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| Nightmare / Frenesi |
| Artie Shaw |
német
első megjelenés éve: 2004
141 perc |
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| (2010)
[ DIGIPACK ]
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2 x CD |
| 3.726 Ft
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| 1. CD tartalma: |
| 1. | The Japanese Sandman
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| 2. | A Pretty Girl Is Like A Melody
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| 3. | Sugar Foot Stomp
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| 4. | Thou Swell
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| 5. | he Same Old Line
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| 6. | The Chant
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| 7. | The Blues March Part 1
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| 8. | The Blues March Part 2
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| 9. | It's A Long, Long Way To Tipperary
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| 10. | Nightmare
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| 11. | Let 'Er Go
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| 12. | I'm Yours
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| 13. | Just You, Just Me
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| 14. | Free For All
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| 15. | Non-Stop Flight
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| 16. | I'll Be With You In Apple-Blossom Time
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| 17. | Begin The Beguine
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| 18. | Comin' On
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| 19. | Back Bay Shuffle
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| 20. | I Can't Believe That You're In Love With Me
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| 21. | Yesterdays
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| 22. | What Is This Thing Called Love?
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| 23. | Softly As In The Morning Sunrise
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| 24. | Copenhagen
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| 2. CD tartalma: |
| 1. | It Had To Be You
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| 2. | Jungle Dreams
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| 3. | Lover, Come Back To Me
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| 4. | My Heart Stood Still
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| 5. | Vilia
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| 6. | The Man I Love
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| 7. | The Donkey Serenade
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| 8. | Zigeuner
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| 9. | Carioca
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| 10. | Alone Together
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| 11. | Rose Room
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| 12. | I'm Coming, Virginia
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| 13. | Pastel Blue
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| 14. | One Night Stand
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| 15. | One Foot In The Groove
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| 16. | Octoroon
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| 17. | Out Of Nowhere
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| 18. | Traffic Jam
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| 19. | Serenade To A Savage
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| 20. | I Surrender, Dear
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| 21. | Oh! Lady, Be Good
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| 22. | Shadows
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| 23. | Frenesi
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Jazz
CD 1: Nightmare - 70:17 min.
The Japanese Sandman
A Pretty Girl Is Like A Melody
New York, June 11, 1936
Artie Shaw And His Orchestra: Artie Shaw (cl)(dir), Willie Kelly (tp), Mark Bennett (tb), Tony Zimmers (ts), Julie Schechter, Lou Klayman, Sam Persoff, Jimmy Oderich (strg), Fulton McGrath (p), Wes Vaughan (g)(vcl), Hank Wayland (sb), Sammy Weiss (d)
Sugar Foot Stomp
Thou Swell
New York, August 6, 1936
Artie Shaw And His Orchestra: Artie Shaw (cl)(dir), Lee Castaldo, Dave Wade (tp), Mike Michaels (tb), Tony Pastor (ts), Jerry Gray, Sam Rosenblum, Sam Persoff, Jimmy Oderich (strg), Joe Lippman (p), Gene Stultz (g), Ben Ginsberg (sb), Sammy Weiss (d), Peg La Centra (vcl)
The Same Old Line
New York, October 30, 1936
Artie Shaw And His Orchestra: Artie Shaw (cl)(dir), Lee Castaldo, Zeke Zarchy (tp), Mike Michaels (tb), Tony Pastor (ts)(vcl), Jerry Gray, Franz Siegfield, Sam Persoff, Bill Schumann (strg), Joe Lippman (p), Tony Guttoso (g), Ben Ginsberg (sb), George Wettling (d), Peg La Centra (vcl)
The Chant
The Blues March - Part 1
The Blues March - Part 2
New York, August 4, 1937
Artie Shaw And His New Music: Artie Shaw (cl)(dir), John Best, Malcolm Crain, Tom Di Carlo (tp), Harry Rogers, George Arus (tb), Les Robinson, Harry Freeman (as), Tony Pastor, Jules Rubin (ts), Les Burness (p), Al Avola (g), Ben Ginsberg (sb), Cliff Leeman (d), Peg La Centra, Leo Watson (vcl)
It’s A Long, Long Way To Tipperary
Nightmare
New York, September 17, 1937
Same, Beatrice Wain (vcl) added
Let 'Er Go
I'm Yours
Just You, Just Me
Free For All
New York, October 18, 1937
Artie Shaw And His New Music: Artie Shaw (cl)(dir), John Best, Malcolm Crain, Tom Di Carlo (tp) Harry Rogers, George Arus (tb), Les Robinson, Harry Freeman (as), Tony Pastor, Jules Rubin (ts), Les Burness (p), Al Avola (g), Ben Ginsberg (sb), Cliff Leeman (d), Dolores O’Neil, Nita Bradley (vcl)
Non-Stop Flight
I'll Be With You In Apple-Blossom Time
New York, December 30, 1937
Same
Begin The Beguine
Comin' On
Back Bay Shuffle
I Can't Believe That You're In Love With Me
New York, July 24, 1938
Artie Shaw And His Orchestra: Artie Shaw (cl)(dir), Chuck Peterson, John Best, Claude Bowen (tp), Harry Rogers, George Arus, Ted Vesley (tb), Les Robinson, Hank Freeman (as), Tony Pastor (ts)(vcl), Ronny Perry (ts), Les Burness (p), Al Avola (g), Sid Weiss (sb Cliff Leeman (d), Jerry Gray (arr)
Yesterdays
What Is This Thing Called Love?
New York, September 27, 1938
Artie Shaw And His Orchestra: Artie Shaw (cl)(dir), Chuck Peterson, John Best, Claude Bowen (tp), Harry Rogers, George Arus, Russell Brown (tb), George Koenig, Hank Freeman (as), Tony Pastor, Ronny Perry (ts), Les Burness (p), Al Avola (g), Sid Weiss (sb), Cliff Leeman (d), Helen Forest (vcl)
Softly As In The Morning Sunrise
Copenhagen
New York, November 17, 1938
Same
CD 2: Frenesi - 70:39 min.
It Had To Be You
Jungle Dreams
New York, December 19, 1938
Artie Shaw And His Orchestra: Artie Shaw (cl)(dir), Chuck Peterson, John Best, Bernie Privin (tp), Harry Rogers, George Arus, Les Jenkins (tb), Les Robinson, Hank Freeman (as), Tony Pastor, George Auld (ts), Bob Kitsis (p), Al Avola (g), Sid Weiss (sb) George Wettling (d), Helen Forest (vcl)
Lover, Come Back To Me
My Heart Stood Still
Vilia
New York, January 17, 1939
Artie Shaw And His Orchestra: Artie Shaw (cl)(dir), Chuck Peterson, John Best, Bernie Privin (tp), Harry Rogers, George Arus, Les Jenkins (tb), Les Robinson, Hank Freeman (as), Tony Pastor, George Auld (ts), Bob Kitsis (p), Al Avola (g), Sid Weiss (sb) Buddy Rich (d), Helen Forest (vcl), Jerry Gray (arr)
The Man I Love
The Donkey Serenade
Zigeuner
Carioca
New York, January 23, 1939
Same
Alone Together
Rose Room
New York, January 31, 1939
Same
I'm Coming, Virginia
Pastel Blue
New York, March 12, 1939
Same
One Night Stand
One Foot In The Groove
New York, March 17, 1939
Same
Octoroon
Out Of Nowhere
Los Angeles, June 5, 1939
Same
Traffic Jam
Los Angeles, June 12, 1939
Same
Serenade To A Savage
Los Angeles, June 22, 1939
Same
I Surrender, Dear
Oh! Lady, Be Good
New York, August 27, 1939
Artie Shaw And His Orchestra: Artie Shaw (cl)(dir), Chuck Peterson, Harry Geller, Bernie Privin (tp), Harry Rogers, George Arus, Les Jenkins (tb), Les Robinson, Hank Freeman (as), Tony Pastor, George Auld (ts), Bob Kitsis (p), Al Avola (g), Sid Weiss (sb) Buddy Rich (d), Helen Forest (vcl)
Shadows
New York, November 9, 1939
Same, except Dave Barbour (g) replaces Avola
Frenesi
Los Angeles, March 3, 1940
Artie Shaw And His Orchestra: Artie Shaw (cl)(dir), Charlie Margullis, Manny Klein, George Thow (tp), Randall Miller, Bill Rank, Babe bowman (tb), Blake Reynolds, Bud Carlton, Jack Stacey (as), Dick Clark (ts), Joe Krechter (bcl), Jack Cave (fh), Morton Rudermann (fl), Phil Nemoli (ob), Mark Levant, Harry Bluestone, Peter Eisenberg, Robert Barene, Sid Brokaw, Dave Cracov, Alex Law, Jerry Joyce (vln), David Sturkin, Stanley Spiegelman, Jack Gray (vl), Irving Lipschultz, Jules Tannenbaum (cel), Stan Wrightsman (p), Bobby Sherwood (g), Jud DeNaut (b) Carl Maus (d), Pauline Byrne (vcl)
Buchformat 2 CD + 20 page booklet
Excellent clarinetist Artie Shaw was one of the finest players in the history of jazz but he seems to have been driven on by a restless spirit, breaking up his bands just as they were enjoying the hard-earned rewards of their success and apparently feeling the need to run away from his own greatness. Artie Shaw fronted five big bands, each successful and formative in their own way. He was a versatile player, his spectrum of styles ranging from Dixieland jazz to swing music over bop to classical music - and when he played clarinet, time seemed to stand still.
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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