Standards in Silhouette
Encyclopedia
Standards In Silhouette is an album recorded in September 1959 by Stan Kenton
and his orchestra. The entire set of arrangements for the LP were written by Bill Mathieu (W.A. Mathieu). This recording stands alone in approach and style; Kenton himself only plays on Django (no piano called for by Mathieu on all others) and every standard is done at a slow, ballad tempo with very sparse, effusive writing. Frequently compared to the Gil Evans
larger ensemble scores recorded on Columbia Records
with Miles Davis
during that period, the Mathieu charts interpreted by the Kenton band deliver a mature, haunting, and strikingly beautiful recording.
Merely 22 years old at the time, Bill Mathieu had submitted his first score to Kenton just six years before. He was then used as a trumpet player in the section for a short period and then moved into an arranging slot of the band. In sharp contrast to earlier arrangers for the group such as Bill Holman
, Lennie Niehaus
, and Gene Roland
, Mathieu's music was not of the rhythmic, swinging variety. Kenton made a bold move and allowed the young arranger the full responsibility to produce an artistically and commercially viable set of arrangements for the band; for an entire ballad album. This was a savvy move and Kenton recognized Mathieu had full command "of an art aspired to by many writers, but rarely accomplished with the flair and ingenuity Mathieu achieves."
Actually, before "The Thrill Is Gone" score was seen by Kenton while the band was in San Francisco, none of Mathieu's charts had yet caught the imagination of the band leader. "That is a beautiful thing" Kenton said, "What's next?" Kenton approached Mathieu about more music and meanwhile Mathieu had come up with the album title of "Standards In Silhouette." After trying to augment the first chart with contrasting music (more up tempo and rhythmic) Kenton said, "Bill, let's not worry about that, let's make it entirely a mood album."
Kenton's intuition as a band leader and artist was spot on and Mathieu was to come up with nine ballads on standards that have become legendary for composers and arrangers to study.
It was the end of an era for this incarnation of Kenton orchestras. September 21–23 of 1959 were the very last recording sessions the band would do, the next studio time in Hollywood would be utilized by what would come to be known as the first Kenton mellophonium bands. Interestingly enough the three days are for the recording of not just "Standards in Silhoutte" but also "Viva Kenton
". Many bands have been called a leader's "best," this last Kenton incarnation of the 1950s bands may very well be the best. It is hard to fathom within three days of a jammed packed recording schedule a group could pull off one of Kenton's most subtle and introspective recordings and then a commercial 'cha cha' album in the opposite direction in terms of style and approach. As trombonist Archie LeCoque recalled, "...it was hard, but at the time we were all young and straight-ahead, we got through it and both albums came out well."
By 1959 Stereophonic sound
recording was now being fully utilized with all major labels. One of the great triumphs of the "Standards in Silhouette" album is the combination of the room used, the music, a live group with very few overdubs, and the recording being in full stereo fidelity (and later remastered to digital). Bill Mathieu was highly skeptical of the decision to record his music in a cavernous ballroom like Cuban Fire!
and The Stage Door Swings had been done just a few years before. Mathieu adds, "Stan and producer Lee Gillette were absolutley right: the band sounds alive and awake (which is not easy when recording many hours of slow-tempo music in a studio), and most importantly, the players could hear themselves well in the live room. The end result is the band sounds strong and cohesive, and the album is well recorded."
The soloists are the final touch that completes the picture. The set of solos by just Charlie Mariano
alone are each masterpieces that foreshadow the future soulful playing later on from alto players such as David Sanborn
and Dick Oatts
. It is one of Mariano's most influential set of tracks, though only delivered as a sideman. Ironically, Mariano was later critical of playing with the Kenton orchestra and would avoid playing within a big band format during the rest of his playing career. Mathieu is very generous with his praise in this respect for the band, "...and I was especially happy with the soloists, Roger, Rolf and most especially Archie. As far as Charlie, his playing, especially on 'Django,' provided the spark and authenticity the album needed."
The influence of Gil Evans
writing during that period and Mathieu's admiration for Gil's writing is acknowledged. The comparison fits well but Mathieu's scores do not sound like cheap knock-offs of Evans'; his work on "Standards In Silhouette" is able to stand firmly upright on its own. Ironically, the one score which does not make the original LP is "Lazy Afternoon" (included on CD). This arrangement is directly comparible to the style and mood to Evans' originals "La Nevada" or "Bilboa Song". At 3:26 in length, "Lazy Afternoon" is far shorter than anything else recorded.
...Standards in Silhouette is one of Kenton's finest albums of ballads, and is unusual in that it features exclusively the arrangements of the then 22-year old Bill Mathieu. The selection of tunes is outstanding. From well known standards like "Willow Weep for Me" (also recorded previously by Kenton with a vocal by June Christy), Harold Arlen's "Slow Wind" and Hoagy Carmichael's "I Get Along Without You Very Well" to numbers you would not expect to hear a Kenton band performing like John Lewis' "Django," this album is an aural delight for Kenton cognoscenti and newcomers alike.
WILLIAM GRIM, All About Jazz.com
Stan Kenton
Stanley Newcomb "Stan" Kenton was a pianist, composer, and arranger who led a highly innovative, influential, and often controversial American jazz orchestra. In later years he was widely active as an educator....
and his orchestra. The entire set of arrangements for the LP were written by Bill Mathieu (W.A. Mathieu). This recording stands alone in approach and style; Kenton himself only plays on Django (no piano called for by Mathieu on all others) and every standard is done at a slow, ballad tempo with very sparse, effusive writing. Frequently compared to the Gil Evans
Gil Evans
Gil Evans was a jazz pianist, arranger, composer and bandleader, active in the United States...
larger ensemble scores recorded on Columbia Records
Columbia Records
Columbia Records is an American record label, owned by Japan's Sony Music Entertainment, operating under the Columbia Music Group with Aware Records. It was founded in 1888, evolving from an earlier enterprise, the American Graphophone Company — successor to the Volta Graphophone Company...
with Miles Davis
Miles Davis
Miles Dewey Davis III was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century, Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz,...
during that period, the Mathieu charts interpreted by the Kenton band deliver a mature, haunting, and strikingly beautiful recording.
Background
Only a year before the Kenton recording dates for Standards In Silhoutte, the Ballad Style of Stan Kenton had been released with all charts being penned by Kenton himself. Though Standards In Silhoutte and Ballad Style of Stan Kenton both feature standards at slow tempos, the comparisons abruptly stop there. The earlier record is known as "Kenton Plays Pretty" giving Kenton another commercial success while Standards In Silhoutte is dark, moody and experimental; moving 180 degrees away from the tried and tested ballads from the dance book.Merely 22 years old at the time, Bill Mathieu had submitted his first score to Kenton just six years before. He was then used as a trumpet player in the section for a short period and then moved into an arranging slot of the band. In sharp contrast to earlier arrangers for the group such as Bill Holman
Bill Holman (musician)
Willis Leonard Holman , known also as Bill Holman, is an American composer/arranger, conductor, saxophonist, and songwriter working primarily in the jazz idiom....
, Lennie Niehaus
Lennie Niehaus
Lennie Niehaus is an American alto saxophonist, arranger, and composer on the West Coast jazz scene. He has played with the Stan Kenton big band, and various other jazz bands on the West Coast of the U.S. Niehaus has arranged and composed for motion pictures, including several produced by Clint...
, and Gene Roland
Gene Roland
Gene M. Roland was a jazz composer and musician who played many instruments during his career but was most significant as an arranger/composer and for his association with Stan Kenton...
, Mathieu's music was not of the rhythmic, swinging variety. Kenton made a bold move and allowed the young arranger the full responsibility to produce an artistically and commercially viable set of arrangements for the band; for an entire ballad album. This was a savvy move and Kenton recognized Mathieu had full command "of an art aspired to by many writers, but rarely accomplished with the flair and ingenuity Mathieu achieves."
Actually, before "The Thrill Is Gone" score was seen by Kenton while the band was in San Francisco, none of Mathieu's charts had yet caught the imagination of the band leader. "That is a beautiful thing" Kenton said, "What's next?" Kenton approached Mathieu about more music and meanwhile Mathieu had come up with the album title of "Standards In Silhouette." After trying to augment the first chart with contrasting music (more up tempo and rhythmic) Kenton said, "Bill, let's not worry about that, let's make it entirely a mood album."
Kenton's intuition as a band leader and artist was spot on and Mathieu was to come up with nine ballads on standards that have become legendary for composers and arrangers to study.
It was the end of an era for this incarnation of Kenton orchestras. September 21–23 of 1959 were the very last recording sessions the band would do, the next studio time in Hollywood would be utilized by what would come to be known as the first Kenton mellophonium bands. Interestingly enough the three days are for the recording of not just "Standards in Silhoutte" but also "Viva Kenton
Viva Kenton
Viva Kenton is an album by Stan Kenton, released in 1959 by Capitol Records, and later on Kenton's own Creative World label.The album features compositions by Gene Roland, and was Kenton's second all-Latin album. It was the followup to Kenton's successful Cuban Fire! LP of 1956.Viva Kenton features...
". Many bands have been called a leader's "best," this last Kenton incarnation of the 1950s bands may very well be the best. It is hard to fathom within three days of a jammed packed recording schedule a group could pull off one of Kenton's most subtle and introspective recordings and then a commercial 'cha cha' album in the opposite direction in terms of style and approach. As trombonist Archie LeCoque recalled, "...it was hard, but at the time we were all young and straight-ahead, we got through it and both albums came out well."
By 1959 Stereophonic sound
Stereophonic sound
The term Stereophonic, commonly called stereo, sound refers to any method of sound reproduction in which an attempt is made to create an illusion of directionality and audible perspective...
recording was now being fully utilized with all major labels. One of the great triumphs of the "Standards in Silhouette" album is the combination of the room used, the music, a live group with very few overdubs, and the recording being in full stereo fidelity (and later remastered to digital). Bill Mathieu was highly skeptical of the decision to record his music in a cavernous ballroom like Cuban Fire!
Cuban Fire!
Cuban Fire! is an album recorded by Stan Kenton and his orchestra in 1956. This has become one of the most influential Latin jazz, large ensemble recordings of all time; it was a first for the Kenton big band in terms of popularity, style, and overall album theme...
and The Stage Door Swings had been done just a few years before. Mathieu adds, "Stan and producer Lee Gillette were absolutley right: the band sounds alive and awake (which is not easy when recording many hours of slow-tempo music in a studio), and most importantly, the players could hear themselves well in the live room. The end result is the band sounds strong and cohesive, and the album is well recorded."
The soloists are the final touch that completes the picture. The set of solos by just Charlie Mariano
Charlie Mariano
Carmine Ugo Mariano was an American jazz alto saxophonist. He was born in Boston, Massachusetts and died in Cologne, Germany.-Biography:Mariano was the son of Italian immigrants....
alone are each masterpieces that foreshadow the future soulful playing later on from alto players such as David Sanborn
David Sanborn
David Sanborn is an American alto saxophonist. Though Sanborn has worked in many genres, his solo recordings typically blend jazz with instrumental pop and R&B. He released his first solo album Taking Off in 1975, but has been playing the saxophone since before he was in high school...
and Dick Oatts
Dick Oatts
Richard "Dick" Oatts is a jazz saxophonist from Jefferson, Iowa. He became interested in saxophone due to his father Jack Oatts. To this day he still plays on the same Selmer Mark VI alto saxophone his father gave to him. He began his professional career in Minneapolis in 1972 and in 1977 he joined...
. It is one of Mariano's most influential set of tracks, though only delivered as a sideman. Ironically, Mariano was later critical of playing with the Kenton orchestra and would avoid playing within a big band format during the rest of his playing career. Mathieu is very generous with his praise in this respect for the band, "...and I was especially happy with the soloists, Roger, Rolf and most especially Archie. As far as Charlie, his playing, especially on 'Django,' provided the spark and authenticity the album needed."
The influence of Gil Evans
Gil Evans
Gil Evans was a jazz pianist, arranger, composer and bandleader, active in the United States...
writing during that period and Mathieu's admiration for Gil's writing is acknowledged. The comparison fits well but Mathieu's scores do not sound like cheap knock-offs of Evans'; his work on "Standards In Silhouette" is able to stand firmly upright on its own. Ironically, the one score which does not make the original LP is "Lazy Afternoon" (included on CD). This arrangement is directly comparible to the style and mood to Evans' originals "La Nevada" or "Bilboa Song". At 3:26 in length, "Lazy Afternoon" is far shorter than anything else recorded.
Track listing
- All arrangements written by Bill Mathieu
- Tracks 1-8 comprised the original LP
Musicians
- Conductor – Stan KentonStan KentonStanley Newcomb "Stan" Kenton was a pianist, composer, and arranger who led a highly innovative, influential, and often controversial American jazz orchestra. In later years he was widely active as an educator....
(piano on "Django" only)
- Alto saxophone – Charlie MarianoCharlie MarianoCarmine Ugo Mariano was an American jazz alto saxophonist. He was born in Boston, Massachusetts and died in Cologne, Germany.-Biography:Mariano was the son of Italian immigrants....
- Tenor saxophone – Bill Trujillo, John Bonnie
- Baritone saxophone – Jack NimitzJack NimitzJack Nimitz was an American jazz baritone saxophonist.He played in a variety of genres including jazz and rock...
, Marvin Holladay - Trumpet – Bud BrisboisBud BrisboisAustin Dean "Bud" Brisbois was a jazz and studio trumpet player. He played all styles, including big band lead, jazz soloing, pop, rock, country, Motown, and classical, but it was his high-note playing that set him apart...
, Clyde Reasinger (tracks #3,8), Bill ChaseBill ChaseBill Chase was an American trumpet player and leader of the jazz-rock fusion band Chase.-Biography:...
, Rolf EricsonRolf EricsonRolf Ericson was a Swedish jazz trumpeter. He also played the flugelhorn.- Early career :He moved to New York City in 1947 and in 1949 joined Charlie Barnet's big band and with Woody Herman in 1950...
, Roger Middleton, Dalton Smith (all track except #3,8) - Trombone – Archie LeCoque, Don SebeskyDon SebeskyDon Sebesky is an American jazz trombonist and arranger.-Biography:Sebesky trained in trombone at the Manhattan School of Music; in his early career, he played with Kai Winding, Claude Thornhill, Tommy Dorsey, Warren Covington, Maynard Ferguson and Stan Kenton...
, Kent Larson - Bass Trombone – Jim Amlotte, Bob Knight
- Bass – Pete Chivily
- Drums – Jimmy Campbell
- Bongos - Mike Pacheco ("Lazy Afternoon" only)
Production
- Producer (LP): Lee Gillette
- Recording (CD): Michael Cuscuna
- Remixing and remastering (CD): Ron McMaster
- Liner notes: Michael Sparke (CD)
Reception
Reviews...Standards in Silhouette is one of Kenton's finest albums of ballads, and is unusual in that it features exclusively the arrangements of the then 22-year old Bill Mathieu. The selection of tunes is outstanding. From well known standards like "Willow Weep for Me" (also recorded previously by Kenton with a vocal by June Christy), Harold Arlen's "Slow Wind" and Hoagy Carmichael's "I Get Along Without You Very Well" to numbers you would not expect to hear a Kenton band performing like John Lewis' "Django," this album is an aural delight for Kenton cognoscenti and newcomers alike.
WILLIAM GRIM, All About Jazz.com