Boston Brass & the Brass All-Stars Big Band: Christmas Bells are Swingin'!

Boston Brass Boston Brass & the Brass All-Stars Big Band: Christmas Bells are Swingin’!

SUNDAY, DECEMBER 16, 2018 • 2PM Jackson Hall, UC Davis

Sponsored by

Individual support provided by Fourness-LeMaitre Programming Endowment Fund

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Boston Brass and the All-Stars Big Band Tim Morrison, conductor Jose Sibaja, trumpet* Jeff Conner, trumpet* Joey Tartell, trumpet Fred Powell, trumpet Chris Castellanos, horn* Beth Lano, horn Bill Bernatis, horn Domingo Pagliuca, trombone* Alex Iles, trombone William Baker, bass trombone William Russell, tuba* Dan Hostetler, drums Larry Dunlap, piano Brian Kendrick, auxiliary percussion *Boston Brass

The artists and fellow audience members appreciate silence during the performance. Please be sure that you have switched off cellular devices.

Videotaping, photographing and audio recording are strictly forbidden.

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Boston Brass Boston Brass & the Brass All-Stars Big Band: Christmas Bells are Swingin’!

Joy to the World

Isaac Watts (text) and G. F. Handel (melody) (arr. Stan Kenton)

God Rest Ye Merry, Gentlemen

Traditional, arr. Ralph Carmichael

We Three Kings of Orient Are

John Henry Hopkins Jr. (arr. Ralph Carmichael)

Angels We Have Heard on High

James Chadwick (arr. Ralph Carmichael)

The Nutcracker Suite*

Chinese Dance

Arab Dance

Russian Dance

Pyotr Ilyich Tchaikovsky (arr. J.D. Shaw)

Jingle Bells Forever*

Robert W. Smith (arr. J.D. Shaw)

The Twelve Days of Christmas

Traditional, arr. Ralph Carmichael INTERM ISSION

Sleigh Ride

Leroy Anderson (arr. J.D. Shaw)

The Christmas Song*

Mel Torme (arr. Nathan Tanouye)

Frosty the Snowman*

Jack Rollins (arr. J.D. Shaw)

Good King Wenceslas

Traditional, arr. Ralph Carmichael

Once in Royal David’s City

Cecil Frances Alexander (text) and Henry Gauntlett (melody) (arr. Ralph Carmichael)

The Holly and the Ivy

Traditional (arr. Ralph Carmichael)

Faithful

David Cutler

White Christmas*

Irving Berlin (arr. J.D. Shaw)

Silent Night

Joseph Mohr (text) and Franz Xaver Gruber (melody) (arr. Chris Castellanos)

Greensleeves

Traditional (arr. J.D. Shaw)

*Boston Brass only

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Boston Brass For 30 years, Boston Brass has set out to establish a oneof-a-kind musical experience. From exciting classical arrangements to burning jazz standards and the best of the original brass quintet repertoire, Boston Brass treats audiences to a unique brand of entertainment, which captivates all ages. The ensemble’s lively repartee, touched with humor and personality, attempts to bridge the ocean of classical formality to delight audiences in an evening of great music and boisterous fun. The philosophy of Boston Brass is to provide audiences with a wide selection of musical styles in unique arrangements, provided in a friendly and fun atmosphere.

Through over 100 performances each year, the members of Boston Brass play to audiences at concerts, educational venues and jazz festivals. In addition to solo performances, Boston Brass regularly performs with orchestras, bands, marching bands, organ, jazz bands and a variety of other ensembles.

Boston Brass has been featured on The CBS Early Show, National Public Radio’s Performance Today, The Great American Brass Band Festival and has recorded several diverse albums. Their newest recording, Rewired, features new and exciting classical and jazz arrangements. Latin Nights features a collection of some of the greatest classical and jazz works by Latin composers and performers, and features legendary drummer Steve Gadd, the beautiful voice of Talita Real, percussion and guitar. Other albums include Ya Gotta Try, featuring music from Horace Silver, Chick Corea and Dizzy Gillespie, produced by legendary jazz recording genius Rudy van Gelder, and Within Earshot, featuring classical works by Shostakovich, Ginastera, Dvořák, Liszt and others.

Boston Brass has two holiday recordings, Christmas Bells are Swingin’, and The Stan Kenton Christmas Carols featuring the Boston Brass All-Stars Big Band playing the truly phenomenal charts made popular by the Stan Kenton Orchestra.

Boston Brass & the Brass All-Stars Big Band TIM MORRISON CONDUCTOR For over two decades, Tim Morrison has been captivating audiences with his singing, lyrical sound and purity of tone, and has become particularly sought after as a conductor and educator. Following his tenure as associate principal trumpet of the Boston Symphony and faculty appointment at the New England Conservatory, Morrison pursued a career as a recording artist in major film scores, as a soloist with orchestras world-wide and as a conductor and educator at an international level. At the invitation of Seiji Ozawa, Morrison regularly performed with Ozawa’s famed Saito Kinen Orchestra and Opera Nomori Orchestra and is presently a visiting professor at the Shobi Music School in Tokyo. Having recently retired as a performing artist, Morrison is now able to devote his time and energies to his passion for conducting and teaching.

Morrison served as the principal trumpet of the Boston Pops

Orchestra from 1987 to 1997 and appeared frequently with the orchestra as a soloist for concerts, television broadcasts and recordings. He was a favorite soloist of Pops Conductor Laureate John Williams, who has said, “he has an American sound and his sound is very touching, very beautiful. There is real serenity in his playing ...” This appreciation has led Williams and other noted Hollywood composers to feature Morrison on their film scores. To date, he has been credited as soloist on Born on the 4th of July, JFK, Apollo 13, Panther, Nixon, Amistad, Saving Private Ryan, Bobby and Lions to Lambs. That same appreciation also led Williams to dedicate “Summon the Heroes” to Morrison, written by Williams for the 1996 Summer Olympic Games in Atlanta.

JOSE SIBAJA TRUMPET (BOSTON BRASS MEMBER) Jose Sibaja brings an incredible level of artistry, humor and personality to Boston Brass. A native of Costa Rica, he studied at the New World School of the Arts and at the University of Miami in Gilbert Johnson’s studio. He held positions in the Florida Grand Opera, Miami Symphony, the Sinfonieta de Caracas and the Orquesta Sinfonica Venezuela, and has performed as soloist with the Springfield Symphony, Orquesta Sinfonica Venezuela, Orquesta Sinfonica de Campinas (Brazil) and Orquesta Sinfonica Nacional de Costa Rica. Sibaja is active in South Florida’s Latin music scene and toured the world extensively in Ricky Martin’s band for eight years. He appears in more than 300 commercial recordings with artists such as Celia Cruz, Gloria Estefan, Alejandro Sanz and Marc Anthony. Sibaja has performed on Late Night with David Letterman, The Tonight Show with Jay Leno, Saturday Night Live, Oprah, Good Morning America, the Blockbuster Awards and the Grammys among others.

JEFF CONNER TRUMPET (BOSTON BRASS MEMBER) Jeff Conner is the only original member of Boston Brass. He founded the group with some fellow Boston musicians in 1986 while a student at Boston University and has engineered the meteoric rise of this ensemble’s fame in the world of popular chamber music. Connor received his master’s degree in music from Boston University and his bachelor’s degree in music from Boston Conservatory. He has presented his entrepreneurial clinic, The Portfolio Musician, at The Yale School of Music, New England Conservatory of Music, University of South Carolina, University of Las Vegas, Kansas State University, Iowa State, Kansas City Conservatory and the Indiana Music Educators Conference. His book, The Portfolio Musician: Case Studies in Success, was published in 2014.

JOEY TARTELL TRUMPET Joey Tartell has toured and recorded with Maynard Ferguson, the Woody Herman Orchestra and the U.S. Army’s Jazz Ambassadors. Tartell’s other recordings include the Buselli/ Wallarab Jazz Orchestra, Birch Creek Music Performing Center and the Doug Lawrence Orchestra. He has also

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performed with the Smithsonian Jazz Masterworks Orchestra, the Count Basie Orchestra and the Glenn Miller Orchestra.

As a freelance artist, Tartell has backed up such artists as Doc Severinsen, Aretha Franklin, Don Henley, Manhattan Transfer, Barry Manilow and Arturo Sandoval. He has recorded for the Bob and Tom Show, Orange Bowl Halftime and Parade, Chicago Tribune, Electronic Arts, Konami and Williams Gaming. He was a student of Gil Johnson, Barbara Butler, Mel Broiles and Vince DiMartino.

FRED POWELL TRUMPET Fred Powell is owner of Powell Trumpets in Elkhart, Indiana, and remains a professional freelance musician in the Chicago and Northwest Indiana region, touring periodically with groups such as the Boston Brass and the Artisans in Brass.

He holds degrees in trumpet performance from Bob Jones University and Florida State University, and he has served as adjunct faculty at universities in both Florida and Indiana where he continues to teach privately. Powell has performed with the Florida Symphony, Savannah Symphony, Jacksonville Symphony, the Brevard Orchestra, the Golden State Brass Band, Advocate Brass Band, Indianapolis Symphonic Band, the South Bend Symphony and numerous Broadway musicals.

Commercially, he has played with the Rob Parton JazzTech Big Band, the Tom Milo Big Band, Frank Sinatra Jr., Michael Feinstein and the Cincinnati Contemporary Jazz Orchestra.

Having served as cornetist and soloist of the Orlando Concert Band from 1993 to 1997, he later traveled with the Elkhart Municipal Band as soloist for their sister-city tour of England.

A co-founder of the National Trumpet Competition (NTC), Powell now also serves as associate director and is a member of the NTC executive board. He remains a frequent clinician and guest artist, having presented at the International Trumpet Guild Conference, as well as numerous high schools, universities and regional trumpet festivals. After several years doing double duty as a product design manager within the corporate music industry, he started his own company in 2005 where he continues as designer and builder of his own line of custom, hand-built trumpets, flugelhorns and other brass instruments.

BETH LANO HORN Beth Lano, associate principal French horn, was educated at Ball State University and Indiana University, with occasional trips to Northwestern University and the University of Michigan to augment her private studies. A student of Philip Farkas, Dale Clevenger, Louis Stout and Fred Ehnes, Lano began her career at the age of 17 as a traveling and recording musician. She has performed with the Indianapolis Symphony, the Atlanta Symphony, the Omaha Symphony and Opera Omaha, the Fort Wayne Philharmonic and the Grand Rapids Symphony. After moving to Las Vegas in 1982, Lano spent five years in the traveling orchestra backing Wayne Newton, followed by a two-year stint in the orchestra for Bally’s Jubilee! show, where she was also assistant conductor.

In 1986, she began playing with Frank Sinatra, and toured with both his East and West Coast orchestras. She also toured with Ann-Margret and Johnny Mathis.

BILL BERNATIS HORN Bill Bernatis is currently professor of horn at the University of Nevada, Las Vegas (UNLV), assistant director of UNLV Orchestras, principal horn with the Las Vegas Philharmonic, and assistant principal horn with the Chautauqua Symphony Orchestra in New York. Prior to joining the faculty at UNLV, Bernatis was professor of horn and orchestra director at Del Mar College in Corpus Christi, Texas, professor of horn at Baylor University in Waco, Texas, and Ithaca College in Ithaca, New York. His performing background includes a wealth of orchestral and chamber music. His experience includes positions as principal horn with the Corpus Christi Symphony, the Waco Symphony, the San Angelo Symphony, the Breckenridge Music Institute and the Cayuga Chamber Orchestra. He has also performed with the Seattle Symphony, Reno Philharmonic, Syracuse Symphony, Rochester Philharmonic, Sierra Winds, Boston Brass, Dallas Brass, Burning River Brass, Ithaca Brass, Ithaca Wind Quintet, Baylor Chamber Players, Baylor Brass Quintet and the Texas Brass Ensemble.

CHRIS CASTELLANOS FRENCH HORN (BOSTON BRASS MEMBER)

DOMINGO PAGLIUCA TROMBONE (BOSTON BRASS MEMBER)

A lifelong resident of Las Vegas, Chris Castellanos received his formal education from the University of Nevada, Las Vegas. Castellanos is a former member and soloist with the Las Vegas Philharmonic and served as a hornist for the Nevada Chamber Orchestra, Las Vegas Jazz Connection and the TAD Wind Symphony of Japan. As a top call freelancer, Castellanos has backed countless headliners on the Las Vegas strip. Most notably are Frank Sinatra Jr., Tony Bennett, Placido Domingo, Luciano Pavarotti, Mannheim Steamroller, Yes, Josh Groban, Michael Bublé, Johnny Mathis and David Foster (Hit Man live album and DVD). He has also toured with Andrea Bocelli. Prior to joining Boston Brass, Castellanos spent six years on the road with Dallas Brass. When not touring with Boston Brass, Castellanos can be heard in Andrew Lloyd Webber’s Phantom—The Las Vegas Spectacular.

A native of Venezuela, Domingo Pagliuca has performed as associate principal trombonist of the Orquesta Sinfonica Venezuela for 13 years and also served as a member of the orchestra’s artistic committee. Among his teaching positions, he was trombone professor of the Simon Bolivar Music Conservatory, as well as trombone professor of “El Sistema,” the Simon Bolivar Youth Symphony Orchestra of Venezuela’s musical and orchestral program. Currently, he teaches at Florida International University (FIU). He has performed as soloist in Venezuela, U.S., Italy, Greece, Colombia and Belarus. He has presented master classes in universities and music festivals in the U.S., Venezuela, Colombia, Peru, Ecuador and Chile. He appears in a great number of commercial recordings with artists such as Laura Pausini, Raphael, Oscar D’Leon and Prince Royce among others.

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ALEX ILES TROMBONE

DAN HOSTETLER DRUMS

Alex Iles is principal trombonist of the Long Beach Symphony Orchestra and has performed with the Los Angeles Philharmonic, Hollywood Bowl Orchestra and The Los Angeles Chamber Orchestra. In addition, he has toured as lead and solo jazz trombonist with Maynard Ferguson and the Woody Herman Orchestra and performs in many of the top L.A.–based big bands and jazz groups including Bob Florence’s Limited Edition, The Seth McFarlane Orchestra and Gordon Goodwin’s Big Phat Band. Iles can often be found playing in the pit orchestras of numerous Los Angeles productions of Broadway shows and has performed on hundreds of television and motion picture soundtracks such as Lost, Star Wars: The Force Awakens, Star Wars: The Last Jedi as well as The Incredibles 1 and 2. He has also appeared on numerous recordings with artists such as Barbra Streisand, Michael Bublé, Josh Groban, Paul McCartney and Prince.

Iles has been a faculty trombone and jazz instructor at the California Institute of the Arts, Azusa Pacific University and California State University, Northridge. He has appeared numerous times as a featured soloist at the International Trombone Workshop.

Daniel Hostetler was born in South Bend, Indiana, and started playing drums when he was 8 years old. He attended Indiana University, where he earned his bachelor of music degree and was awarded a performer’s certificate. At home in a variety of musical settings, his credits include the Star of Indiana Drum & Bugle Corps, the Minneapolis-based blues/R&B band, The Butanes, and the Cleveland Pops Orchestra. For 11 years, Hostetler was the drummer in the Dallas Brass and continues his brass-heavy associations as a member of the Brass Band of Columbus and the Newark-Granville Symphony.

Hostetler lives with his family in Columbus, Ohio, where he is the percussion coordinator for Dublin Coffman High School.

Hostetler is a Pacific drumset and Sabian cymbal artist.

WILLIAM BAKER BASS TROMBONE William Baker is a lifelong Walnut Creek, California, resident but his musicianship has taken him all over the world. In addition to his position as the principal bass trombonist in the Monterey Symphony, Baker has performed with the San Francisco Symphony, Detroit Symphony, San Diego Symphony and the Malaysian Philharmonic in the past year.

He was also a former member of the Des Moines Symphony and Orchestra Iowa. When Baker is not playing music, he is enjoying some sushi or slow-cooked barbecue with his wife Caroline, reading, exercising or teaching the next generation of low brass musicians. His most memorable music experience was performing Pictures at an Exhibition with the ArtHaus Collective at Burning Man in 2018.

WILLIAM RUSSELL TUBA (BOSTON BRASS MEMBER) William Russell is a freelance musician in Chicago where he is a member of Alliance Brass and a professor of music at Northeastern Illinois University. He is a member of funk/ hip-hop cover band J-Livi & the Party; the High Hat Second Line; and Arcana—a quartet that has been described as “Third Stream meets Second Line.” Russell is an alumnus of the Civic Orchestra of Chicago. As a classical, jazz and pop instrumentalist, Russell has performed across the U.S. in venues from the Corn Palace to Carnegie Hall, and he has toured in Europe with both the Chicago Symphony Orchestra and the Orchestra dell’Accademia Nazionale di Santa Cecilia.

His principal teachers include Steve Layman, Sam Pilafian, Mike Roylance, Floyd Cooley and jazz trumpeter John D’earth.

Russell can be heard on the Chicago Symphony Orchestra’s Grammy-winning 2008 recording of Shostakovich’s Fourth Symphony and can be seen on the current season of 20th Century Fox’s Empire.

LARRY DUNLAP PIANO Larry Dunlap is an extraordinary pianist and arranger, a player with taste and sophistication. He has been praised as a “remarkable and versatile accompanist” and “one of the best jazz pianists around—anywhere” (San Francisco Examiner). Besides his ongoing career with his wife, vocalist Bobbe Norris, Dunlap has served since 1983 as pianist for the British diva Dame Cleo Laine and has performed or recorded with such luminaries as vocalists Mark Murphy, Joe Williams and Sheila Jordan, and instrumentalists Gerry Mulligan, Art Farmer, Bud Shank and Ernie Watts to name a few. Dunlap has composed works for chamber orchestra and jazz ensembles of all sizes as well as many songs and jazz sketches. He received a grant from The National Endowment for the Arts and has been commissioned to compose several pieces. He has orchestrated and arranged music for the Marin and Peninsula Opera Companies as well as big bands and orchestras and has acted as musical consultant to the composer/tycoon Gordon Getty.

BRIAN KENDRICK AUXILIARY PERCUSSION Brian Kendrick was born in Newport News, Virginia, into a United States Army family. The family moved often, but settled in Texas when he was 11. Kendrick learned to love and play music in the music-rich Central Texas region including Austin and San Antonio. His early experiences include playing in various dance bands performing big band, country, cajun, zydeco and various rock styles. Kendrick has lived and performed in Los Angeles and New York and holds bachelor and master of music degrees in percussion performance from Texas Tech University as well as a master of science degree from Syracuse University. Kendrick currently maintains an active performance schedule playing jazz, contemporary, orchestra, chamber music and professional musical theater.

Kendrick is the principal percussionist for Broadway Sacramento (formerly California Musical Theater and Music Circus). He is the instructor of jazz and percussion at San Joaquin Delta College and teaches drum set at the University of the Pacific and Brubeck Institute.

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The Stan Kenton Christmas Carols Liner Notes from Boston Brass and the Brass All-Stars Big Band recording The decision to record an album of Christmas music was not easily accepted by Stan Kenton.

Truth be known, it was not his decision to begin with, but Lee Gillette’s, his executive producer at Capitol Records. And it took a lot of convincing on Gillette’s part before Stan would be amenable to opening up the project for discussion.

Initially, he was extremely resistive and every time Gillette mentioned it, Stan become agitated and quickly shut down any further conversation. It was something he had no intention of doing. He felt people would be most unaccepting of the Kenton Orchestra producing an album of this nature.

Especially one which contained semi-religious music.

But Gillette persisted. His reasoning was that every Capitol artist had, at one time or another, produced an album of Christmas music, so why not Stan? Why not, indeed. It certainly was worth exploring.

Stan and Gillette’s relationship, both artistically and socially spanned a good 10 years. In that time Gillette had demonstrated time and again his keen desire to render as much assistance as possible when it came to recording and promoting the Kenton Orchestra.

Although he left the selection of what music would be recorded up to Stan, he created an enviable comfort zone for him at Capitol by providing him with the best engineering team available; guys like John Palladino, head of the department, and Carson Taylor, senior engineer. He worked closely with Ed Thrasher, head of Capitol’s art department, to assure the cover art would catch a potential buyer’s eye and invite him to sample the music. He passed along suggestions to Bill Frost, head of editorial, which enabled him to make the liner notes as accurate as possible. Gillette also followed through on Stan’s request that soloists and personnel be listed; something rarely done by other Capitol artists.

Consequently, he had a good track record with Stan and most importantly, Stan trusted him. Well aware that Stan’s temperament could be a bit mercurial at times, even obstinate, Gillette patiently bided his time waiting for an opportune time to broach what had quietly begun to be known around the Tower as “Kenton’s Christmas project.”

Not wishing to leave anything to chance, Gillette instructed Thrasher to begin working on album cover designs which did not feature Stan’s image. He also asked Frost for suggestions as to how to handle the liner notes. He recommended they be simple in nature, but have a flair of elegance. No mean feat, but he knew Frost was up to it.

He also had one large, very large ace yet to be played. He discussed in private the project with Ralph Carmichael, an extremely versatile orchestrator who had worked on a number

of projects with him. Not the least of which was the successful pairing of Nat Cole and George Shearing.

He wanted to know from Ralph whether or not the project was a viable one and what orchestrational creative ideas he might have to overcome Stan’s initial fear people and the Tower (especially the Tower) would have about the Kenton Orchestra straying into the area of semi-religious, sacred music and reign criticism down upon him.

From the start, Carmichael embraced the project and was quick to convince Gillette it could be done with grace and elan. “Why don’t I sketch out an idea or two,” he told Gillette, “which will give Stan a concept of how we might handle the instrumentation to keep it magisterial and devoid of any overt jazz overtones.

Gillette agreed and told Ralph to go ahead. In the meantime, he arranged to have dinner with Stan at his favorite restaurant, Tail of the Cock on La Cienga Boulevard, on the pretense of discussing Stan’s upcoming tour and laying out the plan he had put in place which would assure him that all the regional guys at CRDC (Capitol Records Distributing Corporation) would render as much in-city assistance as possible. Master planner that he was, Gillette avoided telling Stan they would also be joined by Ralph.

Stan arrived early and decided to wait for Gillette at the bar.

Ralph was already there, lost in thought as he jotted down a few last minute ideas on the outside of the score he had brought and wanted to cover at dinner. Ralph was noted for not leaving anything to chance.

Hollywood in those days was a small community, especially for those who worked in the music industry. Although they had never formally met, both were aware of each other and greeted each other warmly. Once drinks had been served, Stan asked Ralph is he was meeting someone, and if not, he was welcome to join him and Gillette for dinner.

It was apparent from Stan’s very upbeat, outgoing mood that he was in effusive spirits that evening. The long tour, which would carry the Band throughout the U.S., Canada and Mexico, was about to commence in a few short weeks and everything as far as he could ascertain was in place.

He was also pleased that for the first time in months he would once again be out on the road with one of the finest units he and Jim Amlotte, his bass trombonist and road manager, had been able to assemble.

Always curious by nature, Stan couldn’t help but ask Ralph if the score sitting in front of him was for a new project he was working on. “Yes,” Ralph said hesitantly, hoping Stan wouldn’t ask to look at the score. “Mind if I take a look?” Stan asked him brightly. Those who knew Stan were well aware he enjoyed knowing what others in the industry were doing.

At that point Ralph knew there was nothing he could do but push the score toward Stan and tell him to take a look.

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“Hmmm. God Rest Ye Merry, Gentlemen,” Stan said, noting the title before his eyes began traveling down through the opening bars. “Looks like someone is doing another goddamn Christmas album,” he laughed as he began “reading” Ralph’s ingeniously-constructed, radiant brass introduction. “Jesus, Ralph, this is great stuff. Scored only for brass. Nice, very nice.”

“Damn, this thing roars!” Stan told him as he got to the part where the percussion kicked in. “Who’s it for?” Before Ralph could answer Gillette appeared. “I see you two have met.”

“Yes,” Stan replied. “I’ve just been looking at Ralph’s score. I absolutely love the way he has scored the brass up and down.”

“I thought you might like it,” Gillette said as he smiled mischievously, slipping into the seat next to Stan’s.

A slow, quizzical look crossed Stan’s face before he let out one of those wondrous laughs of his. “You sonafabitch! This is for the Band, isn’t it?”

“Yes!” Gillette told him. “I had to find some way of convincing you we can, and will, record a Kenton Christmas album!”

To say Stan was elated is putting it mildly. With a stroke of Ralph’s creative pen he had erased any fears Stan might have had about moving ahead with the project. It wasn’t as if he couldn’t have done it on his own, but it fell more into the realm of another creative person opening up a few doors and pointing the way.

Dinner was soon forgotten and hours passed as the three men sketched out on a cocktail napkin a list of carols and who would orchestrate them. Everyone was also in agreement to “fatten” out the brass, using six trumpets, six trombones, one tuba and four mellophoniums. In addition to Jerry Lestock McKenzie on drums, Art Anton and Larry Bunker were brought in for added percussion.

The arrangements were written over an eight-day period and recorded at Sam Goldwyn Studios in Hollywood. Reaction to the project on the 14th floor at the Tower, although adamantly resistive at first, began easing up once the executive committee had an opportunity to see Thrasher’s intriguing Christmas ornament cover design and examine Frost’s decision to offset the track and personnel listing with excerpts from Psalm 150.

Joy also reigned on the 14th floor the day Gillette played a dubbing tape for the committee. The consensus was that Stan and Ralph had outdone themselves with their artistic efforts to bring to the carols a freshness that had not been heard before. And although the music soared and sometimes moved along at different tempos, it was agreed both men had not altered the character of the carols, nor intruded upon their sacredness.

a wondrous work to be savored and enjoyed by everyone of all ages.

One last note. A telling testimony to how much Stan admired Ralph and the creativity and enthusiasm he brought to the project is the fact Ralph’s name is listed first in the writing credits. I know of no other artist who would have offered another colleague such an uncommon amount of respect and largess.

—Jeff Conner, Boston Brass

About Stan Kenton One of the most prominent and prolific bandleaders in jazz history, Stan Kenton left behind an extensive legacy of musical excellence. Born in Kansas in 1911, Kenton began studying piano as a youth, but did not develop any particular affinity for the instrument until being exposed to jazz as a teenager.

Kenton formed his first orchestra in 1941 after having toured with several California-based bands during his late teens.

Success eluded the band for its first couple of years until a contract with Capitol Records and a hit record in Eager Beaver put Kenton and his charges on the map in 1943. Never satisfied with the idea of being just another dance band, Kenton hired several young arrangers starting in the mid1940s to craft a new sound that he would dub “progressive jazz.” These arrangers, most notably Pete Rugolo, Bill Russo and Bob Graettinger, would be responsible for crafting the now-iconic Kenton sound: bombastic, dissonant and aggressive, with screaming brass sections and heavy rhythmic concepts that some critics viewed as non-swinging.

Kenton’s never-ending search for new sounds led him to experiment with the size and scope of his organizations. His Innovations in Modern Music orchestra featured a 16-piece string section, while his 1960s groups often featured the mellophonium, a sort of hybrid trumpet and French horn that Kenton himself had been involved in developing.

Nevertheless, the definitive traits of the Kenton sound remained all the way up until his passing in 1979.

In addition to his lengthy resume as a bandleader, Kenton was one of the first major figures in the world of jazz education.

Beginning in 1959, his Stan Kenton Band Clinics played a major role in the development and education of several notable young jazz musicians. Even more notably, Kenton would eventually donate his entire music library to the University of North Texas, whose jazz recital hall is named for and dedicated to him. In addition, several Kenton alumni continue to tour and perform with the Stan Kenton Legacy Orchestra under the leadership of trumpeter Mike Vax. Source: https://www.ejazzlines.com/big-band-arrangements/by-performer/stankenton-big-band-arrangements/

It would take years, however, before A Merry Christmas! would be universally accepted and criticism would abate over Stan’s decision to make this album. With each passing year this holiday album has become more and more a classic. Certainly MONDAVI CENTER 2018–19 |

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