Artie Shaw (born Arthur Jacob Arshawsky on May 23, 1910) was an American clarinetist, bandleader and arranger best known for his 1938 hit recording of “Begin the Beguine” and for leading a U.S. Navy band during World War II. His fluid clarinet tone, classical-influenced phrasing, and innovative big band writing helped redefine the clarinet's role in jazz.
Who was Artie Shaw? Biography and concise timeline (May 23, 1910; 1923; late 1920s; 1936; 1938)
Artie Shaw, born Arthur Jacob Arshawsky on May 23, 1910 in New York City, grew up in a working-class immigrant family. His early years were marked by frequent moves and financial strain, but he developed a fierce independence and curiosity that later shaped his musical choices and restless career path.
Shaw began playing the clarinet around 1923, at about age 13, after earlier attempts on saxophone. By his mid-teens he was practicing obsessively, absorbing both classical technique and popular dance-band styles. This dual focus on technical control and popular appeal became a hallmark of his later clarinet sound.
In the late 1920s, Shaw joined professional bands, working as a sideman in regional and touring groups. He played with musicians in Chicago, Cleveland, and New York, gaining experience in pit orchestras and studio sessions. These jobs sharpened his reading skills and exposed him to evolving jazz and dance-band idioms.
Key dates: Artie Shaw was born in 1910, began clarinet in 1923, joined professional bands in the late 1920s, formed his own big band around 1936, and released “Begin the Beguine” in 1938.
By 1936, Shaw had formed his own big band after earlier experiments with smaller studio orchestras. He was already known for his clarinet virtuosity and his desire to push beyond standard swing formulas. His arrangements often featured unusual instrumentation and more complex harmonies than many contemporaries.
In 1938, Shaw recorded “Begin the Beguine,” which became a surprise hit and a defining moment in his career. The recording turned him into a national star almost overnight. It also cemented his reputation as a clarinetist whose sound combined classical polish with jazz spontaneity, influencing generations of players.
The story of “Begin the Beguine” (Cole Porter 1935 -> Shaw's 1938 recording)
Cole Porter wrote “Begin the Beguine” in 1935 for the musical “Jubilee.” The song initially had modest impact, partly because of its unusual 108-bar form and sophisticated harmony. Many bandleaders considered it awkward for dance audiences, so it did not immediately enter the core swing repertoire.
Artie Shaw heard potential in the tune's long melodic line and harmonic richness. In 1938, arranger Jerry Gray created a streamlined yet elegant arrangement for Shaw's band. The chart preserved Porter's harmonic color while giving Shaw a lyrical clarinet feature that showcased his legato phrasing and dynamic control.
Shaw's 1938 recording of “Begin the Beguine” for RCA Victor was not expected to be a major hit. It was released as the B-side of a record, but radio play and audience response quickly reversed expectations. The recording climbed the charts and became one of the defining hits of the swing era.
“Begin the Beguine” was composed in 1935 and recorded by Artie Shaw in 1938. The recording reportedly sold in the millions, becoming one of the era's most recognizable clarinet features.
Musically, Shaw's performance stands out for its smooth legato, controlled vibrato, and carefully shaped phrases. The clarinet line floats above the band with a vocal-like quality. Shaw avoids excessive ornamentation, instead using subtle dynamic shading and long, arching lines that mirror Porter's sophisticated melody.
For clarinetists and arrangers, this recording illustrates how a big band can support a soloist without overpowering them. The rhythm section maintains a light, steady swing, the brass and reeds provide soft backgrounds, and the strings (in later versions) add a smooth sheen. The result is a clarinet feature that feels both intimate and grand.
Shaw's military-band work: U.S. Navy service and wartime performances (WWII)
During World War II, Artie Shaw enlisted in the U.S. Navy and was assigned to lead a service band. His Navy unit performed for troops in the Pacific theater, often in difficult conditions. Concerts took place on makeshift stages, ship decks, and remote island bases, bringing a sense of home to deployed service members.
Shaw's military band focused on morale-boosting swing, popular songs, and some of his signature numbers. The clarinet remained central, but Shaw also adapted to the needs of military audiences and the logistical challenges of wartime travel. The band sometimes played multiple shows per day in hot, humid environments.
These performances tested Shaw's endurance and his instrument's reliability. High humidity, salt air, and rapid travel put stress on pads, corks, and reeds. Maintaining a stable clarinet setup under such conditions required constant attention to swabbing, reed care, and quick repairs, skills that remain relevant for touring players today.
Shaw's wartime service also broadened his view of music's role in society. Playing for troops under fire and in forward areas deepened his sense of responsibility as a musician. After the war, his relationship with fame and the music business became more complicated, and he would retire and return to performing multiple times.
For students of jazz history, Shaw's Navy period highlights how big band music functioned as both entertainment and psychological support. It also shows how a clarinetist had to balance artistic goals with the practical demands of travel, acoustics, and rapidly changing performance conditions.
Clarinet tone and technique: breath control, embouchure, and phrasing (workshop notes)
Artie Shaw's clarinet tone is often described as dark, centered, and vocal. To approximate this sound, focus first on breath control. Use low, diaphragmatic breathing: inhale so the ribs and abdomen expand, then exhale with steady air pressure. Think of blowing warm air through the instrument, not forcing or puffing the cheeks.
Shaw favored a smooth, almost classical legato. Practice long tones across registers, starting softly, swelling to a rich mezzo-forte, then tapering back to pianissimo. Aim for a consistent core to the sound at every dynamic. This type of control allows you to shape phrases like a singer, which was central to Shaw's style.
For embouchure, use a firm but flexible cushion around the mouthpiece. The lower lip should rest over the teeth, with the reed contacting the fleshy part of the lip, not the hard edge. The corners of the mouth draw slightly in, creating a stable seal without biting. This helps produce Shaw's focused, non-spread tone.
Shaw's vibrato was subtle and often very slow or nearly absent. To emulate this, start with straight tone. Add only a gentle, controlled variation in pitch or air speed at the end of longer notes. Avoid wide, fast vibrato that would push the sound toward a more operatic or pop style.
For phrasing, study Shaw's recordings and sing along with his solos. Notice how he often plays long, arching lines that span several measures. He uses breath points that feel natural, as if he is speaking in long sentences. When you practice, mark breathing spots in your music to support similar long phrases.
Articulation in Shaw's playing is usually light and refined. Use a soft “du” or “tu” syllable, touching the reed gently with the tongue. Avoid heavy, percussive attacks. Practice scales and arpeggios slurred, then add light tonguing on every note while keeping the air flowing continuously.
Instrument setup: mouthpiece placement, reed selection, and choosing the right clarinet (including historical brand context)
Shaw's tone came from his musicianship, but equipment choices also mattered. Mouthpiece placement is a key variable. If you pull the mouthpiece slightly out from the barrel, pitch drops and the sound can become more open. Pushing it in raises pitch and can brighten the tone. Small adjustments of 1 to 2 millimeters make a noticeable difference.
On the mouthpiece itself, experiment with how much mouthpiece you take into the mouth. Too little can choke the sound and cause biting; too much can make the tone spread and unstable. Aim for a position where the reed vibrates freely while your embouchure stays relaxed and controlled, similar to classical setups that Shaw admired.
Reed selection affects color and response. To move toward a Shaw-like sound, many players prefer medium or medium-hard reeds that support a centered tone without excessive edge. Softer reeds can sound brighter and more flexible but may lack the core needed for Shaw's dark, singing quality, especially in the upper register.
Ligature tension also shapes response. Tightening too much can restrict vibration and dull the sound; too loose can cause instability and articulation problems. Aim for firm but not crushing pressure, checking that the reed sits evenly on the mouthpiece table. Small adjustments here can refine your articulation clarity and projection.
Historically, Shaw played on professional clarinets of his era, including high-quality French and American instruments. Vintage clarinets often had slightly different bore designs and keywork ergonomics than many modern student models. These design differences can influence resistance, projection, and the ease of achieving a compact, dark tone.
For modern players, the exact brand is less important than choosing a well-regulated instrument with a bore and mouthpiece combination that offers moderate resistance. Too free-blowing a setup can encourage a spread sound, while a slightly resistant setup encourages the supported, focused tone that characterizes Shaw's recordings.
Arranging and orchestration: Shaw's classical-jazz fusion and use of strings in a big band
Artie Shaw stood out among swing bandleaders for his interest in classical music and nonstandard orchestration. He often sought a more orchestral palette than typical big bands. This included the use of strings, woodwinds, and more complex voicings that drew on European concert music as well as American jazz traditions.
One of Shaw's innovations was integrating a string section with a swing band rhythm section and brass. Strings added a smooth, sustained background that complemented his clarinet tone. They allowed him to phrase like a concerto soloist over a lush orchestral bed while the rhythm section maintained a clear swing pulse.
Shaw's arrangements frequently used clarinet as a lead voice, not just a featured soloist. He often placed the clarinet above the saxophone section, doubling or embellishing the lead line. This gave the band a distinctive top color. For arrangers today, this approach shows how a single wind voice can define a band's sonic identity.
Classical-jazz fusion in Shaw's work appears in his use of counterpoint, extended harmonies, and through-composed introductions or interludes. Instead of relying only on simple riff backgrounds, he sometimes wrote lines that intertwined between sections, similar to chamber music textures, while still supporting improvisation.
For modern band directors, studying Shaw's scores can suggest ways to incorporate strings or woodwinds into jazz ensembles. For example, violins can double lead sax lines an octave above, or provide soft pads under clarinet solos. Violas and cellos can reinforce inner harmonies or play simple rhythmic figures that lock with guitar and piano.
Shaw's orchestration choices also affected how he played clarinet. A richer background allowed him to use softer dynamics and more nuanced phrasing without losing presence. When arranging in his style, consider dynamic balance carefully so the clarinet can float above the band without needing to overblow.
Practice routines and improvisation tips inspired by Shaw (daily exercises and rehearsal notes)
To build a Shaw-inspired practice routine, divide your session into tone, technique, and improvisation. Start with 10 to 15 minutes of long tones, focusing on even sound and dynamic control from low E to high C and beyond. Use a tuner to stabilize pitch while you experiment with air support and embouchure.
Next, spend 10 to 20 minutes on scales and arpeggios in all keys. Practice major, minor, and dominant scales in at least two octaves, slurred and lightly tongued. Shaw's solos often move fluidly through keys, so comfortable technique in less familiar keys like B, F sharp, and C sharp major is important.
A focused Shaw-style routine might include 15 minutes of long tones, 20 minutes of scales and arpeggios, and 25 to 30 minutes of transcription and improvisation, totaling about 60 minutes per day.
Transcription is central to understanding Shaw's language. Choose a short solo, such as a chorus from “Begin the Beguine” or another ballad. Learn it by ear, phrase by phrase, then write it down. Pay attention not only to the notes but to dynamics, articulation, and subtle timing choices.
For improvisation, practice creating long, singing lines over simple progressions. Use backing tracks or a pianist to play ii-V-I patterns in several keys. Aim for smooth voice leading and clear melodic shapes, avoiding constant eighth-note runs. Shaw often favored melodic development over sheer speed.
Include articulation and phrasing drills. For example, take a scale and play it in legato groups of four, then in dotted rhythms, then with accents on offbeats. This helps you develop the rhythmic flexibility and light touch heard in Shaw's playing, while keeping the tone connected and centered.
Finally, record your practice regularly. Compare your tone, phrasing, and time feel to Shaw's recordings. Identify one small aspect to improve in the next session, such as smoother register transitions or more consistent dynamic shaping across a phrase.
Maintenance and setup steps: reed rotation, swabbing, cork/pad care, and regular setup checks
A Shaw-like tone depends on consistent equipment. Adopt a reed rotation system to keep response stable. Use 3 to 5 reeds in active rotation, playing each for only 10 to 20 minutes per day at first. This allows reeds to break in gradually and reduces warping, especially in changing humidity.
After each playing session, swab the clarinet thoroughly. Run a clean, absorbent swab through the upper and lower joints separately. Moisture left inside the bore can swell pads, warp wood on older instruments, and change response. Also wipe the tenons lightly if they feel damp before reassembling or storing.
Apply cork grease sparingly to tenons when joints feel tight. Too much grease can attract dust and grime, which eventually affects fit and seal. A thin, even layer is enough to maintain smooth assembly and protect corks from tearing, especially on older or frequently assembled instruments.
Inspect pads and corks regularly. Look for frayed edges, discoloration, or compression marks. If you notice new leaks, unstable notes, or squeaks that are not reed-related, schedule a visit with a qualified technician. A professional setup every 6 to 12 months helps maintain alignment, spring tension, and pad seating.
Clean the mouthpiece weekly with mild soap and lukewarm water, using a soft brush. Avoid hot water that can warp hard rubber. Remove the ligature and reed first, and dry the mouthpiece completely before storing. A clean mouthpiece helps reeds vibrate freely and supports a clear, centered sound.
Store reeds flat in a ventilated reed case. Avoid leaving a reed on the mouthpiece between sessions, which can encourage warping and bacterial growth. Rotate reeds daily so no single reed is overused. This habit supports more predictable response, especially important for lyrical playing in the Shaw style.
Troubleshooting common tone problems: airy tone, squeaks, endurance, and solutions
When chasing a Shaw-like tone, common problems include airy sound, squeaks, and fatigue. Use a stepwise approach to troubleshooting: check the reed, then the mouthpiece, then embouchure, then the instrument, then overall setup. This systematic method saves time and prevents unnecessary equipment changes.
Airy or weak tone often comes from insufficient breath support or too open an embouchure. Focus on low, steady air and slightly firm the corners of the mouth. Try a slightly stronger reed or a reed that is better broken in. Also check that the reed is centered and aligned with the mouthpiece tip.
Squeaks can result from leaks, misaligned reeds, or embouchure instability. First, confirm that the reed lies flat on the mouthpiece and that the ligature is even. Then check for pad leaks using a leak light or by having a technician inspect the instrument. Finally, ensure your embouchure is stable and that fingers fully cover tone holes.
Unstable high register may indicate too soft a reed, too little mouthpiece in the mouth, or embouchure collapse. Experiment with taking slightly more mouthpiece, maintaining firm support from the corners, and using a reed with enough strength to resist over-vibration. Long-tone practice in the upper register helps build control.
Lack of warmth in the sound can come from an overly bright setup or thin air support. Try a slightly softer reed or a mouthpiece with a more moderate facing. Focus on blowing warm, slow air and relaxing the throat. Listen to Shaw's recordings and match the color by adjusting your air speed and embouchure cushion.
Endurance issues usually stem from over-practicing in long blocks or excessive embouchure tension. Break practice into shorter segments with brief rests. Prioritize efficient air use and relaxed facial muscles. Over time, this approach builds stamina for long phrases and extended performances, similar to Shaw's demanding concert schedules.
Legacy and influence: how Shaw changed the role of the clarinet in jazz and expected player outcomes
Artie Shaw transformed the clarinet from a section instrument into a lyrical, virtuosic lead voice in jazz. Alongside Benny Goodman, he helped define the clarinet's role in the swing era, but Shaw's darker tone, classical influences, and orchestral ambitions gave his work a distinct identity that still attracts players and scholars.
Shaw's success with “Begin the Beguine” and other hits proved that sophisticated harmony and long melodic lines could reach mass audiences. His willingness to blend strings, complex arrangements, and extended clarinet features expanded what a big band could sound like. This opened doors for later experiments in third stream and jazz-classical crossover.
For clarinetists, studying Shaw can lead to measurable outcomes. With focused work on breath support, legato, and dynamic control, players can develop more reliable tone across registers and a wider expressive range. This supports not only swing repertoire but also classical and contemporary styles that demand similar control.
Jazz students who analyze Shaw's solos gain tools for melodic improvisation: long phrases, motivic development, and careful use of chromaticism. These skills translate directly into more coherent solos in standards-based jazz, beyond simple scale patterns or licks.
Arrangers and band directors who explore Shaw's charts learn practical strategies for integrating strings and classical textures into jazz settings. This can lead to new concert programs, educational projects, and recordings that honor swing traditions while sounding fresh to modern audiences.
For all players, adopting Shaw-inspired maintenance and setup habits leads to more consistent performance. Regular reed rotation, swabbing, and professional regulation reduce surprises on stage. This reliability supports the kind of confident, singing clarinet sound that made Shaw's recordings enduring references.
Martin Freres field note: Archival research into mid-20th-century clarinetists, including Artie Shaw, shows that many top players relied on meticulous daily maintenance and conservative equipment changes. Rather than chasing constant gear upgrades, they focused on stable setups, careful reed care, and disciplined practice to achieve their signature tones.
Key takeaways
Artie Shaw combined classical-level control with jazz phrasing, creating a dark, lyrical clarinet tone showcased in his 1938 hit “Begin the Beguine.”
Approximating Shaw's sound requires steady breath support, a firm but flexible embouchure, and careful equipment choices, especially in mouthpiece placement and reed strength.
Consistent maintenance, reed rotation, and regular professional setups help preserve a stable, vintage-style clarinet tone suitable for Shaw-inspired playing.
FAQ
What is Artie Shaw clarinet?
“Artie Shaw clarinet” usually refers to Artie Shaw's distinctive clarinet style and sound, characterized by a dark, centered tone, smooth legato, and lyrical phrasing. It can also refer to recordings, transcriptions, or equipment setups that aim to emulate his approach to swing-era jazz clarinet.
How did Artie Shaw achieve his signature clarinet tone?
Shaw's tone came from strong breath support, a stable, classical-influenced embouchure, and careful control of dynamics and vibrato. He used a focused air stream, minimal jaw pressure, and subtle phrasing to create a dark, singing sound. His equipment choices supported moderate resistance, helping him maintain a compact, centered tone.
When was Artie Shaw's famous recording of “Begin the Beguine” released?
Artie Shaw's famous recording of “Begin the Beguine” was released in 1938. The song, composed by Cole Porter in 1935, became a surprise hit in Shaw's version and helped establish him as one of the leading clarinetists and bandleaders of the swing era.
Did Artie Shaw serve in the military and lead a band during WWII?
Yes. During World War II, Artie Shaw served in the U.S. Navy and led a military band that performed for troops, particularly in the Pacific theater. His ensemble played swing and popular music in challenging conditions, providing entertainment and morale support for service members.
What maintenance steps help preserve a vintage clarinet sound?
To preserve a vintage-style clarinet sound, rotate 3 to 5 reeds, swab the instrument after each use, apply cork grease sparingly, and inspect pads and corks regularly. Clean the mouthpiece weekly and schedule professional regulation every 6 to 12 months. These steps keep response consistent and support a warm, stable tone.
