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.
Yesterdays
Artie Shaw Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Days I knew as happy
Sweet sequester days
Olden days, golden days
Days of mad romance and love
Then gay youth was mine, truth was mine
Joyous free and flaming life
Sad am I, glad am I
For today I’m dreaming of yesterdays
Yesterdays, yesterdays
Days I knew as happy
Sweet sequester days
Olden days, golden days
Days of mad romance and love
Then gay youth was mine, truth was mine
Joyous free and flaming life
Forsooth, was mine
Sad am I, glad am I
For today I’m dreaming of yesterdays
Yesterdays, yesterdays
Days I knew as happy
Sweet sequester days
Olden days, golden days
Days of mad romance and love
Then gay youth was mine, truth was mine
Joyous free and flaming life
Forsooth, was mine
Sad am I, glad am I
For today I’m dreaming of yesterdays
Yesterdays
Artie Shaw's song Yesterdays is a poignant and nostalgic tribute to the bittersweet memories of the past. The repetition of the word 'yesterdays' in the opening line creates a sense of longing and reminiscence, suggesting that the singer is looking back on a happier time in their life. The lyrics 'sweet sequester days' and 'olden days, golden days' evoke a sense of idyllic innocence and a time when life was uncomplicated and carefree. The reference to 'mad romance and love' suggests that the singer is recalling a passionate and intense relationship.
The second verse continues the theme of nostalgia, with the lyrics 'gay youth was mine, truth was mine, joyous free and flaming life, forsooth was mine.' This suggests that the singer is recalling a time of youthful exuberance, when life was full of promise and possibility. However, the repetition of the line 'sad am I, glad am I' suggests that the singer is conflicted, torn between the happiness of the past and the uncertainty of the present.
By repeating the chorus three times, the song emphasizes the importance of memory and the power of the past to shape the present. The singer's yearning for the 'yesterdays' of their youth speaks to our universal longing for a simpler time, when life was full of hope and possibility.
Line by Line Meaning
Yesterdays, yesterdays
The nostalgic recalling of the past days of happiness.
Days I knew as happy
Days filled with joy and contentment that the singer was aware of and appreciated.
Sweet sequester days
Days of isolation and withdrawal that were enjoyable for the singer.
Olden days, golden days
Days of the past that were particularly special and valuable.
Days of mad romance and love
Days when the singer experienced intense passion and affection with another person.
Then gay youth was mine, truth was mine
The singer felt happy, carefree, and honest during their youth.
Joyous free and flaming life
The singer's life was filled with excitement, passion, and joy during their youth.
Forsooth, was mine
Indeed, the singer's youth was theirs to claim and cherish.
Sad am I, glad am I
The singer is experiencing conflicting emotions of sadness and happiness when recalling the past.
For today I’m dreaming of yesterdays
The singer is yearning for the happiness and excitement they felt in the past.
Lyrics © Universal Music Publishing Group, BMG Rights Management
Written by: JEROME KERN, OTTO HARBACH
Lyrics Licensed & Provided by LyricFind
Warren Barnes
Fantastic arrangement of a great old tune! AS loved minor keys, and he featured many arrangements in them. Thank you for posting this.
Victor Miranda.
LO MÁXIMO DEL CLARINETE!!!!!!!!!