Maynard Ferguson - 'M.F. Horn'
Let’s start with a direct descendant. Trumpeter Maynard Ferguson became a star in Kenton’s orchestra, renowned for his stratospheric high notes. On 'M.F. Horn', his comeback album from 1970, Ferguson applies that same high-voltage brass power to a mix
of pop covers and originals. While Kenton’s arrangements were often architecturally complex, Ferguson’s focus here is pure energy. The iconic, sprawling rendition of 'MacArthur Park' serves as the centerpiece, a tour de force of orchestral muscle that will feel instantly familiar to any Kenton fan who loves the sheer force a big band can produce. It’s the logical first step, translating Kenton’s power into a new, groove-oriented decade.
Gil Evans Orchestra - 'Out of the Cool'
If you admire the compositional ambition of Kenton’s more experimental works, like 'City of Glass', then Gil Evans is your next destination. But where Kenton often went for might, Evans explored texture and shadow. 'Out of the Cool' (1961) is a masterclass in orchestral subtlety, creating vast, moody soundscapes that feel both minimalist and immense. Evans uses the orchestra to create color and atmosphere, building tension through space rather than volume. The 15-minute 'La Nevada' is a testament to this, a slow-burning piece that demonstrates a different kind of orchestral power. It’s the perfect counterpoint, showing another path that ambitious, large-ensemble jazz could take.
Don Ellis Orchestra - 'Electric Bath'
Stan Kenton was a restless experimenter, especially with rhythms and large-scale forms. Don Ellis took that spirit and rocketed it into the psychedelic era. 'Electric Bath', which won Album of the Year in Down Beat magazine in 1968, is a wild ride of complex time signatures, electronics, and global influences. The track 'Indian Lady', with its 5/4 time signature, is both incredibly complex and infectiously groovy. Ellis also pioneered the use of a four-valve trumpet to play quarter-tones, pushing jazz harmony into new territory. For the Kenton listener who loves the 'Innovations in Modern Music' side of his work, 'Electric Bath' is the thrilling, next-generation evolution.
The Thad Jones/Mel Lewis Orchestra - 'Consummation'
After Kenton, the modern big band continued to evolve. The Thad Jones/Mel Lewis Orchestra, a mainstay at New York's Village Vanguard, represented the pinnacle of this development. Their 1970 album 'Consummation' is a masterpiece of writing, arranging, and ensemble playing. The arrangements by Thad Jones are sophisticated, swinging, and deeply soulful, featuring complex unison lines and room for brilliant solos from an all-star cast. Unlike Kenton's sometimes-heavy sound, this band is defined by its dynamic subtlety and swinging precision, from the tender ballad 'A Child Is Born' to the funky 'Ahunk Ahunk'. It shows how the power of a big band could be channeled into something nimble and exquisitely detailed.
Sun Ra and His Arkestra - 'Jazz in Silhouette'
For those captivated by Kenton's most avant-garde inclinations, Sun Ra offers a journey into the outer limits. While known for his later free-jazz explorations, his 1959 album 'Jazz in Silhouette' is the perfect bridge. It's a collection of intricate, forward-thinking big band charts that are both accessible and deeply strange. On tracks like 'Saturn', the Arkestra swings with a precision that would impress any big band aficionado, but the melodies and harmonic ideas are uniquely Ra's. 'Ancient Aiethopia' hints at the rhythmic and textural freedom to come, focusing on percussion and mood. This album is for the Kenton fan who hears 'City of Glass' and asks, 'What’s next?'.
Maria Schneider Orchestra - 'Concert in the Garden'
To see where the legacy of ambitious, composer-led orchestras has gone in the 21st century, look no further than Maria Schneider. A student of Gil Evans, Schneider creates lush, cinematic soundscapes that are rich with harmony and emotion. Her 2004 album, 'Concert in the Garden', which won a Grammy and was added to the National Recording Registry, is a landmark of modern orchestral jazz. Like Kenton, Schneider writes for a large ensemble, but her focus is on creating intricate, flowing narratives. The music is grand and textural, blending jazz with classical and world music influences, particularly from Brazil and Spain. It's a beautiful continuation of the idea that a big band can be a composer’s most powerful and expressive tool.
