Monday Side-Session: Artie’s Pyramid Period

Yesterday, one of the versions of Pyramid we heard was Artie Shaw’s 1940 recording. Since Artie was making some remarkable records for Victor during that same timeframe, today’s Side‑Session pulls together a half‑dozen of those sides — the musical neighborhood that Pyramid lived in.

Frenesi (March 1940)

Artie discovered this tune while vacationing in Mexico between bands and brought it back north like a prized souvenir. He had the esteemed composer William Grant Still craft an arrangement for his studio orchestra — complete with strings — and the result was a massive 1940 hit. It’s easy to hear why listeners flipped for it!

William Grant Still

My Fantasy (March 1940)

Cut at the same session, this one feels like a hidden gem. Vocalist Pauline Byrne floats over a melody borrowed from Alexander Borodin, later famous as A Stranger in Paradise. I’ll take Artie’s version any day.

Pauline Byrne

Pauline is another underrated canary!

Summit Ridge Drive (September 1940)

After those recordings with session musicians, Artie formed a new band and spun off a small group, the Gramercy 5. Their hit “Summit Ridge Drive” features pianist Johnny Guarnieri on harpsichord — an old instrument giving the group a surprisingly modern snap.

Johnny Guarnieri

Fun trivia: Gramercy 5 was Artie’s telephone exchange, and Summit Ridge Drive was the street he lived on!

Star Dust (October 1940)

One of Artie’s towering achievements. Billy Butterfield cold opens with a breathtaking trumpet solo and includes a luminous trombone improvisation by Jack Jenney. Add Artie’s clarinet with Lennie Hayton’s masterful arrangement tying it all together and you’ve got a recording that earns every bit of its legendary status!

Billy Butterfield

But is it Star Dust or Stardust? Paging Hoagy Carmichael!

(And for timeline fans: Artie’s version of Pyramid was recorded two months later, in December 1940.)

Moonglow (January 1941)

A beautifully shaded reading of the standard with another outstanding trombone solo from Jack Jenney.

Jack Jenney

And another one of those eternal questions: is it Moonglow or Moon Glow? Shaw’s band makes either spelling sound good.

Dancing in the Dark (January 1941)

From the same session as Moonglow, this is another elegant, late‑night Shaw interpretation of a classic.

Six wonderful sides from Artie Shaw and His Orchestra — all orbiting the same creative period that produced his take on Pyramid. A rich little constellation!