Mickey McMickle, Johnny Best, Steve Lipkins, Billy May (tp); Glenn Miller, Paul Tanner, Jimmy Priddy, Frank D’Annolfo (tb); Skip Martin, Wilbur Schwartz, Ernie Caceres, Tex Beneke, Al Klink (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, George Williams (arr).
RCA Victor Studios, Hollywood, CA – April 2, 1942, 8:00 AM-12:30 PM
072230-1 American Patrol (JG arr) Victor 27873-A
072231-1 Soldier, Let Me Read Your Letter (RE & M vcl, BM arr) Victor 27873-B
072232-1 Sleep Song (RE & M vcl, GW arr) Victor 27879-B
072233-1 Sweet Eloise (RE & M vcl, JG arr) Victor 27879-A
Glenn Miller and his Orchestra arrived in Los Angeles on March 17th, after a fairly rapid trip across the country. After a few days getting acclimated, they reported to the 20th Century Fox studios to begin work on their second feature film, originally titled ORCHESTRA WIFE.
Before getting too heavily involved in the filmmaking process, Victor pulled them into a Hollywood recording studio for an early-morning session. As before, most of the tunes had a wartime connection, starting with AMERICAN PATROL.
Written in 1885 by F. W Meacham, the composition was one of his many patriotic marches that became a popular sensation. The original music worked in other martial airs, including COLUMBIA, THE GEM OF THE OCEAN, YANKEE DOODLE and THREE CHEERS FOR THE RED, WHITE AND BLUE and Jerry Gray’s brilliant arrangement included these as well, at least initially. The earliest Miller broadcast version from March 27th ran nearly five minutes and included several sequences that were cut to trim the chart to 78 length, as was done with the original longer rendition of IN THE MOOD. Too bad RCA didn’t spring for a 12-inch release that would have preserved the whole thing!
Listening to a turn-of-the century performance by Sousa’s Band, it’s surprising to hear just how much of the original piece was adapted by Jerry Gray, down to the gradual fade out toward the end which is shattered by a powerful fortissimo coda.
Original to Glenn’s version are the superbly timed drum breaks by Moe Purtill and Billy May’s wild trumpet.
It’s fortunate that this great instrumental was taken down at Victor’s Hollywood studio, which afforded Glenn the finest technical recording quality that RCA ever gave him. The entire band sparkles and we can hear clearly such details as the sax riffs behind Billy’s solo and the kicking rhythm section.
The remainder of the date produced three Eberle-Modernaires ballads and here too, we can appreciate the depth and richness of sound that the band could produce. Case in point is the dynamic introduction to Billy May’s arrangement of SOLDIER, LET ME READ YOUR LETTER, with even Bobby Hackett’s quiet guitar strumming audible. It was written by two actual soldiers, Private Pat Fallon and Private Tim Pasma, with help from pro songwriter Sid Lippman (of I’M THRILLED and DEAR ARABELLA fame). Glenn’s Mutual Music firm published the song.
Presumably the soldier-songwriters were familiar with the depressing situation described in their number, as a lonely G.I. begs to read his comrade’s correspondence. He “hasn’t got a sweetheart” and has “left no one behind.” Female listeners were likely persuaded to feel guilty about the isolated guys overseas. Girls, start writing those V-Mail letters! They’re doing the fighting, so you do the writing!
Another Mutual Music product, SLEEP SONG is a clever twist on the morning bugle call, REVEILLE. It’s a more serious variation of Irving Berlin’s OH, HOW I HATE TO GET UP IN THE MORNING and was composed by middling scribes Don Reid (whose biggest hit was REMEMBER PEARL HARBOR) and Henry Tobias (who would much later create Bette Davis’ creepy I’VE WRITTEN A LETTER TO DADDY for Whatever Happened to Baby Jane?).
George Williams, a new addition to the arranging team, penned the fine chart. Glenn hired Williams from the Sonny Dunham band to help with the additional writing chores that the new film would require. Nicknamed “the Fox,” George would go on to a successful career with Gene Krupa, Ray Anthony and Jackie Gleason.
The final selection, SWEET ELOISE, is an attractive melody by fellow trombonist-bandleader Russ Morgan, who started as a fine jazz musician and arranger and made a fortune playing corny, muted wah-wah solos with his equally saccharine band. Russ did manage to write (or co-write) the occasional quality song, like SOMEBODY ELSE IS TAKING MY PLACE. Popular lyricist Mack David handled the words.
Bobby Hackett finally gets another chance to shine, with a lovely cornet obbligato in the first chorus. Ray Eberle and the Modernaires lightly toss the lyrics back and forth, then Hackett returns to lead the saxes through a sinuous instrumental passage, which is the record’s highlight. Where have you been hiding, Bobby?
Aside from their radio broadcasts, this record date would be the last fans would hear from the Miller band until they completed their movie in late May. Happily, the movie would turn out to be one of the best big band films of the era. Details to come!