When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartók.
Given free rein by Kenton, Rugolo experimented.
Although Kenton himself was already trying experimental scores prior to Rugolo's tenure, it was Rugolo who brought extra jazz and classical influences much needed to move the band forward artistically.

During his first six months on the staff, Rugolo tried to copy Kenton's sound; on encouragement from the leader he explored his own voice.
By incorporating compositional techniques borrowed from the modern classical music he studied, Rugolo was a key part of one of Kenton's most fertile and creative periods.

 After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero".
Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year).
These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.
 Afro-Cuban writing was added to the Kenton book with compositions like Rugolo's "Machito."

The Artistry in Rhythm ensemble was a formative band, with outstanding soloists.
By early 1947, the Stan Kenton Orchestra had reached a high point of financial and popular success.
They played in the best theaters and ballrooms in America and numerous hit records.
Dances at the many ballrooms were typically four hours a night and theater dates generally involved playing mini concerts between each showing of the movie.
This was sometimes five or six a day, stretching from morning to late night.
Most days not actually playing were spent in buses or cars.
Days off from performing were rare.
For Stan Kenton they just allowed for more record signing, radio station interviews, and advertising for Capitol Records.
Due to the financial and personal demands, following an April performance in Tuscaloosa, he broke up the Artistry in Rhythm incarnation of Kenton ensembles.
When composer/arranger Pete Rugolo joined the Stan Kenton Orchestra as staff arranger in late 1945 he brought with him his love of jazz, Stravinsky and Bartók. Given free rein by Kenton, Rugolo experimented. Although Kenton himself was already trying experimental scores prior to Rugolo's tenure, it was Rugolo who brought extra jazz and classical influences much needed to move the band forward artistically.
During his first six months on the staff, Rugolo tried to copy Kenton's sound; on encouragement from the leader he explored his own voice. By incorporating compositional techniques borrowed from the modern classical music he studied, Rugolo was a key part of one of Kenton's most fertile and creative periods.
 After a string of mostly arrangements, Rugolo turned out three originals that Kenton featured on the band's first album in 1946: (Artistry in Rhythm): "Artistry in Percussion", "Safranski" and "Artistry in Bolero". Added to this mix came "Machito", "Rhythm Incorporated", "Monotony" and "Interlude" in early 1947 (though some were not recorded until later in the year). These compositions, along with June Christy's voice, came to define the Artistry in Rhythm band.  Afro-Cuban writing was added to the Kenton book with compositions like Rugolo's "Machito."
The Artistry in Rhythm ensemble was a formative band, with outstanding soloists. By early 1947, the Stan Kenton Orchestra had reached a high point of financial and popular success. They played in the best theaters and ballrooms in America and numerous hit records. Dances at the many ballrooms were typically four hours a night and theater dates generally involved playing mini concerts between each showing of the movie. This was sometimes five or six a day, stretching from morning to late night. Most days not actually playing were spent in buses or cars. Days off from performing were rare. For Stan Kenton they just allowed for more record signing, radio station interviews, and advertising for Capitol Records. Due to the financial and personal demands, following an April performance in Tuscaloosa, he broke up the Artistry in Rhythm incarnation of Kenton ensembles.
Stan Kenton