An ebullient piano solo, swinging and striding over most of the keyboard, helps to invigorate him, and he returns with renewed strength, a reference to “Tangerine,” and a nice cadenza. Stan takes the lead, sans intro, in their only reading of “Autumn Leaves,” and stays close to the melody, using dynamic contrast in the absence of his usual inventiveness. I doubt that Stan ever shrugged off anything in his life. Kenny later shrugged it off as the price of working with genius. I once saw a great but inebriated musician berate him at a party over a tempo. Musically, they rode the same wave temperamentally, Kenny is as stable as Stan was volatile. At nineteen, each had a breakthrough: Getz made his first records as a leader (Hank Jones on piano), though the true originality of his sound would emerge a year later in Woody Herman’s band, and Barron signed on with the Dizzy Gillespie Quintet. Stan spent his teens with Stan Kenton, Jimmy Dorsey, Benny Goodman, Kai Winding, and Gene Roland. Mentored by his brother, the unjustly neglected tenor saxophonist and composer Bill Barron, Kenny played as a teenager with Philly Joe Jones, Jimmy Heath, Yusef Lateef, Ted Curson, and James Moody. Each came to modern jazz from an unlikely apprenticeship: Stan with Jack Teagarden’s Dixieland swing, Kenny with Mel Melvin’s rhythm and blues. Both were born in Philadelphia, emerged as child prodigies, and began working professionally at fifteen-which for Stan was in 1942, the year before Kenny was born.
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