[2] The 1999 CD re-issue of Adventures In Jazz is augmented with two alternate takes from the original recording sessions and one track from Kenton's release Sophisticated Approach.

Though not considered a "financial windfall," Adventures In Jazz and other "mellophonium band" projects were far more solvent than those of the aforementioned group from more than a decade earlier.

[6] While Kenton was being confronted by the personal embarrassment of the situation and the divorce was going through the courts in Los Angeles, he was riding on a new wave of success with the West Side Story album charting for 28 weeks in Billboard, peaking out at #16.

Through these two previous LPs the public got re-acquainted with Stan Kenton, allowing greater acceptance of a lesser-known set of musical numbers on Adventures In Jazz.

[12][13] The environment for Kenton's pop music commercial successes was far more measured than 10 years earlier; the sound of a 22-piece mellophonium-style orchestra did not sell well to anything but a smaller, serious jazz audience.

The artistic success of Adventures In Jazz is a testament to a combination of Kenton's perseverance, timing, individual musicians, and talented composer/arrangers who were a part of those recording sessions.

Barton would later take the drum chair on the Kenton band showing the multi-talents he brought to the table for this group and later studio work he would do.

"Waltz of the Prophets" had been recorded a couple of years earlier by the University of North Texas One O'Clock Lab Band and was Barton's résumé material to write for the Kenton group.

"Waltz of the Prophets" is unique in the overtly gospel aspects of the work showing Barton's musical roots having been raised in Mississippi.

Barton later went on to fame (like other Kenton writers Pete Rugolo and Lennie Niehaus) as a composer for films such as Clint Eastwood's Play Misty for Me.

These are flag-waver pieces that catch the ears of the normal listener and especially a NARAS/Grammy panel that might not know the jazz orchestra genre but certainly knows exciting and well-played music.

"Malagueña" later shows up in 1960 on the flip side of Connie Francis' #1 hit single "My Heart Has a Mind of Its Own", helping prompt Kenton to revisit the piece.

The work was commissioned by Kenton in wanting another alto feature like those written in the past for Art Pepper, Bud Shank, and Lee Konitz.

[3] Roland can also be heard on track #8 of the CD re-issue playing mellophonium; he is familiar with the instrument and creates a nice framework for Starling.

The sound of the room and the situation did not lend itself to optimal tracking conditions, leaving both Kenton and producer Gillette to abort the session.

"[5] This album stands as a pinnacle during the "Golden Age of Hi-Fi" and having a large ensemble playing nearly uncut and unedited with uncompressed sound.

Between the fact an actual touring group of this caliber is being recorded without massive editing or overdubs and little to no compression or reverb is added makes it as close as one can get to 'live.'

[19] The solo feature for Gabe Baltazar is a perfect setting and allows the alto player to turn in one of the very best performances during his tenure with the Kenton orchestra.

[3] During his time with Stan Kenton, Marvin Stamm becomes a major name in jazz circles and the solos from this album helped to make this happen.

Stamm is equal to the task of great trumpet soloists from past Kenton groups such as Jack Sheldon or Conte Candoli.

He plays over the changes of two contrasting works which are quite notable; this includes solos on "Limehouse Blues" ("the fluid trumpet of Marvin Stamm has its say") and "Waltz Of The Prophets".

[3] Starling is a converted trumpet player like others such as Carl Saunders and "Misty" certainly makes the case for his inclusion as a sensitive and formidable soloist.

He matches the big Kenton sound very well and turns in some great playing on the feature of "Body And Soul" as well as "Limehouse Blues" and "Malagueña".

[22] "The Stan Kenton orchestra turns in ear-catching performances here of a flock of new and old tunes, all of them featuring big styled, full blown arrangements.

"Kenton always has an affinity for bombast, but his bands have recorded some notable music: the LP with Young Blood and My Lady (New Concepts of Artistry in Rhythm) is one of the finest modern big-band albums ever cut.

Unfortunately, this session seems to be devoted to cacophony..." "This excellent outing by the 1961 edition of Stan Kenton's orchestra has one classic (Bill Holman's arrangement of Malaguena), a superior solo by altoist Gabe Baltazar on Stairway to the Stars, a feature for Ray Starling's mellophonium (Misty), a good workout by veteran tenor Sam Donahue on Body and Soul, Holman's reworking of Limehouse Blues, and two colorful Dee Barton composition/arrangements.