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Format: CD
May 1992
Record Label: Legacy Recordings
Recording Type: Studio
UPC: 074644883121 |
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* ML=ships from multiple locations, AE/AP/AA=ships from U.S. Military location.
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* ML=ships from multiple locations, AE/AP/AA=ships from U.S. Military location.
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* ML=ships from multiple locations, AE/AP/AA=ships from U.S. Military location.
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Track Listing
1. Blues Serenade, A
2. Moonlight on the Ganges
3. I Got Rhythm
4. Sleepy Time Gal
5. Community Swing
6. Time on My Hands
7. My Fine Feathered Friend
8. Humoresque - (previously unreleased)
9. Doin' the Jive
10. Silhouetted in the Moonlight
11. Every Day's a Holiday
12. Sweet Stranger
13. Don't Wake up My Heart - (previously unreleased)
14. Why'd Ya Make Me Fall in Love? - (previously unreleased)
15. Sold American - (previously unreleased)
16. Dipper Mouth Blues - (previously unreleased)
Album Notes
Personnel includes: Glenn Miller (trombone); Roy Eberle, Gail Reese, Kathleen Lane (vocals); Stanley Aronson (alto & baritone saxophones); Johnny Mince (alto saxophone, clarinet); George Siravo, Tony Viola (alto saxophone); Tex Beneke, Sol Kane, Jerry Jerome, Carl Biesacker, Eddie Miller (tenor saxophone); Hal McIntire, Wilbur Schwartz, Irving Fazola (saxophone, clarinet); Johnny Austin, Gasparre Rabito, Bob Price, Ardel Garretson, Charlie Spivak, Tweet Peterson, Ralph Capelli, Bunny Berigan (trumpet); Bob Jenny, Al Mastren, Jesse Ralph, Bud Smith, Jack Jenny (trombone); Claude Thornhill, J.C. "Chummy" MacGregor (piano); Carmen Mastren, Larry Hall, Bill Peyser (guitar).
Recorded in New York, New York between 1935 & 1938. Includes liner notes by Richard M. Sudhalter.
Digitally remastered by Larry Keyes (1992, Sony Music Studios, New York).
Part of the Best Of The Big Bands series.
This excellent BEST OF collection presents Glenn Miller & His Orchestra in the pre-war swing years. During the Golden Age of jazz, there was a very real racial divide, and Miller's band, like Harry James & His Orchestra, came to represent the "white" dance-band sound. However, on these early swing sessions (1935-1938), one hears a greater coalescence between the founding fathers of this genre and the emerging all-white orchestras.
For example, "Dipper Mouth Blues," originally a New Orleans Dixieland number, receives a traditional rendering here (even though it's performed by a big band). The bluesy clarinet and the whinnying trombones exact the sound of Johnny Dodds and Kid Ory-era jazz very well. "Doin' the Jive," meanwhile, captures the Kansas City "jump" style of Bennie Moten and Count Basie perfectly, as does the bouncy "I Got Rhythm." On the latter, the sharp trumpet punctuations, the syncopated clarinet solo, and the smoky tenor saxophones all play up the jazzy qualities of this Gershwin showtune. Other songs, such as "A Blues Serenade" and "Don't Wake Up My Heart," feature the cabaret singing of Smith Ballew and Ray Eberle, respectively. For a solid introduction to Miller's early years, BEST OF THE BIG BANDS is ideal.
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