from the dec. 9 new republic
us Stan Kenton
- David Hajdu
- December 9, 2011 | 12:00 am
Desperate to be taken seriously and ambivalent about the legitimacy of jazz as a style, Kenton conflated originality with novelty and importance with scale. In the early ’50s, he gussied up his big band, incorporating symphony instruments, until he was conducting 39 pieces, including 16 strings, woodwinds, and French horns. He named the ensemble the Innovations in Modern Music Orchestra, and he had it play overwrought emulations of the early postwar avant-garde—pieces such as “Opus in Pastels,” “Dance Before the Mirror,” and “Trajectories.” I recommend the music highly to any contemporary artist inclined to monstrosity and susceptible to self-aggrandizement. In fact, I should send a CD to Kanye West.
Bitter about being overshadowed by his African-American superiors in the Down Beat magazine critic’s poll, Kenton sent the editors a now-notorious telegram, grousing of his status in “a new minority, white jazz musicians.” He was something less than sensitive— personally as well as professionally, according to his daughter Leslie Kenton, who, in a memoir published last year, detailed what she described as an incestuous relationship with her father. One need not be concerned with that controversy to see the problem with Stan Kenton. Kenton’s music was monstrous enough.