9.

Década del Jazz de 1930

Historia Discográfica I
Contents

1 Swing era 1
1.1 Musical Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.1 Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.2 Rhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.1.3 Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.1.4 Arranging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.2 Songs from the swing era . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

2 Fletcher Henderson 5
2.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
2.1.1 Benny Goodman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
2.1.2 Contributions to jazz and the Harlem Renaissance . . . . . . . . . . . . . . . . . . . . . . . . 6
2.1.3 Band members timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2.2 Selected discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2.2.1 As arranger for Benny Goodman Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2.4 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

3 Don Redman 9
3.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3.2 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3.3 Don Redman and his Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3.4 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.5 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.5.1 As sideman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.5.2 As leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

i
ii CONTENTS

4 Benny Goodman 11
4.1 Early years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
4.2 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
4.2.1 Catalyst for the swing era . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
4.2.2 Carnegie Hall concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
4.2.3 Charlie Christian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4.2.4 Beyond swing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4.3 Influence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
4.4 John Hammond and Alice Goodman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
4.5 Later years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
4.6 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
4.6.1 Compilation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
4.7 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
4.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

5 Teddy Wilson 23
5.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
5.2 Select discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
5.2.1 As leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
5.2.2 As sideman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
5.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
5.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

6 Chick Webb 25
6.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
6.2 Last years and death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
6.3 Disputed year of birth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
6.4 Selected discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
6.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
6.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

7 Tommy Dorsey 27
7.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
7.2 His own band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
7.3 Married life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
7.4 Death and aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
7.5 Number one hits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
7.6 Songs written by Tommy Dorsey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
CONTENTS iii

7.7 Honors and posthumous recognition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

7.8 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
7.9 V-Disc recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
7.10 Filmography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
7.11 Grammy Hall of Fame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
7.12 Noted sidemen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
7.13 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
7.14 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
7.15 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

8 Jimmie Lunceford 35
8.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
8.2 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
8.3 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
8.4 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
8.5 Selected discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
8.5.1 Decca recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
8.5.2 Columbia recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
8.5.3 Majestic recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
8.5.4 The Chronological...Classics series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
8.5.5 CD compilations from different reissue labels . . . . . . . . . . . . . . . . . . . . . . . . . . 37
8.6 Trivia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
8.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

9 Cootie Williams 39
9.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
9.2 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
9.3 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
9.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
9.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

10 Lionel Hampton 41
10.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10.1.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10.1.2 Early career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10.1.3 With Benny Goodman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10.1.4 Lionel Hampton Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10.1.5 Later career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
10.2 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
iv CONTENTS

10.3 Charity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
10.4 Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
10.5 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
10.5.1 Compilations of note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
10.5.2 The Chronological...Classics series . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
10.5.3 Lionel and Gladys Hampton’s GLAD-HAMP RECORDS discography . . . . . . . . . . . . . 45
10.5.4 As sideman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
10.6 Filmography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
10.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
10.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

11 Gene Krupa 47
11.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
11.2 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
11.2.1 Krupa–Rich “drum battles” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
11.3 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
11.4 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
11.5 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
11.6 Compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
11.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
11.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

12 Glenn Miller 51
12.1 Early life and career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
12.2 Success from 1938 to 1942 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
12.2.1 Bluebird Records and Glen Island Casino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
12.2.2 Motion pictures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
12.3 Critical reaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
12.4 Reaction from musical peers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
12.5 Army Air Forces Band: 1942–1944 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
12.6 Disappearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
12.7 Civilian band legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
12.8 Army Air Force band legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
12.9 Posthumous events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
12.10Miller arranging staff and compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
12.11Compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
12.12Band alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
12.13Awards, decorations and honors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
12.13.1 Military awards and decorations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
CONTENTS v

12.13.2 Grammy Hall of Fame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

12.14See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
12.15References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
12.16External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
12.17Text and image sources, contributors, and licenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
12.17.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
12.17.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
12.17.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Chapter 1
Swing era
The swing era (also frequently referred to as the “big band
era”) was the period of time (around 1935–1946) when
big band swing music was the most popular music in the
United States. Though this was its most popular period, the
music had actually been around since the late 1920s and
early 1930s, being played by black bands led by such artists
as Duke Ellington, Jimmie Lunceford, Bennie Moten, Cab
Calloway, and Fletcher Henderson, and white bands from
the 1920s led by the likes of Russ Morgan and Isham Jones.
The era’s beginning is sometimes dated from “the King
of Swing” Benny Goodman’s performance at the Palomar
Ballroom in Los Angeles on August 21, 1935, bringing the
music to the rest of the country. 1930s also became the era
of other great soloists: the tenor saxists Coleman Hawkins,
Chu Berry and Lester Young; the alto saxists Benny Carter
and Johnny Hodges; the drummers Gene Krupa, Cozy Cole
and Sid Catlett; the pianists Fats Waller and Teddy Wil-
son; the trumpeters Roy Eldridge, Bunny Berigan, and Rex
Stewart.[1]
Music experimentation has always been popular in Amer-
ica. The many avenues of black, white, Latin, Ameri-
can, and European music influences merged when Swing
arrived. In 1932, early in the jazz, and the sweet music
styles of the American music scene - they worked on new,
often unheard-of musical arrangements that were empha-
sized toward a more polished song with a bounce. Record-
ings by Isham Jones, the popular jazz/blues bandleader, and
his orchestra which sometimes included Benny Goodman
recorded for RCA Victor. The swing era also was pre-
cipitated by spicing up familiar commercial, popular ma-
terial with a Harlem oriented flavor and selling it via a
white band for a white musical/commercial audience.[2] In
Benny Goodman’s band, the most diversified styles flowed
together: some New Orleans tradition, through Fletcher
Henderson, who arranged for the band; the riff technique of
Kansas City; and the precision and training of many white
musicians. On the other hand, the easy melodic quality and
clean intonation of Goodman’s band made it possible to
“sell” jazz to a mass audience.[3]
The jazz/blues era brought to swing music Louis Arm-
1
strong, Billie Holiday, and by 1938 Ella Fitzgerald. Arm-
strong, who had heavily influenced jazz as its greatest soloist
in the 1920’s when working with both small bands and
larger ones, now appeared only with big swing bands. Other
musicians who rose during this time include Jimmy Dorsey,
his brother Tommy Dorsey, Glenn Miller, Count Basie,
Goodman’s future rival Artie Shaw, and Woody Herman
who departed the Isham Jones band in 1936 to start his own
band. Several factors led to the demise of the swing era: the
recording ban from August 1942 to November 1944 (The
union that most jazz musicians belong to told its members
not to record until the record companies agreed to pay them
each time their music was played on the radio), the ear-
lier ban of ASCAP songs from radio stations, World War
II which made it harder for bands to travel around as well
as the “cabaret tax”, which was as high as 30%, the change
in music taste and the rise of bebop. Though Ellington and
Basie were able to keep their bands together (the latter did
briefly downsize his band; from 1950–1952), by the end
of 1946, most of their competitors were forced to disband,
bringing the swing era to a close. Another factor was the
rise of rock 'n roll. Although rock did not become popu-
lar until the late 1940s, it underlined the end of the swing
era and made any attempts to revive it unlikely and unprof-
itable. It also shifted the defining popular taste away from
jazz-based music for the first time since the early 1920s.
The new jazz which replaced swing, be-bop. was popular
with a select audience as opposed to the larger mass, youth-
based popularity of rock.
1.1 Musical Elements
1.1.1 Beat
The older styles of jazz are grouped together under the
heading “two-beat jazz.” Toward the end of the twenties
the two-beat styles seemed all but exhausted. In Harlem,
and even more in Kansas City, a new way of playing devel-
oped around 1928-29. With the second great exodus of jazz
2 CHAPTER 1. SWING ERA
history - the journey from Chicago to New York – Swing
begins. This is true in general, but as is so often the case in
jazz, there are confusing exceptions. Louis Armstrong (and
some Chicago-style players) were already conversant with
four-beat style in the twenties. On the other hand, Jimmie
Lunceford’s big band at the height of the Swing era em-
ployed a beat that was simultaneously 2/4 and 4/4.[4]
1.1.2 Rhythm
In May 1935, the No. 1 record in the country was Jim-
mie Lunceford’s “Rhythm Is Our Business.” Released a few
months before Benny Goodman triggered the national craze
known as swing, the song offered a foretaste of the com-
ing deluge. “Rhythm is our business/ Rhythm is what we
sell,” Lunceford’s singer declared: “Rhythm is our busi-
ness / Business sure is swell.”[5] If rhythm defined the swing
bands, its foundation lay in the rhythm section: piano, gui-
tar, bass, and drums.
In big bands, these musicians fused into a unified rhythmic
front: supplying the beat and marking the harmonies. Each
of the leading bands presented a distinct, well-designed
rhythmic attack that complemented its particular style. The
rhythm sections of Ellington, Basie, and Lunceford, for ex-
ample, sounded nothing alike. Just as the soloists were
champing at the bit of big-band constraints, rhythm players
were developing techniques and ideas that demanded more
attention than they usually received. In the 1930s, rhythm
instruments made dramatic advances toward the foreground
of jazz. In the process, they helped set the stage for bebop.
1.1.3 Instruments
To help bands adjust to the new groove, major changes were
made in the rhythm section. While the bass drum contin-
ued to play a rock-solid four beat pulse, the tuba, commonly
used in large dance bands of the 1920s, was replaced by
the string bass. During the early years of recording, the
tuba was able to project a clear, huffing sound. But the
string bass had always been a specialty of New Orleans, and
many players, including Wellman Braud with Duke Elling-
ton’s band, showed that the instrument had a special per-
cussive flavor when the strings were given a pizzicato “slap”
(plucked rather than bowed). Change came gradually in the
late 1920s, once word had gotten around about how well the
string bass worked; many tuba players realized that they’d 1.1.4
better switch instruments or lose their jobs.
The banjo, with its loud and raucous tone, was replaced with
the guitar, which provided a more subtle and secure pulsa-
tion (chunk-chunk) in the foundation rhythm. As the saying
went, the guitar was more felt than heard. Listeners felt the
combined sound of bass, guitar, and drums as a sonic force
that pushed through cavernous dance halls. “If you were on
the first floor, and the dance hall was upstairs,” Count Basie
remembered, “that was what you would hear, that steady
rump, rump, rump, rump in that medium tempo.”
As often noted by commentators on jazz history, the Swing
era saw the saxophone supersede in many ways the trum-
pet as the dominant jazz solo instrument. For this reason
the types of solo improvisations would change dramatically
during the thirties. In addition, the role of the reed sec-
tions in big bands would bring to jazz a totally different di-
mension that involved between the various parts of the jazz
ensemble. While the saxophone was present in jazz ensem-
bles from most the earliest recordings, its rise to a position
of prominence and the development of its virtuosic and ex-
pressive possibilities before individual artists had mastered
this instrument that was originally thought unacceptable for
jazz. Once again, it was the Bix Beiderbecke recordings
of 1927, with Frankie Trumbauer on C melody sax, that
pointed the way for many of the saxophonists of the Swing
era.[6]
The Fletcher Henderson Orchestra in 1927 consisted of two
trumpets, two trombones, three reeds, piano, banjo, tuba,
and drums. The Goodman band in 1935 had three trum-
pets, two trombones, the leader’s clarinet, two alto saxes,
two tenor saxes, piano, guitar, bass, and drums, fourteen
pieces in all, compared to Henderson’s eleven in the ear-
lier days. The piano-guitar-bass-drums rhythm section had
become standard and kept a steady and uncluttered beat
that was very easy to follow. Goodman was quite skilled
at setting the perfect dance tempo for each song while al-
ternating wild “killer dillers” with slower ballads.[7] In addi-
tion to Henderson and his younger brother Horace, Good-
man employed top arrangers such as Jimmy Mundy, Deane
Kincaide, Edgar Sampson, and Spud Murphy who put the
melody first but included rhythmic figures in their charts and
wrote arrangements that built to a logical climax. In 1935,
Goodman did not have many major soloists in his band. Un-
like Duke Ellington who went out of his way to hire unique
individualists, Goodman was most concerned that his musi-
cians read music perfectly, blended together naturally, and
did not mind being subservient to the leader. It was the
sound of the ensembles, the swinging rhythm section, and
the leader’s fluent clarinet that proved to be irresistible to
his young and eager listeners.
Arranging
To fit the new groove, dance-band arranging became more
inventive. To some extent, this was a belated influence of
Louis Armstrong, whose rhythms continued to be absorbed
by soloists and arrangers through the 1930s. Arrangers
learned to write elaborate lines for an entire section, har-
1.2. SONGS FROM THE SWING ERA
monized in block chords, called soli. They were conversant
with chromatic (complex) harmony and knew how to make
the most of their flexible orchestra.
Arrangements could also arise spontaneously out of oral
practice. But even in New York, where bands prided them-
selves on their musical literacy, musicians could take im-
provised riffs and harmonize them on the spot. The result,
known as a head arrangement, was a flexible, unwritten ar-
rangement created by the entire band. One musician com-
pared it to child’s play—“a lot of kids playing in the mud,
having a big time.”
Both kinds of arrangements, written and unwritten, could
be heard in the hundreds of recordings made in the 1930s
by Fletcher Henderson. For flashy pieces, Henderson relied
on experienced arrangers, from his brother Horace to Don
Redman and Benny Carter. But his biggest hits emerged
from the bandstand. One was “Sugar Foot Stomp,” de-
rived in the early 1920s from the King Oliver tune “Dip-
permouth Blues” and still in the repertory. By the 1930s, it
had evolved into a thoroughly up-to-date dance tune, with
a faster tempo to match the tastes of the dancers. An-
other hit was “King Porter Stomp,”[8] a ragtime piece by
Jelly Roll Morton that became radically simplified, shed-
ding its two-beat clumsiness and march/ragtime form as it
went. Many of these pieces were ultimately written down
by Henderson, who became his band’s chief arranger. His
genius for rhythmic swing and melodic simplicity was so
effective that his music became the standard for numerous
swing arrangers. Henderson was fond of short, memorable
riffs—simple, bluesy phrases—in call and response: saxo-
phones responding to trumpets, for example. In some pas-
sages, he distorted the melody into ingenious new rhythmic
shapes, often in staccato (detached) bursts that opened up
space for the rhythm section. Henderson was shrewd and
efficient. He wrote only a few choice choruses, leaving the
remainder of the arrangement open for solos accompanied
by discreet, long-held chords or short riffs. As each piece
headed toward its climax, the band erupted in an ecstatic
wail.
1.2 Songs from the swing era
The swing era produced many classic recordings. Some of
those are:
• "Begin the Beguine" written by Cole Porter, recorded
by Artie Shaw
• "Bei Mir Bist Du Schön" by the Andrews Sisters with
Vic Schoen and his Orchestra
• "Body and Soul" by Coleman Hawkins, music by
3
Johnny Green and lyrics by Frank Eyton, Edward Hey-
man and Robert Sour
• "Blue Skies" by Benny Goodman Live at Carnegie
Hall 1938
• "Chattanooga Choo Choo" by Glenn Miller and His
Orchestra and featured in the 1941 movie "Sun Valley
Serenade"
• "Cherokee" by Charlie Barnet, music and lyrics by Ray
Noble
• “Daddy From Georgia Way” recorded by Bob Chester
and His Orchestra on Columbia Records, lyrics and
music by Daisy Lawton, a pen name for Gloria Parker
• "For Dancers Only" by Jimmy Lunceford
• "Goody Goody" by Benny Goodman and His Orches-
tra (with vocalist Helen Ward)
• “HEY! Here Comes That Mood” recorded by Vincent
Lopez, music and lyrics by Gloria Parker
• "I Can't Get Started" by Bunny Berigan
• “In Santiago by the Sea” by Gloria Parker and recorded
by Vincent Lopez and His Orchestra
• "In the Mood" by Glenn Miller
• "It Don't Mean a Thing (If It Ain't Got That Swing)"
by Duke Ellington
• "Jersey Bounce" by Benny Goodman
• “Jumpin' at the Woodside” by Count Basie
• “Leap Frog”, the theme song of Les Brown (ban-
dleader)
• "Minnie the Moocher" by Cab Calloway, Irving Mills,
and Clarence Gaskill
• "Moonlight Serenade" by Glenn Miller
• "King Porter Stomp" by Fletcher Henderson
• "Nightmare" by Artie Shaw
• "Pennsylvania 6-5000 (song)" by Glenn Miller and His
Orchestra
• "Sentimental Journey" co-written by Les Brown; vocal
by Doris Day
• "Sing, Sing, Sing" by Benny Goodman
• “Song of India” by Tommy Dorsey
4 CHAPTER 1. SWING ERA

• "Stardust", which has been recorded by everyone from

Armstrong, to Miller to Shaw; music and lyrics by
Hoagy Carmichael

• "Stompin' at the Savoy" by Benny Goodman

• “Sugar Foot Stomp” by Fletcher Henderson and Benny
Goodman
• “Tonight Be Tender To Me” by Gloria Parker and
recorded by Una Mae Carlisle
• "Tuxedo Junction" by Erskine Hawkins

• Two O'Clock Jump by Harry James

• “Where, I Wonder, Where?" and “What Would Hap-
pen To Me If Something Happened To You?" by
Isham Jones, and Three X Sisters, vocalists

1.3 References
[1] Berendt, Joachim, “Swing – 1930.” In The Jazz Book, 16.
St Albans: Paladin, 1976.

[2] The jazz of the Southwest citing “The Book of Jazz: A Guide
to the Entire Field. Leonard Feather. page 110.

[3] Berendt, Joachim, “Swing – 1930.” In The Jazz Book, 15-

16. St Albans: Paladin, 1976.

[4] Berendt, Joachim, “Swing – 1930.” In The Jazz Book, 15-

16. St Albans: Paladin, 1976.

[5] Giddins, Gary and Scott DeVeaux. “Rhythm in Transition.”

In Jazz, 255-68. New York: W.W. Norton, 2009.

[6] Oliphant, Dave. “Precursors to and the Birth of Big-Band

Swing.” In The Early Swing Era, 32-38. Westport: Green-
wood Press, 2002.

[7] Berendt, Joachim, “Swing – 1930.” In The Jazz Book, 58-

61. St Albans: Paladin, 1976.

[8] Giddins, Gary and Scott DeVeaux. “The Swing Era.” In

Jazz, 174-77. New York: W.W. Norton, 2009.
Chapter 2
Fletcher Henderson
James Fletcher Hamilton Henderson, Jr. (December
18, 1897 – December 29, 1952)[1] was an American pi-
anist, bandleader, arranger and composer, important in the
development of big band jazz and swing music. He was
one of the most prolific black musical arrangers and, along
with Duke Ellington, is considered one of the most influ-
ential arrangers and bandleaders in jazz history. Hender-
son’s influence was vast. He helped bridge the gap between
the Dixieland and the swing eras. He was often known as
Smack Henderson (apparently because of his skill as a bat-
ter playing baseball in college).[2]
2.1 Biography
Built by his father in 1888, the Fletcher Henderson House in
Cuthbert, Georgia, where Henderson was born in 1897. The house
was added to the National Register of Historic Places on June 17,
1982
James Fletcher Henderson was born in Cuthbert, Georgia,
in 1897. He grew up in a middle-class African-American
family. His father, Fletcher H. Henderson Sr. (1857–
1943), was the principal of the nearby Howard Normal
Randolph School from 1880 until 1942. His home, now
known as the Fletcher Henderson House, is a historic site.
5
His mother, a teacher, taught him and his brother Horace
to play the piano. He began lessons by the age of six. His
father would occasionally lock Fletcher in his room to prac-
tice for hours. By age 13, Henderson possessed a keen abil-
ity to read music and sense pitch.[1] He pursued the studies
with his mother and further engaged himself in lessons on
European art.[3]
Although a talented musician, Henderson decided to dedi-
cate himself to math and science. At age 18 he moved to
Atlanta, Georgia, and changed his name to Fletcher Hen-
derson, giving up James, his grandfather’s name.[4] He at-
tended Atlanta University (where he was a member of the
fraternity Alpha Phi Alpha) and graduated in 1920 with a
bachelor’s degree in chemistry and mathematics.[3] After
graduation, he moved to New York City to attend Columbia
University for a master’s degree in chemistry. Finding his
job prospects in chemistry to be poor because of his race,
Fletcher turned to music.[5]
After arriving in New York City, Henderson shared an
apartment with a pianist who worked as a musician. When
his roommate was too sick to perform, Henderson took his
place in the Riverboat Orchestra, which soon gave him a
job as a full-time replacement, helping him land a job with
Black Swan Records in 1921–1923.[5] During the 1920s,
he played piano accompaniment for blues singers. He also
led the backing group for Ethel Waters during one of her
national tours.[6]
Before 1923, Henderson’s group was more of a dance band
than a jazz band, though its music was inflected with the rag-
time rhythms that had been popular for some time. In 1922
he formed his own band, which was resident first at Club Al-
abam, then at the Roseland Ballroom, and it quickly became
known as the best African-American band in New York. In
the 1920s, he did not do very many band arrangements. By
late 1923 and into 1924, the arrangements by Don Redman
were featuring more solo work, but when Louis Armstrong
joined his orchestra in 1924, Henderson realized the poten-
tial for richer orchestration. Although Armstong played in
the band for only a year, he influenced its members, as they
began to imitate his style.[3]
6 CHAPTER 2. FLETCHER HENDERSON

Henderson’s band boasted the formidable arranging talents
of Don Redman from 1922 to 1927. After Redman’s de-
parture from the band in 1927, Henderson took on some
of the arranging, but Benny Carter was Redman’s replace-
ment as saxophone player and arranger from 1930–31, and
Henderson also bought scores from freelance musicians (in-
cluding John Nesbitt from McKinney’s Cotton Pickers).[7]
Henderson developed his arranging skills from 1931 to the
mid-1930s.[5]
His band c. 1925 included Howard Scott, Coleman
Hawkins (who started with Henderson in 1923, playing
the tuba parts on a bass saxophone, and quickly mov-
ing to tenor saxophone and a leading solo role), Louis
Armstrong, Charlie Dixon, Kaiser Marshall, Buster Bailey,
Elmer Chambers, Charlie Green, Ralph Escudero, and Don
Redman.
In 1925, with Henry Troy, he wrote "Gin House Blues",
recorded by Bessie Smith and Nina Simone among others.
His other compositions include “Soft Winds”. 2.1.1
Henderson recorded extensively in the 1920s for nearly
every label, including Vocalion, Paramount, Columbia,
Olympic, Ajax, Pathé, Perfect, Edison, Emerson,
Brunswick, and the dime-store labels Banner, Oriole,
Regal, Cameo, and Romeo.
From 1925–1930, he recorded primarily for Columbia and
Brunswick/Vocalion under his own name and a series of
acoustic recordings as the Dixie Stompers for Harmony
Records and associated dime-store labels (Diva and Velvet
Tone).
During the 1930s, he recorded for Columbia, Crown (as
“Connie’s Inn Orchestra”), ARC (Melotone, Perfect, Ori-
ole, Victor, Vocalion and Decca. Starting in the early
1920s, he recorded popular hits and jazz tunes. In 1924
he and his band recorded 80 sides. His version of the pop
tune “I Can't Get the One I Want”, recorded about June 19,
1924, was issued on at least 23 labels.
In addition to Armstrong, lead trumpeters included Henry
“Red” Allen, Joe Smith, Rex Stewart, Tommy Ladnier,
Doc Cheatham and Roy Eldridge. Lead saxophonists in-
cluded Coleman Hawkins, Buster Bailey, Benny Carter and
Chu Berry. Sun Ra also worked as an arranger during the
1940s, during Henderson’s engagement at the Club DeLisa
in Chicago. Sun Ra said that on first hearing Henderson’s
orchestra as a teenager he assumed that they were angels
because no human could produce such beautiful music.
Although Henderson’s band was popular, he had little suc-
cess in managing it. His lack of recognition outside of
Harlem had to do more with the times in which he lived,
Henderson, along with Don Redman, established the for-
apparently lackluster management, and the hard times that
mula for swing music. The two broke the band into sections
resulted after the 1929 stock market crash. Fletcher had
(sax section, trumpet section etc.). These sections worked
a knack for finding talent, but he did not have much luck
together to create a unique sound. Sometimes, the sections
keeping it. On many occasions he lost talented members
to other bandleaders. He also had trouble with finances.
When the band split up in 1934, he was forced to sell some
of his popular arrangements to Benny Goodman to keep
them together.[3]
After about 1931, his own arrangements became influen-
tial. In addition to arrangements for his band, he wrote ar-
rangements for Teddy Hill, Isham Jones and Benny Good-
man. He injured his shoulder in an auto accident in 1928.
His wife, Leora, blamed the accident for his diminishing
success. She said that John Hammond and Benny Good-
man bought Henderson’s arrangements to support him, that
Goodman always gave Henderson credit for the arrange-
ments and said that he played them better than his own.
In addition, Goodman and Hammond organized broadcasts
and recordings to help Henderson when he was ill.[8]
Benny Goodman
In 1935, Goodman’s Orchestra was selected as a house band
for the NBC radio program Let’s Dance. Since Goodman
needed new charts every week for the show, his friend John
Hammond suggested that he purchase some from Hender-
son. Many of Goodman’s hits from the swing era were
played by Henderson and his own band in the late 1920s
and early 1930s, usually as head arrangements, which he
transcribed from his own records and then sold to Good-
man. However, his brother Horace Henderson recounted
(in Ross Firestone’s biography of Goodman, Swing, Swing,
Swing) that the clarinetist made heavy demands on Hender-
son for fresh charts while his band was engaged for the Let’s
Dance show in 1934–35, and that he himself helped his
brother complete some of them. The singer Helen Ward
also stated that Henderson was delighted to hear the Good-
man Orchestra realize his creations with such impeccable
musicianship.
In 1939, Henderson disbanded his band and joined Good-
man’s, first as pianist and arranger and then working full-
time as staff arranger.[5] He re-formed bands of his own sev-
eral times in the 1940s and toured with Ethel Waters again
in 1948–1949. Henderson suffered a stroke in 1950, result-
ing in partial paralysis that ended his days as a pianist.[5] He
died in New York City in 1952.
2.1.2 Contributions to jazz and the Harlem
Renaissance
2.2. SELECTED DISCOGRAPHY 7

would play in call-and-response style, and at other times
one section would play supporting riffs behind the other.[7]
Swing, its popularity spanning over a decade, was the most
fashionable form of jazz ever in the United States.
Henderson was also responsible for bringing Louis Arm-
strong from Chicago to New York in October 1924, thus
flipping the focal point of jazz in the history of the United
States (although Armstrong left the band in November 1925
and returned to Chicago).
Henderson also played a key role in bringing improvisatory
jazz styles from New Orleans and other areas of the country
to New York, where they merged with a dance-band tradi-
tion that relied heavily on arrangements written out in mu-
sical notation.[9]
A museum is being established in his memory in Cuthbert,
Georgia.[10]
• Riley C. Hampton, alto sax, clarinet, arranger and mu-
sical director: 1942–1943 and 1946–1947
• H. Ray Crawford, tenor sax and arranger: 1942–1943
• Grover C. Lofton, baritone, other reeds, arranger, and
band manager: 1942–1944. He also arranged for Billy
Eckstine, and Duke Ellington.
• George “Chaney” E. Floyd, vocalist: 1942–1947
• Gordon Austin, trombone: 1942–1943
• Frank Pronto, saxes: fall 1943 to early 1944
• Tony DiNardi, trumpet: 1944
• Robert S. Claese, trombone: early 1944

Henderson differed from other musicians in his time. He • Elisha Hanna, trumpet: 1945–1947
made the idea of playing Jazz exclusively popular to ambi-
tious, young, black musicians. He made it financially stable • Joseph D. Brown, trombone: 1945–1947
and a way to seize cultural power during the time. Hen-
derson was genuine when it came to the appearance of the
band. He was all for making an impact on the era. Hender- 2.2 Selected discography
son would intensely see to it that each member had a clean-
shaven face, a tuxedo, and polished shoes. It was recorded
that he would do this before every performance especially • A Study in Frustration, Columbia, 1961
ones in predominantly white communities, such as Times
• Tidal Wave, GRP, 1994
Square. The men in his band had strong connections to the
emerging group of blacks in Harlem. Henderson created a
• Ken Burns Jazz: Fletcher Henderson,
band that was capable of playing dance music and complex
Columbia/Legacy, 2000
arrangements. Louis Metcalf said, “The sight of Fletcher
Henderson’s men playing behind music stands brought on a • Sweet and Hot, Le Chant du Monde, 2007
learning-to-read-music kick in Harlem which hadn't cared
before it. There were two years of real concentration. Ev- • First Impressions 1924–1931 Vol. 1, Decca Jazz Her-
erybody greeted you with 'How’s studying?'"[11] itage Series, DL 9227

• Swing’s the Thing 1931–1934 Vol. 2, Decca Jazz Her-

2.1.3 Band members timeline itage Series, DL 79228

This list is compiled from a 1971 letter to Chester

Krolewicz. from Walter C. Allen, of Stanhope, New Jer- 2.2.1 As arranger for Benny Goodman Or-
sey, entitled “Mailing List of Fletcher Henderson Alumni”, chestra
asking for information on each band member, such as date
and place of birth, early musical training and other bands • Sing, Sing, Sing (1992) (Bluebird/BMG)
they played with. The list appears to include members not
listed in the above article. • The Harry James Years, Vol. 1 (1993) (Blue-
bird/BMG)

• Chester J. Krolewicz (“Chet Kruly” Stromberg), gui- • The Best of the Big Bands [under Goodman’s name]
tar: fall of 1943 (1933-1946/1989) (Columbia)

• Vernon L. Smith, trumpet: period around 1942 • Genius of the Electric Guitar (Recorded under Good-
man sextet’s name, released under Charlie Christian’s
• Walter “Woogie” Harris, trombone: 1942–1944 name) (1939–1941/1990) (Columbia)
8 CHAPTER 2. FLETCHER HENDERSON

2.3 References
[1] Cohassey, John (1996). “Fletcher Henderson”. encyclope-
dia.com.

[2] Meddings, Mike. “WWI Draft Registration Cards 4”. Doc-

torjazz.co.uk. Retrieved 2013-10-18.

[3] “Fletcher Henderson, in Jazz (film by Ken Burns), Selected

Artist Biography”. pbs.org. Retrieved 2016-02-23.

[4] “Fletcher Henderson”. Encyclopedia Britannica. Retrieved

2016-02-23.

[5] Yanow, Scott (1952-12-29). “Fletcher Henderson Biogra-

phy”. AllMusic. Retrieved 2013-10-18.

[6] “Fletcher Henderson”. Musicians.allaboutjazz.com. Re-

trieved 2013-10-18.

[7] “Fletcher Henderson, in Jazz (film by Ken Burns), Selected

Artist Biography”. PBS. 1934-09-25. Retrieved 2013-10-
18.

[8] Reading Jazz, ed. Robert Gottlieb

[9] “Fletcher Henderson”. Musicians.allaboutjazz.com. Re-

trieved 2013-10-18.

[10] “Jazz Near You - Publicity Firm: Fletcher Henderson Mu-

seum [in Cuthbert, GA]". Allaboutjazz.com. 2013-03-17.
Retrieved 2013-10-18.

[11] Magee, Jeffrey (2000). “Before Louis: When Fletcher Hen-

derson Was the 'Paul Whiteman of the Race'". American
Music 18.4: 391–425.

2.4 Further reading

• Walter C. Allen, Hendersonia - The Music of Fletcher
Henderson and his Musicians - a Bio-Discography
(1973)
• Jeffrey Magee, The Uncrowned King of Swing:
Fletcher Henderson and Big Band Jazz (2004)
• Margery Dews, “Remembering: The Remarkable
Henderson Family”
• Gunther Schuller, The Swing Era: The Development of
Jazz, 1930-1945 (The History of Jazz, Vol. 2) (1989)
• Scott Yanow, Swing: Third Ear - The Essential Listen-
ing Companion (2000)

2.5 External links

• Fletcher Henderson at Find a Grave
Chapter 3
Don Redman
Donald Matthew Redman (July 29, 1900 – November 1931). Redman was occasionally featured as their vocalist,
30, 1964) was an American jazz musician, arranger, ban- displaying a charming, humorous vocal style.
dleader and composer. He was named a member of the
West Virginia Music Hall of Fame on May 6, 2009.[1]
3.1 Biography
Redman was born in Piedmont, Mineral County, West Vir-
ginia. His father was a music teacher, his mother was a
singer. Don began playing the trumpet at the age of three,
joined his first band at the age of six and by the age of 12
was proficient on all wind instruments ranging from trum-
pet to oboe as well as piano. He studied at Storer College in
Harper’s Ferry and at the Boston Conservatory, then joined
Billy Page’s Broadway Syncopaters in New York City. (He
was the uncle of saxophonist Dewey Redman, and thus
great-uncle of saxophonist Joshua Redman and trumpeter
Carlos Redman.)[2]
3.2 Career
In 1923, Redman joined the Fletcher Henderson orches-
tra, mostly playing clarinet and saxophones.[3] He soon be-
gan writing arrangements, and Redman did much to for-
mulate the sound that was to become swing. A trademark
of Redman’s arrangements was that he harmonized melody
lines and pseudo-solos within separate sections; for exam-
ple, clarinet, sax, or brass trios. He played these sections
off each other, having one section punctuate the figures of
another, or moving the melody around different orchestral
sections and soloists. His use of this technique was sophis-
ticated, highly innovative, and formed the basis of much big
band jazz writing in the following decades.
In 1927 Jean Goldkette convinced Redman to join the
Detroit, Michigan-based band McKinney’s Cotton Pickers
as their musical director and leader. He was responsible
for their great success and arranged over half of their mu-
sic (splitting the arranging duties with John Nesbitt through
9
3.3 Don Redman and his Orchestra
Redman then formed his own band in 1931,[3] which got a
residency at the famous Manhattan jazz club Connie’s Inn.
Redman signed with Brunswick Records and also did a se-
ries of radio broadcasts. Redman and his Orchestra also
provided music for the animated short I Heard, part of the
Betty Boop series produced by Fleischer Studios and dis-
tributed by Paramount. Redman composed original music
for the short, which was released on September 1, 1933.
The Brunswick records Redman made between 1931–1934
were some of the most complex pre-swing hot jazz arrange-
ments of popular tunes. Redman’s band didn't rely on just
a driving rhythm or great soloists, but it had an overall level
of arranging sophistication that was seldom heard by other
black bands of the period. The popular vocalist, Harlan
Lattimore, provided about half of the vocals during this pe-
riod.
In 1933, his band made a Vitaphone short film for Warner
Bros. (which is available as of 2006 on the DVD of the
Busby Berkeley feature film Dames). Redman recorded
for Brunswick through 1934. He then did a number of
sides for ARC in 1936 (issued on their Vocalion, Perfect,
Melotone, etc.) and in 1937, he pioneered a series of swing
re-arrangements of old classic pop tunes for the Variety la-
bel. His use of a swinging vocal group (called “The Swing
Choir”) was very modern and even today, quite usual, with
Redman’s sophisticated counterpoint melodies. He signed
with Bluebird in 1938 and recorded with them until 1940,
when he disbanded.
When Redman disbanded his orchestra, he concentrated
on freelance work writing arrangements. Some of his ar-
rangements became hits for Jimmy Dorsey, Count Basie,
and Harry James. He traveled to Europe in 1946 leading
an all-star band that included Don Byas, Tyree Glenn, and
Billy Taylor. He appeared on Uptown Jubilee on the CBS
10 CHAPTER 3. DON REDMAN

Television network for the 1949 season. In the 1950s he was 3.7 External links
music director for singer Pearl Bailey. In the early 1960s he
played piano for the Georgia Minstrels Concert and soprano • Don Redman profile, redhotjazz.com
sax with Eubie Blake and Noble Sissle's band.
• Profile, newstribune.info

3.4 Death
Don Redman died in New York City on November 30,
1964, aged 64, from undisclosed causes.

3.5 Discography

3.5.1 As sideman
• Doin' What I Please (1994) (ASV/Living Era)

3.5.2 As leader
He formed his own orchestra in New York in 1931, but con-
tinued to arrange for other bands, including those of Jimmy
Dorsey, Count Basie and Harry James. The Redman or-
chestra disbanded in January 1940, after which Redman
resumed work as a free-lance arranger.
with Fletcher Henderson

• A Study in Frustration (1961) (Columbia)

• Wrappin' It Up (2005) (Membran)
• Sweet and Hot (2007) (Le Chant du Monde)

with McKinney’s Cotton Pickers

• 1931–1933 (1990) (Classics)

• 1933–1936 (1991) (Classics)
• 1936–1939 (1994) (Classics)
• Doin' the New Lowdown (1994) (Hep Records
1004)[4]

3.6 References
[1] Profile, wvmetronews.com; accessed July 25, 2015.
[2] Profile Archived September 27, 2007, at the Wayback Ma-
chine., jazzpolice.com; accessed July 25, 2015.
[3] Yanow, Scott. “Don Redman: Biography”. Allmusic.com.
Retrieved March 9, 2011.
[4] Allmusic Doin' the New Lowdown Don Redman with music
samples. Retrieved January 13, 2012
Chapter 4

Benny Goodman

Benjamin David "Benny" Goodman[1] (May 30, 1909 – met in Baltimore, Maryland, and moved to Chicago before
June 13, 1986) was an American jazz and swing musician, Benny was born. With little income and a large family,
clarinetist and bandleader, known as the “King of Swing”. they moved to the low-rent Maxwell Street neighborhood,
an overcrowded slum near the railroad yards and surround-
In the mid-1930s, Goodman led one of the most popular
musical groups in America. His concert at Carnegie Hall ing factories, populated mostly by Irish, German, Scandina-
vian, Polish, Italian and Jewish immigrants.[4] The Chicago
in New York City on January 16, 1938, is described by the
critic Bruce Eder as “the single most important jazz or pop- social activist Jane Addams described the surroundings:
ular music concert in history: jazz’s 'coming out' party to
the world of 'respectable' music.”[2] The streets are inexpressibly dirty, the num-
ber of schools inadequate, sanitary legislation un-
Goodman’s bands launched the careers of many major jazz enforced, the street lighting bad, the paving mis-
artists. During an era of racial segregation, he led one of erable and altogether lacking in the alleys and
the first well-known integrated jazz groups. Goodman per- smaller streets, and the stables foul beyond de-
formed nearly to the end of his life while exploring an in- scription. Hundreds of houses are unconnected
terest in classical music. with the street sewer.”[5]

Money was a constant problem in the family. Benny’s fa-

4.1 Early years ther earned at most $20 per week. On Sundays, his father
took the children to free band concerts in Douglas Park,
which was the first time Benny experienced live professional
performances.[6] To give his children some skills and an ap-
preciation for music, his father enrolled ten-year-old Benny
and two of his brothers in music lessons at the Kehelah Ja-
cob Synagogue, which charged his father only 25¢ per les-
son, including the use of the synagogue’s instruments.[7]
“Playing music was a great escape for me from the poverty.
I wanted to do something with myself. And the music was
a great form for me. I was absolutely fascinated by it. So I
set out at an early age to do what I could—and devote my
efforts to it, and enjoy it.”
Goodman, in a 1975 interview[8]

The Maxwell street ghetto where Goodman grew up

The following year Benny joined the boys club band at Jane
Addams’s Hull House, where he received lessons from the
Goodman was born in Chicago, the ninth of twelve chil- director James Sylvester for a small cost. By joining the
dren of poor Jewish immigrants from the Russian Em- band, he was entitled to spend two weeks at a summer camp
pire. His father, David Goodman (1873–1926), came to about fifty miles from Chicago. It was the only time he was
America in 1892 from Warsaw in partitioned Poland,[3] able to get away [9]
from the bleak environment of his urban
and became a tailor.[1] His mother, Dora (née Grisinsky,[1] neighborhood.
1873–1964), came from Kaunas, Lithuania. His parents He also received two years of instruction from the clas-

11
12 CHAPTER 4. BENNY GOODMAN

sically trained clarinetist Franz Schoepp.[10] His early in-

fluences were New Orleans jazz clarinetists working in
Chicago, notably Johnny Dodds, Leon Roppolo and Jimmie
Noone.[11] Goodman learned quickly, becoming a strong
player at an early age and soon playing professionally in var-
ious bands.[12]
Goodman made his professional debut in 1921 at the Cen-
tral Park Theater on Chicago’s West Side. He entered Har-
rison High School in Chicago in 1922. He joined the musi-
cians’ union in 1923 and by the age of 14 was in a band fea-
turing Bix Beiderbecke.[13] Goodman attended Lewis In-
stitute (now Illinois Institute of Technology) in 1924 as a
high-school sophomore, while also playing the clarinet in a
dance hall band. (He was awarded an honorary LL.D. from
IIT in 1968.)
When Goodman was 16, he joined one of Chicago’s top
bands, the Ben Pollack Orchestra, with which he made his
first recordings in 1926.[11] When he was 17, his father was
killed by a passing car after stepping off a streetcar.[14] His
father’s death was “the saddest thing that ever happened in
our family,” Goodman said.[15]
Goodman made his first record under his own name for
Vocalion two years later. He recorded with the regu-
Goodman c. 1970
lar Pollack band and smaller groups drawn from the or-
chestra through 1929. The side sessions produced scores
of sides recorded for the various dimestore record labels record producer John Hammond arranged for a series of
under an array of group names, including Mills’ Musical recordings of jazz sides for Columbia Records from 1933
Clowns, Goody’s Good Timers, the Hotsy Totsy Gang, to 1935, when Goodman signed a recording contract with
Jimmy Backen’s Toe Ticklers, Dixie Daisies, and Kentucky RCA Victor, during his success on radio. The all-star
Grasshoppers. Columbia sides featured Jack Teagarden, Joe Sullivan, Dick
McDonough, Arthur Schutt, Gene Krupa, Teddy Wilson,
Coleman Hawkins (for one session), the vocalists Jack Tea-
4.2 Career garden and Mildred Bailey, and the first two recorded vo-
cals by a young Billie Holiday. A number of commercial
Goodman moved to New York City and became a suc- studio sides were also recorded under Goodman’s name for
Melotone Records between late 1930 and mid-1931.
cessful session musician in the late 1920s and early 1930s,
mostly with Ben Pollack's band between 1926 and 1929. In 1934 Goodman auditioned for the NBC radio program
In a notable Victor recording session on March 21, 1928, Let’s Dance, a well-regarded three-hour weekly program
Goodman played alongside Glenn Miller, Tommy Dorsey featuring various styles of dance music. His familiar theme
and Joe Venuti in the All-Star Orchestra, directed by song by that title was based on Invitation to the Dance, by
Nathaniel Shilkret.[16][17][18] He played with the nationally Carl Maria von Weber. Since he needed new arrangements
known studio and performing bands of Ben Selvin, Red every week for the show, Hammond suggested that he pur-
Nichols, Ted Lewis and Isham Jones, although he is not on chase “hot” (swing) arrangements from Fletcher Hender-
any of Jones’s records. He recorded sides for Brunswick son, a black musician from Atlanta who had New York’s
under the name Benny Goodman’s Boys, a band that fea- most popular African-American band in the 1920s and
tured Glenn Miller. In 1928, Goodman and Miller wrote early 1930s.[11]
the instrumental tune "Room 1411", which was released as An experienced businessman, Goodman helped Henderson
a Brunswick 78.[19] He also recorded musical soundtracks in 1934 when the Henderson orchestra disbanded. He let
for movie shorts; fans believe that his clarinet can be heard Henderson write arrangements, which Fletcher, his brother
on the soundtrack of One A.M., a Charlie Chaplin comedy Horace and wife, Leora, usually copied from his own
re-released to theaters in 1934. records, as Fletcher had almost no scores left. The Hender-
While Goodman was a successful session musician, the son method usually had been head arrangements. Good-
4.2. CAREER 13

man hired Henderson’s band members to teach his musi- danced in the aisles,[25] but in general these arrangements
cians how to play the music.[20] In 1932, his career began had little impact on the band’s tour until August 19, when
with Fletcher Henderson. Although Henderson’s orchestra they arrived in Oakland, California, to play at McFad-
was at its height of creativity, it had not reached any peaks den’s Ballroom.[26] There, Goodman and his band, includ-
of popularity. During the Depression, Fletcher disbanded ing Gene Krupa, Bunny Berigan, and the singer Helen
his orchestra because he was in debt.[21] Ward, found a large crowd of young dancers, raving and
In early 1935, Goodman’s band was one of three featured cheering the hot music they had heard on the Let’s Dance
on Let’s Dance (the others were led by Xavier Cugat and radio show.[27] Herb Caen wrote that “from the first note,
the place was in an uproar.”[28] One night later, at Pismo
by “Kel Murray” [Murray Kellner]), playing arrangements
by Henderson along with hits such as "Get Happy" and Beach, the show was another flop, and the band thought the
overwhelming reception in Oakland had been a fluke.[23]
"Limehouse Blues", by the composer and arranger Spud
Murphy.[22] Goodman’s portion of the program from New The next night, August 21, 1935, at the Palomar Ballroom
York, at 12:30 a.m. Eastern Time, aired too late to attract in Los Angeles, Goodman and his band began a three-week
a large East Coast audience. However, unknown to him, engagement. On top of the Let’s Dance airplay, Al Jarvis
the time slot gave him an avid following on the West Coast had been playing Goodman records on KFWB radio, and
(they heard him at 9:30 p.m. Pacific Time). He and his Los Angeles fans were primed to hear him in person.[29]
band remained on Let’s Dance until May of that year when Goodman started the evening with stock arrangements, but
a strike by employees of the series’ sponsor, Nabisco, forced after an indifferent response, he began the second set with
the cancellation of the radio show. An engagement was the arrangements by Fletcher Henderson and Spud Murphy.
booked at Manhattan’s Roosevelt Grill (filling in for Guy According to Willard Alexander, the band’s booking agent,
Lombardo), but the crowd there expected 'sweet' music and Krupa said, “If we're gonna die, Benny, let’s die playing our
Goodman’s band was unsuccessful.[23] The band set out on own thing.”[30] The crowd broke into cheers and applause.
a tour of the United States in May 1935, but was still poorly News reports spread word of the exciting new music and the
received. By August 1935, Goodman found himself with a enthusiastic dancing to it.[23]
band that was nearly broke, disillusioned and ready to quit. The Palomar engagement was such a marked success it is
often described as the beginning of the swing era.[23] Ac-
cording to Donald Clarke, “It is clear in retrospect that the
4.2.1 Catalyst for the swing era
Swing Era had been waiting to happen, but it was Goodman
and his band that touched it off.”[23]
Main article: Swing era
In July 1935, a record of the Goodman band playing the The reception of swing in was less positive in Europe, how-
ever. Some, like the British author J. C. Squire, filed a com-
plaint with the UK’s BBC radio and demanded it stop play-
ing Goodman’s music, which he called “an awful series of
jungle noises which can hearten no man.”[31] In 1935 Ger-
many’s Nazi party barred all jazz from being played over
German radio, claiming it was part of a Jewish conspiracy to
destroy Germany’s culture.[32] Similarly, Italy’s fascist gov-
ernment banned the broadcast of any music composed or
played by Jewish artists, which they said threatened “the
flower of our race, the youth.”[33]
In November 1935 Goodman accepted an invitation to play
in Chicago at the Joseph Urban Room at the Congress Ho-
tel. His stay there extended to six months, and his pop-
ularity was cemented by nationwide radio broadcasts over
NBC affiliate stations. While in Chicago, the band recorded
If I Could Be with You, Stompin' at the Savoy, and Goody,
A crowd of Goodman fans in Oakland, California Goody.[23] Goodman also played three special concerts pro-
duced by the Chicago socialite and jazz aficionado Helen
Henderson arrangements of "King Porter Stomp" backed Oakley. These “Rhythm Club” concerts at the Congress
with "Sometimes I'm Happy" was released by RCA Vic- Hotel included sets in which Goodman and Krupa sat in
tor, to ecstatic reviews in both Down Beat and Melody with Fletcher Henderson’s band, perhaps the first racially
Maker.[24] Reports were that in Pittsburgh at the Stan- integrated big band appearing before a paying audience in
ley Theater some of the young members of the audience
14 CHAPTER 4. BENNY GOODMAN

the United States.[23] Goodman and Krupa played in a trio up. The Goodman band and quartet took over the stage
with Teddy Wilson on piano. Both combinations were well and performed the numbers that had made them famous.
received, and Wilson stayed on. Some later trio and quartet numbers were well received,
In his 1935–1936 radio broadcasts from Chicago, Good- and the vocal by Martha Tilton on “Loch Lomond” pro-
man was introduced as the “Rajah of Rhythm.”[30] voked five curtain calls and cries for an encore. The encore
Slingerland Drum Company had been calling Krupa the forced Goodman to make his only audience announcement
“King of Swing” as part of a sales campaign, but shortly for the night, stating that they had no encore prepared[35]
but
after Goodman and his crew left Chicago in May 1936 to that Martha would return shortly with another number.
spend the summer filming The Big Broadcast of 1937 in By the time the band got to the climactic piece "Sing,
Hollywood, the title “King of Swing” was applied to Good- Sing, Sing (With a Swing)", success was assured. This per-
man by the media.[23] formance featured playing by the tenor saxophonist Babe
At the end of June 1936, Goodman went to Hollywood, Russin, the trumpeter Harry James, and Goodman, backed
where, on June 30, 1936, his band began CBS’s Camel by the drummer Gene Krupa. When Goodman finished his
Caravan, its third and (according to Connor and Hicks) solo, he unexpectedly gave a solo to the pianist, Jess Stacy.
its greatest sponsored radio show, co-starring Goodman “At the Carnegie Hall concert, after the usual theatrics, Jess
and his old boss Nathaniel Shilkret.[16][17] By spring 1936, Stacy was allowed to solo and, given the venue, what fol-
Fletcher Henderson was writing arrangements for Good- lowed was appropriate,” wrote David Rickert. “Used to just
man’s band.[13] playing rhythm on the tune, he was unprepared for a turn in
the spotlight, but what came out of his fingers was a grace-
ful, impressionistic marvel with classical flourishes, yet still
managed to swing. It was the best thing he ever did, and
4.2.2 Carnegie Hall concert it’s ironic that such a layered, nuanced performance came
at the end of such a chaotic, bombastic tune.”[36]
Main article: The Famous 1938 Carnegie Hall Jazz Concert The 1938 concert is regarded as one of the most significant
in jazz history. After years of work by musicians from all
In late 1937, Goodman’s publicist, Wynn Nathanson, at- over the country, jazz had finally been accepted by main-
tempted a publicity stunt by suggesting that Goodman and stream audiences. Recordings of the concert were made,
his band should play Carnegie Hall in New York City. If but even by the technology of the day the equipment used
such a concert were to take place, then Goodman would was not of the finest quality. Acetate recordings of the con-
be the first jazz bandleader to perform at Carnegie Hall. cert were made, and aluminum studio masters were also
“Benny Goodman was initially hesitant about the concert, cut.[34]
fearing for the worst; however, when his film Hollywood
Hotel opened to rave reviews and giant lines, he threw him- The recording was produced by Albert Marx
self into the work. He gave up several dates and insisted on as a special gift for his wife, Helen Ward, and
holding rehearsals inside Carnegie Hall to familiarize the a second set for Benny. He contracted Artists
band with the lively acoustics.”[34] Recording Studio to make 2 sets. Artists Record-
The concert was held on the evening of January 16, 1938. ing only had 2 turntables so they farmed out the
It sold out weeks in advance, with the capacity 2,760 seats second set to Raymond Scott's recording studio.
going for the top price of US$2.75 a seat, a high price at [...]
the time.[34] The concert began with three contemporary It was Benny’s sister-in-law who found the
numbers from the Goodman band—"Don't Be That Way,” recordings in Benny’s apartment [in 1950] and
“Sometimes I'm Happy,” and “One O'Clock Jump.” They brought them to Benny’s attention.
then played a history of jazz, starting with a Dixieland quar- — Ross Firestone[37]
tet performing “Sensation Rag”, originally recorded by the
Original Dixieland Jazz Band in 1918. Once again, the ini-
tial reaction of the audience, though polite, was tepid. Then Goodman took the newly discovered recording to
came a jam session on “Honeysuckle Rose” featuring mem- Columbia, and a selection was issued on LP as The Famous
bers of the Count Basie and Duke Ellington bands as guests. 1938 Carnegie Hall Jazz Concert. These recordings have
(The surprise of the session: Goodman handing a solo to not been out of print since they were first issued. In early
Basie’s guitarist Freddie Green, who was never a featured 1998, the aluminum masters were rediscovered, and a new
soloist but earned his reputation as the best rhythm guitarist CD set of the concert was released based on these masters.
in the genre—he responded with a striking round of chord The album released based on those masters, The Famous
improvisations.) As the concert went on, things livened 1938 Carnegie Hall Jazz Concert, went on to be one of the
4.2. CAREER 15

best-selling live jazz albums of all time. once enjoyed. During the 1942–44 strike, the War Depart-
ment approached the union and requested the production of
V-Discs, a set of records containing new recordings for sol-
4.2.3 Charlie Christian diers to listen to, thereby boosting the rise of new artists[42]
Also, by the late 1940s, swing was no longer the dominant
The pianist and arranger Mary Lou Williams[38] was a good style of jazz musicians.[43]
friend of both John Hammond, the Columbia Records pro-
ducer, and Goodman. She first suggested to Hammond that
he see Charlie Christian.[39] Bebop and cool jazz

By the 1940s, some jazz musicians were borrowing ad-

Charlie Christian was playing at the Ritz
vanced ideas from classical music, while others, such as
in Oklahoma City where ... John Hammond
Charlie Parker, were broadening the rhythmic, harmonic
heard him in 1939. Hammond recommended
and melodic vocabulary of swing, creating bebop (bop).
him to Benny Goodman, but the band leader
The recordings Goodman made in bop style for Capitol
wasn't interested. The idea of an electrified gui-
Records were highly praised by jazz critics. When Good-
tar didn't appeal, and Goodman didn't care for
man was starting a bebop band, he hired Buddy Greco, Zoot
Christian’s flashy style of dressing. Reportedly,
Sims, Wardell Gray and a few other modern players.[44]
Hammond personally installed Christian onstage
during a break in a Goodman concert in Bev-
erly Hills. Irritated to see Christian among the
band, Goodman struck up "Rose Room", not ex-
pecting the guitarist to know the tune. What
followed amazed everyone who heard the 45-
minute performance.[40]

Charlie was a hit on the electric guitar and

remained in the Benny Goodman Sextet for
two years (1939–1941). He wrote many of
the group’s head arrangements (some of which
Goodman took credit for) and was an inspiration
to all. The sextet made him famous and pro-
vided him with a steady income while Charlie
worked on legitimizing, popularizing, revolution-
izing, and standardizing the electric guitar as a
jazz instrument.[41]
Christian’s recordings and rehearsal dubs made with Good-
man in the early forties are widely known and were released
by Columbia.
4.2.4 Beyond swing
Goodman continued his success throughout the late 1930s
with his big band, his trio and quartet, and the sextet formed
in August 1939, the same month Goodman returned to
Columbia Records after four years with RCA Victor. At
Columbia, John Hammond, his future brother-in-law, pro-
duced most of his sessions. By the mid-1940s, however,
big bands had lost much of their popularity. In 1941, AS-
CAP had a licensing war with music publishers. From 1942
to 1944 and again in 1948, the musicians’ union went on
strike against the major record labels in the United States,
and singers acquired the popularity that the big bands had
Goodman (third from left) in 1952 with some of his former mu-
sicians, seated around the piano (left to right): Vernon Brown,
George Auld, Gene Krupa, Clint Neagley, Ziggy Elman, Israel
Crosby and Teddy Wilson (at piano)
Pianist/arranger Mary Lou Williams had
been a favorite of Benny’s since she first ap-
peared on the national scene in 1936 .... [A]s
Goodman warily approached the music of
[Charlie] Parker and [Dizzy] Gillespie, he turned
to Williams for musical guidance. ... Pianist Mel
Powell was the first to introduce the new music
to Benny in 1945, and kept him abreast to what
was happening around 52nd Street.
— Schoenberg[44]
Goodman enjoyed the bebop and cool jazz that was begin-
ning to arrive in the 1940s. When he heard Thelonious
Monk, a celebrated pianist and accompanist to bop play-
ers Charlie Parker, Dizzy Gillespie and Kenny Clarke, he
16
remarked, “I like it, I like that very much. I like the piece toire in classical performance. He also gave premiere per-
and I like the way he played it. ... I think he’s got a sense formances of other works written by leading composers in
of humor and he’s got some good things there.”[44]
Benny had heard this Swedish clarinet player
named Stan Hasselgard playing bebop, and he
loved it ... So he started a bebop band. But
after a year and a half, he became frustrated.
He eventually reformed his band and went back
to playing Fletcher Henderson arrangements.
Benny was a swing player and decided to con-
centrate on what he does best.
— Nate Guidry[45]
By 1953, Goodman had completely changed his mind about
bebop. “Maybe bop has done more to set music back for
years than anything. ... Basically it’s all wrong. It’s not
even knowing the scales. ... Bop was mostly publicity and
people figuring angles.”[46]
Classical repertoire
Goodman’s first classical recording was made on April 25, are:
1938, when he recorded Mozart's Clarinet Quintet in A ma-
jor, K. 581, with the Budapest Quartet. After his bop pe-
riod, Goodman furthered his interest in classical music writ-
ten for the clarinet, and frequently met with top classical
clarinetists of the day. In 1946, he met Ingolf Dahl, an
emigre classical composer on the faculty of the University
of Southern California, who was then the musical direc-
tor of the Victor Borge show. They played chamber music
together (Brahms, Milhaud, Hindemith, Debussy) and in
1948 Goodman played in the world premiere performance
of Dahl’s Concerto a Tre.[47]
In 1949, when he was 40, Goodman decided
to study with Reginald Kell, one of the world’s
leading classical clarinetists. To do so, he had to
change his entire technique: instead of holding
the mouthpiece between his front teeth and lower
lip, as he had done since he first took a clarinet in
hand 30 years earlier, Goodman learned to adjust
his embouchure to the use of both lips and even to
use new fingering techniques. He had his old fin-
ger calluses removed and started to learn how to
play his clarinet again—almost from scratch.[48]
Clarinetists all over the world are indebted to Goodman for
his being solely responsible for having commissioned many
major works of twentieth-century chamber music for clar- This led to a feud with Armstrong, which spilled into the
inet and small ensembles as well as compositions for clar- public arena when Armstrong left Goodman hanging dur-
inet and symphony orchestra that are now standard reper- ing a joint performance where Goodman called Armstrong
CHAPTER 4. BENNY GOODMAN
addition to the pieces he commissioned, namely Contrasts,
by Béla Bartók; Clarinet Concerto No. 2, Op. 115, by
Malcolm Arnold; Derivations for Clarinet and Band, by
Morton Gould; Sonata for Clarinet and Piano, by Fran-
cis Poulenc; and Clarinet Concerto, by Aaron Copland.
Prelude, Fugue, and Riffs, by Leonard Bernstein, was com-
missioned for Woody Herman's big band, but it was pre-
miered by Goodman. Herman was the dedicatee (1945)
and first performer (1946) of Igor Stravinsky's Ebony Con-
certo, but many years later Stravinsky made another record-
ing, this time with Goodman as the soloist.[49] Goodman
notably also premiered Francis Poulenc's Clarinet Sonata,
notorious for its difficulty, on April 10, 1963.
He made a further recording of Mozart’s Clarinet Quin-
tet in July 1956 with the Boston Symphony String Quar-
tet, at the Berkshire Festival; on the same occasion he
also recorded Mozart’s Clarinet Concerto in A major, K.
622, with the Boston Symphony Orchestra, conducted by
Charles Munch. He also recorded the clarinet concertos of
Weber and Carl Nielsen.[11]
Other recordings by Goodman of classical compositions
[50]
• Premiere Rhapsodie for Clarinet, by Claude Debussy
• Clarinet Sonata No. 2 in E flat, by Johannes Brahms
• Rondo from Grand Duo Concertant in E flat, by We-
ber, and
• An arrangement by Simeon Bellison of Beethoven's
Variations on a Theme from Mozart’s "Don Giovanni".
Touring with Armstrong
After forays outside swing, Goodman started a new band in
1953. According to Donald Clarke, this was not a happy
time for Goodman.
In 1953 Goodman re-formed his classic band
for an expensive tour with Louis Armstrong's
All Stars that turned into a famous disaster. He
managed to insult Armstrong at the beginning;
then he was appalled at the vaudeville aspects
of Louis’s act ... a contradiction of everything
Goodman stood for.
— Donald Clarke[23]
4.3. INFLUENCE 17

professional colleagues appear in the film, including Ben

Pollack, Gene Krupa, Lionel Hampton and Harry James.
A special appearance was made by the New Orleans jazz
legend Kid Ory, who was pleased that Goodman remem-
bered him.

4.3 Influence

Goodman with his band and singer, Peggy Lee, in the film Stage
Door Canteen (1943)

back onstage to wrap up the show. Armstrong refused to

perform alongside Goodman, which led essentially to the
end of their friendship, cordial or otherwise.

Movies

Goodman’s star on Hollywood Walk of Fame.

Goodman was regarded by some as a demanding taskmas-

ter, by others as an arrogant and eccentric martinet. Many
musicians spoke of “The Ray”,[52] Goodman’s trademark
glare that he directed at a musician who failed to perform
to his demanding standards. The guitarist Allan Reuss in-
curred Goodman’s displeasure on one occasion, and Good-
man relegated him to the rear of the bandstand, where his
contribution would be drowned out by the other musicians.
The vocalists Anita O'Day and Helen Forrest spoke bitterly
of their experiences singing with Goodman.[53] “The twenty
or so months I spent with Benny felt like twenty years,” said
Forrest. “When I look back, they seem like a life sentence.”
At the same time, there are reports that he privately funded
Goodman in Stage Door Canteen (1943) several college educations and was sometimes very gener-
ous, though always secretly. When a friend once asked him
Goodman’s band appeared as a specialty act in major why, he reportedly said, “Well, if they knew about it, ev-
musical features, including The Big Broadcast of 1937; eryone would come to me with their hand out.”[53]
Hollywood Hotel (1938); Syncopation (1942); The Pow-
ers Girl (1942); Stage Door Canteen (1943); The Gang’s “As far as I'm concerned, what he did in those days—and
All Here (1943); Sweet and Low-Down (1944), Goodman’s they were hard days, in 1937—made it possible for Negroes
only starring feature; and A Song Is Born (1948). to have their chance in baseball and other fields.”
[54]
Goodman’s success story was told in the 1955 motion pic- —Lionel Hampton on Benny Goodman
ture The Benny Goodman Story,[51] starring Steve Allen and Goodman was also responsible for a significant step in racial
Donna Reed and produced by Universal-International as a integration in America. In the early 1930s, black and white
follow-up to the successful The Glenn Miller Story, pro- musicians could not play together in most clubs and con-
duced the year before. The screenplay was heavily fictional- certs. In the Southern states, racial segregation was en-
ized, but the music was the real draw. Many of Goodman’s forced by the Jim Crow laws. Goodman broke with tradi-
18 CHAPTER 4. BENNY GOODMAN

tion by hiring Teddy Wilson to play with him and the drum- remained at a distance. In the 1980s, following the death
mer Gene Krupa in the Benny Goodman Trio. In 1936, he of Alice Goodman, Hammond and Goodman, both by then
added the vibraphonist Lionel Hampton to form the Benny elderly, reconciled. On June 25, 1985, Goodman appeared
Goodman Quartet. In 1939 Goodman added the pioneer- at Avery Fisher Hall in New York City for “A Tribute to
ing jazz guitarist Charlie Christian to his band and small John Hammond”.[61]
ensembles; Christian played with him until his death from
tuberculosis less than three years later. This integration in
music happened ten years before Jackie Robinson became
the first black American to enter Major League Baseball.
4.5 Later years
"[Goodman’s] popularity was such that he could remain fi-
nancially viable without touring the South, where he would
have been subject to arrest for violating Jim Crow laws.”
According to Jazz by Ken Burns, when someone asked him
why he “played with that nigger" (referring to Teddy Wil-
son), Goodman replied, “I'll knock you out if you use that
word around me again”.
In 1962, the Benny Goodman Orchestra toured the Soviet
Union as part of a cultural exchange program between the
two nations after the Cuban missile crisis and the end of
that phase of the Cold War; both visits were part of then-
current efforts to normalize relations between the United
States and the USSR.[55] The Bolshoi Ballet came to the
United States, and the Benny Goodman Orchestra toured
the USSR. Some members of this band were the jazz trom-
bonist Jimmy Knepper, the saxophonist Jerry Dodgion, and
the guitarist Turk Van Lake (Vanig Hovsepian).[56]

4.4 John Hammond and Alice Good-

man
One of Goodman’s closest friends, off and on, from the
1930s onward was the celebrated Columbia Records pro-
ducer John Hammond, who influenced Goodman’s move
from Victor to Columbia in 1939.[11]
Goodman married Hammond’s sister Alice Frances Ham- Goodman in concert in Nuremberg, Germany (1971)
mond (1913–1978) on March 20, 1942.[57] They had two
daughters, Benjie and Rachel; they also raised Alice’s three After winning numerous polls over the years as best jazz
daughters from her first marriage,[58] to the British politi- clarinetist, Goodman was inducted into the Down Beat Jazz
cian Arthur Duckworth, from whom she had obtained a Hall of Fame in 1957.
divorce.[11] Goodman’s daughter Rachel became a classi- He continued to play on records and in small groups. In the
cally trained pianist;[59] she sometimes performed in con-
early 1970s he collaborated with George Benson after the
cert with him, beginning when she was sixteen.[60] two met taping a PBS salute to John Hammond, recreat-
Hammond had encouraged Goodman to integrate his band, ing some of Goodman’s famous duets with Charlie Chris-
persuading him to employ the pianist Teddy Wilson. But tian.[11]
Hammond’s tendency to interfere in the musical affairs of Benson later appeared on several tracks of a Goodman al-
Goodman’s bands and others led Goodman to pull away bum released as Seven Come Eleven. In general Goodman
from him. In 1953 they had another falling-out during continued to play in the swing style he was best known for.
Goodman’s ill-fated tour with Louis Armstrong, which was He did, however, practice and perform classical clarinet
produced by Hammond.[11] pieces and commissioned compositions for clarinet. Oc-
Goodman appeared on a 1975 PBS salute to Hammond but casionally he organized a new band to play at a jazz festival
4.6. DISCOGRAPHY
or go on an international tour.
Despite increasing health problems, he continued to play
until his death from a heart attack in New York City in
1986, at the age of 77, in his home at Manhattan House,
200 East 66th Street. A small private funeral for his fam-
ily only was held in Stamford, Connecticut, where he had
been a long-time resident; in accordance with Goodman’s
wishes, no clergy officiated, and family members conducted
the ceremony.[62] He was buried next to his wife in the
Long Ridge Cemetery there.[63] The same year, Good-
man was honored with the Grammy Lifetime Achievement
Award.[64] Goodman’s musical papers were donated to Yale
University after his death.[10]
He received honorary doctorates from Union College, the
University of Illinois, Southern Illinois University Ed-
wardsville,[65] Bard College, Columbia University, Yale
University, and Harvard University.[13]
He is a member of the radio division of the National Asso-
ciation of Broadcasters Hall of Fame.[66]
His music was featured in the 2010 documentary Jews and
Baseball: An American Love Story, narrated by the actor
Dustin Hoffman.[67][68][69]
In August 2014, WordPress, a free and open-source blog-
ging tool and a content management system, named Version
4.0 “Benny” in his honor.[70]
4.6 Discography
This discography combines LP and CD reissues of Good-
man recordings under the dates of the original 78-rpm
recordings through about 1950.
• Benny Goodman and the Giants of Swing (1929,
Prestige)
• BG and Big Tea in NYC (1929, GRP)
• Swinging 34 Vols. 1 & 2 (1934, Melodeon)
• Sing, Sing, Sing (1935, Bluebird)
• The Birth of Swing (1935, Bluebird)
• Original Benny Goodman Trio and Quartet Sessions,
Vol. 1: After You've Gone (1935, Bluebird)
• Stomping at the Savoy (1935, Bluebird)
• Air Play (1936, Doctor Jazz)
• Roll 'Em, Vol. 1 (1937, Columbia)
• Roll 'Em, Vol. 2 (1937, CBS)
19
• The Complete RCA Victor Small Group Recordings
(RCA Victor, 1935–39 [1997])
• From Spirituals to Swing (1938, Vanguard)
• The Famous 1938 Carnegie Hall Jazz Concert Vols. 1–
3 (recorded live, 1938, Columbia)
• Mozart Clarinet Quintet, with the Budapest String
Quartet (1938, Victor)
• Ciribiribin (recorded live, 1939, Giants of Jazz)
• Swingin' Down the Lane (recorded live, 1939, Giants
of Jazz)
• Featuring Charlie Christian (1939, Columbia)
• Eddie Sauter Arrangements (1940, Columbia)
• Swing into Spring (1941, Columbia)
• Undercurrent Blues (1947, Blue Note)
• Swedish Pastry (1948, Dragon)
• The Famous 1938 Carnegie Hall Jazz Concert (1950,
Columbia)
• Benny Goodman Sextet (1944, Columbia)
• BG in Hi-Fi (1954, Capitol Records)
• The Benny Goodman Story Volume 1 (1955?, Decca)
• Mozart Clarinet Concerto, with the Boston Symphony
Orchestra (1956)
• The Great Benny Goodman (1956, Columbia)
• Peggy Lee Sings with Benny Goodman (1957,
Harmony)
• Benny in Brussels Vols. 1 and 2 (1958, Columbia)
• In Stockholm 1959 (1959, Phontastic)
• The Benny Goodman Treasure Chest (1959, MGM)
• Texaco’s Swing into Spring 59 at the Internet Movie
Database (1959, Cunningham & Walsh)
• Swing With Benny Goodman and His Orchestra
(1960s?, Columbia/Harmony)
• Benny Goodman in Moscow (1962, RCA Victor)
• London Date (1969, Phillips)
• Benny Goodman Today (1970, London Records of
Canada)
• Pure Gold (1975)
20 CHAPTER 4. BENNY GOODMAN

• Benny Goodman and His Orchestra (1977)
• Benny Goodman Live at Carnegie Hall: 40th Anniver-
sary Concert (1978)
• Live! Benny Let’s Dance (1986)
• The King Swings Star Line
• The Benny Goodman Sextet Featuring Charlie Chris-
tian: 1939–1941
• 1935–1938 (1998)
• Portrait of Benny Goodman (Portrait Series) (1998)
• Carnegie Hall Jazz Concert '38 (1998)
• Bill Dodge All-star Recording (1999)
• 1941–1955 His Orchestra and His (1999)
[10] “Jazz: A Film By Ken Burns Selected Artist Biography—
Benny Goodman”. PBS. January 8, 2001. Retrieved March
29, 2007.
[11] Firestone 1993, .
[12] http://articles.latimes.com/keyword/benny-goodman
articles.latimes.com In the News: Benny Goodman.
[13] “The King of Swing”. Benny Goodman. January 16, 1938.
Retrieved December 27, 2012.
[14] Collier, James Lincoln (1989). Benny Goodman and the
Swing Era. New York: Oxford University Press. ISBN 0-
19-505278-1.
[15] Firestone 1993, p. 42.
[16] Conner, D. Russell; Hicks, Warren W. (1969) [1958 as
BG—Off the Record]. BG on the Record: A Bio-Discography
of Benny Goodman (2nd ed.). New Rochelle, N.Y.: Arling-
ton House.

[17] Shilkret, Nathaniel, ed. Niel Shell and Barbara Shilkret,

• Live at Carnegie Hall (1999)
Scarecrow Press, Lanham, Maryland, 2005. ISBN 0-8108-
• Carnegie Hall: The Complete Concert (2006, remas- 5128-8.
tered) [18] Stockdale, Robert L. (1995). “Tommy Dorsey on the Side”.
Studies in Jazz, No. 19. Scarecrow Press, Metuchen, New
• The Yale University Music Library, Vol. 2: Live at Jersey..
Basin Street (1988, Musical Heritage Society)
[19] “Benny Goodman’s Boys”. Redhotjazz.com. Retrieved De-
cember 27, 2012.
4.6.1 Compilation [20] Charters, Murray (2009). “The Road to Carnegie Hall”.
Brantford Expositor.
• A Jazz Holiday (1973, Decca)
[21] Schuller, Gunther (May 19, 1939). The History of Jazz:
The Swing Era: The Development of Jazz, 1930–1945.
Books.google.com. Retrieved December 27, 2012.
4.7 Notes
[22] “Spud Murphy: Big-Band Composer and Arranger”. The
[1] “Biography”. Benny Goodman – The Official Website of Independent, August 29, 2005. Retrieved June 18, 2009.
the King of Swing. Estate of Benny Goodman. Retrieved
[23] Clarke, Donald. The Rise and Fall of Popular Music (A
November 5, 2010.
Polemical History). Chapter 9: “The Swing Era Begins”.
[2] Eder, Bruce (November 2, 1999). “Live at Carnegie Hall: Retrieved August 1, 2012.
1938 Complete. Benny Goodman: Songs, Reviews, Credits, [24] Firestone 1993, p. 134.
Awards”. AllMusic. Retrieved December 27, 2012.
[25] Lincoln, James. Benny Goodman and the Swing Era. p. 163.
[3] Bennett Muraskin, Slate (2014). “Benny Goodman”. Family This information is attributed to writer and historian James
Portraits. Eilat Gordin Levitan. Retrieved January 13, 2015. T. Maher.
[4] Firestone 1993, p. 18. [26] “Historic Sweet’s Ballroom” (PDF). Archived from the orig-
inal (PDF) on July 23, 2007. Retrieved July 6, 2010. Orig-
[5] Firestone 1993, p. 19. inally a dance studio built in 1923, the ballroom was man-
aged by Bill Sweet and turned into one of Oakland’s best
[6] Firestone 1993, p. 21.
ballrooms. It was known as McFadden’s in the 1930s and
[7] Firestone 1993, p. 22. as Sands Ballroom in the 1970s. Collier, in his book Benny
Goodman and the Swing Era (page 164), listed both a “Mc-
[8] Firestone 1993, p. 18. Fadden’s Ballroom in San Francisco” and “Sweet’s in Oak-
land” as separate engagements for Goodman, with Pismo
[9] Firestone 1993, p. 24. Beach in between. However, there was never a McFadden’s
4.7. NOTES
or a Sweet’s Ballroom in San Francisco, and the trip from
there to Pismo Beach was inconveniently long. Oakland and
San Francisco are about 15 miles (24 km) apart, but Pismo
Beach is more than 235 miles (378 km) south of both of
them. Pismo Beach is only 175 miles (282 km) from Los
Angeles and would have been a more convenient place for
Goodman to have played while traveling from Oakland to
L.A.
[27] Selvin, Joel. San Francisco, The Musical History Tour.
Chronicle Books, 1996. p. 138. ISBN 0-8118-1007-0.
[28] SFGate.com. May 26, 2009. “Benny Goodman’s Music Still
Swings”. Retrieved on June 18, 2009.
[29] Coleman, Rick (2006). Blue Monday. Da Capo Press. p.
36. ISBN 0-306-81491-9.
[30] Spink, George. TuxedoJunction.net. Benny Goodman. Re-
trieved June 18, 2009.
[31] Firestone 1993, p. 243.
[32] Firestone 1993, p. 243.
[33] Firestone 1993, p. 244.
[34] Joyce, Mike. “The 1938 Carnegie Hall Concert”. Retrieved
March 29, 2007.
[35] CD booklet. The Famous 1938 Carnegie Hall Jazz Concert.
Sony reissue, 1992.
[36] Rickert, David (January 31, 2005). “Benny Goodman:
“Sing, Sing, Sing"". Retrieved March 29, 2007.
[37] Firestone 1993, p. 366.
[38] O'Neill, Catherine. “Mary Lou Williams: 'Swinger with a
Mission'". “Books & Arts.” 12/7/79.
[39] Charles Christian: Musician Archived September 27, 2006,
at the Wayback Machine.
[40] Texas Monthly: Texas Music Source
[41] Biography2
[42] 'Big Band Era Recording Ban of 1942”.
[43] Jazz History Time Line Archived March 20, 2007, at the
Wayback Machine.
[44] Schoenberg, Loren (1995). “Benny Goodman: Undercur-
rent Blues”. Capitol. Liner Notes.
[45] Guidry, Nate (2005). “A Life in Tune: New Works Trumpet
Doc Wilson’s Longevity on the Music Scene”. Post-Gazette.
May 8, 2005.
[46] Firestone 1993, p. 354.
[47] Linick, Anthony (2008). The Lives of Ingolf Dahl. Bloom-
ington, Indiana: AuthorHouse. pp. 159–61, 253, 273.
21
[48] “Benny Goodman” Archived October 16, 2007, at the
Wayback Machine.. Current Biography (1962). H. W. Wil-
son.
[49] Three Cheers for Yeh!
[50] Available on compact disc: Benny Goodman—Clarinet Clas-
sics, Pavilion Records. Pearl GEM0057.
[51] The Benny Goodman Story (1955) at the Internet Movie
Database
[52] Firestone 1993, p. 173.
[53] Firestone 1993, pp. 296, 301–302, 401.
[54] Firestone 1993, pp. 183–184.
[55] Hine, Darlene (1999). Crossing Boundaries: Comparative
History of Black People in Diaspora. Indiana University
Press. p. 297.
[56] Feather, Leonard (2007). The Biographical Encyclopedia of
Jazz. Oxford University Press. e-book.
[57] Billboard April 4, 1942.
[58] Weitsman, Madeline (1986). “Quiet Service Marks Benny
Goodman Burial.” Stamford [Connecticut] Daily Advocate,
June 16, 1986. pp. A1, A6.
[59] “Top Goodmanship Displayed at Father, Daughter Recital.”
Boston Herald, May 4, 1964. p. 22.
[60] “Benny Goodman Acts as Accompanist for Daughter’s De-
but.” Little Rock Arkansas Democrat, August 8, 1959. p.
12.
[61] Wilson, John S. (June 29, 1985). “Jazz Festival: Benny
Goodman Joins John Hammond Tribute”. New York Times.
Retrieved April 2, 2007.
[62] Weitsman, Madeline (1986). “Quiet Service Marks Benny
Goodman Burial.” Stamford [Connecticut] Daily Advocate,
June 16, 1986. p. Al.
[63] Benny Goodman at Find a Grave
[64] “Lifetime Achievement Award”. Recording Academy. Re-
trieved April 2, 2007.
[65] “A Chronology of Speakers and Person Honored”. Southern
Illinois University Edwardsville. September 2, 1976. Re-
trieved April 18, 2013.
[66] “NAB Hall of Fame”. National Association of Broadcasters.
Retrieved August 1, 2012.
[67] Turan, Kenneth (November 19, 2010). “Movie Review:
'Jews and Baseball: An American Love Story'". Los An-
geles Times. Retrieved December 12, 2010.
[68] “Film”. Jewsandbaseball.com. Retrieved December 12,
2010.
22 CHAPTER 4. BENNY GOODMAN

[69] Scott Barancik (July 7, 2010). “New Film Explores Our

Love Affair with Baseball”. Jewish Baseball News. Re-
trieved December 12, 2010.

[70] http://wordpress.org/news/2014/09/benny/

4.8 References
• Firestone, Ross (1993). Swing, Swing, Swing: The Life
& Times of Benny Goodman. New York: Norton.
ISBN 0-393-03371-6.

4.9 External links

• Official website

• Benny Goodman web biography with audio

• Benny Goodman scores, Music Division, New York
Public Library for the Performing Arts
• Benny Goodman papers (the bulk of the musician’s
estate) in Irving S. Gilmore Music Library, Yale Uni-
versity

• Benny Goodman Audio Collection, Institute of Jazz

Studies, Dana Library, Rutgers University, Newark,
New Jersey

• Benny Goodman biography

• Benny Goodman Sextet performing live in 1950 as
regulars on the DuMont network TV series Star Time
• Interview with Benny Goodman, May 8, 1980. Uni-
versity of Texas at San Antonio: Institute of Texan
Cultures: Oral History Collection, UA 15.01, Univer-
sity of Texas at San Antonio Libraries Special Collec-
tions]
Chapter 5
Teddy Wilson
For the American actor, see Theodore Wilson. For other with a wide range of important swing musicians such as
uses, see Ted Wilson (disambiguation). Lester Young, Roy Eldridge, Charlie Shavers, Red Norvo,
Buck Clayton, and Ben Webster.
Theodore Shaw "Teddy" Wilson (November 24, 1912 –
July 31, 1986)[1] was an American jazz pianist. Described
by critic Scott Yanow as “the definitive swing pianist”,[2]
Wilson’s sophisticated and elegant style was featured on
the records of many of the biggest names in jazz, includ-
ing Louis Armstrong, Lena Horne, Benny Goodman, Billie
Holiday, and Ella Fitzgerald. With Goodman, he was one of
the first black musicians to appear prominently with white
musicians. In addition to his extensive work as a sideman,
Wilson also led his own groups and recording sessions from
the late 1920s to the 1980s.
5.1 Biography
Wilson was born in Austin, Texas, on November 24,
1912. He studied piano and violin at Tuskegee Institute in
Tuskegee, Alabama. After working in Speed Webb's band,
with Louis Armstrong, and also understudying Earl Hines
in Hines’s Grand Terrace Cafe Orchestra, Wilson joined
Benny Carter's Chocolate Dandies in 1933. In 1935, he
joined the Benny Goodman Trio (which consisted of Good-
man, Wilson and drummer Gene Krupa, later expanded to
the Benny Goodman Quartet with the addition of Lionel
Hampton). The trio performed during the big band's inter-
missions. By joining the trio, Wilson became one of the
first black musicians to perform prominently in a racially
integrated group.
Jazz producer and writer John Hammond was instrumen-
tal in getting Wilson a contract with Brunswick, starting
in 1935, to record hot swing arrangements of the popu-
lar songs of the day, with the growing jukebox trade in
mind. He recorded fifty hit records with various singers
such as Lena Horne, Helen Ward and Billie Holiday, in-
cluding many of Holiday’s greatest successes. During these
years, he also took part in many highly regarded sessions
23
Wilson formed his own short-lived big band in 1939, then
led a sextet at Café Society from 1940 to 1944. He was
dubbed the “Marxist Mozart” by Howard “Stretch” John-
son due to his support for left-wing causes: he performed in
benefit concerts for The New Masses journal and for Russian
War Relief, and he chaired the Artists’ Committee to elect
Benjamin J. Davis.[3] In the 1950s, Wilson taught at the
Juilliard School. Wilson can be seen appearing as himself
in the 1955 motion picture The Benny Goodman Story. He
also worked as music director for the Dick Cavett Show.
Wilson lived quietly in suburban Hillsdale, New Jersey.[4]
He was married three times, including to the songwriter
Irene Kitchings. He performed as a soloist and with pick-
up groups until the final years of his life, including leading
a trio with his sons Theodore Wilson on bass and Steven
Wilson on drums.[5]
Wilson died in New Britain, Connecticut, on July 31, 1986;
he was 73. He is buried at Fairview Cemetery in New
Britain. In addition to Theodore and Steven, Wilson had
three more children, William, James (Jim) and Dune and
three grandchildren, James II, Olivia and Liam Wilson.[6]
5.2 Select discography
5.2.1 As leader
• 1944: Teddy Wilson Sextet (The Onyx Club New York
Original Live Recordings)
• 1949: Teddy Wilson Featuring Billie Holiday
• 1952: Runnin' Wild (MGM)
• 1952: Just A Mood - Teddy Wilson Quartet Starring
Harry James & Red Norvo (Columbia EP B-1569/5-
1277)
24 CHAPTER 5. TEDDY WILSON

• 1935–1939: Benny Goodman, The Complete RCA

Victor Small Group Recordings
• 1938: Benny Goodman, The Famous 1938 Carnegie
Hall Jazz Concert

5.3 References
[1] “NEA Jazz Master: Teddy Wilson, Pianist, Arranger, Edu-
cator”. National Endowment for the Arts. Retrieved 2012-
06-17.

[2] Yanow, Scott. “Teddy Wilson Biography”. AllMusic. All

Media Network. Retrieved 24 February 2016.
Wilson at a Benny Goodman rehearsal, 1950 [3] Denning, Michael (1996). The Cultural Front: The Laboring
of American Culture in the Twentieth Century. New York:
Verso. p. 317. ISBN 978-1844674640.
• 1955: The Creative Teddy Wilson (Norgran) - also re-
leased as For Quiet Lovers (Verve) [4] “Jersey Is Home To Teddy Wilson; One Son Is a Teacher”.
The New York Times. July 1, 1973. Mr. Wilson settled in
• 1956: Pres and Teddy (Verve) with Lester Young Hillsdale 10 years ago, when he and his present wife, were
married.
• 1956: I Got Rhythm (Verve)
[5] “Teddy Wilson Profile”. Encyclopedia of Jazz Musicians.
• 1956: The Impeccable Mr. Wilson (Verve) jazz.com. Retrieved 4 May 2013.
• 1956: These Tunes Remind Me of You (Verve) [6] “Teddy Wilson Dies; Pianist and Leader Of 30’s Jazz Com-
bos”. The New York Times. Associated Press. 1 August
• 1957: The Teddy Wilson Trio & Gerry Mulligan Quar-
1986.
tet with Bob Brookmeyer at Newport (Verve)
[7] Hemming, Roy. Mildred Bailey (liner notes). Decca
• 1957: The Touch of Teddy Wilson (Verve) Records. p. 5. GRD-644.
• 1959: Mr. Wilson and Mr. Gershwin (Columbia)
• 1959: “Gypsy” in Jazz (Columbia) 5.4 External links
• 1959: And Then They Wrote... (Columbia)
• Teddy Wilson discography at Discogs
• 1972: With Billie in Mind
• Teddy Wilson at the Internet Movie Database
• 1972: Moonglow (Black Lion)
• Teddy Wilson at Find a Grave
• 1973: Runnin' Wild (Recorded live at the Montreux
Festival) (Black Lion)
• 1976: Live at Santa Tecla
• 1980: Teddy Wilson Trio Revisits the Goodman Years
• 1990: Air Mail Special

5.2.2 As sideman
• 1933–1942: Billie Holiday, The Quintessential Billie
Holiday (Volumes 1-9)
• 1935: Mildred Bailey, Mildred Bailey and Her Alley
Cats[7]
Chapter 6

Chick Webb

For other people named William Webb, see William Webb would compete with other top bands (such as the Benny
(disambiguation). Goodman Orchestra or the Count Basie Orchestra) from
opposing bandstands. By the end of the night’s battles the
dancers seemed always to have voted Chick’s band as the
William Henry Webb, often known as Chick Webb
(February 10, 1905 [1][2][3]
– June 16, 1939) was an Ameri- best. As a result, Webb was deemed the most worthy re-
cipient to be crowned the first “King of Swing”. Notably,
can jazz and swing music drummer as well as a band leader.
Webb lost to Duke Ellington in 1937. Although a judge de-
clared Webb’s band the official winner in 1938 over Count
Basie’s, and Basie himself said he was just relieved to come
6.1 Biography away from the contest without embarrassing himself, sur-
viving musicians continued to dispute the ruling for decades
to follow.[10]
Webb was born in Baltimore, Maryland, to William H.
and Marie Webb. From childhood, he suffered from Webb married Martha Loretta Ferguson (also known as
tuberculosis of the spine,[4] leaving him with short stature “Sallyee”), and in 1935 he began featuring a teenaged Ella
and a badly deformed spine; which caused him to appear Fitzgerald as vocalist. Together Chick and Ella would elec-
hunchbacked.[5] The idea of playing an instrument was sug- trify the Swing Era of jazz with hits such as “A-Tisket
[11]
gested by his doctor to “loosen up” his bones.[6] He sup- a Tasket,” which was composed by Van Alexander at
ported himself as a newspaper boy to save enough money to Fitzgerald’s request. Despite rumors to the contrary, “Ella
buy drums, and first played professionally at age 11. Webb was not adopted by Webb, nor did she live with him and his
had three sisters: Bessie, Mabel and Ethel. Mabel married wife, Sallye,” according to Stuart Nicholson in his Fitzger-
Wilbur Porter around 1928.[7] ald biography.[12]
At the age of 17 he moved to New York City and by 1926
was leading his own band in Harlem. Jazz drummer Tommy
Benford said he gave Webb drum lessons when he first 6.2 Last years and death
reached New York.
He alternated between band tours and residencies at New In November 1938, Webb’s health began to decline; for
York City clubs through the late 1920s. In 1931, his band a time, however, he continued to play, refusing to give
became the house band at the Savoy Ballroom. He became up touring so that his band could remain employed dur-
one of the best-regarded bandleaders and drummers of the ing the Great Depression. He disregarded his own discom-
new "swing" style. Drummer Buddy Rich cited Webb’s fort and fatigue, which often found him passing out from
powerful technique and virtuoso performances as heavily physical exhaustion after finishing sets. Finally, he had a
influential on his own drumming, and even referred to Webb major operation at Johns Hopkins Hospital in Baltimore
as “the daddy of them all”.[8] Webb was unable to read mu- in 1939. William Henry “Chick” Webb died from spinal
sic, and instead memorized the arrangements played by the tuberculosis[13] on June 16, 1939, in Baltimore. Report-
band and conducted from a platform in the center. He edly his last words were, “I'm sorry, I've got to go.” He was
used custom-made pedals, goose-neck cymbal holders, a roughly 34 years old.[10] Webb was buried just outside Bal-
28-inch bass drum and other percussion instruments.[9] Al- timore, in Arbutus Memorial Park, in Arbutus, Maryland.
though his band was not as influential and revered in the long Webb’s death hit the jazz/swing community very hard. Af-
term, it was feared in the battle of the bands.[5] The Savoy ter his death, Ella Fitzgerald led the Chick Webb band until
often featured “Battle of the Bands” where Webb’s band she left to focus on her solo career in 1942 and caused the

25
26
band to disband.[14] Art Blakey and Duke Ellington both
credited Webb with influencing their music. Gene Krupa
credited Webb with raising drummer awareness and paving
the way for drummer-led bands like his own. Webb’s thun-
dering solos created a complexity and an energy that paved
the way for Buddy Rich (who studied him intensely) and
Louie Bellson.
On February 12, 1940 a crowd of about 7,500 people at-
tended a Chick Webb Benefit in Baltimore, Maryland. In
attendance were Sally Webb, Chick’s widow, his mother
Marie Webb, his sister Mabel Porter, Governor Herbert
R. O'Conor, Ella Fitzgerald and boxing champion Joe
Louis.[15]
6.3 Disputed year of birth
Jelly Roll Morton, Louis Armstrong, Earl Hines and
Coleman Hawkins are among several early jazz musicians
whose birthdates have been disputed. Webb’s birthday
is generally believed to be February 10, 1905; however
there is research that shows this may be incorrect. The
Encyclopædia Britannica Online had given two possible
years for his birthdate: 1902 and 1909. However, they
have now tentatively adopted 1905.[16] Still other publi-
cations claim other years. During Webb’s lifetime a De-
cember 1937 Down Beat article, “The Rise of a Crippled
Genius,”[17] stated he was born in 1909, and a book entitled
Rhythm on Record by Hilton Schleman stated his birth year
was 1907.[18] The New York Times reported in 1939 that
Webb was born in 1907. However, despite these varying
dates, Eric B. Borgman has proven that Webb was actually
born in 1905, based on the 1910 and 1920 United States
censuses and newspaper articles.[2][19] Many books and on-
line publications, including the Internet Movie Database,
have since adopted the 1905 year.[3] The confusion regard-
ing his birth year can be seen on his death certificate, which
has “1907” overwritten with “1909.” Webb’s grave marker
gives the wrong birth year of “1909.”
6.4 Selected discography
• Chick Webb: A Legend, Vol. 1 (1929-1936), (Decca
Jazz Recordings DL 9222)
6.5 References
[1] American Rag, Uhl Tidings column, November 2005.
[2] Setting the Record Straight
CHAPTER 6. CHICK WEBB
[3] Chick Webb at the Internet Movie Database
[4] “Swing Music History”, last accessed Jan 12, 2010
[5] “Chick Webb”. Retrieved 2012-12-06.
[6] “Chick Webb: Baltimore’s Jazz Giant”. Retrieved 2012-12-
06.
[7] https://news.google.com/newspapers?nid=2211&
dat=19290112&id=zGNGAAAAIBAJ&sjid=
feUMAAAAIBAJ&pg=5355,2604144
[8] “Buddy Rich Drummerman”. Drummerman.net. Retrieved
2011-10-30.
[9] http://musicians.allaboutjazz.com/musician.php?id=
11230#.ULhw-mCmAeN
[10] Jazz: A Film By Ken Burns, 2000. Documentary miniseries.
Directed by Ken BURNS. USA.
[11] http://www.nathanielturner.com/chickwebbbio.htm
[12] Ella Fitzgerald; A Biography of the First Lady of Jazz, New
York: Charles Scribner’s Sons, 1993, p.36
[13] Find A Grave
[14] http://www.pbs.org/jazz/biography/artist_id_webb_chick.
htm
[15] https://news.google.com/newspapers?id=
8E9AAAAAIBAJ&sjid=RgMGAAAAIBAJ&pg=
3755,6412611&dq=marie-webb+chick+baltimore&hl=en
[16] “Encyclopædia Britannica”. Britannica.com. Retrieved
2011-10-30.
[17] “Archived copy”. Archived from the original on 2014-11-
12. Retrieved 2014-11-12.
[18] Rhythm on Record: Who’s Who and Register of Recorded
Dance Music, 1906/1936, Hilton Schleman, Melody Maker
Limited, London, 1936, page 264.
[19] Chick Webb Archived January 19, 2016, at the Wayback
Machine.
Spinnin' The Webb, Chick Webb, The Little Giant 2014 Cen-
terstream Publications
6.6 External links
• Chick Webb at Find a Grave
• Chick Webb at the Internet Movie Database
• “Setting the Record Straight” article
• Chick Webb: Baltimore’s Jazz Giant
• “Drop Me Off in Harlem”, Kennedy Center tribute to
Webb
Chapter 7

Tommy Dorsey

This article is about trombonist and bandleader Tommy quette” for OKeh records.[9]
Dorsey. For the pianist and jazz and gospel composer, see
In 1934, the Dorsey Brothers band signed with Decca
Thomas A. Dorsey. records, having a hit with “I Believe In Miracles”.[10] Fu-
ture bandleader Glenn Miller was a member of the Dorsey
Thomas Francis "Tommy" Dorsey, Jr. (November 19, Brothers Orchestra in 1934 and 1935, composing "Annie’s
1905 – November 26, 1956)[1] was an American jazz trom- Cousin Fanny",[11] "Tomorrow’s Another Day", "Harlem
bonist, composer, conductor and bandleader of the Big Chapel Chimes", and "Dese Dem Dose", all recorded for
Band era. He was known as the “Sentimental Gentleman of Decca,[12] for the band. Ongoing acrimony between the
Swing”, because of his smooth-toned trombone playing.[2] brothers, however, led to Tommy Dorsey’s walking out to
His technical skill on the trombone gave him renown among form his own band in 1935, just as the orchestra was hav-
other musicians.[3] He was the younger brother of ban- ing a hit with “Every Little Moment.” [13] Dorsey’s orchestra
dleader Jimmy Dorsey.[4] After Dorsey broke with his was known primarily for its renderings of ballads at dance
brother in the mid-1930s, he led an extremely popular and tempos, frequently with singers such as Jack Leonard and
highly successful band from the late 1930s into the 1950s. Frank Sinatra.[3]
He is best remembered for standards such as "Opus One",
"Song of India", “Marie”, “On Treasure Island”, and his
biggest hit single "I'll Never Smile Again".
7.2 His own band

Tommy Dorsey’s first band was formed out of the remains

7.1 Early life
Thomas Francis Dorsey, Jr., was born in Mahanoy Plane,
Pennsylvania, the second of four children born to Thomas
Francis Dorsey, Sr., a bandleader himself,[5] and Theresa
(née Langton) Dorsey.[6] He and Jimmy, his older brother
by slightly less than two years, would become famous as the
“Dorsey Brothers”. The two younger siblings were Mary
and Edward (who died young).[7] Tommy Dorsey initially
studied the trumpet with his father, only to later switch to
the trombone.[3]
At age 15, Jimmy recommended Tommy as the replace-
ment for Russ Morgan in the 1920s territory band “The
Scranton Sirens.” Tommy and Jimmy worked in several
bands, including those of Tal Henry, Rudy Vallee, Vincent
Lopez, Nathaniel Shilkret. In 1923, Dorsey followed his
brother Jimmy to Detroit to play in Jean Goldkette’s band
and later returned to New York in 1925 to play with the
California Ramblers.[8] In 1927 he joined Paul Whiteman. By 1939, Dorsey was aware of criticism that his band lacked
In 1929, the Dorsey Brothers had their first hit with “Co- a jazz feeling. He hired arranger Sy Oliver away from the
of the Joe Haymes band, and so began Dorsey’s long-
running practice of raiding other bands for talent. If he
admired a vocalist, musician or arranger, he would think
nothing of taking over their contracts and careers. Dorsey
had a reputation for being a perfectionist.[14] He was volatile
and also known to hire and fire (and sometimes rehire) mu-
sicians based on his mood.[15][16] The new band was pop-
ular from almost the moment it signed with RCA Victor
with “On Treasure Island”, the first of four hits for the new
band in 1935. After his 1935 recording however, Dorsey’s
manager cut the “hot jazz” that Dorsey had mixed with his
own lyrical style and instead had Dorsey play pop and vocal
tunes. Dorsey would keep his Clambake Seven as a Dix-
ieland group that played during performances, too.[8] The
Dorsey band had a national radio presence in 1936, first
from Dallas and then from Los Angeles. Tommy Dorsey
and his Orchestra took over comedian Jack Pearl’s radio
show in 1937.[17]

27
28
Jimmie Lunceford band.[18][19] Sy Oliver’s arrangements in-
clude "On The Sunny Side of the Street" and “T.D.'s Boogie
Woogie"; Oliver also composed two of the new band’s sig-
nature instrumentals, “Well, Git It” and "Opus One".[20] In
1940, Dorsey hired singer Frank Sinatra from bandleader
Harry James.[21] Frank Sinatra made eighty recordings
from 1940 to 1942 with the Dorsey band.[22] Two of those
eighty songs are "In the Blue of Evening"[21] and "This Love
of Mine".[23] Frank Sinatra achieved his first great success
as a vocalist in the Dorsey band and claimed he learned
breath control from watching Dorsey play trombone.[24][25]
In turn, Dorsey said his trombone style was heavily influ-
enced by that of Jack Teagarden.[26] Among Dorsey’s staff
of arrangers was Axel Stordahl[27] who arranged for Frank
Sinatra in his Columbia and Capitol records years. Another
member of the Dorsey band was trombonist Nelson Riddle,
who later had a partnership as one of Sinatra’s arrangers and
conductors in the 1950s and afterwards.[28] Another noted
Dorsey arranger, who, in the 1950s, married and was pro-
fessionally associated with Dorsey veteran Jo Stafford, was
Paul Weston.[29] Bill Finegan, an arranger who left Glenn
Miller’s civilian band, arranged for the Tommy Dorsey band
from 1942 to 1950.[30]
The band featured a number of future famous instrumen-
talists, singers and arrangers in the 1930s and '40s, in-
cluding trumpeters Zeke Zarchy,[31] Bunny Berigan,[32]
Ziggy Elman,[33][34] Carl “Doc” Severinsen,[35] and Charlie
Shavers,[36] pianists Milt Raskin, Jess Stacy,[37] clar-
inetists Buddy DeFranco,[38] Johnny Mince,[39] and Peanuts
Hucko.[40] Others who played with Dorsey were drum-
mers Buddy Rich,[41] Louie Bellson,[42] Dave Tough[39]
saxophonist Tommy Reed, and singers Frank Sinatra,
Jack Leonard,[43] Edythe Wright,[44] Jo Stafford with The
Pied Pipers,[45] Dick Haymes[46] and Connie Haines.[47] In
1944, Dorsey hired the Sentimentalists who replaced the
Pied Pipers.[48] Dorsey also performed with singer Connee
Boswell[39] Dorsey hired ex-bandleader and drummer Gene
Krupa after Krupa’s arrest and scandal for marijuana pos-
session in 1943.[49] In 1942 Artie Shaw broke up his band
and Dorsey hired the Shaw string section. As George Simon
in Metronome magazine noted at the time, “They're used in
the foreground and background (note some of the lovely ob-
bligatos) for vocal effects and for Tommy’s trombone.”[50]
As Dorsey became successful, he made further business
decisions in the music industry. He loaned Glenn Miller
money to launch Miller’s successful band of 1938,[51] but
Dorsey saw the loan as an investment, entitling him to a
percentage of Miller’s income. When Miller balked at this,
the angry Dorsey got even by sponsoring a new band led by
Bob Chester, and hiring arrangers who deliberately copied
He then wed movie actress Pat Dane in 1943, and they were
Miller’s style and sound. Dorsey branched out in the mid-
divorced in 1947,[62] but not before he gained headlines for
1940s and owned two music publishing companies, Sun and
striking actor Jon Hall when Hall embraced Dorsey’s wife.
Embassy.[52] After opening at the Los Angeles ballroom,
Finally, Dorsey married Jane Carl New [63] on March 27,
CHAPTER 7. TOMMY DORSEY
the Hollywood Palladium on the Palladium’s first night,
Dorsey’s relations with the ballroom soured and he opened
a competing ballroom, the Casino Gardens circa 1944.[52]
Dorsey also owned for a short time a trade magazine called
The Bandstand.[52]
Tommy Dorsey disbanded his own orchestra at the end of
1946. Dorsey might have broken up his own band perma-
nently following World War II, as many big bands did due to
the shift in music economics following the war, but Tommy
Dorsey’s album for RCA Victor, “All Time Hits” placed in
the top ten records in February 1947. In addition, “How Are
Things In Glocca Morra?", a single recorded by Dorsey, be-
came a top-ten hit in March 1947. Both of these successes
made it possible for Dorsey to re-organize a big band in
early 1947.[53] The Dorsey brothers were also reconciling.
The biographical film of 1947, The Fabulous Dorseys de-
scribes sketchy details of how the brothers got their start
from-the-bottom-up into the jazz era of one-nighters, the
early days of radio in its infancy stages, and the onward
march when both brothers ended up with Paul Whiteman
before 1935 when The Dorsey Brothers’ Orchestra split into
two.[54] In the early 1950s, Tommy Dorsey moved from
RCA Victor back to the Decca record label.[55]
Jimmy Dorsey broke up his own big band in 1953. Tommy
invited him to join up as a feature attraction[56] and, a short
while later, Tommy renamed the band the Tommy Dorsey
Orchestra featuring Jimmy Dorsey. In 1953, the Dorseys
focused their attention on television.[57] On December 26,
1953, the brothers appeared with their orchestra on Jackie
Gleason's CBS television show, which was preserved on
kinescope and later released on home video by Gleason.
The brothers took the unit on tour and onto their own televi-
sion show, Stage Show, from 1955 to 1956. On a half dozen
episodes, they introduced future noted rock musician Elvis
Presley to national television audiences, prior to Presley’s
better known appearance on the Ed Sullivan Show.[58]
7.3 Married life
Dorsey’s married life was varied and, at times, lurid.[59]
His first wife was 16-year-old Mildred “Toots” Kraft, with
whom he eloped in 1922, when he was 17. They had two
children, Patricia and Thomas F. Dorsey III (nicknamed
“Skipper”). In 1935, they moved to “Tall Oaks”, a 21-acre
(8.5 ha) estate in Bernardsville, New Jersey.[60] They di-
vorced in 1943 after Dorsey’s affair with his former singer
Edythe Wright.[61]
7.5. NUMBER ONE HITS
Tommy Dorsey and Frank Sinatra, RCA Victor Studios, 1941.
1948, in Atlanta, Georgia. She had been a dancer at the
Copacabana nightclub in New York City. Tommy and Jane
Dorsey had two children, Catherine Susan and Steve.
7.4 Death and aftermath
On November 26, 1956, Dorsey died at age 51 in his
Greenwich, Connecticut, home. He had begun taking
sleeping pills regularly at this time, from which he was
so sedated that one night he died in his sleep from chok-
ing after eating a heavy meal.[64] Jimmy Dorsey led his
brother’s band until his own death from lung cancer the fol-
lowing year. At that point, trombonist Warren Covington
became leader of the band with Jane Dorsey’s blessing[65] as
she owned the rights to her late husband’s band and name.
Billed as the “Tommy Dorsey Orchestra Starring Warren
Covington”, they topped the charts in 1958 with “Tea For
Two Cha-Cha”.[66]
After Covington led the band, starting in 1961 tenor sax-
ophonist Sam Donahue led it, continuing until the late
1960s.[67] Frank Sinatra Jr. made his professional singing
debut with the band at Dallas Memorial Theater in Texas
in 1963. Later, trombonist and bandleader Buddy Morrow
led the Tommy Dorsey Orchestra from 1977 until his death
on September 27, 2010. Jane Dorsey died of natural causes
at the age of 79, in Miami, Florida in 2003. Tommy and
Jane Dorsey are interred together in Kensico Cemetery in
Valhalla, New York.[68]
29
The grave of Tommy and Jane Dorsey in Kensico Cemetery
7.5 Number one hits
Tommy Dorsey had a run of 286 Billboard chart hits.[69]
The Dorsey band had seventeen number one hits with his
orchestra in the 1930s and 1940s including: “On Treasure
Island”, “The Music Goes 'Round and Around”, “You”,
“Marie” (written by Irving Berlin), “Satan Takes a Holi-
day”, “The Big Apple”, “Once in a While”, “The Dipsy
Doodle”, “Our Love”, “All the Things You Are”, “Indian
Summer” and “Dolores”. He had two more number one
hits in 1935 when he was a member of the Dorsey Brothers
Orchestra: “Lullaby of Broadway” (written by Harry War-
ren), number one for two weeks, and “Chasing Shadows”,
number one for three weeks. His biggest hit was I'll Never
Smile Again, featuring Frank Sinatra on vocals, which was
number one for twelve weeks on the Billboard pop singles
chart in 1940. “In the Blue of Evening”[70] was number 1
on the Billboard pop singles chart in 1943.[71]
7.6 Songs written by Tommy Dorsey
• 1929: “You Can't Cheat a Cheater” with Phil
Napoleon and Frank Signorelli[72]
• 1932: “Three Moods”[73]
• 1937: "The Morning After"
• 1938: “Chris and His Gang” with Fletcher and Horace
Henderson;[74][75][76] Tommy Dorsey wrote the song
“Peckin' With Penguins” for a 1938 Frank Tashlin-
directed Porky Pig cartoon, “Porky’s Spring Planting”
for the studio Warner Bros.[77]
• 1939: "To You",[78][79] "This Is No Dream", "You
Taught Me to Love Again",[80][81] "In the Middle of
30
a Dream", “Night in Sudan”[82][83] “Dark Laughter”
with Juan Tizol[84]
• 1945: “Fluid Jive” and “Fried Chicken”[85]
• 1946: “Nip and Tuck”
• 1947: “Trombonology”[86]
• Co-wrote “Bunch of Beats”, “Mid Riff”, and “Candied
Yams” with Fred Norman.[85]
7.7 Honors and posthumous recog-
nition
In 1982, the 1940 Victor recording "I'll Never Smile Again"
was the first of a trio of Tommy Dorsey recordings to be
inducted into the Grammy Hall of Fame.[87] His theme
song, "I'm Getting Sentimental Over You" was inducted
in 1998, along with his recording of “Marie” written by
Irving Berlin in 1928.[88] In 1996, the U.S. Postal Service
issued a Tommy Dorsey and Jimmy Dorsey commemora-
tive postage stamp.
7.8 Discography
• 1961: The One And Only Tommy Dorsey (RCA Cam-
den)
• 1966: Tommy Dorsey’s Dance Party (Vocalion)
• 1971: This is Tommy Dorsey (RCA Victor)
• 1976: Tommy Dorsey (1937 – 1941) (AMIGA) [89]
• 1988: All-Time Greatest Dorsey/Sinatra Hits, Vol. 1-4
(RCA)
• 1982: The Dorsey/Sinatra Sessions (RCA)
• 1990: Yes, Indeed! (Bluebird/RCA)
• 1991: Music Goes Round and Round (Bluebird/RCA)
• 1994: Stop, Look and Listen (1994) (ASV/Living Era)
• 1999: The V-Disc Recordings (Collectors’ Choice)
• 1999: 1937, Vol. 3
• 2001: This Is Tommy Dorsey & His Orchestra, Vol. 1
(Collectables)
• 2004: 1939, Vol. 3
• 2004: Tommy Dorsey: The Early Jazz Sides: 1932 –
1937 (Jazz Legends)
• 2004: It’s D'Lovely 1947–1950 (Hep) [90][91]
CHAPTER 7. TOMMY DORSEY
7.9 V-Disc recordings
• Blue Skies, No. 1B, October, 1943, with Frank Sina-
tra and the Pied Pipers
• Well Get It, No. 86A, December, 1943
• April in Paris, No. 134, 1944
• Swing Low, Sweet Chariot, No. 150B, March, 1944
• Hawaiian War Chant and March of the Toys, No.
195B, May, 1944
• Paramount on Parade, No. 206, 1944
• Minor Goes A'Muggin' and Losers Weepers, No.
220A, 1944
• Not So Quiet Please, No. 220B, 1944, with Gene
Krupa
• Wagon Wheels, No. 222A, 1944
• T.D. Chant, No. 222B, with Gene Krupa and Buddy
DeFranco
• Tess’s Torch Song and Milkman Keep Those Bottles
Quiet, No. 227A, 1944, with Georgia Gibbs
• Irresistible You and I Never Knew, No. 227B, with
Bob Allen and The Sentimentalists
• Small Fry, No. 269A, 1944, with Bing Crosby
• Milenberg Joys, No. 273B, 1944
• Sweet and Lovely and The Lamp is Low, No. 320A
(Army), November, 1944
• Melody in A and Chicago, No. 322A, 1944
• Over the Rainbow and I May Be Wrong But I Think
You're Wonderful, No. 335A, December, 1944, with
Judy Garland
• For All We Know and The Lady in Red, No. 347A
(Army), January, 1945
• Nobody’s Baby and Three Little Words, No. 362A,
1945
• Smoke Gets in Your Eyes and Sweetheart of Sigma
Chi, No. 391A, March, 1945
• More Than You Know, No. 451A (Army); No. 231A
(Navy), June, 1945, with Jimmy Dorsey and His Or-
chestra
• Brotherly Jump, No. 451B, June, 1945, with Jimmy
Dorsey and His Orchestra
7.13. NOTES
• I'll Never Smile Again, No. 582A (Army), February,
1946, with Frank Sinatra and the Pied Pipe
• Boogie Woogie, No. 877A, January, 1949
• Marie, No. 890A, Tommy Dorsey and Band, March,
1949
7.10 Filmography
• Segar Ellis and His Embassy Club Orchestra (1929) ₑₑ
ᵢ ₐ ᵢₒ
• Alice Bolden and Her Orchestra (1929)[92]
Tommy Dorsey and his Orchestra appear in the following
films for the studios Paramount, MGM, Samuel Goldwyn,
Allied Artists and United Artists:[93]
• Las Vegas Nights (1941)[77]
• Ship Ahoy (1942)[55]
• Presenting Lily Mars(1943)[94]
• Girl Crazy (1943)[55]
• Du Barry Was a Lady (1943)[55]
• Thrill of a Romance (1945) [55]
• The Great Morgan (1946)[95]
• The Fabulous Dorseys (1947)[96]
• A Song Is Born (1948) [55]
• Disc Jockey (1951) [55]
The Dorsey Brothers appear in the 1953 sixteen-minute
Universal-International film called The Dorsey Brothers En- [14] Marc Myers (July 9, 2009). “Jazz Wax: Interview Buddy
core.[97]
7.11 Grammy Hall of Fame
Tommy Dorsey was posthumously inducted into the
Grammy Hall of Fame, which is a special Grammy award
established in 1973 to honor recordings that are at least
25 years old and that have “qualitative or historical signifi- [16] On George Spink’s website, saxophonist Bud Freeman says
cance.”
7.12 Noted sidemen
• Noni Bernardi (1911–2006), big-band musician and [17] All radio references from “Dorsey, Thomas, Francis, Jr.”
member of the Los Angeles, California, City Council,
1961–93
31
7.13 Notes
[1] Tommy Dorsey at Find a Grave
[2] “Dorsey, Thomas, Francis, Jr. (“Tommy,” “The Sentimen-
tal Gentleman of Swing”)". Pennsylvania Center For The
Book/Lisa A. Moore. n.d. [date published unknown].
[3] “Jazz: A Film By Ken Burns: Selected Artist Biography -
Tommy Dorsey”. PBS. Retrieved 2013-02-05.
[4] “Dorsey, James Francis 'Jimmy'". Pennsylvania Center For
The Book/Nicole DeCicco. n.d. [date published unknown].
[5] Billboard, July 25, 1942 died July 13, 1942
[6] Dorsey, Thomas Francis Jr. ('Tommy,' 'The Sentimen-
tal Gentleman of Swing'). The family moved to Lansford
shortly after his birth.
[7] Levinson, Peter (2005). Livin' In A Great Big Way. New
York: DaCapo. p. 354. ISBN 978-0-306-81111-1.
[8] “Dorsey, Tommy (Thomas Francis Jr.) – Jazz.com | Jazz
Music – Jazz Artists – Jazz News”. Jazz.com. Retrieved
2013-02-05.
[9] “Tommy Dorsey”. VH1/William Ruhlmann/All Music
Guide. n.d. [date published unknown].
[10] “Tommy Dorsey”. Billboard.
[11] “Tuxedo Junction Tommy Dorsey”. George Spink. 2009.
[12] “Dorsey Brothers Orchestra”. Scott Alexander. n.d. [date
published unknown].
[13] “Encyclopedia of Jazz Musicians, Dorsey, Tommy”.
DeFranco Opus 1”. JazzWax.
[15] Peter Levinson quotes Tommy Dorsey as saying “No-
body leaves this band. I only fire people.” Drummer
Louis Bellson sees a more a benign Dorsey, as the
same website quotes him, "[H]e wanted you to play your
best every night.” see http://www.jerryjazzmusician.com/
mainHTML.cfm?page=levinson-dorsey.html
that he quit twice and was fired three times during his em-
ployment with Dorsey. Also the same website says that
singers Jo Stafford and the Pied Pipers quit the Dorsey
band in 1942 because of an argument with Dorsey. see
http://www.tuxjunction.net/tommydorsey.htm
[18] “Jazz Wax”
32
[19] “When I moved from the Lunceford band to Tommy Dorsey,
I didn't change my writing approach. He made the transition.
The band that Dorsey had when I joined him was Dixieland-
orientated [sic], and my sort of attack was foreign to most of
the fellows he had. We both knew that to be the case, but
he wanted a Swing band—so he changed personnel until he
got the guys that could do it.” Sy Oliver. see http://www.
jazzprofessional.com/interviews/SyOliver_1.htm
[20] “The Sy Oliver Story, Part 1”. Les Tomkins. 1974.
[21] Gilliland, John (1994). Pop Chronicles the 40s: The Lively
Story of Pop Music in the 40s (audiobook). ISBN 978-1-
55935-147-8. OCLC 31611854. Tape 1, side A.
[22] “The Kennedy Center Biography of Frank Sinatra”. The
Kennedy Center.
[23] “Sinatra The Complete Guide”. Brett Wheadon. 1986.
[24] “Encyclopedia of Jazz Musicians”
[25] Later Sy Oliver and Frank Sinatra would do a posthu-
mous tribute album to Tommy Dorsey on Sinatra’s
Reprise records."I Remember Tommy” appeared in
1961. See http://www.billboard.com/album/frank-sinatra/
i-remember-tommy/143607/review#/album/frank-sinatra/
i-remember-tommy/143607/review
[26] “Teagarden’s technique had an enormous influence on trom-
bonists after him. Tommy Dorsey, who was to become one
of the most popular trombonists of the swing era, so re-
spected Teagarden’s playing that he refused to play a solo
while Teagarden was in the same room.” see “Online Trom-
bone Journal” by David Wilken, http://www.trombone.org/
articles/library/evojazz2.asp
[27] Simon Says p.297 also see “Jerry Jazz Musician: Interview
With Peter Levinson” http://www.jerryjazzmusician.com/
mainHTML.cfm?page=levinson.html
[28] “Yes, the musical discipline of Tommy Dorsey, that was such
an ingredient of everything he did, was something that Nel-
son grabbed on to. As an arranger, Dorsey knew what he
wanted and Nelson had to deliver a high standard of arrang-
ing. As Bill Finegan pointed out to me, playing all of those
Sy Oliver charts gave Riddle the sense of how to write very
dynamic arrangements, which he did about ten years later
for Sinatra.” see “Jerry Jazz Musician: Interview with Peter
Levinson”
[29] “Jo Stafford Biography”. The University of Arizona College
of Fine Art School of Music.
[30] “Tommy Dorsey: Lonesome Road”. Jazz.com. c. 2009.
[31] Thurber, Jon (April 17, 2009). “Ruben 'Zeke' Zarchy: Big
Band Trumpeter”. Los Angeles Times. Retrieved May 25,
2010.
[32] “Box Sets: Gift Guide by Harvey Pekar Tommy Dorsey The
Sentimental Gentleman of Swing”. Austin Chronicle Corp.
December 9, 2005.
CHAPTER 7. TOMMY DORSEY
[33] “Jazzed In Cleveland Part 117 Tommy Dorsey’s Dance Car-
avan”. Joe Mosbrook. 2007.
[34] “Elman played a month with violinist Joe Venuti’s band, then
joined Tommy Dorsey’s orchestra in August [1940], at a
salary of $500 a week (other players might have been get-
ting, say, $100). But he also had some extra responsibility,
and became Tommy’s right-hand man, acting as 'straw-boss,'
conducting rehearsals, filling in as director when Dorsey was
momentarily off the bandstand during the course of a night,
or, just for fun, when Tommy would play trumpet and El-
man would play trombone.” see: “Ziggy Elman: Fralich In
Swing” by Chris Popa
[35] “Space Age Pop Doc Severinson”. Spaceagepop. 2008.
[36] “Legends of Big Band History”. Swingmusic.net. 2004–
2007.
[37] “Obituaries: Jess Stacy”. London: Independent News and
Media, Limited. January 4, 1995. Retrieved May 25, 2010.
[38] “Buddy’s Bio”. CYber Sytes Inc. n.d.
[39] Harvey Pekar
[40] “Peanuts Hucko”. London: Independent News and Media
Limited. June 21, 2003. Retrieved May 25, 2010.
[41] “Buddy Rich”. Drummerworld. n.d.
[42] “Louie Bellson 1924-2009”. Jazzwax. 2009.
[43] “Solid! Jack Leonard”. Parabrisas. 1996–2005.
[44] “Legends of Big Band Music History Tommy Dorsey”.
Swingmusic.net. 2004–2007.
[45] “Songwriters Friends Jo Stafford”. Songwriters Hall of
Fame.
[46] “Solid! Dick Haymes”. Parabrisas. 1996–2005.
[47] “Connie Haines: Performer who sang with Sinatra and
Tommy Dorsey Band”. Independent News and Media, ltd.
October 5, 2008.
[48] Levinson 174-175
[49] “Biography [Gene Krupa]". Shawn C. Martin. 1997–2001.
[50] Simon, George (1971). Simons Says: The Sights and Sounds
of the Big Band Era. New Rochelle, NY: Arlington House.
p. 192. ISBN 978-0-88365-001-1.
[51] Simon, George (1980). Glenn Miller and His Orchestra.
New York: DaCapo. p. 147. ISBN 978-0-306-80129-7.
[52] Dorsey, Thomas Francis Jr.
[53] VH1/William Rulmann/All Music Guide
[54] “The Fabulous Dorseys (1947)". IMDB. n.d. [date pub-
lished unknown].
7.13. NOTES
[55] “Tommy Dorsey” Billboard
[56] Tommy and Jimmy Dorsey reunited on March 15, 1945,
to record a V-Disc at Liederkranz Hall in New York City.
Released in June 1945, V-Disc 451 featured “More Than
You Know” backed with “Brotherly Jump”. The songs
featured the combined orchestras of Tommy and Jimmy
Dorsey.< ᵢ ₐ ᵢₒ ₑₑ ₑ >
[57] see “Tommy Dorsey” IMDB http://www.imdb.com/name/
nm0234186/
[58] “CBS Studio 50 The Ed Sullivan Theater”. James V. Roy
for Scotty Moore. n.d. [date published unknown].
[59] Levinson 171-172
[60] Baratta, Amy. “Big band leader among owners of historic
home in Bernardsville; Dorsey hosted Frank Sinatra, other
celebrities”, The Bernardsville News, April 20, 2012. Ac-
cessed June 6, 2016. “Known as 'the sentimental gentle-
man of swing,' the musician purchased the 21-acre estate for
$32,000 in 1935 and lived there with his first wife, Mildred
'Toots’ Kraft, and their two children, Patricia and Tommy,
for nearly a decade.”
[61] Levinson 148
[62] Levinson 211
[63] b. 20 October 1923 in Dublin, Laurens County, Georgia; d.
24 August 2003 in Bay Harbor Island, Miami-Dade County,
Florida see Jane Carl New Dorsey at Find a grave
[64] Levinson 299
[65] “Tommy died with no will and reportedly left only about
$15,000[...]. Since [Dorsey’s widow] Janie New continued
to need money to support her family and because she legally
owned the rights to Tommy’s library of arrangements, she
was naturally very interested when [Willard] Alexander ap-
proached her about creating a Tommy Dorsey band.” Levin-
son 308-309
[66] Levinson 309
[67] Levinson 309-310
[68] Jane Dorsey date of death and interment facts from Levinson
320
[69] Levinson 308.
[70] “RCA Victor [...] scored with 'There Are Such Things’,
which had a Sinatra vocal; it hit number one in January 1943,
as did 'In the Blue of the Evening', another Dorsey record
featuring Sinatra, in August, while a third Dorsey/Sinatra
release, 'It’s Always You,' hit the Top Five later in the year,
and a fourth, 'I'll Be Seeing You', reached the Top Ten
in 1944. see “Frank Sinatra Biography” at http://www.
billboard.com/artist/302382/frank+sinatra/biography
33
[71] The website “Tommy Dorsey A Songwriter’s Friend” says:
“the orchestra had over 200 top twenty recordings includ-
ing the No. 1 hits ‘The Music Goes Round and Round’
(1935), ‘Alone’ (1936) ‘You’ (1936), ‘Marie’ (1937), ‘Satan
Takes a Holiday’ (1937), ‘The Big Apple’ (1937), ‘Once in
a While’ (1937), ‘The Dipsy Doodle’ (1937), ‘Music, Mae-
stro, Please’ (1938), ‘Our Love’ (1939), ‘Indian Summer’
(1939), ‘All the Things You Are’ (1939), ‘I’ll Never Smile
Again’ (1940), ‘Dolores’ (1941), ‘There are Such Things’
(1942), ‘In the Blue of the Evening’ (1943).” see http://www.
songwritershalloffame.org/artists/C4006
[72] Tommy Dorsey at Red Hot Jazz
[73] Tommy Dorsey recorded two takes of this song for OKeh
Records, August 6, 1932 in New York City. See http://
www.redhotjazz.com/tommy.html which also lists Tommy
Dorsey as composer.
[74] Catalog of Copyright Entries: Musical Compositions. U.S.
Library of Congress.
[75] Chris and His Gang. OCLC. World Cat.
[76] A Selection of Big Band Stock Arrangements. U.S. Library
of Congress.
[77] “Tommy Dorsey” IMDB
[78] “To You” appears as part of a medley by Glenn Miller,
paired with “Stairway to the Stars” both sung by Ray Eberle
for the Glenn Miller Orchestra’s performance at Carnegie
Hall on October 6, 1939. See “Solid! – The Glenn Miller
Carnegie Hall Concert” at http://www.parabrisas.com/m_
millerg5.php
[79] Glenn Miller recorded “To You” for Bluebird Records on
May 9, 1939 released as Bluebird 10276-B, with the “A”
side, “Stairway to the Stars” both sung by Ray Eberle. See
Moonlight Serenade: A Bio-discography, John Flower, Ar-
lington House, New Rochelle, 1972, p.63 ISBN 978-0-
87000-161-1
[80] recorded by Sarah Vaughan for Columbia Records on July
7, 1949
[81] Brown, Denis (1991). Sarah Vaughan A Discography.
Westport, CT: Greenwood Press. p. 10. ISBN 978-0-313-
28005-4.
[82] Catalog of Copyright Entries. U.S. Library of Congress.
[83] According to the Tsort.info database, “This Is No Dream”
reached No. 9 on the Billboard singles chart in 1939, while
“To You” reached No. 10 on the same chart, both staying
on the chart for seven weeks. “In the Middle of a Dream”
reached No. 7 on the Billboard chart in 1939, staying on the
charts for ten weeks.
[84] 1939 Catalog of Copyright Entries.
[85] ASCAP database.
34 CHAPTER 7. TOMMY DORSEY

[86] Levinson 214 Levinson refers to the 1947 recording of 7.14 References
Dorsey’s composition as the band’s “one important record-
ing of that year.” “Trombonology” was recorded July 1, 1947 • Peter J. Levinson, Tommy Dorsey: Livin' in a Great Big
and was released on an RCA Victor 78 rpm record, cata-
Way: a Biography (Cambridge, MA: Da Capo Press,
logue number Vic 20-2419. Information taken from the liner
notes to the 1993 compact disc The Post-War Era, Blue-
2005) ISBN 978-0-306-81111-1
bird/RCA 66156, written by Loren Schoenberg. • Robert L. Stockdale, Tommy Dorsey: On The Side
(Metuchen, NJ: The Scarecrow Press, 1995) ISBN
[87] "I'll Never Smile Again" was recorded February 17, 1941 978-0-8108-2951-0
with vocals by Frank Sinatra and the Pied Pipers. see the
liner notes to the compact disc The Best of Tommy Dorsey
by Mort Goode, 1991. Bluebird/RCA 51087-2. According
to Peter Levinson in Livin In A Great Big Way, “I'll Never 7.15 External links
Smile Again” was recorded May 23, 1940. “I'll Never Smile
Again” had the catalogue number for its initial 78rpm re- • Website showing details of tour organized by RCA
lease as Victor 26628. Tommy Dorsey and/or RCA Victor Victor for the Tommy Dorsey and Shep Fields orches-
also released the song as a V-Disc, V-Disc 582. See the web-
tras in 1941.
site “Songs By Sinatra” at http://www.songsbysinatra.com/
records/v-discs.html for discographical information about • Website shows details of the CBS Tommy and Jimmy
that V-Disc. Dorsey television show in 1956.
[88] “Grammy Hall of Fame Award”. The Recording Academy. • Tommy Dorsey at the National Radio Hall of Fame
2009.
• Tommy Dorsey at the Internet Movie Database
[89] see http://www.discogs.com/artist/Tommy+Dorsey for
• Tommy Dorsey at AllMusic
these album listings
• Google Songs
[90] see http://www.allmusic.com/artist/p71826 which lists
Tommy Dorsey’s albums • Tommy Dorsey visits Bernards High School in 1943

[91] see http://www.allmusic.com/artist/p198447 which lists

• The Tommy Dorsey Orchestra
Tommy Dorsey & His Orchestra’s albums for reference • Tommy Dorsey at Find a Grave
[92] In the “Filmography” portion of the website “Thomas
(Tommy) Dorsey 1905-1956”, two movies are listed for
1929 that suggest that Tommy Dorsey appears in them. They
are Segar Ellis and His Embassy Club Orchestra and Alice
Boulden and Her Orchestra. Dorsey biographer Peter Levin-
son confirms that Tommy Dorsey appears in Alice Bolden
and Her Orchestra and considers it to be mediocre. See
Levinson 34

[93] see individual films and their references for the studio that
produced which movie

[94] “Presenting Lily Mars”. Scott Brogan. 1999.

[95] “Tommy Dorsey IMDB” uncredited role according to

source.

[96] “The Fabulous Dorseys (1947)". Turner Classic Movies.

n.d. [date published unknown].

[97] “The Dorsey Brothers Encore (1953)". IMDB. n.d. [date

published unknown].

[98] Grammy Hall of Fame Database.

Chapter 8

Jimmie Lunceford

James Melvin "Jimmie" Lunceford (June 6, 1902 – July often outrageous humor in their music and lyrics, made an
12, 1947) was an American jazz alto saxophonist and ban- ideal band for the club, and Lunceford’s reputation began
dleader in the swing era. to steadily grow.[9] Jimmie Luncefords band differed from
other great bands of the time because their work was bet-
ter known for its ensemble than its solo work. Addition-
8.1 Biography ally, he was known for using a two-beat rhythm, called the
Lunceford two-beat, as opposed to the standard four-beat
rhythm.[10] This distinctive “Lunceford style” was largely
Lunceford was born on a farm in the Evergreen commu- the result of the imaginative arrangements by trumpeter Sy
nity, west of the Tombigbee River, near Fulton, Mississippi. Oliver, which set high standards for dance-band arrangers
The 53 acre farm was owned by his father, James. His of the time.[6]
mother was Idella (“Ida”) Shumpert of Oklahoma City, an
organist of “more than average ability.” Seven months af- Though not well known as a musician, Jimmie Lunceford
ter James Melvin was born, the family moved to Oklahoma was trained on several instruments and was even featured
[11]
City.[1][2][3] The family next moved to Denver where Lunce- on flute in “Liza”.
ford went to high school and studied music under Wilber- Comedy and vaudeville played a distinct part in Lunce-
force J. Whiteman, father of Paul Whiteman, whose band ford’s presentation. Songs such as “Rhythm Is Our Busi-
was soon to acquire a national reputation. As a child in ness” (featured in a 1937 musical short with Myra John-
Denver, he learned several instruments. After high school, son (Taylor) on vocals), “I'm Nuts about Screwy Music”,
Lunceford continued his studies at Fisk University.[4] In “I Want the Waiter (With the Water)", and “Four or Five
1922, he played alto saxophone in a local band led by the Times” displayed a playful sense of swing, often through
violinist George Morrison which included Andy Kirk, an- clever arrangements by trumpeter Sy Oliver and bizarre
other musician destined for fame as a bandleader.[5] lyrics. Lunceford’s stage shows often included costumes,
skits, and obvious jabs at mainstream white bands, such as
Paul Whiteman’s and Guy Lombardo's.
8.2 Career Despite the band’s comic veneer, Lunceford always main-
tained professionalism in the music befitting a former
In 1927, while an athletic instructor at Manassas High teacher; this professionalism paid off and during the apex of
School in Memphis, Tennessee, he organized a stu- swing in the 1930s, the Orchestra was considered the equal
dent band, the Chickasaw Syncopators, whose name was of Duke Ellington's, Earl Hines' or Count Basie's. This
changed to the Jimmie Lunceford Orchestra. Under the precision can be heard in such pieces as “Wham (Re-Bop-
new name, the band started its professional career in 1929, Boom-Bam)", “Lunceford Special”, “For Dancers Only”,
and made its first recordings in 1930.[6] Lunceford was the “Uptown Blues”, and “Stratosphere”. The band’s noted sax-
first public high school band director in Memphis. After ophone section was led by alto sax player Willie Smith.
a period of touring, the band accepted a booking at the Lunceford often used a conducting baton to lead his band.
Harlem nightclub The Cotton Club in 1934 for their re- The orchestra began recording for the Decca label and
vue 'Cotton Club Parade' starring Adelaide Hall.[7][8] The later signed with the Columbia subsidiary Vocalion in 1938.
Cotton Club had already featured Duke Ellington and Cab They toured Europe extensively in 1937, but had to cancel a
Calloway, who won their first widespread fame from their second tour in 1939 because of the outbreak of World War
inventive shows for the Cotton Club’s all-white patrons. II. Columbia dropped Lunceford in 1940 because of flag-
Lunceford’s orchestra, with their tight musicianship and the

35
36 CHAPTER 8. JIMMIE LUNCEFORD

ging sales. (Oliver departed the group before the scheduled

European tour to take a position as an arranger for Tommy
Dorsey). Lunceford returned to the Decca label. The or-
chestra appeared in the 1941 movie Blues in the Night.
Most of Lunceford’s sidemen were underpaid and left for
better paying bands, leading to the band’s decline.[11]

8.3 Death
After playing McElroy’s Ballroom in Portland,[12] Lunce-
ford and his orchestra were in Seaside, Oregon to play at
an old wooden skating-rink / dance hall, the Bungalow on
July 12, 1947.[13][14] Before the performance Lunceford
collapsed during an autograph session at a local record store.
He died while being taken by ambulance to the Seaside hos-
pital. Lunceford was 45.[15] Dr Alton Alderman performed
an autopsy in nearby Astoria, Oregon, and concluded that
Lunceford died of coronary occlusion.[16]
Lunceford had complained about an aching leg as they ar-
rived in Seaside, and had been suffering with high blood
pressure for a while, and had recently complained about
not feeling well.[17] Allegations and rumors circulated that
he had been poisoned by a restaurant owner who was un-
happy at having to serve a “Negro” in his establishment.[18]
This story is given credence by the fact other members of
Lunceford’s band who ate at this restaurant were sick within Jimmie Lunceford
hours of the meal. He was buried at Elmwood Cemetery in
Memphis.
tune “Rhythm is Our Business” was included as track on
the compilation set Memphis Jazz Box in 2004 in honor of
Lunceford’s close ties to Memphis.
8.4 Legacy
On July 19, 2009, a brass note was dedicated to Lunceford
on Beale Street, Memphis, Tennessee.
Band members, notably Eddie Wilcox and Joe Thomas kept
the band going for a time but finally had to break up the
Jimmie Lunceford Orchestra in 1949.
8.5 Selected discography
In 1999, band-leader Robert Veen and a team of musicians
set out to acquire permission to use the original band charts
Prior to Lunceford’s success on Decca (beginning Septem-
and arrangements of the Jimmie Lunceford canon. 'The
ber 1934), he made the following recordings:
Jimmie Lunceford Legacy Orchestra' officially debuted in
July 2005 at the North Sea Jazz Festival in the Netherlands.
• “In Dat Mornin'"/"Sweet Rhythm” (Victor V-38141)
The Jimmie Lunceford Jamboree Festival was founded in - recorded Memphis, June 6, 1930
2007 by Ron Herd II a.k.a. R2C2H2 Tha Artivist and Art-
storian, with the aim of increasing recognition of Lunce- • “Flaming Reeds and Screaming Brass"/"While Love
ford’s contribution to jazz, particularly in Memphis, Ten- Lasts” (test pressings for Columbia, not released until
nessee. The Jimmie Lunceford Legacy Awards was created 1967 on LP) - recorded New York, May 15, 1933
by the Jimmie Lunceford Jamboree Festival to honor ex-
ceptional musicians with Memphis ties as well as those who • “Jazznocracy"/"Chillun, Get Up” (Victor 24522) -
have dedicated their careers to excellence in music and mu- recorded New York, January 26, 1934
sic education. • “White Heat"/"Leaving Me” (Victor 24586) -
His music continues to have an impact. Most recently the recorded New York, January 26, 1934
8.5. SELECTED DISCOGRAPHY
• “Breakfast Ball"/"Here Goes” (Victor 24601) - 8.5.4 The Chronological...Classics series
recorded New York, March 20, 1934
note: every recording by Jimmie Lunceford & His Orches-
• “Swingin' Uptown"/"Remember When” (Victor tra is included in this 10 volume series from the CLASSICS
24669) - recorded New York, March 20, 1934 reissue label...
8.5.1 Decca recordings
• Jazz Heritage Series #3- Jimmie Lunceford 1: Rhythm
Is Our Business (1934-1935) (LP: Decca #79237,
1968/LP reissue: MCA #1302, 1980)
• Jazz Heritage Series #6- Jimmie Lunceford 2: Harlem
Shout (1935-1936) (LP: Decca #79238, 1968/LP reis-
sue: MCA #1305, 1980)
• Jazz Heritage Series #8- Jimmie Lunceford 3: For
Dancers Only (1936-1937) (LP: Decca #79239,
1968/LP reissue: MCA #1307, 1980)
• Jazz Heritage Series #15- Jimmie Lunceford 4: Blues In
The Night (1938-1942) (LP: Decca #79240, 1968/LP
reissue: MCA #1314, 1980)
• Jazz Heritage Series #21- Jimmie Lunceford 5: Jim-
mie’s Legacy (1934-1937) (LP: MCA #1320, 1980)
• Jazz Heritage Series #22- Jimmie Lunceford 6: The
Last Sparks (1941-1944) (LP: MCA #1321, 1980)
• Stomp It Off (1934-1935 Decca recordings) (CD: GRP
#608, 1992)
• For Dancers Only (1935-1937 Decca recordings) (CD:
GRP #645, 1994)
• Swingsation: Jimmie Lunceford (1935-1939 Decca
recordings) (CD: GRP #9923, 1998) 8.5.5
8.5.2 Columbia recordings
• Lunceford Special (1939-1940 Columbia recordings)
(78rpm 4-disc album set/8 songs/#C-175: 1948; orig-
inal LP issue/12 songs/#CL-634: 1956; expanded
LP reissue/16 songs/#CL-2715 and #CS-9515: 1967;
CD release/22 songs/#CK-65647: 2001 from Sony-
Legacy label)
8.5.3 Majestic recordings
• Margie (1946-1947 Majestic recordings) (LP/13
songs/#SJL-1209: 1989 from Savoy Jazz label)
37
• The Chronological Jimmie Lunceford & His Orchestra
1930-1934 (#501)
• The Chronological Jimmie Lunceford & His Orchestra
1934-1935 (#505)
• The Chronological Jimmie Lunceford & His Orchestra
1935-1937 (#510)
• The Chronological Jimmie Lunceford & His Orchestra
1937-1939 (#520)
• The Chronological Jimmie Lunceford & His Orchestra
1939 (#532)
• The Chronological Jimmie Lunceford & His Orchestra
1939-1940 (#565)
• The Chronological Jimmie Lunceford & His Orchestra
1940-1941 (#622)
• The Chronological Jimmie Lunceford & His Orchestra
1941-1945 (#862)
• The Chronological Jimmie Lunceford & His Orchestra
1945-1947 (#1082)
• The Chronological Jimmie Lunceford’s Orchestra
1948-1949 (#1151) -note: these last recordings
(1948-1949) were made after Lunceford’s death by
his long-time band under the joint-direction of Eddie
Wilcox (his piano player) and Joe Thomas (his tenor
sax player/vocalist).
CD compilations from different reissue
labels
• Rhythm Is Our Business (ASV/Living Era, 1992) -note:
all tracks recorded 1933-1940, both the Decca and
Columbia periods successively.
• It’s the Way That You Swing It: The Hits of Jimmie
Lunceford (Jasmine, 2002) 2-CD set
• Jukebox Hits 1935–1947 (Acrobat 2005)
• Quadromania: Jimmie Lunceford–Life Is Fine (1935–
45, Membran/Quadromania Jazz, 2006) 4-CD box set
• Strictly Lunceford (Proper, 2007) 4-CD box set
• The Complete Jimmie Lunceford Decca Sessions
(Mosaic, 2014) 7-CD box set
38 CHAPTER 8. JIMMIE LUNCEFORD

8.6 Trivia [15] Jimmy Lunceford Dies at Seaside. The Oregonian July 13,
1947. page 1
• The Chickasaw Syncopators made a single 78rpm [16] Death 'Natural' For Band Leader. (Associated Press) The
record on December 13, 1927 in Memphis (but with- Oregonian July 16, 1947. page 16
out Lunceford); it was issued on Columbia 14301-D.
[17] Rhythm Is Our Business : Jimmie Lunceford and the
Harlem Express. Eddy Determeyer Ann Arbor : Univer-
sity of Michigan Press, c2006. ISBN 9780472033591.
8.7 References 0472115537 (cloth : alk. paper) page233, 234

[18] Myers, Mark (July 20, 2011). “Swing’s Forgotten King”.

[1] Rhythm Is Our Business : Jimmie Lunceford and the
Wall Street Journal
Harlem Express. Eddy Determeyer Ann Arbor : Univer-
sity of Michigan Press, c2006. ISBN 9780472033591.
0472115537 (cloth : alk. paper) pages 1,2

[2] “Itawamba History Review: The Itawamba Historical So-

ciety: Orchestra Leader Jimmie Lunceford’s Itawamba
County Roots”. Itawambahistory.blogspot.com. 2007-06-
05. Retrieved 2013-03-06.

[3] http://www.afrigeneas.com/forum-aarchive/index_3.cgi/
md/read/id/20788 by Bijan Bayne. Determeyer lists this a
resource. retrieved 1.12.2016

[4] “Fisk Special Collections Features Music and Manuscript

Artifacts in Archives Week Exhibit | Fisk University’s Of-
ficial Weblog”. Fiskuniversity.wordpress.com. 2008-10-17.
Retrieved 2013-03-06.

[5] Dictionary of American Biography, Supplement 4: 1946-

1950

[6] “JAZZ A Film By Ken Burns: Selected Artist Biography -

Jimmie Lunceford”. PBS. Retrieved 2013-03-06.

[7] “Cotton Club Revues 1934”. Jass.com. Retrieved 2013-03-

06.

[8] “Underneath a Harlem Moon: The Harlem to Paris Years of

Adelaide Hall (Bayou Jazz Lives): Iain Cameron Williams:
Books”. Amazon.com. Retrieved 2013-03-06.

[9] Determeyer, Eddy (2006). Rhythm Is Our Business: Jimmie

Lunceford and the Harlem Express. University of Michigan
Press. p. 344. ISBN 978-0-472-11553-2.

[10] “Jimmie Lunceford”. Legends of Big Band Jazz History. Re-

trieved 2012-11-26.

[11] Yanow, Scott. “Jimmie Lunceford - Music Biography, Cred-

its and Discography”. AllMusic. Retrieved 2013-03-06.

[12] advertisement The Oregonian July 10, 1947

[13] Rhythm Is Our Business : Jimmie Lunceford and the

Harlem Express. Eddy Determeyer Ann Arbor : Univer-
sity of Michigan Press, c2006. ISBN 9780472033591.
0472115537 (cloth : alk. paper) page 233, 234

[14] http://www.seasidemuseum.org/lunceford.cfm retrieved

1.11.2016
Chapter 9

Cootie Williams

Charles Melvin “Cootie” Williams (July 10, 1911 – In 1947, Williams wrote the song “Cowpox Boogie” while
September 15, 1985) was an American jazz, jump blues,[1] recuperating from a bout with smallpox. He contracted the
and rhythm and blues trumpeter. disease from a vaccination he insisted all band members
receive.[7]
By the late 1940s Williams had fallen somewhat into obscu-
9.1 Biography rity, having had to reduce his band numbers and finally to
disband.[2] In the 1950s, he began to play more rhythm and
Born in Mobile, Alabama, United States, Williams began blues, and toured with small groups and played in the Savoy
his professional career with the Young Family band, which Ballroom.[8] In the late 1950s he formed a small jazz group
included saxophonist Lester Young, when he was 14 years and recorded a number of albums with Rex Stewart, as well
old.[2] According to Williams he acquired his nickname as as his own album, Cootie in Hi-Fi (1958).[2] In 1962, he re-
a boy when his father took him to a band concert. When it joined Ellington and stayed with the orchestra until 1974,
was over his father asked him what he'd heard and the lad after Ellington’s death. In 1975, he performed during the
replied “Cootie, cootie, cootie”.[3] Super Bowl IX halftime show. He was a 1991 inductee of
the Alabama Jazz Hall of Fame.[9]
In 1928, he made his first recordings with pianist James P.
Johnson in New York, where he also worked briefly in the
bands of Chick Webb and Fletcher Henderson.[2] He rose
to prominence as a member of Duke Ellington's orchestra
9.2 Death
when the band was playing at the Cotton Club, with which
he first performed from 1929 to 1940. He also recorded Williams died in New York on September 15, 1985, at age
his own sessions during this time, both freelance and with 74. He is interred in Woodlawn Cemetery in The Bronx,
other Ellington sidemen. Williams was renowned for his New York City.
“jungle” style trumpet playing (in the manner of Ellington’s
earlier trumpeter Bubber Miley and trombonist Joe “Tricky
Sam” Nanton) and for his use of the plunger mute. He also 9.3 Discography
sang occasionally, a notable example being in the Ellington
piece, “Echoes of the Jungle”.[2] For him, Duke Ellington • Cootie Williams and His Orchestra 1941–1944
wrote ''Concerto for Cootie,'' which when lyrics were added (Classics, 1995)
became ''Do Nothing Till You Hear From Me.'' He was
also the soloist in other major Ellington compositions like • Cootie Williams and His Orchestra 1945–1946 (Clas-
''Echoes of Harlem'' and the religious piece ''The Shepherd sics, 1999)
Who Watches Over the Night Flock,'' which was dedicated • Cootie Williams and His Orchestra 1946–1949 (Clas-
to the Rev. John Gensel. [4] sics, 2000)
In 1940 he joined Benny Goodman's orchestra, a highly • Cootie and Rex (Jazztone, 1957) (with Rex Stewart)
publicized move that caused quite a stir at the time[5] (com-
memorated by Raymond Scott with the song “When Cootie • The Big Challenge (Jazztone, 1957) (with Rex Stewart)
[6]
Left the Duke”), then in 1941 formed his own orches-
• Porgy and Bess Revisited (Warner Bros., 1958) (with
tra, in which over the years he employed Charlie Parker,
Rex Stewart)
Eddie “Lockjaw” Davis, Bud Powell, Eddie Vinson, and
other young players.[2][6] • Cootie in Hi-Fi (Jazztone, 1958)

39
40 CHAPTER 9. COOTIE WILLIAMS

9.4 References
[1] Du Noyer, Paul (2003). The Illustrated Encyclopedia of Mu-
sic (1st ed.). Fulham, London, UK: Flame Tree Publishing.
p. 181. ISBN 1-904041-96-5.

[2] Robinson, J. Bradford (1994). “Williams, Cootie”. In

Kernfeld, Barry. The New Grove Dictionary of Jazz. New
York, New York: St. Martin’s Press. p. 1290.

[3] Curtis, Constance; Herndon, Cholie (April 30, 1949).

“Know your Boroughs Orchestra Men Talk About Show
Business”. The New York Amsterdam News. p. 15.

[4] Fraser, C. Gerald (1985-09-16). “COOTIE WILLIAMS,

ELLINGTON TRUMPETER, DEAD”. The New York
Times. ISSN 0362-4331. Retrieved 2016-12-01.

[5] Visser, Joop (2001). “Disc Four - Take the A-Train”. Duke
Ellington - Masterpieces 1926-1949 (CD booklet). Duke
Ellington. England: Proper. pp. 39–52. PROPERBOX
25.

[6] Schenker, Anatol (1995). Cootie Williams and His Orches-

tra 1941–1944 (CD booklet). Cootie Williams. France:
Classics. pp. 3–8. CLASSICS 827.

[7] “The Laugh is on Maestro Cootie”. The Afro American.

May 3, 1947. Retrieved November 28, 2010.

[8] Fraser, C. Gerald (1985-09-16). “COOTIE WILLIAMS,

ELLINGTON TRUMPETER, DEAD”. The New York
Times. ISSN 0362-4331. Retrieved 2016-12-01.

[9] “Alabama Jazz Hall of Fame Inductees”. Jazzhall.com. Re-

trieved 2015-12-25.

9.5 External links

• Allmusic biography
• Cootie Williams at the Internet Movie Database

• Official website of the Alabama Jazz Hall of Fame

Chapter 10

Lionel Hampton

Lionel Leo Hampton (April 20, 1908 – August 31, 2002) this period he began practicing on the vibraphone. In 1930
was an American jazz vibraphonist, pianist, percussionist, Louis Armstrong came to California and hired the Les Hite
bandleader and actor. Hampton worked with jazz musi- band, asking Hampton if he would play vibes on two songs.
cians from Teddy Wilson, Benny Goodman, and Buddy So began his career as a vibraphonist, popularizing the use
Rich to Charlie Parker, Charles Mingus, and Quincy Jones. of the instrument in the process.[5] Invented ten years ear-
In 1992, he was inducted into the Alabama Jazz Hall of lier, the vibraphone is essentially a xylophone with metal
Fame, and was awarded the National Medal of Arts in 1996. bars, a sustain pedal, and resonators equipped with electric-
powered fans that add vibrato.[9]
While working with the Les Hite band, Hampton also oc-
10.1 Biography casionally did some performing with Nat Shilkret and his
orchestra. During the early 1930s, he studied music at
the University of Southern California. In 1934 he led his
10.1.1 Early life own orchestra, and then appeared in the Bing Crosby film
Pennies From Heaven (1936) alongside Louis Armstrong
Lionel Hampton was born in 1908 in Louisville, Kentucky, (wearing a mask in a scene while playing drums).[10]
and was raised by his grandmother. Shortly after he was
born, he and his mother moved to her hometown Birm-
ingham, Alabama.[1][2][3] He spent his early childhood in 10.1.3 With Benny Goodman
Kenosha, Wisconsin, before he and his family moved to
Chicago, Illinois, in 1916. As a youth, Hampton was a As far as I'm concerned, what he did in those days—and
member of the Bud Billiken Club, an alternative to the Boy they were hard days in 1937—made it possible for Negroes
Scouts of America, which was off limits because of racial to have their chance in baseball and other fields.
segregation.[4] During the 1920s—while still a teenager—
[11]
Hampton took xylophone lessons from Jimmy Bertrand Lionel Hampton on Benny Goodman
and started playing drums.[5] Hampton was raised Roman Also in November 1936,[12] the Benny Goodman Orchestra
Catholic, and started out playing fife and drum at the Holy came to Los Angeles to play the Palomar Ballroom. When
Rosary Academy near Chicago.[6][7] John Hammond brought Goodman to see Hampton per-
form, Goodman invited him to join his trio, which thus be-
came the celebrated Benny Goodman Quartet with Teddy
10.1.2 Early career Wilson and Gene Krupa completing the lineup. The Trio
and Quartet were among the first racially integrated jazz
Lionel Hampton began his career playing drums for the groups to perform before audiences,[11][13] and were a lead-
Chicago Defender Newsboys’ Band (led by Major N. Clark ing small-group of the day.
Smith) while still a teenager in Chicago. He moved to
California in 1927 or 1928, playing drums for the Dix-
ieland Blues-Blowers. He made his recording debut with 10.1.4 Lionel Hampton Orchestra
The Quality Serenaders led by Paul Howard, then left for
Culver City and drummed for the Les Hite band at Sebas- While Hampton worked for Goodman in New York, he
tian’s Cotton Club. One of his trademarks as a drummer recorded with several different small groups known as the
was his ability to do stunts with multiple pairs of sticks such Lionel Hampton Orchestra, as well as assorted small groups
as twirling and juggling without missing a beat.[8] During within the Goodman band. In 1940 Hampton left the Good-

41
42 CHAPTER 10. LIONEL HAMPTON

ophonist Johnny Griffin, guitarist Wes Montgomery, vo-

calist Dinah Washington and keyboardist Milt Buckner.
Other noteworthy band members were trumpeters Dizzy
Gillespie, Cat Anderson, Kenny Dorham, and Snooky
Young; trombonist Jimmy Cleveland, and saxophonists Illi-
nois Jacquet and Jerome Richardson.
The Hampton orchestra that toured Europe in 1953 in-
cluded Clifford Brown, Gigi Gryce, Anthony Ortega, Monk
Montgomery, George Wallington, Art Farmer, Quincy
Jones, and singer Annie Ross. Hampton continued to
record with small groups and jam sessions during the 1940s
and 1950s, with Oscar Peterson, Buddy DeFranco, and oth-
ers. In 1955, while in California working on The Benny
Goodman Story he recorded with Stan Getz and made two
albums with Art Tatum for Norman Granz as well as with
his own big band.
Hampton performed with Louis Armstrong and Italian
singer Lara Saint Paul at the 1968 Sanremo Music Festival
in Italy. The performance created a sensation with Italian
audiences, as it broke into a real jazz session.[16] That same
year, Hampton received a Papal Medal from Pope Paul VI.

Lionel Hampton at the Aquarium, New York, c. June 1946 (photo- 10.1.5 Later career
graph: William Gottlieb)

man organization under amicable circumstances to form his

own big band.[12]
Hampton’s orchestra became popular during the 1940s and
early 1950s. His third recording with them in 1942 pro-
duced a classic version of "Flying Home", featuring a solo
by Illinois Jacquet that anticipated rhythm & blues. Al-
though Hampton first recorded “Flying Home” under his
own name with a small group in 1940 for Victor, the best
and most famous version is the big band version recorded
for Decca on May 26, 1942, in a new arrangement by
Hampton’s pianist Milt Buckner.[14] The selection became
popular, and so in 1944 Hampton recorded “Flyin' Home
#2” featuring Arnett Cobb. The song went on to become the
theme song for all three men. Guitarist Billy Mackel first
joined Hampton in 1944, and would perform and record
with him almost continuously through the late 1970s.[15] In
1947, Hamp performed "Stardust" at a “Just Jazz” concert
for producer Gene Norman, also featuring Charlie Shavers
and Slam Stewart; the recording was issued by Decca. Nor-
man’s GNP Crescendo label issued the remaining tracks
from the concert.
From the mid-1940s until the early 1950s, Hampton
led a lively rhythm & blues band whose Decca Records
recordings included numerous young performers who later Lionel Hampton during a concert in Aachen (Germany) on May 19,
achieved fame. They included bassist Charles Mingus, sax- 1977
10.3. CHARITY 43

During the 1960s, Hampton’s groups were in decline; he

was still performing what had succeeded for him earlier in
his career. He did not fare much better in the 1970s, though
he recorded actively for his Who’s Who in Jazz record label,
which he founded in 1977/1978.[12][17]
Beginning in February 1984, Hampton and his band played
at the University of Idaho's annual jazz festival, which was
renamed the Lionel Hampton Jazz Festival the following
year. In 1987 the UI’s school of music was renamed for
Hampton, the first university music school named for a jazz
musician.
Hampton remained active until a stroke in Paris in 1991
led to a collapse on stage. That incident, combined with
years of chronic arthritis, forced him to cut back drastically
on performances. However, he did play at the Smithsonian
National Museum of American History in 2001 shortly be-
fore his death.[6][12][18]
Lionel Hampton died from congestive heart failure at
Mount Sinai Hospital, New York City, on August 31,
2002.[19] He was interred at the Woodlawn Cemetery,
Bronx, New York. His funeral was held on September 7,
2002, and featured a performance by Wynton Marsalis and President George W. Bush honors Lionel Hampton during a cere-
David Ostwald’s Gully Low Jazz Band at Riverside Church mony recognizing Black Music Month in the East Room of the White
in Manhattan; the procession began at The Cotton Club in House on June 30, 2001.
Harlem.[19][20]

10.3 Charity
Hampton was deeply involved in the construction of vari-
ous public housing projects, and founded the Lionel Hamp-
ton Development Corporation. Construction began with
the Lionel Hampton Houses in Harlem, New York in the
10.2 Personal life 1960s, with the help of then Republican governor Nelson
Rockefeller. Hampton’s wife, Gladys Hampton, also was
involved in construction of a housing project in her name,
On November 11, 1936, in Yuma, Arizona, Lionel Hamp- the Gladys Hampton Houses. Gladys died in 1971. In
ton married Gladys Riddle (1913–1971).[21] Gladys was the 1980s, Hampton built another housing project called
Lionel’s business manager throughout much of his career. Hampton Hills in Newark, New Jersey.
Many musicians recall that Lionel ran the music and Gladys
Hampton was a staunch Republican and served as a delegate
ran the business.
to several Republican National Conventions.[24] He served
During the 1950s he had a strong interest in Judaism and as Vice-Chairman of the New York Republican County
raised money for Israel. In 1953 he composed a King David Committee for some years[25] and also was a member of
suite and performed it in Israel with the Boston Pops Or- the New York City Human Rights Commission.[6] Hamp-
chestra. Later in life Hampton became a Christian Scien- ton donated almost $300,000 to Republican campaigns and
tist.[6] Hampton was also a Thirty-third degree Prince Hall committees throughout his lifetime.[26]
freemason.[22] In January 1997, his apartment caught fire
and destroyed his awards and belongings; Hampton escaped
uninjured.[23]
Hampton died August 31, 2002 and was buried in
10.4 Awards
Woodlawn Cemetery, The Bronx, New York City imme-
diately adjacent to both Miles Davis and Duke Ellington's • 2001 – Harlem Jazz and Music Festival’s Legend
graves. Award
44
• 1996 – International Jazz Hall of Fame Induction
and Award (performed “Flying Home” with Illinois
Jacquet and the Count Basie Orchestra)
• 1996 – National Medal of Arts presented by President
Bill Clinton
• 1995 – Honorary Commissioner of Civil Rights by
George Pataki
• 1995 – Honorary Doctorate from the New England
Conservatory of Music
• 1993 – Honorary Doctorate from the University of
Maryland Eastern Shore
• 1992 – Inducted into the Alabama Jazz Hall of Fame
• 1992 - “Contributions To The Cultural Life of the Na-
tion” award from John F. Kennedy Center for the Per-
forming Arts
• 1988 – The National Endowment for the Arts Jazz 10.5.2
Masters Fellowship
• 1988 – The National Association of Jazz Educators note: every recording by Lionel Hampton & His Orchestra
Hall of Fame Award is included in this 12 volume series from the CLASSICS
reissue label...
• 1987 – Honorary Doctorate of Humanities from the
University of Idaho – UI’s School of Music renamed
“Lionel Hampton School of Music.”
• 1987 – The Roy Wilkins Memorial Award from the
NAACP
• 1986 – The “One of a Kind” Award from Broadcast
Music, Inc.
• 1984 – Jazz Hall of Fame Award from the Institute of
Jazz Studies
• 1984 – Honorary Doctorate of Music from USC
• 1983 – The International Film and Television Festival
of New York City Award
• 1983 – Honorary Doctorate of Humane Letters from
the State University of New York
• 1982 – Hollywood Walk of Fame Star
• 1981 – Honorary Doctorate of Humanities from
Glassboro State College
• 1979 – Honorary Doctorate of Music from Howard
University
• 1978 – Bronze Medallion from New York City
• 1976 – Honorary Doctorate of Humanities from
Daniel Hale Williams University
CHAPTER 10. LIONEL HAMPTON
• 1975 – Honorary Doctorate of Music from Xavier
University of Louisiana
• 1974 – Honorary Doctorate of Fine Arts from
Pepperdine University
• 1968 – Papal Medal from Pope Paul VI
• 1966 – Handel Medallion
• 1957 – American Goodwill Ambassador by President
Dwight D. Eisenhower
• 1954 – Israel’s Statehood Award
10.5 Discography
10.5.1 Compilations of note
The Chronological...Classics series
• The Chronological Lionel Hampton & His Orchestra
1937–1938 (#524) - RCA Victor recordings
• The Chronological Lionel Hampton & His Orchestra
1938–1939 (#534) - RCA Victor recordings
• The Chronological Lionel Hampton & His Orchestra
1939–1940 (#562) - RCA Victor recordings
• The Chronological Lionel Hampton & His Orchestra
1940–1941 (#624) - RCA Victor recordings; first
Decca session
• The Chronological Lionel Hampton & His Orchestra
1942–1944 (#803) - Decca recordings
• The Chronological Lionel Hampton & His Orchestra
1945–1946 (#922) - Decca recordings
• The Chronological Lionel Hampton & His Orchestra
1946 (#946) - Decca recordings
• The Chronological Lionel Hampton & His Orchestra
1947 (#994) - Decca recordings
• The Chronological Lionel Hampton & His Orchestra
1949–1950 (#1161) - Decca recordings
• The Chronological Lionel Hampton & His Orchestra
1950 (#1193) - Decca recordings
10.6. FILMOGRAPHY
• The Chronological Lionel Hampton & His Orchestra
1950–1951 (#1262) - last two Decca sessions; MGM
recordings
• The Chronological Lionel Hampton & His Orchestra
1951–1953 (#1429) - includes Hamp’s first Norman
Granz-produced quartet session (September 2, 1953)
with Oscar Peterson, Ray Brown, and Buddy Rich.
10.5.3 Lionel and Gladys Hampton’s
GLAD-HAMP RECORDS discogra-
phy
• GHLP-1001 (1961) The Many Sides Of Hamp
• GHLP-3050 (1962) All That Twist'n Jazz
• GHLP-1003 (1962) The Exciting Hamp In Europe
• GHLP-1004 (1963) Bossa Nova Jazz
• GHLP-1005 (1963) Recorded Live On Tour
• GHLP-1006 (1964) Hamp In Japan/Live
• GHLP-1007 (1965) East Meets West (Introducing
Miyoko Hoshino)
• GHLP-1009 (1965) A Taste Of Hamp
• GHS-1011 (1967) Hamp Stamps [includes “Greasy
Greens"]
• GHS-1012 (1966) Hamp’s Portrait Of A Woman
• GHS-1020 (1979) Hamp’s Big Band Live!
• GHS-1021 (1980) Chameleon
• GHS-1022 (1982) Outrageous
• GHS-1023 (1983) Live In Japan
• GHS-1024 (1984) Ambassador At Large
• GHS-1026 (1988) One Of A Kind
• GHS-1027 (1987) Midnight Blues (with Dexter Gor- [14] Rickert, David. “Jazz article: “Lionel Hampton: 'Flying
don)
• GHCD-1028 (1990) Cookin' In The Kitchen
10.5.4 As sideman
With Frank Sinatra
• L.A. Is My Lady (Qwest/Warner Bros., 1984)
45
10.6 Filmography
10.7 References
[1] Giddins, Gary (September 23, 2002). “Lionel Hampton,
1908–2002; After 75 Years Onstage, a Well-Earned Rest”.
The Village Voice. Retrieved June 10, 2007.
[2] Rick Mattingly. “Lionel Hampton: 1908-2002”. PAS Hall
of Fame. Percussive Arts Society. Archived from the origi-
nal on April 2, 2008.
[3] “Lionel Hampton (1908-2002)". Hall of Composers. United
States Marine Band. Archived from the original on October
19, 2012.
[4] Ehrenhalt, Alan (1996). The Lost City: The Forgotten Virtues
of Community in America. Basic Books. p. 152. ISBN 0-
465-04193-0.
[5] Yanow, Scott (2001). Classic Jazz. Backbeat Books. p. 94.
ISBN 0-87930-659-9.
[6] Voce, Steve. “Obituary: Lionel Hampton (The Independent,
London)". Retrieved June 3, 2007.
[7] “Nun Taught Hampton”. The Vancouver Sun. January 17,
1958. Retrieved October 29, 2011.
[8] “DownBeat Magazine”. Downbeat.com. February 4, 1959.
Retrieved October 11, 2012.
[9] Rickert, David. “Lionel Hampton: “Flying Home"".
[10] Britt, Stan (1989). Dexter Gordon: A Musical Biography.
Da Capo Press. p. 31. ISBN 0-306-80361-5.
[11] Firestone, Ross (1994). Swing, Swing, Swing: The Life &
Times of Benny Goodman. W. W. Norton & Company. pp.
183–184. ISBN 0-393-31168-6.
[12] Yanow, Scott (2000). Swing: Third Ear--The Essential Lis-
tening Companion. Backbeat Books. p. 68. ISBN 0-87930-
600-9.
[13] Scott, William B. (1999). New York Modern: The Arts and
the City. Johns Hopkins University Press. p. 263. ISBN
0801867932.
Home'"". Retrieved November 29, 2012.
[15] “Billy Mackel”, The New Grove Dictionary of Jazz, ed.
Barry Kernfeld, 1988.
[16] Lara Saint Paul performs with Lionel Hampton and Louis
Armstrong Lara Saint Paul – The Hits
[17] “JAZZ A Film By Ken Burns: Selected Artist Biography –
Lionel Hampton”. PBS. Retrieved June 27, 2014.
[18]
46 CHAPTER 10. LIONEL HAMPTON

[19] Peter Watrous (September 1, 2002). “Lionel Hampton,

Who Put Swing In the Vibraphone, Is Dead at 94”. New
York Times. Retrieved December 16, 2014. Lionel Hamp-
ton, whose flamboyant mastery of the vibraphone made him
one of the leading figures of the swing era, died yesterday
morning at Mount Sinai Medical Center in Manhattan. He
was 94. …

[20] “Funeral Services for Lionel Hampton”. The New York

Times. September 5, 2002. Retrieved April 9, 2008.

[21] Smith, Jessie Carney, editor (1996). Notable Black Ameri-

can women: Book II. Gale Research, Detroit. p. 275. ISBN
0-8103-9177-5.

[22] Cox, Joseph (2002). Great Black Men of Masonry.

iUniverse. p. 176. ISBN 0-595-22729-5.

[23] Barron, James (January 9, 1998). “PUBLIC LIVES; More

Fallout From Lamp Fire”. The New York Times. Retrieved
April 9, 2008.

[24] Jackson, Jeffrey H. (2005). Music And History: Bridging The

Disciplines. University Press of Mississippi. p. 102. ISBN
1-57806-762-6.

[25] “Paid Notice: Deaths HAMPTON, LIONEL”. The New

York Times. September 10, 2002. Retrieved June 3, 2007.

[26] “Campaign Contribution Search: Lionel Hampton, 1908-

2002”. NEWSMEAT. Polity Media, Inc. Archived from the
original on March 11, 2013.

10.8 External links

• Lionel Hampton at the Internet Movie Database

• Lionel Hampton at Drummersworld

• Lionel Hampton at Find a Grave

• Lionel Hampton: His Life and Legacy at University of

Idaho

• Lionel Hampton Library Collection, part of the

International Jazz Collections at the University of
Idaho Library

• Christopher Popa, “Lionel Hampton: Music Was His

Fountain of Youth,” Big Band Library

• Photos at Jazzhouse.org
• Lionel Hampton interview on BBC Radio 4 Desert Is-
land Discs, September 17, 1983
• Lionel Hampton discography at Discogs
Chapter 11

Gene Krupa

Eugene Bertram "Gene" Krupa (January 15, 1909 – don. Along with other recordings by musicians from the
October 16, 1973) was an American jazz and big band Chicago jazz scene such as Bix Beiderbecke, these record-
drummer, band leader, actor, and composer. Known ings are examples of Chicago style jazz. The numbers
for his highly energetic, flamboyant style and for his recorded at that session were "China Boy", “Sugar”, “No-
showmanship,[1] Krupa is considered one of the most in- body’s Sweetheart”, and “Liza”. The McKenzie-Condon
fluential drummers of all time and one of the first major recordings are notable for being early examples of the use of
percussive soloists. a bass drum and snare drum/cymbals on recordings, at least
for the studio where these recordings were made. Some of
He is also known for defining the standard drum kit used
today in collaboration with brands Slingerland and Zildjian. Krupa’s big influences during this time were Father Ilde-
Krupa is considered “the founding father of modern drum- fonse Rapp, Roy Knapp (both teachers of Gene). Later,
set” by Modern Drummer magazine.[2] there were cylinder recordings of African drumming that
Gene intensely studied. Drummers such as Tubby Hall,
Zutty Singleton and Baby Dodds contributed to Gene’s de-
veloping his own sound. Press rolls were a fairly common
11.1 Early life technique in the early stages of Gene’s development and,
stylistically, this technique was, to some degree, evident in
Gene Krupa was born in Chicago, the youngest of Anna Krupa’s playing well into the late 1940s and early 1950s.
(née Oslowski) and Bartłomiej Krupa’s nine children. Gene absorbed every bit of what he heard and formulated
Bartłomiej was an immigrant from Poland. Anna was born his own 'style' very early in his career, pulling from hun-
in Shamokin, Pennsylvania, also of Polish descent. His par- dreds of different sources. There were many other drum-
ents were very religious Roman Catholics and had groomed mers (Ray Bauduc, Chick Webb, George Wettling, Dave
Gene for the priesthood. He spent his grammar school days Tough) whose work influenced Gene’s approach to drum-
at various parochial schools. Upon graduation he attended ming and other instrumentalists and composers (Frederick
Saint Joseph’s College for a year, but later decided it was Delius, for one) who strongly influenced Gene’s entire ap-
not his vocation. proach to music.[3]
Krupa studied with Sanford A. Moeller and began play- Krupa also appeared on six recordings made by the Thelma
ing drums professionally in the mid-1920s with bands in Terry band in 1928.[4] In December 1934, he joined Benny
Wisconsin. He broke into the Chicago scene in 1927, Goodman's band, where his featured drum work made him
when he was picked by MCA to become a member of a national celebrity. His tom-tom interludes on their hit
"Thelma Terry and Her Playboys”, the first notable Ameri- "Sing, Sing, Sing" were the first extended drum solos to
can jazz band—all-girl bands excepted—to be led by a fe- be recorded commercially.[5] However, “artistic and per-
male musician. The Playboys were the house band at The sonal disputes” with Goodman prompted Krupa to leave the
Golden Pumpkin nightclub in Chicago, and toured exten- group and form his own orchestra, shortly after the famous
sively throughout the eastern and central United States. Carnegie Hall concert in January 1938.[6] He appeared in
the 1941 film Ball of Fire, in which he and his band per-
form an extended version of the hit "Drum Boogie", sung
11.2 Career by Barbara Stanwyck (whose singing was dubbed by Martha
Tilton), which he had composed with trumpeter Roy El-
dridge. As an encore to this piece, he plays a tamer ver-
Krupa made his first recordings in 1927, with a band under sion of the same song using matchsticks as drumsticks and
the leadership of Red McKenzie and guitarist Eddie Con-

47
48 CHAPTER 11. GENE KRUPA

a matchbox as a drum, while Stanwyck and the audience
sing along. In 1943, his arrest for possession of marijuana
(see below) forced the breakup of his own orchestra and he
rejoined Goodman’s band for a year.[6]
As the 1940s ended, large orchestras fell by the wayside:
Count Basie closed his large band and Woody Herman re-
duced his to an octet. Krupa gradually cut down the size of
his own band in the late 1940s, and from 1951 on he led
a trio or quartet, often featuring the multi-instrumentalist
Eddie Shu on tenor sax, clarinet and harmonica. He ap-
peared regularly in the Jazz at the Philharmonic concerts.
He made a cameo appearance in the 1946 film The Best
Years of Our Lives. His athletic drumming style, timing
methods and cymbal technique evolved during this decade
to fit in with changed fashions and tastes, but he never quite
adjusted to the bebop style of jazz.[3]
school. One of his pupils was Kiss drummer Peter Criss,[7]
whilst Jerry Nolan from The New York Dolls was another,
as evidenced by the drumming similarities between Kiss’s
"100,000 Years" and The New York Dolls’s “Jet Boy”.
Krupa occasionally played in public in the early 1970s un-
til shortly before his death. One such late appearance oc-
curred in 1972 at a jazz concert series sponsored by the New
School in New York. Krupa appeared onstage with other
well-known musicians including trumpeter Harry James
and the younger jazz saxophonist Gerry Mulligan. The pre-
sumption was that the 500 or so audience members were
drawn by Mulligan’s contemporary appeal, but when, dur-
ing the second tune, Krupa took a 16-bar break, the room
erupted, the crowd leaping to its feet and creating a deafen-
ing roar of unanimous affection. In effect, Krupa remained
a seminal performer up to his death, even while playing for
a huge audience perhaps half his age.

11.2.1 Krupa–Rich “drum battles”

Norman Granz recruited Krupa and fellow drummer Buddy
Rich for his Jazz at The Philharmonic concerts. It was sug-
gested that the two perform a “drum battle” at the Carnegie
Hall concert in September 1952, which was recorded and
later issued on vinyl as The Drum Battle by Verve.
Further drum battles took place at subsequent JATP con-
certs; the two drummers also faced off in a number of tele-
vision broadcasts and other venues. and often played simi-
lar duets with drummer Cozy Cole.
Krupa and Rich recorded two studio albums together:
Krupa and Rich (Verve, 1955) and Burnin' Beat (Verve,
1962).

11.3 Personal life

Krupa married Ethel Maguire twice: the first marriage
lasted from 1934 to 1942; the second one dates from 1946
to her death in 1955. Their relationship was dramatized in
Krupa performing in New York, 1946 the biopic about him. Krupa remarried in 1959 to Patty
Bowler.
In 1954, Krupa returned to Hollywood to appear in such In 1943, Krupa was arrested for possession of two
films as The Glenn Miller Story and The Benny Goodman marijuana cigarettes and was given a 90-day jail sentence,
Story. In 1959, the movie biography The Gene Krupa Story of which he served 84 days. He was also charged with, but
was released; Sal Mineo portrayed Krupa, and the film fea- acquitted of, contributing to the delinquency of a minor. He
tured a cameo appearance by Red Nichols.[3] was exonerated/acquitted of all charges when it was subse-
During the 1950s Krupa often appeared at the Metropole, quently proven that the entire episode was a trumped-up
near Times Square in Manhattan. He continued to per- “frame”, as the prosecution’s[8]key witness had been paid to
form in famous clubs in the 1960s, including the Showboat falsely testify against Krupa.
Lounge in NW Washington DC. Increasingly troubled by In the 1960s his house in Yonkers, New York was almost
back pain, he retired in the late 1960s and opened a music totally destroyed by fire. He continued to live in the parts
11.5. DISCOGRAPHY 49

of the house that were inhabitable. Modern Drummer Hall of Fame.

In 1973, Krupa died of leukemia and heart failure in Rhythm, the UK’s best-selling drum magazine, voted Gene
Yonkers, New York, aged 64.[9][10] He was buried in Holy Krupa the third most influential drummer ever, in a poll
Cross Cemetery in Calumet City, Illinois. conducted for its February 2009 issue. Voters included over
50 top-name drummers.
Actor Gary Burghoff, of the TV series M*A*S*H, had been
11.4 Legacy a friend of Krupa. In the episode "Showtime", the finale
to Season One recorded in March 1973, Burghoff played
a drum solo on the kit using a playing style modeled after
Krupa. When Krupa died, he left a drum kit to Burghoff.

11.5 Discography

Gene Krupa Drive in Yonkers, New York

In the 1930s, Krupa became the first endorser of

Slingerland drums. At Krupa’s urging, Slingerland devel-
oped tom-toms with tuneable top and bottom heads, which
immediately became important elements of virtually ev-
ery drummer’s setup. Krupa developed and popularized
Krupa’s version of Ta-ra-ra Boom-de-ay released as a 78 rpm
many of the cymbal techniques that became standards. His
shellac record (Brunswick)
collaboration with Armand Zildjian of the Avedis Zildjian
Company developed the modern hi-hat cymbals and stan-
dardized the names and uses of the ride cymbal, crash cym- • Benny Goodman: The Complete RCA Victor Small
bal, splash cymbal, pang cymbal, and swish cymbal. He is Group Recordings (RCA Victor, 1935–39 [1997])
also credited with helping to formulate the modern drum
set, being one of the first jazz drummers (for that recording • Benny Goodman: The Famous Carnegie Hall Concert
studio) to use a bass drum, in a recording session in De- 1938 (Columbia)
cember 1927.[11] One of his bass drums, a Slingerland 14
X 26, inscribed with Benny Goodman's and Krupa’s initials, • Drummin´ Man (Charly, 1938–41) with Roy Eldridge,
is preserved at the Smithsonian museum in Washington, Anita O'Day, Benny Carter, Charlie Ventura
[12]
D.C.
• Drum Boogie (Columbia, 1940–41)
The 1937 recording of Louis Prima's "Sing, Sing, Sing
(With a Swing)" by Benny Goodman and His Orchestra fea- • Gene Krupa-Charlie Ventura Trio (3 selections) Town
turing Gene Krupa on drums was inducted into the Grammy Hall Jazz Concert 1945 (Commodore Records: re-
Hall of Fame in 1982. issue Atlantic, 1973 SD2-310)
Book Revue, the 1945 Warner Brothers’ Looney Tunes car- • Uptown (Columbia, 1941–1949)
toon, included a rendition of “It Had To Be You,” featur-
ing caricatures of Harry James, Benny Goodman, and Gene • Lionel Hampton/Gene Krupa (Forlane, 1949) with Don
Krupa. Fagerquist, Frank Rehak, Frank Rosolino, Roy Eldridge
In 1959, The Gene Krupa Story was released theatrically in • The Exciting Gene Krupa (Enoch’s Music, 1953) with
America. Charlie Shavers, Bill Harris, Willie Smith, Ben Webster,
In 1978, Krupa became the first drummer inducted into the Teddy Wilson, Herb Ellis, Ray Brown, Israel Crosby
50 CHAPTER 11. GENE KRUPA

• Krupa and Rich (Verve, 1955) with Roy Eldridge, Dizzy [4] “Thelma Terry and her Playboys”. Redhotjazz.com. Re-
Gillespie, Illinois Jacquet, Flip Phillips, Oscar Peterson, trieved 2011-10-20.
Herb Ellis, Ray Brown, Buddy Rich
[5] Bruce H. Klauber, World of Gene Krupa: that legendary
• Gene Krupa Big Band: Drummer Man featuring Anita drummin' man, p. 13
O'Day & Roy Eldridge (Verve, 1956) [6] J. Pagano Jr. “Gene Krupa Biographies / Gene Krupa”.
Gkrp.net. Retrieved 2016-03-13.
• Gene Krupa Plays Gerry Mulligan Arrangements
(Verve, 1959) [7] KISS – Behind the Mask, David Leaf and Ken Sharp, 2003,
Warner Books, ISBN 978-0446695244
• Big Noise From Winnetka (Live at the London House)
(Verve 1959) [8] “Gene Krupa’s Biography”. Drummerman.net. Retrieved
2011-10-20.
• The Drum Battle (Verve, 1960 [1952]) with Buddy
Rich [9] Tobler, John (1992). NME Rock 'N' Roll Years (1st ed.).
London: Reed International Books Ltd. p. 255. CN 5585.
• Guard Sessions-Tony Bennett and The Gene Krupa
[10] United Press International (October 17, 1973). “Gene
Quartet (60´s) Krupa”. St. Petersburg Times. Retrieved 2012-10-16.
Drummer Gene Krupa, whose flying sticks symbolized the
• Burnin' Beat (Verve, 1962) with Buddy Rich
swing era, died Tuesday after a lengthy illness.
• The Mighty Two (Roulette, 1963) with Louis Bellson [11] “Drummer World: Gene Krupa”. Drummerworld.com. Re-
trieved 2015-01-28.
• The Great New Gene Krupa Quartet Featuring Charlie
Ventura (Verve, 1964) also Nabil Totah and John Bunch [12] ""Gene Krupa: a Drummer with Star Power” by Owen Ed-
wards”. Smithsonianmag.com. Retrieved 2012-06-25.
• Live at the New School (Chiaroscuro, 1973 [2002])
[13] “Gene Krupa”. IMDb.com. Retrieved 2016-03-13.

11.6 Compositions
11.8 External links
Krupa wrote, or co-wrote, the following songs: “Some Like
It Hot” (1939) with Frank Loesser and Remo Biondi, “Disc • Gene Krupa at the Internet Movie Database
Jockey Jump” with Gerry Mulligan, “Manhattan Transfer”
• Gene Krupa at traditional-jazz.com
with Elton Hill, “Drum Boogie” with Roy Eldridge, “Drum-
min' Man”, “Bolero at the Savoy” with Jimmy Mundy, • America’s Ace Drummer Man Gene Krupa
“Feelin' Fancy”, “He’s Gone”, “Wire Brush Stomp”, “Jam
on Toast”, “The Big Do”, “Murdy Purdy” with Jimmy • The Gene Krupa Reference Page
Mundy, “Hard, Hard Roxy”, pt. 2, “Full Dress Hop”,
• Gene Krupa Drummerworld Page
“Swing is Here” with Chu Berry, “To Be or Not to Be-
Bop”, “Quiet and Roll 'Em” with Sam Donahue, “Sweet- • Let Me Off Uptown: A Gene Krupa Biography by John
heart, Honey, Darlin' Dear”, “Boogie Blues”, “I Should Twomey
Have Kept on Dreaming”,"Apurksody”, “The Babe Takes
a Bow”, “Blues of Israel”, “Blues Krieg”.[13] “Some Like It • Gene Krupa at Find a Grave
Hot” has been recorded by Charlie Barnet, Red Norvo, Nat
King Cole, and Judy Ellington.

11.7 References
[1] “Gene Krupa”. AllMusic. Retrieved 2011-10-20.

[2] “Gene Krupa: The Man Who Made It All Happen”. Modern
Drummer. Retrieved 2017-01-15.

[3] “Gene Krupa profile”. Drummerman.net. Retrieved 2011-

10-20.
Chapter 12

Glenn Miller

This article is about the swing musician. For other uses, of his time away from school, attending auditions and play-
see Glenn Miller (disambiguation). ing any gigs he could get, including with Boyd Senter’s band
in Denver. He dropped out of school after failing three
out of five classes one semester, and decided to concentrate
Alton Glenn Miller (March 1, 1904 – missing in action
December 15, 1944) was an American big band mu- on making a career as a professional musician. He later
[1]
studied the Schillinger technique with Joseph Schillinger,
sician, arranger, composer, and bandleader in the swing
era. He was the best-selling recording artist from 1939 to under whose tutelage he composed what became his sig-
nature theme, “Moonlight Serenade”.[7] In 1926, Miller
1943, leading one of the best known big bands. Miller’s
recordings include "In the Mood", "Moonlight Serenade", toured with several groups, eventually landing a good spot
in Ben Pollack's group in Los Angeles. He also played for
"Pennsylvania 6-5000", "Chattanooga Choo Choo", "A
String of Pearls", "At Last", "(I've Got a Gal In) Kala- Victor Young, allowing [8]
him to be mentored by other pro-
mazoo", "American Patrol", "Tuxedo Junction", "Elmer’s fessional musicians. In the beginning, he was the main
Tune", and "Little Brown Jug".[2] While he was travel- trombone soloist of the band. But when Jack Teagarden
ing to entertain U.S. troops in France during World War joined Pollack’s band in 1928, Miller found that his solos
II, Miller’s aircraft disappeared in bad weather over the were cut drastically. From then, he realized that, rather
English Channel. than being a trombonist, his future lay in arranging or writ-
ing music.[4] He also had a songbook published in Chicago
in 1928 entitled Glenn Miller’s 125 Jazz Breaks for Trom-
bone by the Melrose Brothers copyrighted in 1927.[9] Dur-
12.1 Early life and career ing his stint with Pollack, Miller wrote several musical ar-
rangements of his own. He also co-wrote his first composi-
Miller was born in Clarinda, Iowa, the son of Mattie Lou tion, "Room 1411", written with Benny Goodman and re-
(née Cavender) and Lewis Elmer Miller.[3] He attended leased as a Brunswick 78, 4013, credited to Bennie Good-
grade school in North Platte in western Nebraska. In 1915, man’s Boys.[10] In 1928, when the band arrived in New York
Miller’s family moved to Grant City, Missouri. Around this City, he sent for and married his college sweetheart, He-
time, Miller had finally made enough money from milking len Burger. He was a member of Red Nichols's orchestra
cows to buy his first trombone and played in the town or- in 1930, and because of Nichols, Miller played in the pit
chestra. Originally, Miller played cornet and mandolin, but bands of two Broadway shows, Strike Up the Band and Girl
he switched to trombone by 1916.[4] In 1918, the Miller Crazy (where his bandmates included future big band lead-
family moved again, this time to Fort Morgan, Colorado, ers Benny Goodman and Gene Krupa).
where Miller went to high school. In the fall of 1919, he During the late 1920s and early 1930s, Miller managed
joined the high school football team, Maroons, which won to earn a living working as a freelance trombonist in sev-
the Northern Colorado Football Conference in 1920. He eral bands. On a March 21, 1928, Victor session, Miller
was named the Best Left End in Colorado.[5] During his se- played alongside Tommy Dorsey, Benny Goodman, and
nior year, Miller became very interested in a new style of Joe Venuti in the All-Star Orchestra, directed by Nat
music called “dance band music”. He was so taken with Shilkret.[11][12][13] During this period, Miller arranged and
it that he formed his own band with some classmates. By played trombone on several significant Dorsey Brothers
the time Miller graduated from high school in 1921, he had OKeh sessions including “The Spell of The Blues”, “Let’s
decided to become a professional musician.[3] Do It” and “My Kinda Love”, all with Bing Crosby vo-
In 1923, Miller entered the University of Colorado in Boul- cals. On November 14, 1929,[14] an original vocalist named
der, where he joined Sigma Nu Fraternity,[6] but spent most Red McKenzie hired Miller to play on two records that

51
52 CHAPTER 12. GLENN MILLER

are now considered to be jazz classics:[15][16] “Hello, Lola”

and “If I Could Be With You One Hour Tonight”. Be-
side Miller were clarinetist Pee Wee Russell, guitarist Eddie
Condon, drummer Gene Krupa and Coleman Hawkins on
tenor saxophone.[17]
In the early-to-mid-1930s, Miller also worked as a trom-
bonist, arranger, and composer in The Dorsey Brothers,
first when they were a Brunswick studio group (under their
own name and providing accompaniment for many of The
Boswell Sisters sessions), and finally when they formed
an ill-fated co-led touring and recording orchestra.[18]
Miller composed the songs "Annie’s Cousin Fanny",[19][20]
"Dese Dem Dose",[18][21] "Harlem Chapel Chimes", and
"Tomorrow’s Another Day" for the Dorsey Brothers Band
in 1934 and 1935. In 1935, he assembled an American
orchestra for British bandleader Ray Noble,[18] develop-
ing the arrangement of lead clarinet over four saxophones
that eventually became the sonic keynote of his own big
band. Members of the Noble band included future ban-
dleaders Claude Thornhill, Bud Freeman and Charlie Spi-
vak. Glenn Miller made his first movie appearance in
the 1935 Paramount Pictures release The Big Broadcast of
1936 as a member of the Ray Noble Orchestra perform-
ing “Why Stars Come Out at Night”.[22] The Big Broadcast
of 1936 starred Bing Crosby, George Burns, Gracie Allen,
Ethel Merman, Jack Oakie, and Bill “Bojangles” Robinson.
The film also featured other performances by Dorothy Dan-
1939 Baltimore Hippodrome Ballroom concert poster.
dridge and the Nicholas Brothers, who would appear with
Miller again in two movies for Twentieth Century Fox in
1941 and 1942. inet. According to Simon, “Willie’s tone and way of playing
Glenn Miller compiled several musical arrangements and provided a fullness and richness so distinctive that none of
formed his first band in 1937. The band, after failing to dis- the later Miller imitators could ever accurately reproduce
tinguish itself from the many others of the era, broke up af- the Miller sound.”[25] With this new sound combination,
ter playing its last show at the Ritz Ballroom in Bridgeport, Glenn Miller found a way to differentiate his band’s style
Connecticut, on January 2, 1938.[23] Benny Goodman said from the many bands that existed in the late thirties. Miller
in 1976: talked about his style in the May 1939 issue of Metronome
magazine. “You'll notice today some bands use the same
In late 1937, before his band became popular, we trick on every introduction; others repeat the same musical
were both playing in Dallas. Glenn was pretty phrase as a modulation into a vocal ... We're fortunate in
dejected and came to see me. He asked, “What that our style doesn't limit us to stereotyped intros, modu-
do you do? How do you make it?" I said, “I don't lations, first choruses, endings or even trick rhythms. The
know, Glenn. You just stay with it.”[24] fifth sax, playing clarinet most of the time, lets you know
whose band you're listening to. And that’s about all there is
to it.”[26]
12.2 Success from 1938 to 1942
Discouraged, Miller returned to New York. He realized that 12.2.1 Bluebird Records and Glen Island
he needed to develop a unique sound, and decided to make Casino
the clarinet play a melodic line with a tenor saxophone hold-
ing the same note, while three other saxophones harmo- In September 1938, the Miller band began making record-
nized within a single octave. George T. Simon discovered ings for the RCA Victor subsidiary Bluebird.[27] Cy Shrib-
a saxophonist named Wilbur Schwartz for Glenn Miller. man, a prominent East Coast businessman, began financ-
Miller hired Schwartz, but instead had him play lead clar- ing the band, providing a much needed infusion of cash.[28]
12.3. CRITICAL REACTION 53

In the spring of 1939, the band’s fortunes improved with a

date at the Meadowbrook Ballroom in Cedar Grove, New
Jersey, and more dramatically at the Glen Island Casino in
New Rochelle, New York. The Glen Island date accord-
ing to author Gunther Schuller attracted “a record breaking
opening night crowd of 1800...”[29] With the Glen Island
date, the band began a huge rise in popularity.[30] In 1939,
Time magazine noted: “Of the twelve to 24 discs in each of
today’s 300,000 U.S. jukeboxes, from two to six are usually
Glenn Miller’s.”[31] There were record-breaking recordings
such as "Tuxedo Junction", which sold 115,000 copies in
the first week.[32] Miller’s huge success in 1939 culminated
with his band appearing at Carnegie Hall on October 6, with
Paul Whiteman, Benny Goodman, and Fred Waring also
the main attractions.[33]
From December 1939 to September 1942, Miller’s band
was featured three times a week during a quarter-hour
broadcast for Chesterfield cigarettes on CBS,[34] for the
first 13 weeks with the Andrews Sisters and then on its
own.[35] On February 10, 1942, RCA Victor presented
Miller with the first gold record for "Chattanooga Choo-
Choo".[36] “Chattanooga Choo Choo” was performed by
the Miller orchestra with his singers Gordon “Tex” Beneke,
Paula Kelly and the vocal group, the Modernaires.[37] Other First gold record award for “Chattanooga Choo Choo” is presented
singers with this orchestra included Marion Hutton,[38] Skip to Glenn Miller by W. Wallace Early of RCA Victor with announcer
Nelson,[39] Ray Eberle[40] and to a smaller extent, Kay Paul Douglas on far left, February 10, 1942.
Starr,[41] Ernie Caceres,[42] Dorothy Claire[43] and Jack
Lathrop.[44] Pat Friday ghost sang with the Miller band in
their two films, Sun Valley Serenade and Orchestra Wives 12.3 Critical reaction
with Lynn Bari lip synching.[45]
In 2004, Miller orchestra bassist Herman “Trigger” Alpert
explained the band’s success: “Miller had America’s mu-
sic pulse ... He knew what would please the listeners.”[54]
Although Miller had massive popularity, many jazz crit-
ics of the time had misgivings. They believed that the
12.2.2 Motion pictures
band’s endless rehearsals—and, according to critic Amy
Lee in Metronome magazine, “letter-perfect playing”—
Miller and his band appeared in two Twentieth Century diminished any feeling from performances.[55] They also
Fox films. In 1941’s Sun Valley Serenade, they were major felt that Miller’s brand of swing shifted popular music away
members of the cast, which also featured comedian Milton from the “hot jazz” bands of Benny Goodman and Count
Berle, and Dorothy Dandridge with the Nicholas Brothers Basie, and toward commercial novelty instrumentals and
in the show-stopping song and dance number, Chattanooga vocal numbers.[56] For years, even after Miller died, the
Choo Choo.[46] The Miller band returned to Hollywood to Miller estate maintained an unfriendly stance toward crit-
film 1942’s Orchestra Wives,[47] featuring Jackie Gleason ics that derided the band during Miller’s lifetime.[57] Miller
playing a part as the group’s bassist, Ben Beck. Miller was often criticized for being too commercial. His an-
had an ailment that made laughter extremely painful. Since swer, “I don't want a jazz band.”[58][59] Many modern jazz
Jackie Gleason was a comedian, Miller had a difficult time critics still harbor similar antipathy toward Miller.[60][61]
watching Gleason more than once, because Miller would Jazz critics Gunther Schuller[62] (1991), Gary Giddins[63]
start laughing.[48] Harry Morgan appears as Cully Ander- (2004) and Gene Lees (2007)[64] have separately defended
son, the unrequited love interest of Ann Rutherford's char- the Miller orchestra for whatever deficiencies earlier crit-
acter, Connie Ward.[49][50][51] Miller was contracted to do a ics have found. In an article written for The New Yorker
third movie for Fox, Blind Date, but as he entered the U.S. in 2004, Gary Giddins says he feels that these early crit-
Army, this never panned out.[52] The Glenn Miller Story was ics erred in denigrating Miller’s music, and that the pop-
released in 1953-1954 by Universal-International.[53] ular opinion of the time should hold greater sway. The
54 CHAPTER 12. GLENN MILLER

article states: “Miller exuded little warmth on or off the swinging jazz band, but DeFranco is extremely fond of cer-
bandstand, but once the band struck up its theme, au- tain aspects of the Glenn Miller style. “I found that when
diences were done for: throats clutched, eyes softened. I opened with the sound of 'Moonlight Serenade', I could
Can any other record match 'Moonlight Serenade' for its look around and see men and women weeping as the music
ability to induce a Pavlovian slaver in so many for so carried them back to years gone by.”[76][77] De Franco says,
long?"[63] Schuller, notes, "[The Miller sound] was nev- “the beauty of Glenn Miller’s ballads [...] caused people to
ertheless very special and able to penetrate our collective dance together.”[78]
awareness that few other sounds have...”[65] He compares
it partially to “Japanese Gagaku [and] Hindu music” in
its purity.[65] Schuller and Giddins do not take completely 12.5 Army Air Forces Band: 1942–
uncritical approaches to Miller. Schuller says that Ray
Eberle's “lumpy, sexless vocalizing dragged down many 1944
an otherwise passable performance.”[65] However finally
Schuller notes: “How much further [Miller’s] musical and
financial ambitions might have carried him must forever
remain conjectural. That it would have been significant,
whatever form(s) it might have taken, is not unlikely.”[65]

12.4 Reaction from musical peers

Louis Armstrong thought enough of Miller to carry around

his recordings, transferred to seven-inch tape reels when he
went on tour. "[Armstrong] liked musicians who prized
melody, and his selections ranged from Glenn Miller to
Jelly Roll Morton to Tchaikovsky.”[66] Jazz pianist George
Shearing's quintet of the 1950s and 1960s was influenced
by Miller: “with Shearing’s locked hands style piano (influ-
enced by the voicing of Miller’s saxophone section) in the
middle [of the quintet’s harmonies]".[67][68] Frank Sinatra
and Mel Tormé held the orchestra in high regard. Tormé
credited Miller with giving him helpful advice when he first
started his singing and song-writing career in the 1940s.
Bust outside the Corn Exchange in Bedford, England, where Miller
Mel Tormé met Glenn Miller in 1942, the meeting fa-
played in World War II.
cilitated by Tormé's father and Ben Pollack. Tormé and
Miller discussed "That Old Black Magic", which was just
emerging as a new song by Johnny Mercer and Harold In 1942, at the peak of his civilian career, Miller decided
Arlen. Miller told Tormé to pick up every song by Mer- to join the war effort, forsaking an income of $15,000
cer and study it and to become a voracious reader of any- to $20,000 per week in civilian life, including a home in
thing he could find, because “all good lyric writers are Tenafly, New Jersey.[79][80] At 38, Miller was too old to be
great readers.”[69] In an interview with George T. Simon in drafted and first volunteered for the Navy but was told that
1948, Sinatra lamented the inferior quality of music he was they did not need his services.[81] Miller then wrote to Army
recording in the late forties, in comparison with “those great Brigadier General Charles Young. He persuaded the United
Glenn Miller things”[70] from eight years earlier.[71][72] With States Army to accept him so he could, in his own words,
opposite opinion, fellow bandleader Artie Shaw frequently “be placed in charge of a modernized Army band”.[3] After
disparaged the band after Miller’s death: “All I can say is being accepted into the Army, Miller’s civilian band played
that Glenn should have lived, and 'Chattanooga Choo Choo' its last concert in Passaic, New Jersey, on September 27,
should have died.”[73][74] Clarinetist Buddy DeFranco sur- 1942.[3] His patriotic intention of entertaining the Allied
prised many people when he led the Glenn Miller Orches- Forces with the fusion of virtuosity and dance rhythms in
tra in the late sixties and early seventies. De Franco was his music earned him the rank of captain and he was soon
already a veteran of bands like Gene Krupa and Tommy promoted to major by August 1944.[8]
Dorsey in the 1940s. He was also a major exponent of mod- Miller reported at Omaha on October 8, 1942, to the Sev-
ern jazz in the 1950s.[75] He never saw Miller as leading a enth Service Command as a captain in the Army Special-
12.6. DISAPPEARANCE 55

ist Corps.[82] Miller was soon transferred to the Army Air

Forces.[83] Captain Glenn Miller served initially as assistant
special services officer for the Army Air Forces Southeast
Training Center at Maxwell Field, Montgomery, Alabama,
in December 1942. He played trombone with the Rhyth-
maires, a 15-piece dance band, in both Montgomery and
in service clubs and recreation halls on Maxwell. Miller
also appeared on both WAPI (Birmingham, Alabama)
and WSFA radio (Montgomery), promoting the activities
of civil service women aircraft mechanics employed at
Maxwell.[84]
Miller initially formed a large marching band that was to be
the core of a network of service orchestras. His attempts
at modernizing military music were met with some resis- U.S. Army Air Force UC-64
tance from tradition-minded career officers, but Miller’s
fame and support from other senior leaders allowed him
to continue. For example, Miller’s arrangement of "St.
Louis Blues March", combined blues and jazz with the tra-
ditional military march.[85] Miller’s weekly radio broadcast
“I Sustain the Wings”, for which he co-wrote the epony-
mous theme song, moved from New Haven to New York
City and was very popular. This led to permission for
Miller to form his 50-piece Army Air Force Band and
take it to England in the summer of 1944, where he gave
800 performances.[84] While in England, now Major Miller
recorded a series of records at EMI owned Abbey Road
Studios.[86][87] The recordings the AAF band made in 1944
at Abbey Road were propaganda broadcasts for the Office
of War Information. Many songs are sung in German by
Johnny Desmond and Glenn Miller speaks in German about
the war effort.[88] Before Miller’s disappearance, his mu-
sic was used by World War II AFN radio broadcasting for
entertainment and morale as well as counter-propaganda
to denounce fascist oppression in Europe with even Miller
once stating on radio:
Miller’s monument in Grove Street Cemetery, New Haven, Connecti-
cut

America means freedom and there’s no

expression of freedom quite so sincere as
music.[89][90][91]
There were also the Miller-led AAF Orchestra-recorded
songs with American singer Dinah Shore. These were done
at the Abbey Road studios and were the last recorded songs
made by the band while being led by Miller. They were
stored with HMV/EMI for fifty years, never being released
until their copyright expired in Europe in 1994.[92][93]
In summarizing Miller’s military career, General Jimmy
Doolittle said, “next to a letter from home, that organization
was the greatest morale builder in the European Theater of A 2014 article in the Chicago Tribune reported that, de-
Operations.”[94]
12.6 Disappearance
Miller spent the last night before his disappearance at
Milton Ernest Hall, near Bedford. On December 15,
1944, Miller was to fly from the United Kingdom to Paris,
France, to make arrangements to move his entire band
there in the near future. His plane, a single-engined UC-64
Norseman, USAAF serial 44-70285, departed from RAF
Twinwood Farm in Clapham, on the outskirts of Bedford
and disappeared while flying over the English Channel.[95]
There were two others on board the plane: Lt. Col. Nor-
man Baessell and pilot John Morgan.
spite many theories that had been proposed, Miller’s plane
56 CHAPTER 12. GLENN MILLER

crashed because it had a faulty carburetor. The plane’s en- The official Glenn Miller orchestra for the United States is
gine had a type of carburetor that was known to be defec- currently under the direction of Nick Hilscher.[115] The of-
tive in cold weather and had a history of causing crashes in ficially sanctioned Glenn Miller Orchestra for the United
other aircraft by icing up.[96] The theory that the plane was Kingdom has toured and recorded under the leadership of
hit by a bomb jettisoned by Allied planes returning from an Ray McVay.[116] The official Glenn Miller Orchestra for
aborted bombing raid on Germany is discredited by the log Europe has been led by Wil Salden since 1990.[117]
of a plane-spotter that implies that the plane was heading
in a direction that would avoid the zone where such bombs
were jettisoned.[97]
12.8 Army Air Force band legacy
When Miller disappeared, he left behind his wife, the for-
mer Helen Burger, originally from Boulder, Colorado, and
In the mid-1940s, after Miller’s disappearance, the Miller-
the two children they had adopted in 1943 and 1944, Steven
[98] led Army Air Force band was decommissioned and sent
and Joannie. In February 1945, Helen Miller accepted
[99] back to the United States. “The chief of the European
the Bronze Star medal for Miller.
theater asked [Warrant Officer Harold Lindsay] Lin [Arin-
son] to put together another band to take its place, and
that’s when the 314 was formed.” According to singer Tony
12.7 Civilian band legacy Bennett who sang with it while in the service, the 314
was the immediate successor to the Glenn Miller led AAF
The Miller estate authorized an official Glenn Miller "ghost orchestra.[118] The Glenn Miller Army Air Force Band’s
band" in 1946. This band was led by Tex Beneke, former long-term legacy has carried on with the Airmen of Note,
tenor saxophonist and a singer for the civilian band. It had a band within the United States Air Force Band. This band
a makeup similar to the Army Air Forces Band: it had a was created in 1950 from smaller groups within the Bolling
large string section.[100] The orchestra’s official public début Air Force Base in Washington, D.C., and continues to play
was at the Capitol Theatre on Broadway where it opened for jazz music for the Air Force community and the general
a three-week engagement on January 24, 1946.[101] Future public. The legacy also continues through The United States
television and film composer Henry Mancini was the band’s Air Forces in Europe Band, stationed at Ramstein Air Base,
pianist and one of the arrangers.[102] This ghost band played Germany.[119]
to very large audiences all across the United States, includ-
ing a few dates at the Hollywood Palladium in 1947, where
the original Miller band played in 1941.[103] In a website
concerning the history of the Hollywood Palladium, it is
12.9 Posthumous events
noted "[e]ven as the big band era faded, the Tex Beneke and
Glenn Miller Orchestra concert at the Palladium resulted in
a record-breaking crowd of 6,750 dancers.”[104] By 1949,
economics dictated that the string section be dropped.[105]
This band recorded for RCA Victor, just as the original
Miller band did.[105] Beneke was struggling with how to ex-
pand the Miller sound and also how to achieve success under
his own name. What began as the “Glenn Miller Orchestra
Under the Direction of Tex Beneke” finally became “The
Tex Beneke Orchestra”. By 1950, Beneke and the Miller
estate parted ways.[106] The break was acrimonious[107] and
Beneke is not currently listed by the Miller estate as a for-
mer leader of the Glenn Miller orchestra.[108]
When Glenn Miller was alive, various bandleaders like Bob
Chester imitated his style.[109] By the early 1950s, vari-
ous bands were again copying the Miller style of clarinet- Glenn Miller SwingFest logo
led reeds and muted trumpets, notably Ralph Flanagan,[110]
Jerry Gray,[111] and Ray Anthony.[112] This, coupled with Every summer since 1996, the city of Fort Morgan, Col-
the success of The Glenn Miller Story (1953),[113] led the orado, has hosted a public event called the Glenn Miller
Miller estate to ask Ray McKinley to lead a new ghost SwingFest. Miller graduated from Fort Morgan High
band.[105] This 1956 band is the original version of the cur- School where he played football and formed his own band
rent ghost band that still tours the United States today.[114] with classmates. Events include musical performances and
12.10. MILLER ARRANGING STAFF AND COMPOSITIONS
swing dancing, community picnics, lectures and fundrais-
ing for scholarships to attend The School for the Perform-
ing Arts,[120] a nonprofit dance, voice, piano, percussion,
guitar, violin, and drama studio program in Fort Morgan.
Each year, about 2,000 people attend this summer festival,
which serves to introduce younger generations to the music
Miller made famous, as well as the style of dance and dress
popular in the big-band era.
Glenn Miller’s widow, Helen, died in 1966.[121] Herb
Miller, Glenn Miller’s brother, led his own band in the
United States and England until the late 1980s.[122][123] In
1989, Glenn Miller’s adopted daughter Jonnie purchased
the house in Clarinda Iowa where Miller was born. The
house is located at 601 South 16th Street (at the corner
of West Clark Street) which is also known as Glenn Miller
Drive. The Glenn Miller Foundation was created to over-
see the subsequent restoration.[124] The house is now part of
the Glenn Miller Birthplace Museum. In 1953, Universal-
International pictures released The Glenn Miller Story, star-
ring James Stewart.[125] In 1957, a new student Union
Building was completed on the Boulder Campus and the
new Ballroom was named “The Glenn Miller Ballroom”. In
1996, the U.S. Postal Service issued a Glenn Miller postage
stamp.[126]
In the United States and England, there are a few archives
that are devoted to Glenn Miller.[127] The University of Col-
orado, Boulder, has an extensive Glenn Miller Archive that
not only houses many of Miller’s recordings, gold records
and other memorabilia, but also is open to scholarly re-
search and the general public.[128] This archive, formed
by Alan Cass, includes the original manuscript to Miller’s
theme song, “Moonlight Serenade”, among other items of
interest.[129] In 2002, the Glenn Miller Museum opened to
the public at the former RAF Twinwood Farm, in Clapham,
Bedfordshire, England.[130] Miller’s surname resides on the
“Wall of Missing” at the Cambridge American Cemetery
and Memorial. There is a burial plot and headstone for Ma-
jor Glenn Miller in Arlington National Cemetery, just out-
side Washington, D.C. A monument stone was also placed
in Grove Street Cemetery in New Haven, Connecticut, next
to the campus of Yale University.[131] Miller was awarded
a Star for Recording on the Hollywood Walk of Fame at
6915 Hollywood Boulevard in Hollywood, California.[132]
The headquarters of the United States Air Forces in Eu-
rope Band at Ramstein Air Base, Germany, is named Glenn
Miller Hall.
57
12.10 Miller arranging staff and
compositions
Miller had a staff of arrangers who wrote originals like
“String of Pearls” (written and arranged by Jerry Gray)[133]
or took originals like “In The Mood” (writing credit given
to Joe Garland[134] and arranged by Eddie Durham[135] )
and "Tuxedo Junction" (written by bandleader Erskine
Hawkins[136] and arranged by Jerry Gray[137] ) and arranged
them for the Miller band to either record or broadcast.
Glenn Miller’s staff of arrangers in his civilian band, who
handled the bulk of the work, were Jerry Gray (a for-
mer arranger for Artie Shaw), Bill Finegan (a former ar-
ranger for Tommy Dorsey),[138] Billy May[139] and to a
much smaller extent, George Williams,[140] who worked
very briefly with the band as well as Andrews Sisters ar-
ranger Vic Schoen[141][142] According to Norman Leyden,
"[s]everal others [besides Leyden] arranged for Miller in
the service, including Jerry Gray, Ralph Wilkinson, Mel
Powell, and Steve Steck.”[143] In 1943, Glenn Miller wrote
Glenn Miller’s Method for Orchestral Arranging, published
by the Mutual Music Society in New York,[144] a one hun-
dred sixteen page book with illustrations and scores that ex-
plains how he wrote his musical arrangements.
12.11 Compositions
Main article: Glenn Miller discography
Miller composed individually or in collaboration with oth-
ers at least fourteen songs that are available on recordings.
He added lyrics to an additional tune. These and many
other songs were recorded by Miller with his pre-war civil-
ian bands and his Army Air Force band.
12.12 Band alumni
Many of the Miller musicians went on to studio and tour-
ing careers in Hollywood and New York after World War
II.[145] Musicians who went from the Miller bands to impor-
tant reputations afterwards include:
• George Siravo (1916–2000)[146] was an arranger with
Glenn Miller’s first band in the late 1930s. Siravo
went on to become a staff arranger with Columbia
Records in the 1940s, working with Frank Sinatra[147]
and Doris Day.[148]
• Billy May (1916–2004),[149] a trumpeter and an ar-
ranger for the civilian band,[150][151] became a much-
58
coveted arranger and studio orchestra leader after that
band broke up, going on to work with Frank Sina-
tra,[152] Rosemary Clooney,[153] Anita O'Day,[154] and
Bing Crosby,[153] among other singers of the post-war
era.
• Cornetist Bobby Hackett (1915–1976)[155] solos on
“A String of Pearls” with Miller in 1941 for Bluebird
records.[156] "[157][158] Hackett went on to work with
Jackie Gleason and Dizzy Gillespie.[159]
• Johnny Desmond (1919–1985),[160] a lead vocalist
from the Army Air Force Band, became a popular
singer in the 1950s, and appeared on Broadway in the
1960s in Funny Girl with Barbra Streisand.[161]
• Kay Starr (1922-2016)[162] became a pop, jazz and
country singer in the post-war period. In 1939, Mar-
ion Hutton, the regular “girl singer”, became sick and
sixteen-year-old Kay Starr was flown in to replace
her.[163] Kay Starr’s two recordings with Glenn Miller
were two 1939 sides, “Baby Me” and “Love With a Drummer and biographer
Capital You”.[164]
• Paul Tanner (1917–2013),[165][166] trombonist for
the civilian band, went on to work with the
electrotheremin[167] and perform on songs such as
Good Vibrations by The Beach Boys[168]
Some of the Army Air Force members went on to notable
careers in classical music and modern jazz. Three such are:
• Norman Leyden (1917–2014),[169] an arranger from
the Army Air Force Band[170] later became a noted
arranger in New York, composing arrangements for
Sarah Vaughan,[171][172] among other artists. His long
career culminated with his highly regarded work for
the Oregon Symphony, now as Laureate Associate
Conductor.[173][174]
• Mel Powell (1923–1998)[175] was the pianist and one
of the arrangers in the Glenn Miller Army Air Force
Band. Gary Giddins comments on "[Miller’s] splen-
did forty-two-piece Army Air Force Band’s startling
performance of 'Mission to Moscow.'"[176] “Mission to
Moscow” was arranged by Mel Powell, the former pi-
anist for the Benny Goodman orchestra before he was
drafted into the service and subsequently joined the
Miller orchestra. “Pearls on Velvet” with the Air Force
Band is also one of his compositions.[177] “In 1949,
he decided on a radical change of direction, setting
aside jazz and enrolling as a pupil of the composer and
teacher Paul Hindemith at Yale University.”[175] Pow-
ell started teaching at the California Institute of the
Arts in Los Angeles in 1969.[178] He won the Pulitzer
CHAPTER 12. GLENN MILLER
Prize for Music in 1990 and was the founding dean of
the music department at the CalArts. Powell was the
only Pulitizer Prize winner in Music that also won a
jazz poll. In 1945 He was named the Best Military
Jazz Musician for his work with Miller.[179]
• Addison Collins, Jr. (1927–1976) played French horn
in the service band. He is featured as “Junior” Collins
on the Miles Davis Birth of the Cool recordings of
1949–50.[180]
• Artie Malvin (1922–2006),[181] the baritone of the
four-man vocal quartet The Crew Chiefs in Glenn
Miller’s AAF Band. After World War II and Miller’s
death, Malvin became heavily immersed in the pop-
ular music of the forties and fifties, being involved in
everything from children’s music to the nascent begin-
nings of rock to jingles for commercials.[181] By the
1970s Artie Malvin was involved with The Carol Bur-
nett Show,[182] doing special musical material.[183]
• George T. Simon (1912–2001) knew and worked with
Glenn Miller from his early sideman days to the days
of leading his civilian band and finally, worked with
him when he was stateside with the Army Air Force
band. Simon was a drummer for some of the Miller
bands. He helped his friend Glenn Miller with per-
sonnel using the connections that Simon had as ed-
itor with the now defunct Metronome magazine.[184]
George Simon wrote the liner notes for eleven Miller
reissues, among them: Glenn Miller Army Air Force
Band, 1955, Glenn Miller On The Air, 1963, and Glenn
Miller: A Legendary Performer, 1974.[185] During a
long career, he also wrote articles with topics ranging
from Miller and Frank Sinatra to Thelonious Monk. In
1974, Simon won a Grammy award for his liner notes
for the RCA record: Bing Crosby: A Legendary Per-
former.[186]
12.13 Awards, decorations and hon-
ors
12.13.1 Military awards and decorations
Bronze Star citation
“Major Alton Glenn Miller (Army Serial No. 0505273),
Air Corps, United States Army, for meritorious service in
12.15. REFERENCES
connection with military operations as Commander of the
Army Air Force Band (Special), from 9 July 1944 to 15 De-
cember 1944. Major Miller, through excellent judgment
and professional skill, conspicuously blended the abilities
of the outstanding musicians, comprising the group, into
a harmonious orchestra whose noteworthy contribution to
the morale of the armed forces has been little less than sen-
sational. Major Miller constantly sought to increase the
services rendered by his organization, and it was through
him that the band was ordered to Paris to give this excel-
lent entertainment to as many troops as possible. His supe-
rior accomplishments are highly commendable and reflect
the highest credit upon himself and the armed forces of the
United States.”
12.13.2 Grammy Hall of Fame
Glenn Miller had three recordings that were posthumously
inducted into the Grammy Hall of Fame, which is a special
Grammy award established in 1973 to honor recordings that [12] Shilkret, Nathaniel, ed. Niel Shell and Barbara Shilkret,
are at least 25 years old and that have “qualitative or histor- Nathaniel Shilkret: Sixty Years in the Music Business, Scare-
ical significance.” crow Press, Lanham, Maryland, 2005. ISBN 0-8108-5128-
12.14 See also
• Declared death in absentia
• Kalamazoo, Michigan
• List of people who disappeared mysteriously
• List of swing/big band musicians
• Role of music in World War II
12.15 References
Notes
[1] The website for Arlington National Cemetery refers to Glenn
Miller as “missing in action since Dec. 15, 1944” see “Major
Glenn Miller”, Arlington National Cemetery by Kathryn
Shenkle. Accessed March 2012.
[2] Glenn Miller had 23 number one records and 72 top ten
hits from 1939 to 1943; see “Song artist 6 - Glenn Miller”,
Tsort, Accessed March 2012, more than Elvis Presley (18
No. 1s, 38 top 10s) and The Beatles (20 No. 1s, 33 top 10s)
had in their careers. See “The Glenn Miller story”, Glenn-
MillerOrchestra.se. See “Overview of Achievements”, Elvis
Presley Enterprises inc. Accessed September 9, 2011.
[3] “Glenn Miller History”. Glenn Miller Birthplace Society.
Retrieved March 8, 2011.
59
[4] Yanow, Scott. Classic Jazz. San Francisco: Backbeat, 2001.
Print.
[5] Fort Morgan Colorado
[6] “Famous Sigma Nu’s”, Oregonstate.edu. Retrieved on July
29, 2011.
[7] “Who Is Joseph Schillinger?". The Schillinger System.
Archived from the original on February 19, 2009. Retrieved
February 19, 2009.
[8] “Glenn Miller Biography - Music Artist Band Biographies -
Artists Bands Bio - Free MP3 Downloads”. Music.us. Re-
trieved December 18, 2012.
[9] Metronome, 1928, Volume 44, Page 42.
[10] “Benny Goodman’s Boys”, Red Hot Jazz.
[11] Conner, D. Russell, and Warner W. Hicks, BG-Off the
Record, Arlington House, New Rochelle, New York, 1969.
ISBN 0-87000-059-4
8.
[13] Stockdale, Robert L., “Tommy Dorsey on the Side”, Studies
in Jazz, No. 19, Scarecrow Press, Metuchen, New Jersey,
1995.
[14] “Red Mckenzie and his Mound City Blue Blowers”. Red Hot
Jazz. Retrieved 21 September 2016.
[15] Simon, George T. (1980). Glenn Miller and His Orchestra,
p. 42. De Capo Press. ISBN 0-306-80129-9.
[16] Simon (1980) says in Glenn Miller and His Orchestra, on
page 42, when he asked Miller years later what recordings
he made were his favorites, he specifically singled out the
Mound City Blue Blowers sessions.
[17] Twomey, John. “Who Was Glenn Miller?". Jazzsight.com.
Retrieved May 31, 2009.
[18] Simon (1980), pp. 65–66.
[19] Simon (1980), p. 9.
[20] “Annie’s Cousin Fanny” was recorded for Decca and
Brunswick, a total of three times. The Brunswick release is
catalogued Brunswick 6938, and one of the Decca record-
ings is catalogued Decca 117-A. These recordings are from
the summer of 1934. See the website “Dorsey Brothers Or-
chestra”, RedHotJazz.com for more information about dates
[21] “Dese Dem Dose” was recorded February 6, 1935 and re-
leased on the Decca label. For more information and where
the preceding sentence was taken from, see “Dorsey Broth-
ers Orchestra”, RedHotJazz.com
[22] The Big Broadcast of 1936 (1935) – Full cast and crew list.,
Internet Movie Database.
60
[23] George Thomas Simon, Glenn Miller and His Orchestra,
New York: Crowell, 1974, ISBN 978-0-690-00470-0, p.
105.
[24] Spink, George. “Music in the Miller Mood”. Archived from
the original on February 11, 2010.
[25] Simon (1980), p. 122.
[26] Simon, George T. (1971). Simon Says: The Sights and
Sounds of the Swing Era. New York: Galahad Books. p.
491. ISBN 0-88365-001-0.
[27] Simon (1980), p. 143.
[28] Twomey, Jazzsight.com. Retrieved on July 29, 2011.
[29] Schuller, Gunther (1991). The swing era: the development
of jazz, 1930–1945. New York: Oxford University Press.
p. 667. ISBN 0-19-507140-9.
[30] Simon (1980), p. 170.
[31] “New King”. Time. November 27, 1939.
[32] Glennmillerorchestra.com. Glennmillerorchestra.com. Re-
trieved on July 29, 2011.
[33] Simon (1980), p. 91.
[34] The entire output of Chesterfield-sponsored radio programs
Glenn Miller did between 1939 and 1942 were recorded by
the Glenn Miller organization on acetate discs.
[35] Simon (1980), pp. 197, 314.
[36] Miller, Glenn, A Legendary Performer, RCA, 1939/1991.
[37] “Band Bio”, The Modernaires (October 20, 2000). Re-
trieved on July 29, 2011.
[38] “Marion Hutton, 67, Vocalist With Glenn Miller Orchestra”.
The New York Times. January 12, 1987. p. 1. Retrieved
May 3, 2010.
[39] Glenn Miller » Biography, Legacy Recordings (copyright
2011). Retrieved on July 29, 2011.
[40] “Ray Eberle” Archived September 25, 2011, at the Wayback
Machine., Solid!.
[41] Kay Starr Biography, Members.tripod.com. Retrieved on
July 29, 2011.
[42] Ernie Caceres, Landing.com. Retrieved on July 29, 2011.
[43] Solid! – Dorothy Claire, Parabrisas.com. Retrieved on July
29, 2011.
[44] Liner notes to RCA Vi LPT 6701, also see “Moonlight Ser-
enade” by John Flower. (PDF). Retrieved on July 29, 2011.
[45] King ?, Pete. “Lynn Bari’s Ghost Singer Pat Friday”. Big
Band Buddies. p. 1.
[46] Sun Valley Serenade (1941), Internet Movie Database.
CHAPTER 12. GLENN MILLER
[47] Orchestra Wives (1942), Internet Movie Database.
[48] Henry, William A. (1993). The Great One: The Life and
Times of Jackie Gleason. New York: Pharos. p. 4. ISBN
0-8161-5603-4.
[49] “DVD Savant Review: Orchestra Wives”. DvD Talk. Octo-
ber 27, 2005.
[50] Harry/Henry Morgan was also cast in 1953’s The Glenn
Miller Story as Miller’s pianist, Chummy MacGregor. See
“The Glenn Miller Story”, TCM.com.
[51] Miller co-wrote with Billy May the instrumental “Boom
Shot” for the Orchestra Wives soundtrack. See Moonlight
Serenade, p. 428, for catalogue listing by 20th Century Fox
and writing credits.
[52] Variety, September 16, 1942.
[53] Internet Movie Database
[54] “Glenn Miller: 'A Memorial, 1944–2004'", Big Band Li-
brary. Retrieved on July 29, 2011.
[55] Simon (1980), p. 241.
[56] For an example, see a mention in Time magazine from
November 23, 1942. “U.S. jive epicures consider the jazz
played by such famous name bands as Tommy Dorsey’s
or Glenn Miller’s a low, commercial product”, Time, web:
Music: “Jive for Epicures”, Time.
[57] Zammarchi, Fabrice (2005). A Life In The Golden Age of
Jazz: A Biography of Buddy De Franco. Seattle: Parkside.
pp. 232–234. ISBN 0-9617266-6-0.
[58] Albertson, Chris, Major Glenn Miller and the Army Air
Forces Band, 1943–1944, Bluebird/RCA, 1987. Liner
notes.
[59] Another reference by Miller’s friend George T. Simon, states
"[Glenn Miller] resented critics who focused almost entirely
on his band’s jazz or lack of it. (Leonard Feather was a pet
peeve)[...].” see Simon (1971),The Sights and Sounds of the
Big Band Era, p. 275.
[60] As recently as 1997 on a website administered by JazzTimes,
Miller is listed as an example of an overrated jazz musi-
cian by Doug Ramsey. “Miller was a businessman who
discovered a popular formula from which he allowed little
departure. A disproportionate ratio of nostalgia to substance
keeps his music alive.” see http://jazztimes.com/articles/
24803-who-s-overrated-who-s-underrated for Ram-
sey’s credentials see http://jazztimes.com/contributors/
27-doug-ramsey
[61] “Stride and Swing: The Enduring Appeal of Fats Waller and
Glenn Miller”. The New Yorker. 2004.
12.15. REFERENCES
[62] Among Gunther Schuller’s credentials are Professor of
Composition at Yale University, Artist in Residence at the
University of Wisconsin Madison and former president of
the New England Conservatory of Music. He is also the past
recipient of the Pulitzer Prize. See Wisc.edu URL: Wisc-
schuller.
[63] Gary Giddins is a New York based jazz and film critic who
has written for the Village Voice and the New York Sun.
He won the National Book Critics Circle Award for Vi-
sions of Jazz: The First Century. See “Biography”, Gary-
Giddins.com.
[64] Lees specifically praises the Glenn Miller Army Air
Force Band. see http://jazzprofiles.blogspot.com/2016/04/
the-glenn-miller-years-part-7.html from December 2007
[65] Schuller, pp. 662, 670, 677.
[66] Armstrong, Louis. “Reel to Reel”. The Paris Review. Spring
2008: 63.
[67] Zwerin, Mike (August 17, 1995). “George Shearing at
76:Still Holding His Own”. International Herald Tribune.
Retrieved November 8, 2014.
[68] Keepnews, Peter (February 14, 2011). “George Shearing,
'Lullaby of Birdland' Jazz Virtuoso, Dies at 91”. The New
York Times. What [Shearing] was aiming for [...] was 'a full
block sound, which, if it was scored for saxophones, would
sound like the Glenn Miller sound. And coming at the end
of the frenetic bebop era, the timing seemed to be right.'
[69] Torme, Mel (1988). It Wasn't All Velvet. New York: Pen-
guin. pp. 42–44. ISBN 0-86051-571-0.
[70] Simon (1971), p. 359.
[71] Frank Sinatra’s recording sessions from the late forties and
early fifties use some Miller musicians. Trigger Alpert, a
bassist from the civilian band, Zeke Zarchy for the Army Air
Forces Band and Willie Schwartz, the lead clarinetist from
the civilian band back up Frank Sinatra on many recordings.
see , for Sinatra record sessions for Columbia and Capitol
that use these musicians.
[72] Ernie Caceres, the Miller band’s baritone saxophonist also
appears on several Frank Sinatra recordings. For one exam-
ple see October 22, 1947.
[73] Susman, Gary (2005). “Goodbye: Jazz titan Artie Shaw
dies. The clarinet master and top swing-era bandleader was
94”. Entertainment Weekly.
[74] For another source that intercuts critiques by Gary Giddins
and Artie Shaw about Glenn Miller, see Jazz: A Film By
Ken Burns. Episode Five. Dir. Ken Burns. 2000. DVD.
Florentine Films, 2000.
[75] “Buddy’s Bio”. Buddy DeFranco. Retrieved November 8,
2014.
[76] Zammarchi 238
61
[77] DeFranco’s favorite Miller recordings are "Skylark" and
"Indian Summer" see Zammarchi 237
[78] Zammarchi 237
[79] “Glenn Miller (1904 - 1944)". BBC News. 2002. Retrieved
November 8, 2014.
[80] Simon (1980), p. 211, 355, 416.
[81] Simon (1980), pp. 309–310.
[82] Associated Press, “Glenn Miller Opens Service With
Army”, The San Bernardino Sun, San Bernardino, Califor-
nia, Friday 9 October 1942, Volume 49, page 2.
[83] Simon (1980), p. 324.
[84] They Served Here: Thirty-Three Maxwell Men, “Glenn
Miller”, pp. 37–38. Benton, Jeffrey C. (1999). Air Uni-
versity Press.
[85] “War Two: The Stars Wore Stripes”, Ftmeade.army.mil. Re-
trieved on July 29, 2011.
[86] EMI at this time was the British and European distributor
for RCA Victor.
[87] Donald’s Encyclopedia of Popular Music. EMI, expert-level
blog by Donald Clarke (writer)
[88] Hugh Palmer. “Glenn Miller: The Lost Recordings”.
Tarcl.com (April 30, 1944). Retrieved on July 29, 2011.
[89] Kater, Michael (2003) [1992]. Different Drummers: Jazz in
the Culture of Nazi Germany. US: Oxford University Press.
p. 173. ISBN 978-0-19-516553-1.
[90] Erenberg, Lewis (1999). Swingin' the Dream: Big Band Jazz
and the Rebirth of American Culture. US: University Of
Chicago Press. p. 191. ISBN 978-0-226-21517-4.
[91] “Wehrmacht Hour” (Audio recording (23:08-23:13)). otr-
rlibary.org. 1944. Retrieved 22 July 2015.
[92] Visit Abbey Road. “1940s”, Abbeyroad.com (September 16,
1944). Retrieved on July 29, 2011.
[93] James H. “Jimmie” Doolittle – Outstanding Man of Avia-
tion. centennialofflight.net. Retrieved on July 29, 2011.
[94] “Legendary bandleader Glenn Miller disappears over the
English Channel”, History.com.
[95] Butcher, pp. 203–205.
[96] Reich, Howard. "'History Detectives’ explains why ban-
dleader Glenn Miller vanished” Chicago Tribune (July 7,
2014)
[97] Spragg, Dennis M. “Resolved: The Disappearance of Glenn
Miller, December 15, 1944” fall 2014 (forthcoming)
[98] Simon (1980), pp. 354, 434.
 62
[99] Simon (1980), p. 433.
[100] Simon (1980), pp. 437–39.
[101] Butcher, p. 262.
[102] Henry Mancini at All About Jazz Archived March 31, 2008,
at the Wayback Machine., Allaboutjazz.com. Retrieved on
July 29, 2011.
[103] Simon (1980), p. 258.
[104] “Developer Buying Hollywood Palladium”, Yehoodi.com.
Retrieved July 29, 2011.
[105] Butcher, page 263
[106] Simon (1980), p. 439.
[107] George Simon (1980) in Glenn Miller and His Orchestra, p.
439, says it happened in December 1950.
[108] “Former Leaders”. Glennmillerorchestra.com. Retrieved
April 16, 2012.
[109] Solid!, Bob Chester biography/filmography Archived Febru- [128] “Glenn Miller Archive”. University of Colorado.
ary 8, 2007, at the Wayback Machine., Parabrisas.com
(March 20, 1908). Retrieved on July 29, 2011.
[110] Ralph Flanagan, Bigbandlibrary.com. Retrieved on July 29,
2011.
[111] “Jerry Gray”, Bigbandlibrary.com. Retrieved on July 29,
2011.
[112] Solid!, Ray Anthony biography/filmography,
Parabrisas.com (January 20, 1922). Retrieved on
July 29, 2011.
[113] The Glenn Miller Story (1953) at the Internet Movie
Database
[114] “Ray McKinley”, Drummerworld.
[115] “Glenn Miller Orchestra”. Glennmillerorchestra.com.
September 5, 2012. Retrieved December 18, 2012.
[116] “Devon Theatre – Review – Glenn Miller Orchestra at Ply- [136]
mouth Pavilions”. BBC News. Retrieved July 29, 2011.
[117] Glenn Miller Orchestra :: Portrait Wil Salden, Glenn-
miller.de (October 20, 2010). Retrieved on July 29, 2011.
[118] Bennett, Tony (1998). The Good Life. New York: Pocket
Books. p. 312. ISBN 0-671-02469-8.
[119] The United States Air Forces in Europe Band History
[120] http://theschoolfortheperformingarts.org
[121] Simon, page 434.
[122] “Big Bands Database Plus”, Nfo.net. Retrieved on July 29, [141] Gottlieb, Jeff (January 8, 2000). “Vic Schoen, Musician and
2011.
CHAPTER 12. GLENN MILLER
[123] Herb’s son, John continues the tradition leading a band
playing mainly Glenn Miller style music. see http://www.
johnmillerorchestra.org.uk/cgi-bin/JohnMiller/index.html
Johnmillerorchestra.org.uk
[124] retrieved January 4, 2009, Glennmiller.org (June 10, 2010).
Retrieved on July 29, 2011.
[125] Ray Eberle, Marion Hutton and Tex Beneke do not appear in
or are referred to in this movie. “Perhaps the only faults The
Glenn Miller Story can be cited for are the obvious liberties
that were taken with the band leader’s career and a tendency
to become overly sentimental at times,” see Richard Steiner,
The Glenn Miller Story.
[126] “Glenn Miller Biography”, Internet Movie Database.
[127] In June 2009, it was announced that the Glenn Miller Birth-
place Society in Clarinda, Iowa, was building a 5,600 foot
museum to house “memorabilia from [Glenn Miller’s] mu-
sical career”. The museum in Glenn Miller’s birthplace has
been in the works since 1990, according to the USA Today
article.
[129] “CU-Boulder’s Glenn Miller Archive Receives Major Gift
Including Seldom-Heard Music”, University of Colorado at
Boulder (May 1, 2007). Retrieved on July 29, 2011.
[130] “Glenn Miller”. Twinwoodevents.com (August 30, 2010).
Retrieved on July 29, 2011.
[131] Papazian, Rita (January 31, 1999). “Glenn Miller’s New
Haven Connection”. The New York Times. Retrieved
November 8, 2014.
[132] “Hollywood Star Walk-Glenn Miller”. Los Angeles Times.
Retrieved November 8, 2014.
[133] “Jerry Gray”, Big Band Library. Retrieved on July 29, 2011.
[134] “Song: In The Mood”, ShapiroBernstein.com.
[135] “Eddie Durham”, Sony BMG. Retrieved on July 29, 2011.
“Co-Composers”, BuddyFeyne.com.
[137] “Jerry Gray “A String of Pearls"". Big Band Library. Re-
trieved December 18, 2012.
[138] All About Jazz. “Bill Finegan Arranger for Dorsey, Miller
Bands Dies”. Allaboutjazz.com. Retrieved December 18,
2012.
[139] Augustand, Melissa (February 2, 2004). "Died. Billy May,
87". Time.
[140] “George Williams, Musical Arranger, 71”. The New York
Times. 21 April 1988. Retrieved 21 September 2016.
Composer, Dies at 83”. Los Angeles Times.
 12.15. REFERENCES 63

[142] “Years later he married Miller singer Marion Hutton”. recording”. Before, during and after the time Miller hired
IMDb.com. Retrieved December 18, 2012. Hackett, Hackett had a large reputation in the jazz commu-
nity. George Simon says in the same book, that whenever
[143] “Glenn Miller, part two”, Big Band Library. Retrieved on Hackett soloed with the band, “fellow sidemen 'obviously as
July 29, 2011. excited as the dancers, stopped to listen to Bobby solo'.” All
[144] “PBS – JAZZ A Film By Ken Burns: Selected Artist Biog- aircheck information from Sudhalter, Richard (1999). Lost
raphy – Glenn Miller”. PBS. Retrieved November 8, 2014. Chords. New York: Oxford University Press. p. 928. ISBN
0-19-505585-3.
[145] Trumpeter Ray Anthony who played with Miller’s band
at age 18 starting in 1941 and 1942 is perhaps the most [159] “Bobby Hackett”, Space Age Music Maker, Retrieved on July
well known of the still living members. see http://www. 29, 2011.
rayanthonyband.com/Bio.htm [160] Johnny Desmond at the Internet Movie Database
[146] "'Space Age Musicmaker George Siravo' George Siravo bi-
[161] Wahls, Robert (November 19, 1965). “Johnny Arrives at the
ography/" retrieved September 3, 2009.
Garden”. Sunday New York News.
[147] For example, see the recording session of November 7,
[162] “Kay Starr”. IMDb.com. Retrieved December 18, 2012.
1946. and October 19, 1947
[163] The songs Starr sang were in Hutton’s key and Starr said she
[148] See , three songs are listed as collaborations between Day
sounded like “a jazzed up Alfalfa” since they weren't in her
and Siravo, beginning with “It’s Magic”, recorded in 1947.
range. "'They would ask me, 'is that in your range? and
[149] “Billy May biography”, Internet Movie Database. retrieved I didn't know so I just said yes because I only knew two
November 17, 2008. kinds of ranges-one of them you cooked on and the other was
where the cows were.[...] I just loved music and I thought as
[150] “Billy May Biography, Swingmusic.net. Swingmusic.net. long as I start and end with the band I've done my job.” Kay
Retrieved on July 29, 2011. Starr to Will Friedwald, A Biographical Guide To The Great
Jazz and Pop Singers, 2010, New York, Pantheon Books, p.
[151] Billy May was hired from Charlie Barnet’s band by Glenn
443.
Miller and joined in 1940. Miller and May had a wary re-
lationship with each other. According to Will Friedwald, by [164] Who is Kay Starr?: A short biography, Members.tripod.com.
1942, May was ready to resign from the Miller band. A few Retrieved on July 29, 2011.
reasons were, Miller refused to record half of May’s arrange-
ments and May objected to the regimented style of Miller’s [165] “One of the last members of Glenn Miller Orchestra is dead
band. But since Miller was joining the military, he con- - CNN.com”. CNN. March 7, 2013.
vinced May to stay on until the band broke up. May finally
said around 1995, after a life of heavy drinking and going to [166] “Paul Tanner”, Spaceagepop.com (October 15, 1917). Re-
rehabilitation for alcoholism, that working with Glenn Miller trieved on July 29, 2011.
“helped me immensely. I learned a lot from Glenn. He was a
[167] Bruce Weber (February 8, 2013). “Paul Tanner, Musician
good musician and an excellent arranger.” see Sinatra! The
With 'Good Vibrations’, Dies at 95”. The New York Times.
Song Is You. Will Friedwald, p. 280.
Retrieved November 8, 2014.
[152] “Billy May”, Spaceagepop.com. Retrieved on July 29, 2011.
[168] “The Paul Tanner Electrothermin Page”. David S. Miller.
[153] “Fancy Meeting You Here - Bing Crosby”. AllMusic. Re- 1997–2007.
trieved April 16, 2012.
[169] Norman Leyden’s Big Band Birthday | OregonLive.com.
[154] “ColePorter”. Anitaoday.com. Retrieved on July 29, 2011. Blog.oregonlive.com. Retrieved on July 29, 2011.

[155] “Bobby Hackett”. IMDB. [170] Norman Leyden at the Internet Movie Database

[156] “Bobby Hackett”, Landing.com. Retrieved on July 29, 2011. [171] Specifically, in the liner notes for The Divine Sarah Vaughan
The Columbia Years 1949–1953 (1988 Columbia C2K
[157] Simon 267 from Glenn Miller and his Orchestra 44165) written by Gene Lees the discography refers to
“Thinking of You”, “Perdido” and “I'll Know” as three Ley-
[158] Other Miller recordings Hackett appears on include an
den arrangements for Vaughan from 1950. See page 10 of
aircheck of “Vilia”, an aircheck of “April in Paris” and
the enclosed booklet.
the studio recording of “Serenade in Blue”. Richard M.
Sudhalter in his book Lost Chords feels that Hackett’s best [172] “Inspired from Leslie Gourse’s biography of Sarah
work with Miller is in an aircheck version of “Little Brown Vaughan”, Michaelminn.com. Retrieved on July 29, 2011.
Jug” from 1942 where he plays off the “muscularity” of Tex
Beneke’s saxophone solo. Sudhalter sees this version as done [173] “News Release”, February 27, 2004. Oregon Symphony. Re-
in a “slower, more rocking tempo than on the 1939 Bluebird trieved on July 29, 2011.
 64 CHAPTER 12. GLENN MILLER

[174] “Glenn Miller: 'A Dream Band'", Bigbandlibrary.com. Re-
trieved on July 29, 2011.
[175] “Mel Powell: 1923–1998”, Jazzhouse.org. Retrieved on July
29, 2011.
[176] Giddins, Gary (January 7, 2009). “Stride and Swing”. The
New Yorker. Retrieved July 29, 2011.
[177] Allmusic at www.allmusic.com
[178] “Mel Powell”, Schirmer.com. Retrieved on July 29, 2011.
[179] Kozinn, Allan (April 27, 1998). “Mel Powell, Atonal Com-
poser who won Pulitzer, dies at 75”. The New York Times.
Retrieved August 2, 2012.
• Miller, Glenn (1927). Glenn Miller’s 125 Jazz Breaks
For Trombone. Chicago: Melrose Brothers Music
Company.
• Miller, Glenn (1939). Feist All-Star Series of Modern
Rhythm Choruses Arranged By Glenn Miller For Trom-
bone. New York: Leo J. Feist, Inc.
• Simon, George Thomas (1980). Glenn Miller and His
Orchestra. New York: Da Capo paperback. ISBN 0-
306-80129-9.
• Simon, George Thomas (1971). Simon Says. New
York: Galahad. ISBN 0-88365-001-0.

[180] “The Jazz Horn”. Harlan Feinstein. 2006.
[181] “Artie Malvin”, Spaceagepop.com. Retrieved on July 29,
2011.
• Schuller, Gunther (1991). The Swing Era: The Devel-
opment of Jazz, 1930–1945. Volume 2. New York:
Oxford University Press. ISBN 0-19-507140-9.

[182] "The Carol Burnett Show: Full cast and credits”. IMDb.com. • Sudhalter, Richard (1999). Lost Chords. New York:
Retrieved December 18, 2012. Oxford University Press. ISBN 0-19-514838-X.

[183] He won an Emmy for the Burnett show parody of Fred As-
taire and Ginger Rogers movies: Hi-Hat. The Burnett show
does a tribute to The Glenn Miller Story, which opens with
12.16 External links
Burnett singing “Moonlight Serenade”. [undated]
• The Glenn Miller Birthplace Society, which orga-
[184] “Critics, Journalists and Other Writers: George T. Simon”. nizes the annual Glenn Miller Birthplace Festival in
Chris Popa. 2004.
Clarinda, Iowa
[185] see Chris Popa
• Glenn Miller Archive — official repository for the
[186] see Chris Popa for list of liner notes by George Simon on legacy and property of Alton Glenn Miller, University
Glenn Miller records. of Colorado Boulder
[187] Grammy Hall of Fame Database Archived July 7, 2015, at • Glenn Miller at the Internet Movie Database
the Wayback Machine..
• Glenn Miller at Find a Grave
Bibliography
• Recordings Miller made for Brunswick records as a
sideman in the late 1920s and early 1930s
• Bennett, Tony (1998). The Good Life. New York:
Pocket Books. ISBN 0-671-02469-8. • “Glenn’s Swing Orchestra” - tribute to Miller (in
French language)
• Butcher, Geoffrey (1997). Next to a Letter from
Home. North Pomfret, Vt: Trafalgar Square. ISBN 0- • “The Disappearance of Glenn Miller” - documentary
7515-1078-5. Chattanooga Choo Choo-The Life and in the PBS Series History Detectives
Times of the World Famous Glenn Miller Orchestra
by Richard Grudens 2004 ISBN 1-57579-277-X
• Friedwald, Will (1997). The Song Is You. New York:
Da Capo Press. ISBN 0-306-80742-4.
• Flower, John (1972). Moonlight Serenade: a bio-
discography of the Glenn Miller Civilian Band. New
Rochelle, NY: Arlington House. ISBN 0-87000-161-
2.
• Miller, Glenn (1943). Glenn Miller’s Method for Or-
chestral Arranging. New York: Mutual Music Society.
ASIN: B0007DMEDQ
12.17. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES 65

12.17 Text and image sources, contributors, and licenses

12.17.1 Text
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Bearcat, Oobopshark, Everyking, Michael Devore, Mike R, Picapica, D6, John FitzGerald, YUL89YYZ, Redf0x, Johnmorton, Philip Cross,
JoaoRicardo, Cbustapeck, Rjwilmsi, Bgwhite, YurikBot, RussBot, TheGrappler, Dissolve, Rms125a@hotmail.com, SmackBot, Stevenmitchell,
TechPurism, Derek R Bullamore, Ser Amantio di Nicolao, Valfontis, Gobonobo, Fifties, DabMachine, Jamoche, Cydebot, Chubbles, Tj-
mayerinsf, Steve Pastor, Dogru144, Magioladitis, Waacstats, Mind meal, Aboutmovies, Hobbesy3, Technopat, Trevhutch, Rei-bot, Polbot,
Beemer69, Binksternet, MIDI, XLinkBot, Firebat08, Addbot, DaughterofSun, Bender21435, Pepepitos~enwiki, This is Paul, MrOllie, Down-
load, Tassedethe, Lightbot, Yobot, Amirobot, ArthurBot, 78.26, Hushpuckena, Lady Lotus, R2c2h2 tha artivist, White Shadows, RjwilmsiBot,
Carolyn Paul, Jcooper1, ClueBot NG, Snotbot, Wplauterbach, Fylbecatulous, MenkinAlRire, BattyBot, Makecat-bot, VIAFbot, Ukance, Ed-
dieHugh, Harold Cain, Wdrwaff, ZeldaRiproar, Dorevabelfiore, Sundayclose, Billysobczyk, KasparBot, Vmavanti, Ezra901 and Anonymous:
12.17. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES 67

33
• Cootie Williams Source: https://en.wikipedia.org/wiki/Cootie_Williams?oldid=763981382 Contributors: Infrogmation, Trontonian, Tjdw, Gy-
rofrog, D6, Cdyson37, NickW, Jeodesic, Philip Cross, ASK~enwiki, Richard Arthur Norton (1958- ), Mayumashu, Koavf, AllyD, Fpaynter,
TheGrappler, AlTate, Rms125a@hotmail.com, SmackBot, CRKingston, Gilliam, Hmains, Bluebot, Afasmit, Derek R Bullamore, Ser Aman-
tio di Nicolao, The FD, Cydebot, BetacommandBot, Mattisse, Allenstone, Igoulet, Ghmyrtle, Dogru144, Wrightjack, InnocuousPseudonym,
Thereen, Mind meal, Victuallers, Aboutmovies, Omegastar, Editor437, Cosprings, AMbot, ClueBot, Scottfan1, Trail Rider, BGAndersson, Myst-
Bot, Addbot, Squandermania, Lightbot, Lentes, Luckas-bot, Yobot, Ptbotgourou, Dickdock, AnomieBOT, DutchmanInDisguise, Reklawhcaz2,
Jonesey95, RjwilmsiBot, We hope, ZéroBot, CactusBot, Justlettersandnumbers, StephenDaedalus, Dproff2012, Monkbot, KasparBot, Bender
the Bot and Anonymous: 13
• Lionel Hampton Source: https://en.wikipedia.org/wiki/Lionel_Hampton?oldid=766018054 Contributors: The Cunctator, Mav, Danny, Walter,
Toby Bartels, Ortolan88, Bignose, Infrogmation, Vudujava, Ron Davis, TUF-KAT, SeanO, Dtake, Lumos3, Bearcat, Robbot, Pigsonthewing,
JackofOz, Aomarks, DocWatson42, Kurt Eichenberger, Stevietheman, PDH, Pitchka, TronTonian, The stuart, D6, Rich Farmbrough, Guan-
abot, YUL89YYZ, Paul August, CanisRufus, Darwinek, Troels Nybo~enwiki, Spinsta, Alansohn, 7e7, Guy Harris, Philip Cross, Hégésippe
Cormier, Jost Riedel, Saga City, Themillofkeytone, Bnguyen, BDD, Yurivict, Japanese Searobin, Stemonitis, Richard Arthur Norton (1958-
), FeanorStar7, Robert K S, Bluemoose, Buxtehude, Rjwilmsi, Vegaswikian, Ccson, The wub, FlaBot, SchuminWeb, Ground Zero, No Swan
So Fine, Design, Bgwhite, RussBot, Flyguy33, TheGrappler, Wiki alf, Dissolve, T. Anthony, Jonathan.s.kt, Mix321, Crystallina, SmackBot,
Prodego, C.Fred, Zyxw, Betacommand, CSWarren, OrphanBot, Blueboar, Josh cavan, Fred Nurdley, Derek R Bullamore, Glacier109, Michael
David, Futzy99, Scott1153, Ser Amantio di Nicolao, Gobonobo, 2T, Eastfrisian, Istanbuljohnm, Majorbonkers, Twas Now, Anthony22, Mattbr,
Schweiwikist, Cydebot, Justus Nussbaum, Trident13, PKT, Allenstone, TonyTheTiger, Mensch-Maschine, QuasyBoy, Nick Number, Ddrane,
RobotG, Chubbles, Tjmayerinsf, Vantelimus, Roundhouse0, Maslin, Ghmyrtle, Emmaaslan, Sluzzelin, Dogru144, Postcard Cathy, Jazzeur,
Rothorpe, Magioladitis, VoABot II, AuburnPilot, Xn4, KConWiki, Absolon, Acdixon, Flami72, MartinBot, Rettetast, Misterantithesis, Siryen-
dor, Mind meal, Ncmvocalist, Aboutmovies, Clariosophic, Vanished user 39948282, Lights, Jeff G., WOSlinker, Akay047, TXiKiBoT, DISE-
man, Mercurywoodrose, Trevhutch, Nrswanson, John Carter, JhsBot, Slysplace, Gene06825, Rontrigger, Cosprings, SieBot, Sfholiday, Dlfreem,
Destoria, Musicformasses, Flyer22 Reborn, Wis2fan, Denisarona, Eebahgum, Leahtwosaints, ClueBot, Witchwooder, Billyfutile, Ktr101, Mka-
tiverata, The Founders Intent, BGAndersson, Qwfp, Tp243, Jax 0677, Arthurblenheim, Bluegrass Hobbyist, RWReagan, Kbdankbot, Addbot,
Tinklover1234, Walking the blues, Opus88888, This is Paul, LaaknorBot, Patricia Meadows, Numbo3-bot, Ulli Purwin, Yobot, Ziva11, Citation
bot, Wether B, J04n, DutchmanInDisguise, Mattg82, Clitunno, 78.26, FrescoBot, YOKOTA Kuniteru, D'ohBot, Tinton5, Sluffs, RLCamp-
bell, Adult Swim Addict, RjwilmsiBot, Kobac, Steve03Mills, John of Reading, Niel Shell, Peaceray, We hope, Ijccollections, Crown Prince,
ClueBot NG, Proscribe, Concon434, Widr, Thedude346, Vincelord, Helpful Pixie Bot, Klilidiplomus, BattyBot, Cyberbot II, Rebakay, VI-
AFbot, AbstractIllusions, Isherichhoney, Moondogjudithfisherfreed, Hillbillyholiday, EddieHugh, Themusicisloud, ArmbrustBot, Robevans123,
Filedelinkerbot, Fireflies1, Zbobzxns, KasparBot, Vmavanti, BD2412bot, Offbeat91, GreenC bot, Dbeckeruidaho, Bender the Bot and Anony-
mous: 118
• Gene Krupa Source: https://en.wikipedia.org/wiki/Gene_Krupa?oldid=766916471 Contributors: Malcolm Farmer, Ewen, Ubiquity, Infrogma-
tion, Liftarn, Gabbe, Andrewa, Edesaute, Dino, Viajero, Bertie, Lupin, Brian Kendig, Gyrofrog, Stevietheman, Utcursch, Emax, DragonflySix-
tyseven, TronTonian, Kate, D6, CanisRufus, Jpgordon, Nivagh, Guy Harris, Hégésippe Cormier, Richard Arthur Norton (1958- ), Woohookitty,
MartyHeyman, Kbdank71, JIP, Lockley, Mick gold, Wahkeenah, FlaBot, SchuminWeb, Gurch, No Swan So Fine, TearJohnDown, Design,
Bgwhite, Wasted Time R, YurikBot, TheGrappler, Welsh, Kirneh001, Irishguy, Cholmes75, Drumsac, Rms125a@hotmail.com, T. Anthony,
GMan552, SmackBot, Reedy, Hatto, Eskimbot, Kintetsubuffalo, Portillo, Ohnoitsjamie, Green meklar, DJHasis, Onorem, Threeafterthree,
Nakon, Derek R Bullamore, The Fwanksta, Ohconfucius, Will Beback, James Allison, Ser Amantio di Nicolao, Chodorkovskiy, Fifties, East-
frisian, Colonel Warden, Melander, Anthony22, CmdrObot, BeenAroundAWhile, InnerSpace, KnightLago, Nanusia, Bobnorwal, Cydebot, Jus-
tus Nussbaum, Mycroft.Holmes, After Midnight, Thijs!bot, Crockspot, Dnxy53, Blue Tie, Dr. Blofeld, Tjmayerinsf, Canadiana, Jazzeur, MegX,
Charlene.fic, Acroterion, Wildhartlivie, Magioladitis, Appraiser, Dennman, Pugetbill, DerHexer, Pleather, Rettetast, R'n'B, CommonsDelinker,
Johnpacklambert, Tickerhead, Valvicus, Mind meal, Jag2232, Victuallers, NatureBoyMD, AntiSpamBot, 83d40m, Paulmmn, Steel1943, John-
petters, Jeff G., Scottkenemore, Bbahler, JohnVBoyle, TXiKiBoT, DISEman, Technopat, Walor, Aeromedia, Slysplace, David in DC, John
celona, Brookfield, Barrympls, PeterBFZ, Cosprings, Cyberroach, Caroljm36, Calliopejen1, YonaBot, The Parsnip!, Drummingcraig, Oxy-
moron83, Apurksody, Fratrep, Kumioko (renamed), Nn123645, Pinkadelica, Hsosdrum, Hallicks84, ClueBot, All Hallow’s Wraith, Abhinav,
Davetupper, Blanchardb, Excirial, Jkp212, XLinkBot, Wikiuser100, WikHead, Good Olfactory, Kbdankbot, Addbot, Walking the blues, Jafeluv,
Jolly4jc, LaaknorBot, Stick5aman, Tassedethe, Numbo3-bot, Tide rolls, Lightbot, ‫زرشک‬, Digby scallops, Luckas-bot, Pierre38, Yobot, Yng-
vadottir, Jazzmove, AnomieBOT, Flewis, Ckruschke, Wingthing, Xqbot, Gap9551, Ragityman, Armbrust, Black Jam Block, Phoebat, Dohaeng,
FrescoBot, Anna Roy, Aristofane di bisanzio, B3t, Yatzhek, Baseheadlulu, Collectimatic, Ugryz, Miracle Pen, Brambleclawx, Drummeryuri,
TjBot, HeinzzzderMannn, Trofobi, Hollycochran, Wikipelli, Curttota, Manytexts, ClueBot NG, GoetheFromm, Ranchwhere, CactusBot, Joe-
fromrandb, Helpful Pixie Bot, Island Monkey, Sleeping is fun, MusikAnimal, Jwheatman, JonnyJonson, WWEFan43, ThirthtonThithtertinton,
Drpinecone, Khazar2, Alikah23, VIAFbot, PrairieKid, EddieHugh, T8h2k4n97p2rf, Marigold100, Przemek mack, AKS.9955, P-123, BlueIris2,
Generale Lee, Drumagog, Robert B Day, KasparBot, InternetArchiveBot, Bender the Bot and Anonymous: 211
• Glenn Miller Source: https://en.wikipedia.org/wiki/Glenn_Miller?oldid=767122694 Contributors: Mav, Robert Merkel, The Anome, Amil-
lar, Danny, Karen Johnson, Ortolan88, SimonP, Soulpatch, Nevilley, Infrogmation, Michael Hardy, Wwwwolf, Ixfd64, TUF-KAT, TUF-KAT,
SeanO, Kingturtle, Александър, Gh, Dwo, Wik, JohnRogers, Hyacinth, Tranter, Lumos3, Shantavira, Robbot, Chrism, RedWolf, ZekeMac-
Neil, Hadal, Raeky, Miles, Oobopshark, JamesMLane, BillyH, Bluejay Young, Adam McMaster, Bobblewik, MusiCitizen, Wmahan, Gadfium,
RobinCarmody, Antandrus, Ary29, Hammersfan, Kelson, TronTonian, Klemen Kocjancic, Deleteme42, Trevor MacInnis, Siesta~enwiki, SYSS
Mouse, D6, N328KF, Pascoevale, WGFinley, Smyth, Bender235, Kbh3rd, Nabla, Orlady, Gershwinrb, 2005, Causa sui, Dcxf, R. S. Shaw,
Hagerman, Hooperbloob, Lord Heinrich, Alansohn, TheParanoidOne, Walter Görlitz, Ynhockey, Fawcett5, Bbsrock, Andrew Norman, IMeow-
bot, Geraldshields11, Skyring, Richard Weil, RyanGerbil10, Mel Etitis, FeanorStar7, Graemesmith, Bellhalla, JBellis, Dodiad, MONGO, SDC,
Volatile, Mandarax, Graham87, Deltabeignet, Magister Mathematicae, Taestell, Ted Wilkes, JamesBurns, Edison, Sjakkalle, Rjwilmsi, Jake
Wartenberg, Crazyvas, Hiberniantears, Groomer, Jmcc150, Bubba73, Afterwriting, DoubleBlue, Ian Dunster, Kirchherr, FlaBot, SchuminWeb,
Margosbot~enwiki, Nihiltres, GünniX, LordTumberdale, Mark Sublette, RexNL, DiogenesNY, G. Moore, Preslethe, No Swan So Fine, Snail-
walker, Irregulargalaxies, AllyD, Zimbabweed, Chanlyn, RobotE, RussBot, Crazytales, Hede2000, Ericorbit, Chaser, Hydrargyrum, Stephenb,
C777, Thane, Gcapp1959, Anomalocaris, TheGrappler, NawlinWiki, Nahallac Silverwinds, Anomie, Logawi, Mmccalpin, UDScott, Shoshani,
68 CHAPTER 12. GLENN MILLER

Brian Crawford, DeadEyeArrow, Adnghiem501, Wknight94, J S Ayer, Bhumiya, TheMadBaron, Closedmouth, Fang Aili, KGasso, Fram, Cro-
mag, Markvs88, Sardanaphalus, SmackBot, Styles, D C McJonathan, Chairman S., Brossow, Kintetsubuffalo, Gilliam, Hmains, Rmosler2100,
Saros136, Chris the speller, Bluebot, Kraagenskul, Can't sleep, clown will eat me, Onorem, Addshore, Stevenmitchell, Savidan, Valenciano,
Rustypup49, TGC55, Derek R Bullamore, Wizardman, S@bre, Kukini, Ohconfucius, Pinktulip, Michael David, Ser Amantio di Nicolao,
Harryboyles, John, Breno, Nobunaga24, Enjoifyre, BillFlis, Fuzzy510, Eurodog, George The Dragon, Captain.ken, Mr Stephen, Hoju1394,
Slacker6262, Oscar O Oscar, Buckboard, Hogyn Lleol, Haveronjones, Mab2112, Eastfrisian, Levineps, BranStark, HisSpaceResearch, Joe-
Bot, Stereorock, Hokeman, Courcelles, Billy Hathorn, Adam Keller, CmdrObot, Skabat169, Muzilon, Drinibot, Clay4president, Schweiwikist,
JayKay3141, Jolsonmhd, Moyerjax, Todowd, Neelix, Gran2, ProfessorPaul, Pentagonshark666, Cydebot, Ryan, Klooka, Dr. Pizza, Soetermans,
Lord of the Isles, DumbBOT, Nabokov, Ssilvers, Robertwalton, Josef Serf, Abderitestatos, Landroo, Aldis90, Richhoncho, Thijs!bot, Epbr123,
Hipsterdoofus1, Allenstone, John254, James086, JustAGal, E. Ripley, Booshakla, Jay Firestorm, Dalliance, Inthe80s, CamperStrike, Men-
tifisto, AntiVandalBot, Luna Santin, Chubbles, Noroton, Tjmayerinsf, UD490, Spencer, Jessiejames, Bailmoney27, Klow, Gökhan, MikeLynch,
Nthep, Jazzeur, Xeno, Hut 8.5, MegX, Nemissimo, Naartjie, Magioladitis, Bennybp, VoABot II, T@nn, Cadsuane Melaidhrin, Roberten~enwiki,
CTF83!, Nick Cooper, Vanished user ty12kl89jq10, Cgingold, Simonxag, Antmusic, Robotman1974, 28421u2232nfenfcenc, Canyouhear-
menow, Cpl Syx, DerHexer, Mokgamen, AliaGemma, Salimi, MartinBot, Keith D, AlexiusHoratius, LedgendGamer, RJBurkhart3, Koplimek,
J.delanoy, Emy12851, Snowfalcon cu, Mind meal, Gyurika, Austin512, Vanished User 4517, Nwbeeson, Trilobitealive, DadaNeem, Themoody-
blue, Bigdumbdinosaur, KylieTastic, DH85868993, Funandtrvl, Brozhnik, Hugo999, OllieW~enwiki, Anibius, Randomator, WOSlinker, Philip
Trueman, Mikeo1938, TXiKiBoT, Lithea, Technopat, Walor, Qxz, D2leo, Autodidactyl, ARUNKUMAR P.R, S2grand, Brookfield, Oisin
Allen, Chris Halpin (2nd), Sylent, Qworty, Don care, Maengpong, Deconstructhis, Kbrose, Barrympls, GirasoleDE, SieBot, Paul20070, Cal-
liopejen1, Nubiatech, YonaBot, BotMultichill, Baldwin91006, Crash Underride, Monegasque, Polbot, Nancy, Correogsk, StaticGull, Sphilbrick,
Pinkadelica, Richard David Ramsey, Canglesea, Squirrelisland, Explicit, ImageRemovalBot, Mx. Granger, ClueBot, Binksternet, Scottfan1, All
Hallow’s Wraith, MIDI, Agroking, Loginnowplease, DoTheMath, Farras Octara, Niceguyedc, Nickersonl, Rockfang, Carl savich, Ktr101, Ex-
cirial, Gnome de plume, Jusdafax, Lubjaw, Ferromula, NuclearWarfare, Subdolous, AndyFielding, 7&6=thirteen, Mkia21342134, Dekisugi,
Paulilpn59, Lohman48, Skywriter9, DumZiBoT, Camboxer, XLinkBot, Privateboz, GeorgeGill100, HarlandQPitt, Mike8202, Kbdankbot, Ad-
dbot, The Sage of Stamford, Manuel Trujillo Berges, Jafeluv, Jojhutton, Capouch, Marion5900, CanadianLinuxUser, Jazztrombone07, Reed-
malloy, BepBot, Bob K31416, Tassedethe, ‫ماني‬, Luckas-bot, Yobot, Bunnyhop11, Fraggle81, IW.HG, Bonehunter, Temcnabb, AnomieBOT,
DemocraticLuntz, Kristen Eriksen, Rockypedia, Jim1138, Piano non troppo, Jgarbowicz, Clarinetguy097, Kingpin13, Materialscientist, Jcrct,
RadioBroadcast, Citation bot, Avocats, LilHelpa, Octogenarian 1928, Capricorn42, Roflmfaoz, Tard17, DESOLC, BigWednesday, Dutch-
manInDisguise, ChrisGreyfellow, FliptheCoin, Mudkipslol, Green Cardamom, FrescoBot, Milsong, Bttb3, VS6507, Jamaica55, Charles Ed-
win Shipp, Americus55, Citation bot 1, Informationfountain, Andrew1175, Fett 1138, Plucas58, Ztronix, JimPenna, ThomasAndrewNimmo,
Cnwilliams, Kgrad, Indexme, R4Dt, ItsZippy, Rgc1600, Suomi Finland 2009, MrX, Jimmytop123, Dusty777, Weedwhacker128, Brian the
Editor, Douglasburton, RjwilmsiBot, Beyond My Ken, EmausBot, John of Reading, Kikehihi101, Immunize, Hollycochran, Racerx11, Niel
Shell, Sinischo, ZxxZxxZ, Kak500, Wikipelli, Illegitimate Barrister, Fæ, H3llBot, Unreal7, Vanished user kweiru239aqwijur3, Timester, Clue-
Bot NG, Ncepts, CactusBot, Widr, Oddbodz, Helpful Pixie Bot, Strike Eagle, Wbm1058, Wikivolution, BG19bot, Theherald1000, Suepow,
Vagobot, GWFrog, CaqKa, Kendall-K1, Mark Arsten, The Determinator, Catperson12, Jdadlez, Glacialfox, MeanMotherJr, BattyBot, Gua-
naco55, Cyberbot II, Khazar2, Itbeso, Dexbot, Mogism, Periglio, TwoTwoHello, Lugia2453, VIAFbot, Dlawyer, Utzdman55, DASL51984,
Davidgoodheart, Nyth83, Marigold100, Valetude, SNUGGUMS, Michou 13, AntiCompositeNumber, 7Sidz, Mesmeilleurs, NoRevisedHistory,
Greggens, GoldenGuy24, KristenKidd, FCGRIMWOOD, H.E. Mills, Eteethan, Qasimu123, Josh F 69, KasparBot, Vmavanti, InternetArchive-
Bot, GreenC bot, Invinciblewalnut, Bender the Bot, Hanavaim and Anonymous: 581

12.17.2 Images
• File:1_Dorsey_best_800.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f2/1_Dorsey_best_800.jpg License: CC-BY-SA-
3.0 Contributors: Transferred from en.wikipedia to Commons by Captain-tucker using CommonsHelper. Original artist: Anthony22 at English
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cense: Public domain Contributors: ebay Original artist: Unknown<a href='https://www.wikidata.org/wiki/Q4233718' title='wikidata:
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12.17. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES 69

and the Sun Newspaper Photograph Collection. http://hdl.loc.gov/loc.pnp/cph.3c30041 Original artist: New York World-Telegram and the Sun
staff photographer: Palumbo, Fred, photographer.
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70 CHAPTER 12. GLENN MILLER

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