Click to enlarge

SOLD! <br> STAN KENTON <br> Signed 78 RPM Single From 1941

Sorry, this item sold!

TABOO b/w ADIOS 78 RPM Record by Stan Kenton and His Orchestra, Signed / Autographed and dated by Stan Kenton.

Offered here is early 1940s era Decca Records 78 RPM single signed and dated by famed big band progressive jazz and swing leader Stan Kenton in 1941.

Mr. Kenton has signed the following:

For Betty
I hope this pleases you
Sincerely,
Stanley Kenton
11-29-41

The record is in VG+ condition.

Mr. Kenton began his orchestra in the year 1941, so this would be among his first autographs as a band leader.

From the All Music Guide:

Stan Kenton:
There have been few jazz musicians as consistently controversial as Stan Kenton. Dismissed by purists of various genres while loved by many others, Kenton ranks up there with Chet Baker and Sun Ra as jazz's top cult figure. He led a succession of highly original bands that often emphasized emotion, power and advanced harmonies over swing, and this upset listeners who felt that all big bands should aim to sound like Count Basie. Kenton always had a different vision. Stan Kenton played in the 1930s in the dance bands of Vido Musso and Gus Arnheim but he was born to be a leader. In 1941 he formed his first orchestra, which later was named after his theme song "Artistry in Rhythm." A decent Earl Hines-influenced pianist, Kenton was much more important in the early days as an arranger and inspiration for his loyal sidemen. Although there were no major names in his first band (bassist Howard Rumsey and trumpeter Chico Alvarez come the closest), Kenton spent the summer of 1941 playing regularly before a very appreciative audience at the Rendezvous Ballroom in Balboa Beach, CA. Influenced by Jimmie Lunceford (who, like Kenton, enjoyed high-note trumpeters and thick-toned tenors), the Stan Kenton Orchestra struggled a bit after its initial success. Its Decca recordings were not big sellers and a stint as Bob Hope's backup radio band was an unhappy experience; Les Brown permanently took Kenton's place. By late 1943 with a Capitol contract, a popular record in "Eager Beaver" and growing recognition, the Stan Kenton Orchestra was gradually catching on. Its soloists during the war years included Art Pepper, briefly Stan Getz, altoist Boots Mussulli and singer Anita O'Day. By 1945 the band had evolved quite a bit. Pete Rugolo became the chief arranger (extending Kenton's ideas), Bob Cooper and Vido Musso offered very different tenor styles and June Christy was Kenton's new singer; her popular hits (including "Tampico" and "Across the Alley from the Alamo") made it possible for Kenton to finance his more ambitious projects. Calling his music "Progressive Jazz," Kenton sought to lead a concert orchestra as opposed to a dance band at a time when most big bands were starting to break up. By 1947 Kai Winding was greatly influencing the sound of Kenton's trombonists, the trumpet section included such screamers as Buddy Childers, Ray Wetzel and Al Porcino, Jack Costanzo's bongos were bringing Latin rhythms into Kenton's sound and a riotous version of "The Peanut Vendor" contrasted with the somber "Elegy for Alto." Kenton had succeeded in forming a radical and very original band that gained its own audience.


newitem16411699$150.00

We are a Yahoo! Shopping Five Star Site!
"...your excellent customer service is a fine example of the graciousness and Southern hospitality for which New Orleans is famous"
..find out what prompted the Office of the Mayor of New Orleans to write this nice letter to Louie.

DANNY DIGS US! Check out this groovy note to Louie from Dan Akroyd aka/ "Elwood Blues":



Click here to see what we have THIS WEEK ON EBAY

Click here for info about our shipping rates.

Email Louie with your requests and questions about American Roots Music. louie@thejukejoint.com







FREE KINDLE BOOK
Fully Illustrated:

Also available...

The Sound of Building Coffins
by Louis Maistros

Signed copies available exclusively on the net here at Louie’s Juke Joint, just click this link to order!

Quotes:

"Louis Maistros has written a lyrical, complex, and brave novel that takes enormous risks and pulls them all off. He is a writer to watch and keep reading, a writer to cherish."
Peter Straub

"The Society of North American Magic Realists welcomes its newest, most dazzling member, Louis Maistros. His debut novel is a thing of wonder, unlike anything in our literature. It startles. It stuns. It stupefies. No novel since CONFEDERACY OF DUNCES has done such justice to New Orleans. If Franz Kafka had been able to write like Peter Straub, this might have been the result."
Donald Harington,
Winner of the Robert Penn Warren Award and the Oxford-American Lifetime Achievement Award.

“The Sound of Building Coffins is easily one of the finest and truest pieces of New Orleans fiction I've ever read.”
- Poppy Z. Brite

“One has to write with considerable authenticity to pull off a story steeped in magic and swamp water that examines race and class, death and rebirth, Haitian voodoo, and the beginnings of jazz in 1891 New Orleans...The plot is complex and magical, grounded in the history of the city, without being overly sentimental. There is a comfort with death as a part of life in this work that reveals deep feeling for the city and its past....Highly recommended for all fiction collections, especially where there is an interest in jazz."
- Library Journal

Signed copies available exclusively on the net here at Louie’s Juke Joint, just click this link to order!

This website and all it contents Copyright 1997-2012
Louie and Elly Maistros