  |
|
|
 |
|
2 x CD |
| 8.165 Ft
|
|
| 1. CD tartalma: |
| 1. | Special Delivery Stomp
|
| 2. | Summit Ridge Drive
|
| 3. | Keepin' Myself for You
|
| 4. | Cross Your Heart
|
| 5. | Dr. Livingstone, I Presume
|
| 6. | When the Quail Come Back to San Quentin
|
| 7. | My Blue Heaven
|
| 8. | Smoke Gets in Your Eyes
|
| 9. | The Grabtown Grapple
|
| 10. | The Sad Sack
|
| 11. | Scuttlebutt
|
| 12. | The Gentle Grifter
|
| 13. | Mysterioso
|
| 14. | Hop, Skip and Jump
|
| 15. | That Old Feeling
|
| 16. | Bésame Mucho (Kiss Me Musch)
|
| 17. | I've Got a Crush on You
|
| 18. | Sunny Side Up
|
| 19. | Autumn Leaves (Les Feuilles Mortes)
|
| 20. | Tenderly
|
| 21. | The Pied Piper Theme
|
| 22. | Imagination
|
| |
| 2. CD tartalma: |
| 1. | Don't Take Your Love from Me
|
| 2. | Stop and Go Mambo
|
| 3. | I Can't Get Started
|
| 4. | Lyric
|
| 5. | Lugubrious
|
| 6. | My Funny Valentine
|
| 7. | Too Marvelous for Words
|
| 8. | Yesterdays
|
| 9. | September Song
|
| 10. | Frenesi
|
| 11. | Dancing in the Dark
|
| 12. | Back Bay Shuffle
|
| 13. | Stardust
|
| 14. | Begin the Beguine
|
Jazz / Big Band, Swing, Sweet Bands
Artie Shaw - Clarinet
Al Hendrickson - Guitar
Barney Kessel - Guitar
Billy Butterfield Trumpet
Dodo Marmarosa Piano
Hank Jones Piano
Irv Kluger Drums
Joe Puma Guitar
Joe Roland Vibraphone
Johnny Guarnieri Harpsichord
Jud de Naut Double Bass
Mark Ranshaw Cover Art
Martin Haskell Audio Restoration, Remastering
Morris Rayman Double Bass
Nick Fatool Drums
Peter Dempsey Transfers, Liner Notes
Ray Crick Compilation
Roy Eldridge Trumpet
Tal Farlow Guitar
Tommy Potter Double Bass
Artie Shaw's Gramercy Five was named after a telephone exchange that serviced a rather affluent district near Manhattan's private-access Gramercy Park. Living Era's double-disc compendium Summit Ridge Drive traces the evolution of what was arguably Shaw's most artistically advanced musical organization from its inception in 1940 through the magnificent 1945 sessions to the very modern-sounding recordings of the "new" Gramercy Five in 1953 and 1954. Although Shaw's big band discography is richly stocked with suave standards and solid swing, it is a decidedly mixed bag; one must navigate between dynamic dance tunes, vocal ballads and sugary mood pieces garnished with strings. The consistently instrumental Gramercy Five sessions, on the other hand, form a seamless arc of 36 magnificent tracks charting a stylistic maturation from a sort of chamber swing to some very cool bop-inflected exercises in modernity. The eight initial sides, recorded in Hollywood on September 3 and December 5, 1940, are most notable for Johnny Guarnieri's handling of the harpsichord, and for the warm trumpeting of Billy Butterfield, who sounds a bit like Fats Waller's right hand man Herman Autrey on the Gramercy Five's marvelous rendition of Vincent Youmans' "Keepin' Myself for You." The stars of the half-dozen middle-period Gramercy Five sessions, which took place in January, July and August of 1945, were trumpeter Roy Eldridge, pianist Dodo Marmarosa and guitarist Barney Kessel. Here the influence of bebop becomes tangible, and the impact of new ideas upon the musical chemistry is fascinating. Note that on the first of this group's three sessions Roy Eldridge brought with him composer and arranger Buster Harding, a vibrant individual who helped to create the highly successful pairing of the zippy "Grabtown Grapple" and "The Sad Sack," a grooved-out blues named after Sgt. George Baker's WWII comic book character. Special attention should be paid to the mercurial mind of Dodo Marmarosa, for these are some of the best recordings he ever made with anyone under any circumstances. The Gramercy Five recordings of 1953 and 1954 document a brilliant phase in early modern jazz, manifested in the presence of pianist Hank Jones, guitarist Tal Farlow, bassist Tommy Potter and vibraphonist Joe Roland. The newly developed LP format allowed Shaw's quintet to record expanded performances of six, seven and eight minutes' duration. This compilation closes with five excellent Gramercy Five remakes of Shaw's most successful big band hits. Throughout all of these of collectively inspired masterpieces, Artie Shaw's clarinet wove its magic, moving in graceful patterns that were comparable with those conjured by Buddy DeFranco, Marshall Royal and Jimmy Hamilton. Even taking into account everything else recorded under Artie Shaw's name, the Gramercy Fives may be said to represent the very heart of his musical legacy. ~ 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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
