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| The Complete Rhythm Makers Sessions 1937-1938, Volume I |
| Artie Shaw |
angol
első megjelenés éve: 2003 |
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| (2005)
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2 x CD |
| 9.481 Ft
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| 1. CD tartalma: |
| 1. | Love Is Good for Anything That Ails You
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| 2. | No More Tears
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| 3. | September in the Rain
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| 4. | The Mood That I'm In
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| 5. | Trust in Me
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| 6. | A Message from the Man in the Moon
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| 7. | Was It Rain?
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| 8. | Swing High, Swing Low
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| 9. | Sweet Is the Word for You
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| 10. | Moon Face
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| 11. | Skeleton in the Closet
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| 12. | Sobbin' Blues
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| 13. | Cream Puff
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| 14. | At Sundown
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| 15. | Copenhagen
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| 16. | My Blue Heaven
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| 17. | When Your Lover Has Gone
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| 18. | All Dressed Up and No Place to Go
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| 19. | How Come You Do Me Like You Do?
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| 20. | The Blues
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| 2. CD tartalma: |
| 1. | Born to Swing
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| 2. | Milenberg Joys
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| 3. | The Bus Blues
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| 4. | The Chant
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| 5. | Twilight in Turkey
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| 6. | Alibi Baby
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| 7. | Night Over Shanghai
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| 8. | Study in Brown
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| 9. | I'll Never Tell You I Love You
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| 10. | All at Once
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| 11. | Without Your Love
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| 12. | The Love Bug Will Bite You
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| 13. | Johnny One-Note
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| 14. | Never in a Million Years
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| 15. | Wake Up and Live
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| 16. | [I've Got] Beginner's Luck
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| 17. | Someday, Sweetheart
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| 18. | Symphony in Riffs
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| 19. | In the Bottom
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| 20. | Hold Your Hats
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| 21. | Theme: Bus Blues/Born to Swing
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| 22. | Someday, Sweetheart
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| 23. | Night and Day
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| 24. | Ubangi
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| 25. | Theme: Bus Blues
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Jazz / Big Band, Dixieland, Swing, Standards, Sweet Bands
Al Avola Guitar
Artie Shaw Clarinet
Ben Ginsberg Bass
Bill Schumann Viola
Buddy Morrow Trombone
Buddy Saffer Sax (Alto)
Cliff Leeman Drums
Dorothy Howe Vocals
Frank Sigfield Violin, Sax (Tenor)
Fred Petry Sax (Tenor)
George Arus Trombone
George Wettling Drums
Harry Rodgers Trombone
Jerry Gray Sax (Tenor), Violin
Joe Lipman Piano
John McClanian Best Jr. Trumpet
John McDonough Liner Notes
Lee Castle Trumpet
Les Burness Piano
Les Robinson Sax (Alto)
Malcolm Crain Trumpet
Mike Bryan Guitar
Peg LaCentra Vocals
Sam Rosenblum Violin
Tom Dicarlo Trumpet
Tony Pastor Sax (Tenor), Violin, Vocals
Vladimir Simosko Discographical Information
Zeke Zarchy Trumpet
2-CD set features two sessions from legendary clarinetist Artie Shaw: Disc one contains material recorded in New York City on March 4, 1937, and disc two contains material recorded in N.Y.C. on April 29, 1937
In his autobiography, -The Trouble With Cinderella, Artie Shaw periodically describes his own sense of alienation, first as ethnic "other" during his childhood, then as fledgling bandleader full of ideas, struggling to conform without conforming, and most horrifically as sudden sex symbol and superstar, dreadfully dwarfed by the ersatz image of the creature that everyone seemed to think he ought to be. Confronted with the phonograph recordings of Artie Shaw, one might best bear this ongoing identity crisis in mind, and seriously appreciate the not uncommon tightrope act combining pop culture success with the creation of at least some music of substance and depth. Most bandleaders during the '30s and '40s managed to do both, yet the proportionate ratio of real jazz to sugar water has always been a dicey equation. Vol. 1 of The Complete Rhythm Makers Sessions focuses upon the year 1937. The first of the two discs, covering material waxed on March 4th of that year, documents Shaw's persistent reliance upon violins and viola to augment the texture of his band. "Love Is Good for Anything That Ails You" cooks really wonderfully for a little over two minutes, whereupon it simply quits just as the groove becomes fully established. What follows is the prerequisite handful of romantic sugar pop tunes. Amidst Peg LaCentra's recurring lapses into vocalized sentimentality, relief materializes in the form of a string of great instrumental tracks: "Swing High, Swing Low," "Skeleton in the Closet," and "Cream Puff" give way to even more solid material like "Sobbin' Blues," "At Sundown," "Copenhagen," "My Blue Heaven," "How Come You Do Me Like You Do?" (Shaw's clarinet nestled peculiarly among the viols), and Artie's original take on "The Blues."
From this point onward, Shaw stopped using a string section in his band. The difference is immediately evident on the second disc, which covers everything from the session of April 29, 1937. Listening between the vocal tracks, one is able to savor the flavor of Shaw's originals. "Born to Swing," "The Chant," "The Bus Blues," "Ubangi," "In the Bottom," and "Hold Your Hats" are more or less solid vehicles for swing. Raymond Scott's "Twilight in Turkey" is pixilated and Larry Clinton's "Study in Brown" comes across as pleasantly busy, while Harry Warren's majestic mood piece "Night Over Shanghai" extends the Oriental Fox Trot tradition beyond its earlier vintage. There is a tidy treatment of Rodgers & Hart's "Johnny One Note," a marvelously optimistic bounce called "Wake Up and Live," a smart handling of "Someday, Sweetheart," and a terrific stomp by Benny Carter called "Symphony in Riffs." Nevertheless, Jelly Roll Morton's "Milenberg Joys" is without question the prime cut. The second disc ends with an aircheck, which is to say a recording of Shaw's band performing over the radio on April 30, 1937. Listeners hear alternate versions of instrumentals used during the previous day's recording session, along with a gorgeous version of "Night and Day." Each number is introduced by an authentically self-conscious old-fashioned radio announcer. ~ arwulf arwulf, All Music Guide
Artie Shaw
Active Decades: '30s, '40s and '50s
Born: May 23, 1910 in New Haven, CT
Died: Dec 30, 2004 in Newbury Park, 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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