By Tom Nolan
[Previously released as 3 Chords for Beauty’s Sake: The lifetime of Artie Shaw]
IN THE exuberant decade among 1935 and 1945, whilst America’s indigenous paintings form—jazz—was additionally the nation’s renowned track, no musical performer was once extra recognized, arguable, popular, and reviled than Artie Shaw: the intense, good-looking, outspoken, and unpredictable clarinetist and bandleader whose hit recordings (“Begin the Beguine,” “Frenesi,” “Star Dust,” “Summit Ridge Drive”) bought hundreds of thousands, whose marriages to a number of appealing girls (including motion picture stars Lana Turner and Ava Gardner) made headlines, who risked alienating his public via calling a wide chew of them “morons,” and whose common abdications from the dominion of swing earned him a name as jazz’s Hamlet.
With no formal education, Artie Shaw grew to become a virtuoso musician virtually with out peer: a clarinet participant stimulated as a lot by means of trumpeters, violinists, pianists, or even painters as via fellow reedmen. His lyrical solos appeared to evoke visible pictures: a chook in flight, a tree moved by way of wind, a sailboat within the moonlight. On a ballad, his harmonically adventurous enjoying explored each attractive corner and cranny of a melody; on a rousing swing song, his euphoric horn soared excessive and joyous adequate to elevate the roof.
He grew up as a participant within the Twenties jazz age of Bix Beiderbecke and Louis Armstrong; reigned within the Thirties and ’40s swing period along Benny Goodman, Duke Ellington, and Tommy Dorsey; navigated earlier the ’40s bebop revolution of Charlie Parker and Dizzy Gillespie (who either well known his enjoying) to make appealing and memorable chamber jazz within the early 1950s—then, on the height of his powers, retired from appearing, prompting admirers ever on account that to invite, Why?
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[Previously released as 3 Chords for Beauty’s Sake: The lifetime of Artie Shaw]
IN THE exuberant decade among 1935 and 1945, whilst America’s indigenous artwork form—jazz—was additionally the nation’s renowned track, no musical performer used to be extra recognized, debatable, trendy, and reviled than Artie Shaw: the bright, good-looking, outspoken, and unpredictable clarinetist and bandleader whose hit recordings (“Begin the Beguine,” “Frenesi,” “Star Dust,” “Summit Ridge Drive”) offered hundreds of thousands, whose marriages to a number of attractive ladies (including motion picture stars Lana Turner and Ava Gardner) made headlines, who risked alienating his public by means of calling a wide bite of them “morons,” and whose widespread abdications from the dominion of swing earned him a name as jazz’s Hamlet.
With no formal education, Artie Shaw turned a virtuoso musician virtually with no peer: a clarinet participant motivated as a lot by way of trumpeters, violinists, pianists, or even painters as by means of fellow reedmen. His lyrical solos looked as if it would evoke visible pictures: a chook in flight, a tree moved by way of wind, a sailboat within the moonlight. On a ballad, his harmonically adventurous enjoying explored each stunning corner and cranny of a melody; on a rousing swing track, his euphoric horn soared excessive and joyous sufficient to elevate the roof.
He grew up as a participant within the Nineteen Twenties jazz age of Bix Beiderbecke and Louis Armstrong; reigned within the Nineteen Thirties and ’40s swing period along Benny Goodman, Duke Ellington, and Tommy Dorsey; navigated prior the ’40s bebop revolution of Charlie Parker and Dizzy Gillespie (who either renowned his enjoying) to make attractive and noteworthy chamber jazz within the early 1950s—then, on the top of his powers, retired from acting, prompting admirers ever considering that to invite, Why?
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Extra info for Artie Shaw, King of the Clarinet: His Life and Times
James North was born in 1813 and married Mary Gambles (or Gamble) of Batley in 1838. They had four children. The first to be born was Emma North, in 1839, followed by John Thomas North in 1842, and his two brothers, Harry (or Henry) in 1845, and Gamble in 1854. The 1851 census for Leeds records James North, aged 37, “coal merchant,” as head of a household consisting of Mary (34), and their children Emma (11), John Thomas (9), and Henry (5). In the following census, ten years later, the family was living at 78 Grape Street, Hunslet, Leeds, and by then Mary is given as “head” of the family, a widow, and working as the innkeeper of The British Queen Ann public house.
This is often referred to as the Treaty of Mutual Benefits, in that the two countries agreed to share the tax revenue from the mineral wealth found between the 23rd and 25th parallels, and Bolivia undertook to charge no export tax on Chilean guano extracted from this region. indd 17 3/14/2011 3:11:22 PM 18 T H E N I T R AT E K I N G between these countries. Peru became involved in 1872 when it tried to use its naval power to assist Bolivia in gaining a precise border based on its claims. In 1874, Chile decided to settle once and for all the longstanding dispute over where the frontier lay, and agreed to having this border fixed at 24 degrees south in return for a promise from Bolivia that tax rates on Chilean businesses in the Antofagasta region would be fixed and that there would be no further taxation of Chilean nitrate during the following twenty-five years.
16 In 1895, he explained to Le Figaro how: Every kind of Peruvian security underwent an extraordinary depreciation, including the land bonds [certificates], which the [Peruvian] Government had issued in order to realise some money as quickly as possible. 17 We now face the first major polemic in John Thomas North’s business career, revolving around exactly what he “knew” and how wise it was for Chile to hand over so big a stake in the nitrate fields to North and his associates. It is commonly believed that North had advance information regarding Chile’s decision to honor the certificates before this was public knowledge, but, while accepting that this is entirely possible, modern historians have found no concrete evidence to support this argument (for example, see Harold Blakemore 1974, 29).
Artie Shaw, King of the Clarinet: His Life and Times by Tom Nolan