In the Mood Words & Music: Glenn Miller

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In The Mood Words & Music: Glenn Miller The original Andrews Sisters version. C Mr. Whatcha-Call-'Em, what you doing tonight? C Hope you're in the mood because I'm feeling just right. F How's about a corner with a table for two? C Where the music's mellow in some gay rendezvous. G7 There's no chance romancing with a blue attitude. C F Ab7 C You got to do some dancing to get in the mood. Sister Whatcha-Call-'Em, that's a kindly idea. Something swing-a-dilla would be good to my ear. Everybody must agree the dancing has charm, When you have the certain one you love in your arms. Stepping out with you will be a sweet interlude. A builder-up with that will put me in the mood. C Dm7 G In the mood - that's it, I got it. In the mood - your ear will spot it. In the mood - oh, what a hot hit. G C Be alive and get the jive, you've got to learn how. Hep, hep, hep - hep like a hepper. Pep, pep, pep - hot as a pepper. Step, step, step - step like a stepper. We're mugging and hugging, we're in the mood, now. Mr. Whatcha-Call-'Em, all you needed was fun. You can see the wonders that this evening has done. Your feet were so heavy 'til they hardly could move. Now they're light as feathers and you're right in the groove. You were only hungry for some musical food. You're positively, absolutely in the mood. Sister Whatcha-Call-'Em, I'm indebted to you. It all goes to show what good influence can do. Never felt so happy and so fully alive. Seems that jamming jumping is a powerful jive. Swingeroo is giving me a new attitude. My heart is full of rhythm and I'm in the mood. In the mood – that's it, 'cause I got it! And I'm In the mood – your ear will spot it! When you're In the mood – bobbity bop a diddly-bop-a-bop-a! Be alive and get the jive, you've got to learn how. Hep, hep, hep, you're hep like a hepper full of. Pep, pep, pep, you're hot as a pepper and you. Step, step, step, step step like a stepper. We're mugging and now we're hugging 'cause we're in the mood. .

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In the Mood for Instruments Parent Guide
OurStory: Duke Ellington and Jazz In the Mood for Instruments Parent Guide Read the “Directions” sheets for speciﬁc instructions. SUMMARY In this activity children will use one or more online tools to explore the way a musician can change the mood of a song by changing the instruments that play the song. WHY This activity will get children thinking about artistic decisions, both through looking at examples and by making their own decisions. TIME ■ 5–10 minutes RECOMMENDED AGE GROUP This activity will work best for children in kindergarten through 4th grade. CHALLENGE WORDS ■ Call-and-response: when one person makes a pattern of sounds, and the next person either repeats the same pattern or changes it just a little ■ Instrument: a tool used to produce music ■ Rhythm: a ﬂow of sound in music with a pattern of beats GET READY ■ Read Duke Ellington: The Piano Prince and His Orchestra, a beautiful picture-book biography of one of America’s most famous jazz musicians. For tips on reading this book together, check out the Guided Reading Activity (http://americanhistory.si.edu/ ourstory/pdf/jazz/jazz_reading.pdf). ■ Read the Step Back in Time sheets. YOU NEED ■ Duke Ellington book ■ Directions sheet (attached) ■ Step Back in Time sheets (attached) ■ Computer with Internet and speakers or headphones More information at http://americanhistory.si.edu/ourstory/activities/jazz/. OurStory: Duke Ellington and Jazz In the Mood for Instruments Step Back in Time, page 1 of 2 For more information, visit the National Museum of American History Web site http://americanhistory.si.edu/ourstory/activities/jazz/.
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“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
“In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase.
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Jazz Quartess Songlist Pop, Motown & Blues
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1 307A Muggsy Spanier and His V-Disk All Stars Riverboat Shuffle 307A Muggsy Spanier and His V-Disk All Stars Shimmy Like My
1 307A Muggsy Spanier And His V-Disk All Stars Riverboat Shuffle 307A Muggsy Spanier And His V-Disk All Stars Shimmy Like My Sister Kate 307B Charlie Barnett and His Orch. Redskin Rhumba (Cherokee) Summer 1944 307B Charlie Barnett and His Orch. Pompton Turnpike Sept. 11, 1944 1 308u Fats Waller & his Rhythm You're Feets Too Big 308u, Hines & his Orch. Jelly Jelly 308u Fats Waller & his Rhythm All That Meat and No Potatoes 1 309u Raymond Scott Tijuana 309u Stan Kenton & his Orch. And Her Tears Flowed Like Wine 309u Raymond Scott In A Magic Garden 1 311A Bob Crosby & his Bob Cars Summertime 311A Harry James And His Orch. Strictly Instrumental 311B Harry James And His Orch. Flight of the Bumble Bee 311B Bob Crosby & his Bob Cars Shortin Bread 1 312A Perry Como Benny Goodman & Orch. Goodbye Sue July-Aug. 1944 1 315u Duke Ellington And His Orch. Things Ain't What They Used To Be Nov. 9, 1943 315u Duke Ellington And His Orch. Ain't Misbehavin' Nov. 9,1943 1 316A kenbrovin kellette I'm forever blowing bubbles 316A martin blanc the trolley song 316B heyman green out of november 316B robin whiting louise 1 324A Red Norvo All Star Sextet Which Switch Is Witch Aug. 14, 1944 324A Red Norvo All Star Sextet When Dream Comes True Aug. 14, 1944 324B Eddie haywood & His Orchestra Begin the Beguine 324B Red Norvo All Star Sextet The bass on the barroom floor 1 325A eddy howard & his orchestra stormy weather 325B fisher roberts goodwin invitation to the blues 325B raye carter dePaul cow cow boogie 325B freddie slack & his orchestra ella mae morse 1 326B Kay Starr Charlie Barnett and His Orch.
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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.
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2012–2013 Season Sponsors
2012–2013 SEASON SPONSORS The City of Cerritos gratefully thanks our 2012–2013 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. 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. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. ENCORE Terry Bales Patricia and Mitchell Childs Bryan A. Stirrat & Associates Sallie Barnett Drs. Frances and Philip Chinn The Capital Group Companies Alan Barry Nancy and Lance Chontos Charitable Foundation Cynthia Bates Patricia Christie Jose Iturbi Foundation Dennis Becker Richard “Dick” Christy National Endowment for the Arts Barbara S. Behrens Rozanne and James Churchill Eleanor and David St. Clair Aldenise Belcer Neal Clyde Yvette Belcher Mark Cochrane HEADLINER Peggy Bell Michael Cohn Chamber Music Society of Detroit Morris Bernstein Claire Coleman The Gettys Family Norman Blanco Mr. and Mrs. Joseph Consani II Los Cerritos Center James Blevins Patricia Cookus Preserved TreeScapes International, Michael Bley Christina and Robert Copella Dennis E. Gabrick Kathleen Blomo Nancy Corralejo Marilynn and Art Segal Karen Bloom Virginia Correa Triangle Distributing Company Marilyn Bogenschutz Ron Cowan United Parcel Service Linda and Sergio Bonetti Patricia Cozzini Yamaha Patricia Bongeorno Pamela and John Crawley Gloria and Lester Boston, Jr.
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In the Mood – Sources
Sources Here’s a list of sources I used for this show. A big thanks goes out to all the authors of these sources. Please note that I have used both paraphrased and literal or verbatim content and quotes from the following fine sources as appropriate. Source #1: https://swingandbeyond.com/2018/07/07/in-the-mood-1938-edgar-hayes-and-1939-glenn-miller/ Source 1 is an article titled “In the Mood” (1938) Edgar Hayes and (1939) Glenn Miller” on website swingandbeyond.com – a fantastic swing website, by the way, you should definitely visit. It was written by swing scholar Mike Zirpolo who posted it on July 7th 2018 and largely consists of an essay written by, Dennis M. Spragg, another swing scholar who knows this topic like few others. This article helped me – among other things – trace the different versions of “In the Mood”. Source #2: https://swingandbeyond.com/2018/09/09/victors-24th-street-new-york-recording-studio-cherokee-1939-charlie-barnet/ Source 2 is another article from Mike Zirpolo on website swingandbeyond.com. It is titled “Victor’s 24th Street New York Recording Studio/”Cherokee” (1939) Charlie Barnet” and was posted on September 9th 2018. This one was very helpful with regard to exploring the details around the recording studio that the song was recorded in. Source #3: https://www.songfacts.com/facts/glenn-miller/in-the-mood Source 3 is the songfacts.com article for Glenn Miller’s “In the Mood”. Source #4: http://www.loc.gov/static/programs/national-recording-preservation-board/documents/in%20the%20mood%20essay.pdf Source 4 is a wonderful essay written by Cary O’Dell with which the song’s addition to the Library of Congress National Recording Registry in 2004 as a “culturally, historically, or aesthetically significant” song was documented.
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ACT I the 1940S, a Time When All America Was Listening and Dancing to the Same Kind of Music! St
ITM_017_playbill program.qxp_ITM_017_playbill program 23/12/2015 3:28 pm Page 1 ITM_017_playbill program.qxp_ITM_017_playbill program 23/12/2015 3:28 pm Page 2 ACT I The 1940s, a time when all America was listening and dancing to the same kind of music! St. Louis Blues March (Handy, arr. Gray) Yes, Indeed (Oliver) Well All Right (Faye, Kapp, Raye) In the Mood (Garland) Big Band Medley Swinging On A Star (Van Heusen, Burke) Jeepers Creepers (Warren, Mercer) That Old Feeling (Fain, Brown) Taking a Chance On Love (Duke, Latouche, Fetter) Ain’t We Got Fun (Egan, Kahn, Whiting) Elmer’s Tune (Albrecht, Gallop, Jurgens) Chattanooga Choo Choo (Warren, Gordon) Well, Git It! (Oliver) I’m Getting Sentimental Over You (Bassman) Moonlight Serenade (Miller, Parish) Dream (Mercer) I Can’t Get Started (Duke, I. Gershwin) Begin the Beguine (Porter) Serenade In Blue (Warren, Gordon) Hey! Ba Ba Re Bop (Hamner, Hampton) Skylark/Mood Indigo (Carmichael, Mercer) (Bigard, Mills, Ellington) Say That We’re Sweethearts Again (Brent) Tuxedo Junction (Dash, Feyne, Hawkins, Johnson) ACT II This was the time when music moved the nation’s spirit! It Don’t Mean A Thing (Ellington, Mills) The Sisters and Brothers Medley Over There (Cohan) La Vie En Rose (Piaf, Guigliemi, Eng. Lyrics David) The Last Time I Saw Paris (Kern, Hammerstein II) All the Things You Are (Kern, Hammerstein II) What Do You Do In the Infantry? (Loesser) Boogie Woogie Bugle Boy (Prince, Raye) He’s 1A In The Army, A1 In My Heart (Evans) This Is Worth Fighting For (DeLange, Stepf) Bugle Call Rag (Meyers,
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Glenn Miller and His Orchestra “Top 10 Hits” 1939-1943
GLENN MILLER AND HIS ORCHESTRA “TOP 10 HITS” 1939-1943 Prepared by: Dennis M. Spragg September 2017 TABLE OF CONTENTS INTRODUCTION .............................................................................................................................4 METHODOLOGY .............................................................................................................................4 1. SUMMARY ..................................................................................................................... 5 2. The Billboard Top 10 Records, 1940-1943........................................................................ 8 3. The Billboard #1 Records, 1940-1943 .............................................................................. 9 4. The Billboard Chronology, 1940-1943 ........................................................................... 10 1940 ............................................................................................................................................ 10 1941 ............................................................................................................................................ 11 1942 ............................................................................................................................................ 13 1943 ............................................................................................................................................ 16 5. Your Hit Parade Top 10 Records, 1939-1940 .................................................................
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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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