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Artie Shaw (born Arthur Jacob Arshawsky; May 23, 1910 [1] – December 30, 2004) [2] was an American clarinetist, composer, bandleader, actor and author of both fiction and non-fiction. Widely regarded as "one of jazz's finest clarinetists", [ 3 ] Shaw led one of the United States' most popular big bands in the late 1930s through the early 1940s.
Acknowledged as the most cerebral of the dance bandleaders, [3] throughout his career, Artie Shaw had an uneasy relationship with popularity. [1] Preferring to record songs for perceived artistic value rather than cater to popular demand, in 1938, his second band (after "Art Shaw and His New Music" in the middle 30s) struck massive success with "Begin the Beguine", a number-one hit for six ...
"Begin the Beguine" is a popular song written by Cole Porter. Porter composed the song during a 1935 Pacific cruise aboard the Cunard ocean liner Franconia from Kalabahi, Indonesia, to Fiji. [4] In October 1935, it was introduced by June Knight in the Broadway musical Jubilee, produced at the Imperial Theatre in New York City. [5]
Meanwhile, tired of losing several gigs to the Perennials, Artie Shaw persuades Ellen to be his booking manager. Ellen tries to get Danny and Hank an audition for Shaw's band, but their jealous hijinks get them the boot. Ellen talks Shaw into letting rich "wannabe" mandolin player, J. Lester Chisholm, back a concert.
The 1941 recording by Artie Shaw and His Orchestra [3] earned Shaw one of his eight gold records at the height of the Big Band era of the 1930s and 1940s. Shaw's 1940 arrangement was a collaboration between Shaw and his chief arranger, Lennie Hayton , who was also an important Music Director, arranger and orchestrator at MGM until 1953.
World War II flying ace Major (later Brigadier General) Thomas L. Hayes named his P-51 Frenesi after the song. [6] He said it was a tribute to his wife Louise, for the song they listened to; he believed the song's name translated as "Love Me Tenderly". The Artie Shaw recording was used in the soundtrack of the 1980 film Raging Bull. [7]
The tune has since become a jazz standard, performed and recorded numerous times by a wide array of musical talents. The Benny Goodman Quartet with Teddy Wilson, Gene Krupa and Lionel Hampton made a famous version of the song in 1936, Artie Shaw recorded it in 1941, and Harry James recorded it in 1946 (released in 1950) on Columbia 38943.
According to Alec Wilder the song, 56 measures long, has a wonderful, soaring melodic line, free from pretentiousness, but full of passion and intensity which is superbly supported by the lyrics. [2] Although the catch phrase "day in—day out" sounds like a dull routine, Mercer uses exotic images to contrast with the boring sound of the phrase.
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