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| Jazz Moods - Hot |
| Artie Shaw |
| első megjelenés éve: 2005 |
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| (2008)
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CD |
| 3.294 Ft
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| 1. | Everything Is Jumpin' [Live]
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| 2. | Traffic Jam
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| 3. | What Is This Thing Called Love?
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| 4. | Bedford Drive
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| 5. | Temptation
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| 6. | At Sundown [Live]
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| 7. | 'S Wonderful
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| 8. | Lucky Number
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| 9. | Just Kiddin' Around
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| 10. | Tabu
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| 11. | There'll Be Some Changes Made [Live]
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| 12. | Lady Day
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| 13. | Begin the Beguine
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| 14. | Diga Diga Doo [Live]
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Jazz / Big Band, Swing, Sweet Bands
Corbis Bettman Cover Photo
David Bett Art Direction
Jeremy Holiday A&R
Michael Gillette Paintings
Richard Seidel Producer
Seth Rothstein Project Director
Steven Berkowitz A&R
Woody Pornpitaksuk Mastering
Artie Shaw was perhaps the most forward thinking of the big band leaders of the 1930s and '40s, and while he was adept at generating material that fared well on the pop charts, he also cut edgy, spooky pieces like his signature "Nightmare" that pushed against the grain, and running through everything he did was his wonderful clarinet playing, always smooth, explosive and inventive. This well-sequenced collection brings together tracks from his peak years with RCA's Bluebird imprint, including Shaw's hugely popular 1938 version of Cole Porter's "Begin the Beguine," the near-perfect "Traffic Jam," and the enticing "Temptation." "Nightmare" is not here, however, and some of Shaw's best-known tunes, like "Fenesi," "Stardust," and "Moonglow," are also absent, but this is intended as an upbeat sampler, with the rhythms never slowing past mid-bounce. Some of these selections, like "Just Kiddin' Around," feature string arrangements augmenting Shaw's traditional big band jazz setup, a radical innovation at the time. Purposely skewed toward the upbeat dance side of Shaw's repertoire, Jazz Moods: Hot isn't an ideal introduction to Shaw, but it swings without mercy, and for listeners looking for a lively set for a jitterbug session, it's darn near perfect. ~ Steve Leggett, 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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