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| The Complete Rhythm Makers Sessions 1937-1938, Volume II |
| Artie Shaw |
angol
első megjelenés éve: 2004 |
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| (2004)
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2 x CD |
| 6.861 Ft
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| 1. CD tartalma: |
| 1. | Whispers in the Dark
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| 2. | Don't Ever Change
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| 3. | If I Put My Heart in a Song
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| 4. | Love Is a Merry-Go-Round
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| 5. | Till the Clock Strikes Three
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| 6. | The Moon Got in My Eyes
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| 7. | All You Want to Do Is Dance
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| 8. | It's the Natural Thing to Do
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| 9. | The Folks Who Live on the Hill
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| 10. | Can I Forget You?
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| 11. | The Things I Want
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| 12. | Posin'
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| 13. | If You Should Ever Leave
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| 14. | The Loveliness of You
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| 15. | Afraid to Dream
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| 16. | All Alone
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| 17. | Because I Love You
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| 18. | If I Had You
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| 19. | Together
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| 20. | Just You, Just Me
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| 2. CD tartalma: |
| 1. | A Strange Loveliness
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| 2. | Have You Met Miss Jones?
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| 3. | I'd Rather Be Right
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| 4. | Everything You Said Came True
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| 5. | Rosalie
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| 6. | You Have Everything
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| 7. | Shindig
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| 8. | I've a Strange New Rhythm in My Heart
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| 9. | Sweet Variety Sue
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| 10. | I Want a New Romance
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| 11. | Shoot the Likker to Me, John Boy
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| 12. | Free Wheeling
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| 13. | S.O.S.
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| 14. | How Dry I Am
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| 15. | Black and Blue
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| 16. | Fee Fi Fo Fum
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| 17. | I'm Yours
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| 18. | Sweet Adeline
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| 19. | Old Black Joe
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| 20. | It's a Long Way to Tipperary
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Jazz / Swing, Sweet Bands
Al Avola Guitar, Guitar
Artie Shaw Clarinet
Ben Ginsberg Bass, Double Bass
Chuck Peterson Trumpet
Cliff Leeman Drums
Dolores O'Neil Vocals
Fred Petry Sax (Tenor)
George Arus Trombone
Hank Freeman Alto, Sax (Alto)
Harry Rodgers Trombone
Jerome Kern Composer
John McClanian Best Jr. Trumpet
John McDonough Liner Notes, Liner Notes
Les Burness Piano
Les Robinson Sax (Alto)
Malcolm Crain Trumpet
Max Kaminsky Trumpet
Oscar Hammerstein II Composer
Peg LaCentra Vocals
Tom DiCarlo Trumpet
Tom Dicarlo Trumpet
Tony Pastor Vocals, Sax (Tenor)
Vladimir Simosko Writer
It is confusing that this set is titled the Complete Rhythm Makers Sessions, 1937-1938, Vol. 2. In 2003, Jazzland issued a single disc with the same title that offered 25 tracks. This set is a double disc with 45!! Somebody's lying or stretching an interpretation of the facts to the breaking point. In any case, these sides are Artie Shaw's earliest after leaving The Three T's, a group that was comprised of brothers Charlie and Jack Teagarden, and Frankie Trumbauer. This mob stars Shaw, of course, but also first-chair trumpeter Max Kaminsky, tenor saxophonist and vocalist Tony Pastor, Hank Freeman on alto, guitarist Al Avola (who also played with Georgie Auld and later with Helen Forrest and Buddy Rich), drummer Cliff Leeman, and pianist Les Burness, who had been with Bunny Berigan before, and Shaw and Tony Pastor afterward. All of this material, of course, came before the late-1938 band that featured Auld, Rich, and Forrest, before "Begin the Beguile." Regardless, these sides virtually sing with swing, and tracks like "Shindig," "Whispers in the Dark," "Til the Clock Strikes Three," "The Folks Live on the Hill," and literally dozens of others reveal -- even at this juncture -- what an able and innovative bandleader Shaw was -- not to mention what a tough soloist. The sound is fine and warm, and the liner notes by Vladimir Simosko are informative and appear complete. ~ Thom Jurek, 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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