In 1987 I became the producer and mixdown engineer for a project titled “The Alumni Tribute to Stan Kenton”. I was a studio musician, musician’s contractor and ran a production company of some significance. My daily routine began by meeting Mort Sahl as well as a wide variety of notable actor’s and musicians who would join us at a small coffee shop to start the day. Many of our early morning coffee sessions, after reading the New York Times and discussing how bad industry politics were, ended up looking more like a Kenton alumni meeting, Pete Rugolo, Laurindo Almeida, Bob Cooper, Shorty Rogers, Bob Fitzpatrick, Milt Bernhardt, and Dick Shearer, who, after Kenton’s passing, was my musical director. Mort Sahl was trying to get Clint Eastwood to play Kenton’s life story on the big screen, but nothing ever came of it. So one morning after too much coffee I was elected to produce an album tribute. The final recording session, one last gathering in a modern studio, and so it began. I was already producing the L.A. Raiders Big Band during the day, and the Kenton Tribute would be produced at night, and that meant fourteen-hour days.

This was a daunting task, first to gather the greatest musical minds of the Kenton era, get them to fly in, artists such as William Russo and Lee Konitz and then locate suitable material for an audiophile project of this magnitude. Everything seemed to be falling into place, I even used studio A at Capitol Records for some of the dates, before they destroyed it with all the new technology. You must bare in mind these great artists had already achieved their stature in their careers forty years earlier and money was not their only motivating factor, it was the integrity and quality of the outcome of their work. I hand picked the top L.A. studio sidemen to fill in certain chairs in the orchestra baring in mind, many of the Kentonites were already in their mid seventies. The Kenton style is as unique as Basie or Ellington and I chose to present the music in a professional manner out of respect, not an imitation or parody of the once great band that was the nations largest box office attraction in the 1950’s.

When I approached Shorty Rogers I specifically requested to record “What’s New”, with Maynard being the featured soloist. We were acquaintances and he had been aware of my playing early on, Shorty even hired my orchestra to perform for the wrap party for the Universal Studio’s motion picture “Zoot Suit”, of which he scored. Shorty however was an excellent businessman and required numerous contractual clauses in his contract, giving him certain control.

Shorty Rogers, needless to say, and Maynard were close friends, it is my understanding that of the few people that remained close to Maynard from the early days was Shorty. Whenever Maynard was in L.A. they often had dinner together. Their friendship continued until Shorty’s passing.

I had been in contact with Kim Ferguson with regard to Maynard’s participation and everything seemed set. Until Buddy Rich became ill and Maynard started filling in all of Buddy’s concert dates, I postponed the session as long as possible, until it was decided to go ahead and record the orchestra and Maynard would lay down his part in Chicago, or some city we’d fly to, Shorty, me and my engineer to catch up with him. It was never my intention to perform “What’s New”. I then received word that with Maynard’s schedule and my production delivery date, it just wasn’t going to work out. Kim Ferguson told me Maynard said that “he’d already done it” and for me to go ahead and do it, but call Shorty. Maynard and Kim had heard my earlier recording of “Maria” from some ten years earlier, and we had a wonderful meeting over that recording, they were both so warm and gracious, so with great disappointment I called Shorty and he spelled out his conditions, the terms were strict.

First, I was presented with several obstacles, how do you perform a masterpiece that every trumpet player has already heard and would compare you to. This was a piece written for one of the most influential trumpet players of the 20th Century. I was honored, yet felt as though I was treading on sacred ground. Maynard in my opinion is the father of modern contemporary trumpet playing. Shorty Rogers reassured me everything would be fine, Maynard had given his blessing, as did he, with certain conditions.

First, Shorty would conduct, there was to be one take. Second the chart was to remain his property, it was a part of his contract, paragraph 4 of the lawyers conditions, in addition to other contractual clauses.

He explained to me that there were at least a dozen trumpet players who could play the notes, but it wasn’t about that, he wrote “What’s New” and “Maynard Ferguson” to capture the spirit of his friend whose sound lit a room, it wasn’t a contest, it was about art.

The Day Of Recording

He allowed me to spend a few minutes warming up and handed me Maynard’s solo part, as I began to find were to lay into the melody and find the points of how to build contrast and intensity, I realized that Maynard and I played completely differently, Shorty smiled and withdrew an old yellowed sheet of music paper. I play a double D with the same set as I do a concert Bb, even above that in the triple register. I, even having studied with Cat Anderson had made it a point to rarely use his technique, as the sound wouldn’t match and there was nowhere to reset.

Shorty, explained to me that every chance he got while sitting in the Kenton trumpet section he would glance over and steal moments of Maynard’s personal sets, and pivot points, most importantly his best keys. Needless to say, “Maynard Ferguson” and “What’s New” are masterpieces written by Shorty to feature his dear friend. This piece of paper is the first sketch of his working notes for the score to “What’s New”. After reading his notations it became crystal clear, it was going to be done the hard way, my way. One set, the same from top to bottom to match the timbre of sound. Shorty asked me if I understood, I nodded yes, he said “then lets do it, I have to be at Universal for an appointment”. “Besides you’re a red light player”, jokingly.

Shorty turned to the engineer, he said “tape’s rolling”. Then, the downbeat. I lit that horn up with all my might, pushing it so hard I could feel it vibrating in my hands. I stood two feet off the microphone at a slight angle to capture the overtone series and the vibration of the bell. I have a bad habit of shattering microphones and I didn’t want to break this one since it costs $40,000. Shorty seemed pleased, out of the corner of my eye. We stopped for less than 60 seconds, and he nodded to the engineer, we’re rolling part II.
He stopped for about another 60 seconds for the interlude, which we did with ease, I felt more like Harry James for those eight bars. He stopped for 30 seconds, he asked me if I was ready, what could I say, I nodded yes. When I lit the bell up on the double C I felt the horn bend in my hands, when I hit the double C# I felt the mouthpiece and lead pipe move, I got scared thinking I might tear the braces loose. We stopped for another 60 seconds and he started conducting, I entered, the double A’s at the ending, they seemed like nothing, it was the last two notes that were on my mind. It might as well be triple C’s and D’s by now. He cut the band off. He looked at his watch, looked me in the eye and lifted his finger, meaning one take. I hit the double C, saving just a little, he looked at me on the final chord, holding his hand out, I decided to start on the high D and slide into it, as I hit the double D, I realized I was just beneath the pitch, I was over playing the horn so hard it was bending flat. I remember thinking there’s no way I’m going to do this again, so I pushed the horn sharp, changing the coma system, getting the horn to ring on the bright side as much as possible. At the very moment the last note came into pitch, Shorty cut it off.

He gathered the parts and score as we moved into the control booth to hear the playback. It was subdued and quiet, everyone looking at “Shorty” for approval. He was almost expressionless except for a slight smile and an occasional grin. After the last note, my engineer stopped the playback gear, it was absolutely still and silent, you could hear a pin drop. I felt I was standing on hallowed ground and awaited my fate by a medieval court.. Suddenly “Shorty” turned towards me and gave out a subdued chuckle, asking me if I would give him high note lessons. Finally, the heart that was in my throat started towards its normal position. He walked over to me and while squeezing my shoulder he told me he had promised himself that he had written these two charts for Maynard and no one else would perform them. You’re the only exception. He then reached for the contract and release documents, He was late for his meeting at Universal. After signing the documents “Shorty” handed me the score and parts, “these belong to you now, and no one else”, as he pointed to paragraph #4. I was shocked, it is not something that I had planned on or expected. Needless to say I was overwhelmed. He said he would like to keep the original sketch as a personal momento, after allowing me to Xerox it he placed it in his leather case and started for the door. He stopped, turned around and complimented my chief recording engineer on the production values, looked me straight in the eyes and said “remember it’s music, not a contest”.

In closing, as you gaze upon the handwritten sketch of Shorty Rogers, if you can read between the lines You’ll recognize his genius as an orchestrator, arranger with regard to “What’s New”. Particularly the love and admiration Shorty held for his dear friend. I consider Shorty’s composition a masterpiece, musically in content, form, layout and orchestration. Maynard Ferguson, buoyant, playful and his joyful voice made them masterpieces, thrilling audiences night after night.

I should add that for those of you who were not familiar with Maynard’s roll on the Kenton band, in those days everyone specialized, Maynard told me in a private conversation that he played the 5th trumpet chair or 3rd on occasion while Buddy Childers played lead. As Buddy would hit a high G or double A, Maynard would often stand up waving to the audience as they cheered and applauded just to tease Buddy, one of the great lead trumpet players of all time. Maynard was such a huge attraction with the Kenton Band he was making triple what anyone else was. Kenton also, to keep the promoters happy, would save Maynard until the last half hour to keep the crowds there. At 11:30 Maynard would be introduced, brought down front and perform “Maynard Ferguson”, “What’s New” and the “Hot Canary”, all in a row and close the show; now stop and think about that!

This tribute was done with love and respect. I promise you, there will never be another Maynard Ferguson. I consider him to be a master rising above and surviving all, whose thrilling sound has set the world on fire.

The album garnered rave reviews worldwide and continues to this day to be the lasting and final tribute completing the recorded library for every Kenton audiophile.

It was the most humbling experience of my life to try to fill his shoes, but no one will ever do that. My only regret is I never heard back from anyone if Maynard had ever heard my version, sadly I’ll guess I’ll never know, so I offer it up in homage and tribute to a man who inspired millions and changed the world a little more after each performance.

I have been asked countless times for a Xerox copy of “What’s New” and I respectfully decline as contractually agreed to in subparagraph #4. One trumpet player went so far as to threaten me, perhaps illustrating why Shorty was so adamant in the first place. It isn’t about who can play higher, louder, and faster, it is about making music thrilling. If you can touch a person’s soul then that is the highest level of achievement. I know for myself, Maynard has inspired me, and he always will. So, as I race to catch my midnight flight, I think I’ll have a glass of Champagne and toast Maynard!

Most Respectfully,

Paul Cacia
Trumpet Artist
Copyright retained 1987-2003. Used under limited license
The Paul Cacia Music Library
www.paulcacia.com