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Full Orchestra, London, 1944
Abbey Road Studios
© EMI Music Ltd. |
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[ click to enlarge ] |
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While the broadcasts that took place over the AEF Network would last throughout the nearly six-months that the orchestra was stationed in England, the broadcasts over the BBC would last only a week. After receiving a series of complaints from listeners on its outermost areas of reception, stating that they could only hear the band’s louder passages, and that there were times during the softer passages where they thought that the BBC was actually off-the-air, British radio executives attempted to insist that Miller keep the volume of his music constant at all times.
Failing to convince them of the importance of dynamics in his music, and that the changing volumes were a central part of his orchestra’s style, in a moment of frustration Miller finally suggested that the BBC cancel their broadcasts, to which they agreed. Having now been thrilled by the few days of broadcasts by Miller’s orchestra, the general, British public, however, immediately bombarded the BBC with complaints over its actions regarding the Bedford broadcasts. By this time, their decisions had been made, and neither Miller nor the BBC would change position.
In addition to its weekly, AEF Network broadcasts from Bedford, as well as other broadcasts from venues in and around London, the orchestra soon began flying throughout Great Britain to entertain the troops personally. When once discussing an introduction that he received to the Queen of England, who had been inspecting the local Red Cross facilities in Bedford, Don Haynes would state “The Queen extended her right hand and shook my hand warmly, and smiling all the while said, ‘Leftenant Haynes, let me commend you, Captain Miller, and the members of your fine organization for the wonderful morale work you are doing. The Princess Elizabeth and Margaret Rose are avid fans of the Glenn Miller Band and listen to your nightly broadcasts over the wireless regularly.”
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String Section, London, 1944
Abbey Road Studios
© EMI Music Ltd. |
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[ click to enlarge ] |
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As part of their regular broadcasts, Miller had created a series of thirteen, separate programs per week, including the entire orchestra, complete with full string section and singing group; a series known as “Swing Shift,” featuring a seventeen-piece band led by drummer Ray McKinley; a series known as “Uptown Hall,” featuring a seven-piece group led by pianist Mel Powell; a program featuring singer Johnny Desmond, known as “A Soldier and a Song,” combining a small string group, French Horn, and piano; as well as a series known as “Strings With Wings,” featuring the entire string section led by Sergeant George Ockner.
Pictured here in Studio One, on the afternoon of September 16th, 1944, more than two months following their earliest arrival in London, the Miller Orchestra’s string section can be seen participating in the landmark recordings created during that afternoon. When once discussing the musicianship of the Miller string section, and the enormous popularity of the Strings With Wings broadcast series, trumpeter Bernie Privin would state “the rest of the band would get around the radio every Saturday morning just to listen.”
The list of orchestra members pictured throughout the images assembled for this exhibition include, pianist Mel Powell; bassist Trigger Alpert; guitarist Carmen Mastren; drummers Frank Ippolito and Ray McKinley; arranger Jerry Gray; string players Gene Bergen, Morris Bialkin, Phil Cogliano, Earl Cornwell, Milton Edelson, Stan Harris, Nat Kaproff, Ernie Kardos, Harry Katzman, Joseph Kowelewski, Dick Motolinksi, George Ockner, Freddie Ostrowski, Bob Ripley, David Sackson, Dave Schwartz, Carl Swanson, Manny Wishnow; brass players Larry Hall, Johnny Halliburton, Bobby Nichols, Nat Peck, Jimmy Priddy, Bernie Privin, Jack Steele, and Whitey Thomas; saxophonists Vince Carbone, Jack Ferrier, Hank Freeman, Freddie Guerra, Peanuts Hucko, and Mannie Thaler; French Horn player Addison Collins; vocalists Gene Steck and Steve Steck.
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In addition to the thousands of American and British military personnel, and an even larger number of British civilians, another in the long list of Miller Orchestra fans based in England during their brief time there was General Dwight D. Eisenhower, Supreme Commander of the Allied Expeditionary Forces in Europe. Following one of the orchestra’s many London performances, General Eisenhower would personally thank Miller for his immense contribution to the morale of his troops.
To Glenn Miller, this form of recognition, and the reception from the countless, military and civilian men and women throughout Great Britain, meant that he was accomplishing exactly what he had intended when first offering his services to the U.S. War Department, as early as the summer of 1942. As just one of the many, humbling examples of Miller’s dedication to his country, the following few lines have been taken from the closing paragraphs of a letter written to General Charles D. Young, on August 12th, 1942, by one of the most successful bandleaders in America.
“I was born in Clarinda, Iowa, and raised in Colorado. Both of my parents were also American born. I am a grammar school and high school graduate, and also attended the University of Colorado for two years. My connection with music is not of recent origin. I have been playing and arranging music ever since my high school days. I hope you will feel that there is a job I can do for the army. If so, I shall be grateful if you will have the proper person contact me and instruct me as to further procedure. With kind personal regards and appreciating your interest, I am respectfully yours, Glenn Miller.”
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