November 3, 1941

Glenn Miller and his Orchestra
Bluebird Recording Session
Monday, November 3, 1941
Noon – 5: 30 p.m.
Victor Studio #1
155 East 24th Street
New York, New York

PERSONNEL

• Trumpets
  • Billy May (arranger), Dale Mc Mickle, Alec Fila, John Best, Jr.
• Trombones
  • Glenn Miller (leader, arranger), Paul Tanner, Frank D’ Annolfo, Jimmy Priddy
• Reeds
  • Tex Beneke (alto saxophone, clarinet, vocals), Willie Schwartz (clarinet, alto saxophone, vocals), Ernie Caceres (alto saxophone, baritone saxophone, clarinet, vocals), Babe Rusin (Russin) (tenor saxophone), Al Klink (tenor saxophone, clarinet, bass clarinet)   
• Rhythm
  • Chummy MacGregor (piano), Bobby Hackett (guitar, cornet), Edward Lord [Doc Goldberg] (string bass), Maurice Purtill (drums)
• Vocalists
  • Marion Hutton, Ray Eberle; The Modernaires: Chuck Goldstein, Bill Conway (guitar), Hal Dickinson, Jr., Ralph Brewster (trumpet)
• Arrangers
  • Bill Finegan, Jerry Gray

MILLER AT THE SUMMIT

By November 1941, Glenn Miller was approaching the summit of his success. Firstly, he had made several key personnel moves and continued to aggressively develop his repertoire. Then, with Glenn’s support, Hal McIntyre left the sax section to launch his own band. Likewise, Marion Hutton returned from maternity leave. But when famed cornetist Bobby Hackett came aboard, even critical jazz aficionados soon realized what Miller had in mind. Moreover, Tex Beneke moved from tenor to alto sax to fill Hal’s seat, replaced for a while by veteran jazzman Babe Russin. Alec Fila replaced Ray Anthony. Furthermore, as evidenced on Glenn’s CBS Chesterfield Moonlight Serenade, NBC Sunset Serenade broadcasts and RCA recordings, the band packed a strong punch, with the 1939 clarinet lead style jettisoned. But as America slid innocently toward war, the ballads written by Bill Finegan, Jerry Gray and Bill May were now rich, evocative, and becoming appropriate.

A MOMENT IN TIME

Firstly, November 1941 opened for Glenn Miller and his Orchestra with an afternoon recording session for RCA Bluebird at the familiar New York Victor Studio #1. The great American songbook is well represented in the session ledger, including words and music penned by giants Cole Porter and Jerome Kern. By now, the band had returned to the New York residence now synonymous with Mr. Miller, the Café Rouge of the Hotel Pennsylvania. In addition to its late evening NBC broadcasts, the band now aired Sunset Serenade, a late afternoon Saturday matinee feature over NBC’s soon to be divested Blue Network. Likewise, three nights every week they also trekked to CBS for Miller’s popular Chesterfield Moonlight Serenade. Furthermore, the playlist for the November 3 session included a swing instrumental that would become a leading Miller classic; a jazz instrumental that foreshadowed Billy May’s subsequent greatness, and four ballads.

QUINTESSENTIAL MILLER CLASSIC

Solos – alto sax, Caceres; two bar sax exchanges between Caceres and Beneke; followed by another challenge on tenor sax between Klink and Rusin; Cornet, Hackett; Piano, MacGregor

When Glenn Miller debuted Jerry Gray’s quintessential Miller classic on his CBS network series, the tune reached its climax with a prototypical growling Billy May trumpet solo. But Glenn substituted a Bobby Hackett cornet solo , and the rest is history. However, listening to the broadcasts featuring Billy, A String of Pearls would probably have been a hit regardless. Furthermore, when the band listened to the trumpet blast at the opening of the recording led by Alec Fila, they immediately sensed that there was something special about Jerry Gray’s composition and arrangement, loaded with inspired alto and tenor sax challenges. A String of Pearls charted #1 in between Chattanooga Choo Choo, Elmer’s Tune and Moonlight Cocktail in Miller’s impressive #1 streak from November 1941 to April 1942. Furthermore, Jerry did not name the tune for a necklace, but a piano key sequence.

“ARLETTA’S” MASTERPIECE

Solos – alto sax, Beneke; clarinet, Caceres; trumpet, May; tenor sax, Rusin; drums, Purtill

Don’t be fooled by the published composer credits of Long Tall Mama. It is reported that the legendary Billy May used his wife Arletta’s name for tax purposes. Firstly, the original title of Long Tall Mama was Checkin’ with Chuck. This is because Chuck Goldstein of the Modernaires kept time for Glenn Miller’s CBS Chesterfield Moonlight Serenade broadcasts. Furthermore, Billy May’s importance to the Miller band as a composer, arranger and trumpet soloist is unquestionable. Moreover, the Glenn Miller Army Air Forces Orchestra later performed Long Tall Mama to considerable effect in the USA and overseas. However, RCA did not immediately issue the tune on its Bluebird label but during 1942 after Miller had upgraded to the Victor label.

SUNSET SERENADE

Beginning August 30, 1941, Glenn Miller broadcast a Saturday afternoon matinee over NBC-Blue, initially on the road and then from the Café Rouge. Firstly, the purpose of the 5:00 – 6:00 p.m. programs was entertainment dedicated to the men and women of the gathering American armed forces. Each week, five military bases submitted their favorite tune, which the band played. Likewise, the public then voted for their favorite. The winning base received an RCA console radio-phonograph complete with fifty popular records. Moreover, Glenn Miller paid for the airtime and the prizes out of his own pocket. But one week, all five bases selected Chattanooga Choo Choo and Miller had to pay five prizes.  

In conclusion, Alec Fila and Babe Rusin would soon move on from the Miller band, replaced by Reuben (Zeke) Zarchy, returning for another stint with Miller and later First Sergeant of Miller’s AAF group, and Lloyd (Skippy) Martin. But at the recording session during the first week of November, they had made their permanent mark on the long Miller list of achievements. However, the November 1941 Glenn Miller moment in time would pass and America would soon be awakened with a surprise attack and war.

Dennis M. Spragg of the Glenn Miller Collections at the American Music Research Center, University of Colorado Boulder is Glenn Miller’s authorized biographer, archivist and author of the critically praised Glenn Miller Declassified. He is also Historian of the Glenn Miller Birthplace Society. Discover Glenn Miller: