Therese Ann Rutherford was a Canadian-American actress in film and television. She had a long career starring and co-starring in films, playing Polly Benedict during the 1930s and 1940s in the Andy Hardy series, as one of Scarlett O'Hara's sisters in the film Gone with the Wind. Rutherford was born on November 2, 1917, in Vancouver, British Columbia, Canada to John Rutherford and Lucille Rutherford. Rutherford's mother was a silent film actress, her father was a former operatic tenor. While Rutherford was still a baby, the family moved to California. Soon afterwards, her parents separated and Lucille Mansfield moved to Los Angeles, with Ann Rutherford and her sister Judith. While roller skating home from middle school in Hollywood, Rutherford would stop at some of the radio studios to listen to voice actors perform. After being criticized one day by her English teacher, Rutherford decided to show her up; the girl falsified an acting history and applied for work at radio station KFAC. A month Rutherford had a part in a radio serial drama.
Rutherford was married twice. On December 31, 1942, she married David May II, the grandson of the founder of the May Company department stores. On June 6, 1953, Rutherford and May were divorced in a court in Mexico. On October 7, 1953, in New York City, Rutherford married actor/producer William Dozier, the creator of the Batman TV series. Dozier died in Santa Monica of a stroke on April 23, 1991, her companion of twenty years was Al Morley. In 1935, Rutherford began her Hollywood film career in the starring role of Joan O'Brien in the dramatic film Waterfront Lady for Mascot Pictures to be Republic Pictures. Rutherford soon established herself as a popular leading lady of Western films at Republic, costarring with actors Gene Autry and John Wayne. In 1937, Rutherford signed a film contract with Metro-Goldwyn-Mayer studios. At MGM, Rutherford appeared as the Spirit of Christmas Past in A Christmas Carol and Lydia Bennet in Pride and Prejudice among other roles. In 1938, MGM loaned Rutherford to Selznick International Pictures to appear as Carreen O'Hara, a sister of Scarlett O'Hara, in the film Gone with the Wind.
MGM boss Louis Mayer refused the loan because he considered the role too minor, but Rutherford passionately appealed to him to change his mind. In December 1939, while promoting the new movie, Rutherford visited six Confederate Army veterans at the Confederate Soldiers Home near Atlanta. One of the veterans gave. From 1937 until 1942, Rutherford portrayed Polly Benedict in the MGM Andy Hardy youth comedy film series with actor Mickey Rooney, her first film in this series was the last was Andy Hardy's Double Life. Rutherford's performances as Andy Hardy's sweet and patient girlfriend established her screen popularity. Rutherford played Carol Lambert, comedian Red Skelton's screen girlfriend, for MGM in a series of mystery/comedies: Whistling in the Dark, Whistling in Dixie, Whistling in Brooklyn. In the early 1940s, Rutherford left MGM to work without contract with different studios. During this period, she starred in films such as Orchestra Wives with 20th Century Fox, Two O'Clock Courage with RKO Radio Pictures, The Secret Life of Walter Mitty with RKO.
In 1950, Rutherford retired from films. Despite Mickey Rooney's pleas, she passed on returning as Polly Benedict in the final Andy Hardy film, Andy Hardy Comes Home, stating that she didn't believe most people married their first sweethearts and that Andy Hardy becoming a judge was implausible. Rutherford was the heroine of a novel, Ann Rutherford and the Key to Nightmare Hall, where "the heroine has the same name and appearance as the famous actress but has no connection... it is as though the famous actress has stepped into an alternate reality in which she is an ordinary person." The story was written for a young teenage audience and is reminiscent of the adventures of Nancy Drew. It is part of a series known as "Whitman Authorized Editions", 16 books published between 1941 and 1947 that featured a film actress as heroine, she appears as a character in the mystery novel, Dead at the Box Office by John Dandola in the notes of which the author credits her for much assistance during his research.
Among her television appearances, Rutherford guest starred in four episodes of Perry Mason. Her first appearance was in the 1959 episode, "The Case of the Howling Dog," when she played defendant Evelyn Forbes. In 1972, Rutherford returned to MGM to make the film; the film was shot on the old Andy Hardy set. On radio, Ann Rutherford replaced Penny Singleton as the title character on the Blondie show. In the 1970s, Rutherford made two guest appearances on television as Aggie Harrison, the mother of Suzanne Pleshette's character Emily Hartley, on The Bob Newhart Show. During the 1990s, Rutherford was offered the role of Rose Calvert in the film Titanic, but turned it down. On November 2, 2002, Rutherford celebrated her 85th birthday, surrounded by her fans and friends at a luncheon in Beverly Hills, California. Neither Evelyn Keyes suffering from Alzheimer's disease, nor Olivia de Havilland, two of her surviving Gone with the Wind co-stars, was able to attend. In October 2004, Rutherford made a guest appearance at the Margaret Mitchell birthday celebration in Jonesboro, Georgia, to honor the film Gone With the Wind
December Bride is an American sitcom that aired on the CBS television network from 1954 to 1959, adapted from the original CBS radio network series that aired from June 1952 through September 1953. December Bride centered on the adventures of Lily Ruskin, a spry widow played by Spring Byington, not, in fact, a "December" bride but much desired to become one if the right man were to come along. Aiding Lily in her search for this prospective suitor were her daughter Ruth Henshaw and son-in-law Matt Henshaw, her close friend Hilda Crocker. A next-door neighbor, insurance agent Pete Porter, was seen. Married miserably himself, according to his constant complaints about his unseen wife Gladys, he envied Matt's positive relationship with Lily, as he despised his own mother-in-law; the pilot episode premiered on October 4, 1954, involved Lily Ruskin moving in with her daughter and son-in-law. Most of the scenes filmed for the series took place in the Henshaws' living room. First-run episodes of December Bride aired on television for 5 seasons, sponsored by General Foods' Instant Maxwell House Coffee.
During the first four seasons, the program was not shown in the summer, supplanted by "summer replacement" series but in its final year, repeat episodes were run in its timeslot during the summer months. On March 26, 1959, as the program wound down, Rory Calhoun, star of CBS's western series, The Texan, appeared as himself in the episode "Rory Calhoun, The Texan." Thanks in part to its following I Love Lucy, December Bride had high ratings its first four seasons - #10 in 1954-1955, #6 in 1955-1956, #5 in 1956-1957 and #9 in 1957-1958. When CBS moved it to Thursdays in the fall of 1958, ratings fell and the series went off in 1959. In 1960, a new series set around many of the same characters and Gladys, debuted. Hilda Crocker appeared in 23 episodes of the new series, which aired until 1962. After its production had ceased, CBS used repeat episodes to fill slots in its primetime programming. In July 1960, December Bride repeats were used to fill in for the second half of the Friday 9 pm Eastern timeslot vacated by Westinghouse Desilu Playhouse, running until the beginning of the fall 1960 schedule, again as a temporary replacement on Thursday nights in April 1961.
Additionally, repeats were shown on CBS as a daytime program from October 1959 until March 1961. The daytime repeats, an attempt to syndicate the show, were ratings failures. Spring Byington as Lily Ruskin Frances Rafferty as Ruth Henshaw Dean Miller as Matt Henshaw Verna Felton as Hilda Crocker Harry Morgan as Pete Porter Desi Arnaz, as himself Edgar Bergen, as himself Madge Blake, as Anita Henderson in "Family Quarrel" and as Margaret in "The Homecoming Show" Rory Calhoun, as himself, "Rory Calhoun, The Texan' Harry Cheshire, as Gus in "Lily Ruskin Arrives" and as Poole in "Big Game Hunter" Zsa Zsa Gabor, as herself Fred MacMurray, as himself Marjorie Main, as herself Lyle Talbot, six episodes in different roles Parke Levy, who created and wrote December Bride owned 50 percent of the program. Desilu and CBS owned 25 percent each. Script Supervisor was DaLonne Cooper Brooks and Marsh, The Complete Directory to Prime Time Network and Cable TV Shows Dunning, John, On the Air: The Encyclopedia Of Old-Time Radio December Bride on IMDb December Bride at TV.com
"Moonlight Serenade" is an American swing ballad composed by Glenn Miller with subsequent lyrics by Mitchell Parish. It was an immediate phenomenon when released in May 1939 as an instrumental arrangement, though it had been adopted and performed as Miller's signature tune as early as 1938 before it had been given the name "Moonlight Serenade." In 1991, Miller's recording of "Moonlight Serenade" was inducted into the Grammy Hall of Fame. The song was recorded on April 1939 for on RCA Bluebird, it was a Top Ten hit on the U. S. pop charts in 1939, reaching number three on the Billboard charts, where it stayed for fifteen weeks. It was the number 5 top pop hit of 1939 in the Billboard year-end tally. Miller had five records in the top 20 songs of 1939 on the Billboard list. In the UK, "Moonlight Serenade" was released as the A-side of a 78 for His Master's Voice with "American Patrol" as the B-side; the recording reached number twelve in the UK in March 1954. In a medley with "Little Brown Jug" and "In the Mood", "Moonlight Serenade" reached number thirteen on the UK charts in January 1976, in a chart run of eight weeks.
The recording was issued as a V-Disc in November 1943. Miller studied the Schillinger technique with Joseph Schillinger, credited with helping Miller create the "Miller sound", under whose tutelage he himself composed "Moonlight Serenade"; the song evolved from a 1935 version entitled "Now I Lay Me Down to Weep", with music by Glenn Miller and lyrics by Eddie Heyman to a version called "Gone with the Dawn" with lyrics by George Simon, "The Wind in the Trees" with lyrics by Mitchell Parish. In his biography of Glenn Miller, George T. Simon recounted how vocalist Al Bowlly of the Ray Noble Orchestra sang him the Eddie Heyman lyrics to the Glenn Miller music of "Now I Lay Me Down to Weep" in 1935; the Noble Orchestra never recorded the song. It ended up as "Moonlight Serenade" because Robbins Music bought the music and learned that Miller was recording a cover of "Sunrise Serenade", a Frankie Carle associated song for RCA Victor, they thought "Moonlight" would be a natural association for "Sunrise".
Jazz critic Gary Giddins wrote about the song's legacy. Can any other record match'Moonlight Serenade' for its ability to induce a Pavlovian slobber in so many for so long?". The 1939 RCA Victor studio recording of "Moonlight Serenade" was released by the U. S. War Department as Army V-Disc 39A, VP 75, Theme Song, in November, 1943; the recording was released as the Navy V-Disc No. 160A and the Marine Corps V-Disc No. 160A. A V-Disc test pressing of a recording of the song from November 17, 1945 by the AAF Band was made but the disc was not issued. A new recording by Glenn Miller with the American Band of the Allied Expeditionary Forces was broadcast to Germany in 1944 on the radio program The Wehrmacht Hour. Flower, John. Moonlight Serenade: A Bio-discography of the Glenn Miller Civilian Band. New Rochelle, NY: Arlington House, 1972. Simon, George Thomas. Simon Says. New York: Galahad, 1971. ISBN 0-88365-001-0. Simon, George Thomas. Glenn Miller and His Orchestra. NY: Crowell, 1974. Glenn Miller and his Orchestra recording on the Jazz Anthology website
Harry Morgan was an American actor and director whose television and film career spanned six decades. Morgan's major roles included Pete Porter in Pete and Gladys. Morgan appeared in more than 100 films. Morgan was born Harry Bratsberg in the son of Hannah and Henry Bratsberg, his parents were of Norwegian ancestry. In his interview with the Archive of American Television, Morgan spelled his Norwegian family surname as "Brasburg". Many sources, including some family records, list the spelling as "Bratsburg". According to one source, when Morgan's father Henry registered at junior high school, "the registrar spelled it Bratsburg instead of Bratsberg. Bashful Henry did not demur."Morgan was raised in Muskegon and graduated from Muskegon High School in 1933, where he achieved distinction as a statewide debating champion. He aspired to a J. D. degree, but began acting while a junior at the University of Chicago in 1935. He began acting on stage under his birth name, in 1937, joining the Group Theatre in New York City formed by Harold Clurman, Cheryl Crawford, Lee Strasberg in 1931.
He appeared in the original production of the Clifford Odets play Golden Boy, followed by a host of successful Broadway roles alongside such other Group members as Lee J. Cobb, Elia Kazan, Sanford Meisner, Karl Malden. Morgan did summer stock at the Pine Brook Country Club located in the countryside of Nichols, Connecticut. Morgan made his screen debut in the 1942 movie To the Shores of Tripoli, his screen name became "Henry'Harry' Morgan" and Harry Morgan, to avoid confusion with the popular humorist of the same name. In the same year, Morgan appeared in the movie Orchestra Wives as a young man pushing his way to the front of a ballroom crowd with his date to hear Glenn Miller's band play. A few years still credited as Henry Morgan, he was cast in the role of pianist Chummy MacGregor in the 1954 biopic The Glenn Miller Story. Morgan continued to play a number of significant roles on the big screen in such films as The Ox-Bow Incident, Wing and a Prayer, A Bell for Adano, The Gangster, The Big Clock, High Noon, several films in the 1950s for director Anthony Mann, including Bend of the River, Thunder Bay, The Glenn Miller Story, The Far Country, Strategic Air Command.
In his film career, he appeared in Inherit the Wind, How the West Was Won, John Goldfarb, Please Come Home and Johnny, The Flim Flam Man, Support Your Local Sheriff!, Support Your Local Gunfighter!, Snowball Express, The Shootist, The Wild Wild West Revisited, as Captain Gannon in the film version of Dragnet with Dan Aykroyd and Tom Hanks. Morgan hosted the NBC radio series Mystery in the Air starring Peter Lorre in 1947. On CBS, he played Pete Porter in Gladys, with Cara Williams as wife Gladys. Pete and Gladys was a spin-off of December Bride, starring Spring Byington, a show in which Morgan had a popular recurring role. In 1950, Morgan appeared as an obtrusive, alcohol-addled hotel clerk in the Dragnet radio episode "The Big Boys". After Pete and Gladys ended production, Morgan guest-starred in the role of Al Everett in the 1962 episode "Like My Own Brother" on Gene Kelly's ABC drama series, Going My Way, loosely based on the 1944 Bing Crosby film of the same name; that same year, he played the mobster Bugs Moran in an episode of ABC's The Untouchables, with Robert Stack.
In 1963, he was cast as Sheriff Ernie Backwater on Richard Boone's Have Gun - Will Travel Western series on CBS worked as a regular cast member on the 1963-64 anthology series The Richard Boone Show. In the 1964–1965 season, Morgan co-starred as Seldom Jackson in the 26-week NBC comedy/drama Kentucky Jones, starring Dennis Weaver of Gunsmoke. Morgan is more recognized as Officer Bill Gannon, Joe Friday's partner in the revived version of Dragnet. Morgan had appeared with Dragnet star Jack Webb in three film noir movies, Dark City, Appointment with Danger and Pete Kelly’s Blues, was an early regular member of Jack Webb's stock company of actors on the original Dragnet radio show. Morgan worked on two other shows for Webb: 1971's The D. A. and the 1972–1974 Western series, Hec Ramsey. Morgan appeared in at least one episode of Gunsmoke. Morgan appeared in the role of Inspector Richard Queen, uncle of Ellery Queen in the 1971 television film Ellery Queen: Don't Look Behind You. Morgan's first appearance on M*A*S*H was in the show's third season, when he played eccentric Major General Bartford Hamilton Steele in "The General Flipped at Dawn", which first aired on September 10, 1974.
The following season, Morgan joined the cast of M*A*S*H as Colonel Sherman T. Potter. A fan of the sitcom, Morgan replaced McLean Stevenson, who left the show at the end of the previous season. Unlike Stevenson's character Henry Blake, Potter was a career Army officer, a firm yet good-humored, caring father figure to those under his command. In 1980, Morgan won an Emmy award for his performance on M*A*S*H; when asked if he was a better actor after working with the show's talented cast, Morgan responded, "I don't know about that, but it's made me a better human being." After the end of the series, Morgan reprised the Potter role in a short-l
Birth of the Cool
Birth of the Cool is a compilation album by American jazz musician Miles Davis, released in 1957 on Capitol Records. It compiles eleven tracks recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950. Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, marked a major development in post-bebop jazz; as the title suggests, these recordings are considered seminal in the history of cool jazz. Most of them were released in the 10-inch 78-rpm format and are all three minutes long; as of 2018, Lee Konitz is the only surviving member of the Birth of the Cool sessions. From 1945 to 1948, Miles Davis played in Charlie Parker's quintet. Davis recorded several albums worth of material with Parker during this period, including Parker's Sessions for the Savoy and Dial labels. Davis' first records released under his own name were recorded with Parker's band, in 1947, were more arranged and rehearsed than Parker's usual approach to recording.
By 1948, Davis had three years of bebop playing under his belt, but he struggled to match the speed and ranges of the likes of Gillespie and Parker, choosing instead to play in the mid range of his instrument. In 1948, becoming concerned about growing tensions within the Parker quintet, left the group and began looking for a new band to work with. At the same time, arranger Gil Evans began hosting gatherings of like-minded, forward-looking musicians at his small basement apartment, located on 55th Street in Manhattan, three blocks away from the jazz nightclubs of 52nd Street. Evans had gained a reputation in the jazz world for his orchestration of bebop tunes for the Claude Thornhill orchestra in the mid-1940s. Keeping an open door policy, Evans' apartment came to host many of the young jazz artists of late-1940s New York; the participants engaged in discussions about the future of jazz, including a proposed group with a new sound. According to jazz historian Ted Gioia: were developing a range of tools that would change the sound of contemporary music.
In their work together, they relied on a rich palette of harmonies, many of them drawn from European impressionist composers. They explored new instrumental textures, preferring to blend the voices of the horns like a choir rather than pit them against each other as the big bands had traditionally done with their thrusting and parrying sections, they brought down the tempos of their music... they adopted a more lyrical approach to improvisation... While Evans had hoped to work with Charlie Parker on this project, Evans felt that Parker was too dedicated to his own solo voice and not an ensemble sound that Evans was hoping to tap into. With Parker out of the picture, Davis took the lead on the project; the two men decided to draw from the members of the discussion group for the new band, this group becoming the Miles Davis Nonet. Arranger, baritone saxophonist Gerry Mulligan joined the project, having written for Gene Krupa's orchestra, as it was felt he could bring a lighter sound that Davis and Evans were looking for.
The arrangers came to the conclusion that the ensemble should feature two saxophones, four brass, rhythm section for a total of nine players. Evans and Mulligan spent the winter working out instrumentation, augmenting the traditional bop quintet of saxophone and rhythm section, with baritone saxophone, French horn, tuba; the two men looked to create pairings within the ensemble, Mulligan stating: "We picked instruments... and one of each. We had a high section with a trumpet and the alto, we had a middle section with the trombone and the French horn, a low section with the baritone and tuba. So we had those... basic colors to work with." The omission of tenor saxophone was seen as unusual, as it was seen as one of the standard jazz instruments. Davis and Mulligan went about assembling the members of the nonet and Mulligan taking trumpet and baritone saxophone respectively. For alto saxophone, Davis wanted Sonny Stitt for the part, but it was decided that Stitt's sound, much like Parkers, was too bop for what the nonet was pursuing.
On Gerry Mulligan's suggestion, Davis asked alto saxist Lee Konitz to join the group. Konitz had played with Mulligan in Claude Thornhill's orchestra, was seen by some as a stylistic alternative to Parker, with a much lighter and airier sound. Tuba player Bill Barber and French hornist Sandy Siegelstein came to the nonet via the brass section of the Thornhill band, Siegelstein to be replaced by Junior Collins. Trombonist J. J. Johnson was the first choice for the band, but due to engagements with the Illinois Jacquet band could not play with the nonet, though he was able to record with the group on the final two sessions. Both bassist Al McKibbon and pianist and arranger John Lewis had known Davis as members of Dizzy Gillespie's orchestra. Drummer Max Roach had been a member of Parker's quintet with Davis and was a natural choice for the group due to his enthusiastic engagement in the ideals of the nonet. Davis was able to secure a two-week engagement in September 1948 for the nonet opening for Count Basie at the Royal Roost in New York.
For the band's book, Mulligan contributed six arrangements, Lewis three, Evans two, composer John Carisi arranged his own composition, "Israel", for the band. On Davis's insistence, a sign was placed outside the Roost saying, "Arrangements by Gerry Mulligan, Gil Evans, John Lewis," an unusual advertisement that highlighted the colla
Doin' the Jive
"Doin' the Jive" is a 1938 song composed by Glenn Miller and pianist Chummy MacGregor. The song was released as a 78 single by His Orchestra on Brunswick. Doin' the Jive was recorded for Brunswick on November 29, 1937, released as Brunswick 8063 backed with "Humoresque" and as Vocalion 5131 backed with "Dipper Mouth Blues"; the song features lyrics sung by Kathleen Lane and the band that introduced a new dance, "The Jive": "You clap your hands/And you swing out wide/Do the Suzie Q/Mix in a step or two/Put'em all together/And you're doin' the jive". There is rap dialogue between Jerry "Buck" Jerome; the solos are by Jerry "Buck" Jerome on tenor sax and Irving Fazola Prestopnick, known as "Faz", on clarinet. A second version was released with Tex Beneke in the dialogue with Glenn Miller from a June 20, 1938 NBC radio broadcast from the Paradise Restaurant in New York City featuring Gail Reese on lead vocals. Glenn Miller biographer and confidant George T. Simon reviewed the song in the March, 1938 issue of Metronome magazine, describing it as "much swing and good Kitty Lane singing."
The band contributes vocals along with Jerry Jerome. The song was arranged by Glenn Miller."Doin' the Jive" was released on the following record labels as a 78 single and as an album or EP track: Brunswick 8062, Vocalion 5131, Okeh 5131, Conqueror 9489, Polygon 6001, Epic EG-7034 as a four track Extended Play or EP, Epic LG-1008, Philips BBR 8072, Epic EG-1008, Columbia DB 8072. Belgian bandleader Emile Deltour, under the pseudonym Eddie Tower, recorded a version on November 10, 1940, released as a Telefunken 78 single, A10232. Samuéla Burenstrand recorded "Doin' the Jive" live in 2006; the Seattle-based group The Careless Lovers recorded the song in 2012. "Doin' the Jive" was remixed in 2012 by RJGisinthehouse on YouTube in a techno, dance club mix. The Original Swingtime Big Band has performed the song in concert in 2012. Dock Side Drive recorded the song on the 2016 release As Long. Guitarist Stephen Bennett has recorded the song in an arrangement for acoustic guitar on the 2017 album Fifty Years, Counting.
The Ballroomshakers released a recording on their 2018 album. The Glenn Miller Orchestra Scandinavia has performed the song as part of their concert setlist in Sweden in 2018. In 2014, Austrian electro swing performer Parov Stelar released a "remix" or song sample version of the song as "Clap Your Hands" in an electro swing style that reached no. 52 on the Austrian singles chart. He released the song as part of an eponymous EP on the 2015 album Demon Diaries; the Glenn Miller recording appears on the 1992 Sony compilation Evolution of a Band, The Glenn Miller Story, Vols. 1-2 on Avid, Glenn Miller and His Orchestra: 1935-1938, Classics, 2004, Community Swing, Vol. 2, 1937-1938, Naxos Jazz Legends, 2003, The Complete Early Recordings, Opus Kura, 2004, the 2003 Sony various artists collection Jazz Legends: Swing and Big Bands. "Doin' the Jive" was performed by Glenn Miller and His Orchestra and broadcast on the radio on the following dates: July 24, 1937 at the Hotel Roosevelt for a New Orleans broadcast, August 27, 1937 at the Adolphus Hotel for a Dallas broadcast, November 30, 1937 at the Raymor Hotel for a Boston broadcast, on June 20, 1938 at the Paradise Restaurant featuring Gail Reese on vocals and Tex Beneke on saxophone for a New York City broadcast.
The live radio broadcast of "Doin' the Jive" from June 20, 1938 at the Paradise Restaurant was released in 1954 by RCA Victor as LPT 6701 on a five record compilation box set. RCA Victor had the rights to the live, radio broadcast version while Columbia held the rights to the studio version; the album was entitled Glenn Miller and His Orchestra, Collector's Issue, Limited Edition, Volume Two, with each set numbered. The personnel on the 1937 Brunswick studio recording session for "Doin' the Jive" were: Trombones: Glenn Miller, Jesse Ralph, Bud Smith. Kathleen Lane sang the lead vocals; the recording was made in Brunswick studios in New York. The arrangement was by Glenn Miller; the drummer on the 1937 session was Doc Carney Cenardo. In his 1974 biography Glenn Miller and His Orchestra, George Thomas Simon wrote: "Without realizing it, the Miller band had broken the color line." Simon, George Thomas. Glenn Miller and His Orchestra. NY: Crowell, 1974. Flower, John. Moonlight Serenade: A Bio-discography of the Glenn Miller Civilian Band.
New Rochelle, NY: Arlington House, 1972. Flower, John. Liner Notes to the CD collection Community Swing, Vol. 2, 1937-1938, Naxos Jazz Legends, 2003. Online version on the wn.com website. 1938 Vocalion 78 recording on the Jazz Anthology website. 1938 live radio broadcast version with Gail Reese on vocals. 1940 Eddie Tower and His Orchestra recording of "Doin' the Jive". 2012 version by The Careless Lovers. "Doin' the Jive" lyrics. Letssingit.com
Woodrow Charles Herman was an American jazz clarinetist, saxophonist and big band leader. Leading various groups called "The Herd", Herman came to prominence in the late 1930s and was active until his death in 1987, his bands played music, cutting edge and experimental for its time. Herman was born Woodrow Charles Thomas Herman in Milwaukee, Wisconsin, on May 16, 1913, his parents were Myrtle Herman. His mother was Polish, his father had a deep love for show business and this influenced Woody Herman at an early age. As a child he worked as a singer and tap-dancer in Vaudeville started to play the clarinet and saxophone by age 12. In 1931, he met an aspiring actress. Woody Herman joined the Tom Gerun band and his first recorded vocals were "Lonesome Me" and "My Heart's at Ease". Herman performed with the Harry Sosnick orchestra, Gus Arnheim and Isham Jones. Isham Jones wrote many popular songs, including "It Had to Be You" and at some point was tiring of the demands of leading a band. Jones wanted to live off the residuals of his songs.
Woody Herman's first band became known for its orchestrations of the blues, was sometimes billed as "The Band That Plays The Blues". This band recorded for the Decca label, at first serving as a cover band, doing songs by other Decca artists; the first song recorded was "Wintertime Dreams" on November 6, 1936. In January 1937 George T. Simon closed a review of the band with the words: "This Herman outfit bears watching. After two and a half years on the label, the band had its first hit, "Woodchopper's Ball" recorded in 1939. Woody Herman remembered that "Woodchopper's Ball" started out at first. "t was a sleeper. But Decca kept re-releasing it, over a period of three or four years it became a hit, it sold more than five million copies—the biggest hit I had." In January 1942, Herman would have his highest rated single, singing Harold Arlen's "Blues in the Night" backed by his orchestra. Other hits for the band include "Blue Flame" and "Do Nothin' Till You Hear from Me". Musicians and arrangers that stood out included Cappy Lewis on trumpet and saxophonist/arranger Deane Kincaide.
"The Golden Wedding", arranged by James "Jiggs" Noble, was notable for its extended drum solo by Frankie Carlson. In jazz, swing was being replaced by bebop. Dizzy Gillespie, a trumpeter and one of the originators of bop, wrote three arrangements for Woody Herman, "Woody'n You", "Swing Shift" and "Down Under"; these were arranged in 1942. "Woody'n You" was not used at the time. "Down Under" was recorded July 24, 1942. The fact that Herman commissioned Gillespie to write arrangements for the band and that Herman hired Ralph Burns as a staff arranger, heralded a change in the style of music the band was playing. In February 1945, the band started a contract with Columbia Records. Herman liked what drew many artists to Columbia, Liederkranz Hall, at the time the best recording venue in New York City; the first side Herman recorded was "Laura", the theme song of the 1944 movie of the same name. Herman's version was so successful that it made Columbia hold from release the arrangement that Harry James had recorded days earlier.
The Columbia contract coincided with a change in the band's repertoire. The 1944 group, which he called the First Herd, was famous for its progressive jazz; the First Herd's music was influenced by Duke Ellington and Count Basie. Its lively, swinging arrangements, combining bop themes with swing rhythm parts, were admired; as of February 1945 the personnel included Bill Harris, Sonny Berman, Pete Candoli, Billy Bauer, Ralph Burns, Davey Tough and Flip Phillips. On February 26, 1945 in New York City, the Woody Herman band recorded "Caldonia". Neal Hefti and Ralph Burns collaborated on the arrangement of "Caldonia". "Ralph caught Louis Jordan in an act and wrote the opening twelve bars and the eight bar tag." "But the most amazing thing on the record was a soaring eight bar passage by trumpets near the end." These eight measures have wrongly been attributed to a Gillespie solo, but were in fact written by Neal Hefti. George T. Simon compares Hefti with Gillespie in a 1944 review for Metronome magazine saying, "Like Dizzy, Hefti has an abundance of good ideas, with which he has aided Ralph Burns immensely".
In 1946 the band won Down Beat, Metronome and Esquire polls for best band, nominated by their peers in the big band business. Along with the high acclaim for their jazz and blues performances, classical composer Igor Stravinsky wrote the Ebony Concerto, one in a series of compositions commissioned by Herman with solo clarinet, for this band. Herman recorded this work in the Belock Recording Studio in Bayside New York. Throughout the history of jazz, there have always been musicians who sought to combine it with classical music. Ebony Concerto is one in a long line of music from the twenties to the present day that seeks to do this. Herman said about the Concerto: " delicate and a sad piece." Stravinsky felt. Saxophonist Flip Philips said, "During the rehearsal there was a passage I had to play there and I was playing it soft, Stravinsky said'Play it, here I am!' and I