 The Clarinet BBoard
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Author: fredackerman
Date: 2004-02-05 18:38
I've been playing the Artie Shaw and His Orchestra recording of 'Begin The Beguine' [July 24, 1938 RCA Bluebird 6274-2-RB] over and over the last few days [I'm driving my models crazy] and was wondering about the "sound". Many times on this board when referring to Clarinets, mouthpieces, barrels, reeds, participants of our forum refer to either it being: darker, even, solid, bright, warmly bright, strong and brilliant, transparent tone quality, pure, centered round sound, warm centered sound, big bright and warm dark big sound! Yes, I'm sure I missed a bunch more. What would you call Shaws sound on this recording? Beautiful music!
Fred
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Author: GBK
Date: 2004-02-05 18:56
fredackerman wrote:
> What would you call Shaws sound on
> this recording?
A clarinet played in tune ...GBK
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Author: John J. Moses
Date: 2004-02-05 19:34
Hi fredackerman:
The recordings of Artie is indeed glorious!
Artie's sound was as unique as his music making. He is really a clarinet player's clarinet player, at least he's one of my all time favorites.
I studied, in depth, his "trademark" tune, IMAGINATION, to perform with the Netherlands Dance Theatre at the Met in NYC. The reviewer, Anna Kisselgoff, had only good things to say about the dancers, but commented that she thoroughly enjoyed the "vintage" Artie Shaw recording used for the dance. I considered our "live" performance highly praised if we came close to sounding like Artie and his great band.
He sounds was unique and wonderful.
JJM
Légère Artist
Clark W. Fobes Artist
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Author: ken
Date: 2004-02-05 20:37
I would define Shaw's sound as Shaws', just as GBK's is GBKs', John Moses' sound is Moses', etc. No need getting overly reflective on this one.
One thing that would be interesting to me is speaking with a distinguishing ear that has his recordings and saw/heard him live before he quit performing for good. Asking THAT person about comparative tone qualities, (live or memorex) might prove a convincing and reliable witness. v/r Ken
Post Edited (2004-02-05 20:40)
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Author: William
Date: 2004-02-05 21:12
"What would you call Shaws sound on this recording? "
Shaw--or better still, Good (yes, with a captiol G)
I saw (and heard) Artie interviewed by Johnny Carson on the Tonight Show one evening. Johnny asked him if he would "ever consider playing professionally again." Shaw replied, "NO!". Further , he said "it would take him at least a couple of months to get the where I want it" and left the impression that (for him) it would not be worth the effort. He was on the Tonight Show to promote his (then) new book, "The Trouble With Cinderella".
Another interesting story is, that whenever Artie needed a new mouthpiece, he would simply go into a music store, buy the cheapest one he could find, and then reface it to play the way he wanted it to. None of this high costing, special-order customized Zinners for him--just a firm mental concept of the sound he needed and the ability to do whatever necessary to achieve it.
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Author: fredackerman
Date: 2004-02-05 23:51
GBK your answer just brought forth a new question... Are there recordings [Clarinet] out there with the "artist" playing out of tune?
Fred
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Author: John J. Moses
Date: 2004-02-06 03:54
Correction:
After thinking back some 20+ years or so, I realize that I performed Artie's
"trademark" tune, NIGHTMARE, not IMAGINATION, with the Netherlands Dance Theatre at the Met in NYC.
Sorry for the confusion.
JJM
Légère Artist
Clark W. Fobes Artist
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Author: ken
Date: 2004-02-06 22:12
Nightmare is certainly one of his signature smokin' tunes John. I recall some years back writing up for my guys and performing a cover of his "Hawaiian War Chant". Gotta' love the wildness and creative freedom of those Krupa-style open solo-duet vamps he liked to cut loose on. v/r Ken
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Author: Synonymous Botch
Date: 2004-02-06 22:27
I think what most exemplified Artie's playing was an understanding of group dynamics and scoring. He was technically proficient - playing very high without belting out every note - and well supported in the lower range of the instrument as well.
What I love most about his playing was that the tunes were real stars.
He was about 20 years ahead of public acceptance for what Mulligan (etal)made famous. In an era of 'more is better' dance bands, this must have rankled to the point of disgust.
At least he was good with his money.
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Author: Don Berger
Date: 2004-02-06 22:55
A GREAT discussion, even having heard A S in person, on radio, on many juke boxes, [so many years ago,as in Pinafore?] and now on golden-oldie LP's, I [also] cant describe his sounds, high and low, as other than "mellow", pleasantly-listenable. I believe you do closely approach him, Ken, in that latest Dixie CD, many TKS. Don
Thanx, Mark, Don
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