Don Shirley Plays Gershwin

 

The Man I Love

Don Shirley Plays Gershwin

Cadence High Fidelity Recording CLP 3032

1960

From the back cover: It is impossible to describe Don Shirley's music without analyzing Don himself; and in analyzing, we tend to categorize because we then have a ready frame of reference. Although out age many not have produced the Renaissance Man, Don Shirley probably comes as close as any other human being in our time to that ideal. His musical talents could almost be over-looked from an academic standpoint if one realizes that, in addition to his Doctorate in Music, he is the holder of Doctorates in Psychology and Liturgical Arts, speaks eight languages fluently, and is considered an expert painter as well. 

Like most musicians who are true innovators, Don Shirley the arranger-composer has always been classified in various pigeonholes such as "Jazz," "Classical," "Jazz-oriented Classical" or "Classically-oriented Jazz," but always half-heartedly and with many reservations. His work cannot be catalogued in a particular school of musical composition. Each song is more than just a new arrangement; it is a composition in itself, using the familiar song melody as part of its framework. Though the melodic and harmonic structure of a song by Jimmy McHugh may suggest to Don Nineteeth Century romanticism and not Twentieth Century Hollywood, the melody is always there forming the basic fabric of his arrangement, at the same time inspiring  counter-melodies.

Don's piano style reflects many different influences, yet these are all governed by his own inscrutable and unyielding individuality. He may suddenly quote the familiar style of Garner or Ellington or Shearing. Still these polite tributes are never more than just that, for this is one more device of Don's using his music to create the atmosphere he chooses. "There are three ways to enjoy or to interpret music,  from a listening point of view: emotionally, intellectually, and a combination of the two. I have tried to utilize all three, contingent upon the quality of the tune choose." His choice of using the piano as a stringed rather than as a percussion instrument gives him a flexible and marvelous expressive voice to combine emotion and intellect in the subtlest way.

The extent of Don's formal training is clearly revealed in his fabulous technic. He began playing piano at the age of 2 1/2, and by the time he was 9 he had been invited to study at the Leningrad Conservatory,  where he was to spend a great part of his youth. And yet he was to abandon the piano while still young.

It was while in Chicago as a psychologist that Don "tripped" back into a musical career. He was given a grant to study the relationship, if any, between music and a juvenile crime wave which had suddenly broken out in the early 1950s. Working in a small club there, he used his knowledge and skill to perform experiments in sound, whereby he proved that certain tonal combinations affected the audience's reactions. No one in the audience know of his experiment, or that students had been planted among them to gauge their reactions.

But Don Shirley the pianist became a sensation. Appearing in New York followed, notably at the Basin Street, where Duke Ellington first heard him. Here started their warm friendship which was highlighted by Don's performance in 1955 of the premiere of the Duke's Piano Concerto at Carnegie Hall with the NBC Symphony of the Air. An appearance on the Arthur Godfrey Show launched his career nationwide.

Don has composed three symphonies, two piano concerti, a cello concerto, three string quartets, a one-act opera, works for organ, piano and violin, a symphonic tone poem based on "Finnegan's Wake" and a set of "Variations" on the legend of Orpheus in the Underworld.

All indications seem to be that Don Shirley's favorite career is that of musician, and his material that of our country, our time, and the richness of a many-faceted personality.

Porgy & Bess Suite

Recorded at Capitol Studios, New York - October 21, 1957

Basses: Jim Bond and Kenneth Fricker

Love Is Here To Stay

Recorded at Webster Hall, New York - May 7, 1955

Bass: Richard Davis

But Not For Me

Recorded at Bob Blake Studios, New York - July 19, 1956

Bass: Richard Davis

The Man I Love

Recorded at Webster Hall, New York - May 7, 1955

Bass: Richard Davis

Someone To Watch Over Me

Recorded at Webster Hall, New York - December 20, 1955

Bass: Richard Davis

They Can't Take That Away From Me

Recorded at Webster Hall, New York - May 7, 1955

Bass: Richard Davis