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3 x CD |
| 10.475 Ft
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| 1. CD tartalma: |
| 1. | Ac-Cent-Tchu-Ate the Positive
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| 2. | Lady Day
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| 3. | Let's Take the Long Way Home
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| 4. | Jumpin' on the Merry-Go-Round
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| 5. | I'll Never Be the Same
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| 6. | Can't Help Lovin' Dat Man
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| 7. | 'S Wonderful
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| 8. | Bedford Drive
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| 9. | Grabtown Grapple
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| 10. | The Sad Sack
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| 11. | September Song
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| 12. | Little Jazz
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| 13. | But Not for Me
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| 14. | Tea for Two
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| 15. | Summertime
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| 16. | Summertime
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| 17. | Easy to Love
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| 18. | Time on My Hands
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| 19. | Tabu
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| 20. | A Foggy Day
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| 21. | These Foolish Things
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| 2. CD tartalma: |
| 1. | Lucky Number
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| 2. | You Go to My Head
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| 3. | The Man I Love
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| 4. | I Could Write a Book
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| 5. | Thrill of a Lifetime
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| 6. | Lucky Number
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| 7. | Kasbah
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| 8. | Lament
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| 9. | Love Walked In
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| 10. | Soon
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| 11. | Keepin' Myself for You
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| 12. | No One But You
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| 13. | Natch
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| 14. | That's for Me
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| 15. | They Can't Take That Away from Me
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| 16. | They Can't Take That Away from Me
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| 17. | Love Is Here to Stay
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| 18. | I Was Doing All Right
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| 19. | Someone to Watch over Me
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| 20. | Things Are Looking Up
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| 21. | The Maid With the Flaccid Air
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| 22. | They Didn't Believe Me
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| 23. | No One But You
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| 3. CD tartalma: |
| 1. | Dancing on the Ceiling
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| 2. | I Can't Get Started
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| 3. | Just Floating Along
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| 4. | Don't Blame Me
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| 5. | Yolanda
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| 6. | I Can't Escape from You
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| 7. | But Not for Me [Alternate Take]
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| 8. | Scuttlebutt
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| 9. | The Gentle Grifter
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| 10. | Mysterioso
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| 11. | Mysterioso
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| 12. | Hop, Skip and Jump
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| 13. | Let's Walk
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| 14. | Love of My Life
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| 15. | I Don't Stand a Ghost of a Chance with You
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| 16. | How Deep Is the Ocean?
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| 17. | The Glider
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| 18. | The Hornet
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| 19. | Oh! Lady Be Good
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| 20. | Artie's Blues
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| 21. | I Was Doing All Right
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| 22. | You Took Advantage of Me
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Jazz / Big Band, Swing, Sweet Bands
Artie Shaw - Leader, Clarinet
Artie Shaw & His Orchestra
Alastair Robertson Producer
Barney Kessel Guitar
Bernie Glow Trombone
Bob Swift Trombone
Buddy Rich Drums
Buster Harding Arranger
Charles Coolidge Trombone
Count Basie Piano
Count Basie & the Stars of Birdland
Dan Morgenstern Liner Notes
Dodo Marmarosa Piano
Dorothy Allen Performer
Eddie Sauter Arranger
George Schwartz Trumpet
George Siravo Arranger
Halsey Stevens Performer
Harry Rodgers Arranger, Trombone
Herbie Steward Sax (Tenor)
Jimmy Mundy Arranger
Jimmy Pupa Trumpet
John Harding Photography, Liner Notes
Jon Walton Sax (Tenor)
Ken Whitten Photography
Lesley Mitchell Clarke Sax (Alto)
Lou Fromm Drums
Lou Prisby Sax (Alto)
Morris Rayman Bass
Ollie Wilson Trombone
Paul Cohen Trumpet
Ray Conniff Trombone, Arranger
Ray Linn Trumpet
Rodney Richardson Bass
Roy Eldridge Trumpet
Rudy Tanza Sax (Alto)
Stan Fishelson Trumpet
Ted Kendall Transfers, Digital Remastering
Tom Mace Sax (Alto)
Tony Faso Trumpet
Hep Records presents a fabulous three-CD chronological core sample of Artie Shaw's recording activity between the autumn of 1944 and the summer of 1945. What made both the Artie Shaw Orchestra and his Gramercy Five so exciting, in addition to the leader's marvelous clarinet, was the continuous presence of trumpeter Roy Eldridge and pianist Dodo Marmarosa, two brilliant musicians who brought in fresh ideas and vital creative energies. The sheer volume of excellent music packed into this anthology is extraordinary. Great moments occur during Buster Harding's "Lady Day" and Eldridge's "Little Jazz." There are occasional nice vocals by Hal Stevens and Imogene Lynn, but it's the instrumentals that are so powerfully exhilarating. Artie Shaw was a genius. These 65 vintage recordings (including four rare radio broadcast performances) demonstrate exactly how and why. ~ arwulf arwulf, All Music Guide
Artie Shaw
Active Decades: '30s, '40s and '50s
Born: May 23, 1910 in New York, NY
Died: Dec 30, 2004 in Thousand Oaks, CA
Genre: Jazz
Styles: Big Band, Swing, Sweet Bands
One of jazz's finest clarinetists, Artie Shaw never seemed fully satisfied with his musical life, constantly breaking up successful bands and running away from success. While Count Basie and Duke Ellington were satisfied to lead just one orchestra during the swing era, and Benny Goodman (due to illness) had two, Shaw led five, all of them distinctive and memorable.
After growing up in New Haven, CT, and playing clarinet and alto locally, Shaw spent part of 1925 with Johnny Cavallaro's dance band and then played off and on with Austin Wylie's band in Cleveland from 1927-1929 before joining Irving Aaronson's Commanders. After moving to New York, Shaw became a close associate of Willie "The Lion" Smith at jam sessions, and by 1931 was a busy studio musician. He retired from music for the first time in 1934 in hopes of writing a book, but when his money started running out, Shaw returned to New York. A major turning point occurred when he performed at an all-star big band concert at the Imperial Theatre in May 1936, surprising the audience by performing with a string quartet and a rhythm section. He used a similar concept in putting together his first orchestra, adding a Dixieland-type front line and a vocalist while retaining the strings. Despite some fine recordings, that particular band disbanded in early 1937 and then Shaw put together a more conventional big band.
The surprise success of his 1938 recording of "Begin the Beguine" made the clarinetist into a superstar and his orchestra (who featured the tenor of Georgie Auld, vocals by Helen Forrest and Tony Pastor, and, by 1939, Buddy Rich's drumming) into one of the most popular in the world. Billie Holiday was with the band for a few months, although only one recording ("Any Old Time") resulted. Shaw found the pressure of the band business difficult to deal with and in November 1939 suddenly left the bandstand and moved to Mexico for two months. When Shaw returned, his first session, utilizing a large string section, resulted in another major hit, "Frenesi"; it seemed that he could not escape success. Shaw's third regular orchestra, who had a string section and such star soloists as trumpeter Billy Butterfield and pianist Johnny Guarnieri, was one of his finest, waxing perhaps the greatest version of "Stardust" along with the memorable "Concerto for Clarinet." The Gramercy Five, a small group formed out of the band (using Guarnieri on harpsichord), also scored with the million-selling "Summit Ridge Drive."
Despite all this, Shaw broke up the orchestra in 1941, only to re-form an even larger one later in the year. The latter group featured Hot Lips Page along with Auld and Guarnieri. After Pearl Harbor, Shaw enlisted and led a Navy band (unfortunately unrecorded) before getting a medical discharge in February 1944. Later in the year, his new orchestra featured Roy Eldridge, Dodo Marmarosa, and Barney Kessel, and found Shaw's own style becoming quite modern, almost boppish. But, with the end of the swing era, Shaw again broke up his band in early 1946 and was semi-retired for several years, playing classical music as much as jazz.
His last attempt at a big band was a short-lived one, a boppish unit who lasted for a few months in 1949 and included Zoot Sims, Al Cohn, and Don Fagerquist; their modern music was a commercial flop. After a few years of limited musical activity, Shaw returned one last time, recording extensively with a version of the Gramercy Five that featured Tal Farlow or Joe Puma on guitar along with Hank Jones. Then, in 1955, Artie Shaw permanently gave up the clarinet to pursue his dreams of being a writer. Although he served as the frontman (with Dick Johnson playing the clarinet solos) for a reorganized Artie Shaw Orchestra in 1983, Shaw never played again. He received plenty of publicity for his eight marriages (including to actresses Lana Turner, Ava Gardner, and Evelyn Keyes) and for his odd autobiography, -The Trouble With Cinderella (which barely touches on the music business or his wives), but the outspoken Artie Shaw deserves to be best remembered as one of the truly great clarinetists. His RCA recordings, which were reissued in complete fashion in a perfectly done Bluebird LP series, have only been made available in piecemeal fashion on CD.
--- Scott Yanow, All Music Guide |
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