{"id":4239,"date":"2012-11-16T17:27:46","date_gmt":"2012-11-17T01:27:46","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=4239"},"modified":"2012-11-16T21:54:35","modified_gmt":"2012-11-17T05:54:35","slug":"konitz-and-kenton","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2012\/11\/konitz-and-kenton\/","title":{"rendered":"Konitz And Kenton"},"content":{"rendered":"

Following up on the piece in the next exhibit, below is a poster for an edition of Stan Kenton\u00e2\u20ac\u2122s Festival of Modern Jazz that played in Cleveland, Ohio, on October 7, 1954. Kenton was a busy fella in the fifties and put together concert packages that included a variety of artists in the days when jazz was a major factor in popular music. Except for Kenton\u00e2\u20ac\u2122s band and Candido, the lineup seems considerably different from the one reader Jon Foley mentioned—in yesterday\u00e2\u20ac\u2122s comments—that he heard in Worcester, Massachusetts, in February of \u00e2\u20ac\u212254. \"\"<\/a>In the early part of 1954, the Kenton saxophone section included the alto \"\"<\/a>sax triumvirate of Charlie Mariano, Davey Schildkraut and Lee Konitz, all influenced by Charlie Parker. From the beginning of his professional career, Konitz managed to absorb the lessons of Parker\u00e2\u20ac\u2122s style without being ruled by it. (Pictured, Konitz and Parker on tour.) He was, and remains, one of the instrument\u00e2\u20ac\u2122s great individualists. Konitz toured with Kenton as a featured soloist in 1952 and \u00e2\u20ac\u212253. In March of \u00e2\u20ac\u212254 he recorded \u00e2\u20ac\u0153Lover Man\u00e2\u20ac\u009d and \u00e2\u20ac\u0153In Lighter Vein” with the band<\/a>. The pieces, arranged by Bill Holman, were parts of nearly every concert Kenton played during the period Konitz was with him. <\/p>\n