Meher Baba was an Indian spiritual master who said he was the Avatar, God in human form. Merwan Sheriar Irani was born in 1894 in India, to Irani Zoroastrian parents, his spiritual transformation began. During this time he contacted five spiritual teachers before beginning his own mission and gathering his own disciples in early 1922, at the age of 27. From 10 July 1925 to the end of his life, Meher Baba maintained silence, communicating by means of an alphabet board or by unique hand gestures. With his mandali, he spent long periods in seclusion, during which time he fasted, he traveled held public gatherings and engaged in works of charity with lepers and the poor. In 1931, Meher Baba made the first of many visits to the West. Throughout most of the 1940s, Meher Baba worked with a category of spiritual aspirants called masts, whom he said are entranced or spellbound by internal spiritual experiences. Starting in 1949, along with selected mandali, he traveled incognito about India in an enigmatic and still unexplained period he called the "New Life".
After being injured as a passenger in two serious automobile accidents, one in the United States in 1952 and one in India in 1956, his ability to walk became limited. In 1962, he invited his Western followers to India for a mass darshan called "The East–West Gathering". Concerned by an increasing use of LSD and other psychedelic drugs, in 1966 Baba stated that they did not convey real benefits. Despite deteriorating health, he continued what he called his "Universal Work", which included fasting and seclusion, until his death on 31 January 1969, his samadhi in Meherabad, has become a place of international pilgrimage. Meher Baba gave numerous teachings on the cause and purpose of life, including teaching reincarnation and that the phenomenal world is an illusion, he taught that the Universe is imagination, that God is what exists, that each soul is God passing through imagination to realize individually His own divinity. In addition he gave practical advice for the aspirant who wishes to attain God-realization and thereby escape the wheel of births and deaths.
He taught about the concept of Perfect Masters, the Avatar, those on the various stages of the spiritual path that he called involution. His most important teachings are recorded in his principal books God Speaks, his legacy includes the Avatar Meher Baba Charitable Trust he established in India, a handful of centers for information and pilgrimage, as well as an influence on pop-culture artists and the introduction of common expressions such as "Don't Worry, Be Happy." Meher Baba's silence has remained a mysterious issue as much among his followers as with the rest of the world. Meher Baba was an Irani born in India, to a Zoroastrian family, his given name was Merwan Sheriar Irani. He was the second son of Sheriar Irani, a Persian Zoroastrian who had spent years wandering in search of spiritual experience before settling in Poona, Shireen Irani; as a boy, he formed the Cosmopolitan Club, dedicated to remaining informed in world affairs and donating money to charity. He was a poet. Fluent in several languages, he was fond of the poetry of Hafez and Shelley.
In his youth, he had no mystical inclinations or experiences, was "ntroubled as yet by a sense of his own destiny..." He was co-captain of his high school cricket team. At the age of 19, during his second year at Deccan College in Pune, he met an ancient Muslim woman, locally revered as a saint, named Hazrat Babajan, who kissed him on the forehead; the event left leaving him visibly dazed. He gave up his normal activities. After that he contacted other spiritual figures, along with Babajan, he said were the five "Perfect Masters" of the age, namely Tajuddin Baba, Narayan Maharaj, Sai Baba of Shirdi, Upasni Maharaj. Upasni Maharaj, he said, helped him to integrate his mystical experiences with normal consciousness, thus enabling him to function in the world without diminishing his experience of God-realization. In late 1921, at the age of 27, after living for seven years with Upasni, Merwan began to attract a following of his own, his early followers gave him the name Meher Baba. In 1922, Meher Baba and his followers established Manzil-e-Meem in Bombay.
There, Baba commenced his practice of demanding strict obedience from his disciples. A year Baba and his mandali moved to an area a few miles outside Ahmednagar that he named Meherabad; this ashram would become the center for his work. During the 1920s, Meher Baba opened a school and dispensary at Meherabad. All three open to all castes and faiths. From July 1925 onwards, Meher Baba initiated a life-long period of self-imposed silence, which would last forty-four years, until the end of his life, he now communicated by use of chalk and slate by an alphabet board and via self-styled hand gestures. In January 1927 he gave up writing with pencil also. In the 1930s, Meher Baba began a period of extensive world travel and took several trips to Europe and the United States, it was during this period that he established contact with his first close group of Western disciples. He traveled on a Persian passport because he had given up writing as well as speaking and would not sign the forms required by the British government of India.
On his first trip to England in 1931, he traveled on the SS Rajputana, the same ship, c
Grey's Anatomy (season 2)
The second season of the American television medical drama Grey's Anatomy commenced airing on the American Broadcasting Company on September 25, 2005, concluded on May 15, 2006. The season was produced by Touchstone Television, in association with Shondaland production company and The Mark Gordon Company, the showrunner being Shonda Rhimes. Actors Ellen Pompeo, Sandra Oh, Katherine Heigl, Justin Chambers, T. R. Knight reprised their roles as surgical interns Meredith Grey, Cristina Yang, Izzie Stevens, Alex Karev, George O'Malley, respectively. Previous main cast members Chandra Wilson, James Pickens, Jr. Isaiah Washington, Patrick Dempsey returned, while Kate Walsh, who began the season in a recurring capacity, was promoted to series regular status, after appearing in seven episodes as a guest star; the season continued to focus on the surgical residency of five young interns as they try to balance the challenges of their competitive careers with the difficulties that determine their personal lives.
It was set in the fictional Seattle Grace Hospital, located in the city of Washington. Whereas the first season put the emphasis on the unexpected impact the surgical field has on the main characters, the second season provides a detailed perspective on the personal background of each character, focusing on the consequences that their decisions have on their careers. Throughout the season, new story lines were introduced, including the love triangle between Meredith Grey, Derek Shepherd, Addison Montgomery, the main arc of the season. Developed was the story line involving Izzie Stevens' relationship with patient Denny Duquette, which resulted in critical acclaim and positive fan response; the season kept its original airtime from the previous season, taking over Boston Legal's time slot at 10:00 pm on Sundays, while airing as a lead-out to the successful ABC series, Desperate Housewives. It contained 27 episodes, out of which five were produced for the first season. In addition to the regular episodes, two clip shows recapped previous events of the show, both narrated by Steven W. Bailey in his introduced role as Joe the Bartender.
"Straight to Heart" aired one week before the winter-holiday hiatus ended, recapping the most memorable events of the first season and the first half of the second. "Under Pressure" aired before the twenty-third episode. The season finale was conceived as a three-part story arc, the first of this kind in the series, was scheduled to air on two consecutive nights; the show ended its second season with 21.07 million total viewers and a 6.9 ratings share in the 18–49 demographic. The season opened as most agreed on a significant improvement in story lines; the season saw numerous cast and crew members receive awards and nominations at ceremonies like the 58th Primetime Emmy Awards and the 64th Golden Globe Awards. Katherine Heigl and Chandra Wilson were the cast members with the most nominations for their portrayals of Izzie Stevens and Miranda Bailey, respectively; the series was chosen in the top ten for several 2006 "best of television" lists, including USA Today, San Jose Mercury News, TV Guide, Orlando Sentinel.
The season was produced by Touchstone Television ABC Studios, in association with ShondaLand Production Company and The Mark Gordon Company. Shonda Rhimes returned as the series' executive producer, she continued her position from the first two seasons as one of the most prominent members of the writing staff. Betsy Beers, Mark Gordon, Mark Wilding, Rob Corn returned as executive producers, along with James D. Parriott, Peter Horton, Krista Vernoff, who have been in this position since the inception of the series. Parriott, who served as an episodic writer, left the series at the conclusion of the season. Joan Rater and Tony Phelan continued to serve as co-executive producers, with Rater being a supervising producer as well. Stacy McKee, who would be promoted to co-executive producer for the third season, returned to the series as a producer and a member of the writing staff. Having written three episodes for the first season, Rhimes returned as a writer for five episodes. Parriott, Phelan, Rater and Mimi Schmir were the most prominent members of the writing staff, with Parriott, Rater, Clack writing two episodes and Schmir producing the script for three.
Gabrielle Stanton and Harry Werksman, Jr. worked together for the writing of two episodes, after having written one episode for the series in the past. The season includes the first episode to be written Zoanne Clack, who would become one the series' main writers, as well as a co-producer and executive story editor. Other writers include Blythe Robe and Elizabeth Klaviter. Executive producer Peter Horton returned to the series to direct five episodes for the season, after writing two episodes in the second season. Rob Corn directed two episodes, whereas Adam Davidson is credited for writing three episodes, his last ones in the series. Among the other directors are Wendey Stanzler, Mark Tinker, Jeff Melman, Jessica Yu, Lesli Linka Glatter, Michael Dinner, Dan Minahan, David Paymer, Julie Anne Robinson, Tricia Brock, Seith Mann. Danny Lux continued his position as the main music composer for the series, while Herbert Davis, Tim Suhrstedt and Adam Kane served as the season's cinematography directors.
Susan Vaill and Edward Ornelas resumed their positions as editors, joined by Briana London, who left the series after nine episodes. Linda Lowy and John Brace, responsible for the casting since the beginning of the series, returned as casting team members. After the departure of Laurence Bennett, the production design team was taken over by Donald Lee Harris, with Amy B. Ancona and Brandee Dell'Aringa
Ella Jane Fitzgerald was an American jazz singer sometimes referred to as the First Lady of Song, Queen of Jazz, Lady Ella. She was noted for her purity of tone, impeccable diction, intonation, a "horn-like" improvisational ability in her scat singing. After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most associated with the Savoy Ballroom in Harlem, her rendition of the nursery rhyme "A-Tisket, A-Tasket" helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career, her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more noted works her interpretations of the Great American Songbook. While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, The Ink Spots were some of her most notable acts outside of her solo career.
These partnerships produced some of her best-known songs such as "Dream a Little Dream of Me", "Cheek to Cheek", "Into Each Life Some Rain Must Fall", "It Don't Mean a Thing". In 1993, she ended her nearly 60-year career with her last public performance. Three years she died at the age of 79 after years of declining health, her accolades included fourteen Grammy Awards, the National Medal of Arts, the Presidential Medal of Freedom. Fitzgerald was born on April 1917, in Newport News, Virginia, she was the daughter of Temperance "Tempie" Henry. Her parents lived together for at least two and a half years after she was born. In the early 1920s, Fitzgerald's mother and her new partner, a Portuguese immigrant named Joseph Da Silva, moved to Yonkers, in Westchester County, New York, her half-sister, Frances Da Silva, was born in 1923. By 1925, Fitzgerald and her family had moved to a poor Italian area, she began her formal education at the age of six and was an outstanding student, moving through a variety of schools before attending Benjamin Franklin Junior High School in 1929.
Starting in third grade, Fitzgerald admired Earl Snakehips Tucker. She performed for her peers on the way at lunchtime, she and her family were Methodists and were active in the Bethany African Methodist Episcopal Church, where she attended worship services, Bible study, Sunday school. The church provided Fitzgerald with her earliest experiences in music. Fitzgerald listened to jazz recordings by Louis Armstrong, Bing Crosby, The Boswell Sisters, she idolized the Boswell Sisters' lead singer Connee Boswell saying, "My mother brought home one of her records, I fell in love with it... I tried so hard to sound just like her."In 1932, when Fitzgerald was fifteen, her mother died from injuries received in a car accident. Her stepfather took care of her until April 1933; this swift change in her circumstances, reinforced by what Fitzgerald biographer Stuart Nicholson describes as rumors of "ill treatment" by her stepfather, leaves him to speculate that Da Silva might have abused her. Fitzgerald began skipping school, her grades suffered.
She worked as a lookout with a Mafia-affiliated numbers runner. She never talked publicly about this time in her life; when the authorities caught up with her, she was placed in the Colored Orphan Asylum in Riverdale in the Bronx. When the orphanage proved too crowded, she was moved to the New York Training School for Girls, a state reformatory school in Hudson, New York. While she seems to have survived during 1933 and 1934 in part from singing on the streets of Harlem, Fitzgerald made her most important debut at age 17 on November 21, 1934, in one of the earliest Amateur Nights at the Apollo Theater, she had intended to go on stage and dance, but she was intimidated by a local dance duo called the Edwards Sisters and opted to sing instead. Performing in the style of Connee Boswell, she sang "Judy" and "The Object of My Affection" and won first prize, she won the chance to perform at the Apollo for a week but because of her disheveled appearance, the theater never gave her that part of her prize.
In January 1935, Fitzgerald won the chance to perform for a week with the Tiny Bradshaw band at the Harlem Opera House. She was introduced to drummer and bandleader Chick Webb, who had asked his signed singer Charlie Linton to help find him a female singer. Although Webb was "reluctant to sign her...because she was gawky and unkempt, a'diamond in the rough,'" he offered her the opportunity to test with his band when they played a dance at Yale University. Met with approval by both audiences and her fellow musicians, Fitzgerald was asked to join Webb's orchestra and gained acclaim as part of the group's performances at Harlem's Savoy Ballroom. Fitzgerald recorded several hit songs, including "Love and Kisses" and " You'll Have to Swing It", but it was her 1938 version of the nursery rhyme, "A-Tisket, A-Tasket", a song she co-wrote, that brought her public acclaim. "A-Tisket, A-Tasket" became a major hit on the radio and was one of the biggest-selling records of the decade. Webb died of spinal tuberculosis on June 16, 1939, his band was renamed Ella and Her Famous Orchestra with Fitzgerald taking on the role of bandleader.
She recorded nearly 150 songs with Webb's orchestra between 1935 and 1942. In The New York Times obituary o
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
Peter Dennis Blandford Townshend is an English musician and songwriter best known as the lead guitarist, second vocalist, principal songwriter for the rock band the Who. His career with the Who spans over 50 years, during which time the band grew to be one of the most important and influential rock bands of the 20th century. Pete Townshend is the main songwriter for the Who, having written well over 100 songs for the band's 11 studio albums, including concept albums and the rock operas Tommy and Quadrophenia, plus popular rock radio staples such as Who's Next, dozens more that appeared as non-album singles, bonus tracks on reissues, tracks on rarities compilations such as Odds & Sods, he has written more than 100 songs that have appeared on his solo albums, as well as radio jingles and television theme songs. Although known as a guitarist, he plays keyboards, accordion, ukulele, violin, bass guitar, drums, on his own solo albums, several Who albums and as a guest contributor to an array of other artists' recordings.
He is self-taught on all of the instruments he has never had any formal training. Townshend has contributed to and authored many newspaper and magazine articles, book reviews, essays and scripts, he has collaborated as a lyricist and composer for many other musical acts. Due to his aggressive playing style and innovative songwriting techniques, Townshend's works with the Who and in other projects have earned him critical acclaim, he was ranked No. 3 in Dave Marsh's list of Best Guitarists in The New Book of Rock Lists, No. 10 in Gibson.com's list of the top 50 guitarists, No. 10 again in Rolling Stone's updated 2011 list of the 100 greatest guitarists of all time. In 1983, Townshend received the Brit Award for Lifetime Achievement, he and Roger Daltrey received The George and Ira Gershwin Award for Lifetime Musical Achievement at UCLA on 21 May 2016. Townshend was born on 19 May 1945, at Middlesex, he came from a musical family: his father, Cliff Townshend, was a professional alto saxophonist in the Royal Air Force's dance band the Squadronaires and his mother, was a singer with the Sydney Torch and Les Douglass Orchestras.
The Townshends had a volatile marriage, as both drank and possessed fiery tempers. Cliff Townshend was away from his family touring with his band while Betty carried on affairs with other men; the two split when Townshend was a toddler and he was sent to live with his maternal grandmother Emma Dennis, whom Pete described as "clinically insane". The two-year separation ended when Cliff and Betty purchased a house together on Woodgrange Avenue in middle-class Acton, the young Pete was reunited with his parents. Townshend says he did not have many friends growing up, so he spent much of his boyhood reading adventure novels like Gulliver's Travels and Treasure Island, he enjoyed his family's frequent excursions to the Isle of Man. It was on one of these trips in the summer of 1956 that he watched the 1956 film Rock Around the Clock, sparking his fascination with American rock and roll. Not long thereafter, he went to see Bill Haley perform in Townshend's first concert. At the time, he did not see himself pursuing a career as a professional musician.
Upon passing the eleven-plus exam, Townshend was enrolled at Acton County Grammar School. At Acton County, he was bullied because he had a large nose, an experience that profoundly affected him, his grandmother Emma purchased his first guitar for Christmas in an inexpensive Spanish model. Though his father taught him a couple of chords, Townshend was self-taught on the instrument and never learned to read music. Townshend and school friend John Entwistle formed a short-lived trad jazz group, the Confederates, featuring Townshend on banjo and Entwistle on horns; the Confederates played gigs at the Congo Club, a youth club run by the Acton Congregational Church, covered Acker Bilk, Kenny Ball, Lonnie Donegan. However, both became influenced by the increasing popularity of rock'n' roll, with Townshend admiring Cliff Richard's debut single, "Move It". Townshend left the Confederates after getting into a fight with the group's drummer, Chris Sherwin, purchased a "reasonably good Czechoslovakian guitar" at his mother's antique shop.
Townshend's brothers Simon were born in 1957 and 1960, respectively. Lacking the requisite test scores to attend university, Pete was faced with the decision of art school, music school, or getting a job, he chose to study graphic design at Ealing Art College, enrolling in 1961. At Ealing, Townshend studied alongside future Rolling Stones guitarist Ronnie Wood. Notable artists and designers gave lectures at the college such as auto-destructive art pioneer Gustav Metzger. Townshend dropped out in 1964 to focus on music full-time. In late 1961, Entwistle joined a skiffle/rock and roll band, led by Roger Daltrey; the new bass player suggested Townshend to join as an additional guitarist. In the early days of the Detours, the band's repertoire consisted of instrumentals by the Shadows and the Ventures, as well as pop and trad jazz covers, their lineup coalesced around Roger Daltrey on lead guitar, Townshend on rhythm guitar, Entwistle on bass, Doug Sandom on drums and Colin Dawson as vocalist. Daltrey was considered the leader of the grou
Alton Glenn Miller was an American big-band trombonist, arranger and bandleader in the swing era. He was the best-selling recording artist from leading one of the best-known big bands. Miller's recordings include "In the Mood", "Moonlight Serenade", "Pennsylvania 6-5000", "Chattanooga Choo Choo", "A String of Pearls", "At Last", " Kalamazoo", "American Patrol", "Tuxedo Junction", "Elmer's Tune", "Little Brown Jug". In just four years Glenn Miller scored 16 number-one records and 69 top ten hits—more than Elvis Presley and the Beatles did in their careers. While he was traveling to entertain U. S. troops in France during World War II, Miller's aircraft disappeared in bad weather over the English Channel. The son of Mattie Lou and Lewis Elmer Miller, Glenn Miller was born in Iowa, he attended grade school in North Platte in western Nebraska. In 1915, his family moved to Missouri. Around this time, he had made enough money from milking cows to buy his first trombone and played in the town orchestra.
He played cornet and mandolin, but he switched to trombone by 1916. In 1918 the Miller family moved again, this time to Fort Morgan, where he went to high school. In the fall of 1919 he joined the high-school football team, which won the Northern Colorado American Football Conference in 1920, he was named Best Left End in Colorado. During his senior year he became interested in "dance band music", he was so taken. By the time he graduated from high school in 1921 he had decided to become a professional musician. In 1923 Miller entered the University of Colorado in Boulder, he spent most of his time away from school, attending auditions and playing any gigs he could get, including with Boyd Senter's band in Denver. After failing three out of five classes, he dropped out of school to pursue a career in music, he studied the Schillinger System with Joseph Schillinger, under whose tutelage he composed what became his signature theme, "Moonlight Serenade". In 1926 Miller toured with several groups, landing a good spot in Ben Pollack's group in Los Angeles.
He played for Victor Young, which allowed him to be mentored by other professional musicians. In the beginning he was the main trombone soloist of the band, but when Jack Teagarden joined Pollack's band in 1928, Miller found that his solos were cut drastically. He realized that his future was in composing, he had a songbook published in Chicago in 1928 entitled Glenn Miller's 125 Jazz Breaks for Trombone by the Melrose Brothers. During his time with Pollack, he wrote several arrangements, he wrote his first composition, "Room 1411", with Benny Goodman, Brunswick Records released it as a 78 under the name "Benny Goodman's Boys". In 1928, when the band arrived in New York City, he sent for and married his college sweetheart, Helen Burger, he was a member of Red Nichols's orchestra in 1930, because of Nichols, he played in the pit bands of two Broadway shows, Strike Up the Band and Girl Crazy. The band included Gene Krupa. During the late 1920s and early 1930s Miller worked as a freelance trombonist in several bands.
On a March 21, 1928 Victor Records session he played alongside Tommy Dorsey, Benny Goodman, Joe Venuti in the All-Star Orchestra directed by Nat Shilkret. He arranged and played trombone on several significant Dorsey Brothers sessions for OKeh Records, including "The Spell of the Blues", "Let's Do It", "My Kinda Love", all with Bing Crosby on vocals. On November 14, 1929, vocalist Red McKenzie hired Miller to play on two records: "Hello, Lola" and "If I Could Be With You One Hour Tonight". Beside Miller were saxophonist Coleman Hawkins, clarinetist Pee Wee Russell, guitarist Eddie Condon, drummer Gene Krupa. In the early-to-mid-1930s, Miller worked as a trombonist and composer for The Dorsey Brothers, first when they were a Brunswick studio group and when they formed an ill-fated orchestra. Miller composed the songs "Annie's Cousin Fanny", "Dese Dem Dose", "Harlem Chapel Chimes", "Tomorrow's Another Day" for the Dorsey Brothers Band in 1934 and 1935. In 1935, he assembled an American orchestra for British bandleader Ray Noble, developing the arrangement of lead clarinet over four saxophones that became a characteristic of his big band.
Members of the Noble band included Claude Thornhill, Bud Freeman, Charlie Spivak. Miller made his first movie appearance in The Big Broadcast of 1936 as a member of the Ray Noble Orchestra performing "Why Stars Come Out at Night"; the film included performances by Dorothy Dandridge and the Nicholas Brothers, who would appear with Miller again in two movies for Twentieth Century Fox in 1941 and 1942. In 1937, Miller formed his first band. After failing to distinguish itself from the many bands of the time, it broke up after its last show at the Ritz Ballroom in Bridgeport, Connecticut on January 2, 1938. Benny Goodman said in 1976: In late 1937, before his band became popular, we were both playing in Dallas. Glenn came to see me, he asked, "What do you do? How do you make it?" I said, "Glenn. You just stay with it." Discouraged, Miller returned to New York. He realized that he needed to develop a unique sound, decided to make the clarinet play a melodic line with a tenor saxophone holding the same note, while three other saxophones harmonized within a single octave.
George T. Simon discovered. Miller hired Schwartz, but instead had him play lead clarinet. According to Simon, "Willie's tone and way of playing provided a fullness and richness so distinctive that none of the