What can I say, it's the most exuberant experience you can have. But very rarely does it happen, and you remember it for the rest of your life. If it moves you, it's gonna move others: if you know it's right and you feel: ‘this is something I meant.’ You're trying to take notes and make them come out in a way that moves you. It's like asking a poet, how do you get this combination, how did you get these words? Well you do that in music. You're tryin' to make a sound that no one ever got before, or a combination of sounds creating. “So you're trying to play a horn, and here's this clumsy series of keys on a piece of wood and you're trying to manipulate them with the reed and the throat muscles, and what they call an embouchure. MELANCHOLY MOOD - vocal, Helen Forrest, 1939ĬARIOCA - Radio broadcast, Boston, MA, 1939ĭON’T TAKE YOUR LOVE FROM ME - Grammercy Five, 1954 TIME OUT - Radio Broadcast 1938 New Years day 1939 SHINE ON HARVEST MOON - radio broadcast 1938 HOLD YOUR HAT - radio broadcast, Christmas day 1938 3 - Further exploration of Shaw's music, and his life after music SPECIAL DELIVERY STOMP - Grammercy Five, 1940 1 & 2) - Oran 'Hot Lips' Page, trumpet and vocal 1941

THERE’LL BE SOME CHANGES MADE - Oran “Hot Lips” Page, trumpet 1941 GO FLY A KITE - vocal by Tony Pastor, 1939ĭON’T TAKE YOUR LOVE FROM ME - vocal by Lena Horne, 1941ĬOMES LOVE - vocal by Helen Forrest 1939 SUMMIT RIDGE DRIVE - Grammercy Five, 1954 SOFTLY, AS IN A MORNING SUNRISE - radio broadcast, 1939 MY BLUE HEAVEN - Live radio broadcast, NYC, 1939 LITTLE JAZZ - featuring Roy Eldridge, 1945 Harmful to his primary drive: which was to create music.Ĭontains interview clips of ARTIE SHAW, with guest reader, PETER COYOTE.īLUES IN NIGHT - featuring Hot Lips Page, vocal & tpt, 1941ĪNY OLD TIME - featuring Billie Holiday, vocal, 1938 For Artie Shaw, fame, fortune and becoming an American icon were Nearly two decades in the entertainment business, the music always cameįirst. Mind and willing heart of Arthur Jacob Arshawsky.

Simply earning a living, deeper involvement in music seized the fertile

Music was actually his secondĬareer choice which he initially entered only to make enough money toįollow his real aspiration, which was to become a writer.

Before his huge success in the late 1930s Artie Shaw was just another

Sidney bechet ken burns jazz rar