Artie Shaw - Begin The Beguine

Styles: Clarinet Jazz
Year: 1987
File: MP3@320K/s
Time: 66:27
Size: 157,4 MB
Art: Front

(2:49)  1. Nightmare
(3:13)  2. Indian Love Call (From "Rose Marie")
(3:13)  3. Back Bay Shuffle
(3:11)  4. Any Old Time
(2:12)  5. Traffic Jam
(3:18)  6. Comes Love
(3:18)  7. What Is This Thing Called Love?
(3:13)  8. Begin the Beguine
(3:10)  9. Oh! Lady Be Good
(3:02) 10. Frenesi
(2:33) 11. Serenade to a Savage
(3:13) 12. Deep Purple
(2:46) 13. Special Delivery Stomp
(3:18) 14. Summit Ridge Drive
(3:08) 15. Temptation
(3:34) 16. Stardust
(6:30) 17. Blues, Pts. I & II - (From William Grant Still's "Lennox Avenue Suite")
(3:26) 18. Moonglow
(3:07) 19. Moon Ray
(4:04) 20. The Carioca

Among the big band leaders of the 1930s and '40s, Artie Shaw was considered one of the most innovative and creative. His rendition of "Begin the Beguine" is the one everybody remembers and set the gold standard for that song. Yet, his arrangements and solos on the licorice stick are second to none. ~ Editorial Reviews https://www.amazon.com/Begin-Beguine-Artie-Shaw/dp/B000002W97

Begin The Beguine

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Artie Shaw - Irresistible Swing

Styles: Clarinet Jazz
Year: 1994
File: MP3@320K/s
Time: 29:21
Size: 68,1 MB
Art: Front

(3:07)  1. The Hornet
(3:06)  2. My Heart Belongs To Daddy
(2:51)  3. The Glider
(2:41)  4. I've Got You Under My Skin
(2:59)  5. What Is This Thing Called Love
(3:11)  6. Guilty
(3:12)  7. I Don't Stand A Ghost Of A Chance
(2:15)  8. Anniversary Song
(2:58)  9. How Deep Is The Ocean
(2:56) 10. You Do Something To Me

The music on this budget CD is taken from clarinetist Artie Shaw's studio recordings for Musicraft. It has been reissued in more complete form elsewhere but, if found at a low price, this set is worth picking up. "The Hornet" and "The Glider" feature Shaw's 1945 Orchestra (his last major big band) playing a pair of swinging Buster Harding arrangements; there are also a pair of vocal features for Hal Stevens. The remainder of the set showcases Shaw with a studio orchestra that includes strings. The music ranges from first-class dance charts to showcases for Mel Tormé and the Mel-Tones, most notably their hit version of "What Is This Thing Called Love." ~ Scott Yanow https://www.allmusic.com/album/irresistible-swing-mw0000185956

Irresistible Swing

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Artie Shaw - King Of The Clarinet (1938-39 Live Performances) Disc 3

Styles: Clarinet Jazz, Swing
Year: 1993
File: MP3@320K/s
Time: 65:08
Size: 152,5 MB
Art: Front

(2:32)  1. I Can't Believe That You're In Love With Me
(2:14)  2. Oh, You Crazy Moon (with Tony Pastor)
(2:38)  3. I'm Yours
(2:58)  4. What's New (with Helen Forrest)
(2:03)  5. It Had To Be You
(2:23)  6. This Can't Be Love (with Helen Forrest)
(4:57)  7. Everything's Jumpin'
(3:27)  8. I Can't Give You Anything But Love (with Helen Forrest)
(3:11)  9. I Cover The Waterfront
(3:19) 10. Over The Rainbow (with Helen Forrest)
(3:39) 11. Back Bay Shuffle
(3:49) 12. Summer Souvenirs (with Helen Forrest)
(2:39) 13. Ya Got Me
(3:51) 14. Got The Mis'ry (with Tony Pastor)
(2:45) 15. I Didn't Know What Time It Was (with Helen Forrest)
(2:50) 16. The Yam
(4:11) 17. I Haven't Changed A Thing (with Helen Forrest)
(1:50) 18. If What You Say Is True
(2:36) 19. Maria My Own
(3:16) 20. Last Night (with Helen Forrest)
(2:39) 21. Hold Your Hats
(1:12) 22. Nightmare (Closer)

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 http://www.allmusic.com/artist/artie-shaw-mn0000511029/biography

King Of The Clarinet (1938-39 Live Performances) Disc 3

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Artie Shaw - King Of The Clarinet (1938-39 Live Performances) Disc 2

Styles: Clarinet Jazz, Swing
Year: 1993
File: MP3@320K/s
Time: 68:51
Size: 161,7 MB
Art: Front

(0:50)  1. Artie Speaks
(3:01)  2. Moonray (with Helen Forrest)
(3:19)  3. What Is This Thing Called Love
(4:06)  4. Small Fry (with Tony Pastor)
(2:25)  5. Lambeth Walk
(3:03)  6. Lillacs In The Rain (with Helen Forrest)
(3:21)  7. Out Of Nowhere
(3:37)  8. Man From Mars
(3:50)  9. Deep In A Dream (with Helen Forrest)
(2:40) 10. Softly, As In A Morning Sunrise
(2:18) 11. I Used To Be Color Blind (with Tony Pastor)
(2:34) 12. Just You, Just Me
(3:44) 13. Stardust
(2:36) 14. Night Over Shanghai (with Helen Forrest)
(4:13) 15. If I Had You
(2:30) 16. Put That Down In Writing (with Tony Pastor)
(3:32) 17. Sweet Sue
(3:23) 18. Between A Kiss And A Sigh (with Helen Forrest)
(3:08) 19. Together
(2:50) 20. St. Louis Blues
(2:25) 21. You're A Lucky Guy (with Tony Pastor)
(5:16) 22. Shine On Harvest Moon

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 http://www.allmusic.com/artist/artie-shaw-mn0000511029/biography

King Of The Clarinet (1938-39 Live Performances)   Disc 2

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Artie Shaw - King Of The Clarinet (1938-39 Live Perfomances) Disc 1

Styles: Clarinet Jazz, Swing
Year: 1993
File: MP3@320K/s
Time: 64:31
Size: 151,3 MB
Art: Front

(0:33)  1. Nightmare (Opening Theme)
(2:43)  2. Rose Room
(2:54)  3. Comes Love (with Helen Forrest)
(4:00)  4. Carioca
(2:55)  5. You're Mine You
(2:30)  6. Go Fly A Kite (with Tony Pastor)
(3:14)  7. Yesterdays
(2:41)  8. Don't Worry 'Bout Me (with Helen Forrest)
(2:30)  9. My Heart Stood Still
(2:26) 10. Traffic Jam
(3:25) 11. Melancholy Lullaby (with Helen Forrest)
(5:07) 12. In The Mood
(2:41) 13. Sweet Adeline (with Tony Pastor)
(3:24) 14. Lover Come Back To Me
(3:13) 15. Two Sleepy People (with Helen Forrest)
(2:27) 16. I'm Coming Virginia
(3:36) 17. One Foot In The Groove
(3:51) 18. Just A Kid Named Joe (with Tony Pastor)
(3:43) 19. Blue Interlude
(3:34) 20. Day In, Day Out (with Helen Forrest)
(2:53) 21. Leapin' At The Lincoln

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 http://www.allmusic.com/artist/artie-shaw-mn0000511029/biography

King Of The Clarinet (1938-39 Live Perfomances) Disc 1

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Artie Shaw - What Is This Thing Called Love

Styles: Clarinet Jazz 
Year: 1997
File: MP3@320K/s
Time: 74:06
Size: 174,6 MB
Art: Front

(3:00)  1. Let's Walk
(3:07)  2. Love Of My Life
(2:54)  3. How Deep Is The Ocean?
(2:48)  4. The Glider
(3:03)  5. The Hornet
(3:09)  6. They Can't Convince Me
(2:59)  7. I Got The Sun In The Morning
(3:07)  8. Along With Me
(2:50)  9. You Do Something To Me
(2:48) 10. In The Still Of The Night
(3:14) 11. Begin The Beguine
(3:05) 12. My Heart Belongs To Daddy
(2:48) 13. Night And Day
(3:01) 14. What Is This Thing Called Love?
(2:39) 15. I've Got You Under My Skin
(3:15) 16. Get Out Of Town
(3:04) 17. For You, For Me, For Evermore
(2:40) 18. Changing My Tune
(3:06) 19. Love For Sale
(3:08) 20. They Can't Convince Me
(3:07) 21. Guilty
(2:35) 22. And So To Bed
(2:36) 23. Don't You Believe It Dear
(3:02) 24. It's The Same Old Dream
(2:47) 25. I Believe

This collection of Artie Shaw big band recordings comes from his brief association with the Musicraft label. Having assembled and broken up several earlier units, this edition, heard in recordings made between 1945 and 1946, is more of an arranger's band than one that features many soloists, other than the leader. During this period of Shaw's career, he was constantly changing the instrumentation of his band and making personnel substitutions. Fellow Musicraft artist Mel Tormé and his group the Mel-Tones are added on some tracks, though this was a studio relationship exclusively and they were not a part of Shaw's organization. The innovative blend of strings, voices and brass in the swinging arrangement of "What Is This Thing Called Love" is the highlight of the vocal selections, along with an updated instrumental version of the clarinetist's earlier hit, "Begin the Beguine." The only reservation about this compilation is that several tracks are abruptly faded or even truncated. ~ Ken Dryden http://www.allmusic.com/album/what-is-this-thing-called-love-mw0000239933

Personnel: Artie Shaw (clarinet); Halsey Stevens, Teddy Walters, Kitty Kallen, Mel Tormé, The Mel-Tones (vocals); Dave Barbour, Barney Kessel (guitar); Nick Fatool (clarinet, drums); Rudy Tanza, Lou Prisby, Arthur "Skeets" Herfurt (alto saxophone); Herbie Steward, Ralph Rosenlund (tenor saxophone); Chuck Gentry (baritone saxophone); Manny Klein, Clyde Hurley, George Schwartz, Ray Linn, Bernie Glow, Stan Fishelson (trumpet); Garth Dickson, Bob Swift, Si Zentner, Harry Rodgers, Ollie Wilson (trombone); Dodo Marmarosa, Johnny Guarnieri, Milt Raskin (piano); Lou Fromm (drums).

What Is This Thing Called Love

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Artie Shaw & His Orchestra, Gramercy Five - Dancing On The Ceiling

Bitrate: MP3@320K/s
Time: 73:50
Size: 169.0 MB
Styles: Big band
Year: 2015
Art: Front

[3:06] 1. 's Wonderful
[3:15] 2. I'll Never Be The Same
[2:59] 3. Little Jazz
[4:24] 4. Summertime
[3:00] 5. Tea For Two
[2:57] 6. Time On My Hands
[3:08] 7. A Foggy Day
[3:06] 8. The Man I Love
[3:03] 9. I Could Write A Book
[2:38] 10. Lucky Number
[2:47] 11. Love Walked In
[2:57] 12. Soon
[2:38] 13. They Can't Take That Away From Me
[2:58] 14. Someone To Watch Over Me
[3:02] 15. Things Are Looking Up
[3:44] 16. The Maid With The Flaccid Air
[2:59] 17. No One But You
[3:17] 18. I Can't Get Started With You
[3:04] 19. Dancing On The Ceiling
[2:59] 20. I Can't Escape From You
[2:54] 21. Hop, Skip And Jump
[2:58] 22. Misterioso
[2:45] 23. The Gentle Grifter
[3:01] 24. Just Floatin' Along

The already popular quintet formation seems fond of naming itself as a "Five" of one sort or another -- notes, chambers, Americans, guys named Moe, fakers, gravediggers, primaries, after hours and much more than five more. With all of that there is nonetheless only one distinct use of the Gramercy Five combo name. That was by famous swing bandleader and clarinetist Artie Shaw, who utilized the moniker to represent different small groupings through more than a dozen years of his career. Like everything Shaw was involved in including his career itself as well as his marriages, the existence of the group was strictly an off and on again thing. This resulted in many changes in lineup, but Shaw's considerable fame, status, and pocketbook meant that when he was ready to hire new members they would be comers.

Jazz buffs can drop some serious names in relationship to Shaw's sidemen in versions of the Gramercy Five. On electric guitar alone he managed to seat Barney Kessel, Tal Farlow and Joe Puma at various times. There are other reasons why the band is significant to the history of the genre, however. Shaw pioneered use of the small group as a band-within-a-band during big band programs, which like similar ventures by rival Benny Goodman, upped the spectacular ante of jazz, including the importance of exciting soloists. The Gramercy Five is also one of the few examples of the harpsichord being used in jazz. Pianist Johnny Guarnieri made this move in 1940 at work with the first version of the group to be recorded. The harpsichord was another of Shaw's generous references to classical music, also including use of a string quartet four years previously. By adding in electric guitar, Shaw can be seen as a visionary in art pop circles, providing they can get their eyes focused.

Trivia buffs may succeed in piling up further monumental evidence of the Gramercy Five's individuality. It is true that it represents one of the only examples of a group named after a New York telephone exchange. When presented as the Artie Shaw Gramercy Five, as it often is, it is also a rare example of the numerical representation of a band not actually including the leader. With Shaw out front blowing, the number of musicians actually featured was six, not five. The Dave Clark Five, on the other hand, featured leader Dave Clark as one of five guys onstage.

Gramercy Five sides such as "Concerto for Clarinet," "Summit Ridge Drive" and "Special Delivery Stomp" were extremely popular, extending well beyond the noses of trivia hounds. Subsequent reissue action involving the Shaw discography has also extended something, that being the life of the Gramercy Five itself. While never together as long as Goodman's similarly popular small combos, the Gramercy Five was held in such esteem that any of Shaw's small group recordings tend to be passed off as Gramercy Five performances whether then name was in play or not. Shaw did start-up a very short-lived new Gramercy Five in 1953, however, which he quickly abandoned to try dairy farming again in Skekomeko, NY. ~Eugene Chadbourne

Dancing On The Ceiling

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Lena Horne - Love Songs

Styles: Jazz, Vocal
Year: 1999
File: MP3@320K/s
Time: 50:13
Size: 115,9 MB
Art: Front

(2:16)  1. It's Love
(3:12)  2. Love Me Or Leave Me
(3:21)  3. The Man I Love
(3:35)  4. You're The One
(3:25)  5. People Will Say We're In Love
(3:09)  6. Don't Take Your Love From Me
(3:20)  7. Love Is The Thing
(3:15)  8. Someone To Watch Over Me
(2:41)  9. At Long Last Love
(3:27) 10. I'm Confessin' (That I Love You)
(3:05) 11. Love Me A Little Little
(3:19) 12. Let Me Love You
(3:08) 13. Mad About The Boy
(3:00) 14. I'm Through With Love
(2:41) 15. What Is This Thing Called Love?
(3:14) 16. You're My Thrill

Some of the more jazz-oriented highlights of Lena Horne's recording career are on this CD. Unfortunately the full personnel is not given, although the recording dates and the various orchestra leaders are. As one can ascertain from the CD's title, the emphasis is on love songs, but most of the music swings too. Horne is heard with the orchestras of Charlie Barnet in 1941 ("You're My Thrill"), Artie Shaw in 1941 ("Don't Take Your Love From Me" and "Love Me a Little Little" which also include uncredited solos from trumpeter Henry "Red" Allen and altoist Benny Carter), Lou Bring (also 1941), Marty Gold (1961), and her husband, Lennie Hayton (1955 and 1958). Among the highlights are "Love Me or Leave Me," "At Long Last Love," "I'm Confessin'," and "Mad About the Boy." If the packaging was more complete and the music programmed in chronological order, the rating would have been higher, for the music is quite good. ~ Scott Yanow  http://www.allmusic.com/album/love-songs-2000-mw0000673007

Personnel: Lena Horne (vocals); Artie Shaw (clarinet); Benny Carter (alto saxophone); Charlie Barnet (tenor saxophone); Henry "Red" Allen (trumpet).

Love Songs

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Artie Shaw - Both Feet In The Groove

Size: 88,2 MB
Time: 38:03
File: MP3 @ 320K/s
Released: 1956/2014
Styles: Jazz: Vocals, Big Band, Swing
Art: Front

01. One Foot In The Groove (3:41)
02. Rockin' Chair (3:07)
03. Jungle Drums (3:29)
04. Solid Sam (3:15)
05. Just Kiddin' Around (3:20)
06. Octoroon (2:55)
07. Prosschai (3:09)
08. What Is This Thing Called Love (3:11)
09. Lazy Day (3:03)
10. Little Jazz (3:00)
11. Comin' On (2:44)
12. One Night Stand (3:03)

Born in New York City in 1910 and raised in New Haven, Connecticut, Artie Shaw worked for several years as a saxophonist and clarinetist in name bands, and as a free-lance studio musician in Manhattan radio and recording work, before his career as a bandleader began, almost by accident, in 1935. In the spring of 1937 Artie started a new band with the regular saxes-brass-rhythm instrumentation. This was the band that catapulted him to fame a year later when he recorded Begin the Beguine. Some of the numbers in this album go back to that era; in fact one tune, Comin' On, was recorded on the same day at the same session as the historic Beguine-July 24, 1938. This Shaw panorama should convince you that, in truth, Artie Shaw at all times has had both feet in the groove.

Both Feet In The Groove

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Various - Sentimental Journey: Hits From The Second World War

Bitrate: 320K/s
Time: 61:37
Size: 141.1 MB
Styles: Swing, Big band, Standards, Vocal jazz/pop
Year: 2007
Art: Front

[3:16] 1. Peggy Lee - We'll Meet Again
[3:01] 2. Artie Shaw & His Orchestra - Dancing In The Dark
[2:48] 3. Glenn Miller & His Orchestra - Little Brown Jug
[3:03] 4. Frank Sinatra - I'll Be Seeing You
[3:28] 5. Artie Shaw & His Orchestra - Moonglow
[3:09] 6. Louis Armstrong - Memories Of You
[2:42] 7. Harry James & His Orchestra - I'll Get By (As Long As I Have You)
[3:23] 8. The Benny Goodman Sextet - On The Alamo
[3:15] 9. Billie Holiday - Pennies From Heaven
[3:01] 10. Coleman Hawkins & His Orchestra - Body And Soul
[2:57] 11. Frank Sinatra - Let's Get Lost
[3:06] 12. Cab Calloway & His Orchestra - Blues In The Night (My Mama Done Tol' Me)
[3:10] 13. Duke Ellington & His Orchestra - There Shall Be No Night
[3:11] 14. Cootie Williams & His Rug Cutters - Echoes Of Harlem (78rpm Version)
[3:08] 15. Earl Hines And His Orchestra - Skylark
[2:41] 16. Frank Sinatra - Saturday Night (Is The Loneliest Night Of The Week)
[2:34] 17. The Mills Brothers - Paper Doll
[2:41] 18. Frank Sinatra - Long Ago And Far Away
[3:48] 19. Doris Day - Sentimental Journey
[3:06] 20. Harry James & His Orchestra - Waiting For The Train To Come In

This 20-track companion disc to the Ken Burns' PBS documentary The War provides a brief glimpse into the swing and pop music synonymous with World War II. Attempting to choose 20 songs for a single disc that are beloved by those who lived through that era, while also trying to sustain the curiosity of those who didn't, is a lofty goal. As it turns out, Burns and the producers pieced together an impeccable track listing that covers the full range of emotions withstood by a generation during wartime, from the upbeat and optimistic swing performances of "Little Brown Jug" (Glenn Miller), and "Pennies from Heaven" (Earl Hines Orchestra with Billie Holiday), to the melancholy romanticism of "Memories of You" (Louis Armstrong), "Let's Get Lost" (Frank Sinatra), and "Sentimental Journey" (Les Brown). The liner notes are informative as every title on the soundtrack was chosen by Burns and co-producer Lynn Novick. The interested listener should also investigate two other individual CDs coinciding with this series: I'm Beginning to See the Light: Dance Hits from the Second World War and Songs Without Words: Classical Music from the War. ~Al Campbell

Sentimental Journey: Hits From The Second World War

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Artie Shaw - The Artistry Of Artie Shaw & His Bop Band

Bitrate: 320K/s
Time: 55:12
Size: 126.4 MB
Styles: Big band
Year: 2000/2006
Art: Front

[3:21] 1. Smooth And Easy
[3:18] 2. Krazy Cat
[3:42] 3. Afro-Cubana
[3:39] 4. Stardust
[4:06] 5. Fred's Delight
[3:25] 6. I Get A Kick Out Of You
[3:47] 7. Mucho De Nada
[3:12] 8. I Cover The Waterfront
[3:00] 9. 's Wonderful
[3:25] 10. Similau
[3:41] 11. Aesop's Foibles
[2:52] 12. They Can't Take That Away From Me
[3:22] 13. So Easy
[3:06] 14. Carnival
[2:39] 15. Orinoco
[4:30] 16. Innuendo

In 1949, just before he was about to start yet another big band, Artie Shaw made the following statement: "We'll find an identity. Perhaps it would be fairer to say I'll find one. Sooner or later all bands that stick find an identity, and find it through their leader. All the sounds -the creative arrangements, the pop tunes and the originals - must be channelized through the leader."

And on September 14, 1949 Artie Shaw was back on the bandstand, opening at Symphony Hall, Boston. The band's book contained both old and new material, and it was the first time Shaw had gone on the road with a band for many years. The 1949 band features a mixture of numbers associated with the Shaw bands of the early 40's and some in a more modern vein from new writers/arrangers such as Tadd Dameron, Johnny Mandel, Gene Roland and George Russell, with the more exotic Latin sounds coming from the pen of John Bartee.

Artie Shaw (leader, cl) with Don Paladino, Don Fagerquist, Dale Pierce and Vic Ford (tp), Sonny Russo, Fred Zito, Ange Callea and Porky Cohen (tb), Herb Steward and Frank Socolow (as), Al Cohn and Zoot Sims (ts), Danny Bank (bars), Gil Barrios (p), Jimmy Raney (g), Dick Niveson (b), Irv Kluger (d)

The Artistry Of Artie Shaw & His Bop Band

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Artie Shaw - The Artistry Of Art Shaw & His Bop Band 1949

Bitrate: 320K/s
Time: 51:49
Size: 118.6 MB
Styles: Bop, Big band
Year: 2004
Art: Front

[3:21] 1. Smooth 'n Easy
[3:18] 2. Krazy Kat
[3:42] 3. Afro-Cubana
[3:40] 4. Stardust
[4:06] 5. Fred's Delight
[3:25] 6. I Get A Kick Out Of You
[0:20] 7. Mucho De Nada
[3:13] 8. I Cover The Waterfront
[3:01] 9. 's Wonderful
[3:26] 10. Similau
[3:41] 11. Aesop's Foibles
[2:52] 12. They Can't Take That Away From Me
[3:22] 13. So Easy
[3:06] 14. Carnival
[2:39] 15. Orinoco
[4:30] 16. Innuendo

In 1949 just before he was about to start yet another big band, Artie Shaw made the following statement: 'We'll find an identity. Perhaps it would be fairer to say I'll find one. Sooner or later all bands that stick find an identity, and find it through their leader. All the sounds, the creative arrangements, the pop tunes and the originals, must be channelized through the leader''. And on September 14, 1949 Artie Shaw was back on the bandstand, opening at Symphony Hall, Boston. The band's book contained both old and new material, and it was the first time Shaw had gone on the road with a band for many years. The 1949 band features a mixture of numbers associated with the Shaw bands of the early 40's and some in a more modern vein from new writers/arrangers such as Tadd Dameron, Johnny Mandel, Gene Roland and George Russell, with the more exotic Latin sounds coming from the pen of John Bartee.

The Artistry Of Art Shaw & His Bop Band 1949

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