Ray Eberle and His Orchestra Glenn Miller Greats! Mp3, Flac, Wma

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Ray Eberle And His Orchestra Glenn Miller Greats! mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Glenn Miller Greats! Country: US MP3 version RAR size: 1327 mb FLAC version RAR size: 1179 mb WMA version RAR size: 1792 mb Rating: 4.8 Votes: 661 Other Formats: AIFF TTA MIDI RA VOX XM ADX Tracklist A1 –Jerry Gray And His Orchestra Jersey Bounce A2 –Ray Eberle And His Orchestra* Blue Champagne A3 –Jerry Gray And His Orchestra A String Of Pearls A4 –Jerry Gray And His Orchestra Blue Rain A5 –Jerry Gray And His Orchestra Little Brown Jug B1 –Ray Eberle And His Orchestra* Tuxedo Junction B2 –Jerry Gray And His Orchestra Perfidia B3 –Ray Eberle And His Orchestra* Skylark B4 –Jerry Gray And His Orchestra Poinciana B5 –Jerry Gray And His Orchestra Anvil Chorus Related Music albums to Glenn Miller Greats! by Ray Eberle And His Orchestra Beneke ! Eberle ! Modernaires ! Original Miller Band Members - Live Concert - Music Made Famous By Glenn Miller The New Glenn Miller Orchestra - The Authentic Sound Of The New Glenn Miller Orchestra Jerry Gray And His Orchestra - The Ooh And Ah Mambo / Kettle Drum Hop Ted Heath Orchestra, The - A Salute To Glenn Miller Glenn Miller And His Orchestra - A String Of Pearls / Blue Rain Ray Eberle And The Orchestra - My Friend Glenn Les Brown And His Orchestra - Lightly And Politely / Darling Nellie Gray Glenn Miller And His Orchestra - This Is Glenn Miller.

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Highlights in This Issue
HIGHLIGHTS IN THIS ISSUE: Jim Cullum talks about Bobby Hackett Woody Herman part of 1945 in review Obscure Kitty Kallen lyrics revealed FIRST-CLASS MAIL U.S. POSTAGE PAID Atlanta, GA Permit No. 2022 BIG BAND JUMP NEWSLETTER VOLUME 104______________________ BIG BAND JUMP NEWSLETTER MAY-JUNE, 2006 JIM CULLUM TALKS professional musician. ABOUT BOBBY HACKETT His early career involved playing guitar and violin in hotel ballroom bands in Providence, Boston and Syra The Background cuse, but by 1933 he was play ing cornet with a trio at Jim Cullum, of RIVER- WALK Boston’s Crescent Club. By JAZZ public television fame 1936 he was specializing on was a friend of Bobby comet, and by the next year Hackett’s and as such was had moved to New York City. able to give us some valuable He was almost immediately insights into Hackett’s per in demand in the new York sonality and background. We Studios, but his bread-and- intersperse his comments with butter jobs were with society additional biographical in bands such as Lester Lanin formation about Hackett's and Meyer Davis. He worked varied career and remarkable briefly with Horace Heidt and achievements. led his own group at Nick’s and the Famous Door on 52nd The Story street. BBJ: Cornetist Bobby Even though Bobby Hackett Hackett was one of appeared often in studio ses those performers loved by sions arranged by jazz critic everyone, not only for his cor Leonard Feather and fre net virtuosity but for his gentle quently with Eddie Condon, demeanor. Over the years he played nearly every kind what was to become his most visible performance in of music including small group dixieland, Big Band those years was a salute to Bix Beiderbecke at Benny swing and romantic easy-listening music.
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Tex Beneke Music Made Famous by Glenn Miller [Silver Jubilee Album] Mp3, Flac, Wma
Tex Beneke Music Made Famous By Glenn Miller [Silver Jubilee Album] mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: Music Made Famous By Glenn Miller [Silver Jubilee Album] Country: Canada Released: 1962 Style: Big Band MP3 version RAR size: 1261 mb FLAC version RAR size: 1715 mb WMA version RAR size: 1185 mb Rating: 4.9 Votes: 318 Other Formats: DTS MMF ADX RA VOC MP4 AUD Tracklist A1 Tuxedo Junction 3:22 A2 Along The Santa Fe Trail 2:20 A3 I've Got A Gal In Kalamazoo 2:40 A4 Sunrise Serenade 3:36 A5 Elmer's Tune 3:19 A6 Sun Valley Jump 2:47 B1 St. Louis Blues March 3:58 B2 Blue Champagne 1:55 B3 Ida Sweet As Apple Cider 2:07 B4 Sweet Eloise 3:2 B5 Rhapsody In Blue 2:51 B6 Don't Sit Under The Apple Tree 2:10 Companies, etc. Recorded At – Sahara Hotel & Casino, Las Vegas Copyright (c) – Warner Bros. Records Inc. Manufactured By – The Compo Company Ltd. Distributed By – The Compo Company Ltd. Credits Liner Notes – Peter J. Levinson Notes Recorded Live At The Hotel Sahara, Las Vegas, Nevada (p) 1962 Barcode and Other Identifiers Matrix / Runout (Side A (Stamped)): R 8699 Matrix / Runout (Side B (Stamped)): R 8700 Other versions Category Artist Title (Format) Label Category Country Year Tex Beneke, Ray Eberle, Tex Beneke, Ray The Modernaires, Paula Warner Eberle, The Kelly - Music Made Famous W 1468 Bros. W 1468 US 1962 Modernaires, By Glenn Miller [Silver Records Paula Kelly Jubilee Album] (LP, Album, Mono, Promo) Ray Eberle, Tex Beneke, Ray Eberle, Tex The Modernaires - Music Valiant VS 125 Beneke, The VS 125 UK 1970 Made Famous by Glenn Records Modernaires Miller (LP, Album) Tex Beneke, Ray Eberle, Tex Beneke, Ray The Modernaires, Paula Warner Eberle, The WS 1468 Kelly - Music Made Famous Bros.
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New Mexico Lobo, Volume 058, No 22, 11/5/1954." 58, 22 (1954)
University of New Mexico UNM Digital Repository 1954 The aiD ly Lobo 1951 - 1960 11-5-1954 New Mexico Lobo, Volume 058, No 22, 11/5/ 1954 University of New Mexico Follow this and additional works at: https://digitalrepository.unm.edu/daily_lobo_1954 Recommended Citation University of New Mexico. "New Mexico Lobo, Volume 058, No 22, 11/5/1954." 58, 22 (1954). https://digitalrepository.unm.edu/ daily_lobo_1954/78 This Newspaper is brought to you for free and open access by the The aiD ly Lobo 1951 - 1960 at UNM Digital Repository. It has been accepted for inclusion in 1954 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. r'II" . j:,J , I! r I q Bear Facts • e • IH\ : Jonson CollectiC!n of Paintings 1'1 ,i Ii NEW,MEXICO LOBO Dorothy 1.t '~ Will Go on Display Tuesday > • ,! ' Ii. S Twenty selected paintings ;from west and were done by Prof. Jon- J:·f ! the Ri;lyriJ.ond Jonson retrospective son during the period from 19:/.7 to _V_O-I._5_S----.....-,:--T-H-E'-V_O_I_CE_O-F-T-H-E-U-N-I-V-E-RS-I_TY_O_F_N_E_W_M_EX_.-IC-O_------ - -.-2-2 C'.'. ·h·· ost e.· n U J I O ;. collection will be shown at the Jon· 1937. 1. Friday, November 5, 1954 N son art gallery beginning Tuesday, He later came to New Mexico anq If Nov. 9, and running throi.!gh Nov. it was during the summer of 1922 27. tha(; he spent some four months 11 The paintings are landscape com- traveling over most of the state, II < positions which depict the South- making about 8Q sketches of scenic : ; __~ ___-'-- ___~_ points of interest.
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THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002E]
THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002e] January 26, 1947 [Sunday]: Jerry Gray arranged tunes made famous by Glenn Miller for New York City-based “Here’s To Ya” broadcast over the CBS radio network, January 26, 1947, 2:30 – 3:00 pm local time, performed by the Phil Davis Orchestra [including Trigger Alpert and Bernie Privin] and the Hires Hands vocal group [including Bill Conway]. Sponsored by Hires Root Beer. Moonlight Serenade – arranged by Jerry Gray Don’t Sit Under The Apple Tree – arranged by Jerry Gray Moonlight Cocktail – arranged by Jerry Gray A String Of Pearls – arranged by Jerry Gray Serenade In Blue – arranged by Jerry Gray In The Mood – arranged by Jerry Gray Chattanooga Choo Choo – arranged by Jerry Gray _______________ Harrisburg Telegraph [Harrisburg, Pennsylvania], Jan 18, 1947, Page 19: NEW SUNDAY MUSICAL SHOW HEARD ON WHP ‘Here’s To Ya’ Opens Jan. 26; Stars Louise Carlyle, Phil Hanna, Phil Davis “Here’s To Ya,” sparkling half-hour of popular and familiar music, featuring Contralto Louise Carlyle, Baritone-Emcee Phil Hanna, Phil Davis’ orchestra, and the Hires Hands singing group, starts on the Columbia network and WHP Sunday, January 26, 2:30-3 p.m. “Here’s To Ya” will be the first of a series of new shows to be added to the WHP schedule during the first few weeks of 1947 daytime schedule. Time and all information on the new programs will be announced in the near future on this page. Louise Carlyle, feminine star of “Here’s To Ya,” got her first big break several years ago as vocalist with her brother Russ’ orchestra.
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“In the Mood”--Glenn Miller and His Orchestra (1939) Added to the National Registry: 2004 Essay by Dennis M
“In the Mood”--Glenn Miller and His Orchestra (1939) Added to the National Registry: 2004 Essay by Dennis M. Spragg (guest post)* “The Anthem of the Swing Era” On August 1, 1939, Glenn Miller and his Orchestra recorded the Joe Garland composition “In the Mood” for RCA Bluebird records. It became a top-selling record that would be permanently associated with Miller and which has become the easily recognized “anthem of the swing era.” “In the Mood” appears to have been inspired by several earlier works from which the tune was developed. Once composed, it remained a “work in progress” until recorded by Miller. The first indication of a composition with elements resembling what would become “In the Mood” was “Clarinet Getaway,” recorded by the Jimmy O’Bryant Washboard Wonders in 1925 for Paramount records. It is matrix number P-2148 and was issued as Paramount 12287. It was paired with a tune titled “Back Alley Rub.” The recording was made by a four-piece band with Arkansas native O’Bryant playing clarinet and accompanied by a piano, cornet and washboard player. Following O’Bryant, similar themes were evident in the Wingy Manone recording of “Tar Paper Stomp.” Manone’s recording is considered the genesis of “In the Mood” by most jazz historians. The recording is by Barbeque Joe and his Hot Dogs, the name under which Manone recorded at the time. Manone recorded “Tar Paper Stomp” on August 28, 1930, for the Champion label (which was acquired by Decca in 1935). Reissues credit the record to Wingy Manone and his Orchestra.
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Glenn Miller's
n Dec. 15, 1944, it had been raining in Eng- land for three days. The regular military shuttle Oflights to France were canceled. Maj. Glenn Miller waited impatiently, eager Glenn Miller’s to get to Paris to make arrangements for a Christmas performance by his Army Air Forces band. Air Force Odyssey When the opportunity arose to hitch a ride across the English Channel on a small single-engine airplane, he leapt at it. The aircraft was a UC-64 Noorduyn Norseman, the military version of a Canadian bush plane. Miller did not fully understand the risk he was tak- ing, nor did he know that the pilot was exceeding his clearance, which was for local flying only. The airplane took off into the fog from a field north of London at 1:55 p.m. and disappeared into history. For a while, there was hope that it might have landed somewhere, but it did not turn up. Eighth Air Force officially declared the aircraft missing and made a public announcement on Christmas Eve. Glenn Miller was at the peak of his fame. He had been the most popular bandleader in America before he joined the Army in 1942. In 1940 alone, his records sold almost three million copies and he had 31 hits in the Top 10 that year. His AAF band, formed in 1943, was an all-star team. Miller had his pick of top musicians who had been drafted into the armed forces. He was able to pull in several former members of his own band and others who had played with Benny Goodman, Tommy Dorsey, and Artie Shaw.
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Glenn Miller 1941 “Keep ‘Em Flying” America’S Number One Band
GLENN MILLER 1941 “KEEP ‘EM FLYING” AMERICA’S NUMBER ONE BAND Dedicated to the Glenn Miller Birthplace Society June 2021 Prepared by: Dennis M. Spragg Glenn Miller Archives Glenn Miller and his Orchestra, Cafe Rouge, January 1941 A Pivotal Year 1941 was a pivotal year in the history of the United States and for America’s number one bandleader, Glenn Miller. As of January 1, all ASCAP-licensed music (most popular music) was off the air. Glenn broadcast with a replacement BMI-licensed theme, “Slumber Song.” On January 17, the band recorded the classic “Song of the Volga Boatmen,” Bill Finegan’s traditional music response to Jerry Gray’s treatment of “Anvil Chorus.” If not for the broadcasting industry vs. ASCAP dispute, these two all-time Miller hits might never have been written or performed. Further changes arrived to shake up the successful Miller musical organization. A gossip columnist ran a story about Marion Hutton’s pregnancy, which pushed her to stop performing sooner than anticipated. By January 1941, Marion was only appearing on Glenn’s “Chesterfield Moonlight Serenade” broadcasts and not at the Café Rouge. Miller had to replace her. A young “dimpled darling” named Dorothy Claire from LaPorte, Indiana was singing for bandleader Bobby Byrne. Dorothy was under contract for three years with Byrne. So when Bobby learned that Glenn Miller intended to hire Ms. Claire, he promptly sued Miller for $25,000. However, Claire joined the Miller band on January 8. Glenn offered her a salary of $250 per week, a significant raise from the $75 per week she earned with Byrne.
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DENNIS M. SPRAGG December 2017 Dedicated to the Glenn Miller
PREPARED BY: DENNIS M. SPRAGG December 2017 Dedicated To The Glenn Miller Birthplace Society Clarinda, Iowa An Historic Collaboration Jerry Gray (Generoso Graziano) Discovering the Pearls Arranger Jerry Gray (Generoso Graziano) was born in Boston, Massachusetts July 3, 1915. He was a virtuoso violinist, arranger and ultimately a bandleader. By 1939, Gray was the chief arranger and musical collaborator for Artie Shaw, the clarinet superstar who lead the top dance band in the United States. During that very important year in musical history, Glenn Miller’s band was coming on fast as a competitor to Shaw and other leading bands led by. among others, Tommy Dorsey and Benny Goodman. During the summer and early fall of 1939, Artie Shaw became disenchanted with the music business and was the subject of a public controversy regarding his pointedly negative opinion of “jitterbugs”. Some of Shaw’s musicians and arranger Gray became concerned that their employer might soon disband to take a break and possibly reorganize in 1940. The talented drummer Buddy Rich accepted a job offer from Tommy Dorsey and effervescent saxophonist and vocalist Tony Pastor was rumored to be exploring the idea of forming his own band. Meanwhile, Glenn Miller was employing brilliant arranger Bill Finegan and free lancers including Jimmie Lunceford’s protégé Eddie Durham. Miller needed full-time arranging skill and this led the bandleader to seek out the possibly available and eminently qualified Jerry Gray, who was arguably the best arranger available. As it turned out, Artie Shaw walked off the bandstand at the Hotel Pennsylvania’s Café Rouge in November 1939.
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Glenn Miller Orchestra Center for Performing Arts
Governors State University OPUS Open Portal to University Scholarship Center for Performing Arts Memorabilia Center for Performing Arts 4-1-2001 Glenn Miller Orchestra Center for Performing Arts Follow this and additional works at: http://opus.govst.edu/cpa_memorabilia Recommended Citation Center for Performing Arts, "Glenn Miller Orchestra" (2001, 2006). Center for Performing Arts Memorabilia. Book 173. http://opus.govst.edu/cpa_memorabilia/173 This Book is brought to you for free and open access by the Center for Performing Arts at OPUS Open Portal to University Scholarship. It has been accepted for inclusion in Center for Performing Arts Memorabilia by an authorized administrator of OPUS Open Portal to University Scholarship. For more information, please contact [email protected]. fOR PEfifORMinO flftTS Governors State University Presents The Glenn Miller Orchestra Sunday, April 1, 2001 3:00 pm 2000/2001 Season sponsored in part by a grant from the: 1 1 Wf1' THE GLENN MILLER ORCHESTRA MEMBERS GLENN MILLER - A SHORT BIOGRAPHY Musical Director: Larry O'Brien (Trombone) Las Vegas, NV In April 1935, Glenn Miller recorded, for the first time, under his own name. Using six horns, a rhythm section and a string quartet, he recorded Vocalists: Julia Rich Nashville, TN "Moonlight on the Ganges" and "A Blues Serenade" for Columbia. Nick Hilscher Marietta, GA But selling only a few hundred records, he continued his position with the Noble Orchestra. Saxophones: Kevin Sheehan - Alto Clarinet Chicago, IL Jeffrey Spurlock - Alto Dayton, OH In 1937, Glenn Miller stepped out to form his own band. There were a James Guffey - Tenor Darlington, PA few recordings — one for Decca and one for Brunswick — a couple of week-long stints in New Orleans and Dallas, and many one-nighters, but Corey Lareau - Tenor Lexington, KY it was not to be.
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Studio Big Band Concert
Invitation Bronislau Kaper (1902-1983) Arr. Frank Mantooth Winds out of the East Michael Philip Mossman (b. 1959) Studio Big Band Dr. David Scott, director Program Notes Wednesday, October 18, 2017 - 8 p.m. Captain Marvel Chick Corea, Arr. Mike Tomaro Casa Loma Room This tune first appeared as the title track on Stan Getz’s album Captain Marvel Chick Corea released March of 1972, and was later released in October of the (b. 1941) same year on the album Light as a Feather, which was recorded Arr. Mike Tomaro by Chick Corea’s group Return to Forever. As a jazz fusion work, the piece combines the Latin samba’s rhythmic profile, which can Don’t Get Around Much Anymore Words by Bob Russell be heard in the material presented by the rhythm section and some (1914-1970) of figures played by the winds, along with a very rich and colorful Music by Duke Ellington palette of harmonies to create a light but enjoyable sonic experience. (1899-1974) Arr. Sammy Nestico Don’t Get Around Much Anymore Words by Bob Russell Music by Duke Ellington, Arr. Sammy Nestico Tiare Ken Hanna (1921-1982) A memorable piece among many by the great pianist/composer/ arranger/bandleader Duke Ellington. The origins of this work reside String of Pearls Jerry Gray in a previous instrumental work of Ellington by the name of Never (1915-1976) No Lament, which Ellington wrote as a feature for saxophonist Trans. Myles Collins Johnny Hodges and released in 1940. It wasn’t until around 1943 that Bob Russell’s lyrics were incorporated into the instrumental Eleanor Rigby John Lennon & Paul McCartney piece, and the hit we all now know was born.
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Begin the Beguine”--Artie Shaw & His Orchestra (1938) Added to the National Registry: 2012 Essay By: Tom Nolan (Guest Post)*
“Begin the Beguine”--Artie Shaw & His Orchestra (1938) Added to the National Registry: 2012 Essay by: Tom Nolan (guest post)* Artie Shaw One of the most popular American recordings of the twentieth century was never expected to be a hit. “Begin the Beguine”--the three-and-a-quarter-minute, 78-rpm disc that catapulted bandleader-clarinetist Artie Shaw (1910-2004) to international stardom in the autumn of 1938, and by the 1960s was estimated to have sold some six and a half million copies-- was released as the B-side to a swing-era update of Rudolf Friml’s old operetta favorite “Indian Love Call.” Shaw’s cheeky arrangement of Friml’s number, with a scat-tinged vocal by saxophonist Tony Pastor, had been prompting strong reactions during the band’s live performances. “’Indian Love Call’ was the one that got all the applause in the ballroom,” Shaw said; Artie was all but certain it would be a sensation on disc. But before waxing “Indian Love Call” on the afternoon of July 24th, 1938, Art had another number he wanted to record: a smooth, propulsive styling of an all-but-forgotten three-year-old song from the unsuccessful 1935 Cole Porter show “Jubilee.” That didn’t sound like a good idea to the folks at RCA, who said Shaw’s notion was “a complete waste of time.” The record-men only agreed to let him record “Begin the Beguine,” Artie wrote, “when I insisted that it would make a nice, quiet contrast to ‘Indian Love Call.’” Cole Porter was already one of Shaw’s favorite show-composers; in the course of Artie’s career, he’d record more tunes by Porter (19 total) than by any other songwriter.
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The Jerry Gray Story
THE JERRY GRAY STORY THE JERRY GRAY STORY “The Jerry Gray Story” has been compiled to provide researchers and music fans an overview of the musical life of Jerry Gray (1915-1976) following his discharge from the US Army Air Force in late 1945. This chronology documents all known daily activities, media articles, commercial recording sessions, transcription library recording sessions, radio broadcasts, film productions, television appearances, theater appearances, and personal appearances of Jerry Gray post-WWII. This encompasses three primary locations and time frames: The New York City Years 1945-1947; The Hollywood Years 1947-1969; and The Dallas Years 1969-1977. These are presented as: Part 01 - 1945-1946 Part 02 – 1947 Part 03 – 1948 Part 04 – 1949 Part 05 – 1950 Part 06 – 1951-1952 Part 07 – 1953-1954 Part 08 – 1955-1960 Part 09 – 1961-1968 Part 10 – 1969-1977 Additionally, we will eventually include as: Part 11 – Song Index Part 12 – Location Index Part 13 – Artist Index Part 14 – Recording Session Index Part 15 - Discography This is a work-in-progress. There are still many items, articles, stories, photographs, and label scans to be reviewed and confirmed. They will be included in future versions. As of today, our full work product is about 2,342 pages and 526,447 words. Events are posted chronologically. However, like topics are grouped together when possible [such as record reviews and media reports of a specific event]. Recording sessions will show only the matrix number and the primary released recordings for each song. Part 1 - Page 2 of 200 Part 15 - Discography to follow will document all known commercial and transcription recording sessions and radio/film/television/personal performances and their known releases in detail.
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