stardust artie shaw 1940

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. They constantly besieged him, seeking quotes, interviews, pictures, feature stories. The backgrounds for the soloists were to be subtle and shifting, employing the reeds, strings and brass. 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. This was a major catastrophe for Shaw’s booking agency, General Amusement Corp. That, essentially, was the end of Artie Shaw’s first great band. Recorded by Artie Shaw and His Orchestra on October 7th, 1940 in New York, NY for Victor. 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. That, I think, did not happen. All I can say is GREAT. 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. At least one other recording of this band playing “Star Dust” exists, and it has a different clarinet solo. 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. 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. Each time he returned, he made fine music. For almost all of 1939, Shaw had no personal life away from his band, because he was almost never away from his band. His expansive solo (in two takes) is similar in mood and construction to his brief solo on the Shaw record. I am printing it verbatim: “Hayton wrote out a foundation for the solo, which is of course based on the melody. 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. Around this strong nucleus of players, Shaw built his new band. . So, sort of. But history is not an exact science. Watch the music video and discover trivia about this classic Pop song now. Engagements booked into early 1940 had to be cancelled. Trombonist Jack Jenney (1910-1945) was well-known within the music business as a virtuoso performer who had uncommon skill as an improviser on ballads. April 09, 2020 Share Get link; Facebook; Twitter; Pinterest; Email; Other Apps; Share Get link; Facebook; Twitter; Pinterest; Email; Other Apps; Comments. His first return to full-time bandleading happened in the summer of 1940. 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. I can’t. More telling, perhaps, is that one week after he recorded the 1940 arrangement for Victor, he performed the same arrangement on the NBC Burns and Allen radio show. ‘Look here, Artie,’ they say, ‘you can’t do that! The solo he played on that broadcast is significantly different from the one on the Victor recording. B side (Begin The Beguine): mx 024079-1, recorded New York, NY, July 24, 1938. However, he was little-known to the public in 1940. Some time later, he reached Acapulco, Mexico, where he sequestered himself. Shaw enters for his solo, with a highly decorated version of the melody, moving into double time. The instrumentation of this band was that of a standard swing band (three trumpets; two [sometimes three] trombones; four saxophones; and four rhythm) plus six violins, two violas, and one cello.The string section was gathered for Shaw by violinist Alex Beller, who acted as concertmaster for the strings. 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. He was also selected to appear on the weekly George Burns and Gracie Allen NBC network radio show. And besides if they made me, what do they want my autograph for? While he was in California he became involved in a relationship with beautiful Hollywood starlet Betty Grable. His tone, his choice of notes, and his virtuosity all seemed to come together in one lyrical moment, rarely matched by … The Shaw band toured throughout the Midwest for the first three weeks of September, then returned to Manhattan for a ten-day engagement (September 22-October 2) at the Strand Theater in Times Square, playing five shows a day. Artie Shaw is acknowledged as one of the great jazz clarinetists and bandleaders of the swing era. 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. I tell them if I was made by a bunch of morons, that’s just too bad. 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. 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). But this should not be confused with the notion that Hayton wrote out the solo, and Shaw read it while he played it. Shaw had a good arrangement in his 1939 band library on “Star Dust.” Basically, it was a straightforward dance chart that showcased his solo clarinet. Lawsuits flew, and the press had a field day. 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. Michael, I haven’t seen the original Hayton score to Stardust, but I *seriously* doubt Artie’s solo was written out by Lenny. 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. Between 1943 and 1947, taking a break to serve in the United States armed forces, Butterfield led his own orchestra. He certainly remedied that in the first half of 1940. That arrangement allowed him to play an entire chorus solo. Increasingly, his time was also spent in discussions with his personal manager, his booking agency, his band manager, advertising executives, network radio executives, publicists, venue owners, music publishers and, alas, the media. as a "legendary trumpet solo" on the hit song "Star Dust". 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.”. . Artie Shaw 1940. His eventual first trombonist, Jack Jenney, was also an excellent jazz soloist (especially on ballads), had very recently decided to give up his own band, which had been commercially unsuccessful. Shaw then embellished what Hayton wrote and made it his own. His best-known orchestra enjoyed a lengthy residency at the Blue Room of the Hotel Lincoln on New York's Eighth Avenue. As both a former personal manager, record company scout and tour manager for rock and pop bands it is amazing how many of the intrigues, personal problems etc. The stresses continued unabated, indeed they increased. Business Casual the RIGHT way, ladies and gentlemen. It is today known as one of the greatest jazz songs of all time. It came in mid-June. (**) The Swing Era…The Development of Jazz – 1930-1945 by Gunther Schuller, Oxford University Press (1989), page 704. Shaw knew exactly what he wanted to do with this entire arrangement. This suggests that he improvised it. Frantic and exhausting discussions between Shaw’s managers, agents, and other business associates and him for more than two days ultimately came to nothing. The Indispensable Artie Shaw, Vol. According to the prof, the famous solo from Star Dust, recorded in 1940, is in the chart in Lennie’s hand.”, Again John, I’m not in a position to know whether these comments are true, but I don’t believe it would be accurate to say that no Shaw solos were written out. Beautifully written, thoughtful piece! 2 (1940-1941) - Artie Shaw on AllMusic - 1997 - In Hollywood 1940-1941, Vol. (Trumpeter Billy Butterfield is shown above left.). 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. Hi Michael (x2!) At first, they rehearsed, played the Burns and Allen radio shows weekly, and through late July and early August worked on Second Chorus. First, I appreciate that all who have commented have done so. When they arrived in New York, they stayed at a luxurious hotel, … Can we think of any other tune (or different take) in Artie’s vast recording output where he played the same solo twice? This involved deciding what music would be played, how it would be arranged, how it would be rehearsed, and how it would be performed. John. 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. 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). *** Lana had never seen New York, but Artie was a denizen of Manhattan. . Thanks Kevin for your impressions from both the musical and historical perspectives. On the one hand, much of the music Shaw made during the swing era was wonderful, indeed great. (This does not of course apply to his playing of “classical” music.). Lana had never seen New York, but Artie was a denizen of Manhattan. Disentangling fact from fiction in these can be a chore. Recorded by ... "Nina Never Knew" Composed by Louis Alter (music) and Milton Drake (lyric); arranged by Bill Finegan. The band remained in Hollywood. Victor Musical Smart Set P 85 (4 records) Featuring His Inspired Clarinet Originally released in 1941. His contract with Victor Records had not been even half completed. The music: In late March of 1940, Artie Shaw and his new bride, Lana Turner, took a honeymoon of sorts. My informed speculation is that he and Shaw most probably collaborated on the arrangement. Best to both of you! University of Arizona Artie Shaw, clarinet, directing: Charles William “Billy” Butterfield, George “Jumbo” Wendt, Jimmy (Jack) Cathcart, trumpets; Truman Eliot “Jack” Jenney and Vernon “Red” Brown, trombones; Les Robinson and Neely Plumb, alto saxophones; Clarence “Bus” Bassey and Jerry Jerome, tenor saxophones; John A. 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.” He said the “Stardust” solo was one of the very few written out solos by Artie Shaw. He also had to be the musical director of his band. The story: It is always challenging to write objectively and accurately about Artie Shaw’s music and personality. Shaw’s stress level increased. On October 7, 1940, during his brief stay with Artie Shaw's orchestra, Butterfield performed what has been described [by whom?] Song information for Stardust - Artie Shaw on AllMusic AllMusic. I have contacted Keith Pawlak at the Univeristy of Arizona Artie Shaw archive and asked him to explain what is on the “Star Dust” arrangement we have been discussing. Hayton facilitated that by writing to Shaw’s specifications. Fred Fox School of Music 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. [ii] Jack Jenney had to complete commitments with his own band before he could join Shaw. You don’t worship your own creature, do you?” The waves of bad publicity that were caused by that interview continued. This is difficult under “normal” circumstances, when one can think about the music one is playing, can select music that is conducive to jazz, and can experiment to see what works best. In the end, who really knows? The de facto leader and music director of the Crosby crew was dance band veteran Gil Rodin. “Johnny” Guarnieri, piano; Alton Reynolds “Al” Hendrickson, guitar; Jud De Naut, bass; Nicholas “Nick” Fatool, drums; Truman Boardman, Ted Klages, Bill Brower, Bob Morrow, Alex Beller, Eugene Lamas, violins; Allen Harshman and Keith Collins, violas; Fred Goerner, cello. Today Shaw is remarked as one of jazz's finest clarinetists. Greatest Hits of the 1940s. Consequently, he did not appear in the film Second Chorus. Predictably, the end came all too soon. Just my opinion, but I’d bet money on it. But behind the scenes, Shaw and his managers were actively pursuing opportunities that would feature him and a band on a sponsored network radio show, and in another feature film. (See below.) Arthur Jacob Arshawsky (1910-2004), commonly known as Artie Shaw, was an American clarinetist, composer, and band leader. Post a Comment Popular Posts The Problem of "Business Casual" Attire. 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. Stardust - Artie Shaw and His Orchestra (Live 1940) - YouTube Shaw did not need Hayton’s guidance with the harmonic structure of “Star Dust.” He undoubtedly was quite familiar with that by 1940. During the time all of this was happening, Shaw also had to maintain his clarinet playing at virtuoso levels, which was easy enough when he was working with his band, because he was then playing the instrument six to eight hours every day. 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. The first Burns and Allen show aired on July 1. 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. Hänet tunnetaan paitsi klarinetistina, säveltäjänä ja yhtyeenjohtajana, myös novellien ja omaelämäkerran kirjoittajana. 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's Enduro Reed and the Classic 1940 "Stardust" Solo Artie Shaw's chorus on "Star Dust" in 1940 is one of those rare solos people list among the most important ever recorded. 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. I’m not interested in giving people what they want. Artie Shaw (born Arthur Jacob Arshawsky; May 23, 1910 – December 30, 2004) was an American clarinetist, composer, bandleader, actor and author of both fiction and non-fiction. "Happy Days Are Here Again" Composed by Milton Ager (music) and Jack Yellin (lyric); arranged by George "The Fox" Williams. 3-4: 1940-1942. (Betty Grable and Shaw are shown at right in the autumn of 1939. I think it would have been anathema for Shaw, who was a great improviser, to have played a written-out solo on any tune in any performance. Many musicians have surmised that Shaw wrote out this solo beforehand because of its perfect structure, but he didn’t. Artie Shaw started his first swing band in 1936. 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. were similar to my own experiences. Artie Shaw played ukulele at ten and began as an alto saxophonist at the age of twelve. The solos Shaw played on those performances are different from one another, indicating to me that he improvised them. 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 . Golden Sky Records: 2013 : Various Artists . My opinion is that Artie Shaw improvised the solo we hear on his Victor recording of “Star Dust.” I say that for many reasons. It’s just my “Shaw fanatic” opinion(s). 2:13 Shaw's line climaxes on a dramatic high note. Artie and Gil exchanged pleasantries during the evening, but what struck Shaw most about the Crosby band was the trumpet playing of a 23-year-old from Ohio, Billy Butterfield. Regardless of whether Artie’s solo was fully improvised, IMHO his 1940 “Star Dust” is still the greatest “pop” record ever made! His engagement at the Cafe’ Rouge had some seven weeks to go. Artie Shaws Werk von 1936 bis 1954 wird in chronologischer Abfolge von dem Label Classics veröffentlicht. AAO Music / United Audio Entertainment: 3:35 : 2013 : Artie Shaw. Lesen Sie Rezensionen und Empfehlungen und informieren Sie sich über Tracklisten, beteiligte Personen und Weiteres. "Stardust" is a popular song composed in 1927 by Hoagy Carmichael with lyrics added by Mitchell Parish in 1929. Artie then plays a brilliantly constructed improvised solo that includes some choice Shavian high-notes, including a singing high A. Artie was now so stressed that he was having constant headaches. He also had to deal with the musicians in his band, all of whom were talented and some of whom were temperamental. So all thoughtful opinions have value, and help us to get closer to the truth. Period. This must be one of the very best in all of light music. 2 collects more of… Learn how your comment data is processed. Erfahren Sie mehr über Veröffentlichungen von The Poll Winners Of 1940 - Glenn Miller Tommy Dorsey Harry James Benny Goodman Artie Shaw Jimmy Dorsey - The Golden Age Of The Dance Bands auf Discogs. The song was performed by Artie Shaw . In addition, he had to keep his sensibilities as a jazz musician, intact and healthy. On the other, when exploring Shaw’s music, one usually encounters a good many myths and distortions surrounding the man, and sometimes his music. Those people MADE you.’ Want to know my answer? (*) It was at this time that Shaw began to use plastic reeds on his clarinet instead of the more common cane reeds. 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