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5 x CD |
| 6.912 Ft
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| 1. CD tartalma: |
| 1. | SPECIAL DELIVERY STOMP
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| 2. | SUMMIT RIDGE DRIVE
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| 3. | KEEPIN' MYSELF FOR YOU
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| 4. | CROSS YOUR HEART
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| 5. | DR. LIVINGSTONE, I PRESUME
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| 6. | WHEN THE QUAIL COME BACK TO SAN QUENTIN
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| 7. | MY BLUE HEAVEN
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| 8. | SMOKE GETS IN YOUR EYES
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| 9. | DR. LIVINGSTONE, I PRESUME
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| 10. | THE GRABTOWN GRAPPLE
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| 11. | THE SAD SACK
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| 12. | THE SAD SACK
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| 13. | THE GRABTOWN GRAPPLE
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| 14. | I WAS DOING ALL RIGHT
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| 15. | YOU TOOK ADVANTAGE OF ME
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| 16. | SCUTTLEBUTT
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| 17. | THE GENTLE GRIFTER
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| 18. | MYSTERIOSO
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| 19. | MYSTERIOSO
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| 20. | HOP, SKIP AND JUMP
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| 21. | SUMMIT RIDGE DRIVE
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| 22. | SCUTTLEBUTT
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| 23. | HOP, SKIP AND JUMP
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| 24. | THE SAD SACK
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| 25. | THE GRABTOWN GRAPPLE
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| 2. CD tartalma: |
| 1. | SUMMIT RIDGE DRIVE
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| 2. | THE GRABTOWN GRAPPLE
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| 3. | SMOKE GETS IN YOUR EYES
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| 4. | THE PIED PIPER THEME
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| 5. | CROSS YOUR HEART
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| 6. | THERE MUST BE SOMETHING BETTER THAN LOVE
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| 7. | NOTHIN' FROM NOTHIN'
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| 8. | CRUMBUM
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| 9. | THE SHEKOMEKO SHUFFLE
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| 10. | MY KINDA LOVE
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| 11. | DANCING ON THE CEILING
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| 12. | WHERE THERE'S SMOKE, THERE'S FIRE
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| 13. | MY LITTLE NEST OF HEAVENLY BLUE
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| 14. | BESAME MUCHO
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| 15. | THAT OLD FEELING
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| 16. | TENDERLY
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| 17. | STOP AND GO MAMBO
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| 18. | THE SAD SACK
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| 19. | STOP AND GO MAMBO
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| 20. | SUNNY SIDE UP
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| 21. | STAR DUST
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| 3. CD tartalma: |
| 1. | WHEN THE QUAIL COME BACK TO SAN QUENTIN
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| 2. | SOMEONE TO WATCH OVER ME
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| 3. | BESAME MUCHO
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| 4. | LOVE OF MY LIFE
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| 5. | LYRIC
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| 6. | THE CHASER (SEQUENCE IN B FLAT)
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| 7. | AUTUMN LEAVES
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| 8. | BACK BAY SHUFFLE
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| 9. | I'VE GOT A CRUSH ON YOU
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| 10. | BEGIN THE BEGUINE
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| 11. | SUMMIT RIDGE DRIVE
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| 12. | DANCING IN THE DARK
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| 13. | SCUTTLEBUTT
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| 14. | I CAN'T GET STARTED
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| 4. CD tartalma: |
| 1. | IMAGINATION
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| 2. | THE PIED PIPER THEME
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| 3. | DON'T TAKE YOUR LOVE FROM ME
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| 4. | CROSS YOUR HEART
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| 5. | HOW HIGH THE MOON
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| 6. | FRENESI
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| 7. | THE CHASER (SEQUENCE IN B FLAT)
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| 8. | ROUGH RIDIN'
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| 9. | DANCING ON THE CEILING
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| 10. | AUTUMN LEAVES
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| 11. | CRUMBUM
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| 5. CD tartalma: |
| 1. | SUNNY SIDE UP
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| 2. | IMAGINATION
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| 3. | TENDERLY
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| 4. | LUGUBRIOUS
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| 5. | THE GRABTOWN GRAPPLE
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| 6. | THAT OLD FEELING
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| 7. | BEWITCHED. BOTHERED AND BEWILDERED
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| 8. | ROUGH RIDIN'
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| 9. | DANCING ON THE CEILING
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| 10. | S'POSIN'
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| 11. | SEPTEMBER SONG
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| 12. | TOO MARVELLOUS FOR WORDS
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| 13. | MY FUNNY VALENTINE
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| 14. | YESTERDAYS
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Jazz
Artie Shaw led one of the great bands of the "Swing Era" and from that band he formed a small group called The Gramercy 5. Having a 'band within a band' was a popular trend at the time and The Gramercy 5 were one of the best!
Presented here, spanning a period from 1940 to 1954, are what are thought to be ALL the commercially released titles by the band.
Featuring the familiar "Begin The Beguine" which became a million seller along with the very popular "Frenesi". Also included are the hits "Summit Ridge Drive" & "Smoke Gets In Your Eyes".
With bonus tracks that come from The Gramercy 5's appearances on radio programmes including very rare performances on the "Radio Hall Of Fame" and "Kraft Music Hall" this is the seminal release unsurpassed by any other.
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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