Transcription of Spoken Text to Stan Kenton - "This Is An Orchestra!"

 © Copyright ® Steven Cerra, copyright protected; all rights reserved.

I suppose it’s available somewhere, but I’ve never found a copy.

Whenever I’ve listened to the Prologue (This Is An Orchestra!), the Bill Russo composition that forms the opening track of the Stan Kenton album, New Concepts of Artistry in Rhythm [Capitol Jazz CDP 7 92865 2), I’ve always been impressed by some of the qualities that go into forming a Jazz big band which Stan describes in the spoken text, but then I usually rush on to listen to the musical snippets that each member of the orchestra plays after they are introduced by Stan.

When I’ve finished listening to this almost ten minute track, the overall impression is that I’ve just heard a nicely composed oration which touches on some key points describing how a successful Jazz Orchestra works, but I’ll be darned if I can remember some, let alone all of them.

So I thought I would transcribe Stan’s speech and share it with you along with a video which you’ll find at the conclusion of this piece so you can listen while you read.

Please keep in mind that the text was written almost three quarters of a century ago when going on a big band was still an important career move for a lot of musicians. It was a way of gaining on-the-job-experience, what musicians sometimes refer to as “paying your dues.” 

Something else to keep in mind was that for Stan Kenton, nothing in the world was more important than a Jazz orchestra, the musicians who formed it and the music they played.

Whatever you may have thought about the music, no one ever had any doubts about Stan’s dedication to the task at hand or about his humanity. He was loved and respected by just about every musician who ever played for him.

Stan Kenton speaks -

“This is an orchestra.

A group of musicians gathered together because of a belief in a particular music.

Like all orchestras, this organization is unique in that the artistic ideals are far more important than personal differences.

These musicians came from all corners of America.

The character of the music that follows is the result of their understanding and adjustment to each other.

Some of this music is written, some improvised.

There are times when a musician will express his individuality and other moments when he will melt with the rest to create an organized sound.

This is a cross-section view of the orchestra.

Some musicians love to create sounds of percussion. They like to melt them with the melody.

They have the ability to bring to life strong rhythmic swing and forward it to others. That’s the rhythm section.

It takes a bass player. Ours - Don Bagley.

Another guy - he loves the melody just as he loves the beat. The guitar player - Sal Salvador.

Another with strong determined will continues the spirit with a great obligation to the beat. The drummer - Stan Levey.

Some musicians are not content just to play an instrument in an orchestra. This guy arranges, he composes, he wants to be a leader. Someday he will. Trombonist Bill Russo. A young guy (trombonist) Keith Moon.

Some musicians have a sense for happy excitement. This fellow has few if any moody moments. His trombone playing is an honest reflection of himself - Frank Rosolino.

Very necessary to an orchestra is the constant presence of young musicians with the eager enthusiasm of those just getting started. Guys like trumpeters Ruben McFall and Don Dennis.

An orchestra needs good first chair men, they’re like sergeants in an army. They studied, they know how, they help their men as they show how like our first saxophone player Vinnie Dean. 

In the background, that’s the tenor saxophone of Bill Holman playing now; he represents a talent that is discontented with music of the present. He’s anxious over the music of the future. He writes, he orchestrates, too.

Within the group of personalities that make up an orchestra, it’s also necessary that we have guys who are willing to be happy and swing at the drop of a hat. Richie Kamuca [tenor saxophone].

An asset to any group like this is the presence of versatility; a musician capable of creating all the moods; at the moment, warm, melting personal sounds - Conte Candoli. 

Within any group of musicians, you’ll find me who are in constant study. It seems that perfection is not enough, they want even more. They’re intent on achieving greater heights - fellows like Lee Konitz.

And then there’s the baritone saxophone, but in the case of this instrument, I’d like to be personal. The fellow playing here has been a part of every sound since this orchestra began - Bob Gioga.

A great first trumpet player, besides his schooling, technique and experience, must possess a physical stamina. They are sometimes referred to as work horses. Meet ours - Buddy Childers.

A bass trombone at the bottom of an orchestra - wait a minute George Roberts - I said bottom.

A first trombone can take black notes and dead space and bring life to them - meet ours - Bob Burgess.

There are a few musicians, if you are lucky to have them, capable of stirring great feelings of fire - Maynard Ferguson.

Me - I'm Stan Kenton, I’m the piano player and the leader. The guys call me the old man, they look to me for many things: a plan, final decisions, encouragement and - oh yeah, another thing - money.

With high regard and respect for each other’s individuality, the ingredients and variety of a group of personalities can make a music wide in scope from tender soft sounds to screaming dissonance. - This is an orchestra!”