Mickey McMickle, Johnny Best, Alec Fila, Billy May (tp); Glenn Miller, Paul Tanner, Jimmy Priddy, Frank D’Annolfo (tb); Wilbur Schwartz, Ernie Caceres, Tex Beneke, Al Klink, Babe Russin (reeds); Chummy MacGregor (p); Bobby Hackett (g & cornet); Doc Goldberg (b); Maurice Purtill (d); Marion Hutton, Ray Eberle, Tex Beneke, The Modernaires (vcl); Bill Finegan, Jerry Gray, Billy May (arr).
RCA Victor Studios, New York – November 3, 1941, 12:00-5:30 PM
068066-1 Humpty Dumpty Heart (RE vcl, JG arr) Bluebird 11369-A
068066-2 Humpty Dumpty Heart (RE vcl, JG arr) first issued on LP
068067-1 Ev’rything I Love (RE & Choir vcl, JG arr) Bluebird 11365-A
068068-1 A String of Pearls (JG arr) Bluebird 11382-B
068069-1 Baby Mine (RE & Choir vcl, BF arr) Bluebird 11365-B
068070-1 Long Tall Mama (BM arr) Victor 27943-B
068071-1 Day Dreaming (RE & M vcl, BF arr) Bluebird 11382-A
The stars aligned on November 3, 1941 as the Glenn Miller Band participated in one of their finest recording sessions – quality pop songs and memorable instrumentals, including one of their best-remembered hits.
Since the previous RCA session on October 20th, several events impinging on the Miller crew had occurred. First, the ASCAP radio ban ended on October 30th. Now Glenn could promote many of his recent recordings on the radio. ELMER’S TUNE, CHATTANOOGA CHOO CHOO and the other Sun Valley Serenade songs started racking up airplays and began climbing the popularity charts.
The other interesting event took place within the band. Glenn decided to restructure the reed section, moving Tex Beneke to lead alto and adding Babe Russin to split the hot tenor solos with Al Klink. Glenn had known Russin since they both worked with Red Nichols in 1930. Since then, Babe had become one of the most respected jazz tenor men, featured with Larry Clinton, Benny Goodman and Tommy Dorsey. It was a coup for Glenn to snag him and Russin gets several prominent solos on this date.
The first number was the featured ballad in Playmates, the latest film featuring Kay Kyser and his Band. As mentioned in a previous entry, Kyser and his troupe were the top moneymakers in the dance band field. This latest movie co-starred a tottering John Barrymore (in his last screen appearance) and “Mexican Spitfire” Lupe Velez, along with popular Kyser vocalists Ginny Simms and Harry Babbitt.
These two vocal lovebirds introduced HUMPTY DUMPTY HEART, written by Johnny Burke and Jimmy Van Heusen. All the Kyser films featured good songs and this was one of the best.
Despite the “novelty” title, HUMPTY DUMPTY HEART is a charming ballad. Jerry Gray’s exquisite arrangement slows the song into romance mode from the bouncy Kyser tempo. Ray Eberle delivers a tender vocal, one of his very best.
There is little difference between the 78 take and the alternate take 2, issued (likely by mistake) on a 1963 Camden LP.
Eberle continues in the same hushed manner on EV’RYTHING I LOVE, the best-remembered song from Cole Porter’s hit Broadway musical, Let’s Face It. Danny Kaye made his starring stage debut (after a featured role in Lady in the Dark) as a nervous draftee who gets involved with several hot-to-trot Army wives, played by Eve Arden and Vivian Vance. This was the first of many wartime farces featuring namby-pamby soldiers being brutalized by drill sergeants and hungry women. Abbott & Costello led the way on screen through a similar series of service comedies.
Kaye jittered and twitched all over the stage, singing several of his patented tongue-twisting patter numbers and parlaying himself to top stardom. At one point, he slowed down long enough to duet EV’RYTHING I LOVE with Mary Jane Walsh, one of Cole Porter’s rare, totally sincere ballads.
The full band (termed “Choir” on the label) backs Eberle, humming along on another finely crafted Jerry Gray arrangement. Between vocal choruses, the unusual sound of Beneke leading the saxes is followed by his alto sax solo and Ray comfortably rising to the closing high note.
The band strikes up a perfect dance tempo for Jerry Gray’s A STRING OF PEARLS, a Number One hit for Glenn and the band. The simple riff leads to a series of exciting sax exchanges, first between Caceres and Beneke on altos and then Russin and Klink on tenors. A brief lull ushers in Bobby Hackett’s exquisite gem of a cornet solo, which started as a rehearsal warm-up that Glenn persuaded Bobby to incorporate into the arrangement without alteration.
Once more, a sympathetic microphone pickup allows the guitar (likely Bill Conway) to be heard within the rhythm section. Purtill is also in especially good form, catching every inflection with his rim shots.
Other bands picked up A STRING OF PEARLS, including Benny Goodman, who recorded an uptempo version, smoothly arranged by Mel Powell. Jerry Gray said that he liked the Goodman rendition better than his own and would drop in to hear it at the Hotel New Yorker that winter of 1941, only a few blocks from the Miller band’s Hotel Pennsylvania.
After three Jerry Gray charts, Bill Finegan turns his hand to BABY MINE, a gorgeous Ned Washington-Frank Churchill lullaby from Walt Disney’s DUMBO, which was about to open in theaters nationwide. This wonderfully endearing film was somewhat overlooked at the time, as the dark days of December 1941 were not the time to premiere a charming family picture.
Fortunately, time has shown Walt’s flying elephant story to be one of his greatest achievements and it hasn’t dated one bit. Even today, the most stone-faced viewer will find himself tearing up when Dumbo’s mother, chained up as a punishment, cradles the crying tyke in her trunk while the song plays on the soundtrack.
The disc opens with an impressionistic Finegan intro, with Chummy MacGregor’s piano tinkling in the background throughout. Ray Eberle continues his winning streak, sweetly interpreting the tune with the band choir once again offering an effective vocal cushion.
Changing modes once again, the band next tackles Billy May’s LONG TALL MAMA, a neglected swinger in the band’s library that apparently was only performed this one time, never on broadcasts. Additionally, the disc languished in the RCA vaults until the summer of 1942, when it was released on the full-priced Victor label, which the Miller band had been promoted to in April.
Despite its obscurity, LONG TALL MAMA is a winner, fully showing off the band’s swing credentials. Nearly all the hot soloists get a look-in – first Beneke’s cutting alto, then Ernie Caceres on clarinet (twice), a great Billy May solo, strictly in his Cootie Williams mode and lastly, Al Klink with his booting tenor. There’s that patented Miller fade-out before a stentorian windup. Too bad Billy May didn’t write a dozen more swinging originals for Glenn like this!
Lyricist Gus Kahn had been writing hit songs since 1914, with dozens in his portfolio. One thing Kahn hadn’t done was collaborate with Jerome Kern, the greatest composer of the era. He finally got his chance with DAY DREAMING, published as an independent song. Ironically, it turned out to be Kahn’s last, as he died on October 8, less than a month before this recording. DAY DREAMING is neither man’s best work, but it is a pleasant number, with the Modernaires showing up to accompany Ray, their only appearance on the session. Bill Finegan supplies a sympathetic framework.
What a fine session! Fortunately, Glenn would be back in the studios just two weeks later, in what would be the band’s last peacetime record date.