×

Uh-oh, it looks like your Internet Explorer is out of date.

For a better shopping experience, please upgrade now.

Complete Rhythm Makers Sessions 1937-1938, Vol. 1
     

The Complete Rhythm Makers Sessions 1937-1938, Vol. 1

by Artie Shaw
 
In his autobiography, The Trouble With Cinderella, Artie Shaw periodically describes his own sense of alienation, first as ethnic "other" during his childhood, then as fledgling bandleader full of ideas, struggling to conform without conforming, and most horrifically as sudden sex symbol and superstar, dreadfully dwarfed by the ersatz image of the creature that

Overview

In his autobiography, The Trouble With Cinderella, Artie Shaw periodically describes his own sense of alienation, first as ethnic "other" during his childhood, then as fledgling bandleader full of ideas, struggling to conform without conforming, and most horrifically as sudden sex symbol and superstar, dreadfully dwarfed by the ersatz image of the creature that everyone seemed to think he ought to be. Confronted with the phonograph recordings of Artie Shaw, one might best bear this ongoing identity crisis in mind, and seriously appreciate the not uncommon tightrope act combining pop culture success with the creation of at least some music of substance and depth. Most bandleaders during the '30s and '40s managed to do both, yet the proportionate ratio of real jazz to sugar water has always been a dicey equation. Vol. 1 of The Complete Rhythm Makers Sessions focuses upon the year 1937. The first of the two discs, covering material waxed on March 4th of that year, documents Shaw's persistent reliance upon violins and viola to augment the texture of his band. "Love Is Good for Anything That Ails You" cooks really wonderfully for a little over two minutes, whereupon it simply quits just as the groove becomes fully established. What follows is the prerequisite handful of romantic sugar pop tunes. Amidst Peg LaCentra's recurring lapses into vocalized sentimentality, relief materializes in the form of a string of great instrumental tracks: "Swing High, Swing Low," "Skeleton in the Closet," and "Cream Puff" give way to even more solid material like "Sobbin' Blues," "At Sundown," "Copenhagen," "My Blue Heaven," "How Come You Do Me Like You Do?" (Shaw's clarinet nestled peculiarly among the viols), and Artie's original take on "The Blues." From this point onward, Shaw stopped using a string section in his band. The difference is immediately evident on the second disc, which covers everything from the session of April 29, 1937. Listening between the vocal tracks, one is able to savor the flavor of Shaw's originals. "Born to Swing," "The Chant," "The Bus Blues," "Ubangi," "In the Bottom," and "Hold Your Hats" are more or less solid vehicles for swing. Raymond Scott's "Twilight in Turkey" is pixilated and Larry Clinton's "Study in Brown" comes across as pleasantly busy, while Harry Warren's majestic mood piece "Night Over Shanghai" extends the Oriental Fox Trot tradition beyond its earlier vintage. There is a tidy treatment of Rodgers & Hart's "Johnny One Note," a marvelously optimistic bounce called "Wake Up and Live," a smart handling of "Someday, Sweetheart," and a terrific stomp by Benny Carter called "Symphony in Riffs." Nevertheless, Jelly Roll Morton's "Milenberg Joys" is without question the prime cut. The second disc ends with an aircheck, which is to say a recording of Shaw's band performing over the radio on April 30, 1937. Listeners hear alternate versions of instrumentals used during the previous day's recording session, along with a gorgeous version of "Night and Day." Each number is introduced by an authentically self-conscious old-fashioned radio announcer.

Product Details

Release Date:
11/04/2003
Label:
Jazz Band
UPC:
5020957219022
catalogNumber:
2190
Rank:
170121

Tracks

Album Credits

Performance Credits

Artie Shaw   Primary Artist,Clarinet
Lee Castle   Trumpet
Buddy Morrow   Trombone
Tony Pastor   Violin,Tenor Saxophone,Vocals
George Wettling   Drums
Mike Bryan   Guitar
George Arus   Trombone
Avola   Guitar
Burness   Piano
Jerry Gray   Violin,Tenor Saxophone
Cliff Leeman   Drums
Fred Petry   Tenor Saxophone
Robinson   Alto Saxophone
Harry Rodgers   Trombone
Sam Rosenblum   Violin
Joe Lipman   Piano
Zeke Zarchy   Trumpet
Bill Schumann   Viola
Malcolm Crain   Trumpet
Ben Ginsberg   Bass
Tom Dicarlo   Trumpet
Peg LaCentra   Vocals
Frank Sigfield   Violin,Tenor Saxophone
John McClanian Best   Trumpet
Dorothy Howe   Vocals
Buddy Saffer   Alto Saxophone

Technical Credits

George Gershwin   Composer
William Grant Still   Composer
Jelly Roll Morton   Composer
Artie Shaw   Composer
Larry Clinton   Composer
Frank Melrose   Composer
Irving Mills   Composer
Charles Davis   Composer
Art Kassel   Composer
Richard Rodgers   Composer
Bronislaw Kaper   Composer
Milton Ager   Composer
Gene Austin   Composer
Benny Carter   Composer
Vic Berton   Composer
Johnny Burke   Composer
Walter Donaldson   Composer
Dubin   Composer
Arthur Freed   Composer
Cliff Friend   Composer
Ira Gershwin   Composer
Mack Gordon   Composer
Lorenz Hart   Composer
Edward Heyman   Composer
Will Hudson   Composer
Gus Kahn   Composer
Burton Lane   Composer
John Lange   Composer
Johnny Mercer   Composer
Cole Porter   Composer
Ralph Rainger   Composer
Leo Robin   Composer
Arthur Schwartz   Composer
Raymond Scott   Composer
Harry Warren   Composer
George Whiting   Composer
Matty Malneck   Composer
John McDonough   Liner Notes
Arthur Johnston   Composer
Vee Lawnhurst   Composer
Pinky Tomlin   Composer
Gerald Marks   Composer
Harry Revel   Composer
Ralph Freed   Composer
Lou Handman   Composer
Abner Silver   Composer
Benjamin Franklin Spikes   Composer
Einar A. Swan   Composer
Tot Seymour   Composer
Sherman   Composer
John Spikes   Composer
Fred Stryker   Composer
Roy Bergere   Composer
Ned Wever   Composer
Walter Jurmann   Composer
Vladimir Simosko   Discographical Information

Customer Reviews

Average Review:

Post to your social network

     

Most Helpful Customer Reviews

See all customer reviews