1.    Granada Smoothie
2.    Lush Life
3.    Turtle Talk
4.    Roy's Blues
5.    Love for Sale
6.    Body and Soul
7.    Intermission Riff

Alto Saxophone – Terry Layne
Baritone Saxophone – Alan Yankees
Bass – John Worster
Bass Trombone – Allen Morrissey, Doug Purviance
Congas – Ramon Lopez
Drums – Gary Hobbs
Piano – Stan Kenton
Tenor Saxophone – Roy Reynolds, Teddy Andersen
Trombone – Dick Shearer, Jeff Uusitalo, Mike Egan
Trumpet – Dave Kennedy, Jay Sollenberger, Joe Casano, Steve Campos, Tim Hagans
Tuba – Doug Purviance

Stan Kenton led one of the most successful big bands from the end of the Swing era through the counterculture revolution of the 1960s. Kenton's vision was unique and he often favored bombast and experimentation over the pulse of Swing. Oddly, the musicians he hired were the swingin'est around. Art Pepper, Anita O'Day, Shelly Manne, Shorty Rogers, Maynard Ferguson, June Christy and countless others all became stars with Kenton and went on to successful solo careers. If pretension often got the best of him, much of Kenton's music was great. Songs like "23 Degrees North - 82 Degrees West," -- which incorporated Latin rhythms without conga drums -- are still amazingly vital, while such albums as City of Glass remain cutting edge Third Stream works. Kenton's reputation suffered at the hands of latter day critics who complained that his music wasn't "black" enough. Today, people are waking up to the fact that his music was special because it sounded like no one else's.

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1 	Begin The Beguine 	
2 	Two Moose In A Caboose 	
3 	One Twenty 	
4 	Artistry In Rhythm 	
5 	Eager Beaver 	
6 	Southern Scandal 	
7 	Easy Street 	
8 	Harlem Folk Dance 	
9 	Solitude 	
10 	Opus A Dollar Three Eighty 	
11 	I'm Going Mad For A Pad 	
12 	Tampico 	
13 	I Surrender Dear 	
14 	I Never Thought I'd Sing The Blues 	
15 	Artistry Jumps 	
16 	Painted Rhythm 	
17 	Tea For Two

Composer ("Artistry in Rhythm"), conductor, pianist and teacher, educated at Bell High School in Los Angeles, California and a music student of Charles Dalmores. He was a pianist in night clubs and dance orchestras, and assistant music director for Earl Carroll's Theatre Restaurant. In 1941 he organized his own orchestra, which he reorganized in 1947, and thereafter gave many concerts, appeared in theatres, and made many records. He conducted a number of concerts for the Cincinnati Park Association beginning in 1956, then founded the Kenton Workshop for teenage musicians at Indiana University in 1959, and conducted similar workshops at Michigan State University and Southern Methodist University. In 1964 he organized the Neophonic Orchestra, and was the founder and president of the International Academy of Contemporary Music. Joining ASCAP in 1946, his other popular-song and instrumental compositions include "Eager Beaver", "And Her Tears Flowed Like Wine", "Intermission Riff", "Southern Scandal", "Concerto for Doghouse", "Opus in Pastels", "Concerto to End All Concertos", "Painted Rhythm", and "Artistry Jumps". ---imdb.com

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01) Sophisticated Lady
02) Begin The Beguine
03) Loverman
04) Pennies From Heaven
05) Over The Rainbow
06) Fascinating Rhythm
07) There's A Small Hotel
08) Shadow Waltz
09) Harlem Nocturne
10) Stella By Starlight
11) Dark Eyes
12) Malaguena
13) Spring Is Here
14) I'm Glad There Is You

Laurindo Almeida - Percussion
Nestor Amaral - Percussion
Don Bagley - Bass
Norman Bartold - Trombone (Bass)
Max Bennett - Bass
Ralph Blaze - Guitar
Conte Candoli - Trumpet
Pete Candoli - Trumpet
Buddy Childers 	- rumpet
Bobby Clark - Trumpet
Bob Cooper - Sax (Tenor)
Jack Costanzo - Percussion
Curtis Counce - Bass
Vinnie Dean - Sax (Alto)
Don Dennis - Trumpet
Maynard Ferguson - Trumpet
Alluísio Antunes "Lulu" Ferreira - Percussion
Bob Fitzpatrick- Trombone
Carl Fontana - Trombone
Fred Fox - French Horn
Phil Gilbert - Trumpet
Bob Gioga - Sax (Baritone)
Chico Guerrero - Percussion
Bill Holman - Sax (Tenor)
Richie Kamuca - Sax (Tenor)
Lee Katzman - Trumpet
Don Kelly - Trombone (Bass)
Stan Kenton - Bandleader, Piano
Kent Larsen - Trombone
Ed Leddy - Trumpet
Stan Levey - Drums
Mel Lewis - Drums
Charlie Mariano - Sax (Alto)
Jay McAllister - Tuba
Ruban McFall - Trumpet
Keith Moon - Trombone
Lennie Niehaus - Sax (Alto)
Jack Nimitz - Sax (Baritone)
Sam Noto - Trumpet
Don Paladino - Trumpet
Bill Perkins - Sax (Tenor)
George Roberts - Trombone (Bass)
Irving Rosenthal - French Horn
Frank Rosolino - Trombone
Bill Russo - Trombone
Sal Salvador - Guitar
Spencer Sinatra - Sax (Tenor)
Frank Strong - Trombone
René Touzet – Percussion

This LP contains six Bill Russo arrangements, five from Stan Kenton, and one by Lennie Niehaus. The repertoire features many songs not associated with Kenton (such as "Sophisticated Lady," "Pennies from Heaven," and "Over the Rainbow"), but the inventive yet melodic treatments certainly sound like the Kenton band. The main soloists are altoist Lee Konitz, guitarist Sal Salvador, trumpeter Conte Canoli, and trombonist Frank Rosolino and, although these concise interpretations (none of the dozen performances is much over three minutes) are not essential, the music is quite pleasing. This collection is a change of pace for the Stan Kenton Orchestra. ---Scott Yanow, Rovi

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