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, Skip Nelson, Tex Beneke, The Modernaires (vcl); Bill Finegan, Jerry Gray, Billy May, George Williams (arr).
RCA Victor Studios, Chicago – July 14, 1942, 11:00 AM-2:40 PM
074736-1 Dearly Beloved (SN & Band vcl, JG arr) Victor 27953 -A
074737-1 Moonlight Mood (SN & M vcl, JG arr) Victor 20-1520-B
074738-1 Caribbean Clipper (JG arr) Victor 20-1536-B
074739-1 Here We Go Again (JG arr) Victor 20-1563-A
RCA Victor Studios, Chicago – July 15, 1942, 11:00 AM-3:15 PM
074740-1 That Old Black Magic (SN & M vcl) Victor 20-1523-A
074740-2 That Old Black Magic (SN & M vcl) first issued on CD
074741-1 Moonlight Becomes You (SN & M vcl) Victor 20-1520–A
074742-1 Juke Box Saturday Night (MH, TB & M vcl, JG arr) Victor 20-1509-A
074743-1 It Must Be Jelly (M vcl, GW arr) Victor 20-1546-A
Fame can be very fickle – in 1940, Ray Eberle was on top of the popularity charts. By war’s end, band singers Frank Sinatra, Dick Haymes and Perry Como were now the top male solo singers and other formerly big names like Harry Babbitt, Ray Eberle and brother Bob Eberly had dropped out of contention.
Glenn’s immediate concern was to replace Ray in a matter of days, before the quickly-approaching Victor session of July 14th. He contacted young Skip Nelson of the Chico Marx band and flew him to Chicago within a day of Ray’s departure. Skip actually looked and sounded quite a bit like Ray, so he was a natural choice.
First to be recorded on July 14th (and the first to be issued, judging by catalog number), was DEARLY BELOVED, one of the beautiful Jerome Kern-Johnny Mercer songs from You Were Never Lovelier. Fred Astaire and Rita Hayworth were teamed in this A-class Columbia musical, that also featured I’M OLD FASHIONED, which Glenn got around to on July 16th.
Skip makes his Miller debut here, backed by the band humming along. He sounds fairly grim and heavy, nervous traits that unfortunately continue through these sessions. Skip sounded a bit lighter-voiced on an earlier session with Chico Marx; he can certainly be forgiven for coming off stiff here, as he had barely spent three days getting adjusted his new surroundings!
The band sounds rich and sonorous, with organ-like textures reflecting the greater depth the band had achieved by this time. It’s too bad the damped-down sound of RCA’s Chicago studio can’t fully capture that depth, but just compare this Jerry Gray arrangement to one of his from 1940 and you’ll get the idea.
MOONLIGHT MOOD is not of the quality of DEARLY BELOVED, but once again Jerry Gray works magic with the material. Like DEEP PURPLE, the song began as an instrumental composition by Peter DeRose. Harold Adamson added the words later. Skip Nelson is a mite less heavy-sounding than on the preceding tune, but oddly, the original 78 omits his vocal credit, mentioning only the Modernaires.
Skip gets a break, as the other two numbers on this day’s program are strictly instrumental. CARIBBEAN CLIPPER was a new Jerry Gray original, taken slightly below flagwaver tempo. Tex, Billy May and Moe Purtill get some welcome solo space, after a heavy diet of ballads and vocal novelties on the recent sessions. The brass and saxes intertwine gracefully and Moe’s solo breaks are especially imaginative. Doc Goldberg can also be heard, pushing the rhythm along on bass.
HERE WE GO AGAIN concludes this all-Jerry Gray session. This swinger had been in the book for some time, being heard often on the air since May 1941. It’s a fairly repetitive riff number, allowing full-chorus solos for Al Klink and Billy May, more Purtill drum breaks and a lengthy rideout ending. Nice to get this one on wax!
The following day, Skip and the Mods lead off with THAT OLD BLACK MAGIC, an instant standard by Harold Arlen and Johnny Mercer from the Paramount all-star feature, STAR SPANGLED RHYTHM. Despite the presence of Bing Crosby, newcomer Johnnie Johnston, who waxed it for Capitol, introduced the song on screen. Bing didn’t even cut it for Decca (Judy Garland did), but the Number #1 selling version was this one by Glenn. It was also his last Number #1 record, hitting the top spot in January 1943.
One slow vocal chorus of the lengthy song takes up the entire record; Skip and the Mods give it their all and the vocal arrangement tosses the melody back and forth from the soloist to the group with enough variety to keep the performance interesting.
The next number was introduced and recorded by Bing Crosby – MOONLIGHT BECOMES YOU, from the popular Road To Morocco, with Bob Hope and Dorothy Lamour. The Miller band waxed songs from the first three Road pictures and this last one is a real beauty. Composed by Johnny Burke and Jimmy Van Heusen, the recording features an exquisite opening and coda, with Mickey McMickle’s muted trumpet heard in the first chorus, along with the gorgeous sound of the Miller reeds. Skip and the Mods once again put their all into it and the result is one of the highlights of these sessions.
Marion Hutton and Tex Beneke make their only appearance on the July dates with JUKE BOX SATURDAY NIGHT and what a rousing appearance it is! Another huge Miller standard, the song was introduced in an ice skating revue, Stars on Ice, produced by our old friend, Sonja Henie. Produced at the Center Theater in Rockefeller Center, which was billed as “America’s only ice theater,” the extravaganza ran over two years. The Modernaires used the basic Al Stillman-Paul McGrane tune as a jumping-off point for their own arranged tribute to current pop performers Harry James (imitated by Johnny Best) and the Ink Spots.
This jukebox routine had been first used in 1941 for Glenn’s live arrangement of THE NICKEL SERENADE, that time featuring parodies of Sammy Kaye, Charlie Barnet and Kay Kyser. Since Miller didn’t record the routine, it was ripe for reuse in the new number. Skittish RCA was afraid that the record would annoy jukebox operators and almost didn’t release it. They were surely glad that they relented!
Another hot one finishes off the session – IT MUST BE JELLY (‘CAUSE JAM DON’T SHAKE LIKE THAT). Written and arranged by George Williams, the simple, catchy riff tune was later picked up by Harry James and Woody Herman, who played it often. Basically a framework to hang solos on, we hear again from Al Klink, then Johnny Best and Billy May trading fours. Skip Martin makes a rare appearance on alto before we get the patented Miller slow fade, building up to a sudden finish. The number was published by Glenn’s Mutual Music firm. Another George Williams original, I HEAR YOU SCREAMIN’, was played by the civilian band on the air, but only recorded by the AAF Band and also Gene Krupa.
We also do a slow fade here, picking up next time for the final Glenn Miller record date.