He was born in New York City (but grew up in New Haven, Connecticut) and began learning the saxophone when he was 15 and by age 16, had begun to tour with a band. He reached Hollywood the first time, as a sideman with Irving Aaronson's band in 1931, performing at the famous Orange Blossom Room (site of the first Academy Awards ceremony in 1929). Returning to New York City in1932, he became a highly in-demand session musician, working for example as one of just a handful of accompanists to Bing Crosby's first signature radio show for William S. Paley's already powerful and influential CBS radio network. Ultimately, Artie (who was known strictly as "Art" Shaw until his fortuitous Summer, 1938 contract with RCA Victor records' Bluebird label commenced) organized and led five, full-time touring orchestras that were all extremely popular -save the last, from 1949, with its be-bop oriented book. Ironically, that final Shaw-led big band (populated with players like Al Cohn), is considered by most jazz critics to have been Artie's best. With time out to lead a Navy service band (in the Pacific combat theater) during WWII, Shaw's actual big band- leading career lasted less than a decade overall -yet, it was a remarkably productive one, populated with some fourteen "Gold" records. These included such mega-hits as "Begin the Beguine", "Stardust", "Frenesi", "Moonglow", "Temptation", "Dancing In The Dark" and "Summit Ridge Drive" -the latter by his famous quintet billed as the Gramercy 5.
Shaw was known for being an innovator in the big band idiom, pioneering strings with jazz and using unusual instrumentations. His Summer, 1935 piece "Interlude in B-flat" was one of the earliest examples of what would be later dubbed "third stream". In 1938 he convinced Billie Holiday to be his band's vocalist, becoming the first white bandleader to hire a full-time black female singer. This 1938-1939 orchestra became phenomenonally successful and appeared in the movie "Dancing Co-ed" which also featured one of his future wives, Lana Turner, in the cast. Artie's clarinet playing, had by now reached a level that was arguably the greatest in jazz, easily rivaling that of Benny Goodman. Longtime Duke Ellington clarinetist Barney Bigard, himself a highly talented musician -cited Shaw (in 1940) as his "favorite" clarinet player. Literally abandoning his famous 1938-1939 band at the absolute peak of its' fame and earning power (Artie, just himself alone pulling down more than $10K per week) in late November, 1939, Shaw "abdicated" to Acapulco, Mexico. Returning to the U.S. he organized an entirely new orchestra, with full string section in the Summer of 1940. A truly stellar aggregation, it lasted until mid-1941, featuring stars Billy Butterfield, Johnny Guarneiri, Nick Fatool and Ray Conniff as principal arranger. This outfit can be prominently seen in the RKO film "Second Chorus" starring Fred Astaire and Paulette Goddard. The final pre-war Shaw band, started in late, 1941, had Davey Tough and Hot Lips Page and big hits on St. James Infirmary Blues and Blues In The NIght. Artie broke this outstanding unit up shortly after Pearl Harbor so he could "enlist" in the Navy -refusing an offered commission. Back from the Navy, Shaw put together a new band that featured Roy Eldridge and an ambitious library stocked with arrangements by Eddie Sauter, Buster Harding, Ray Conniff and others. Hit records for this band included "Little Jazz" and "S'Wonderful" and by now Artie was married to Ava Gardner. His final public performances (as a clarinetist) took place in 1954, including with a sublime quartet in an extended Las Vegas booking. Apparently, he last picked up and played his fabled clarinet in about 1960 at his beach house in Spain (as recounted in final wife actress Evelyn Keyes' autobiography) and resisted all lucrative offers to return to the stage until finally fielding a "ghost" band under the highly capable aegis of outstanding clarinetist Dick Johnson in 1985. For about the first year, Artie often appeared on stage with this very fine orchestra at certain, prestigious bookings, but soon tired of the "grind" -and not to Dick Johnson's dismay. This now true "ghost" band is still appearing during Summer seasons (with much of the original Shaw "books"), principally in the New England area (Johnson lives in Boston) and is well worth seeing. Although he had more wives (8) than bands, Artie fell one wife short of Charlie Barnet's record (for a famous bandleadrer) of nine.
Changing My Tune
Artie Shaw Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
December was battling with June
But on this bright afternoon
Guess I'll be changing my tune
Kept on despairing beyond any caring
If I jumped out of a balloon
But I'm arranging from now
To be changing my tune
At last the stars are bright and shiny
It's a human world once more
Yesterday's troubles are tiny
What was I worried for?
Wanted a permit to make me a hermit
To grumble and glare at the moon
But I'm arranging from now
To be changing my tune
At last the stars are bright and shiny
It's a human world once more
Yesterday's troubles are tiny
What was I worried for?
No more resentment, I'm full of contentment
Afloat on a dreamy lagoon
And I'm arranging from now
To be changing my tune
The lyrics to Artie Shaw and His Orchestra's song Changing My Tune convey a sense of newfound hope and optimism after a period of despair and a desire to move forward with a different attitude. The line "castles were crumbling and daydreams were tumbling" suggests that previous plans and aspirations have fallen apart, while "December was battling with June" connotes a sense of inner turmoil, confusion, and conflict. However, despite these struggles, the singer announces that they will be "changing my tune" on this "bright afternoon."
Throughout the rest of the song, the lyrics continue to express a sense of renewal and positivity. The singer declares that "at last the stars are bright and shiny" and that "yesterday's troubles are tiny." They no longer desire to be a hermit or to dwell on negativity, and instead feel "full of contentment" and are "afloat on a dreamy lagoon." Ultimately, the song seems to suggest that no matter how difficult things may seem, it is always possible to change one's attitude and outlook on life.
Line by Line Meaning
Castles were crumbling and daydreams were tumbling
The world seemed to be falling apart and everything he hoped for was failing
December was battling with June
Confusion and chaos abound, with no clear path forward
But on this bright afternoon
Suddenly, a moment of clarity and hope emerges
Guess I'll be changing my tune
He decides to shift his attitude and approach to life
Kept on despairing beyond any caring
He had been in such a state of despair that he didn't even care anymore
If I jumped out of a balloon
He couldn't imagine anything that would be worse than his current place in life
But I'm arranging from now
He is making a plan to turn things around
To be changing my tune
He is determined to shift his perspective and find happiness
At last the stars are bright and shiny
Optimism and positivity are starting to shine through
It's a human world once more
He is starting to feel like he is a part of the world again
Yesterday's troubles are tiny
Problems that seemed insurmountable before now feel insignificant
What was I worried for?
He begins to question why he was so wrapped up in his problems before
Wanted a permit to make me a hermit
He had considered isolating himself completely from the world
To grumble and glare at the moon
He wanted to wallow in his despair and be angry at the world for his problems
No more resentment, I'm full of contentment
He is letting go of his bitterness and finding happiness in the present moment
Afloat on a dreamy lagoon
He feels like he is floating on a peaceful, idyllic island
And I'm arranging from now
He is taking control of his life and making positive changes
To be changing my tune
He is committed to changing his outlook and finding joy in life
Lyrics © RALEIGH MUSIC PUBLISHING
Written by: GEORGE GERSHWIN, IRA GERSHWIN
Lyrics Licensed & Provided by LyricFind