Stan Kenton And His Orchestra: 7.5 On The Richter Scale, Tape
Stan Kenton And His Orchestra: 7.5 On The Richter Scale, Tape
€11.90
Net price (incl. 19% VAT) excl. shipping costs
Stan Kenton And His Orchestra
7.5 On The Richter Scale
  • Compact Cassette
  • United States
  • Creative World
  • (CW-1070)
  • GNP Crescendo
  • (CW-1070)
  • 8 Tracks
  • no barcode
  • EX+ / EX-
  • virgin
  • still sealed, cut-out hole in spine

tracks

A1

Live And Let Die

Written by
3:45
A2

Body And Soul

Written by
4:45
A3

Down And Dirty

Written by
5:35
A4

Country Cousin

Written by
3:06
B1

2002-Zarathustrevisited

Adapted by
  • Dale Devoe
Written by
6:06
B2

It's Not Easy Bein' Green

Written by
3:41
B3

Love Theme From 'The Godfather'

Written by
3:13
B4

Blue Gene

Written by
3:47

Credits

Bass
  • Kirby Stewart
Drums
  • Peter Erskine
Graphics
  • David McMacken
Percussion
  • Ramon Lopez
Photography by
  • Harold Plant
  • Phil Herring
Piano
  • Stan Kenton
Recorded by
  • Wally Heider
  • Ed Barton
Saxophone
  • John Park
  • Kim Park
  • Mary Fettig
  • Richard Torres
  • Roy Reynolds
Supervised by
  • Bob Curnow
Trombone
  • Bill Hartman
  • Dale Devoe
  • Dick Shearer
  • Lloyd Spoon
  • Mike Wallace
Trumpet
  • Gary Pack
  • Mike Barrowman
  • Mike Snustead
  • Paul Adamson
  • Dennis Noday
  • Jay Saunders

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2×LP (Vinyl)
1968. France, Incorporated. The entire building was being consumed by flames and was slowly collapsing. Nothing would survive. Out of the rubble of the old world jumped the children of Marx and Coca-Cola, ripping the white and blue stripes off the French flag. Yet, the socialist revolution was more mythic than real and music did nothing to mitigate people's behavior. It was time for innovation. While singles from the Stones, Who, Kinks and MC5 provided an incendiary soundtrack for the revolution, it was Black Americans who truly blew the world from its foundations in the 60s. Ornette Coleman, Cecil Taylor, Eric Dolphy, Albert Ayler and Archie Shepp left behind the jazz of their fathers' generation, liberating the notes, trashing the structures, diving headfirst into furious improvisations, inventing a new land without boundaries – neither spiritual nor political. Free jazz endowed the saxophone with the power to destroy the established order. In 1969, the Art Ensemble of Chicago arrived at the Théâtre du Vieux Colombier in Paris and a new fuse was lit. Their multi-instrumentalism made use of a varied multiplicity of "little instruments" (including bicycle bells, wind chimes, steel drums, vibraphone and djembe: they left no stone unturned), which they employed according to their inspirations.