Calloway was a master of energetic scat singing and led one of the United States' most popular big bands, Cab Calloway and his Orchestra, from the start of the 1930s through to the late 1940s. Calloway's band featured performers including trumpeters Dizzy Gillespie and Doc Cheatham, saxophonists Ben Webster and Chu Berry, New Orleans guitar ace Danny Barker and bassist Milt Hinton. Calloway continued to perform until his death in 1994 at the age of 86.
Calloway was born to a middle-class family in Rochester, New York, and lived there until 1918. He later lived in Baltimore, Maryland. His father, Cabell Calloway II, was a lawyer, and his mother, Martha Eulalia Reed, was a teacher and church organist. His parents recognised their son's musical talent, and he began private voice lessons in 1922. He continued to study music and voice throughout his formal schooling. Despite his parents' and vocal teachers' disapproval of jazz, Calloway began frequenting and eventually performing in many of Baltimore's jazz clubs, where he was mentored by drummer Chick Webb and pianist Johnny Jones.
After graduating from high school, Calloway joined his older sister, Blanche, in a touring production of the popular black musical revue Plantation Days (Blanche Calloway herself went on to become an accomplished bandleader before her brother did, and he often credited his inspiration to enter show business to her). Calloway attended Lincoln University, Pennsylvania , and left in 1930 without graduating.
When the tour ended in Chicago in the autumn, Cab decided to remain in Chicago with his sister, who had an established career as a jazz singer in that city. His parents had hopes of their son becoming a lawyer like his father, so Calloway enrolled in Crane College. His main interest, however, was in singing and entertaining, and he spent most of his nights at the Dreamland Cafe, the Sunset Cafe, and the Club Berlin, performing as a drummer, singer, and emcee. At the Sunset Cafe he met and performed with Louis Armstrong who taught him to sing in the scat style.
The Cotton Club was the premier jazz venue in the country, and Cab Calloway and his Orchestra (he had taken over a brilliant but failing band called "The Missourians" in 1930) were hired as a replacement for the Duke Ellington Orchestra while they were touring. Calloway quickly proved so popular that his band became the co-house band with Ellington's, and he and his group began touring nationwide when not playing at the Cotton Club. Their popularity was greatly enhanced by the twice-weekly live national radio broadcasts on NBC at the Cotton Club. Calloway also appeared on Walter Winchell's radio program and with Bing Crosby in his show at the Paramount Theatre. As a result of these appearances, Calloway, together with Ellington, broke the major broadcast network colour barrier.
Unlike many other bands of comparable commercial success, Calloway's gave ample soloing space to its lead members, and, through the varied arrangements of Walter 'Foots' Thomas, provided much more in the way of musical interest.
In 1931, he recorded his most famous song, "Minnie the Moocher". That song, together with "St James Infirmary Blues" and "The Old Man of the Mountain", were performed for the Betty Boop animated shorts Minnie the Moocher, Snow White, and The Old Man of the Mountain respectively. Through rotoscoping, Cab not only gave his voice to these cartoons but his dance steps as well. Cab took advantage of this and timed his concerts in some communities with the release of the films in order to make the most of the attention. As a result of the success of "Minnie the Moocher" he became identified with its chorus, gaining the nickname "The Hi De Ho Man". He also performed in a series of short films for Paramount in the 1930s (Calloway and Ellington were featured on film more than any other Jazz Orchestra of the era). In 1943 he appeared in the high-profile 20th Century Fox musical film, Stormy Weather.
In his later career, Calloway became a popular personality, appearing in a number of films and stage productions that utilised both his acting and singing talents. In 1952, he played the prominent role of Sportin' Life in a production of the Gershwin opera Porgy and Bess. Another notable role was Yeller in The Cincinnati Kid (1965). In 1967 Calloway co-starred as Horace Vandergelder in an all-black revival of Hello, Dolly! (even though the original production was still running) starring Pearl Bailey. This was a major success, and led to a cast recording released by RCA. In 1973-1974 he was featured in an unsuccessful Broadway revival of The Pajama Game.
Calloway attracted renewed interest in 1980 when he appeared as a supporting character in the film The Blues Brothers, performing "Minnie the Moocher", and again when he sang "The Jumpin' Jive" with the Two-Headed Monster on Sesame Street. This was also the year in which the cult film Forbidden Zone was released, which included rearrangements and parodies of Cab Calloway songs written by Danny Elfman, a Calloway fan.
On 18th November 1994 Calloway died, having suffered a major stroke six months earlier. In 1998, The Cab Calloway Orchestra (directed by Cab's grandson C. "CB" Calloway Brooks) was formed to honour Cab Calloway's legacy nationally and internationally.
Moon Glow
Cab Calloway 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 to Cab Calloway's "Moon Glow" describe a magical and almost otherworldly moment where the singer seems to have been led to their lover by the light of the moon. The first two lines suggest that the moon itself played an active role in bringing the couple together - "It must have been moonglow, way up in the blue / It must have been moonglow that led me straight to you." The singer then recalls their loved one saying "Dear one, hold me fast" as they seem to float through the air, surrounded by heavenly music.
The chorus repeats the idea that the moonglow was responsible for the couple's connection, with the added sentiment that the memory of that moment will always be with the singer - "And now when there's moonglow, way up in the blue / I'll always remember, that moonglow gave me you." The lyrics are dreamy and romantic, with the imagery of floating and heavenly music adding to the feeling of otherworldliness.
Overall, "Moon Glow" is a love song that uses the idea of a moonlit night to create a sense of enchantment and magic around the moment of falling in love. The lyrics capture a sense of wonder and fixate on the idea that something extraordinary must have been responsible for bringing the singer and their lover together.
Line by Line Meaning
It must have been moonglow, way up in the blue
The song starts by attributing the meeting of the two people to 'moonglow', an ethereal quality, high up among the clouds in the sky.
It must have been moonglow that led me straight to you
The person singing believes that it was this same quality that allowed them to find their significant other.
I still hear you sayin', "Dear one, hold me fast"
The memory of their loved one still echoes in their minds and they can hear their voice saying, "Dear one, hold me fast".
And I keep on prayin', "Oh Lord, please let this last"
The singer is desperate for their time together to continue and hopes that their love will never falter. They pray to God to make this possible.
We seemed to float right through the air
The atmosphere was so powerful that it felt like the two individuals were weightless, almost as though they were floating.
Heavenly songs seemed to come from everywhere
The surroundings were so beautiful and tranquil that the singer felt like they were surrounded by angels singing softly in the distance.
And now when there's moonglow, way up in the blue
Whenever the singer sees the same moonglow that brought them together, they are reminded of their love.
I'll always remember, that moonglow gave me you
The song concludes by stating that the moonglow was responsible for the two of them meeting and the singer will always remember that it brought them together.
Lyrics © SHAPIRO BERNSTEIN & CO. INC.
Written by: EDDIE DELANGE, IRVING MILLS, W HUDSON
Lyrics Licensed & Provided by LyricFind
William Schoemann
How sublime. I love Cab's swinging sassy vocal numbers, but this shows less-known ability and sensitivity.
Verdant
this is one of many songs i had downloaded on a small walkman id use when i would walk home from school. walking through train yards and across rivers. Great memories
dtenner
What a great musician Eddie Barefield was! For once, Cab lets him take an extended solo on alto sax, with very good results.
Alan O'Neill
I think this is the best arrangement of a great song
Thomas .Hennessey
Apparently tossed off at the end of a session and the reed players had to go back and relearn their improvided soloes because the record bcame so popular, audiences wanted to hear it as recorded. One rare chance for the band to extended itself with no Cab vocal. Very nice
Walter Gray
This is so good !!!
Thank you for sharing.
The Minecraft Haag
Great versions of "Moonglow" also done by Joe Venuti, Gaye Knight and obviously, Benny Goodman quartet
Eleanor Sopwith
And Django!
Carlos González Martínez
yes, and billy Holliday, but this is probabily the best...this is the only one that make a teardrop in my eye every time i hear it. the tenor and the clarinet are incredible
MrOoppoddoo
Love. Thank you for posting.