When I posted last on arranger Pete Rugolo (here), I left out two major albums in my survey of his work in a leadership role. They are Rugolo Plays Kenton (1958) and Behind Brigitte Bardot (1959). Both are exceptional for different reasons. Rugolo, of course, began arranging for Stan Kenton in 1944, starting with Opus a Dollar Three Eighty. As the years rolled on with Kenton, he arranged many of vocalist June Christy's numbers with the band as well as major instrumental works, including Machito, Collaboration, Elegy for Alto, Unison Riff, Minor Riff, Lover and Interlude (all 1947) as well as Love for Sale, Laura, Theme for Alto and Nat King Cole's Orange Colored Sky (all 1950) and more.
Rugolo during this period became an early pioneer of jazz-classical and a high-profile champion. The late Mercury producer Jack Tracy made this point in his liner notes to a re-issue of Rugolo Plays Kenton: "Another open-minded arranger of modern jazz, Bill Russo, said in 1963: 'Without a doubt, Pete Rugolo was the initiator of third stream jazz. He was one of the first men to apply an extensive symphonic or non-jazz compositional technique to the jazz orchestra." [Photo above of Pete Rugolo with Nat King Cole]
On Rugolo Plays Kenton, the arranger updates the Kenton sound for the high-fidelity age, giving the hits an even more expansive, Kenton-like feel. In 1958, Rugolo's approach to Kenton's music was less like hitting a heavy bag and more along the lines of a 12-cylinder automatic-transmission accelerating—smooth and strong. Eager Beaver (dig Bob Cooper's oboe mixed in), Painted Rhythm (with two flutes), Opus in Pastels (with tympani drums) and Capitol Punishment (written for this session) are spectacular arrangements and a superb tribute to the heart of what made Kenton spectacular—coy cacophony and supersized ambition. The music on Rugolo Plays Kenton feels as if it has moved out of the old city and into newly built suburbs, much the way Frank Sinatra's Capitol recordings had that breezy, swinging feel.
Dig the West Coast artists on the album: Al Porcino, Ollie Mitchell, Buddy Childers and Don Fagerquist (tp); Milt Bernhart, Frank Rosolino and Harry Betts (tb); Ken Shroyer (b-tb); Red Callender (tu); Harry Klee and Bud Shank (as,fl); Bob Cooper (ts,oboe); Dave Pell (ts,cl); Chuck Gentry (bar,b-cl); Claude Williamson (p); Howard Roberts (g); Don Bagley (b)' Shelly Manne (d); and Pete Rugolo (arr,cond). Dick Nash replaced Betts on the second session. [Photo above of Dave Pell]
Despite its cheesy, sexist name and silly cover, Behind Brigitte Bardot remains a brilliant concept album. Rugolo took songs from movies in which the French actress appeared and gave them a hip makeover. A T'aimer from Love Is My Profession, L'Etang from Sans Famile and Manina Theme (From Girl in the Bikini) are gorgeous movie-music arrangements with a cool, pre-Henry Mancini feel. This is an album you just put on and let it play from start to finish. It's probably Rugolo's least-known and least-celebrated album, but it's among his finest.
The band on this album featured Pete Candoli, Ollie Mitchell and Jack Sheldon (tp); Frank Rosolino and Milt Bernhart (tb); Ken Shroyer (b-tb); Richard Perissi and Vince DeRosa (fhr); Bud Shank, Paul Horn, Buddy Collette, Ted Nash and Chuck Gentry (reeds); Larry Bunker (vib,perc); Fred Katz (p,cello); Laurindo Almeida (g); Phil Stephens (b,tu); Buddy Clark (b); Mel Lewis (d); Gloria Wood (vcl on Paris B.B.); and Pete Rugolo (arr,cond). On the second session, Joe Mondragon (b) and Gene Estes (vib,perc) replaced Clark and Bunker.
Whether it was celebrating Kenton by topping many of his own arrangements or scoring the most elegant movie music in a loving tribute to Bardot, Rugolo was really something. Both of these albums remain engaging without sounding the least bit dated. Two albums I'll have to pack for my next trip to L.A. to give them the driving-around-Hollywood test.
JazzWax tracks: You'll find Rugolo Plays Kenton here and here. And you'll find Behind Brigitte Bardot coupled with Rugolo's Top TV Themes here and here, or the album by itself here.
JazzWax clips: Here's Painted Rhythm from Rugolo Plays Kenton...
And here's A T'aimer (from Love Is My Profession)...
A special thanks to Jordi Pujol.
