At first, they rehearsed, played the Burns and Allen radio shows weekly, and through late July and early August worked on Second Chorus. Just my opinion, but I’d bet money on it. I can’t. © Michael P. Zirpolo - All Rights Reserved. 25 arrangements from the period of 1940-42, all of which were written for the three big bands based in Hollywood (Jul 1940-Dec 1940) and New York (Jan-Mar 1941 and Sep 1941 – Jan 1942) and included strings, were completely re-orchestrated for the postwar band without strings. One addition – Jenny had recorded STAR DUST with his own band in late 1939 for Okeh. I mentioned in the post that Shaw had a different arrangement of “Star Dust” that he played in 1938-1939. But history is not an exact science. I wouldn’t be surprised though if Shaw worked with Hayton to write the arrangement of “Stardust.” As it was customary for Shaw to do that sort of thing with Jerry Gray.” It must be remembered that few trombonists had ventured into that uppermost range of the instrument – Tommy Dorsey went above his favorite high note, D-flat, only once in his recording career – and if someone like Bobby Byrne or Trummy Young occasionally tackled a high F, it was almost always by a step-wise approach, never head-on in such a difficult, dare-devil octave leap. Music Curator He changed things very slightly during the performance. P.O. Jenney’s solo on the broadcast version of “Star Dust” is also a totally different improvisation from the Victor recording. Today Shaw is remarked as one of jazz's finest clarinetists. When they arrived in New York, they stayed at a luxurious hotel, … Mike another fabulous article. He also had to deal with the musicians in his band, all of whom were talented and some of whom were temperamental. It came in mid-June. Predictably, the end came all too soon. The song was performed by Artie Shaw . For almost all of 1939, Shaw had no personal life away from his band, because he was almost never away from his band. I think I read in Simosko’s book that Artie often wrote out sax soli’s and whoever the arranger of the tune was, he then incorporated them into the arrangement. While he and his band were appearing in Boston in August of 1939, Shaw was involved in incidents where his fans, whom he later described as hysterical young people, rushed at him in a street, and began tearing his clothes off and pulling his hair out. However, he was little-known to the public in 1940. So they decided to take a train trip, departing Union Station in Los Angeles, and heading to New York (via Chicago) on the Santa Fe Super Chief. Artie Shaw 1940. I am printing it verbatim: “Hayton wrote out a foundation for the solo, which is of course based on the melody. Those who followed the trail he blazed included such giants of the instrument as Urbie Green, J.J. Johnson, Milt Bernhart, Dick Nash and Bill Watrous. When they arrived in New York, they stayed at a luxurious hotel, and spent the evenings dining in Manhattan’s best restaurants, sometimes taking in a Broadway show, then making the rounds of the dozens of venues in New York that then presented live music.Lana loved swing and jazz, and courtesy of the M-G-M dancing school, she was an excellent dancer. Shaw’s own playing at this juncture, despite his relative inactivity for the previous seven-plus months, was superb. His contract with Victor Records had not been even half completed. Post was not sent - check your email addresses! On the one hand, much of the music Shaw made during the swing era was wonderful, indeed great. He now had no choice but to form his own standing band, which he did in late June. I don’t know whether this true, but I thought I would pass it on for discussion purposes. The first Burns and Allen show aired on July 1. Your insights into the musical proficiency or lack there of, were especially interesting to me as I was called upon often to help in the studio and select replacements for the inevitable changes that go on with band members. 3-4: 1940-1942. This site uses Akismet to reduce spam. Post a Comment Popular Posts The Problem of "Business Casual" Attire. A lengthy interview he had given to Michael Mok of the New York Post shortly before it appeared in that newspaper on September 26, proved to be damaging. Arthur Jacob Arshawsky (1910-2004), commonly known as Artie Shaw, was an American clarinetist, composer, and band leader. 2 (1940-1941) - Artie Shaw on AllMusic - 1997 - In Hollywood 1940-1941, Vol. ‘Look here, Artie,’ they say, ‘you can’t do that! . I too contacted the prof in charge of the Artie Shaw collection, and he was kind enough deal with my persistent questions and look into the original chart written by Lennie Hayton. Butterfield’s solo at the beginning of the arrangement starts without the orchestra.They pick him up ever so gently, and he delivers the melodic paraphrase of the melody of “Star Dust,” which was written by Shaw, with exactly the golden trumpet sound and ringing authority Artie had envisioned. (*) It was at this time that Shaw began to use plastic reeds on his clarinet instead of the more common cane reeds. The Indispensable Artie Shaw, Vol. His engagement at the Cafe’ Rouge had some seven weeks to go. Jazz Tribune: 1996 : Artie Shaw. In addition, he had to keep his sensibilities as a jazz musician, intact and healthy. The strings spell Butterfield, and play melodically for eight bars, setting up his return for the climax of his solo, a titanic high E-flat, that I have heard more than one trumpeter describe as orgasmic. Artie Shaw Top Songs in the Charts Top One Hit Wonders of the 1940s Top Pop One Hit Wonders Stardust was the #3 song in 1941 in the Pop charts . You don’t worship your own creature, do you?” The waves of bad publicity that were caused by that interview continued. But Butterfield’s trumpet playing inspired Shaw to create something new: a dramatic setting for three virtuoso solos. He said the “Stardust” solo was one of the very few written out solos by Artie Shaw. For awhile, he gave them what they wanted because he understood that in order to have success in the music business on the scale he wanted and eventually had, one must interact productively with the press. But as I said, it is on the back side of the ink part that AS scribbled down his clarinet solo from the record (that he made four years earlier) in pencil. University of Arizona He and the radio show came to a parting of the ways for a complex set of reasons including some bad press, Shaw’s ever-increasing stress, the fact that the concept of the show, Shaw’s music and the offbeat comedy of Robert Benchley, made an incongruous combination, (Shaw wanted his own radio show, not an unreasonable wish given his popularity), and the overriding fact that he was exhausted from four months of non-stop work and travel after he returned to work after he had nearly died. The year 1939 was the year when Shaw went from being a virtuoso clarinetist who led a very good swing band, to becoming a swing era superstar whose band appeared almost constantly on network radio (sine qua non to great success during the swing era), whose records sold in the millions, whose band appeared everywhere they could across the nation for top money, and who appeared in short musical films, and a feature film made by M-G-M in Hollywood. Artie Shaw, Soundtrack: Second Chorus. Best to both of you! Lesen Sie Rezensionen und Empfehlungen und informieren Sie sich über Tracklisten, beteiligte Personen und Weiteres. Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Pinterest (Opens in new window), Click to email this to a friend (Opens in new window). Shaw selbst besorgte eine aus fünf CDs bestehende Ausgabe seiner Aufnahmen von 1938 bis 1954 bei Bluebird (Self Portrait).Weitere CD-Veröffentlichungen sind Mitschnitte seiner Konzerte 1940/41 in Los Angeles (Hollywood Palladium 1941 und In Hollywood 1940–1941) auf Hep Records. The solo he played on that broadcast is significantly different from the one on the Victor recording. Fred Fox School of Music After his solo on Shaw’s “Star Dust” record became known, first to musicians, then to swing fans, and then to people who knew little or nothing about music, he became a legendary figure. In the end, who really knows? His tone, his choice of notes, and his virtuosity all seemed to come together in one lyrical moment, rarely matched by … I have gone back to the Shaw aircheck recordings of “Star Dust” from December 6 and 23 of 1938. The sound he got on trumpet was big, yet velvety, and he had a great high register, plenty of power and tons of technique. Le Meilleur du Jazz Relaxant. Artie Shaw kept his third jazz orchestra (his Stardust band) together into early 1941 before he decided to break it up. Song information for Stardust - Artie Shaw on AllMusic AllMusic. They had married earlier in 1940. My informed speculation is that he and Shaw most probably collaborated on the arrangement. Well-considered comments like the ones that have been made in this discussion help all of us to get closer to the truth about matters that are important to those of us who enjoy great music from the swing era. He formed and dissolved groups several times throughout the 30s and 40s, his last organisation being a short-lived band playing bop-style jazz in 1949. Artie Shaw (born May 23, 1910, New York City, New York, USA - died December 30, 2004, Thousand Oaks, California, USA) was an American clarinetist and bandleader. Finally, he had a meeting with his band on November 18, when he told them he was leaving, and then got into his car and began driving. (At left: Artie Shaw in 1940.). The (for the time) extraordinary octave leap to high F was admired far and wide by musicians and sophisticated audiences, not only for the ease with which Jenney’s managed the deed, but for his elegance and sensitivity of phrasing. (This does not of course apply to his playing of “classical” music.). He collaborated extensively on the arrangements that he recorded with studio musicians on two recording dates in the first half of 1940, and he conceived the overall structure of the arrangement we hear of “Star Dust” then also. I should also point out there is no indication of when Artie might have even pulled that particular Lead / Solo Clarinet part out of a file cabinet and actually turned it over and scribbled out his famous solo on a few blank staves on the back of the sheet in pencil, whether it might have been in 1944/45 when the ink part on the front was copied, or at any later date in the 40s, 50s, or even 60s, 70s, 80s, 90s, or even 2000’s long after he quit performing in public.”. In yet another ill-advised interview, this one with Dave Dexter of the music tabloid (later magazine) Down Beat that was published on October 15, he stated that he: “hated the music business,” and was going to leave it “…just as soon as I’m fixed for life financially, and that time isn’t far off.”. These issues wore on Shaw. as a "legendary trumpet solo" on the hit song "Star Dust". This CD starts out with the last three titles that Shaw cut on May 13, 1940, with a studio orchestra (including "April in Paris") and then moves on to his third big band, a magnificent string orchestra that included trumpeter Billy Butterfield, trombonist Jack Jenney, and pianist Johnny Guarnieri as key soloists. Incidentally, it was typical during the 1930s for Shaw’s parts to have stacked chords spelled out on the staff where a solo was indicated (chord symbols weren’t indicated). The music: In late March of 1940, Artie Shaw and his new bride, Lana Turner, took a honeymoon of sorts. Between 1943 and 1947, taking a break to serve in the United States armed forces, Butterfield led his own orchestra. So all thoughtful opinions have value, and help us to get closer to the truth. So it was rather unusual for Hayton to give some “guidance” to Shaw on his part – even if Shaw only loosely followed what was written. Period. Sorry, your blog cannot share posts by email. It is today known as one of the greatest jazz songs of all time. So they decided to take a train trip, departing Union Station in Los Angeles, and heading to New York (via Chicago) on the Santa Fe Super Chief. Artie was now so stressed that he was having constant headaches. Engagements booked into early 1940 had to be cancelled. Those people MADE you.’ Want to know my answer? Find album reviews, stream songs, credits and award information for In Hollywood, Vol. That, I think, did not happen. 2:02 B As Shaw begins exploring the chords through harmonic improvisation, his line becomes a string of eighth notes. Shaw meanwhile continued to reside in his house on Summit Ridge Drive with M-G-M starlet Lana Turner, whom he had met while filming Dancing Co-ed the previous summer. Many musicians have surmised that Shaw wrote out this solo beforehand because of its perfect structure, but he didn’t. AAO Music / United Audio Entertainment: 3:35 : 2013 : Artie Shaw. Parts of the solo were lifted from Shaw’s improvised “Blues” performance with Paul Whiteman at Carnegie Hall on December 25, 1938, and a cadenza in the Concerto was copied from the “Light Cavalry Overture.”. "Happy Days Are Here Again"
Composed by Milton Ager (music) and Jack Yellin (lyric); arranged by George "The Fox" Williams. To hell with them!” And: “My friends and advisors tell me that I’m a damned fool. It’s just my “Shaw fanatic” opinion(s). On October 7, 1940, during his brief stay with Artie Shaw's orchestra, Butterfield performed what has been described [by whom?] I want to add my thoughts to this wonderful discussion. Also, on all other recordings Shaw made of “Star Dust,” he played different solos. John. Recorded by Bunny Berigan and His Orchestra for ... “Swanee River” (1935) Jimmie Lunceford and Sy Oliver, and (1940) Tommy Dorsey and Sy Oliver, Happy Days Are Here Again (1962) Barbra Streisand, Nina Never Knew (1952) Sauter-Finegan Orchestra with Joe Mooney; and (1968) Frankie Carle with Georgie Auld and Dick Nash, St. James Infirmary (1941) Artie Shaw with Hot Lips Page, Green Goon Jive (1941) Jan Savitt/Billy Moore, 'T'Aint So Honey, 'T'Aint So (1938) Bunny Berigan - with Georgie Auld, Joe Dixon and Buddy Rich, “Happy Days Are Here Again” (1962) Barbra Streisand, “Nina Never Knew” (1952) Sauter-Finegan Orchestra with Joe Mooney; and (1968) Frankie Carle with Georgie Auld and Dick Nash, “St. I just can NOT fathom Artie playing a written solo like that. Arthur Jacob Arshawsky eli Artie Shaw (23. toukokuuta 1910 – 30. joulukuuta 2004) oli yhdysvaltalainen jazzmuusikko. Song information for Stardust - Artie Shaw on AllMusic AllMusic. — He had used studio musicians to make those Victor records. ), By the time the Shaw band opened at the Cafe’ Rouge (on October 19), Artie discovered that the hot water he had jumped out of just before he took his vacation had gotten hotter while he was away. Lastly, as we’re all very aware of here, Artie was an INCREDIBLY prolific improvisor. "Stardust" is a popular song composed in 1927 by Hoagy Carmichael with lyrics added by Mitchell Parish in 1929. This is a recording of Artie Shaw and his orchestra preforming \"Stardust\" live in 1940. Also, the high (concert) A in Artie’s solo is a B on the clarinet, which even more difficult to play, particularly in tune – as I well know since I (try to) play the transcribed solo almost every day! Victor Musical Smart Set P 85 (4 records) Featuring His Inspired Clarinet Originally released in 1941. Nocturne. The backgrounds for the soloists were to be subtle and shifting, employing the reeds, strings and brass. At least one other recording of this band playing “Star Dust” exists, and it has a different clarinet solo. I’m interested in making music. New Releases. The next day, Shaw contacted Butterfield, and revealed that he was soon going to be doing some high-profile work in Hollywood, that would involve a movie and a network radio show, and that when he put together a band to do this work, he wanted Billy to be his first and solo trumpet. This band started out very good, and just got better as time passed. Beautifully written, thoughtful piece! He also had to be the musical director of his band. His expansive solo (in two takes) is similar in mood and construction to his brief solo on the Shaw record. They gouged their initials into the paint of his car, and indeed turned a car he was riding in over in a frenzy of “adulation.” Soon thereafter, there was an incident where Shaw’s band appeared an hour late at an engagement just north of the U.S-Canada border near Buffalo, New York, (through no fault of their own – Artie himself was at the venue when the gig was supposed to have started), and the venue manager began harassing Shaw about it, threatening to reduce the agreed amount Artie was to receive for playing the dance. Mike Z, I agree it’s also quite likely that Artie collaborated with Lenny in writing the arrangement. Initially, Shaw's combination of odd, modernistic charts and his lack of leadership ability made it impossible to keep a functioning band together. April 14, 2018 This is how it's done. His first public appearance leading his own band was in his native New York City on the 24th of May, 1936 and he became one of the biggest names in jazz and popular music during the late 1930's and 1940's swing heyday. Recorded by the Sauter-Finegan Orchestra for ... "St. James Infirmary"
Composed by Joe Primrose; arranger unknown (*)
Recorded by Artie Shaw and His Orchestra for Victor on November 12, ... "Green Goon Jive"
Composed by Jan Savitt; arranged by Billy Moore. Artie Shaw started his first swing band in 1936. 2 collects more of… A tentative agreement was reached, and soon thereafter, Butterfield left the Crosby band, and jobbed around in New York and Chicago, waiting for Shaw’s call. Autograph hunters? Although Artie played somewhat different Star Dust solos during live performances, I have read that the Curator of the Artie Shaw Collection at the University of Arizona has stated that Shaw’s solo on the issued RCA record is written out note for note in Lennie Hayton’s hand on the original score. Shaw knew exactly what he wanted to do with this entire arrangement. Recorded by Jan Savitt and His Top Hatters for Decca on ... "'T'Aint So Honey, 'T'Aint So"
Composed by Willard Robison; arranger unknown, possibly Dick Rose. Butterfield played some lead and some jazz solos. Despite the almost immediate cohesiveness of the musicians Shaw had hired, and the continuous demands of ballroom operators and theaters across the nation for personal appearances, Shaw vetoed all proposals to take this group on the road. Artie then plays a brilliantly constructed improvised solo that includes some choice Shavian high-notes, including a singing high A. While he was in California he became involved in a relationship with beautiful Hollywood starlet Betty Grable. Widely regarded as "one of jazz's finest clarinetists", Shaw led one of the United States' most popular big bands in the late 1930s through the early 1940s. In 1940 the #2 song in the charts was Frenesi by Artie Shaw. Shaw’s last appearance on the weekly NBC Old Gold Melody and Madness radio show was on October 3. 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