
WEIGHT: 49 kg
Bust: 38
1 HOUR:50$
NIGHT: +60$
Services: Uniforms, Pole Dancing, Parties, Games, Massage Thai
Post a Comment Please leave your comments here. Thank you. At times, of course, it could be either of the extremes, but the plain truth about the Ken ton orchestra was that it was so much else as well. There may have been better big bands, certainly there were more consistently excellent big bands, but for sheer expressiveness, none could match the Ken ton ensemble of the postwar years.
In spite of the controversy that has always surrounded the man and his music and perhaps sometimes because of it, Stan Kenton has been of interest to me from the first time I heard his magnificent version of Concerto to End all Concertos. To give you some idea of how long ago this was, the record speed was 78 rpm!
I was hooked then and have been hooked ever since. What grand stuff this is! The music seemed to possess me, both emotionally and intellectually. It was as though the music came alive and brought me into a new dimension along with it. That may be a little dramatic but it's the kind of drama that Ken ton himself would have appreciated.
Certainly much of his oeuvre encompasses a long series of contradictions: he put together a series of the hardest swinging big bands in the history of American music, but he often seemed to be on an impossible dream kind of quest for a new jazz art music hybrid in which swing was not necessarily the thing.
He was one of the first white bandleaders to regularly hire black musicians, but in an infamous moment around , he complained that white jazzmen were under appreciated. He was constantly looking for ways to push the boundaries of the music into the future he was the first musician to popularize the term "progressive jazz" yet he also constantly carried the torch for the great early players like Louis Armstrong and Earl Hines.