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General Meeting 2018
GENERAL MEETING 2018 January 2018: TONY HORTON – THE REAL GLENN MILLER STORY Once again we enjoyed a session with Tony, this time on a perennial favourite, the Big Band leader, Glenn Miller. Tony dispelled some of the myths about Glenn that were put into the 1954 hit film “The Glenn Miller Story”, starring James Stewart and June Allyson. The film was principally about the courtship and marriage of Glenn and Helen Miller. The facts we heard were that Miller was born in Iowa in 1904, the son of a railway worker father and farmer mother. He earned pocket money from milking cows and firstly spent some on a mandolin, before giving it up for a trombone. He formed a small band from class mates and at university ended up going on gigs, rather than attending to his studies and exams. Whilst a very good trombone player, he was not outstanding, but his forte was making musical arrangements and was in demand for this particular skill. Joining Ben Pollacks Band, which included other musicians who went on to make their mark in the music industry, Miller eventually moved to New York, where, driven by his wife Helen, he formed a jazz band, without any success. Miller played as a jobbing trombonist for several bands before teaming up with the British Dance Band leader, Ray Noble. Because of the Union restrictions on entertainers in America and Britain, Noble was not permitted to take his own musicians, so engaged Miller to recruit musicians for him. However, there was a big difference between the two men as Miller preferred jazz music and his arrangements were in that genre, whereas Noble was a ballad man, so this difference led to a parting of the ways. -
Great Escape Vol. 5
THE GREAT ESCAPE!* ♪ *“Anything that is good jazz is a great escape. When you’re involved in playing or listening to great jazz, no one can get to you.” -Woody Herman Vol. 1 No. 5 November/December 2007 Presented by: www.dixieswing.com Buddy Hughes: One Night on the Stand with Thornhill By Bob Knack While rummaging through my record room recently, I the most exciting band ever.” In the review, DB magazine came across a dusty cardboard box containing a morsel of real reported that Vannerson had recently left the band leaving treasure. It was an October 21, 1946 copy of Downbeat Thornhill without a personal manager or press agent making it Magazine, with the headline, “Claude Thornhill, Band of the difficult for the band to compete for bookings. Year”. The article highly praised the Thornhill band reviewed “After playing some smaller eastern ballrooms and “live” at the Hotel Pennsylvania in New York City. theatres,” Buddy continues, “the appearance at the It saved the highest accolades for the guy singer, Pennsylvania was a big event for the band, and had the Buddy Hughes, saying he had “the freshest, best voice to be attention of show business and band personalities who packed heard with a band”. I asked my friend and Glen Ellyn, Illinois the place for the big night”. “I was introduced by my manager resident, Buddy to reminisce about this night and his time with to Mildred Bailey, Paula Kelly and the Modernaires, Les Brown the CT band, and, as always, he brought the era back to mind (with his arranging pad in hand), singer Buddy Clark and many with his stories as if it were yesterday. -
Sun Valley Serenade Orchestra Wives
Sun Valley Serenade Orchestra Wives t’s funny how music can define an entire come one of Miller’s biggest hits, “Chattanooga We also get some wonderful Harry Warren and era, and Glenn Miller’s unique sound did Choo Choo,” which, in the film, is a spectacu- Mack Gordon songs, including “At Last” (the Ijust that. It is not possible to think of World lar production number with Dandridge and The castoff from Sun Valley Serenade), “Serenade War II without thinking of the Miller sound. It Nicholas Brothers. Another great new song, “At in Blue,” “People Like You and Me,” and the was everywhere – pouring out of jukeboxes, Last,” was also recorded for the film, but wasn’t instant classic, “I’ve Got a Gal in Kalamazoo.” radios, record players. Miller had been strug- used, except as background music for several The latter was, like “Chattanooga Choo Choo,” gling in the mid-1930s and was dejected, but scenes. The song itself would end up in the nominated for an Oscar for Best Song. It knew he had to come up with a unique sound next Miller film. lost to a little Irving Berlin song called “White to separate him from all the others – and, of Christmas.” course, the sound he came up with was spec- “Chattanooga Choo Choo” hit number one on tacular and the people ate it up. His song the Billboard chart in December of 1941 and George Montgomery’s trumpet playing was “Tuxedo Junction” sold 115,000 copies in one stayed there for nine weeks. The song was dubbed by Miller band member, Johnny Best week when it was released. -
Newsletter Volume Xxix Big Band Jump Newsletter November-December 1993
BIG BAND JUMP NEWSLETTER VOLUME XXIX BIG BAND JUMP NEWSLETTER NOVEMBER-DECEMBER 1993 HENRY MANCINI INTERVIEW THE BACKGROUND The promotion people put us in touch with Henry Mancini as part of the advertising campaign for a concert tour he was making at the time. He talked on a “live” local radio program with Don Kennedy. Mancini and Kennedy grew up within twelve miles of each other in the steel-making area of Western Pennsylvania, just thirty miles from Pittsburgh, although separated in time by half a generation. Mancini was a contemporary of Kennedy’s older musician brothers, so there were some common memories tied with the stories of his early years playing in steel-town beer joints. THE SCENE Unlike some celebrities of Henry Mancini’s stature, the Mancini at work. interview wasn’t difficult to arrange. He is so approach able and unaffected by his success, however, that he has BBJ: What kind of musical experience did you have a tendency to be off-hand with his answers, resulting in there? an interview with shorter answers and in some instances less depth than most musical celebrities. Mancini’s HM: Every kind! (Laughs) I started playing flute when answer to a couple of questions was something such as I was a kid, when my Dad gave one to me. He was a flute “Oh, sure.” Some of those one and two word answers player, too. That was at the age of eight, and then I were edited out in places where Kennedy’s persistence started playing piano about eleven and then took up eventually resulted in a longer, more meaningful answer, arranging on my own at about fourteen. -
Celebrating 41 Years of Family, Food, Great Entertainment, Fireworks And
STANDARD PRESORT THE US POSTAGE PAID MILWAUKEE, WI Permit No. 5716 PubIlishedT11 times aAnnually byLthe IAN TIMES Italian Community Center 631 E. Chicago St., Milwaukee, WI 53202 Become a member of the Italian www.ICCMilwaukee.com Community Center and you will receive JULY/AUGUST 2018 • VOL. 40, NO. 2 home delivery of this publication. SECTION A Your address label will be placed here. – CHANGE SERVICE REQUESTED – Celebrating 41 years of family, food, great entertainment, fireworks and tradition, Festa Italiana is ready to roll July 20-22 on Summerfest grounds Times photos by Paul Inzeo and John Ferraro Welcome to the 41st Cosa c’è dentro? What’s inside? Have that Festa feeling yet? Fast-paced futsal asks ICC President/ tournament page 35A Festa Chair Festa Italiana! Eat to your heart’s It is with great pleasure that we kee’s beautiful lakefront. Dean Cannestra page 3A delight at Festa page 36A publish the July/August 2018 Festa The staff of The Italian Times is Festa’s Grand Parade Italiana edition of The Italian looking forward to covering the fes - marches on page 4A Learn to play Times. We have attempted to pro - tival. Our reports on Festa Italiana bocce page 37A vide our readers with information will appear in the September 2018 Festa admission on nearly all aspects of the 41st an - issue. That issue will be published deals page 6A 41st Bocce Tournament nual Festa, produced by the volun - in late August. set for July 22 page 37A teer members of the Italian I wish to thank Barbara Col - Italian flag-throwers ready to thrill pages 8A-9A Fr. -
University of Cincinnati News Record. Thursday, February 25, 1965. Vol
Universit~y of' Vol. L1I,No.18, - Series BF 1 Zl53 Ed ·:Jucker ··'Quits".Ba:ker' .Ja,kes'- ,'Over , byJirti .Ramsey news of his retirement .~as made Eaily Tuesday Ed. Jucker Head Basketball Coach-at UC' public.Juck said~ '.'lc?n~idet'Tay, e Baker and Ray' Dlerrmger:tobe, Ve . Fe. , ', Sh . submitted his resignation effective at the end-of the current the fine~ basketbaUeoachesiu. 1m. , season. The reason given for .the resignation was a contin- the United States today." He let, oWing' uing strain on -.his health brought about by' his coaching, commented further, '~I have ...had H • 'd' B C'" a.lif~, t.iIl1;e.Of.. basketball in'my duties and family' obligations., '~ five years at UC." a te 'y, us' toms Jucker, who is also. an associate, professor of physical . Jueker went 'on to ~ay:/~(Win.. , . and health education: will remain at the University-in the ning'the first NCAA chami'ion-.. Federal Customs Agents. from Brown 110 represent Stetler ~ Department of Physical, Education and Athletics.· His duties ship wBsprobably my greatest. Cleveland "visited"campus. last ,court action, chargingviolati •• will consist of teaching' and administrative 'duties. " thrill white coaching ,at UC~al- ;Frjd~y t.o seize. th~ film "Vi~t- of personal rights. ' l)nder: Jucker,Cinc'iflnati be- though ,winning 'the; second n~~ being 'prese~ted. by. the, UC It was not divulged who ON.tot\ chan,pionshlp' . tepe~ted t heF~I~ Committee In Annie Laws edthe .qustom, A&:entsto Ciri:ei.~ carne the only (:ollege b~sket"· on Dec•. '14, after' the Kansas I ball team ever toreaeh the ':" . -
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. -
Studio Jazz Ensemble Modern Band
presents STUDIO JAZZ ENSEMBLE Fred Radke, director Ivan Arteaga, assistant director and MODERN BAND Cuong Vu, director December 7, 2011 7:30 PM Meany Studio Theater STUDIO JAZZ ENSEMBLE MEXICALI NOSE ............................................................. BUDDY RICH SHINY STOCKINGS..................................................... FRANK FOSTER MUEVA LOS HUESOS ........................................... GORDON GOODWIN T.O. ..................................................................... ROB MCCONNELL SKYLARK ............................................................ BOB BROOKMEYER CORNER POCKET ...................................................... ERNIE WILKINS WELL ALRIGHT THEN ...................................................... NAT PIERCE RAINBOW KISS .......................................... NEIL HEFTI/HARRY JAMES MODERN BAND RED RIDING HOOD The wolf went walking. He was conflicted. He was filled with hate and love and he did not know what to make of it. He came across a girl dressed in red who spoke to him. She lifted his spirits. The hate was gone and he was happy. But soon she left the wolf alone with his thoughts. The hate returned. He struggled to suppress it but it rose. The wolf started to run. He came upon a house. In his fury he stormed inside. He found an old woman. Compelled by his passions, he consumed her. Before he had come to his senses, there was a knock on the door and a familiar voice. The wolf was paralyzed. He put on the old woman’s clothes, and got in her bed. The girl dressed in red entered. She looked at the wolf. Her face grew strange. She was confused. Her face grew afraid. She recognized the wolf. The wolf was filled with hate. He devoured the girl dressed in red. The girl and the old woman were in his belly and the wolf did not know himself. There was another knock on the door. -
Big Band Jump Newsletter
BIG BAND JUMP NEWSLETTER VOLUME XVIII BIG BAND JUMP NEWSLETTER JANUARY-FEBRUARY 1992 HELEN WARD INTERVIEW_______ The Interview The Background BBJ: How did Benny Goodman find you? A reader's letter gave us the incentive to get in touch HW: Through a mutual friend. His name is George with Helen Ward. The reader wanted her phone Bassman, and I met George socially through my number, and we were happy to oblige, but as is often parents at age 17, and he knew Benny as a staff the case, Helen Ward is under standably wary of talking to un known fans or having her number given out. We did find her, how ever, living comfortably with her husband in suburban Washington, DC. She's no longer singing pro fessionally, even though the urge is still there as you'll discover in the following interview. Since Helen Ward was the first singer with Benny Goodman ... acknowledged as the band starting the Big Band Era, her experience is rich and meaningful. She is, by association, the" Queen of Swing," and the pioneer of the big band singer's art, setting the pattern for all who followed. She mentioned in an album note for her last recording that Big Band singers were hired mostly to "Look pretty and sing the lyrics of the popular songs of the day." She recalls that Benny Goodman told her, "Sing the melody, Helen," whenever she Helen Ward took liberties with an ad-lib phrase now and then. As a single with a smaller group, musician at NBC. When Benny was forming his band, which Helen prefers, she sings the melody, but he said Benny was looking for a singer, and why don't interprets it with tasteful "liberties" allowing us to I go down and meet him? I sang for him, and the rest revel in her personal and captivating style. -
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. -
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. -
2007-2008 Season Sponsors
2007-2008 Season Sponsors The City of Cerritos gratefully thanks our 2007-2008 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. Season 07/08 Your Favorite Entertainers, Your Favorite Theater If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at (562) 916-8510. presents MOIRA SMILEY & VOCO MOIRA SMILEY JOHN BALLINGER • JESSICA BASTA • JESSICA CATRON • CHRISTINE ENNS Thursday, March 6, 2008, 7:30 PM There will be one 20-minute intermission. A question-and-answer session will immediately follow this performance. The taking of photographs or use of recording devices is strictly prohibited. BIOGRAPHY Singer-composer MOIRA SMILEY is based in Los the composers for TRIP Dance Theatre’s Synergy at Ford Angeles and performs and writes an extraordinary range of Amphitheatre. She has received several grants for her Bartok vocal music. Recently, she premiered the critically acclaimed Sings project creating new vocal music around the piano Ukrainian-based Rusalka with the women’s vocal ensemble miniatures of composer Béla Bartók. Smiley’s neo-traditional KITKA; re-opened the Getty Villa performing the Sorceress hymn Stand in That River is popular around the world. in Henry Purcell’s Opera Dido and Aeneas; recorded a solo MOIRA SMILEY & VOCO fuses a new sound album Rua, a compilation of Irish, Appalachian songs; and with voices, banjo, cello, and percussion that is rooted in toured with Goin’ South Band and the Irish band Molly’s traditional song. A vibrant, fast-rising force on the Folk Revenge.