Arthur Jacob Arshawsky (May 23, 1910 – December 30, 2004), commonly known by his stage name, Artie Shaw, was an American clarinetist, composer, and bandleader. Also an author, Shaw wrote both fiction and non-fiction writings. Widely regarded as "one of jazz's finest clarinetists", Shaw led one of the United States' most popular big bands of the in the late 1930s through the early 1940s. Their signature song, a 1938 version of Cole Porter's "Begin the Beguine", was a wildly successful single and one of the era's defining recordings. Musically restless, Shaw was also an early proponent of Third Stream, which blended classical and jazz, and recorded some small-group sessions that flirted with be-bop before retiring from music in 1954. Born Arthur Jacob Arshawsky in New York City, Shaw grew up in New Haven, Connecticut, where, according to his autobiography his natural introversion was deepened by local antisemitism. Shaw began learning the saxophone when he was 13 years old, and by the age of 16, he switched to the clarinet and left home to tour with a band. Returning to New York, he became a session musician through the early 1930s. From 1925 until 1936, Shaw performed with many bands and orchestras, including those of Johnny Caverello and Austin Wylie. In 1929 and 1930 he played with Irving Aaronson's Commanders, where he was exposed to symphonic music, which he would later incorporate in his arrangements. Shaw first gained critical acclaim with his "Interlude in B-flat" at a swing concert at the Imperial Theater in New York in 1935. During the swing era, his big band was popular with hits like "Begin the Beguine" (1938), "Stardust" (with a trumpet solo by Billy Butterfield), "Back Bay Shuffle", "Moonglow", "Rosalie" and "Frenesi". He was an innovator in the big band idiom, using unusual instrumentation; "Interlude in B-flat", where he was backed with only a rhythm section and a string quartet, was one of the earliest examples of what would be later dubbed third stream. In addition to hiring Buddy Rich, he signed Billie Holiday as his band's vocalist in 1938, becoming the first white bandleader to hire a full-time black female singer to tour the segregated Southern US. However, after recording "Any Old Time" she left the band due to hostility from audiences in the South, as well as from music company executives who wanted a more "mainstream" singer. His band became enormously successful, and his playing was eventually recognized as equal to that of Benny Goodman: longtime Duke Ellington clarinetist Barney Bigard cited Shaw as his favorite clarinet player. In response to Goodman's nickname, the "King of Swing", Shaw's fans dubbed him the "King of the Clarinet." Shaw, however, felt the titles were reversed. "Benny Goodman played clarinet. I played music", he said. In 1938 DownBeat Magazine's readers agreed with Shaw's evaluation and named Artie Shaw as the King of Swing. Shaw prized innovation and exploration in music more highly than popular success and formulaic dance music, despite a string of hits which sold more than 100 million records. He fused jazz with classical music by adding strings to his arrangements, experimented with bebop, and formed "chamber jazz" groups that utilized such novel sounds as harpsichords or Afro-Cuban music. The long series of musical groups Shaw formed included such talents as vocalists Billie Holiday, Helen Forrest and, Mel Tormé; drummers Buddy Rich and Dave Tough, guitarists Barney Kessel, Jimmy Raney, and Tal Farlow and trombonist-arranger Ray Conniff, among countless others. He composed the morose "Nightmare", with its Hassidic nuances, for his personal theme, rather than more approachable songs. In a televised interview of the 1970s, Shaw derided the often "asinine" songs that bands were compelled to play night after night. In 1994, he told Frank Prial (The New York Times), "I thought that because I was Artie Shaw I could do what I wanted, but all they wanted was 'Begin the Beguine.
The 32 tunes (71 min.) are released on CD here for the first time. The music consists of five radio broadcasts from shows performed for the U.S. Armed Forces at California military bases in 1945. The band heard here was formed by Artie Shaw for one year (1945), and included star trumpet player Roy Eldridge plus a young Dodo Marmorosa on piano and Barney Kessel on guitar. The musical style is big band swing jazz, including four Artie Shaw original compositions, some standards and some lesser-known tunes. The band as a whole also turns in a great performance, not least of all because of Artie Shaw's insistence on musicianship of the highest order. Another highlight of the CD are the five tunes with the Gramercy Five, Shaw's band-within-a-band. Aside from all the exciting, tight, swinging music, this CD is important because it consists of Artie Shaw's last