Hubbry Logo
FrenesiFrenesiMain
Open search
Frenesi
Community hub
Frenesi
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Frenesi
Frenesi
Frenesi
View on Wikipedia
from Wikipedia

"Frenesí"
Single by Artie Shaw and His Orchestra
A-side"Adiós Mariquita Linda"
PublishedDecember 28, 1939 (1939-12-28) by Southern Music Pub. Co., Inc., New York[1]
ReleasedMarch 29, 1940 (1940-03-29)
RecordedMarch 3, 1940 (1940-03-03)[2]
StudioVictor Studios, Hollywood
GenreSwing
Length3:01
LabelVictor 26542
ComposerAlberto Domínguez Borrás
LyricistLeonard Whitcup[1]

"Frenesí" (Spanish for 'frenzy') is a 1939 musical piece composed by Alberto Domínguez Borrás for the marimba. It was first recorded as a single by the Mexican singer and actor Ramón Armengod, and went on to become a jazz standard with it having been recorded by hundreds of musicians. The English language version was copyrighted in 1940 by Leonard Whitcup.[3]

Artie Shaw recording

[edit]
Songwriter Alberto Domínguez (right) with Artie Shaw in 1941

A hit version recorded by Artie Shaw and His Orchestra[4] (with an arrangement by William Grant Still) reached number one on the Billboard pop chart on December 21, 1940, staying for 13 weeks,[5] and was inducted into the Grammy Hall of Fame in 1982.[6]

Cover versions

[edit]

Other performers who have recorded the song include: Julie London, Dave Brubeck, Gerry Mulligan, Natalie Cole, Ray Charles, Bing Crosby, Tommy Dorsey and Woody Herman.

[edit]
  • World War II flying ace Major (later Brigadier General) Thomas L. Hayes named his P-51 Frenesi after the song.[7] He said it was a tribute to his wife Louise, for the song they listened to; he believed the song's name translated as "Love Me Tenderly".
  • The Artie Shaw recording was used in the soundtrack of the 1980 film Raging Bull.[8]
  • Thomas Pynchon's 1990 novel Vineland features a character named Frenesi Gates, "her name celebrating the record by Artie Shaw that was all over the jukeboxes and airwaves in the last days of the war".

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Frenesi

View on Grokipedia
from Grokipedia
Frenesí is a popular song composed in 1939 by Mexican musician Alberto Domínguez Borrás (1906–1975), with Spanish lyrics also by Domínguez, originally created for instrumentation and first recorded in Spanish by Lupita Palomera with the Orquesta Hermanos Domínguez that same year. The piece, whose title translates to "frenzy" in English, features a lively rhythm blending Latin American influences and became a after English lyrics were added by S.K. Russell and (the , not the singer). Domínguez's composition emerged from Mexico's vibrant marimba tradition, where it gained broader appeal. Its breakthrough came with clarinetist Artie Shaw's orchestral recording on March 3, 1940, arranged as a fox-trot with a full ensemble including strings, woodwinds, brass, and , which propelled it to the top of the pop chart for 13 consecutive weeks starting December 21, 1940. This version, released by RCA Victor as the B-side to "Adiós Mariquita Linda," showcased Shaw's innovative style and helped cement Frenesí as one of the era's defining hits, a million-selling hit influencing . The song's enduring legacy includes over 276 recorded versions across languages such as English, , French, Finnish, and Italian, with notable covers by artists like (1940), (1941), (1957), (1960 live), (1992), and (2013). It was inducted into the in 1982 for its historical significance and has appeared in films including (1980) and (1987), as well as inspiring cultural references like a World War II P-51 Mustang fighter plane named "Frenesi" by pilot Major Thomas Haynes as a to his wife. Adaptations highlight its versatility, from vocal renditions to instrumental jazz and Latin arrangements, reflecting its role in bridging Mexican folk elements with global .

Origins

Composition

Alberto Domínguez Borrás (1913–1975) was a Mexican composer and renowned for his contributions to boleros and music. Born in , , he began his career performing in the family ensemble Los Hermanos Domínguez, which helped establish his deep connection to traditional Mexican instrumentation. Among his most influential works are the 1939 compositions "" and "Frenesí," both of which became enduring standards in and . "Frenesí" was composed in 1939 specifically as an instrumental piece for ensemble, capturing the vibrant energy of folk traditions through its frenzied, rhythmic . The title, derived from the Spanish word for "," evokes a sense of intense passion and movement, drawing from the percussive and melodic styles prevalent in marimba performances. Domínguez's inspiration stemmed from the of regions like and , where marimba music has long been a cornerstone of communal celebrations and daily life, influencing the piece's lively and idiomatic phrasing for the instrument. The original structure of "Frenesí" is tailored for live performance by marimba bands, lasting approximately three minutes and emphasizing the ensemble's harmonic and rhythmic interplay. This design allowed for dynamic interpretations in concert settings, highlighting the 's resonant tones and the composer's expertise in crafting accessible yet evocative instrumentals. Subsequent recordings by marimba groups soon popularized the work beyond its initial regional context.

Original Recordings

The first recording of "Frenesí" was made before November 1939 by Mexican singer Lupita Palomera, accompanied by the Orquesta Hermanos Domínguez, and released as a single on Victor Records (catalog number 76161). Recorded in studios, this version features Palomera's Spanish vocals supported by the ensemble, highlighting the song's roots with a duration of approximately 3 minutes. Another 1939 recording was by Mexican singer and actor Ramón Armengod, released as a single on Decca Serie Hispana (catalog number 21035). Armengod's rendition, featuring Spanish vocals, was also cut in studios. These initial releases were distributed primarily in and , where "Frenesí" achieved regional popularity within and performance circuits, though it saw no international chart success at the time.

English Adaptation

Lyrics and Arrangement

The English adaptation of "Frenesí" featured lyrics co-written by Bob Russell and (using the [Ray Charles](/page/Ray Charles), the ) around 1940, which poetically evoked themes of passionate and romantic longing in love. These transformed the originally piece into a narrative-driven standard, with key lines such as "I knew that 'frenesi' meant 'please love me' / And I could say 'frenesi'," blending English phrasing with Spanish endearments to heighten the emotional intensity of desire and ecstasy. Russell's and Carpenter's words captured a of overwhelming , drawing on the title's meaning of "" to depict a cabellero's fervent under the Mexican moon, thereby infusing the song with vivid, storytelling elements suitable for interpretations. In contrast, the original Spanish lyrics by Alberto Domínguez, written in 1939, emphasized raw emotional turmoil and urgent pleas for reciprocated passion, as seen in excerpts like "Bésame tú a mí, bésame igual que mi boca te besó / Dame el frenesí que mi locura te dio" (translated as "Kiss me as I kissed you / Give me the frenzy that my madness gave you"). However, Domínguez's composition was primarily intended as an instrumental work for marimba, with the lyrics serving more as a secondary poetic framework rather than a central vocal feature in early recordings. The musical rearrangement was credited to Leonard Whitcup, who adapted the piece from its roots as a -led into a swing format, incorporating leads, robust sections, and rhythmic drive to suit the swing era's energetic style. This transformation shifted the composition from a minor-key rhythm—typically evoking a melancholic, Latin-tinged pulse—to an upbeat, syncopated jazz tempo of approximately 140 beats per minute, which facilitated scat singing and improvisational solos by enabling a lively, danceable groove. Whitcup's changes preserved the melodic core while amplifying its accessibility for American audiences, turning "Frenesí" into a versatile jazz standard ripe for orchestration.

Early English Releases

The English adaptation of "Frenesi" saw its initial U.S. release in 1940 by The Mullen Sisters accompanied by and His Orchestra on under catalog number 20-2465. This vocal rendition marked the song's first appearance in English lyrics on record, introducing the Latin-inspired tune to American audiences through a swing-era . Among other pre-1941 versions, recorded "Frenesi" on December 13, 1940, releasing it as Bluebird B-10994 paired with "My Blue Heaven." This instrumental take charted modestly at number 16 on the pop chart in 1941 for three weeks, helping to build broader anticipation for the composition amid the rising popularity of swing. These early releases were distributed primarily as 78 RPM singles via RCA Victor's budget subsidiary , aimed at the burgeoning American swing and market. While they received on radio stations and placement in jukeboxes, neither version achieved widespread commercial breakthrough, setting the stage for subsequent interpretations.

Artie Shaw's Version

Recording Process

Artie Shaw discovered the song "Frenesi" during a vacation in in late 1939, where he encountered the original marimba composition by Alberto Domínguez and decided to adapt it into a swing arrangement featuring his improvisational style. The arrangement was created by composer . The recording took place on March 3, 1940, at RCA Victor's Hollywood studio located at 1016 North Sycamore Avenue in , marking Shaw's return to after dissolving his previous band. Shaw led a large ensemble that combined a core with an augmented to create a lush, orchestral sound, emphasizing his as the lead instrument alongside rhythmic swing elements and melodic strings. The included eight violinists (Robert Barene, Harry Bluestone, Sid Brokaw, Dave Cracov, Pete Eisenberg, Jerry Joyce, Alex Law, and Mark Levant), three violists (Jack Gray, Stanley Spiegelman, and Dave Sturkin), two cellists (Irving Lipschultz and Jules Tannenbaum), flutist Morton Ruderman, oboist Phil Nemoli, ists Artie Shaw (director) and Joe Krechter (bass clarinet), saxophonists Bud Carlton, , Blake Reynolds, and Jack Stacy, trumpeters Manny Klein, Charlie Margulis, and George Thow, trombonists Babe Bowman, , and Bill Rank, player Jack Cave, guitarist Bobby Sherwood, pianist Stan Wrightsman, bassist Jud DeNaut, and drummer Carl Maus. Multiple takes were attempted during the session to capture the desired balance of improvisation and ensemble precision, with take 4 ultimately selected for its dynamic solo and cohesive arrangement. Technically, the track was issued as the B-side of the RPM single Victor 26542, with PBS-042546, and runs for approximately 3:02, showcasing the era's standard format for releases.

Commercial Success

Artie Shaw's recording of "Frenesi," released in March 1940 by RCA Victor, became one of the defining hits of the , achieving widespread commercial dominance in the United States. It ascended to the number-one position on the pop chart on December 21, 1940, and maintained that spot for a record-tying 13 weeks, marking one of the longest chart reigns of the decade. The single's success was bolstered by its innovative arrangement and Shaw's virtuosic performance, propelling it to over one million copies sold and establishing it as a landmark best-seller for a non-vocal instrumental of the period. This breakthrough not only solidified Shaw's position as a leading but also intensified his rivalry with , the "King of Swing," as "Frenesi" outperformed many contemporaries and helped Shaw claim the top spot in popularity polls. The track's sales and airplay broke ground for Latin-influenced jazz compositions, making it the first million-selling single by a Mexican songwriter, Alberto Domínguez. Internationally, "Frenesi" saw strong re-releases in 1941, topping charts in and achieving high placements in the UK, extending its global reach amid the era's craze. Its enduring impact was later recognized with induction into the in 1982 by , honoring its historical and artistic significance.

Cover Versions

Jazz Interpretations

The delivered an upbeat swing version of "Frenesi" in 1940, characterized by energetic arrangements and prominent solos that highlighted the ensemble's tight rhythmic drive. Recorded on December 13, 1940, and released as a single in 1941, this rendition peaked at number 16 on the chart, staying on the list for three weeks and showcasing Miller's signature blend of melody and propulsion. Benny Goodman's 1941 interpretation shifted the focus to intimate chamber jazz, featuring his signature clarinet work in a sextet setting that incorporated early bebop-like improvisational flair and syncopated phrasing. Captured during a studio session on November 29, 1940, and broadcast live on NBC in February 1941, the performance emphasized Goodman's agile clarinet lines weaving through the group's harmonic interplay, marking a bridge between swing and emerging modern jazz elements. In the , the Quartet offered a piano adaptation, infusing the tune with subtle rhythmic variations and introspective phrasing that reflected the aesthetic. Recorded in November 1951 and released as a single on , Brubeck's version prioritized piano exploration and polytonal hints, diverging from the original's frenzy toward a more contemplative, time-signature-flexible flow.

Pop and Other Genres

In the 1950s, Julie London's rendition brought a sultry lounge ambiance to "Frenesí," featured on her album Latin in a Satin Mood released in 1963 by Liberty Records. Accompanied minimally by Barney Kessel on guitar and Ray Leatherwood on bass, London's whispery, intimate delivery transformed the song into a smoky, after-hours ballad, highlighting her breathy contralto and the sparse instrumentation's evocative mood. This approach captured the essence of mid-century lounge pop, prioritizing emotional nuance over elaborate arrangements. Pérez Prado and his orchestra recorded an instrumental mambo version of "Frenesí" in 1957, featured on the album Latin Satin (RCA Victor). Known for his energetic "mambo king" style, Prado's arrangement emphasized brassy horns, rapid percussion, and danceable rhythms, adapting the song's Latin roots into a high-energy mambo that popularized the genre in the United States. Linda Ronstadt revived "Frenesí" in the 1990s as the title track of her 1992 Elektra Frenesí, fusing pop sensibilities with Latin influences in a bilingual format. Produced by Ronstadt with elements from the band Mariachi Vargas de Tecalitlán, the recording blended her clear vocals with traditional instrumentation like trumpets and violins, creating a vibrant pop-Latin hybrid that earned a Grammy Award for Best Tropical Latin Album. This version underscored Ronstadt's exploration of her Mexican heritage, bridging contemporary pop accessibility with authentic rhythms. Ray Charles infused "Frenesí" with soulful energy in a live recording captured on May 29, 1959, at Atlanta's and released on his 1960 Atlantic album . Backed by his orchestra, Charles delivered an extended, improvisational take that incorporated gospel-tinged harmonies and bluesy phrasing, extending the piece to over five minutes with dynamic call-and-response elements from his vocal group. This soul adaptation highlighted Charles's ability to reimagine standards through rhythmic drive and vocal passion, marking a departure from the song's lighter pop origins. Natalie Cole included a Spanish-language vocal version of "Frenesí" on her 2013 album Natalie Cole en Español (Verve Music Group), her final studio release before her death in 2015. Produced with a focus on and influences, Cole's interpretation featured smooth orchestration and her emotive phrasing, paying homage to the song's origins while incorporating modern production elements. The album received critical acclaim for bridging her father's legacy with contemporary Latin sounds.

Cultural Impact

In Media and Literature

Artie Shaw's recording of "Frenesi" features prominently in the soundtrack of the 1980 film , directed by , where it underscores several intense boxing scenes, enhancing the rhythmic and emotional tension of the matches. In literature, the song inspires a character name in Thomas Pynchon's 1990 novel , with protagonist Frenesi Gates embodying a whirlwind of political , betrayal, and personal turmoil that reflects the chaotic energy implied by the title's Spanish root meaning "." During , U.S. Army Air Forces pilot Thomas L. Hayes Jr. named his P-51D Mustang "Frenesi" in homage to the popular tune, marking a personal tribute amid the .

Legacy and Influence

"Frenesí" has been established as a enduring within the , appearing in numerous collections of classic jazz repertoire that highlight its rhythmic allure and melodic structure. Its adaptation from a Mexican piece to a swing-era hit by in 1940 played a pivotal role in fostering Latin-jazz fusion during the and , blending Afro-Cuban rhythms with arrangements to influence subsequent artists in the genre. The song experienced a notable revival in the 1990s through Linda Ronstadt's 1992 Grammy-winning album Frenesí, which featured the track as its title song and emphasized bolero interpretations, thereby bridging generational gaps in Latin music appreciation and encouraging bilingual recordings among contemporary performers. Culturally, "Frenesí" symbolized the U.S.-Latin American cultural exchange during World War II, aligning with the Roosevelt administration's Good Neighbor Policy that promoted hemispheric solidarity through popular music and film. This era's popularity contributed to the song's widespread adoption, resulting in over 276 recorded versions worldwide, underscoring its lasting appeal across genres and languages.

References

  1. https://secondhandsongs.com/work/121999
  2. https://artieshaw.com/songs/frenesi/
  3. https://adp.library.ucsb.edu/index.php/talent/refer/49782
  4. https://www.allmusic.com/artist/alberto-dominguez-mn0000612015
  5. https://musicbrainz.org/artist/1b335dfa-4d88-41d0-9885-fdbbaf83e461
  6. https://frontera.library.ucla.edu/tag/alberto-dominguez
  7. https://www.discogs.com/artist/845399-Alberto-Dominguez
  8. https://secondhandsongs.com/performance/1055942/all
  9. https://adp.library.ucsb.edu/index.php/talent/refer/16968
  10. https://secondhandsongs.com/work/121999/versions
  11. https://www.hithistory.de/labelsr.html?id=1413
  12. https://genius.com/Julie-london-frenesi-lyrics
  13. https://secondhandsongs.com/work/216477/all
  14. https://songbpm.com/%40artie-shaw/frenesi
  15. https://www.45cat.com/78rpm/record/b10994
  16. https://tsort.info/music/c1p6fn.htm
  17. https://publishing.cdlib.org/ucpressebooks/view?docId=ft1h4nb0g0&chunk.id=d0e12136&toc.id=&brand=ucpress
  18. https://www.upi.com/Odd_News/2002/03/03/Jazz-Notes-Goings-on-in-the-jazz-world/16311015140600/
  19. https://www.colorado.edu/amrc/sites/default/files/attached-files/artie_shaw_1940-1941_0.pdf
  20. https://www.youtube.com/watch?v=3_gTcIO48bs
  21. https://www.discogs.com/release/25406479-Artie-Shaw-And-His-Orchestra-Adios-Mariquita-Linda-Frenesi
  22. https://adp.library.ucsb.edu/index.php/mastertalent/detail/103638/Shaw_Artie
  23. https://www.musicvf.com/song.php?title=Frenesi%2Bby%2BArtie%2BShaw%2Band%2BHis%2BOrchestra&id=3027
  24. https://www.npr.org/2011/04/04/95550189/artie-shaw-the-reluctant-jazz-star
  25. https://davesmusicdatabase.blogspot.com/2011/12/artie-shaws-frenesi-hit-1-december-21.html
  26. https://www.grammy.com/awards/hall-of-fame-award
  27. https://adp.library.ucsb.edu/index.php/mastertalent/detail/102013/Miller_Glenn
  28. https://musicbrainz.org/release/b41dc8d5-2693-42eb-99a7-c2a7e44a35f1
  29. https://www.youtube.com/watch?v=17r_drE5jo8
  30. https://secondhandsongs.com/performance/192610/all
  31. https://www.discogs.com/release/8087172-The-Dave-Brubeck-Quartet-Mamselle-Frenesi
  32. https://ontherecord.co/2021/08/07/julie-london-julie-is-her-name-what-to-listen-for/
  33. https://www.allmusic.com/album/latin-in-a-satin-mood-mw0000315593
  34. https://www.discogs.com/release/31206079-Perez-Prado-And-His-Orchestra-Latin-Satin
  35. https://www.allmusic.com/album/frenesi-mw0000082224
  36. https://raycharlesvideomuseum.nl/frenesi-with-ray-charles-sextet/
  37. https://www.imdb.com/title/tt0081398/soundtrack/
  38. https://www.americanairmuseum.com/archive/aircraft/44-13318
  39. https://toflyandfight.com/p-51d-profile-frenesi/
  40. https://www.halleonard.com/product/310830/jazz-standards
  41. https://latinjazznet.com/reviews/albums/essentials/linda-ronstadt-frenesi/
  42. https://dokumen.pub/the-havana-habit-9780300168761.html
Add your contribution
Related Hubs
User Avatar
No comments yet.