js One of the more polarizing artists in the history of jazz, there seems to be no middle ground with Stan Kenton, people either love him or hate him. Kenton kicked off his band leading career in the 1940s and quickly established himself as a bit of a radical as his bands often dealt with rather complicated charts and concert hall type concepts that some saw as at odds with the essence of jazz. His bands could be huge and often emphasized sheer power and volume over more subtle qualities. Critics often pointed out that Kenton’s music was clumsy and it didn’t ‘swing’. As is often the case with polarizing figures, the truth about Kenton’s music lays somewhere in the middle of popular opinion. His music may be a bit heavy-handed at times, and his charts may lack the grace and charm of other classic big bands, but there is still a lot of interesting music within the Kenton catalog, and saying his bands couldn’t swing is overstepping a bit.

In the mid-50s it became very popular for big band leaders to re-record their more famous hits in the new ‘hi-fidelity’ stereo format. So it is in 1955 that Kenton joins this growing trend by recording “Stan Kenton in Hi-Fi”, a collection of past hits re-recorded with a massive modern (50s) stereo sound. Listening to these tracks is exciting, this is a very dynamic band and they play plenty of high energy swing numbers with a few more reflective numbers scattered throughout. Kenton’s often reliance on sheer power is in evidence with plenty of screaming trumpets, but overall these are fun tracks with an upbeat positive vibe. There are plenty of good solos, but honorable mention should go to tenor player Vido Musso who has a very original voice and is one sax player who deserves wider recognition.

Kenton’s sound was heavily influenced by Jimmie Lunceford, and you can also hear some Ellington too. Comparing Kenton to the other big band greats, you could say that he does not have the irresistible groove of Count Basie, nor the slinky subtle tone colors of Ellington, but Kenton’s band has good youthful energy and then there is always that sock-to-the-jaw sheer power. That youthful energy is always a part of the Kenton appeal, and this album reveals just a hint of mid 50s rock-n-roll as it seems that Kenton was often aiming for that frat boy party vibe.

There are plenty of good cuts on here and no duds. Some standouts include the up-tempo rush of “Artistry Jumps”, the Latin groove of “Peanut Vendor” and the third stream ambitions of “Concerto to End All Concertos”. Sure Kenton may not be as cool as Duke or the the Count, but people should not write him off, despite his reputation for stiffness, this is decadently fun and dynamic music.