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. Period. Predictably, the end came all too soon. ), 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. On November 15, Shaw walked off the bandstand at the Cafe’ Rouge in the middle of the evening, and didn’t return. 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. I tell them if I was made by a bunch of morons, that’s just too bad. He changed things very slightly during the performance. For almost all of 1939, Shaw had no personal life away from his band, because he was almost never away from his band. 2:24 A. Song information for Stardust - Artie Shaw on AllMusic. That, I think, did not happen. 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. Also, on all other recordings Shaw made of “Star Dust,” he played different solos. If we listen to the 1949 recording of Stardust (on the Thesaurus Transcriptions 2 disc set), Artie plays some similar ideas (and again, goes up to the high B), but I think that’s more due to how incredibly popular the original recording was and what a “staple” his solo became in the 9 yrs. In the 1944 revised version of “Star Dust” in which the strings were done away with, at some unknown point AS transcribed his clarinet solo from the 1940 record in pencil and he wrote it on the back side of his own clarinet part. 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.”. The written clarinet part (on the front and in ink) was like every other “Artie” part in his book – as just a conductor’s lead sheet of the whole arrangement transposed for Bb clarinet with indications of where his solo sections were for him to play, and includes other sections where he plays arranged sections of the arrangement with the rest of the band. Engagements booked into early 1940 had to be cancelled. (*) (At left: Shaw and Lana Turner in his house on Summit Ridge Drive in Los Angeles – spring 1940.). 50 Great Big Swing Hits! (Trumpeter Billy Butterfield is shown above left.). The music: In late March of 1940, Artie Shaw and his new bride, Lana Turner, took a honeymoon of sorts. When they arrived in New York, they stayed at a luxurious hotel, … 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. But it wasn’t the end of Shaw’s musical career. One addition – Jenny had recorded STAR DUST with his own band in late 1939 for Okeh. This site uses Akismet to reduce spam. Many musicians have surmised that Shaw wrote out this solo beforehand because of its perfect structure, but he didn’t. as a "legendary trumpet solo" on the hit song "Star Dust". I want to add my thoughts to this wonderful discussion. I just *highly* doubt he’d play a written out/pre-conceived solo. They constantly besieged him, seeking quotes, interviews, pictures, feature stories. 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.” On October 7, 1940, during his brief stay with Artie Shaw's orchestra, Butterfield performed what has been described [by whom?] Assistant Professor of Music His tone, his choice of notes, and his virtuosity all seemed to come together in one lyrical moment, rarely matched by … On the other, when exploring Shaw’s music, one usually encounters a good many myths and distortions surrounding the man, and sometimes his music. Jazz Tribune: 1996 : Artie Shaw. © Michael P. Zirpolo - All Rights Reserved. 2 collects more of… 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 . Goodman’s chronic sciatica had by the summer of 1940 become so painful that he was advised to have surgery to alleviate some of the discomfort. April 09, 2020 Share Get link; Facebook; Twitter; Pinterest; Email; Other Apps; Share Get link; Facebook; Twitter; Pinterest; Email; Other Apps; Comments. Shaw syntyi juutalaiseen sukuun New Yorkissa ja varttui New Havenissa, Connecticutissa. In 1940 the #2 song in the charts was Frenesi by Artie Shaw. 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. Lesen Sie Rezensionen und Empfehlungen und informieren Sie sich über Tracklisten, beteiligte Personen und Weiteres. One of the things Shaw resented about the chaotic months of 1939 when he was becoming a swing superstar, was that he had no time then to work on music for his band to play. So, sort of. 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. Learn how your comment data is processed. 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. His best-known orchestra enjoyed a lengthy residency at the Blue Room of the Hotel Lincoln on New York's Eighth Avenue. I don’t know whether this true, but I thought I would pass it on for discussion purposes. Some of the charts in the UofAZ Shaw collection are later versions/revisions/adaptations (re-arranging or simply adding 4th bone and 4th tpt parts) of the originals and it wouldn’t surprise me if one of the later adaptations had Artie’s original studio solo written out. 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. I would like to include the comments of clarinetist Kevin Ritter here for the benefit of Shaw fans who want to know as many facts as possible about Shaw’s iconic solo on his Victor recording of “Star Dust.” Here they are: “Just to add finality to a point raised in the comments section of the attached article, I have copies of the score and all the parts to “Star Dust” and Artie’s solo from the 1940 record is not written out at all, in the Full Score of the 1940 arrangement, or on either of the two sets of Parts from 1940 and 1944/45 respectively. Shaw’s blueprint included a soaring open trumpet solo that he wrote out for Billy Butterfield to start the piece, and then space for him to play a rhapsodic, improvised clarinet solo, and lastly, an eight-bar spot for trombone virtuoso Jack Jenney to improvise. Thanks Kevin for your impressions from both the musical and historical perspectives. 2 (1940-1941) - Artie Shaw on AllMusic - 1997 - In Hollywood 1940-1941, Vol. I have gone back to the Shaw aircheck recordings of “Star Dust” from December 6 and 23 of 1938. He and arranger Lennie Hayton, who had been a successful radio conductor in New York in the mid-1930s (whom Shaw had worked with then), was in 1940 trying to break into film work in Hollywood, collaborated on the rest of the minimalistic chart during the summer of 1940. I can’t. 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. They had married earlier in 1940. The first Burns and Allen show aired on July 1. Keith Pawlak 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. The Indispensable Artie Shaw, Vol. “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. 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. Artie Shaw played ukulele at ten and began as an alto saxophonist at the age of twelve. Post a Comment Popular Posts The Problem of "Business Casual" Attire. Between 1943 and 1947, taking a break to serve in the United States armed forces, Butterfield led his own orchestra. 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). He would return to music and then leave again and again over the next fifteen years. He was also a featured soloist in the small group from Shaw's band, the Gramercy Five. Artie Shaw started his first swing band in 1936. Today Shaw is remarked as one of jazz's finest clarinetists. 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. Let's Go for Shaw. I am printing it verbatim: “Hayton wrote out a foundation for the solo, which is of course based on the melody. That was not the way he worked. Song information for Stardust - Artie Shaw on AllMusic AllMusic. On the one hand, much of the music Shaw made during the swing era was wonderful, indeed great. 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. Shaw’s last appearance on the weekly NBC Old Gold Melody and Madness  radio show was on October 3. Best to both of you! Artie Shaw and His Orchestra, Soundtrack: Murder on the Orient Express. 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. Artie was now so stressed that he was having constant headaches. Shaw enters for his solo, with a highly decorated version of the melody, moving into double time. Tucson, AZ 85721. He then reportedly took a vacation to Palm Springs, California from October 4 – 18, when he returned to New York. Artie Shaw song lyrics collection. But perhaps they discussed the general outline of what Shaw wanted to do in his solo, and Hayton notated that in some fashion so that Artie would have a roadmap of sorts of where to go with his improvisation. And besides if they made me, what do they want my autograph for? First, I appreciate that all who have commented have done so. *** His first trumpeter was Billy Butterfield, who was also a fine jazz soloist. His contract with Victor Records had not been even half completed. All I can say is GREAT. A side (Frenesi): mx 042546-1, recorded Hollywood, CA, March 3, 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. B side (Begin The Beguine): mx 024079-1, recorded New York, NY, July 24, 1938. In the end, who really knows? Browse 147 lyrics and 1029 Artie Shaw albums. That relationship soon became fraught with difficulty. Around this strong nucleus of players, Shaw built his new band. While still in his teens he formed his first band, the Bellevue Ramblers which performed at local gigs. I mentioned in the post that Shaw had a different arrangement of “Star Dust” that he played in 1938-1939. 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. "Stardust" is a popular song composed in 1927 by Hoagy Carmichael with lyrics added by Mitchell Parish in 1929. 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. Autograph hunters? Music historian Gunther Schuller, in his classic study of the music of the swing era, made these observations about Jenney’s solo: “For me. Just my opinion, but I’d bet money on it. In 1944 when AS resumed activity as a civilian bandleader, approx. Artie Shaw, Soundtrack: Second Chorus. Stardust - Artie Shaw and His Orchestra (1940). The most memorable moment of the performance has always been Jack Jenney’s magnificent trombone solo, considered in its day for all its romantic cast, a major breakthrough statement, both in technical and expressive terms. John, here are the comments from the Clarinet Bulletin Board on this subject: “Well I emailed a professor at the University where the Artie Shaw library is housed. . (**) The Swing Era…The Development of Jazz – 1930-1945 by Gunther Schuller, Oxford University Press (1989), page 704. But Butterfield’s trumpet playing inspired Shaw to create something new: a dramatic setting for three virtuoso solos. 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. 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. 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. At least one other recording of this band playing “Star Dust” exists, and it has a different clarinet solo. He left his band in early July, and immediately the following Goodman sidemen transferred to Shaw: lead alto saxophonist Les Robinson (Shaw’s lead alto player from 1937 through 1939, who had been Artie’s contact in the Goodman band); tenor saxists Jerry Jerome and Bus Bassey; trombonist Vernon Brown; pianist Johnny Guarnieri; and drummer Nick Fatool. Shaw pulled his band off the bandstand before the scheduled ending time of the gig, and there was a near-riot in the ballroom. 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. 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. "Happy Days Are Here Again" Composed by Milton Ager (music) and Jack Yellin (lyric); arranged by George "The Fox" Williams. Stardust ist der Titel eines Popsongs von Hoagy Carmichael aus dem Jahr 1927, der zu einem der meistgecoverten Songs aller Zeiten und als Klassiker der Bigband-Ära zum Jazzstandard und zum Evergreen wurde. Here is the explanation he sent to me. (At left: Artie Shaw in 1940.). It is today known as one of the greatest jazz songs of all time. The stresses continued unabated, indeed they increased. April 14, 2018 This is how it's done. Can we think of any other tune (or different take) in Artie’s vast recording output where he played the same solo twice? Business Casual the RIGHT way, ladies and gentlemen. Jack Jenney’s solo on Artie Shaw’s recording of “Star Dust” was in many ways the beginning of a new school of velvet-toned and elegant but technically demanding trombone performance in jazz and American popular music. Michael, I haven’t seen the original Hayton score to Stardust, but I *seriously* doubt Artie’s solo was written out by Lenny. 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. Mike Z, I agree it’s also quite likely that Artie collaborated with Lenny in writing the arrangement. Jenney’s rich, full-bodied sound added to the emotional appeal of the passage.”(**). 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. Lawsuits flew, and the press had a field day. Watch the music video and discover trivia about this classic Pop song now. (*) It was at this time that Shaw began to use plastic reeds on his clarinet instead of the more common cane reeds. 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. These often have their genesis in pronouncements Shaw himself made as early as the late 1930s (and for decades thereafter), when journalists were insatiably curious about this handsome young (and later not so young) man, who was articulate and intelligent, and could play the clarinet and lead his swing band so brilliantly. New Releases. Disentangling fact from fiction in these can be a chore. 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.”. 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.”. (This does not of course apply to his playing of “classical” music.). The de facto leader and music director of the Crosby crew was dance band veteran Gil Rodin. Shaw knew exactly what he wanted to do with this entire arrangement. He joined the band in time for its first Victor recording session, which was on September 7, 1940. \"Stardust\" was a song written by Hoagy Carmichael and Mitchell Parish in 1927. Shaw did not need Hayton’s guidance with the harmonic structure of “Star Dust.” He undoubtedly was quite familiar with that by 1940. So all thoughtful opinions have value, and help us to get closer to the truth. Find album reviews, stream songs, credits and award information for In Hollywood, Vol. 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. John. My informed speculation is that he and Shaw most probably collaborated on the arrangement. Music Curator Jenney’s solo on the broadcast version of “Star Dust” is also a totally different improvisation from the Victor recording. (See below.) Artie Shaws Werk von 1936 bis 1954 wird in chronologischer Abfolge von dem Label Classics veröffentlicht. To hell with them!” And: “My friends and advisors tell me that I’m a damned fool. He was also selected to appear on the weekly George Burns and Gracie Allen NBC network radio show. Stardust - Artie Shaw and His Orchestra (Live 1940) - YouTube That arrangement allowed him to play an entire chorus solo. The solos Shaw played on those performances are different from one another, indicating to me that he improvised them. This involved deciding what music would be played, how it would be arranged, how it would be rehearsed, and how it would be performed. The press was more interested than ever in Shaw. I believe that at least some of the solo part on “Concerto for Clarinet” were written out. 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. Greatest Hits of the 1940s. I’m interested in making music. Box 210004 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. 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. Wish that I knew more about music composition. But this should not be confused with the notion that Hayton wrote out the solo, and Shaw read it while he played it. The band remained in Hollywood. Artie Shaw 1940. The sound he got on trumpet was big, yet velvety, and he had a great high register, plenty of power and tons of technique. 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. 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. Some time later, he reached Acapulco, Mexico, where he sequestered himself. 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. ‘Look here, Artie,’ they say, ‘you can’t do that! Mike another fabulous article. His expansive solo (in two takes) is similar in mood and construction to his brief solo on the Shaw record. Lana had never seen New York, but Artie was a denizen of Manhattan. Recorded by Artie Shaw and His Orchestra on October 7th, 1940 in New York, NY for Victor. Artie Shaw is acknowledged as one of the great jazz clarinetists and bandleaders of the swing era. He said the “Stardust” solo was one of the very few written out solos by Artie Shaw. This is a recording of Artie Shaw and his orchestra preforming \"Stardust\" live in 1940. Why then would Lennie Hayton have written whatever he wrote on the 1940 Shaw arrangement of “Star Dust”? Lastly, as we’re all very aware of here, Artie was an INCREDIBLY prolific improvisor. — Among the opinions Shaw had enunciated: “…I don’t like the crowds. 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. He had used studio musicians to make those Victor records. Raving about “Star Dust” in all regards is absolutely deserved, as are the performances of Billy Butterfield, Artie and Jack Jenney, plus of course Lennie Hayton’s arrangement. My opinion is that Artie Shaw improvised the solo we hear on his Victor recording of “Star Dust.” I say that for many reasons. In addition, he had to keep his sensibilities as a jazz musician, intact and healthy. As summer began, it was announced that Shaw would appear in another film, this one entitled “Second Chorus,” to be produced by Paramount, to star Fred Astaire and Paulette Goddard. (Betty Grable and Shaw are shown at right in the autumn of 1939. 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 was aided greatly in this process by the coincidental disbanding of Benny Goodman’s band, which had been playing in southern California. That arrangement allowed him to play an entire Chorus solo press was more interested ever. That includes some choice Shavian high-notes, including a singing high a Clarinet solo never seen New York but... Early 1941 before he decided to break it up AllMusic AllMusic Shaw to create something New: a high! Was by Hoagy Carmichel and his New bride, Lana Turner, took a vacation to Palm,! 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