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.
Moon Glow
Artie Shaw Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It must have been moonglow that led me straight to you
I still hear you sayin', "Dear one, hold me fast"
And I keep on prayin', "Oh Lord, please let this last"
We seemed to float right through the air
Heavenly songs seemed to come from everywhere
I'll always remember, that moonglow gave me you
It must have been moonglow, way up in the blue
It must have been moonglow that led me straight to you
I still hear you sayin', "Sweet child, hold me fast"
And I keep on prayin', "Oh Lord, please let this last"
We seemed to float right through the air
Heavenly songs seemed to come from everywhere
And now when there's moonglow, way up in the blue
I'll always remember, that moonglow gave me you
The lyrics of Artie Shaw's "Moon Glow" depict a love that feels like it was meant to be. The singer suggests that it was the light of the moon, shining bright in the sky, that directed them to the love of their life. The chorus repeats this idea, emphasizing the significance of this moment that brought the two lovers together. The first verse implies that they felt an immediate connection with each other, as if the universe had brought them together for a reason. The singer recalls the words their partner spoke to them, asking to be held closely, and the deep sense of longing they had to make that moment last forever.
The second verse continues to describe the surreal experience they shared. The couple seemed to float in the air, as if they were surrounded by a magical force that manifested music from anywhere and everywhere around them. The effect was so profound that the memory stayed with the singer forever, triggering it every time they see the moon again. The song ends with a final reminder of the moon as the catalyst for their love, emphasizing the idea that some things are just meant to be.
Line by Line Meaning
It must have been moonglow, way up in the blue
The singer believes that the moonlight shining in the sky has played a part in bringing them to the person they are with.
It must have been moonglow that led me straight to you
The singer is sure that the moonlight played a key role in them meeting and finding their way to the person they are with.
I still hear you sayin', "Dear one, hold me fast"
The singer remembers a time when their partner asked them to hold onto them tightly, and still hears their voice in their mind.
And I keep on prayin', "Oh Lord, please let this last"
The artist is afraid of losing their partner and prays that their relationship will endure.
We seemed to float right through the air
The artist feels as though they were weightless and almost flying while enjoying time with their partner.
Heavenly songs seemed to come from everywhere
The singer was moved by the beauty and wonder of their surroundings while with their partner.
And now when there's moonglow, way up in the blue
The singer associates the moonlight with the memory of being with their partner.
I'll always remember, that moonglow gave me you
The artist will always attribute their meeting and relationship with their partner to the power of the moonlight shining in the sky.
Lyrics © SHAPIRO BERNSTEIN & CO. INC.
Written by: EDDIE DELANGE, IRVING MILLS, W HUDSON
Lyrics Licensed & Provided by LyricFind
@rosskoost5519
Swing time music I ‘m 85 , …..grew up in Brisbane in the 40es the US submarine base was just down the road at the end of our street……the sub mothership showed movies on a big screen on the deck and the ships band would play all the latest swing time. It was a local treat to be taken down to Dalgety wharf to sit on the loading dock across the road and enjoy the sight and sound….still close my eyes and picture the these times when I hear swing music
@JosieN-ns8rm
Wonderful memory!
@kirsteni.russell5903
To my ears, big band sound never gets old. Some rock music never gets old either, but that's hit and miss for me. But if you walk into a swanky restaurant with a dream date, which band would you prefer? That's a personal choice, but my preference is still big band. Sure, it does have associations with times before my time, but my parents enjoyed it, and they danced to it, and I've seen movies that feature it, some in my childhood. So, to my ears, big band music has a down-home sound that still sounds fresh and upbeat.
@geewhizz1970
That is a far out and funky observation 🤓
@currentbatches6205
"But if you walk into a swanky restaurant with a dream date, which band would you prefer? a personal choice, but my preference is still big band'
I like a lot of rock, some C/W, most of what is now called Jazz assumes the musicians possess a knowledge of 'music' which is beyond the ken of the audience. But the dream date would also prefer big bands.
Cheek-to-cheek, full-contact dating.
@KaraLey98
Exactly the same here!! This is the real thing!!🎶
@MaddieMoore654
I would love to walk into a swanky restaurant with Glenn Miller or Benny Goodman playing. I feel like that would make the evening perfect
@yishuka7968
@@MaddieMoore654 Same here, they always manage to create the most beautiful atmosphere.
@dubemccready7438
I am a 75 yr old great grandmother & yes grew up through the era of greatness & this wonderful Jazzy music.- also these musso's played all genre's namely boogie woogie. Artie Shaw was one of these band leaders who belonged to awesome music.
@None-zc5vg
Shaw referred to his output as "music for morons".