Bernard Shaw's Marriages And Misalliances (bernard Shaw And His Contemporaries)

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.

Artie Shaw reached the pinnacle of stardom in 1939, becoming a celebrity and having his band rated at the top of the swing world, at least in popularity. But Shaw did not enjoy the experience much, was under constant pressure, and in late November he left the bandstand and fled to Mexico. His band (which struggled on briefly under Georgie Auld's leadership) broke up a few months later. Running out of money, on March 3, 1940, Shaw gathered together a large studio orchestra (with a full string orchestra) and recorded six songs, including one ("Frenesi") that became a giant hit. This CD concludes with part of a second date (from May 13) with a different studio band. It would be a few months before Artie Shaw formed his third orchestra. Despite the turmoil, there are fine performances to be heard on this intriguing disc, the seventh Shaw CD put out by Classics.

In the summer of 1941, Artie Shaw organized yet another big band, his fourth in five years. This particular ensemble was one of his most fun groups, featuring trumpeter/singer Hot Lips Page, trombonist Jack Jenney, tenor saxophonist Georgie Auld, pianist Johnny Guarnieri, drummer Dave Tough, and a full string section with some arrangements by trombonist Ray Conniff. All but the last six recordings of this big band are on this CD, including "Blues in the Night," the adventurous "Nocturne," "Take Your Shoes off, Baby," "Just Kiddin' Around," "Dusk," and the two-part "St. James Infirmary." The music alternates between swing, Hot Lips Page features, and classical-oriented works, succeeding on all levels. But shortly after Pearl Harbor, Artie Shaw called it quits again, enlisting in the navy.

Here lie the last of the Victor recordings by Artie Shaw and his orchestra, dating from July and November of 1945. The first nine titles are charming big band dance numbers. A lot of that charm comes straight up from Dodo Marmarosa's piano and Barney Kessel's guitar, through the trumpet of Roy Eldridge and out of Artie Shaw's elegant clarinet. Those are four good reasons to check these records out, up close. Anybody who loves Dodo Marmarosa needs to hear these recordings in order to be able to appreciate how this young man interacted with a big band. Fortunately, there are only a few vocals by syrupy singer Halsey Stevens…