In 2002, Jazziz assigned me to interview Artie Shaw for a mid-length piece on the occasion of a self-selected CD box set. I posted the text on the occasion of Shaw’s birthday three years ago, not long after I’d started the blog. At the time, I stated I’d hold off on putting out the raw transcripts until another day… I think you’ll find them entertaining. The first interview happened off-the-cuff; I was calling Shaw’s assistant to set up an interview time, he picked up the phone, and told me to proceed right then and there. For the second one, I had some time to plan. Twelve years later, I have to say I’m grateful to have had the opportunity to speak with him at such length.
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Artie Shaw (4-2-02):
TP: I’ll start with a nuts-and-bolts question. That question is, very simply, why at this point did you want to put out the box set in the manner that you did it? Was it a labor of love? Was there satisfaction in looking back at your work?
SHAW: Well, call it a cluttering of the desk. There’s been a lot of clutter about me, all over the place. Every time I hear something about myself, there’s an element of “I’ve heard this somewhere else,” there’s an element of falseness in it. And I thought I would get one sort of repository in which I had the stuff that I think is okay, not the stuff that RCA or anybody else thinks is okay. I think it’s high time that we understood that if a man does something and he does it well — or extremely well, as the case may be — that he be given a version of those things he did that he considers his best, as opposed to other people judging it.
TP: Did you have very definite ideas on what your best was, or was there a process of discovery involved in going back…
SHAW: You mean the criteria? Very simple. Those things which came closest to what I had in mind when I was in the studio, or those things which came back to me from airchecks or other sources that I thought mirrored what the band should sound like, as opposed to the more or less rigorous demands made upon you in a studio where, as I wrote in my liner notes, it was like putting your foot in cement.
TP: Putting your foot in cement?
SHAW: Yeah, a little bit like that. You put something on a record, in a studio, and it’s going to follow you around for the rest of your life.
TP: It’s true. And you were dogged by that. You’ve been quoting as despising “Begin The Beguine”…
SHAW: Well, I don’t despise it. I think it was a helluva good record in its day. It’s just that I despise it being regarded as the apogee of my work, or as any way symbolic of my work. It was one record out of many others.
TP: And it was a great hit.
SHAW: At the time it was a hit, I think, because… This is hindsight, obviously. But I think that it was a hit because it was so unexpected. In those days, the so-called thing… I hate the word “jazz.” The bands that played the music we call jazz did a lot of riffing. Everything was riff-riff-riff. And I thought it was nice to play a nice little melody and play it with a beat, with a so-called jazz beat. That’s that it was. So it must have come as a great surprise to the listeners. The other side was supposed to be the hit, “Indian Love Call.” This was an afterthought. But the afterthought made more sense than what everybody was going with.
TP: Let me ask you about the milieu in which you developed your mind.
SHAW: Oh, God, that’s going on. That’s not stopped.
TP: Of course. But there’s a beginning point.
SHAW: Oh, I don’t know. I guess the day I drew my first breath was the beginning point.
TP: I’m talking more about the time and the place and the climate…
SHAW: I think I was 6 or 7 years old when I began to read, and the idea that somebody could put thoughts down on paper with a series of symbols called language was a remarkable discovery for me. So I’ve never stopped reading.
TP: You were born on the Lower East Side of Manhattan and lived in New Haven for how long?
SHAW: Well, I lived in New Haven until I was 15, left home, and never looked back. Yale cast a great shadow in New Haven. I was very aware of that.
TP: So in other words, that gave you an intellectual plane towards which to strive?
SHAW: A respect for knowledge.
TP: A respect for knowledge. When did you begin to play music?
SHAW: At 15.
TP: At 15 was when you first picked up an instrument?
SHAW: Well, I wanted one, but I couldn’t afford it. My parents and my father always made fun of it.
TP: What did they do for work?
SHAW: My mother was a seamstress and my father was a frustrated inventor, artist, and ended up as a tailor.
TP: Had they come here from Russia?
SHAW: Well, my father came from Russia. But I learned later that he must have been born in Poland. I deduced that. His name was Arshawsky. That sounded like a Russian name, and he lived in Russia. It took me fifty years, I was 50 years old before I found out where he lived. My mother said he lived on a sea. I said Russia didn’t have any seas. Finally I said, “Was it the Black Sea?” She said, “Yeah.” So I said, “Was it Odessa?” She said, “Yeah.” I was 50 by then. I never got to know him. He left when I was 13, and I didn’t much care.
TP: Just on a personal note, my grandparents were all born in Russia and Poland between about 1888 and 1895, from Kiev and Tuparov and places like that. It’s one reason why I’m interested in asking you this and in what the climate was…
SHAW: I think you’re more interested in it than I am. I have no regard for antecedents or precursors. I don’t care about that. My family thing is totally nonexistent. I have no family sense. I feel as though I came out of whatever I came out of, and I managed to get to where I am in spite of anything. There’s a line I cherish that George Bernard Shaw said. He said, “Looking back at my life, I realize that whatever success I achieved was done in spite of all the good advice I received.”
TP: When you’re 15 you pick up the alto saxophone or the clarinet?
SHAW: C-melody saxophone.
TP: And you had an instant affinity for it?
SHAW: No! Not instant at all. I had to learn to play it. It was a very tricky thing.
TP: When did you become proficient enough to start doing gigs on it?
SHAW: Well,there’s never any time. You start and you get better, and you get a little better and a little better. If you keep working at something, adding a little bit each time, you finally get to be pretty good.
TP: But was that in dance bands in New Haven or…
SHAW: Yeah, there were a lot of little dance bands around, like there always are. Today it’s guitars and singers. In those days it was instruments, and we had four or five instruments, and we’d play little bar-mitzvahs and weddings and whatever came along. So I learned to play. I listened to other people. I made a rule at that time: Always play with bands where you can learn something. If you get to the point where they’re learning from you, move to another band. Finally it gets kind of lonesome. There aren’t many you can hear that you can learn anything from. And eventually I got to the point that I didn’t listen to anybody, because I knew what I was doing.
TP: How old were you, would you say, when that started to happen?
SHAW: Oh God. Until I got to be about 20.
TP: So 1930 or so, which is when you move to New York and go into the studios.
SHAW: 1929 I came to New York.
TP: And you instantly found work.
SHAW: There was no work. I couldn’t work for six months.
TP: Because of the union?
SHAW: The union! It was an atrocious thing, one of the most miserable six months I ever spent. But I learned a few things. I found my way to Harlem, and I met Willie Smith and started playing with them, up in Harlem.
TP: Where did you go in Harlem? Pod’s & Jerry’s?
SHAW: Pod’s and Jerry’s. I wrote a piece about that.
TP: Would you describe the atmosphere there?
SHAW: I’m sorry. I wrote that in the short story “Snow/White In Harlem, Circa 1930,” and I can’t go through it again. It’s the first story in the book, “The Best of Intentions.”
TP: So you can’t tell me anything about Harlem.
SHAW: There’s nothing I can tell you anything because I’ll be bored.
TP: You’ll be bored?
SHAW: I wrote it. Once you write something, you don’t want to go back over it. I’ve discussed it 100 times.
TP: But it seems like spending the time in Harlem was fundamental to the instrumental language you started to develop.
SHAW: Well, it is. But I can’t go into it. It’s like talking about the War. I don’t want to talk about World War Two or my part in it. It’s one of the minions of my life.
TP: Well, I’m less interested in talking about World War Two than I am in how you became Artie Shaw, the musical personality…
SHAW: I was Art Shaw.
TP: Art Shaw. Excuse me.
SHAW: I was Art Shaw. I wasn’t Artie Shaw. That was a made-up name once I signed a contract with RCA Records. My first recording of “Begin The Beguine” was Art Shaw. Art Shaw was a studio name.
TP: I understand. You had to change your name as did many people in show business.
SHAW: Well, Art Shaw was a changed name. The “Artie” was added later only for euphonious reasons. I mean, Art Shaw sounds like a sneeze. So they changed it to Artie Shaw.
TP: Since we can’t talk about Harlem…
SHAW: Well, we can talk about it, but there’s been enough said about that. And if you read that story, it’s pretty much a fictional version of what happened.
TP: It’s probably impossible to ask you something you haven’t asked before or that hasn’t been written about before.
SHAW: What’s that?
TP: Well, I’m improvising here, because I wasn’t expecting to talk to you today. But in your process of learning how to play — and learning to improvise — who were the people you listened to? Who were your stylistic models?
SHAW: Well, the first ones who were important to me were Bix and Trumbauer. They were white and I was white. I had no experience with what they call black today — then it was Colored. I knew there were colored musicians around, but when I was 16 or 17, playing in Cleveland, before I came to New York, Bix and Trumbauer were the guys I listened to until I discovered a record on which Louis Armstrong played — “Savoy Blues.” Then from there, I listened to all of his music, including taking a trip up to Chicago to hear him in person. First thing I ever heard him play was the cadenza at the opening of “West End Blues.”
TP: Where did you hear him? What was the venue?
SHAW: Savoy Ballroom.
TP: The Savoy Ballroom in Chicago.
SHAW: Yes. I sat on the bandstand. It was about 3 feet off the floor, I had a rug on it, and I sat on that, and out he came, and I looked up at this guy who was like God to me. He played that introduction, and I thought, “Holy Christ, where did that come from?”
TP: How long did you stay in Chicago?
SHAW: Long enough to hear him. Later, when I was 19, I came through Chicago on the way to New York with Irving Aronson’s band. I had left Cleveland to join the Irving Aronson Band.
TP: And you heard him again?
SHAW: We came through Chicago, and we played til 4 o’clock, and after 4 o’clock I’d go all around the South Side of Chicago, and listening to everybody, sitting in with bands like Earl Hines or whomever was around. I heard Jimmie Noone. I heard a lot of people.
TP: I was about to ask you about Earl Hines and Jimmie Noone.
SHAW: I wrote that in “Trouble With Cinderella.” If you read that, you’ll find out there the answer. That’s the first book I ever published. That’s in print. The publisher is John Daniel. Daniel & Daniel, in Santa Barbara.
TP: So your trip to Harlem was not the first time you’d played with black musicians.
SHAW: Well, there were no other musicians around. There were a couple of others. There was Teschemacher, Floyd O’Brien, and there were a lot of guys around — Chicago musicians.
TP: But I’m saying that for you going to Harlem was a natural thing because you had already played and sat in with black musicians…
SHAW: In Chicago.
TP: Yes, in Chicago.
SHAW: Yes, that’s right.
TP: How did the Harlem scene differ from the Chicago scene?
SHAW: Not very much. Just different names, different people, all playing the same generalized kind of improvised music that we call jazz.
TP: So whatever stylistic differences critics and historians ascertain…
SHAW: I don’t care about stylistic differences. I don’t listen to that. That’s a lot of nonsense. I play music, and that’s all I care about, is people who play music. Otherwise, it’s not interesting to me. I can’t say I dislike Rock. But I have no use for it. It doesn’t tell me anything. It sounds sacrilegious to say, but from the Beatles on, music in America stopped.
TP: While you were functioning as a working musician, once you got in the studios and became quite busy, did you also have time to study music in a more formal sense?
SHAW: Well, I didn’t study. But I listened an awful lot. I had a phonograph and a lot of records.
TP: You were listening to Classical music, listening to…
SHAW: I don’t call it Classical music. Call it Long Form. Classical was Bach-Mozart-Haydn.
TP: Okay. You were listening to contemporary long-form music?
SHAW: Yes, I listened to everybody. I listened to everybody I could get. From Stravinsky through Debussy, on to Bartok and down through whatever. I just listened to everything.
TP: But in the 1930s you probably didn’t have much access to Bartok. Who were you listening to then?
SHAW: I listened to whatever was recorded. If it was any good, I listened to it. “La Mer.” I must have played “La Mer” a hundred times. I would play the records until they were worn out, and then get new ones.
TP: Did you also play them on clarinet? Did that become part of your instrumental practice?
SHAW: That only happened when I had my own band. The clarinet is a double for saxophone players. Don’t forget, we’re not talking about jazz. We’re talking about dance music. In those days, that’s what we had — dance bands.
TP: How would you differentiate between jazz and dance music? What’s the difference?
SHAW: I don’t know the difference. People seem to… Always in our country, it’s almost illiterate, you know. We talk about “jazz,” we don’t know what the hell we’re talking about.
TP: Well, you just made the comment “we’re not talking about jazz, we’re talking about dance music,” so…
SHAW: Well, that’s what it was. Now, because you can’t afford to travel big bands around, you’re calling it “jazz” in clubs, and people come in and sit up and applaud no matter what’s being heard. You know the old joke about the tour guide in South Africa who begins to hear drums, and he puts his hands up to his ears and says, “Oh my God, listen. Drums.” And people in the tour say, “What’s going on with the drums?” He says, “After drums come bass solo.” That’s jazz. They don’t know what the hell they’re listening. We’ve trained an audience to stand up and applaud after every solo.
TP: Who were some of your contemporaries that you were friendliest with in the ’30s, between arriving and becoming a studio musician, and forming your big band?
SHAW: I never thought about contemporaries. All I did was play with the people around who played well where the gigs were. I played in the staff band at CBS, the radio station, and then later I went out and free-lanced, and I played with everybody in New York. Wherever I was called, I played. So I knew Joe Venuti, I knew Tommy Dorsey, I knew Jimmy Dorsey, I knew Benny Goodman — all the guys who were around. Manny Klein. Name it. I knew them all. I was working with them. I was the new kid on the block, sort of.
TP: Did those become social relationships in any way? In other words, did those become friendships in any way, or were they purely musical relationships?
SHAW: I knew them, but they were musical relationships.
TP: One thing that I think is interesting for anyone who takes a cursory look at your career is the avidity of your intellectual interests, which is not necessarily a typical thing for musicians. I’m wondering if you continued to read and assimilate culture in the same voracious way while you were making your living as a studio musician.
SHAW: Yes. That’s what I did. Constantly! I read and read and read. And I’m a loner, so I pretty much did all this alone. But I’d meet people who I thought knew something, and I would ask them questions — and depending on their answers, I’d learn something.
TP: What were a few books that made an impact on you?
SHAW: Oh God. I don’t know even where to begin. I’ve been reading all my life.
TP: For instance, was there a particular author of fiction, whether Dostoevsky or…
SHAW: I read everything I could find that I thought was interesting.
TP: Did it all have equal value?
SHAW: They were all influential one way or another. I got my name “Shaw” from Robert Louis Stevenson, a book called “Kidnapped.” That was one of the earliest books I ever read. I was about 7 or 8 at that time. “Kidnapped” had a man living in the House of Shaws. Shaw means a thicket of trees. So I took the name when I went into show-biz. When I decided to become a saxophone player and play in bands, it was easier to say “Art Shaw” than Arthur Arshawsky. Plus, in those days there was a great deal of anti-semitism, just as there is today. But a little more overt in those days. Why was everybody in Hollywood named after a President back in the ’30s? I mean, think of it. Cary Grant, and all of the… Think of it, they’re all… Marilyn Monroe. There were Jews running the Hollywood thing, and they all used American things. Julius Garfinkel became Jules [sic: John] Garfield, and on and on and on. If we wanted to spend enough time, I could give you a hundred examples of that.
TP: I’m sure you could! Probably 200 if we spent enough time.
TP: So basically, during your teens and twenties you’re practicing incessantly, you’re reading voraciously, you’re probably going to the museums in New York and soaking up the art as well…
SHAW: All of that.
TP: And you’re living the life of a journeyman studio musician.
SHAW: You could call me an autodidact.
TP: I wasn’t going to use the word. Thank you for using it for me!
SHAW: Well, that’s what it was. That’s the word we use.
TP: I think it was more common in the times you came up in for people to get their education in a more autodidactic manner.
SHAW: Yes. Also I have a great distrust of authority.
TP: Continue. You have a great distrust of authority.
SHAW: That’s right. That came I think out of my father telling me that the instrument I played was silly. He called it a “blowzer.” Read “Trouble With Cinderella.” That’s my first book, in which all of this stuff is expressed.
TP: He called it a blowzer. Is that a Yiddish term?
SHAW: Yes. I means a blower, a thing you blow into. Like a kazoo. He classed it with nothing. And he made his contempt for it very plain to me. I’ve often thought since then, whenever some signal honor has been bestowed upon me, “If you were here, Pop, you’d learn what a blowser is.”
TP: Because the conversation is impromptu, I haven’t read up on my dates. Did the big band begin in ’36 or ’38?
SHAW: Well, it hit in ’38, but it began in about ’35 or ’36. I had to kind of do it bootstraps, doing my own arranging and get a bunch of guys together and rehearse, and finally had a band. You can’t have a band unless you have a job. Again, if you read my book, you’ll see what happened. I had that concert at the Imperial Theater, that led to agents, and agents led to my band. I didn’t want a band. I got out of the music business shortly before then.
TP: That’s also in the book, I take it.
SHAW: Yes, it is. Try Amazon, you’ll get my…
TP: Yes, I understand.
SHAW: You’ll find the answer to a lot of the questions you’ve been asking.
TP: Absolutely. I’m interested in getting your responses on tape, but I haven’t been interviewed 18,000 times like you have, so…
SHAW: Yes. This is pretty boring, you know.
TP: I’ll try to change the tenor of my questions.
SHAW: All right.
TP: Let me get back to your comment about mistrusting authority and operating within the cultural climate of the ’30s? Did you become involved in the various political streams of the ’30s as well?
SHAW: It was a little later. But as a result of my early upbringing, which was lower middle class, obviously I leaned in that direction. In other words, I was always a Democrat rather than a Republican. Actually, my real credo was anarchism.
TP: Kropotkin and…
SHAW: I read Thoreau and I read Kropotkin. I read all those mutual aid books, and all that. Again, that’s in my book.
TP: So you never affiliated with Trotskyites or Communists. You were an anarchist and a lone wolf.
SHAW: I was called up before the Un-American Activities…
TP: But you were a lone wolf and an anarchist.
SHAW: Well, I vary. I veer between no authority at all and the idea that you have to have some government to deal with this cantankerous creature called a human being in last cause. Lionel Tiger, who is a good anthropologist, once made a remark which I think is very apt. He said, “Mankind has evolved into a creature which functions best in bands of 50.” And we’re functioning in bands of 50 million. How do we know what we’re doing. We don’t know who to trust. Look at the last election we had, this progressive country, which is probably the leading power in the world today. Look at that election. We act like we could be called the Disunited States. There were two countries there.
TP: I wouldn’t argue with you.
SHAW: Well, I don’t think anybody in his right mind could argue with that. There was a red and a blue United States. It was right there on the map. And the red part won, so we got George Bush. The other side would have been Gore. And I don’t know which would have been better or worse, if there is such a thing. Calvin Coolidge said once that the business of America is business. And it seems to function with a lot of Presidents.
TP: Tell me about entering the role of being bandleader? Was it comfortable for you?
SHAW: A band is a group of musicians. Somebody has to decide which way that band is going to jump. If you’re going to start a magazine, you’re going to have one guy who edits it. If you’re going to start a newspaper, it’s the same thing. The bandleader is the guy who functions as the fulcrum or the center of the group. The direction of the group is determined by the leader.
TP: Did you feel that your bands were able to pursue the aesthetic direction that you truly wanted?
SHAW: You never can fully achieve that, but you try. You have a general aesthetic that you want to achieve, and the bands you get… Don’t forget, there’s a public there also, telling you what you can and can’t do by not supporting what they don’t want. So you have to finally mediate. You have to temporize with what’s there. When “Who’s Who” asked me for an epitaph… After 50 years they ask you for that. And I said, “He did the best he could with the material at hand.”
TP: Was the material at hand satisfactory to you at that time?
SHAW: Never fully. You do the best you can with the material at hand. You’ve got a public on the one side, telling you what they like, and you have your own interests and things, and then you’ve got the group of musicians, all of whom are awfully good or they wouldn’t be there. You could say they’re all geniuses. It’s like the New York Yankees. Think of all the kids who play baseball all year, minor leagues and so on, and then you get to the New York Yankees. You could say the nine guys up there in the starting lineup are all geniuses. But then you have the Joe DiMaggio, the Babe Ruth, the Willie Mays. What are they?
TP: Well, you’re a kind of equivalent to the people you just named…
SHAW: I try to be.
TP: But I mean, in terms of the history of the music and in Popular Culture, you sort of were. What qualities do you think brought you to that level?
SHAW: Stubbornness. Persistence. A certain amount of high ideals, an awareness that you can’t achieve those, but you can only approximate them ,and the closer you approximate them, the better off you are and the better you feel. It goes back to the definition of a fugue. The instruments come in one by one, and the audience walks out one by one.
TP: Were you always so self-aware? I mean, you’re looking back at yourself… Did you have a quality of self-detachment, I guess I’m asking…
SHAW: Well, everything is accident. Everything is luck. But yes. There was a period in which I lost my mind. Too much success. I’ve said this often. The only thing worse than utter failure is unmitigated success.
TP: And you had unmitigated success for a while.
SHAW: I sure had that for a while. And it was almost fatal.
TP: Why was that?
SHAW: I lost my mind. I lost who I was. I lost all sense of purpose. I didn’t know what I was doing any more. For the audience to stand up and applaud everything, how are you going to know what’s good or not?
TP: So you believed your press clippings, is what…
SHAW: Well, I read some of them, but I hated them.
TP: But I’m saying in a more metaphorical sense, like you don’t believe…
SHAW: I know what you mean. I know what you’re saying. It’s just not true. I read them, but I mostly thought they were pretty stupid. There’s a great deal of an attitude on the part of writers for publication who look down… They want to look down on you. They want you to be the black, sweaty Negro. If you’re a White “intellectual” and know more than they do, they don’t like you. So I was a victim of that. An awful lot of critics, so-called, hated me, because they couldn’t patronize me.
TP: You mean the purist jazz critics of the ’30s and ’40s.
SHAW: Well, to this day, that happens. People expect you to be stupid. For example, ASCAP gave me an award, and they gave me a statement they wanted me to read, that I was grateful to ASCAP. I said, “I can’t say I’m grateful to ASCAP, because they wouldn’t have done anything for me if I hadn’t done this. It’s my doing.” I’m back to G.B. Shaw’s quotation of… I think it was Dr. Samuel Johnson’s: “Send me a life raft when you reach the shore in safety.”
TP: But the acclaim you received was enough to throw you out of whack despite all of the defenses you’d undoubtedly built up as a working musician over the years.
SHAW: Well, for a while it got to be pretty hairy. But then the War came, and that was a bath of cold reality. When I came back to so-called civilization, and I went into analysis. Again, that’s in “Trouble With Cinderella.” Psychoanalysis I think saved my life.
TP: Was it Freudian psychoanalysis?
SHAW: The first one was pretty strict. It was five days a week, every morning.
TP: On the couch?
TP: So it was with a Freudian psychoanalyst.
SHAW: That was, yes. Whatever that is. There is no such thing as a Freudian one unless Freud gives it to you.
TP: Of course. But in the school of. And that was in New York?
SHAW: No. It was in California first. Then when I went to New York, I found that the West Coast analysis didn’t work on the East Coast! So I went to a man named Abram Cardiner, a very famous man, who wrote books on… He was the beginning of the Cultural Anthropology idea — Margaret Mead, etcetera.
TP: So in other words, he could help you put your own…
SHAW: No. He kept saying, “Mmm, what does that mean? What do you mean by that?” And then you’d say it, and then he’d say, “Well, that’s not what you said.” And you’d go on and on and on, dissecting everything you thought… You’d come in in the morning and he said, “What happened?” And you’d tell him. Then he’d help you pull it apart. I learned a very important lesson. It can be summed up in three words. “Maybe it’s me.”
TP: That’s a good lesson.
SHAW: It sure is.
TP: Another aspect of your place in jazz history is that you were one of the first Caucasian musicians to employ African-American musicians — or “colored” as they call them then.
SHAW: That’s debatable. I only had one in the band each time. But the audience would not hold still. I was supposed to go on a tour when I had Hot Lips Page in the band. It was a very lucrative tour in the South, and I agreed to do it and signed the contracts. Then my agent came to me… It was Tom Rockwell in those days. It was Rockwell & Keefe. Remember that agency? It became GAC, and then the alphabet soup started. But anyway, he came to me and said, “Artie, we’ve got a problem.” I said, “What’s that?” He said, “They don’t want to take Hot Lips in the band when you go down South.” So I said, “Well, then they don’t have to take the band, because he’s part of my band.” So he said, “Well, it’s a problem.” I said, “Well, then let’s cancel it.” So he said, “No-no, wait.” Then he came back to me and said, “I’ve got a solution. Lips can go with the band, but he has to sit 15 feet from the nearest man in the band.” At which point I said, “Screw this.” The tour was cancelled.
TP: Did you have problems in the North?
SHAW: We had problems everywhere. The black people couldn’t live in the same hotels.
TP: But in terms of your band specifically, and having a black artist in the band…
SHAW: It was always a problem for the black guy. Whether it was Billie Holiday or Hot Lips Page or Roy Eldridge, it was always a problem.
TP: Did you bring them into the band because of the qualities they embodied musically? Was that primary reason?
SHAW: That was the only thing I cared about.
TP: What were those qualities?
SHAW: Oh, Jesus. How do you define “good”?
TP: Well, in many different ways, because there are so many different ways of being good. But people project a different energy and aura.
SHAW: Well, Hot Lips Page was good in a way that Roy Eldridge wasn’t. Billie Holiday was good in a way that Sarah Vaughan wasn’t. I mean, what can you say? You listen to somebody and you say that they’re good. They know what they’re doing. I didn’t believe in geniuses. I believed in having the best people I could get.
TP: Fair enough. Let me push you forward a bit. On the box set, you devote maybe a disk-and-a-half to material from the 1950’s, those 1954 sessions you did with the reconstituted Gramercy Five.
SHAW: On, the last ones, with the small group.
TP: What is it about those sessions that you find so special?
SHAW: Well, I think I played better clarinet than I ever played before. I didn’t have any regard for the public and whether they liked it or didn’t like it. And I was playing with peers. I had a guy like Tal Farlow, a guy like Hank Jones, a guy like Tommy Potter on bass. They were all good players, and you had to play very well in order to be what you were. I was the leader of that group.
TP: Well, they were all modern players as well.
SHAW: It was modern days! I wasn’t going to go back and play music of the ’30s.
TP: What was your take on Dizzy Gillespie and Charlie Parker when you first heard them?
SHAW: Well, I thought they were remarkable players. I didn’t see any pertinence or relationship to the audience. I still don’t. I think one of the problems with the so-called “jazz” today is that they’re playing for each other. The audience is left way behind. The mass audience is listening to Rock. Jazz is probably 3% of the record-buying public.
TP: Less than that. 1.8% is the last figure I saw.
SHAW: Well, that’s what I’m saying. So you see, what they’ve done is painted themselves into a corner. The black guys are saying, “It’s our music.” Well, I don’t know who the hell has a patent or ownership of music. You’ve got this guy, what’s-his-name, who made the record…
TP: Ken Burns.
SHAW: Right. He don’t know a goddamn thing about it. So it’s jazz according to Wynton Marsalis and Gary Giddins. They dominated the program. And that wasn’t their doing. It was his doing.
TP: But that being said, I want to get back to your own response whenever it was that you first heard them, round about 1945.
SHAW: …(?)… There again, we’re dealing with reality. In 1954, when that group was formed, I had quit the business. But the IRS didn’t want me to quit the business. They wanted money. And I had to go and get that. So I had to get together a band. The ’49 band I had was called “the bebop band.” Well, there’s the best band I ever had. If that had stayed together, I don’t know where we would have gone. But the audience would not accept it. They couldn’t “dance” to it. They wanted to dance. They wanted a dance band. And by this time, this thing called Jazz had taken over, and it was such a confusion. You know, we are aliterate people. Aliterate, not literate. Not illiterate, aliterate.
TP: In the sense of amoral or asexual…
SHAW: That’s right. And musically, we are almost illiterate. So when you have some really good music, the audience does not respond to that. Or they respond like apes to it. They get up and applaud after every solo, whether it’s good or bad. It has nothing to do with music any more. I can’t stand going to concerts. The audiences drive me nuts. The people who run the business do not insist on having any sort of dignity. I used to say to Woody Herman, who would say, “And now, ladies and gentleman, Joe Miff-Miff played the trumpet, and this is so-and-so,” in the middle of the chorus, and I’d think, “Woody, why the hell don’t you wait til it’s over, and tell the audience to sit down and you’ll introduce the soloists one-by-one.” He said, “Well, this is what they want.” I said, “What about what you want?” He couldn’t understand that. Or didn’t want to understand it. It’s very important that the leader of the band set an example. And if he wants any kind of dignified response to what he’s doing… I mean, can you imagine a symphony audience applauding after each cadenza.
TP: I hope you won’t think this an impertinent question. Were you able to take that stance because of your financial means at the time?
SHAW: Well, it helps. If you can’t afford to do something, you don’t do it. I mean, you can’t have a band if the audience won’t help you pay for them. So the audience as it is, imperfect or alien as it may be, is necessary. And so you’ve got to face the fact that you’ve got to give them… It’s called “three chords for beauty’s sake and one to pay the rent.” That’s my mantra.
TP: One thing that’s so interesting about the totality of jazz is how much beautiful music was created within the parameters of financial necessity. I mean, someone like Ellington, say, being able to sustain a band for…
SHAW: Ellington and Lunceford and Chick Webb and those people were playing for Colored people mostly. So they could get away with a lot that White bands couldn’t. They had a hipper audience. Black people will accept things that White…they did, at least accept things that White audiences wouldn’t in those days.
TP: What sort of things?
SHAW: Well, certain extremes of jazz that you played. I don’t like the word “jazz,” but I don’t know what we could call it any more.
TP: What sort of extremes?
SHAW: Well, when Ellington wrote a thing called “Concerto For Cootie,” what audiences were looking for that? Until it became a song, “Do Nothing Til You Hear From Me.”
TP: I think he disguised it by dipping… He’d have the singer go out, then he’d bring out a more complex instrumental…
SHAW: I don’t think you can compare Ellington’s situation and the audience he had with my situation and the audience I had.
TP: Fair enough. Did you ever play for Black audiences, by the way? Did you ever go on that circuit at all?
SHAW: Yes, I would occasionally play for Black audiences. It was always very liberating. You could do anything you want. They were much more receptive, and much more aware. I can’t say intellectually aware, but musically aware. Like Billie Holiday. Billie had a natural musical intelligence. She didn’t know anything.
TP: But she’d heard it all. It was part of the fabric of who she was from a very young age, I would think, so she heard it. It was part of her.
SHAW: Billie would take a song and make it hers. She had no regard for what the composer wrote. I remember I made a recording with her years ago, when she was still recording for Columbia…Brunswick. Bunny Berrigan and myself and George Wettling I think on drums, and Joey Bushkin on piano — whoever it was. We made this record called “Summertime” and “No Regrets” and “Did I Remember” and “Billie’s Blues.” The way she phrased “Summertime”… She made it hers. So there was a kind of unconscious musical intelligence at work. She had that to an enormous degree.
TP: It’s amazing, because she probably would never have seen the songs until she entered the studio, so she was doing it from reading down a lead sheet most of the time.
SHAW: Well, she had her own way, you see. And you try to do that. I had my own way. With a ballad, for example, I would hear it, and I would hear it the way I wanted to hear it and play it that way. But it was always recognizable. Today you don’t even know what the hell they’re playing half the time.
TP: You mean people don’t concentrate on melody.
SHAW: Well, it’s important to know what the tune if you’re going to do something. Why not write your own? I asked Bud Powell that one time. He sent me a record called “Embraceable You.” I met him later, and he said, “What do you think?” I said, “Well, I don’t know where the hell ‘Embraceable You’ fit in. Why don’t you call it ‘Opus V?’ and get the royalties?” He said, “Well, that would have been fraudulent.” I said, “Well, what you do is fraudulent. You’re playing ‘Embraceable You’ and ‘Embraceable You’ is [SINGS REFRAIN]. I don’t know what you’re doing. You lengthened the bars; instead of 8 bars, you made it 10. You changed the chords and you changed the melodic structure. So what the hell does ‘Embraceable You’ have to do with that?” Well, if he were alive today, I think he’d agree with me.
TP: Was Roy Eldridge similar to Billie Holiday in the sense of being able to transmute everything into his own voice?
SHAW: Well, Roy had his own voice. So did Hot Lips Page. What they did was different from other people. What I did was different. Very few people copied me on clarinet because the sound I got came out of the formation of my embouchure and mouth and jaws, and my own musical ideas of how it should sound. People are all trying to sound like somebody else. I don’t know… If I hear two clarinet players in a room, I don’t know which is which outside the room. In my day, it was Benny Goodman and me, and you could tell instantly which it was. We each had our own sound.
TP: Was there any particular clarinetist who was an idol of yours when you were forming a style? Was Jimmie Noone one?
SHAW: No. I didn’t have any idols, except way back when I first listened to Louis. I mean, I listened to the best ones and I liked them, but I don’t believe in idols.
TP: How about of the people who followed you on your instrument? Are there any that you favor? Do you listen…
SHAW: I listen, but I don’t much care for what I hear. I listen to piano players mostly. Brad Mehldau, for example. Charlap. Whomever. Good ones.
TP: You like them.
SHAW: Yeah. They’re good.
TP: But on your instrument, you’re not particularly crazy about…
SHAW: I haven’t heard anybody that’s done anything to drive me… I like Buddy DeFranco as a guy, and I know he can play clarinet, but it’s not my aesthetic. It’s a different aesthetic.
TP: Whereas with a piano player, it doesn’t hit so close to home.
SHAW: Exactly. I can listen to the music. It’s more impersonal.
TP: On clarinet, you must be thinking, “I would do this, I would do that…”
SHAW: I do that when I hear me! Some of the records that people think are great, I think, “Oh, Jesus, I wish I had done this instead of that.” But then, what I did was, as they say, hip, au courant, whatever you want to call it. And as the times pass, people would accept more, and your ears change.
TP: Let me ask your impressions of a couple of iconic musicians in the way the language of the music developed over the last 55 years. I asked you about Charlie Parker and Dizzy Gillespie, and you said they were great musicians but connected insufficiently with the audience. Is there anything else you could say about them?
SHAW: Well, they were remarkable players. But isn’t it interesting that Dizzy was a virtuoso on his trumpet, and Miles Davis is the one we’re listening to. Why do you think that is?
TP: I might contest that. I think a lot of people listen to Dizzy. But what trumpet players tell me is it’s because Dizzy is too hard.
SHAW: I think it’s because Miles has more regard for musical content. Dizzy had more regard for the trumpet. It’s like me and Benny Goodman. Benny was a superb technician, but musically there were a lot of gaps in his awareness. He was limited. His vocabulary was limited.
TP: But certainly, in the case of Dizzy, the quality you’re describing — just for argument’s sake — didn’t come out in his compositions. He wrote beautiful, enduring pieces…
SHAW: You mean “Tunisia”?
TP: “Woody ‘n You”, “Con Alma,” things like that…
SHAW: Well, we know what they are. But on the large scale… I mean, we’re listening to Rock, don’t forget.
TP: Well, if we’re talking about the large scale, we can’t really talk about any of these people.
SHAW: Oh, yes, we can. We can talk about some of them. Billie has transcended it. I transcended it to a degree. People are still buying my records. They’re not buying Goodman much any more. And people aren’t asking for Dizzy’s big band. You have to have a very specialized audience for that. Most people don’t realize that these people are speaking to each other.
TP: What about Charlie Parker?
SHAW: Well, he had a big influence. Remarkable. But I don’t know if for altogether good. His influence with drugs was as great as his influence with music.
TP: Well, if we can separate the two, and talk about his influence on music, how would you assess it?
SHAW: For a while there, every saxophone player was a clone of Charlie Parker. Is that good? He enlarged the musical vocabulary of this kind of music. He did things technically that no one had done before. He was a very, very accomplished man. I would call him a genius, in the sense that a genius is somebody who does something for which there is no accounting. Armstrong was a genius. When he first started to play trumpet and did things like “West End Blues” back in his early days, that was genius. There were no predecessors. So if you come up with something no one has ever done, and you keep doing that, you’re going to make a mark.
TP: Let me ask you about John Coltrane. Did you listen to him?
SHAW: I listened to him, but toward the end he became indecipherable. When they start talking about “sheets of sound,” you might as well say too many notes. When he was playing, he was a remarkably good tenor man. But there are a number of those.
TP: How about Ellington?
SHAW: Ellington was a very interesting guy. He did things that were very good with the big band. He did some awful things, too. The band was like the little girl with the curl on the forehead. When they were good, they were good; when they were bad, they were horrid.
TP: I think he had such an eccentric collection of personalities that it couldn’t be otherwise.
SHAW: Well, I don’t know about that. But he chose the personalities. It’s like saying the newspaper was a good newspaper, but the people couldn’t write. A good newspaper is… It’s under a rubric. Ellington, sometimes his rubric worked, other times it didn’t.
TP: When you were active as a bandleader, did you have a favorite big band apart from your own?
SHAW: I don’t know about favorite, but I think the big band with strings, the first one that made “Stardust” and made “Moonglow” and “I Cover The Waterfront” and “Concerto For Clarinet,” that was a helluva band.
TP: I’m sorry. I didn’t make myself clear. I was asking apart from your band, were there other big bands…
SHAW: I liked Lunceford’s band. Lunceford at his best was awfully good. And Ellington at times was very good. There weren’t many big bands that I liked in the sense that I’m qualified.
TP: How about contemporary arrangers. You’re talking about Lunceford; hence, Sy Oliver must be someone whose work you admired.
SHAW: He was good, but he got a little too impressed with himself. Sy, when he worked for Lunceford, was very good. Lunceford was a good disciplinarian. He kept the men in line, and they did what they had to do. He was very good at that. Lunceford had a lot of respect for what he did, and I think he imbued the musicians with that. The leader of the band has a great deal to do with the temper of the band.
TP: Did you know Ellington?
SHAW: Yeah, sure.
TP: Did you know him pretty well? In a casual manner?
SHAW: Not terribly well. We lived our own lives.
TP: Jumping to the here-and-now, you’re still listening to music, you keep yourself apprised, a lot of it you don’t like, there are things you do like, including Mehldau and Charlap…
SHAW: People send me a lot of recordings. People send me CDs, and I listen to them, and some — very few — I really like. Mostly I think, “Well, that’s adequate.”
TP: And the two artists who come to mind are Brad Mehldau and Bill Charlap.
SHAW: Well, there are more, but I can’t think off the top of my hand. I still think that Art Tatum was the standard of a great player. I think that Hank Jones has turned out to be a remarkable player. There are a number of people that I think are very good at the piano. There aren’t many horn players that I think are good in the sense of having any connection with the audience.
TP: In this period, because of the melodic component.
SHAW: Well, because of the disrespect for the melodies they play. A guy said to me, I won’t mention his name, but he’s a very, very capable and well-known arranger… I took him to task one time for what he did with a very well-known popular tune. I think there are certain tunes that should be left alone. Don’t try to mess around with “Where Or When” or “Dancing In The Dark.” Those are major melodic statements. The lyrics, too. I said to him, “Why do you do this? Why do you lengthen the bars, change the chorus, why do you change the melody?” He said, “I reserve the right to do anything I want with any melody.” I said, “Fine. You’re reserving the right, then, to be an utter failure.” And he is.
TP: I have to say one of my pet peeves with arrangements is cleverness for the sake of cleverness. I think it’s ridiculous.
SHAW: That’s it. Cleverness to impress other arrangers. There are books like that, writers who write for each other.
TP: I think this is part of the academization of jazz.
SHAW: Well, maybe call it the decadence.
TP: What do you see the function of jazz music as being in this particular period, having observed it for 75 years?
SHAW: I think it goes in with everything else cultural. A man named Jacques Barzun wrote a book at the age of 90 called “1500 to Decadence.” 1500 was the Renaissance, and he wrote the history of what we’ve done, Popular and all kinds of Culture, to Decadence.
TP: Do you think in a compressed manner that a similar argument can be made about jazz, that Louis Armstrong is the Renaissance, and there’s a slope to decadence?
SHAW: Like everything else, it has a crescendo and a decrescendo. A crescendo and a waning. I was interviewed by a guy named Anthony Sommers. He came from Ireland, he was down here, and we did this. We talked about Sinatra; he was doing a book on him. At the end, when it was all spoken and everything was said that we had to say, he said, “Are you in agreement, then, that what you think and what I think is that he was a perfect symbol of the decadence of the last half of the century?” I said, “Yeah, I think that says it very well.” We took a plain, ordinary singer, who was a good singer… There was nothing wrong with that. He was able to sing. And we made him into an icon. It had nothing to do with singing. We made him a crony of Presidents, and then when he couldn’t get along with the President because of his propensity for gangsters, he went to Spiro Agnew. He was a man with utterly no principle. That’s a form of decadence.
TP: Of course, it wasn’t so dissimilar in the ’20s, when you came up.
SHAW: It was an efflorescence. We were growing. And we grew and grew and grew, until finally we reached an apogee, and now it’s gone downhill.
TP: Speaking of singers, would you say Billie Holiday is the one you most admire? I’m putting words in your mouth…
SHAW: I can’t say “admire,” but put it this way. When she does certain songs, I have to say that’s pretty good. “Autumn In New York,” for example, which is not an easy song from chord structure and all that — she did a beautiful job on that. She’s a good singer. But Sarah Vaughan was a good singer. Ella Fitzgerald was a good singer. There are singers around right now… I listen occasionally at night to a public radio station out here called KCLU, and they play jazz, and occasionally singers come along. There’s a guy called Kurt Elling. Kurt is a very good singer. But he can’t get an audience.
TP: Well, for jazz these days, he has a pretty good audience actually.
SHAW: Well, pretty good. It’s a long way from Sinatra.
TP: There’s not one male jazz singer who has anything close to that sort of audience, except for Bobby McFerrin, who isn’t really a singer.
SHAW: Well, Tony Bennett comes fairly close to being a popular idol.
TP: He does. I guess I don’t think of him as a jazz singer.
SHAW: Well, but he does some reasonably accurate facsimile. There’s no real intellect there. I asked him one time… We worked together on a series of concerts, the big tents, those great big musical extravaganza places. My orchestra was rehearsing with him, and after they did “I Left My Heart In San Francisco,” he came over to sit with me. He said, “The band is great” and so on. I said, “Good, I’m glad you’re happy with it.” Then I said, “Tony, what goes through your mind when you sing ‘I Left My Heart in San Francisco’?” He looked at me and said, “What do you mean?” I said, “Well, you’ve been doing that song, and it expresses at most a meager philosophical statement. Don’t you ever get a little bored with it?” “No,” he said. “I’m very lucky. The audience…” I said, “I’m not talking about money or success. I’m talking about your inner view.” He didn’t have one. That’s an interesting gap, you know. What you could call a mindless man.
TP: I don’t know that one statement or expression necessarily denotes such an absolute assessment of him. But maybe it is.
SHAW: I think it is. I think it’s a comment on him. It tells me a lot about him. We did about half-a-dozen engagements. And I began to realize that this guy was intent on singing, like Goodman was intent on the clarinet. The philosophical basis for this was totally lost. They were not aware that there was such a thing.
TP: And you feel that denoted a character flaw.
SHAW: Well, I think it’s a lack of understanding, or lack of depth to thinking. It’s a surface view of life. Things are not what they seem, and it’s the duty of any person who pretends to be aware to try to understand what it really represents. It seems to me that’s an obligation. That’s what I try to do, understand what is going on — in its deepest sense. What does it say about the human condition? The point of the words “human condition” I think is lost on a lot of people. Also, they use language so imprecisely that their thought is imprecise. We say “jazz.” What are we talking about? What is it and what isn’t it? I mean, the name of the magazine, “Jazziz.” Jazz is what? It’s like saying “Bird Lives.” Well, in that case, Beethoven lives. What they mean is some of the music lasts.
TP: Do you play any musical instrument now?
SHAW: Well, I play piano a little bit.
TP: Do you practice it?
SHAW: No. I did for a while, but I learned that if you want to get a vocabulary on piano, you have to practice it all the time. And I have a low tolerance for boredom.
TP: So if you can’t do something well, it holds no allure to you.
SHAW: Well, I have no interest in half-ass. I have no interest in being an amateur forever. I don’t want to be an amateur now. If I have to do something… I played golf for a while, and I got so bad I realized that the only thing you can do is live on a golf course. I don’t want to do that. It’s no fun to me to know that I am not very good at what I’m doing. We can all be better than we are.
TP: So you can’t go to the piano and just get some musical nourishment because you’re so conscious of your failings.
SHAW: I can do it for myself. Alone. Yeah, I enjoy that sometimes.
TP: I wasn’t talking about public performance. I was talking for your own personal pleasure.
SHAW: Yes. I will do this occasionally. Although lately it’s been difficult, because I’ve been incapacitated by this injury of mine.
TP: What have you done in your senior years to stay so fit and alert?
SHAW: Well, I don’t know! [LAUGHS] I just keep reading and thinking and looking and talking to people who know more than I do, or people with whom I can have interesting, speculative conversations. Most people like to blab. They get together, and they chatter. I don’t like that. I’m a loner. I’m still alone. And now and then, people come along that I can talk to. There’s a man who just sent me a computerized picture of a watch he’s developing. He’s a great watchmaker. He’s a third-generation watchmaker. So it interests me, because a great watch is like a work of art. And so on. There are people like that, that I like to talk to. But there aren’t a great many. There never have been.
* * *
Artie Shaw (4-16-02):
TP: Do you recall anything from our last conversation? The tenor of it? I realize you’ve spoken with 18,000 people.
SHAW: I get a little confused with which is which. Give me a little resume.
TP: As you may recall, it was an impromptu conversation. I was calling Larry to set up a time to talk to you, and you grabbed the phone and said, “Let’s talk.” I was winging it.
SHAW: It was sort of general, in a way. That’s fine.
TP: I asked a few things that you thought were stupid, and there were a few things you didn’t feel like talking about…
SHAW: I don’t know what those might be.
TP: One was Pod & Jerry’s and one was World War Two.
SHAW: World War Two, no. I have a very deep aversion to that whole episode in my life.
TP: I asked you about certain people you’d encountered. We spoke about some singers. You talked about Charlie Parker and Dizzy Gillespie.
TP: You talked about Miles in relation to Dizzy, as someone people are still listening to because of his command of melody. You felt Dizzy didn’t pay sufficient attention to melody.
SHAW: Well, he paid very little. Dizzy was a virtuoso, and he got lost in that sometimes. It happened to Oscar Peterson, too, often. A remarkable piano player, but you know, we’re not looking for piano, we’re looking for music.
TP: And it’s all the more remarkable when you hear him on an occasion that is musical, which does happen. You spoke some about Sinatra and Benny Goodman, I guess, in a critical way…
SHAW: Not really. I think that Benny was a remarkable instrumentalist. Not much of a musician. I’m talking about the difference between instrumentalists and musicians. Anybody can learn to play a horn if he just devotes himself to do that. But some people are able to do it through that horn, go beyond the notes. Benny was very good at what he did, but it was limited. And Sinatra, that’s a bore to me.
TP: I thought at the end we got into some interesting stuff. You said that today is an age of decadence, you actually referred to Sinatra…
SHAW: As a symbol of that. It wasn’t Sinatra, but the idolization of him. We made him into something larger than life, and he wasn’t.
TP: Which coincides with the ratcheting up of the apparatus of popular culture, with television.
SHAW: I think. The media darling thing.
TP: Were you ever involved in TV in the early days?
SHAW: No, I was in radio. I did the Old Gold show. But there was no television in my day.
TP: But you were still active in the early days. Your name still meant something to people.
SHAW: No. ’49 was about the end of my big band experience. That was a very abortive one, because the audience didn’t care for what we did, and I had to break up that band. It was probably the best band I ever had, and it could have been one of the most remarkable bands that ever was. But the audience wouldn’t support it.
TP: Why do you think it had that kind of potential? Do you feel that you could have developed more had the band…
SHAW: There’s no question about that in my mind. If I’d had an audience that would allow me to keep paying the men… Without that you’re dead. There’s nothing you can do. If the audience will not support you, you’re out of business. I keep trying to tell that to modern musicians. If you play beyond the perception of the audience, you can’t expect them to reward you.
TP: That band had a very stimulating repertoire.
SHAW: Well, you only heard one record of it. That’s all there was. We had stuff there that was trailblazing. Nobody had ever done what we did.
TP: By which arrangers?
SHAW: Not arrangers so much. We did Ravel’s, “…(?)… Son D’Abenair(?)”. We did a sonata somebody wrote for me. We did things out of tempo. It was a great band.
TP: So you were playing your entire repertoire with that band. You used that band as a vehicle to sum up everything you’d learned in your 25 years…
SHAW: Well, I was using as much as I could get into a ballroom where… Don’t forget, we were making our living as a dance band. And the only engagement we ever had with that band that was completely perfect was at the Blue Note in Chicago. Dave Garroway was a big music fan. He told me it was the most amazing musical experience of his life to hear that band.
TP: You never played Birdland with that band or anything like that.
SHAW: Not Birdland, but we were supposed to go to Bop City. By that time, I had changed to the worst band I ever had.
TP: Which band was that?
SHAW: Oh, not to talk about. A bunch of guys that could barely read a stock arrangement. It was a terrible band. I was doing it as a joke, to see what the audience would like. If they hated the best band, and I went to the ’38 band and they loved that, then let’s see what happens with the worst band. And I did that. And they loved it. It’s one of the reasons I quit the whole music business.
TP: We also spoke about Ellington, who you were comparing to Jimmy Lunceford…
SHAW: Ellington has been hyped. In the last ten years Ellington has become like the avatar. He was a good band, but he was one of the good bands. But then, you know, he was smart. He did some pretty smart stuff. The long form things that he did, they weren’t long forms, they were just pastiche, a lot of little short forms put together. “The Drum Is A Woman,” blah-blah-blah, that stuff. But the audience bought it.
TP: He could seduce everybody.
SHAW: Yes, he did. He was a very smart guy.
TP: Do you consider him a master of short form jazz?
SHAW: Well, I don’t know about a master. I think there were about five great bands in those days. There was Goodman, there was me, there was Basie, there was Ellington and there was Lunceford. That about sums it up. Tommy Dorsey had a great band, but it wasn’t what you’d call… They weren’t playing jazz. They were doing a lot of things with big singers… It was known as the General Motors of jazz.
TP: How would you evaluate Chick Webb’s band in those days?
SHAW: It wasn’t up to that. Chick had a good band, but it was not up to that. Ella was the thing that made Chick.
TP: How about Earl Hines’ band? Did you ever get to hear it?
SHAW: Well, he was never known as a great bandleader. Hines was a great piano player with Louis. That’s where he came through. He was on “West End Blues” and some of those records, and he was a new voice. So he was very interesting. But as a bandleader he was not significant, maybe because the big band era was over when he came along.
TP: Here’s what I was leading to by referring to our having touched on Ellington and Lunceford. Ellington, as is commonly known, used the band as — and his success in being able to sustain the band with popular songs and having copyrights — a way to sustain his own creativity and keep himself interested, as a kind of vehicle for personal growth.
SHAW: Ellington said that to me. When I quit, he said, “Man, you’ve got more guts than any of us.” I said, “What are you talking about? You could do the same thing if you wanted to.” He said, “I wouldn’t know what else to do.”
TP: But did you see your band as a similar vehicle for you creatively, or potentially so?
SHAW: That’s what it was. The band was my instrument. Instead of playing a clarinet, I had a band, which was my instrument. I played the clarinet with it. But it was an instrument. The orchestra is an instrument. If you look at a Beethoven score, it’s an instrument. I mean, a band is not a series of players. If you do the right thing with them… It’s like a newspaper. If you run a newspaper, you’ve got a lot of disparate talents in there. Or a magazine. Like Harold Ross. He had Walker Gibbs, he had E.B. White, he had Thurber, he had writers there that he could match. But he welded them into an instrument.
TP: I think you made that analogy to Sudhalter. It’s a great analogy.
SHAW: It’s a good metaphor. The bandleader is an editor. Sometimes he’s a good instrument, but mostly… I mean, Woody had some good bands. But he was never up to the band.
TP: But you apparently brought your band up to you.
SHAW: Oh yeah. I tried to make them play better than they thought they could.
TP: How did you go about doing that? You’re known as being a little…
TP: …curt with people or…
SHAW: I’m cranky.
TP: But musicians seemed not to think that that was the case. They say you were a taskmaster, but very fair and a good person to work for.
SHAW: I tried to be fair. I tried to be reasonable with them. But on the other hand, there’s an old saying, and I believe it’s true: Nothing of any lasting value is ever achieved by a reasonable man. Somebody once asked me if I considered myself reasonable. I said, “It depends on what your term ‘reasonable’ means.” I do know that if you were really reasonable, you’d go down the road and do the job and be a good insurance man. But if you’re unreasonable, you’re quarreling with everything that is, and you’re going to make it better.
TP: So your approach would be just to make them do it until they got it right.
SHAW: Oh yeah. God, I was a great rehearser. We would rehearse all the time. If one guy did something wrong one night, I’d call a rehearsal the next night and say, “Look, we’ve got to fix that.”
TP: So everybody would be responsible for the one mistake.
SHAW: Well, not everybody. But you had to rehearse the band. The guys didn’t mind it. They liked the idea of the quest for perfection.
TP: You also were quite a talent scout, particularly in some of the later bands. I’m looking at some of the people you brought into the picture, and there was Dodo Marmorosa and Barney Kessel…
SHAW: Jack Jenney.
TP: Did you always keep your antennae out? Did you make it your business to go out and listen?
SHAW: Well, when I had the men I needed for a band, during the period… The band that made “I Cover The Waterfront” and “Concerto For Clarinet” and “Stardust,” and those, I didn’t mess around with that band. That was a perfect band for me, as good as you could play and have an audience. So I didn’t mess around. But then I had to break the band up, for various reasons, and then I had to put a new one together. And I couldn’t put the same band together because the men were off doing whatever they were doing. So you always tried to get the best people you could get to fulfill what you had in mind.
TP: You remark that the band is an instrument and you played clarinet with the band. You nonetheless were obsessive in your quest to extract every sound of the clarinet that suited your vision, which entailed being a virtuoso on the instrument.
SHAW: Well, that only occurred… The business of playing the clarinet to my absolute limits, and I think to the clarinet’s limits, was with the 1954 band, the small group. There I wasn’t trying to please an audience because we were playing in jazz clubs. We weren’t playing dance music at all. The advent of Jazz had taken place, this so-called thing that people call jazz, with audiences listening. That occurred in about 1953 or ’54.
TP: You organized that band because of IRS problems.
SHAW: Well, I put the band together to make some money to pay them. But that’s not what I was doing. Once I got the idea that I had to go out there with a band, I didn’t want to bore myself to tears. So I got the best men I could find.
TP: Did having been an alto saxophonist first have an impact on your conception of the clarinet?
SHAW: Well, I think that everything is connected in some way or another. But I don’t think they were the same. My view of the alto saxophone… I was a great lead saxophone player, but I also could play jazz. But in my day, there wasn’t a great deal of jazz being played on the alto sax. Johnny Hodges was a notable exception. There were very few alto players… Like today, you have Phil Woods, you have all kinds of guys playing alto sax… Jackie McLean, etcetera. In my day, that wasn’t happening. But I felt that the clarinet would be a little more expressive, and also it could soar above the high brass notes. So I was able to be heard, which I couldn’t have done with an alto.
TP: When did you start playing clarinet? Back in the ’20s…
SHAW: Oh, you had to play clarinet to make a living. You had to double.
TP: So you were doubling on clarinet and alto sax in the dance bands.
SHAW: Oh gosh, yes. When I was a kid I started playing clarinet. But I wasn’t taking it seriously. I played it as a double. Then later I got interested in the instrument, and I got better at it. But then when I got my band, I started to specialize on the clarinet.
TP: Some musicians say they hear a sound in their mind’s ear before they’re ready to go for it or even know what it is, and they progress toward the sound. Now, maybe they’re mystifying the process somewhat. But was that the case for you as a…
SHAW: That is the case with any fine musician. He hears a sound in his ears and he tries to approximate it.
TP: This is what happened to you with a clarinet player.
SHAW: It happens with Heifetz.
TP: But I’m talking to you about you.
SHAW: Well, it’s the same thing. Music is music. I don’t care who you’re talking about. If a guy is good, he’s got a sound in his head. That is not to say that that’s all. Because what he does with it is also important. But the sound is paramount, as far as I’m concerned. You go into a room, and there are two guys playing, and if they both sound the same, then they’re not the same mouth, they’re not the same throat, not the same anything — but they sound the same.
TP: Did you see the clarinet as an instrument with any limitations on your self-expression? People speak of the clarinet as being fraught with difficulties, the difficulties of adapting it to be bebop, etc.
SHAW: Oh, I don’t care about those labels.
TP: But did you ever see the clarinet as posing any limitations?
SHAW: I felt that I had reached the limitations of the instrument in 1954 with that last group. I don’t think anybody can do more with it in the way of expressiveness. I mean, there are guys who are virtuosos. I suppose you could be swifter. You could play from C to C faster. But that has nothing to do with music. I mean, it’s not a foot race.
TP: Would you regard your instrumental personality as being more of a stylist or more of an improviser, if you had to choose those two categories?
SHAW: I couldn’t choose. An improviser has to have a style. It’s his style. If he’s going to make style… The French have a phrase, “Le style est l’homme,” the style is the man, the man is the style.
TP: Let me put it this way. The 1949 band, when you played, was it…
SHAW: Well, I certainly played differently then than I did in the ’38 band.
TP: But the question I’m going to ask you is: Did you play your solos differently every night?
SHAW: I had to play some of them a certain way, pretty much standardized. For example, I couldn’t play “Stardust”… Well, if you listen to the ’49 band, there’s a different chorus of “Stardust” altogether. But basically, playing for an audience, they would expect to hear certain things that sound more or less the same.
TP: Like Johnny Hodges had to take the same solo…
SHAW: Yeah, you freeze something. You get something that’s so good that it’s recorded and people want to hear that. After all, you can’t totally ignore your audience, or they won’t support you.
TP: Would your preference have been to do something different every night?
SHAW: Oh, sure.
TP: So that would have been the imperative… Forgive me for bringing back Pod & Jerry’s, but the process you described in your fictional short story about finding yourself someplace you never even dreamed you could go would be the imperative that animated you.
SHAW: Well, I don’t know if that’s the way to put it. But something like this is what I’d say. You have this instrument. It has its own requirements and its own difficulties. And you try to do something with it every time you play it that has never been done before. That’s your aim. And if you’re successful, which is rare… Mostly you do things, and they’re pretty good, and sometimes, if you’re professional and really good, they’re always good. But this thing of hitting something that’s never been done before, that happens occasionally, like it did on “Stardust” with me. There was a phrase in there I played that went on and on and on. I didn’t know when I set out to make that record that I was going to do that. That was extemporaneous. And once I did it, I listened to it, and I go, “It’s not going to get any better than that.” That’s the one that Sudhalter talks about, for example.
TP: Two people I didn’t ask you about who I wished I had in the previous conversation were Coleman Hawkins and Lester Young.
SHAW: Well, they’re the two guys who invented the tenor sax as we know it. Coleman had one sound, which you could describe as Herschel Evans, and Lester had another sound, which was his. Lester I prefer, because it was a little purer musically. But Coleman was a remarkable player. But if you ask me my opinion, which I like better, it would be Lester.
TP: Hawkins, though, is not unlike you as a musical personality, in that he kept up with every development in the music, and dealt with the younger players…
SHAW: Yes. But he didn’t get to where Lester did. Lester got into a series of areas that Coleman never approached. If you listen to them, you’ll see what I mean. Talking about music is limited. It’s like talking about painting. You’ve got to look at it finally.
TP: I’d like to ask you another question about improvising. There are a number of musicians who when they discuss the process of improvising, say they see sounds as corollary to colors, or that this sort of analogy goes on. Maybe it’s impossible to articulate this in language. But how did the thought process of working out an improvisation function for you?
SHAW: You didn’t work out an improvisation. Improvisation is something that happens while you’re playing. You don’t know where you’re going. It’s like jumping off a cliff in the darkness. You don’t know where you’re going to land. Along the way, you might find a handle of a tree growing out of it — something. You grab whatever you can. And sometimes, the grabbing makes things happen that you would never have done if you’d thought it through. You’re doing something that has no beginning, middle or end. You don’t know where you’re going. When you start out, you’re starting out to play something, and here’s the tune, here are the chords, here is the structure. “All right, what can I do with this?” It’s like asking the painter, the dripper…
TP: Jackson Pollock?
SHAW: Pollock. Asking him what he planned. He didn’t know what he was planning. He would drip paint.
TP: Those paintings weren’t improvisations. When you see the paintings all together in a retrospective, there’s thematic consistency.
SHAW: They’re all improvisation.
TP: That may be, but they’re all within a predetermined form.
SHAW: Well, that was true with what I was doing. It’s within a form. If I were playing “Stardust,” I couldn’t do the same improvisation that I could do if I were playing “Traffic Jam.” There are different moods, different feels, different tempos — different everything. So you worked within the structure of the piece you were playing, and did what you could with that to make it something of your own. It requires a certain musical intelligence. And it requires a certain amount of instinct, too. You can’t really define this. The word “define,” people forget that the definition is based on the word “finite.” So if you define something, you are limiting it.
Language is wiser than the people who use it. Language has been used for a long, long time by a number of people in different ways. We are the heirs to that, and if we use language precisely, we have a little better chance of making ourselves clear and making other people understand what we’re doing, than if we use it sloppily, as people do.
TP: Do you think of music as a language?
SHAW: Well, it’s a form of language. Of course it is. We have three languages. There’s the verbal one — oral-verbal. There’s music. And there’s mathematics. There are three different languages. I don’t know of any others.
TP: Do you see the act of improvising as telling a story, as many musicians like to say?
SHAW: Those are words. I don’t know what that means. You’re saying something. If that’s telling a story, I don’t know. The half-chorus I played on “Stardust.” Everybody says that’s one of the great things they’ve heard. Well, I don’t know if I told a story. I was playing something.
TP: Well, it’s a phrase you’ve undoubtedly heard 18,000 times.
SHAW: Well, I’ve heard it a million times. But I have no use for those cliche phrases. People are saying what they’ve heard instead of saying what they think. The cliche is based on truth, but it’s somebody else truth.
TP: Then of course, there are people who invent their own cliches.
SHAW: I don’t know how to go with that. The word “cliche” for me means a mindless repetition of something you’ve heard that was once true, because it was uttered by somebody who had something to say.
TP: Did you feel yourself forced into cliches by the dictates of the market, the aspects of the music business you’ve complained about over the years?
SHAW: Well, I wasn’t so much complaining about it. I felt restricted by audience demands. There’s that line, I think I quoted it to you, and I forget who said it…G.B. Shaw, I believe; “Looking back at my life, I realize that whatever success I achieved was done in spite of all the good advice I received.” I received a lot of advice, and fortunately I ignored most of it. I tell that to people today who ask me for advice. I said, “You can’t follow my advice. Follow your own. Find out what your deepest instincts are, and follow them.” Few people know who they are. I finally came to begin to know who I am. Musically I knew who I was.
TP: Musically you knew who you were.
SHAW: Yeah, I sure did.
TP: When did you start to know who you were musically? Always?
SHAW: Oh, not always. But as I grew older, as I matured… By the time I got my first band, I began to know who I was.
TP: So you were about 26 years old.
SHAW: 22, 23, 24. When I played that first Imperial Swing Concert, so-called.
TP: That was 1936. You were born in 1910. So you were 26.
SHAW: Yes, in 1936, so I was 26. I wrote a piece for strings and clarinet. Nobody had ever heard of that before.
TP: Well, one thing that’s very different about your circumstance than any jazz musician today is that by 26 you were already a veteran professional musician. You’d been on the road for ten years. And I think I read that by the time you were 16 or 17 you were making 175 bucks a week?
SHAW: Oh yeah. Sure. In Cleveland.
TP: That’s amazing.
SHAW: [LAUGHS] Well, I was apparently worth it to the man who hired me. I was making arrangements. In those days you got 25 bucks for an arrangement, you know. But in those days 25 bucks was the equivalent of $150 today — or more.
TP: 25 bucks a week wouldn’t be a bad salary then.
SHAW: That’s right. And when I was working at CBS on the staff band, the scale they paid… Most of the men got 100 bucks a week. I insisted on $125, because I was angry with them for having screwed me up with the first… They made me audition for the job, and they gave me something to play that made no sense at all, and somebody else got the job. I didn’t like what they did. It was very sneaky. Union stuff. So when I finally decided to take the job, when I was offered the job, I insisted on 25 bucks a week more. But that was a significant amount.
TP: 125 bucks a week in the Depression? My God, you could…
SHAW: Yeah, right.
TP: You had an apartment on Central Park West then?
SHAW: No, on West 72nd Street between Broadway and West End Avenue.
TP: So you’re 21-22 years old, and you’re born to a working-class family, and by age 22 you’re in an upper economic bracket.
SHAW: I guess so. I didn’t think of it in those terms, but I was earning money. The money was there, and I was being paid in accordance with what the leader thought I was worth. It was in the Wylie Band where I began to really make some money. I ran his band for him. He just stood up in front of it and gave downbeats. Or sometimes I’d beat off the tempo for him on a piece he hadn’t heard yet.
TP: And you were 16 years old.
SHAW: 16, 17, 18. I left there at 19.
TP: And you went out to California, where you joined Aaronson.
SHAW: That’s right. I joined the Aaronson band, which was a terrible band, but it was a name band. They were going to New York, and that was my idea of where I wanted to go.
TP: And you wrote an essay on how the air show would benefit Cleveland that got you out to California?
SHAW: The first national air races were held in Cleveland.
TP: So you flew out to Hollywood in 1929 from Cleveland.
SHAW: That’s right.
TP: What was that airplane flight like?
SHAW: It was pretty weird. [LAUGHS] I was all alone in a tri-motor Fokker plane, a four-metal plane, and they flew me out to Hollywood, and I saw my father. I wrote this in “Trouble With Cinderella.” I was out there for a while. I met some guys I had known from New Haven who were working in the Roosevelt Hotel, which in those days was a pretty sharp place, the “home of the stars” and so on, and it was nothing to go in and be playing and see Clark Gable, or see Howard Hughes with Jean Harlow… It was a pretty posh place. So I saw these guys, they were Tony Pastor (Tony Pastrito) and Charlie Trotter from New Haven. We ran into each other. They heard I was out there, and we met. And so, when they came to Cleveland, they had talked it up, and Aaronson hired me.
TP: That was your first time in California.
SHAW: Yes. Well, we left California and went to Chicago.
TP: Then you had a six-week engagement, and you went to the South Side every night.
SHAW: Yes, at the Grenada Cafe, at 68th and Cottage Grove. I remember that. And every night I would go out around the South Side and find somebody to play with.
TP: You’d drive down to 35th Street and 47th Street, and play… You played at the Apex Club?
SHAW: Yes, I played with all those people.
TP: What was your impression of Jimmie Noone?
SHAW: I just liked the way he played. He was a legitimate clarinet player. He knew how to play the clarinet. He got a good sound out of it and he played interesting things. Unfortunately, Benny copied him note for note. Benny did stuff that was Noone’s invention. [SINGS REFRAIN] That was Noone. Benny got a lot of stuff from him. I heard him play, and I was influenced by him, but I didn’t believe in direct copying. It’s the difference between using a quote from a book you’ve read if you’re writing, or another one is plagiarizing… Just using it without saying where it’s from. I just thought Noone was a very good player, and I realized he did things on the clarinet that I had not done before, that I had not heard done before. So he opened up doors for me.
TP: Did you hear Omer Simeon when you were in Chicago?
SHAW: No, I never did hear him.
TP: Earl Hines you played with as well.
SHAW: Oh yes. I sat in with the band, and I’d look around, and there’d be other guys, like …(?)..
TP: Were a lot of white musicians sitting in with black musicians on the after-hours scene?
SHAW: Well, yeah. You’d sit in wherever they were playing. The thing about these bands… For example, Earl’s band played until 4 o’clock in the morning. Some of us played until 6 a.m. I finished work at whenever it was, and there was no place to go. I wanted to play somehwere. And the band I was in, the Aaronson band, was a terrible band. So I wanted to get some playing done. That’s what I did, I went to these places, and you could sit in and play whatever you wanted.
TP: When you did, were you playing alto saxophone or clarinet?
SHAW: Alto saxophone mostly. Then I played tenor for a while.
TP: How did you like playing tenor?
SHAW: It never did work for me. I could play the notes, but I didn’t get… It didn’t work for my particular embouchure. I never could get the sound of a tenor that was comparable, say, to Ben Webster or Coleman Hawkins.
TP: Alto saxophonists all say that the alto is the most difficult to keep up the chops.
SHAW: All instruments are difficult. We used to have a saying when I was in the radio business… We were playing with a great pool of musicians. There was Tommy, Benny, me, Manny Klein, Dick McDonough, Carl Kress — great musicians. Our saying was “music is a tough instrument.”
TP: You’re saying that you don’t believe in styles, that it’s all music. But were the people in Chicago playing music with a different attitude than the people you met in Harlem?
SHAW: Well, I don’t know. The so-called Austin High gang, they were out there. Bud Freeman certainly didn’t sound like anybody else, and Bud and I became good friends and we played together quite a bit. I mean, jammed together.
TP: But I’m thinking of the way let’s say Earl Hines thought about music vis-a-vis the way, say, Willie The Lion Smith thought about music.
SHAW: Well, Willie was earlier. Willie was one of the early guys. Earl came along a bit later.
TP: True. But Earl Hines was playing professionally from 1923.
SHAW: Earl came along when Louis started using him in the Hot Five. That was a whole different era than when Willie Smith was starting. Willie came out of the James Johnson school of piano, although he wouldn’t have liked to hear that.
TP: Earl came out of Pittsburgh, more of a midwest tradition.
SHAW: All you can say is that different people do different things.
TP: But one thing that’s interesting in looking at the history of this music is the sense of regional difference. That’s one thing that’s been lost with television…
SHAW: We’re going towards more and more standardization, more and more cloning. There’s a book by Jacques Barzun, and the name of it says everything: “1500 to Decadence.” When you stop to think about it, here’s Shostakovich writing, and here’s Beethoven writing, and here’s Mozart writing. They all influence each other. If there hadn’t been a Mozart, there wouldn’t have been a Beethoven — not the Beethoven we know anyway. Then from Beethoven you’ve got Brahms, and after that you go into Impressionism with Debussy. Well, they’re all different countries, different cultures. The music was different. Each composer had his own particular field. It’s not much different than the world of jazz.
TP: In many different circumstances, you describe yourself as being angry about this or that. Is there something you can pinpoint that precipitated that anger in your life?
SHAW: Well, I think my anger is because of the cheapness of people, the cheapness of what they will accept. Today they accept stuff that I wouldn’t dream of doing or having a band do. And they accept crap. What you’re hearing is absolute shit. There are very few people that are popular and making money and making a big audience that are doing anything worth hearing. I mean, we talk about the Beatles as if they were the anointed of God. They didn’t do anything I cared about musically. They wore funny clothes, they looked funny, they wore the same haircuts, and they did things like “Eleanor Rigby.” Well, there was an American poet who wrote stuff like “Eleanor Rigby.” He wrote little pieces about people… Edgar Lee Masters. See, we’re dealing with illiterates. People are illiterate. They don’t listen back. Those who don’t learn from history, etc.
TP: Sudhalter in his chapters on you pointed out a contradiction, in that you plunged headlong into the music business, where you had to know you were going to be faced with this attitude…
SHAW: No, I learned that when I got into the radio…
TP: Oh, you didn’t know about that.
SHAW: No, I had no idea. When I was playing in Cleveland and with Aaronson, I just thought the world was wide open. I was young. I had no idea that music was something that people did or did not understand. I didn’t know that the great audience in America was aliterate. There were shows on radio that I would have died if I had to play on. Shows like “Manhattan Merry-Go-Round.” They were big, big shows. But they were dreadful music. I remember George M. Cohan did one show. Everything was [SINGS PEPPY REFRAIN], “Over there, over there, and the Yanks are coming.” Such horseshit. Pure horseshit. I remember once we were playing, and the band was so loud that I stuck my horn into Larry Binyan’s ear, who was right next to me (tenor man), and I pressed all the keys down, the high notes, and went YAK-YAK-YAK, YAK-YAK-YAK… Nobody heard the difference. You couldn’t hear it. It wouldn’t matter what I did. So musically, that was a horrifying experience. It paid well, and when you make a certain amount of money you live up to that amount of money, and pretty soon you’re being dictated to by that. So I stayed in it as long as I could take it. I quit at the age of 23, moved to Bucks County and tried to write. Can you imagine my thinking I would write a book and people would buy it? I had no idea. I thought I could maybe make a living as a writer. I had no idea what that entails.
TP: Do you think of music as a higher form than writing, or writing as a higher form than music?
SHAW: Literature for me is probably the major art form. You can do anything with literature. Painting is limited to the eye, and music is limited to the ear. But literature appeals to all of us. You can do anything with literature. people have done it. Not many, but some writers have done it. Thomas Mann comes close occasionally. Faulkner came close in a story called “The Bear,” one of the great utterances I’ve ever read. And so on. These are very complicated subjects to discuss.
TP: But they’re very interesting and rewarding to discuss.
SHAW: They’re interesting. I don’t know whether an audience that buys “Jazziz” would be interested in what I’m talking about.
TP: You never can anticipate. You never know.
SHAW: No, you never know. All I know is that most people in jazz, or in what we call jazz, have very limited horizons. They are stuck with that and they don’t know much else. You’ll notice that, for example, fine painters and fine musicians, so-called legitimate musicians, they read. They’re interested in what goes on in art forms aside from music. You talk to the average musician, and he hasn’t read much.
TP: I have to say that most of the musicians I know 35 and under, the paradigm is different. They have a very different orientation.
SHAW: Well, the younger ones seem to have that.
TP: Someone like Mehldau, for instance, who you spoke of favorably, knows quite a bit about German philosophy and poetry and literature.
SHAW: I find that encouraging. So they may do something with music that will not be the same old cliched stuff that we keep hearing. See, I don’t know what McCoy Tyner is like as a person.
TP: I take your point. I’ve met a lot of musicians from different periods. A lot of older musicians have a great deal of mother wit and knowledge and sophistication about life, but you wouldn’t call them particularly…
SHAW: They don’t know much else.
TP: They’re not particularly well-read.
SHAW: They’re not well read at all! That was always a very strange thing to me. How can you live in this world and not read? For example, I’m reading a book now called The Battle for God, which deals with fundamentalism at war with itself. You have fundamentalist Islamists, fundamentalist Jews and fundamentalist Protestants. I mean, a woman who works for me here, takes care of me at night, she came in the other evening and said, “There’s only one God.” I said, “what about Allah? What about Jehovah?” Well, that gave her pause. She hadn’t thought about that.
TP: Would you call yourself at atheist? An agnostic?
SHAW: I don’t know. I would say agnostic is closer. I believe there’s a force… I was talking to a scientist who visited me here yesterday, who has written some books, and is a very smart guy, and I spent several hours with him. We talked about the fact that we do not seem to understand that there are many, many approaches to the same goal. For example, if you wanted to know something about theoretical physics, it would broaden your horizons if you learned about that. Your horizons no matter what you did. If you’re a writer, if you’re a musician or if you’re a painter, you look at things differently. Your horizons broaden. People don’t seem to understand that. The more you know about everything, the more resonance there will be in whatever you do.
TP: It’s an age of specialization. I think Sudhalter mentions that Jerome Kern, your former father-in-law, wondered why you went after what I think he called “nitpicking knowledge,” and your answer was that given the choice between knowing a lot about a few things or a little about a lot of things, you would prefer the latter.
SHAW: Yes. And then keep trying to add layers to your awareness. Basically, it comes down to seeking… My book, “Trouble With Cinderella,” ends on a simple note. What is the aim? And the aim for me is to achieve the highest degree of awareness you can do within the span of a lifetime.
TP: Which sounds almost Buddhist.
SHAW: Well, I guess it is Buddhist. But then, Buddhism was also something that has to do with awareness. It’s an emotional, religious kind of feeling. There you come to that famous triptych: Who are we? Where do we come from? Where are we going? No one has ever come up with an answer to any of those three questions. How many musicians in jazz do you know who even concern themselves with that?
TP: More than you would think.
SHAW: Well, now they’re…
TP: Ellington wrote the song “What Am I Here For”?
SHAW: Well, “Why Was I Born?” was before that. But that doesn’t… “Why was I born, why am I living, what do I get, what am I giving?” That’s child’s stuff. That’s high school things.
TP: In the previous interview, I asked about your parents and where they were from, and I read what you said about your father. And you said that you’d pretty much sundered your ties and never looked back…
SHAW: I don’t have anything to do with family. I really do not care about family. My view is that if we had a reasonable society, we would pay people to take care of the raising of children.
TP: You’d be losing a lot.
SHAW: Four 6-hour shifts, and pay people who like kids and have 6 hours with them, and that’s it, and they’re totally devoid of all this sentimental flesh-and-blood horseshit that we get today.
TP: Goodness, why do you feel it’s horseshit? It’s such a fundamental human imperative.
SHAW: I think the family is a series of cannibals eating each other.
TP: That can happen in a collective situation — say in a kibbutz.
SHAW: Not if you only have six hours with a kid. You can’t do a lot of damage. You’ve got another one coming in for six hours, or another… Four 6-hour shifts a day. Or six 4-hour shifts. Whatever works. There’s no reason why a society can’t do that, raise children in a fairly reasonable and dispassionate and objective way, rather than the highly subjective bullshit that we get with the average family.
TP: I don’t know that it’s possible to be objective in raising children, even for the people who are professionals and detached.
SHAW: I think it is. If you’ve got a six-hour shift, you can be pretty objective.
TP: Children need love, though. They need that sense of belonging to something. They really do.
SHAW: You’re generalizing here.
TP: I’ll just go by my child’s experience. She has to know that.
SHAW: You don’t know what damage you’re doing the child.
TP: I think psychic damage can come from many different places, Mr. Shaw.
SHAW: I think if people are trained and are taught about pedagogy, and they go on and learn that, and they’re professional people who raise a child because they love children, and they spend six hours… That’s about all you can handle.
TP: There are techniques and tactics involved in raising children, just as there are in any other craft. Any parent who is a good parent has to have some objectivity.
SHAW: I think what you’re saying is that there are flaws, of course.
TP: We’re human. The nature of being human is to be flawed.
SHAW: All right. So if you take the father and mother away from the child, the chances of flawing are lessened.
TP: It sounds very utopian.
SHAW: Read Huxley’s “The Island.”
TP: I did many years ago actually, in high school.
SHAW: Well, read it again. That’s a good book. He poses a good society. Also he points out at the end that it can’t succeed.
TP: Well, we’ve seen what’s happened in your lifetime. You’ve witnessed the formation of utopian societies, and then their decadence and fall and decline.
SHAW: It can’t work. There is no such thing as Utopia. I agree with that. I mean, a utopia would be taken over by the first guy with bigger guns. It’s that simple.
TP: That’s exactly right. It took me a long time to come to thinking like this, but it seems that the mess and flux of a market-oriented society and democratic institutions is really the only sensible way for human beings to interact.
SHAW: Yeah, but if you agree with me that the majority is always wrong, democracy is pretty dangerous.
TP: Yes, but consider the alternative.
SHAW: Well, we’ve got Plato. The Emperor-Philosopher. Who the minute he becomes an Emperor becomes no Philosopher.
TP: Well, he becomes the Tyrant, and so there we go.
SHAW: That’s right. He doesn’t have to be. But his son might be. So we’re back to Nero again.
TP: Well, you never know. Then there’s the person with the biggest gun.
SHAW: Yeah. All I’m getting at is it’s an insoluble problem. Governing the human being is impossible. Human beings are not governable. That’s the one thing we’ve learned from history.
TP: But getting back to the question of looking forward and sundering ties with family: Do you consider yourself Jewish?
SHAW: I don’t know what that means. I certainly don’t believe in Jehovah, and I don’t believe in the stone tablets, and I don’t believe in the Burning Bush, and I don’t believe in any of the myths. And I don’t know what it means to have a seder, because I don’t think it’s particularly interesting. I mean, why is this day different from any others? Well, Jesus, why is July 4th different? They’re all different. But I don’t really care about these concretized myths that we deal with, called religion.
TP: To me, being Jewish doesn’t mean that you practice the religion.
SHAW: Well, what does it mean?
TP: I’m not sure. I think there’s a set of cultural predispositions and aspirations…
SHAW: Oh, I think that’s chauvinistic as hell. In every kind of world there is, there are predispositions. The Arabs certainly had a lot of predisposition to…remarkable individuals. I don’t know the answers to that. I don’t think being Jewish is a specific… I don’t know what it means. Is Jewishness a tribe? Is it a nation?
TP: I’m not sure what it means, but people…
SHAW: You say you’re not sure what it means. How can you say I am that?
TP: I think it means being formed in a certain way…
SHAW: Well, it depends on which Jewish parents. There were a lot of ignorant ones. Mine certainly didn’t give me anything except genes.
TP: I think those genes are what defines me as Jewish, and you and whomever. Had we been placed in central Europe when you were in your twenties, we wouldn’t have this conversation.
SHAW: We’d be dead. Well, there’s also the business of the expulsion of Jews in 1492. It’s not new. If you know your history, you’ll know that in 1492 or so, when the Jews were expelled, along with the Moors, the Jews were given an option. They could stay if they wanted to be baptized. Many did. Thousands left. I would say that the ones who were baptized were smarter. We still today have great respect for the Sephardic Jew. The Sephardic Jew is considered a notch higher.
TP: As opposed to the Ashkenazi Jew?
SHAW: Culturally. I don’t know the answers. These are sects, and I hate the idea that you can typecast people and put them in a case where they won’t have to… It doesn’t work. Human beings are too malleable, they’re too disparate from each other…
TP: It’s true, but this is how the world defines us. When you hired black musicians, they can think of themselves as individual as they’d want, but in the eyes of the world they were still black.
SHAW: We’re back to the question of being a reasonable man. I was not reasonable. So whatever they defined me as, I became an Artie Shaw. That’s not a Jew. I don’t know if I told you, but I was on the “Tonight Show” one time, and the conversation got general, which it doesn’t usually. Johnny Carson got himself into a thing where everybody was talking at once. And the question came up: What did you want to be when you were young? What was your ambition? When it got to me, I said, “I wanted to grow up and be a gentile.” And the audience cracked up, and so did the band. There were a lot of Jews in the band. And then, the laughter died down, and I said, “And I made it.”
TP: Were you telling the truth?
TP: So you did think of yourself as Jewish.
SHAW: I made it as a gentile figure. Artie Shaw leading a band was hardly Jewish.
TP: And were any of your wives Jewish?
SHAW: Well, one was. [LAUGHS] I didn’t know she was until after we married. She was half-Jewish. Betty Kern. Her father. I thought he was a Welshman.
TP: So you did think of yourself as Jewish, and you made it. It was like a big trick on the world.
SHAW: That’s right. And I was the only guy who could laugh at it. But I don’t think that has anything to do with anything — for me. It’s just one of those things that you happen to have brown hair or dark hair or red hair or whatever. Red Buttons didn’t choose the color of his hair. He chose his name.
TP: People these days tend not to get married eight times; they tend to go from one person to another…
SHAW: Well, I would have done the same thing back then, but it wasn’t permissible. I mean, women like Ava and Lana had morals clauses. If they lived with a man openly, they were subject to being thrown out. In those days you either married or you divorced. I was very conventional. I did both.
TP: Other musicians have described seeing Ava Gardner as being very enthusiastic about music, seeing her at Birdland and California clubs. I find her persona so appealing from the films she was in…
SHAW: Oh, she was the same Hollywood mess as everybody else was. She told me once that she stood in front of the Queen, in one of those lineups where the women…the celebrities met the Queen. She didn’t curtsey, she didn’t bow, she said to me rather proudly. I said, “Well, why did you go there?” Well, because she considers herself as good as the Queen. And the interesting thing is, when she died, she had two Welsh Cordies. Those were the Queen’s dogs. So you can see there’s some sort of peculiar coincidence there, isn’t it? I don’t know what that’s all about. When I met her, she was a young and relatively unspoiled person. And then she got celebrity, and that can kill you.
TP: So you met her at the time when her career was beginning to take off.
SHAW: I helped her. I helped get started.
TP: How did you do that?
SHAW: Well, I was instrumental in getting her into pictures. “Whistle Stop” was her first starring role. A friend of mine named Frank Cavett, who is now dead, Frank was a writer, and he knew the guy who was producing it, and they were looking for a female lead to play with George Raft. He was the star. Ava was the one who was chosen finally, and I had a lot to do with that. And when she got into “The Killers,” which was her next film, Siodmak was the director of that, and I told him to make her act. She couldn’t act. And he got her angry and shot her while she was angry. And she hated him. He said, “He’s going to hate me.” She did. Anyway, he made her. So Ava was a product, like any Hollywood star. If she were not a product, she wouldn’t be there.
TP: And is that story you told this woman that after your marriage, she asked you if sex was very good, and you answered…
SHAW: Of course. She was living with Sinatra. That’s true.
TP: I have to say I got a good belly laugh out of that anecdote. I couldn’t believe she’d said it.
SHAW: Well, it’s true. She wanted to know whether she was okay, because she said with Sinatra it was hopeless. Then later, of course, Ava had this great, peculiar thing about standing by her man. So then she’d make remarks like “he weighs 105, and 95 percent cock.”
TP: About Sinatra?
SHAW: Yeah. And I know damn well that wasn’t true. Because I’ve heard it from other women.
TP: You were married to your last wife, Evelyn Keyes, though, for 28 years.
SHAW: That doesn’t mean a goddamn thing. We just didn’t get divorced. We weren’t living together. We were separated after about a year-and-a-half.
TP: Why was it so hard for you to establish a…
SHAW: You’d have to know the movie woman, the type of woman that’s made by Hollywood and manufactured by Hollywood.
TP: Why did you keep going for those sort of women, then?
SHAW: Those were the ones I met! And it’s pretty hard to say no when a woman like Ava Gardner comes up to you and says to you, “I like you.” You’ve got to be a pretty stupid guy to say, “Well, go away.”
TP: But at a certain point, after eight times, you might think, “Hmm.”
SHAW: Well, it wasn’t eight, and they weren’t all glamour. I married Betty Kern, and she was one of the worst. And Doris Darling, certainly one of the worst. I don’t know. You can’t generalize about this.
TP: Well, I apologize for asking about your personal life, but it’s part of the persona and your legend.
SHAW: Sure it is. But I can’t pick and choose why I did certain things. The only line I can think of is it seemed like a good idea at the time.
TP: How long have you been living unattached?
SHAW: Oh, Christ, I can’t think of how… A helluva long time. Evelyn and I separated I don’t know how long ago. Many, many years ago. I’ve been living in this house 22 years. And I wasn’t unattached. There were other people. There were some nice ones, too. One of them became an academician, and I couldn’t very well go that way, because I would have to live where academicians lived. So it’s a complicated story. People talk about doing a film version of my life, and I say, “Which life?” I’ve seen those pictures. The Goodman story and Tommy Dorsey and the Battling Dorseys, super saccharine… The Glenn Miller Story. That’s awful shit.
TP: Well, if someone like Martin Scorsese made the movie, it would be different.
SHAW: Well, he doesn’t know about that, and doesn’t want to know. They know everything. They made a picture called “Cotton Club,” which was a piece of shit.
TP: “Cotton Club” wasn’t too good. He made a movie called “New York, New York,” though, where Georgie Auld trained De Niro.
SHAW: That was pretty shitty, too. The one with Georgie Auld playing the bandleader.
TP: What do you think of the development of cinema since then?
SHAW: I haven’t seen a movie in about three years except for on my video. I don’t look at movies any more. It’s like I woke up one day and I didn’t read any more funny papers. “Why am I reading about Blondie?” I said to myself.
TP: But were movies just something that was socially customary for you to do, or did you get something out of them?
SHAW: Well, movies are a custom. People go to them as a custom.
TP: But did any filmmakers or films enrich you in the manner of Thomas Mann or Faulkner?
SHAW: As in every other endeavor, there are better and worse.
TP: Well, who are some of the better, in your opinion?
SHAW: I think Jack Ford was good. I think Huston made a fine picture with “The Maltese Falcon.” He made a good picture with “The Treasure of Sierra Madre.” Well, there have been a number of good directors. But I don’t really care much. I know too much about the workings of the film business, and I can sort of read between the scenes and say, “Well, he did this because of so-and-so…” You know, the suits run the business, just like they run the record business today.
TP: Oh, always. It’s even more sophisticated than it was with the marketing and the testing and changing the ending and all that.
SHAW: The record business has suffered enormously because of that?
TP: Well, what constitutes your pleasure these days? Is it primarily reading and discussion?
SHAW: Reading, reading, reading. Talking to people, having good conversations, looking out at the world, and looking at the sunrise and sunset. Wild ducks live near my house. I have a pool back there, and they go in the pool. I don’t know, what can I say? You just live your life and do the best you can. I live with the phenomena of the world, and in some wonder mostly. I am beset with wonder.
TP: You’ve been working on a long autobiographical novel for many years.
SHAW: Well, it’s a novel.
TP: A long novel.
TP: With someone who may or may not be a protagonist or a stand-in for you or a fictionalized you.
SHAW: Well, the book is, like any other fictional book, permeated by me.
TP: Is the book close to completion?
SHAW: I’ve written it. It’s 95 pages [sic: chapters] long, and at the end he’s only 25.
TP: How much have you cut?
SHAW: I’m cutting, cutting, cutting right now. I’m up to chapter… Let’s see, what chapter did I just finish cutting. Chapter 48, I think. We’re going to try to get down to Chapter 60, and my editor, who is a woman at Knopf, will then take the book and present it.
TP: You have 60 chapters in… You didn’t say 95 pages, did you?
SHAW: I said 95 chapters.
TP: I thought you said pages.
SHAW: No, chapters.
TP: I couldn’t quite correlate. I thought you were joking with me.
SHAW: It’s a big, big, long tome. But I can’t write it shorter. It would not make any sense.
TP: Do you use the computer?
SHAW: Yes, when I write. Right now I’ve got a different system. Larry, my assistant… I take some material that I’ve got down, and that I’ve edited as much as I can, and pencil out pages, and then I give it to him and he types it up. He’s got it all in the computer. So he fixes the pages and sends them back to me. Two or three exchanges, then I put it away.
TP: Computers are amazing.
SHAW: Then you go into the pre-publication trauma of editing and whatever. Have you read that book of Stephen King’s called “On Writing”?
TP: No, I haven’t.
SHAW: It’s a helluva book. It’s the best book of its kind I’ve read. He’s a very smart guy.
TP: Lately I’ve been reading a lot of Philip Roth and Saul Bellow.
SHAW: Oh, yes, Saul Bellow I have reservations about. Since he won the Nobel Prize. Before that, he was a good writer.
TP: Do you think it went to his head?
SHAW: Well, there’s no question that it did.
TP: Well, you would know, wouldn’t you.
SHAW: Yeah, I sure do. I know that you have to be very, very careful about success. There’s nothing worse than failure, except success.
TP: Well, you probably haven’t failed at very many things except the marriages.
SHAW: Oh, yes, I have! You don’t know about my failures.
TP: Can you reveal one or two for us?
SHAW: Well, there are lots of failures that I don’t publicize. You can’t do everything well.
TP: As I was researching you on the Web, I found a project that Buddy DeFranco and Tom Rainier are undertaking…
SHAW: They did do it.
TP: Is it that they’re extracting your solos from the backdrop and creating new backgrounds for them?
SHAW: I have certain reservations.
TP: How did it come about?
SHAW: Buddy wanted to do it. His mantra is, “You haven’t heard the end of Artie Shaw yet.” So this one record they made was on “The Shadow of Your Smile,” which is a tune I never played. It wasn’t published while I was playing. They used various riffs of mine and fit it in.
TP: And created a solo out of your…
SHAW: Not a solo, but various fill-ins, and not really… I have very mixed feelings about it. I think it’s a little creepy.
TP: Well, this is something that’s almost a commonplace in the digital age.
SHAW: Yeah. But it’s going to cost an awful lot to do. They’ll need a lot of money to do this, because it’s not an easy undertaking.
TP: You have a very rare perspective on the trajectory of our technology. You were born around the time when electricity became commonplace, and now you’re living in the age of digital technology still in full possession of your faculties.
SHAW: Like all things, it has its advantages and disadvantages.
TP: What do you think are the advantages of digital technology?
SHAW: The advantages are you can change anything into anything you want. You can do the same piece and make a different ending, a better ending, and put it on there. You can make a better riff here. If a singer misses a high-D, they can put a high-D in there. All of that is good, I suppose.
TP: Do you think that’s a good thing, or do you think some imperfection is…
SHAW: Well, I was coming to that. It’s good for the singer, but it’s bad in the sense that we don’t get any spontaneity any more. It’s like Vermeer. Once a guy starts copying Vermeer, it gets to the point where you never know, when you look at a Vermeer, whether it’s real or a copy. There’s a rumor out that most of the paintings in museums are copies. I don’t know if that’s good or bad. If you want to democratize art, then I guess it’s good, because anybody can own a Vermeer. But if you want to see the original, I don’t know the answers. There’s a certain spontaneity in jazz that is lost.
TP: On recordings?
SHAW: Well, when you start doing that, you fix something. And sometimes the error is part of the deal.
TP: What do you think you’d have done in 1938 or 1940 if you’d had digital technology available to you?
SHAW: There were certain things I did that I didn’t particularly care for as much as others. But I never let a record out that I thought was no good.
TP: But what I’m getting at is, given the option to use digital technology to create…
SHAW: I don’t think I would have done that. I didn’t use digital technology in my last group, and it was available. The 1953-54 Gramercy 5.
TP: It wasn’t digital technology.
SHAW: They had digital technology. You could cut things out.
TP: You could splice, but it was a different process.
SHAW: Oh, I don’t know. I get lost in all these…
TP: Well, it’s easy to get lost in those things. I’ve taken a lot of your time, and I should probably let you go.
SHAW: Well, why not? Maybe you’ll regroup for the next time.
TP: I’d love for there to be a next time, although I don’t think there has to be for this particular piece. You were talking about listening to jazz music today…
SHAW: First of all, I hate the word “jazz.” I wish we could find a better term. American improvisational music.
TP: But we can’t call it that. Because now we have good musicians from all over the world playing it.
SHAW: Well, then there’s French improvisation, there’s Dutch, there’s German…
TP: But it’s a real hybrid. I don’t know if it’s so evident on the West Coast, but in New York…
SHAW: The word “jazz” is used as a catch-all, and unfortunately it does not include when you’ve got the extremes today…what’s his name, the alto player who plays with Mehldau…a black alto player… Anyway, if you’re going to include him and you’re going to include Bessie Smith under the same rubric, I don’t know what “Jazz” means. It’s too broad a word.
TP: By the way, I gather you were friendly with John Carter, the clarinettist.
SHAW: I knew him.
TP: What did you think of the avant-garde music, Ornette Coleman…
SHAW: I can’t listen to it. It’s like I can’t read… I’ve tried, but I can’t read William Burroughs. He’s a good writer, but he writes shit I don’t want to hear about. Rectal mucus? I don’t want to hear about that? I don’t need that. It’s not what I would consider in any way informative or in any way broadening. It’s the same thing with a lot of jazz. I hear it, and I think, “who are they playing for?” I just threw out a book. I very rarely do this. I was talking about yesterday to this scientist, and he said, “Yeah, I know this guy.” He’s a guy at Yale, and he writes a book called “The Miracle of Existence.” Well, that’s a good title. So I pick it up and I find myself reading the same sentence four-five-six times, and saying, “What does that mean?” I finally concluded that he’s writing for other scientists to show them how smart he is.
TP: Academicians write for other academicians.
SHAW: That’s right. Well, those jazz players are playing for other jazz players.
TP: You’re referring to a certain group.
SHAW: I’m talking about the new ones. People send me CDs of their stuff, and I don’t know what they want me to do. I ask them, “Why do you send me that CD? I don’t send you mine.”
TP: You said that among the people you like these days are Brad Mehldau, Bill Charlap…
SHAW: Phil Woods. There are good players. But I don’t know what the hell they expect an audience to do. I mean, they get off into something that they lengthen the phrases from 8 bars to 10 or 12, they change the chord structure, they drop the melody entirely… And what are they doing? What is the average person going to make of this? So they lose their audience. What they’re doing… I told you my definition of a fugue. Instruments come in one by one, and the audience walks out one by one. Well, this is what’s happening with jazz. They’re down to 3% of the buying public now.
TP: 1.8% actually.
SHAW: That’s a pretty low percentage. And see, Rock came along and Rock met a specific need. You don’t like it, you don’t think they’re doing anything, but they are perceivable. They are perceptible. The audience can identify with what they’re hearing. So I’m afraid that jazz has painted itself into a corner. It’s okay. Modern Art did the same thing, and then it got talked up and people are buying it. That may be true with certain jazz clubs. But you’re not going to get rich playing modern jazz.
TP: No, but there are so many people who continue to do it. It’s a source of fascination to me.
SHAW: Well, they do it because they have no other choice. What else can they do? What, for example…this alto player, I can’t think of his name, a black guy who works with…a young guy… I don’t know what he’s trying to do. He starts playing harmonics above the alto range, and they play a whole tune on that. Well, you can do the same thing with a soprano sax. So I don’t know what the point of that is. Is it an attempt to show your dexterity? I’m afraid that’s a large part of it. Look at how many things I can do on this instrument. And the audience is not particularly concerned with that.
TP: It’s interesting, because the act of playing jazz extended the range of many instruments. The brass instruments and saxophones were certainly taken above their…
SHAW: I don’t know what the advantage is in playing high F above C. What is the advantage? I don’t know why one needs to do that. It’s dexterity. “Look what I can do” is what you’re saying. And I don’t think that’s particularly interesting to the non-playing audience. So they’ve painted themselves sort of out of an audience. It’s the same thing as Pollock. Pollock would never be heard if you haven’t had those Greenbergs and those other guys, the critics…
TP: But what’s interesting is that now it looks logical to people. I felt very dubious about Pollock, and I saw the retrospective a few years ago and found myself very moved by it and responding to it.
SHAW: Well, I find myself saying, “what’s the point?” The same thing… There’s a guy named Varnedoe…
TP: Kirk Varnedoe, the curator at MOMA?
SHAW: Yes. And he talks about Art and language that I sometimes have to say, “What is he trying to say?”
TP: He’s trying to market it and up its value and make collectors think they’re doing something daring and ahead of the curve on the ordinary person.
SHAW: Yes. He talks about acquiring a Matisse for the Museum of Modern Art. You show a picture of that Matisse to most people, and they don’t know what they’re looking at. That doesn’t mean Matisse wasn’t a good painter. But they call it “ravishing.” What do you mean by that?
TP: You quit when you were 44. Of your audience, how many appreciated you for what you were actually doing, and how many were looking at an image and not understanding anything?
SHAW: I don’t think that was a question that occurred to me. I wasn’t thinking in those terms. I was thinking very privately between me and the men in the band… Like in the last group. Hank Jones and I had a great rapport, and we did things together that felt right. If you listen to a record called “Don’t Take Your Love From Me,” we did things on that that I don’t think you can do better. Good record. So you say, “Well, what can you do more?” And at the same time, I think it’s musical. An audience can respond to that.
TP: Well, it’s a very complex life.
SHAW: It is indeed. So we do the best we can, that’s all, and hope for some kind of recognition. It’s as simple as that. The bigger the recognition, the better pay you get. But I am no longer interested in that. I would like to see the records go out and sell. But if they don’t sell much, well, so be it — I did the best I could do.