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.
My Reverie
Artie Shaw Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I can see that this love was meant for me
Only a poor fool never schooled in the whirlpool
Of romance could be so cruel as you are to me
My dreams are as worthless as tin to me
Without you life will never begin to be
So love me as I love you in my reverie
Make my dream a reality
Come to me in my reverie
Our love is a dream, but in my reverie
I can see that this love was meant for me
Only a poor fool never schooled in the whirlpool
Of romance could be so cruel as you are to me
My dreams are as worthless as tin to me
Without you life will never begin to be
So love me as I love you in my reverie
Make my dream a reality
Let's dispense with formality
Come to me in my reverie
The lyrics to Artie Shaw's song, 'My Reverie' speak about a love that exists purely in the dream world. The singer is aware that their love is like a dream, not grounded in reality, but in their reveries, they can see the love was always meant for them. However, the subject of their love seems to be cruel, not reciprocating the same feelings. The singer believes only a fool who has never experienced love can be so cruel. Their dreams without their love are worthless, and life will never truly begin for them without their love. In the end, the singer hopes that the subject of their love will come to them in their reverie and make their dream a reality, and they can dispense with formality and express their love openly.
The lyrics of 'My Reverie' may have been written to reflect the era in which it was created. During the early 1940s, many people were struggling emotionally due to the effects of World War II. Love and emotions could have been a way to escape from the harsh realities of life. The song may have been a way for people to escape into their dreams and find solace in their romantic fantasies.
Line by Line Meaning
Our love is a dream, but in my reverie
Although our love feels like a dream, when I'm lost in my thoughts, I can see that it's meant to be.
I can see that this love was meant for me
Deep down I know that we are meant to be together and our love is special.
Only a poor fool never schooled in the whirlpool
Someone who has never experienced the ups and downs of romance could be cruel like you are to me.
Of romance could be so cruel as you are to me
You are being cruel to me because you don't understand the complexities of love and relationships.
My dreams are as worthless as tin to me
Without you, my dreams and aspirations mean nothing to me.
Without you life will never begin to be
You are essential to my happiness, and without you, life has no real meaning or purpose.
So love me as I love you in my reverie
Please love me just as much as I love you when I'm lost in thought.
Make my dream a reality
Please make my dream of being with you a reality.
Let's dispense with formality
Let's stop worrying about social norms and just be together.
Come to me in my reverie
Please join me in my daydreams and let us be together forever.
Writer(s): CLINTON LARRY, DEBUSSY CLAUDE ACHILLE
Contributed by Makayla R. Suggest a correction in the comments below.
Mike Zirpolo
For the story behind this recording, go to swingandbeyond.com.