When America entered World War II, many of the nation’s top entertainers answered the call to serve, bringing morale-boosting music to troops scattered across the globe. Among the most ambitious of these was Artie Shaw, one of the era’s most celebrated bandleaders, known for his virtuoso clarinet playing and a string of hits including “Begin the Beguine” and “Frenesi.” But unlike many of his peers who performed in relative comfort on the home front or in USO circuits, Shaw chose a grittier path- trading in civilian stardom to lead one of the most daring musical missions of the war.
E&E News writer/reporter Michael Doyle’s compelling new book, Nightmare in the Pacific: The World War II Saga of Artie Shaw and His Navy Band, offers a long-overdue deep dive into Shaw’s remarkable, if turbulent, wartime journey. Drawing on an expansive archive of Navy records, personal correspondence, and historical accounts, Doyle pieces together the story of “Shaw’s Rangers”- an unruly but musically unmatched ensemble that accompanied Shaw across the South Pacific.
From Swing Stage to War Zone
Shaw’s decision to enlist in the Navy in 1942 was characteristically bold. At the time, he was at the height of his career- one of the highest-paid musicians in America and a bonafide musical icon. But he was also famously restless, disillusioned with the music industry and hungry for meaning. When he joined the Navy, he didn’t just sign up to play for officers’ clubs; he wanted to be in the thick of things.
Initially stationed at Treasure Island, San Francisco, Shaw began assembling a group of fellow musicians- some known from his civilian band, others plucked from different corners of the music world. Shaw’s Rangers, as they became known, were as colorful as they were talented. “Unmatched musically, though never exactly squared away,” writes Doyle, hinting at the band’s sometimes chaotic nature. Their first major assignment took them to Pearl Harbor, where they served as the house band at a Navy enlisted club- a relatively cushy post that gave them a chance to rehearse, perform nightly, and settle into military life.
But the easy days didn’t last. After a few months, Shaw’s unit was assigned to tour active war zones- an 11-month odyssey that would see them perform in the far reaches of the South Pacific, from New Caledonia to New Hebrides and, most memorably, Guadalcanal.
Swinging Through Shellfire
Doyle’s Nightmare in the Pacific captures in vivid detail the dramatic and often surreal nature of these tours. Shaw and his band performed on makeshift stages, in open airfields, and on the decks of battleships- sometimes with Japanese bombers droning in the distance. They shared rations with Marines, braved tropical disease, and once played a show just hours before a Japanese bombing run on Guadalcanal.
It was at Guadalcanal, Doyle explains, that the cracks began to show in Shaw’s steely demeanor. The intensity of the environment- constant humidity, the threat of attack, and the sheer psychological strain- took a toll. The bandleader, who had always struggled with anxiety and perfectionism, suffered a serious mental breakdown and was eventually evacuated. Diagnosed with battle fatigue (what we now understand as PTSD), Shaw was sent back to the United States and honorably discharged.
Yet the story didn’t end there.
The Band Plays On
Ironically, Shaw’s departure marked a new peak for the Navy band he had assembled. Under the leadership of others, Shaw’s Rangers continued to tour the Pacific, delivering high-energy swing to troops starved for a taste of home. They became a musical lifeline in the war’s darkest moments- reminding soldiers of what they were fighting for, and offering brief, joyful respite from the horrors of war.
Doyle’s book deftly navigates both the musical achievements and the psychological cost of Shaw’s wartime efforts. “This is not a sanitized story,” notes one reviewer in Military History Quarterly. “Doyle gives us the swing, the sweat, and the shellshock. It’s a story of genius under fire- literally.”
Other critics have praised Nightmare in the Pacific as “a rare blend of biography, battlefield reportage, and music history.” The book doesn’t flinch from the complexities of Shaw’s character- his mood swings, his demanding nature, his perfectionism- but it also portrays a man who, when tested, gave everything he had in the service of something greater than himself.
A Complicated Legacy
Artie Shaw returned from the war a changed man. He rarely spoke about his Navy service in later years, though it was clear the experience had left deep scars. He resumed performing, though his career would never again reach the heights it had before the war. Still, his wartime contributions stand as a testament to the power of music- and to one man’s commitment to bringing that power to the front lines, even at great personal cost.
Today, Shaw’s story serves as a poignant counterpoint to the glamour of swing-era celebrity. As Nightmare in the Pacific makes clear, Shaw didn’t just play for the troops- he suffered alongside them. His clarinet was more than an instrument; it was a weapon of morale, wielded with courage and brilliance across some of the war’s most dangerous terrain.
For fans of swing, students of history, and anyone interested in the strange crossroads of art and war, Doyle’s book is a must-read- an unforgettable journey into music, the madness of war, and the Pacific theater’s untold stories.
The music of clarinetist/leader/composer Artie Shaw can be heard on Swing Street Radio.
Craig Roberts writes the “Hot Big Band News” column for Swing Street Radio, and on occasion claims to have been Harry James’ Bat Boy.
