Although Stan Kenton’s first London concert on February 1st was noticeably light on soloists, the band played with its customary fire and well-drilled precision, and the Royal Festival Hall capacity audience was obviously delighted. One does not go to see a Kenton concert expecting to hear the world’s most rhythmic jazz. Kenton’s band has seldom swung in that sense. But there are always tantalising glimpses of what could happen if this orchestra did take off and I came away from this concert wishing that those hints had not been so brief and few.
Nevertheless it remains a fine band and its tremendous power is undiminished. Every performance from the familiar ballads to the new originals has been written with care and were performed with meticulous good taste. Even when the band moves into one of its most shouting crescendos, it is always musical. Trombonist Dick Shearer was well-featured and there was an effective spot too for British born tenorist Roy Reynolds in Roy’s Blues. Peter Erskine, a much-improved drummer, has achieved a high level of rapport with his fellow percussionist Ramón López, and they played together superbly in Pete Is A Four Letter Word.
One is usually more aware of Kenton’s ten-man brass section than his live saxophones, which now include Iwo baritones, and we had a timely reminder of their excellence in a welcome revival of Reed Rapture, first recorded by Stan in 1942.
A luxuriously well-tailored My Funny Valentine was particularly memorable among the ballads.
