Word Celebrity Blog

Major Glenn Miller

The official era of the Big Bands was less than ten years from 1936 to 1945, however the music that era created is remembered to this day. There are many talented musicians and leaders of that era, but I do not think any leader is remembered as much as Glenn Miller. Despite his death in 1944, his music is remembered 67 years later.





















Early in the 1870s, during the westward movement of the American people, a man and his wife came to America and settled down in Clarinda, Iowa. There, their son Elmer settled down with a local girl named Mattie Lou Cavender, and the young couple had two sons. Pursuing dreams of a brighter future, however, Elmer and Mattie Lou decided to leave Clarinda for Tryon, Nebraska in 1907, where they would live in a sod home1 for the next six years, and have their third son. A few years later, they left their sod home and moved to North Platte.





















Nebraska flatlands.



Even today, Nebraska's flatlands are vast and lonesome; a century ago, the country was depressingly empty. To relieve the bleak, lonely evenings, Mattie Lou would coax music out of a simple pump organ; by day her children would sing songs as they rode a wagon to school (called Happy Hollow, and started by Mattie Lou). This musical atmosphere would have a profound effect upon her second son, who would one day become one of the nation's greatest bandleaders. His name was Alton Glen Miller.


























Glenn Miller’s childhood home in Clarinda, Iowa.



Alton Glenn Miller was born March 1, 1904 in Clarinda, Iowa. He was the second of four children of Elmer and Mattie Lou (Cavender) Miller. His older brother was Dr. Elmer Deane Miller (1901-1971).  His younger siblings were John Herbert Miller (1913-1987) and Emma Irene (Miller) Wolfe (1916-1999).





















Glenn Miller's Birthplace restored.


“I couldn’t stand the name Alton.  I can still hear my mother calling for me across the field, ‘Al-ton’, it was never ‘Awl-ton.’  I just hated the sound of that name.  That’s why I’ve always used Glenn instead.” - Glenn Miller

He went to grade school in North Platte in western Nebraska. In 1915, Miller's family moved to Grant City, Missouri. As Glenn’s musical aspirations grew he started with a mandolin, and then his first trombone.
He played in the town orchestra.



















In 1918, the Miller family moved again, this time to Fort Morgan, Colorado, where Glenn Miller went to high school. Glenn joined the school band. During his senior year, Glenn became very interested in a new style of music called "dance band music." He was so taken with it that he formed his own band with some classmates. When he wasn’t playing music he was playing football and at one point was an All State player.

Glenn Miller did not take his studies seriously. With the exception of mathematics, he was a “C” student. By the time Glenn Miller graduated from high school in 1921, he had decided he wanted to become a professional musician.. He didn't attend his own graduation, because he was already on the road with a dance band that was led by Boyd Senter.

When his mother picked up his high school diploma for him, the principle said to her, “Maybe you’re the one who should get it anyway; you probably worked harder on it than he did!”






















Glenn Miller worked with the Boyd Senter band until 1923,  when he enrolled at the University of Colorado.  His college education,  like his highschool, held little allure for Glenn Miller.  He joined Sigma Nu Fraternity, but spent most of his time away from school,  attending auditions and playing any gigs he could get. In Boulder.  Glenn spent a great deal of time with a band led by Holly Moyer,  a fellow student.  Glenn learned much about style,  grooming and presentation from Moyer,  a World War I Navy veteran;  lessons that he would put into practice with his own bands.

After three semesters,  Glenn dropped out of school and focused his time and energies on playing and arranging music , whenever and wherever he could.  He believed that his College time did have a big bonus,  for it was there that he met his future wife,  Helen Burger.

In 1926, Glenn Miller toured with several groups, and eventually landed a good spot in Ben Pollack's group in Los Angeles. During his time with Ben Pollack,  Glenn Miller wrote several musical arrangements of his own. He also co-wrote his first song,  "Room 1411",  written with Benny Goodman and released as a Brunswick 78, 4013, credited to "Benny Goodman's Boys".


























During the late 1920s and early 1930s,  Glenn Miller managed to earn a living working as a freelance trombonist in several bands.  On a March 21, 1928,  Victor session Glenn Miller played alongside Tommy Dorsey,  Benny Goodman,  and Joe Venuti in the All-Star Orchestra,  directed by Nat Shilkret.  On November 14, 1929, an original vocalist named Red McKenzie hired Glenn Miller to play on two records that are now considered to be jazz classics:  "Hello, Lola" and "If I Could Be With You One Hour Tonight".  Beside Glenn Miller there were clarinetist Pee Wee Russell,  guitarist Eddie Condon,  drummer Gene Krupa,  and Coleman Hawkins on tenor saxophone.





















Joseph Schillinger


Glenn Miller then moved to New York to work freelance as an arranger and musician for studio work and the pit bands for Broadway shows. He studied music theory and composition with Joseph Schillinger, under whose tutelage he composed what would later become his signature theme song, "Moonlight Serenade".

While in New  York, Glenn Miller began working for recording studios, radio and with Broadway productions.  He would gain invaluable experience with a wide range of musical influences, jazz and beyond, with important figures such as George Gershwin, where Glenn played in the orchestra and wrote parts for Gershwin’s “Girl Crazy”.  He then played with jazz trumpeter and leader Red Nichols.  This was in addition to his other work which included studio conductors Victor Young,  Carl Fenton  and Jacques Renard. 


























Helen Dorothy Burger, University of Colorado, 1923.jpg


During this period, Glenn Miller had maintained a long-distance friendship with a woman that he had met and courted at the University of Colorado,  Helen Dorothy Burger.  Helen was of a pioneer and prominent Boulder, Colorado family, whose relatives were among the first graduates of the infant University of  Colorado.  Her father was Boulder County Clerk,  Fred W. Burger.  Glenn Miller  learned that Helen was dating someone else and was “practically engaged”.   He asked her to come to New York.   She did. On October 6, 1928,  they were married.   Years later,  one of Glenn’s closest friends,  Mike Nidorf, echoed the sentiments of practically everyone who was close to the couple,  “the greatest thing that ever happened to Glenn Miller was Helen Miller”. 

























Red Nichols.


He was a member of Red Nichols' orchestra in 1930,  and it was because of Red Nichols, that Glenn Miller was able to play in the pit bands of two Broadway shows,  "Strike Up the Band"  and "Girl Crazy"  (where his fellow band members included future big band leaders Benny Goodman and Gene Krupa).


























Jimmy and Tommy Dorsey.


In the early-to-mid-1930s,  Glenn Miller also worked as a trombonist and arranger in the Dorsey Brothers band,  first when they were a Brunswick studio group (under their own name and providing accompaniment for many of the Boswell Sisters sessions), and finally when they formed an ill-fated co-led touring and recording orchestra.  Glenn Miller composed the song "Annie's Cousin Fanny"  and "Dese Dem Dose" for the Dorsey Brothers Band in 1934 and 1935.  He then became the music director for the ever-battling brothers Tommy and Jimmy Dorsey.   Glenn soon got tired of being caught in the middle.



















The Dorsey Brothers Orchestra 1934  -  Band vocalist Kay Weber is pictured in the back row standing between Tommy Dorsey, (on Weber's right),  and Jimmy Dorsey (on her left).  Other band personnel include (standing, l-r) Bobby Van Epps, piano;  DelmarKaplan, bass;  Glenn Miller, trombone/arranger;  and Jack Stacey, alto sax. Kneeling (front row, l-r) are George Thow, trumpet;Roc Hillman, guitar;  Don Mattison, trombone;  Skeets Herfurt, tenor sax;  and Ray McKinley, drums. 


























Ray Noble portrait.
                            

Before the Dorsey brothers broke up to form their own bands,  Glenn Miller accepted an offer from British bandleader Ray Noble.  In 1935, Glenn Miller would organize an American band for Ray Noble because the musicians union would not allow Ray Noble to bring his own musicians over to the United States.  




















Ray Noble would be joined by his legendary vocalist from South Africa ,  Al Bowlly.  Glenn Miller organized a top-flight band that for them.  A band which would make many memorable Victor recordings.  Glenn Miller developed the arrangement of lead clarinet over four saxophones that would eventually become the keynote of his own big band in the future. 

Members of the Ray Noble band included the future bandleaders Will Bradley (trombone),  Charlie Spivak (trumpet)  and Claude Thornhill (piano).


















The Big Broadcast.jpg


Glenn Miller made his first movie appearance in the 1935 Paramount Pictures release "The Big Broadcast of 1936" as a member of the Ray Noble Orchestra performing "Why Stars Come Out at Night".  "The Big Broadcast of 1936" starred Bing Crosby,  George Burns,  Gracie Allen,  Ethel Merman,  Jack Oakie,  and Bill "Bojangles" Robinson.  It also featured other performances by Dorothy Dandridge  and the Nicholas Brothers,  who would later appear with Glenn Miller in two movies for Twentieth Century Fox in 1941 and 1942.

During this time, Glenn Miller worked to develop what would eventually become his signature sound of the clarinet lead over saxophone. The trick was finding a band willing to try it.  The different bands that Glenn  Miller worked for showed little interest in the idea so, in 1937,  Glenn Miller tried his hand at organizing his own band.


























Helen and Glenn Miller visiting the mountains west of Boulder, in August 1936.


As the Noble band was forming, on April 25, 1935,  Glenn Miller recorded for the first time under his own name.  The band for the Columbia recording session included Bunny Berigan,  Eddie Miller (sax)  and Johnny Mince (clarinet).  The Ray Noble band had a successful start,  playing at the Rainbow Room atop the RCA Building in Radio City.

During 1936, Glenn Miller’s relationship with Ray Noble began to fade.   He led a walkout of musicians from the Ray Noble Band,  who would not agree to a pay cut.  To mark time before starting his own band, Glenn played record dates with the bands of Vincent Lopez,  Freddy Rich,  and his old boss,  Ben Pollack. 

In late 1936 and early 1937,  Glenn Miller began looking for musicians and discussing with Helen the risks and rewards of changing their lifestyle and forming a road band under Glenn Miller’s name.  They both  decided to take the risk!





















Glenn Miller and his Orchestra began rehearsals in February, 1937,  and were soon recording for Decca records.  The band played its first engagement on May 7 at the Terrace Room of the Hotel New Yorker,  and cut several more records for the Brunswick label.  The Band's first steady engagement was at the Raymor Ballroom in Boston, on Huntington Avenue near Symphony Hall.   Among its musicians were Hal McIntyre (sax), who would play a key role in Glenn Miller’s future,  and girl singer, Kathleen Lane.  The band traveled to the Roosevelt Hotel in New Orleans where it opened on June 17.  Glenn was operating at a loss. but the band was gaining exposure. 

They moved on to the Adolphus Hotel in Dallas on August 27:  the band members hated to leave New Orleans.   From Dallas,  the band traveled to the Hotel Nicollet in Minneapolis.  The financial situation did not improve.  The band returned to Boston and the Raymor.  In November,  they recorded four more Brunswick records.                  

Benny Goodman said in 1976, "In late 1937, before his band became popular, we were both playing in Dallas. Glenn was pretty dejected and came to see me. He asked, 'What do you do? How do you make it?'   I said, "I don't know, Glenn. You just stay with it."

However, the situation continued to deteriorate from a financial standpoint and just a little over a year and $18,000 later, Glenn Miller on December 31, 1937,  gave the band notice in York, Pennsylvania.  He had worked very hard, driving himself to a state of nervous exhaustion.  Glenn returned to New York,  broke, depressed, and not knowing what he was going to do, or if he would ever lead a band again.  



























The Millers realized that as an arranger and sideman,  Glenn Miller could make a comfortable,  if unexciting, living.  But they had contributed so much,  emotionally and financially,  to the band that they couldn’t reconcile themselves to giving it up completely.  They and close friends felt that Glenn could and would succeed.  For the moment,  he had to work and began to call up old friends.  Glenn Miller paid the rent by working with Tommy Dorsey on Dorsey’s Raleigh Cigarette program.  At the same time,  Glenn began to plan for a second band that would be styled and staffed differently.   He decided not to compete against his friends Benny Goodman and Tommy Dorsey with a “swing” band.   He would form an essentially “sweet” band with a unique and identifiable sound, but which could also play the swing that young people wanted to hear.





















The Benny Goodman Orchestra with Gene Krupa.


The big band world had exploded by 1938.  Benny Goodman would appear at Carnegie Hall and was neck-and-neck with Tommy Dorsey in popularity polls.  Count Basie burst onto the scene and Artie Shaw was gaining popularity.  Others, such as Jimmy Dorsey,  Bob Crosby,  Larry Clinton,  Jimmie Lunceford,  Duke Ellington,  and Chick Webb were also capturing the public’s imagination.

A new Miller band was entering the crowded field of swing bands such as these, as well as the sweet bands led by Hal Kemp, Kay Kyser, Sammy Kaye and Guy Lombardo, among dozens of others. Glenn Miller would find the backing to start over. He organized a new band, only a few months later, and things began to improve.  With greater discipline, and using the sound he had molded back in his Ray Noble days,  a sound which would rely on precise musicianship from his band, and his unique arranging style.  His so-called “clarinet lead” was the key element of the approach.  He brought back Hal McIntyre and his old friend,  John C. “Mac” (“Chummy”) MacGregor on piano.  He would have a core group of young talent for the second attempt.  That group consisted of Paul Tanner (trombone),  Wilbur Schwartz (clarinet),  Gordon “Tex” Beneke (sax),  including the singer, Ray Eberle (brother of Jimmy Dorsey's singer, Bob Eberly).


















Glenn Miller at Meadowbrook, April 4, 1939.


The first major engagement for the band was at the Paradise Restaurant in New York during June, 1938,  and engagements at the Meadowbrook Ballroom and the Glen Island Casino that exposed the Glenn Miller orchestra to a nationwide audience, with the radio broadcasts.  By the spring of 1939,  the Glenn Miller Orchestra was gaining a national reputation.

Between 1939 and 1942,  the Glenn Miller Orchestra enjoyed phenomenal success and popularity,  scoring some 70 top ten hits and 23 number ones.  The band had a radio series on CBS that aired three times a week and was featured in two films, 1941's  “Sun Valley Serenade” and 1942's  “Orchestra Wives.” 






















The Liggett and Myers Tobacco Company,  the maker of Chesterfield Cigarettes, along with their advertising agency, Newell-Emmett,  produced a popular CBS radio program that starred the famed “King of Jazz.”  Paul Whiteman,    Paul Whiteman was planing on leaving the program, and he recommended Glenn Miller for his replacement.

The sponsor, their advertising agency and the CBS network were not necessarily prepared to gamble exclusively on Glenn Miller.  In order to play it safe,  they added the Andrews Sisters to the program,  for at least the first thirteen weeks.  The newly renamed “Chesterfield Moonlight Serenade” would start on December 27, 1939,  during the former Paul Whiteman half-hour time slot.  The series would, the following week,  become a three-times per week fifteen minute program that aired Tuesday,  Wednesday,  and Thursday evenings at 10:15 p.m. Eastern time over CBS.  The announcer,  when the band was home in New York,  was Paul Douglas,  who would later become a 20th Century Fox movie star.

The Andrews Sisters left the program after the thirteenth week. It had become evident that the Glenn Miller band could more than carry the program on their own.  Glenn Miller would continue on the program until he enlisted in the Army.  The final program aired September 24, 1942.  Glenn Miller had just been renewed for another multi-year contract.


























Glenn Miller worked hard to format the Chesterfield programs to squeeze as much music and as little talk into the format as possible.  To this end,  he introduced a medley format he called “Something Old, Something New, Something Borrowed, Something Blue” which would become famous.  The medleys were featured on Wednesday nights during 1940.

The Glenn Miller “Chesterfield Moonlight Serenade” broadcasts were recorded for Glenn Miller by the Harry Smith Company via a direct feed from CBS. These were for Glenn Miller’s private use.  Most of the programs have survived in storage and are the property of the Miller family and responsibility of the GMA.  
                 
As 1941 unfolded , the new military draft began to make inroads into the dance bands.  Only Glenn Miller and Mac MacGregor were over draft age.  The first to be drafted was Trigger Alpert , who was replaced by bassist,  Doc Goldberg.   Mindful that many young men were now going into the service and away at bases throughout the country,  Glenn Miller had been dedicating tunes on his commercial radio program to military installations. 

Glenn Miller went one step further.  He convinced NBC to air a one-hour Saturday afternoon matinee at 5:00 p.m. Eastern time called “Glenn Miller’s Sunset Serenade”.   The program would feature a contest involving five service installations.  Each would pick their favorite tune.  The general public was invited to write in during the following week and vote for its favorite of the five tunes.  The winning base would win a new RCA radio-phonograph console and 50 recordings by America’s favorite artists.  Glenn Miller paid for the prizes out of his own pocket.  “Down Beat” magazine figured that each show cost Glenn $1,000.00.


America watched during 1940 and into 1941 as World War II progressed in Europe and trouble was brewing in Asia.  President Franklin Roosevelt had won an unprecedented third term.  The music industry was waging a war of its own.  ASCAP and the radio networks had been unable to agree on rates for the use of songs copyrighted by the society’s publishers.  The networks banned all ASCAP music from their broadcasts effective January 1, 1941, and formed their own music licensing and collection agency, Broadcast Music, Inc. (BMI).  Bandleaders had to scramble.  Glenn could not play ASCAP-licensed hits such as “In the Mood”, “Tuxedo Junction”, “Pennsylvania Six-Five Thousand”, and even his own theme, “Moonlight Serenade”, so he used a new theme, “Slumber Song”, written by “Mac” MacGregor and assigned to Glenn’s own BMI publishing firm, "Mutual Music, Inc."   





















Charlie Spivak,


In 1941,  Glenn Miller financially backed three of his friends and associates with new bands that were managed from the Miller business office.  Charlie Spivak,  Claude Thornhil,  and Hal McIntyre were launched with Glenn Miller’s blessing and complete support.  These 3 bands and Glenn Miller’s "Mutual Music, Inc." greatly expanded the scope of his business interests.


























The year 1941 also opened with the announcement that Glenn Miller and his Orchestra would be traveling to California to star in a motion picture for 20th Century Fox.  The film would be called “Sun Valley Serenade.” It co-starred John Payne and ice skating star, Sonja Henie.  Bands were generally included in films for musical segments only, and with minimal relevance to the plot.  Glenn Miller insisted upon, and got a more integral role,  for him and for the band, in the film.  Work on the film began in March and finished in May. 





















The band started the year with two major personnel changes.  Marion Hutton had married and become pregnant.   She would go on leave and be replaced by Dorothy “Dot” Claire, of Bobby Byrne’s band.  Claire appeared to be the ideal replacement.  She was a vivacious and extroverted blonde.  The problem was that Dorthy Claire never quite hit it off with the band,  and Bobby Byrne didn't want to let her go.  He had sued Glenn Miller and they eventually settled, with Dorothy Claire returning to Bobby Byrne's Band.  

















The Modernaires with Glenn Miller performing during the band's Chesterfield radio show. Pictured L to R are: Bill Conway,Ralph Brewster, Hal Dickinson, Marion Hutton, Chuck Goldstein, Tex Beneke, Ray Eberle and Glenn Miller.        

  
On a more permanent note, Glenn added the vocal group the Modernaires.  They had recorded the theme of influential WNEW disc jockey, Martin Block, “Make Believe Ballroom Time” with Glenn in the fall of 1940.  The group had been part of Paul Whiteman’s orchestra and Whiteman was ready to give up his band and move to California.  Once again, “Pops” Whiteman gave his blessing to a move that would greatly benefit Glenn Miller. 





















Glenn Miller Rehearsal with Marion Hutton and The Modernaires.


The Modernaires were a very innovative and “hip” group for their day, and thry immediately made a strong impact as a key element of the Glenn Miller band.  Glenn worked hard to integrate the Modernaires with the sound of his musicians. 

Hal Dickenson’s wife,  Paula Kelly,  replaced Dorothy Claire as female vocalist before the band arrived in California to make “Sun Valley Serenade”.  She had been singing with Al Donahue’s band.   Along with the evolution of his musical style,  the addition of the Modernaires greatly added to the depth and sophistication of the Miller musical product.   
                 
The cast of “Sun Valley Serenade” included,  along with John Payne and Sonja Henie,  co-stars Lynn Bari, Milton Berle,  Joan Davis,  Dorothy Dandridge and dancers, the Nicholas Brothers.  Harry Warren (composer) and Mack Gordon (lyrics) wrote the musical score, which would include the Glenn Miller hit “Chattanooga Choo Choo”.






















Marion Hutton,(older sister of actress Betty Hutton).


In August, Marion Hutton returned to the band, which had returned to New York after it toured back and forth across the continent during their tour to and from the West Coast.  While in California, they set attendance records at the Hollywood Palladium and the Pacific Square in San Diego. 






































Glenn and Helen Miller in California, 1941.
             

While living in California during the 1941 film work, Glenn and Helen purchased property east of Los Angeles in Monrovia, Rancho Duarte,  which consisted of a ranch and citrus groves.   This would be where the couple planned to build their ultimate permanent residence.  With film commitments and the lure of good weather, many bandleaders and musicians were contemplating permanently locating on the west coast. 


















CBS Chesterfield Moonlight Serenade, Pacific Square Ballroom, San Diego, California, 1941.






















Glenn Miller greets service personnel, Sunset Serenade, Cafe Rouge, 1941


The Glenn Miller band opened their third engagement at the Café Rouge in October, 1941,  and Glenn featured a new addition to the band: the legendary coronet virtuoso,  Bobby Hackett. He was soon featured on the famous Jerry Gray composition “A String of Pearls”,  which was recorded for RCA on November 3, 1941.  Bobby Hackett felt that Glenn Miller’s trumpet section was brilliant and did not need him.  However,  he admired the “intelligence and good writing” of the band,  and contributed greatly to many top recordings with the intimate sound of his playing that Glenn Miller generously featured and admired.    





















Glenn Miller and his Orchestra performed at Pacific Square in San Diego on July 3, 1941.


“For the past three or four years my orchestra has enjoyed phenomenal popularity until we have now reached a point where our weekly gross income ranges from $15,000 to $20,000. Needless to say, this has been and is most profitable to me personally but I am wondering if it would not be more in order at this time for me to be bending my efforts toward the continuance of this income if it could be devoted to USO purposes, the Army Relief Fund or some other approved purpose. If, by means of a series of benefit performances or other approved methods, even some part of this income could be maintained and used for the improvment of army morale I would be entirely willing to forego it for the duration. At the same time, by appropriate planning, programs would be regularly broadcast to the men in the service and I have an idea that such programs might put a little more spring into the feet of our marching men and little more joy into their hearts.” - Glenn Miller outlining exactly what he wanted to do and why.


























Glenn Miller Enlists, Tenafly, New Jersey, September 1942.


 It was a big secret.  On June 20, 1942, Glenn Miller submitted an application for a commission in the United States Naval Reserve.  One of the recommendations was from Bing Crosby.

Glenn Miller had become among the wealthiest entertainers and he had many business obligations to consider,  including contracts with personnel,  a new Fox movie deal for at least three more films for 1943, 1944 and 1945;  a Chesterfield radio renewal for three more years and a new, long-term RCA recording agreement.  Glenn Miller was a very secure and successful man. He was older than the draft age.  He did not need to suspend his career and lifestyle for the duration of the war.






















James Cesar Petrillo


The bands were rushing to make records before August 1,  when the musician’s union and their chief,  James Cesar Petrillo,  embarked on what would become a twenty-eight month ban against Victor and Columbia records.  The Miller band waxed thirteen sides in three days,  July 14-16,  in Chicago,  including their top-selling version of Johnny Mercer’s classic “That Old Black Magic”. 

The band had recorded a top-selling version of Johnny Mercer’s equally popular “Skylark” earlier in the year.  Another hit recorded before the recording ban was the popular “Juke Box Saturday Night”.  Among the final recordings before the ban was Bill Finegan’s gorgeous arrangement of a portion of George Gershwin’s “Rhapsody in Blue”,  which Ira Gerswhin had given Glenn Miller exclusive permission to record.





















On August 1,  the United States Navy rejected Glenn Miller’s application for a commission, in part,  as follows:  “you have not established to the satisfaction of the Navy Department that your particular qualifications fit you for a mobilization billet in the Naval Reserve”.   It was a decision that the Navy was soon to regret even more than the deeply disappointed Glenn Miller.


























On August 12, Glenn Miller sent a detailed letter,  offer of his services and outline proposal to General Charles D. Young of the United States Army, who returned a prompt and encouraging reply,  citing Glenn’s “willingness to make personal and patriotic sacrifice for the duration of the war”.

"In the months following the attack on Pearl Harbor on December 7, 1941, Glenn Miller set out to enlist in the armed services. Since most of the kids who bought his records and attended performances were now in the service, Miller figured to bring his music to them, personally. He tried the Navy first, but was rejected. He then applied for the Army, writing to Brigadier" - General Charles D. Young 


























Glenn Miller was summoned to Washington where he was interviewed and filed an official application.  In Washington,  he met officials who would later play a key role in his future activities,  including Lt. Col. Edward Kirby,  a broadcasting executive who was organizing armed forces radio activities,  and officers of the Army Air Forces.  Glenn Miller took his physical examination on August 24.  Meanwhile,  he continued his regular activities without any comments.  On September 10,  an official telegram arrived at Glenn Miller’s office at the RKO Building, in New York:  “Capt. Glenn Miller, your appointment announced, reporting date October Seven, full details reach you with orders, congratulations and good wishes, Howard C. Bronson, Music Officer”.


























During a Chesterfield rehearsal,  Glenn Miller ordered everyone out of the studio except the band.  He then made his announcement.  The band’s final Chesterfield program was aired on September 24.  Due to a prior booking, t he final performance by the band was September 26, at the Central Theater in Passaic, New Jersey.  The band appeared on a “Coca Cola Spotlight Bands” program as its final actual broadcast from the stage in New Jersey.


























Harry James and Glenn Miller, 1942.


By mid-1942, Harry James and his Music Makers had moved into a virtual popularity tie with Glenn Miller as number one band in the land.  During Glenn Miller’s final Chesterfield program, the audience was surprised  by hearing that Harry James actually playing the imitation of Harry James that was included in the tune.  Glenn told his radio listeners that Harry James would be his successor because he was joining the Army.  Harry James expressed his gratefulness for the rest of his life.  Glenn Miller recommended him, his top competitor, as his replacement,  instead of one of the three bands that he owned.






















What was the Navy’s great loss,was the Army’s huge gain.  Glenn Miller disbanded his orchestra in September of 1942  and reported for active army duty a month later.

We hardly knew it, at the  time, but "Glenn Miller and his Orchestra" had become a part of music history.     

***

Glenn Miller was commissioned a captain in the Army Specialists Corps, went through basic training, and then had to endure several months of Army bureaucacy, while the Specialists Corps was discontinued, and he was transferred into the regular Army.  Glenn was transferred again into the Army Air Corps where he was finally able to put together the military band that he wanted.


























Glenn Miller was ordered to report to Maxwell Field, Alabama.  It has often been believed that the Army Air Forces were able to secure Glenn Miller due to a clerical oversight with regard to his first name, "Alton".  However,  the Army Air Forces knew exactly who Glenn Miller was all along, and they had a specific role in mind for him, from the day he had interviewed in Washington.                     

Glenn Miller remained at Maxwell Field until early 1943, when he was assigned to the Army Air Forces Technical Training Command at Knollwood Field, North Carolina.  His plans were to organize a group of outstanding Army Air Force bands, to boost morale.  Each band would contain musicians especially selected from the draft.  Each one would be trained to play both inspiring marching music and outstanding dance band music.


























Glenn Miller envisioned himself as a morale and band builder.  While working to achieve his objectives, Glenn Miller encountered frustrating opposition from some officers within the military bureaucracy.  He did, however, have powerful allies in Washington, who helped him to circumvent red tape.  General Charles Yount gave Glenn Miller carte-blanche permission to use his name and authority to transfer personnel.  General H. H. Arnold, the Commanding General of the Army Air Force, was keenly interested in communicating to the public the purpose and needs of the Army Air Forces and to recruit young people into the aviation service.  In early 1943, an entity the size and scope of the Army Air Forces, and its requirements, was a completely new and immense concept.  Capt. Glenn Miller would play an important role in the ability of the Army Air Force to communicate with the American people as well as to build morale.   

Captain Glenn Miller was appointed Director of Bands, Training, for the Army Air Force Technical Training Command.  He assigned himself to duty at Atlantic City, New Jersey, an induction station where many musicians from the New York area were being inducted.  During his travels emanating from Maxwell Field and Knollwood Field,  he had been able to ascertain the top talent already serving in the Army Air Force from bases in Florida to Texas,  and everywhere in between.

He gave instructions to musicians yet to be drafted, on how to get themselves assigned to him,  as he did with men already inducted or serving.  Glenn Miller was able to get a hold of some key men who had worked with him in civilian life,  such as Jerry Gray,  Trigger Alpert,  Zeke Zarchy,  and Jimmy Priddy.  He could essentially get almost anyone he wanted to form both a ‘super” band to be based in New York,  and other Army Air Force bands which would staff key radio performance units in other locations.  


























The procedure was simple.  A draftee would send a letter to Glenn Miller, giving him all the details about his induction, whereupon Captain Glenn Miller would request,  through channels,  his assignment to his command.  These men would eventually report to Atlantic City for their basic training.  Frank Sinatra,  who would be classified 4-F,  was among the musicians and singers who were in contact with Captain Glenn Miller.  If Francis Albert Sinatra had been drafted,  he would have been assigned to Captain Miller.                     

Some men that were sent to and auditioned at Atlantic City joined the “super” band which would be directed by Captain Glenn Miller and others were sent around the country.  Not all the musicians and technicians that Glenn Miller and his staff were selecting came from the dance band or jazz communities.  The Army Air Force bands and Glenn Miller’s New York-based unit, especially, would include a full concert orchestra staffing,  including a complete string section.  Captain Glenn Miller’s band would be stationed at Yale University, New Haven, Connecticut. 

Captain Glenn Miller did not necessarily select the most veteran among the musicians available to him.  He carefully crafted a mixed veteran and youthful organization.  Because of the resources that were now available to him, Captain Miller could beef up the sections of his orchestra with extra trumpets, trombones and saxophones, as well as having a full string section.  The 16 to 18 piece Miller dance band had become a much larger concert orchestra that had jazz and dance band elements within it.  This would be a very different, difficult, and greatly advanced musical project..


 
























T. Sgt. Ray McKinley at the drums.
                  

Key personnel included the energetic,  imaginative drummer and old Glenn Miller friend,  Ray McKinley,  who had led his own band. He would lead a 16/18 piece dance band that was embedded within the full orchestra.
Sgt. George Voutsas had been the producer of the NBC Symphony Orchestra broadcasts (Arturo Toscanini and Leopold Stokowski) and would be in charge of producing the Glenn Miller Army Air Force  radio programs.

Sgt. George Ockner was master of the string section.   His men came from the Cleveland, Philadelphia and other major symphony orchestras.

Ace arranger and pianist, Mel Powell, came from Benny Goodman along with Chuck Gentry (sax) and Steve Steck (trumpet).  Bernie Privin (trumpet) and Hank Freeman (sax) came from Artie Shaw.  Jack Ferrier and Gabe Gelinas (saxes) came from Jan Savitt.  Carmen Mastren (guitar) came from Tommy Dorsey.  Perry Burgett (arranger), Jack Steele (trumpet) and Jim Harwood (trombone) came from Ray McKinley.  Michael “Peanuts” Hucko came from Will Bradley.  Bobby Nichols (trumpet) came from Vaughn Monroe.  Of course, there were the Glenn Miller alumni.

Joining Jerry Gray as arrangers were Ralph Wilkinson, from the CBS Andre Kostelanetz “Pause That Refreshes on the Air” program and, in 1944, Norman Leyden from the “Winged Victory” AAF Broadway production and motion picture.
                    
The band which was stationed at New Haven, first focused on pulling together its format and makeup for their eventual radio broadcasting and recording activities. These would be centered at NBC in New York.   A marching band from within the unit was formed to perform at official activities in New Haven.  The marching band became legendary with jazz-oriented marching versions of popular tunes such as “St. Louis Blues”, “Blues in the Night”, “Jersey Bounce” and “Buckle Down Winsocki”.

A famous, if exaggerated, story soon circulated wherein a military offiiicer scolded Captain  Glenn  Miller for ruining the traditional Army marching music, saying that the "Sousa marches were as perfectly fine in 1943 as they had been in 1917".  In response, Captain Glenn Miller reportedly replied, “Tell me, Major, are we still flying the same airplanes that we did in 1917?”  Time Magazine would even run an article about the incident and Glenn Miller’s activities called “Afro-Saxon in the Woodpile”.   In this article, John Philip Sousa’s successor Edwin Franco Goldman lambasted Captain Glenn Miller.  The “March of Time” newsreel would run a feature including the marching band performing on the New Haven Green. 



















The "Jeep Band," Yale University, New Haven, 1943


The “March of Time” newsreel showed off what was called the “jeep band”.   That is, the marching band’s big drum sets and drummers that were carried aboard jeeps and driven alongside the musicians as they marched on the Green or at the Yale Bowl.  The Army Air Force apparently thought Glenn Miller was doing the right thing because Captain Miller simply kept on doing it,  much to the delight of the young people in the services who were marching and listening to Glenn Miller’s “updated military music”.  Today,  Glenn Miller is considered by the United States Department of Defense to be “the father of modern military music”.  

Singer, Tony Martin, was one of the men originally selected for the Army Air Force band. He had already achieved fame as a film, radio and record star.  He was well liked by the men in the band and Glenn Miller. When Tony Martin had the opportunity to apply for Officer Candidate School, Captain Glenn Miller wholeheartedly approved.  Tony Martin left the Glenn Miller unit in September 1943.  He was replaced in October by singer, Johnny Desmond, who had come into the service after working for Gene Krupa.                    

Once transferred to the Glenn Miller unit from another Army Air Force band, Johnny Desmond thought that he was doing just fine.  So when Captain Glenn Miller told him after his third weekly radio program that he wanted to talk with him, Johnny was filled with confidence.  Then the ax fell!  “Tell me, Desmond”, Captain Miller said.  “Whom are you going to sing like next week?”  Johnny didn’t know what Glenn Miller was driving at, so Captain Miller explained.  “Look, first you sounded like Bing Crosby.  Next it was Tony Martin and last week you sounded like Frank Sinatra.  Now if I wanted Tony Martin that much I would have kept him.  If I wanted Bing, I’d have kept Bob Houston (one of the original singers assigned to the band), who sounds just like him.  And if I want Sinatra, I can get him because I understand he is about to be drafted (Sinatra was rejected because of a perforated eardrum).  Your trouble is that you are not singing like Johnny Desmond.  I sent for you because I want you, not a carbon copy of somebody else.  Remember this, as long as the real thing is around, people will never buy an imitation.”   From then on,  Johnny Desmond sang like Johnny Desmond.   

In June 1943, Captain Glenn Miller and his Army Air Forces Training Command Orchestra tested a series of programs from Yale and broadcast over the Boston CBS station WEEI called “I Sustain the Wings”.  The program combined the music of the full orchestra with dramatic sketches describing the role of various Army Air Force units, jobs and activities to the public.  The purpose was to inform the public and to entice volunteers into that branch of the service.  By mid-July, the program was broadcast over the full CBS network on Saturday afternoons.  “I Sustain the Wings” would move to the full NBC network on September 18.  It would eventually be broadcast at both 6:00 p.m. and 11:30 p.m. Eastern time every Saturday.  The program would be a prime showcase for the Army Air Force, who was involved in about a half-dozen network radio programs over several networks, and including several of the bands that Glenn Miller had helped to staff.                    

The announcers and actors assigned to the Glenn Miller unit for “I Sustain the Wings” included Lt. Donald Briggs and Cpl. (later Sgt.) Broderick Crawford.  Donald Briggs was a well known network radio actor and announcer, who would become the Executive Officer of the Army Air Forces Training Command orchestra.  Broderick Crawford was an established Hollywood film actor (and character).  Later, when the  Glenn Miller unit was sent overseas and replaced on “I Sustain the Wings” by the Army Air Forces Training Command Orchestra directed by Sgt. Harry Bluestone, the announcing role was assumed by Lt. William Holden. 

Having been associated with many of the world’s leading conductors of serious music, Sgts. George Voutsas, George Ockner, arranger Ralph Wilkinson and the assorted “fiddle players” assigned to Captain Glenn Miller, had every right to be skeptical of Glenn Miller’s conducting ability and grasp of the classics.   But once they saw Glenn Miller in action, their skepticism was turned into admiration.  George Voutsas would later remark, “I would put Glenn on a par with the great symphony conductors of our times”.  “He had a tremendous ability to get the most out of his men and the arrangements.  In his conducting, he was especially good at producing just the right shadings.  He would study every score very carefully until he knew just what he wanted from it and then he would go out and get it.  Even the arrangers themselves, who wrote the scores, could not come close to him.”   





















Ray McKinley and Herman Trigger Alpert.
               

With out a doubt,  Captain Glenn Miller had a magnificent group under him.  The strings contained top symphony musicians.  The brass section was powerful,  clean and accurate,  with very experienced section leaders.  The sax section was equally strong, and the entire orchestra was carried forward by the propulsive drive of a “dream” rhythm section including Ray McKinley (drums),  Mel Powell (piano),  Trigger Alpert (bass) and  Carmen Mastren (guitar).   In addition, the unit had a brilliant French horn player named Addison S. Collins, Jr., and a fine vocal quartet called the Crew Chiefs.


















The Crew Chiefs. 






















 
Frances Langford and The Modernaires



The orchestra would travel weekly from New Haven to New York for the purpose of broadcasting their network radio program.  Once they had moved to NBC,  “I Sustain the Wings” was broadcast from the NBC Vanderbilt Theater studio.   In addition to their network program, the orchestra also had other important recording responsibilities.   




















Starting in October, 1943 and continuing until January, 1944,  they recorded “V-Discs” at RCA Victor studios.  V-Discs were recordings made by the Army and distributed to military personnel around the world.  Since the musicians’ recording ban had continued with Victor and Columbia, the V-Discs were a special exception made by the musicians and the industry in order to get current recordings to the Allied forces.  After January, 1944,  the V-Disc program opted to take recordings directly from the Glenn Miller unit’s broadcasts to put on V-Discs.  The Army Air Forces Training Command Orchestra would be one of the most-issued artists that appeared on V-Discs,  along with Bing Crosby,  Frank Sinatra,  the NBC Symphony, and Andre Kostelanetz.

During World War II the United States Office of War Information (OWI) was responsible for government communications with both the foreign and domestic audience.  Among its duties was international broadcasting, and the infant “Voice of America”,  which operated stations around the world,  including ABSIE, in London (the American Broadcasting Station in Europe).  The Office of War Information broadcast both in English and numerous other languages.  The Miller Army Air Force unit was a major contributor to Office of War Information programming. 


























Every Saturday before their NBC network broadcast, the orchestra recorded a weekly 15-minute Office of War Informationmusical program at NBC called “Uncle Sam Presents”.  It was broadcast in English with Lt. Briggs announcing and Captain Glenn Miller hosting.  The program was formatted for allied service personnel worldwide and answered their requests for favorite tunes.

The Glenn Miller unit also recorded a series of programs for Office of War Information at NBC on Friday afternoons after being bused from New Haven to New York.  This was “Music from America”, which was aimed at foreign audiences.  The programs were recorded without announcements so that Office of War Information local announcers could introduce the tunes in various languages.  Office of War Information “Uncle Sam Presents” and “Music from America” recordings are preserved at the GMA along with the NBC “I Sustain the Wings” programs.  

The United States Treasury Department aired various programs for the American public that were syndicated to local radio stations for the purpose of selling defense bonds to finance the war.  Almost every popular artist participated.  Several major bandleaders including Tommy Dorsey and Duke Ellington hosted their own Treasury programs.  A major department program that featured different artists was the “Treasury Star Parade”.  The Glenn Miller Army Air Force unit recorded for a number of these syndicated programs.

Other programs involving the full orchestra or groups culled from the Orchestra included “Wings for Tomorrow” (Ray McKinley and a dance band), “Strings with Wings” (the string section with light classics), “Home Base” (the full orchestra), “Partners in Victory” (for women considering enlistment) and other appearances.  The orchestra was also featured on the Armed Forces Radio Service programs “Command Performance”,  “G. I. Journal”,  “G. I. Jive” and many more.

The Army Air Forces Training Command, under the direction of Captain Glenn Miller, had set a new and exciting musical standard during its history.  The orchestra was a very different organization than the Glenn Miller civilian dance band. The Army Air Force orchestra played current top 40 tunes during 1943 and 1944 on all their broadcasts. Glenn Miller’s Army Air Force orchestra delved into light classics with great success. Their programs kept Glenn Miller very much in the public consciousness.  The full string section provided a lush backdrop for the traditionally popular Glenn Miller romantic arrangements.  The jazz output of the orchestra was arguably far superior to anything Glenn Miller had offered before enlisting. Captain Glenn Miller was totally immersed in the war effort.  He wanted to do more.  Specifically, he wanted to take his orchestra overseas.  However, he had become invaluable to the Army Air Force as a fund raiser and a morale booster.  His bond tour appearances were exceedingly impressive, raising $4 million in pledges per night at rallies in cities including St. Louis and Chicago. 


























Two Loving and Adoring Parents with their son Steven.



After years of trying to have children of their own and then hoping to adopt,  in 1943,  Helen and Glenn Miller were able to bring to their home in Tenafly, New Jersey,  their new son, Steven.  Their affection and deep love for their new son was obvious to all.  By the time Steven reached his first birthday,  Helen and Glenn Miller had started the process of bringing home a sister for Steven.






















General Ray Barker.
          

In the spring of 1944, General Dwight D. Eisenhower ordered General Ray Barker of his SHAEF staff in England (Supreme Headquarters, Allied Expeditionary Force) to begin discussions with the British Broadcasting Corporation (BBC) in London and the Armed Forces Radio Service (AFRS) in Los Angeles toward his plan to create a new, fully-integrated SHAEF Broadcasting Service for allied personnel that would incorporate American, British and Canadian programming.  The plan was resisted by both sides, who wanted to maintain their independent programming, although the Armed Forces Radio Service English-based service, American Forces Network-Europe (AFN) was dependent upon BBC engineers for transmission facilities.                





















Col. Thomas H. A. (Tom) Lewis.


Eventually the Col. Tom Lewis, Commanding Officer of the Armed Forces Radio Service, would fly to London and give his reluctant approval for the service.  The BBC remained adamant in their opposition.  

























Prime Minister Winston Churchill.


General Eisenhower asked Prime Minister Winston Churchill to intervene.  A compromise was reached with the BBC.  The new radio service would be called the Allied Expeditionary Forces Programme of the BBC (AEFP).  It would report to General Barker but would be run by a prominent BBC executive, Mr. Maurice Gorham.  He, in turn, was assisted by BBC producer, Cecil Madden, and Lt. Col. David Niven, the actor who had been serving in a combat unit and recently removed for radio duties.  An American deputy was chosen for Mr. Gorham in the person of Lt. Col. Ed Kirby, the broadcaster who had been the Armed Forces Radio Service man in Washington and creator of the “Command Performance” program.                    

In organizing Allied Expeditionary Forces Programme, the staff made several determinations.  First, that programming would reflect the relative size of each nation’s troop component or 50% American, 35% British and 15% Canadian.  Announcers would be representatives of all three.  News programming would come from the BBC.  Entertainment programming was heavily dependent upon Armed Forces Radio Service transcriptions of American network radio programs which were flown on a priority basis by the Army Air Force Air Transport Command from California to London.  















Chief Cecil Madden reviews a script with Sgt. George Voutsas and Sgt. Paul Dudley.

Programs could be put on the air over Allied Expeditionary Forces Programme within a week of being recorded.  However, the new service sought live programming to fill their schedule. Cecil Madden recalled that he could get any entertainer who was traveling to Europe for USO shows and other tours, but that was not enough.  The idea was presented that Allied Expeditionary Forces Programme would be staffed with full orchestras and singers from each country.  Thus, the British Band of the Allied Expeditionary Forces was conceived, and would be directed by Regimental Sergeant Major George Melachrino.  The Canadian Band of the Allied Expeditionary Forces would be sent over and consist of the Canadian Army band and signers then touring west to Vancouver and directed by Capt. Bob Farnon.  Kirby did not have to think too hard to imagine who he and Supreme Headquarters Allied Expeditionary Force would want as the American Band of the Allied Expeditionary Forces.

























General Dwight D. Eisenhower.
                    

General Dwight Eisenhower of Supreme Headquarters Allied Expeditionary Force sent a letter to General “Hap” Arnold of the Army Air Force requesting Captain Glenn Miller and the Army Air Forces Training Command Orchestra be transferred to England to become the American Band of the Allied Expeditionary Forces (the title was originally the American Band of the Supreme Allied Command).  The Allied Expeditionary Forces Programme would be going live and “on the air” D-Day +1, June 7, 1944.  The Army Air Force reluctantly granted their permission, under the condition that they retained “ownership” of the orchestra and that their star attraction would be returned to them following their assignment overseas.  

 In late May 1944, word reached New Haven that at least 62 members of the Army Air Forces Training Command orchestra and staff would soon be heading for England.  Administrative Officer Lt. Don Haynes, Captain Glenn Miller’s former civilian manager, began to make preparations.  The orchestra itself was on a war bond tour in the Midwest.  Their final “I Sustain the Wings” broadcasts would be aired from Chicago on Saturday, June 10, 1944.


























Helen and Glenn Miller as he leaves for England.


Glenn Miller departed by air for England on June 18 and on June 19 the band followed by sea, aboard the troop transport and former ocean liner “Queen Elizabeth”.                    

Following a rough six-day crossing,  the members of the orchestra arrived at Scotland’s Firth of Clyde and were met by Captain Glenn Miller.  They proceeded by rail south to London.  Glenn Miller filled the men in on where they were going and that London was currently experiencing a terrible blitzing from the frightening German V-1 “doodle bug” or “buzz bomb” flying bomb attacks.  The initial quarters for the band were located at 25 Sloane Court.  Many V-1 flights came over this location and were dropping into surrounding neighborhoods when their engines cut out, causing serious damage and casualties.  This greatly worried Captain Glenn Miller.  On Saturday, July 1, Captain Glenn Miller was able to relocate his unit 50 miles north of London to the town of Bedford.  Many of the BBC broadcasting activities had been moved up to Bedfordshire during the war,  including Sir Adrian Boult and the BBC Symphony.  Captain Glenn  Miller, accompanied by David Niven, had gone up and made arrangements for the move,  including setting up broadcasting facilities.  


















Sloan Court, London


On Sunday, July 2, one day after the Glenn Miller unit moved out, a V-1 landed and exploded a few feet in front of 25 Sloane Court,  killing almost 100 people.  It had been a very close call!  Captain Glenn Miller was shocked and relieved.  For some time he had come to believe in what he called “the Miller luck”.  The Sloane Court escape fortified Glenn Miller’s optimism. 

With their broadcasting facilities completed, the band would begin its schedule over Allied Expeditionary Forces Programme as well as the BBC.  With his commercial sense and organizational ability, Glenn Miller created a series of programs to showcase his talent and to fill Allied Expeditionary Forces Programme air time.

The schedule included broadcasts by the full orchestra, “The American Band of the Allied Expeditionary Forces” or “Moonlight Serenade”, hosted by Glenn Miller.  Sgt. Ray McKinley directed the dance band embedded within the full orchestra on “The Swing Shift” or “American Dance Band”, Sgt. George Ockner and the strings performed on “Strings with Wings”, Sgt. Mel Powell and a jazz combo held forth on “The Uptown Hall” or “Swing Sextette” and Sgt. Johnny Desmond had his own program along with some of the strings, Jack Russin on piano and Addison Collins’ French horn, “A Soldier and a Song,” or “Songs by Sgt. Johnny Desmond”.


 


















Sir Adrian Boult.
                

All of the programs immediately caught the attention of not only service personnel but the British public.  The Allied Expeditionary Forces Programme transmitters and frequencies blanketed southern England as well as the Continent.  The British public was tired of the war and starving for celebrity entertainment.  They immediately embraced and fell in love with Glenn Miller and his Allied Expeditionary Forces orchestra.  Admirers included colleagues such as Sir Adrian Boult, who would conduct “Strings with Wings” in a special appearance and also was a frequent visitor to their broadcasts and rehearsals.


























Maurice Gorham.


Within weeks after the Glenn Miller organization went on the air, Maurice Gorham summoned Glenn Miller to a meeting.  BBC engineers were upset with the volume changes in the Glenn Miller music; they said that they could only hear the louder passages and not the softer music.  They requested that Glenn Miller have his men play at a constant volume.  Glen Miller declined.  The BBC pulled Glenn Miller’s programs and was deluged by a listener revolt.  Newspaper and magazine editorials condemned the decision.  Glenn Miller’s programs, which had remained on Allied Expeditionary Forces Programme, were quietly resumed by the BBBC.                      
Soon after arriving in England, the orchestra began a series of in-person concerts at air bases throughout the United Kingdom.  This focus was natural as this was still an Army Air Force unit.  The group often appeared on a flat bed truck provided by the Army Air Force.  If possible,  the men were motored to their concerts in buses.  For longer trips,  they were flown in either C-47 transport aircraft,  which could operate into RAF Twinwood Farm,  a training field just north of Bedford, or, aboard B-24 aircraft which operated from United States Army Air Force Thurleigh,  which was several miles further up the road.  On one trip,  the aircraft Captain Glenn Miller and Don Haynes were aboard, almost collided with a bomber returning from a mission.  Once again, the “Miller luck” held true.


























                            
Lt. General James Doolittle.
                           

“Next to a letter from home, Captain Miller, your organization is the greatest morale booster in the ETO,”  8th Air Force commander Lt. Gen. James “Jimmy” Doolittle told Glenn at the end of a July 31, 1944 concert at Wycombe Abbey.  Everywhere the orchestra went, it was greeted with immense enthusiasm.  Service personnel reacted to their appearances with just the sort of wild cheering and yelling that Glenn Miller had expected. 

Starved for real live music and “a touch of home”,  they were awesome audiences,  often in huge aircraft hangers.  Especially touching were appearances not only for Army Air Force and RAF aircrew, many of whom the men realized might be killed or wounded on combat missions over Europe,  but also appearances at hospitals and before troops recently back from combat.  The orchestra appeared for airborne (paratroop) units of the 82nd and 101st Airborne, between their June 1944 drops in Normandy, and September 1944 drops in Holland.  
























King George VI. Queen Elizabeth and Princess Elizabeth.
              

One day in Bedford, Glenn Miller and Don Haynes was introduced to Her Royal Majesty, Queen Elizabeth, who had been visiting the local American Red Cross Club.  The Queen extended her right hand,  shook hands warmly,  and, smiling,  said, “Let me commend you and Captain Miller, and the members of your fine organization for the wonderful morale work you are doing.  The Princesses Elizabeth and Margaret are avid Glenn Miller fans and listen to your nightly wireless broadcasts regularly.”      

Another big fan turned out to be General Dwight D. Eisenhower.  The one time Captain Glenn Miller and his men met “Ike” was at a concert for his headquarters staff.  Following the concert, the Supreme Commander made a point of going over to Captain Glenn Miller and personally thanking him for the orchestra’s important contribution to the morale of his troops.

In August 1944, confirmation arrived of Captain Glenn Miller’s promotion to Major.                    

The longer the orchestra remained in England, the greater its popularity grew and the demands on its time and energy.  The men maintained a constant and backbreaking schedule.  As the weather turned from summer to a fall chill, they often played in hangers wearing winter gloves and overcoats.  By the end of October 1944,  they had to suspend such major concerts.
























Capt Miller and TSgt Paul Dudley at the Plaza Cinema, London


When the orchestra went to England, Lt. Don Briggs had remained behind.  Sgt. Paul Dudley, former producer of the “Coca Cola Spotlight Bands” radio series, joined Glenn Miller’s group along with Cpl. Paul Dubov who came along as announcer.  Over Allied Expeditionary Forces Programme, well known British announcers were assigned to the Glenn Miller broadcasts and British singers were guest stars on his broadcasts.                    

As the band traveled around the United Kingdom, Glenn Miller often commented on the condition of the aircraft that they were flying aboard.  Major Glenn Miller felt that his men were important and should be flown aboard aircraft in good condition and not necessarily ones that had been pulled out of combat service.

Glenn Millerbecame homesick.  Carl Swanson and Steve Steck from the orchestra helped Major Glenn Miller build a model of the ranch home that he planned to build in Monrovia after the war.  Major Miller  spoke often of his postwar plans and his desire to offer any member of the Army Air Force Orchestra a job with him in California.

A new tune, written by Glenn Miller and singer, Artie Malvin, of the Crew Chiefs, was being performed by the dance band and sung by Ray McKinley, “I’m Headin’ for California”. 
























Bing Crosby and Major Glenn Miller
                  

Bing Crosby and Dinah Shore went toEngland on USO tours in August and September, 1944.   For Bing Crosby.  the fond memories of the men  matched those that he held for Glenn Miller.  Bing Crosby was a major hit on his own in Britain, but was greatly interested in his broadcasts and appearances with the Glenn Miller Allied Expeditionary Forces orchestra.  Dinah Shore broadcast and recorded with the orchestra.  A war relief fundraising recording session was arranged at the Abbey Road Studio.
                
The full orchestra started traveling into London every week to broadcast their program.  The sub-units continued to broadcast from Bedford.  The location for the London performances was the Queensberry All-Services Club,  where the orchestra could appear in front of a live audience of allied service personnel.  Around the corner from the club was Kettner’s Restaurant, which Glenn (and Bing) greatly enjoyed. Glenn   Miller kept a billet at the Mount Royal Hotel for his business in London along with his quarters that he had  in Bedford.  The sub-units of the band appeared on Cecil Madden’s “An American Eagle in Britain” program, which was broadcast both in Britain and transmitted to the United States from the American Red Cross Club in Dunker’s Den, Picadilly.  Another transatlantic program broadcast weekly during the war was “Atlantic Spotlight”, which included announcers and performers both in the United States and the United Kingdom.  Glenn Miller and the Allied Expeditionary Forces orchestra appeared from London.
                      
Among the Office of War Information's multi-lingual broadcasts,  they beamed a program to the German armed forces called “The Wehrmacht Hour”.  The host for the program was a German-speaking female announcer named Ilse Weinberger.  Artists visiting London were guests on the program. It was another assignment for Major Glenn Miller and orchestra.  Bing Crosby,  Dinah Shore, and even Spike Jones made appearances on the show.






















Marlene Dietrich was a guest and did not have any problem communicating in the German language.  Major Glenn Miller would record up to nine “Wehrmacht Hour” programs in October and November of 1944.  Glenn Miller’s struggle with phonetic German was most apparent.  The orchestra recorded these programs at Abbey Road Studios,  as they had the Dinah Shore war relief session.  Former German military personnel said that these programs were definitely heard and enjoyed by the German armed forces. 



















Announcer Ronnie Waldman, Marlene Dietrich and George Melachrino.
        

During October, the orchestra had been a smash hit at a Jazz Jamboree held at the Stall Theater in Kingsway, London.  This was in response to many requests for a public concert because the orchestra had only been appearing in person before service audiences.



























A local shop on the corner of Lawrence Street and Ford End Road, which is still operating as a Tandoori Restaurant,  provided many band members with their first taste of fish and chips!             

On November 13,  Glenn Miller flew aboard the shuttle, a scheduled service, from London to Paris for meetings at Supreme Headquarters Allied Expeditionary Force,  which had been moved forward to Versailles.  He returned to England on November 18.   During this trip,  Glenn Miller had one short but legendary meeting and several longer and more involved meetings.






















Major General Walter Bedell Smith.


On November 14,  he was summoned before General Walter Bedell Smith,  General Eisenhower’s chief of staff.  General George C. Marshall,  Chairman of the Joint Chiefs in Washington,  was keenly aware of the success of the Glenn Miller organization.  He wanted to add prestige to the official United States Army Band, and ordered General Smith to contact Major Glenn Miller.  Glenn Miller did not know why he was being summoned.   When Major Glenn Miller entered General  Smith’s office,  the chief of staff simply asked him “How would you like to direct the United States Army band?”   Major Glenn Miller replied “I would not, sir.”   General Smith said “why not?”   Major Glenn Miller answered,  “I do not understand that type of music, sir.”   The interview ended with General Smith saying “Thank you, that’s all, Miller.”   Later,  General Smith reportedly said  “At least that son-of-a-bitch Miller knows what he wants.”  

Glenn Miller’s other business was very important.  General Barker had long agreed with Major Glenn Miller that the orchestra ought to visit France and get closer to the front-line troops.  They could hold concerts in Paris for troops on leave;  Glenn Miller was also anxious to get closer to the front lines,  but this was probably not possible.  The military has strict regulations for celebrities,  in uniform or not.






















Clark Gable
                  

The policy had been necessary in dealing with Major Clark Gable, who was assigned to film a combat documentary about aerial gunners in England.   Clark Gable had stowed away on several B-17 missions over the Continent.   The Army Air Force was terrified that Clark Gable might have been shot down, captured and put on display by the Nazis as a trophy.  This meant that all transportation by air for someone like Major Glenn Miller had to be formally approved and in no event was he permitted to travel into harm’s way.






















General Ray W. Barker.


While Major Glenn Miller had no problem securing permission from General Barker and Supreme Headquarters Allied Expeditionary Force for a Continental tour,  convincing Mr. Gorham, director of the  Allied Expro-activepeditionary Forces Programme and the BBC engineering staff was another matter.   Major Glenn Miller had gone over Maurice Gorham’s head to ask General Barker for approval.  Sympathetic as he was with the aim of a potential tour, Mr. Gorham’s responsibility was the continuity of Allied Expeditionary Forces Programme programming.



















Bob Farnon


As both George Melachrino and Bob Farnon would later confirm,  even they,  as well as everyone else,  realized that Glenn Miller and his unit were a Allied Expeditionary Forces Programme’s star attraction.  There were several unreliable telephone transmission lines between England and France over which radio programs could be sent back to the BBC and then sent out over their transmitters.  The priority for use of the lines was essential military communications, not radio entertainment programming.

In order to secure the approval of the Allied Expeditionary Forces Programme, Glenn Miller agreed to pre-record six weeks’ worth of programming by his full orchestra and their various sub-units.  Because this would require a nonstop marathon recording schedule, he put it up to a vote of the men.  They wanted to go over to France, too, and they voted yes.  So between November 20, and December 12,  they recorded six weeks’ worth of programs,  while also working their normal Allied Expeditionary Forces Programme and other schedules.  This took superb training and discipline,  and is remarkable, compared to latter-day artists, who take weeks to complete one recording let alone an album.     




















There was one large problem!  The Allied Expeditionary Forces Programme and the BBC could not assemble enough recording discs to handle the load.  Glenn Miller contacted the English branch of RCA Victor, and they came up with the extra discs necessary to complete the task. 

The Allied Expeditionary Forces Programme approved the tour, which was planned to be six weeks, after which the orchestra would return to England.  The Allied Expeditionary Forces Programme announced the plan for the move to France in the Allied Expeditionary Forces Edition of the BBC Radio Times weekly magazine, which had a circulation of over two million service personnel. 

The troops knew that Major Glenn Miller and the Orchestra were coming over to the Continent from England in mid- December and among their first planned appearances would be a gala Christmas Day broadcast from Paris. It would air along with the other Allied Expeditionary Forces Programme orchestras from London and be beamed back to the United States.      
            
Major Glenn Miller received word from Helen Miller that Steve’s new sister, Jonnie Dee, would soon be arriving to her home and family.  Major Miller was delighted and could not wait to get home and meet his daughter.  


























In late November, Lt. Don Haynes flew to Paris to make arrangements to find suitable quarters for the orchestra.  In Paris, Don Haynes ran into an 8th Army Air Force Service Command officer that he and Major Glenn Miller had become acquainted with at their Milton Ernest Hall dining facility in Bedfordshire.  This was Lt. Col. Norman Baessell, who due to his job, was a frequent traveler to and from Army Air Force facilities in France, aboard his own 8th AAF SC utility aircraft.  Lt. Col. Baessell showed Lt. Don Haynes a good time in Paris.  Lt. Don Haynes returned to England with all of the preparations for the orchestra in France not completely finalized.
                                 
The schedule for the orchestra to travel from Bedford to France was set for Saturday, December 16.   Lt. Don Haynes was scheduled to fly ahead of the orchestra to firm up their billeting plans.  Meanwhile, Major Glenn Miller was trying to arrange for the orchestra’s French stay to be extended, and wanted also to confirm further details of radio and concert logistics.  He was very frustrated that the billeting plans had not been completed.  He was apparently not pleased.  Major Miller ordered that Lt. Don Haynes’ travel orders be changed, and said that he would fly ahead to firm up arrangements and conduct other business instead of Lt. Don Haynes.  Lt. Don Haynes would now accompany the orchestra.


























Paul Dudley, Maj. Glenn Miller, Lt. Don Haynes, Queensberry All-Services Club, London, December 5, 1944                   

Major Glenn Miller’s travel orders were cut, calling for him to depart United States Army Air Force Bovingdon aboard the scheduled Supreme Headquarters Allied Expeditionary Force shuttle on or about Thursday, December 14.  The Marquis of Queensberry  threw a going away party for the men on the evening of Tuesday,  December 12, upon completion of their pre-recordings.  Glenn Miller received bon voyage messages from Maurice Gorham, Cecil Madden and the Duke of York,  all thanking him for a job well done and looking forward to success for the orchestra on the Continent.        

Major Glenn Miller decided to go ahead, if possible, the day after the party.  However, the weather on Wednesday, December 13, was bad and flights were grounded.  At lunch the next day in Bedfordshire, Lt. Col. Norman Baessell told Lt. Don Haynes that he planned to fly to Paris on Friday, December 15, and he could take Major Glenn Miller along with him if necessary. 

Lt. Don Haynes called Major Glenn Miller, who had been grounded once again on December 14 due to the bad weather.  Even if conditions improved the next day, the Supreme Headquarters Allied Expeditionary Force shuttle had been grounded for several days prior, and Glenn Miller would be bumped by officers with higher priority who had also been waiting.  Major Miller accepted Lt. Col. Norman Baessell’s invitation over the telephone, asked Lt. Don Haynes to drive down to London, pick him up and take him up to Bedford. Lt. Don Haynes picked up Major Glenn Miller. They had dinner that evening with Lt. Col. Norman Baessell and several other officers, followed by a game of poker. 

The next day, Major Glenn Miller waited with Lt. Don Haynes at Milton Ernest for word from Norman Baessell’s pilot, who was flying in from an Air Depot to pick up Lt. Col. Norman Baessell and their passenger.  After lunch, word came, and the three drove the mile and a half over to the RAF Twinwood Farm airfield.  The weather was overcast with limited visibility.  The UC-64A aircraft landed and idled its engine.  Lt. Col. Norman Baessell and Major Glenn Miller got aboard.
















Major Glenn Miller’s chain of command was not aware that he had accepted a ride with the 8th AAF SC officer and aboard a single engine 8th Army Air Force SC aircraft that had recently been serviced for a carburetor part recall.  Nor was Major Glenn Miller aware that the pilot, F/O John Morgan, was not  Lt. Col Norman Baesell’s regular, fully instrument- rated pilot. 

On December 15, 1944, Major Glenn Miller boarded a Noordwyn 'Norseman' C-64 aeroplane to fly to Paris,  where he was scheduled to bring his band in for a Christmas concert for the Allied troops.

According to Glenn Miller's friend and biographer, the late George T. Simon, that when Glenn Miller boarded the small plane, the band leader asked Colonel Norman Baesell where the parachutes were.

"What's the matter, Miller?" Norman Baesell asked. "Do you want to live forever?"

The aircraft taxied out and departed on Runway 27, at 1:55 p.m. British Summer Time.  The plane never arrived.  Neither Major Glenn Miller nor his companions,  Lt. Col. Norman Baessell and the pilot F/O John Morgan, were ever seen again.

 It’s unknown what happened,  as neither the plane nor it’s occupants have ever been found, but it’s generally accepted that plane went down over the English Channel. Glenn Miller was only 40 years old.




















 It was from the tower (the restored Twinwood Airfield tower is shown above) that Major Glenn Miller was last seen alive on Friday December 15, 1944.    From Twinwood Farm airfield he flew that day.. The plane disappeared en route over the English Channel.

The orchestra arrived at Orly Field, Paris, on Monday, December 18,  following several more days of delays.  On Saturday morning,  the German army had launched their massive counterattack in the Ardennes which would come to be known as the “Battle of the Bulge”.  Supreme Headquarters Allied Expeditionary Force and all levels of allied operations had been thrown into a state of confusion.  Unknown to Supreme Headquarters Allied Expeditionary Force or the orchestra was the missing aircraft report that had been dutifully filed on December 16 by the 35th Repair Squadron at the 2nd Strategic Air Depot at United States Army  Air  Force Thorpe Abbots, England.

They could not locate UC-64A #44-70285 and pilot F/O John Morgan.  They were as yet unaware of his passengers or whereabouts.  Upon arrival, Lt. Don Haynes and the men were surprised that Major Glenn Miller was not at Orly Field to meet them.  After getting the men squared away, Lt. Don Haynes went to SHAEF to locate Major Glenn Miller.  When he arrived looking for Glenn Miller and relating that he’d seen Glenn off, General Barker and his staff went into immediate crisis mode.  They checked with airfields to see if the aircraft had made an emergency landing somewhere.  They checked with antiaircraft batteries to see if anyone had shot at anything.  And, of course, they called the 8th Army Air Force SC and the 35th Repair Squadron.  Within hours,  if not minutes,  they came to a horrifying realization that the plane had gone down, probably over the English Channel. 

The missing aircrew report document was amended to add Lt. Col. Norman Baessell and Major Glenn Miller as passengers.  Geneneral Orville Anderson of General Doolittle’s 8th Army Air Force Headquarters staff was a distant cousin of Major Glenn Miller.

He launched a search, but he had no illusions.  The plane and its occupants were lost.  In the coming weeks, the 8th Army Air Force would conduct an investigation and held a Board of Inquiry which met in Bedford on January 20, 1945.  They concluded that Major Glenn Miller essentially boarded the wrong plane on the wrong day with the wrong pilot.  The aircraft had likely been either flown into the water due to pilot disorientation or had experienced a mechanical failure, possibly carburetor icing due to the previously known malfunctioning carburetor deicer part, with either cause affected by poor weather.                    

On December 6, 1944, Major Glenn Miller had recorded a very touching Christmas greeting for Helen Miller in which he expressed his desire to come home to his family and resume their life together at their future home in California.  That message reached Helen Miller after she received a telegram December 23 from Washington and a personal telephone call from General H. H. “Hap” Arnold.  She was devastated!   Helen Miller would move to California, and raise her two children.

From December 18 until then, Supreme Headquarters Allied Expeditionary Force, the 8th Army Air Force and the Pentagon were trying to come to grips with how they could have lost Major Glenn Miller.  The orchestra was scheduled to broadcast December 25, Christmas Day.   Pre-recordings that had been made prior to the French trip had Glenn Miller’s voice on them.  As it was, Glenn Miller was being heard on the air up to December 24,  when Supreme Headquarters Allied Expeditionary Force issued a communiqué announcing his disappearance.  The pre-recordings were either remade with announcer Sgt. Keith Jameson being dubbed in replacing Major Glenn Miller, or programs such as the German language broadcasts were canceled.                    

The December 25, 1944, program was aired as scheduled.  The orchestra would remain on the Continent on a permanent basis until it returned to the United States in August, 1945.  Under the direction of Sgts. Jerry Gray and Ray McKinley,  the men would go on to make even more history with their AEFP radio broadcasts and personal appearances.

They traveled to the French Riviera,  Germany, and the Alps.  They would play many concerts and events, including a reception for Soviet Marshall Koniev.

The band performed for over 10,000 American troops at the Nuremburg, Germany stadium.

























 There are three main theories about what happened to Miller's plane, including the suggestion that he might have been hit by Royal Air Force bombs after an abortive raid on Siegen, Germany.  One hundred and thirty eight Lancaster bombers, short on fuel, jettisoned approximately 100,000 incendiaries in a designated area before landing.  The logbooks of Royal Air Force navigator Fred Shaw recorded that he saw a small, single-engined monoplane spiraling out of control and crashing into the water. However, a second source, while acknowledging the possibility, cites other RAF crew members flying the same mission who stated that the drop area was in the North Sea. Further research by British scholars also seems to indicate that this is the most likely probability, making Glenn Miller's death a "friendly fire" incident.

In his 2006 self-published book, Clarence B. Wolfe — a gunner with Battery D, 134th AAA Battalion, in Folkestone, England — claims that his battery shot down Glenn Miller's plane.

Another book by Lt. Col. Huton Downs, a former member of Dwight D. Eisenhower's personal staff, argues that the U.S. government covered up Glenn Miller's death. Huton Downs suggested that Glenn Miller, who spoke German, had been enlisted by General Eisenhower to covertly attempt to convince some German officers to end the war early.

Since the plane vanished. many wild, crazy, impossible stories have been invented about Glenn Millers disappearance. The most probable theory is that the airplane for some reasons crashed and fell into the British Channel.

Some suggest that the Norseman carried Miller, Baesell, and the pilot might have been hit and destroyed by bombs being jettisoned by RAF planes returning from an aborted bombing mission over Germany.  It suggests that, but suggesting doesn't prove anything. A recent report claims that the Norseman carrying Glenn Miller over the Channel on Dec. 15, 1944, flew other missions and it wasn't taken out of service until.  1947.

This matter is still being debated 67 years after Glenn Miller disappeared.





















Millions of people around the world have never forgotten Major Glenn Miller and his music.  Millions more, who were born later, want to learn about him, and to enjoy his music.                    





















The orchestra would resume the “I Sustain the Wings” broadcasts in September, 1945, taking over from the Sgt. Felix Slatkin Army Air Force orchestra who had succeeded the Sgt. Harry Bluestone Army Air Force orchestra.  On November 17, 1945,  at Bolling Field in Washington, D. C.,  the final “I Sustain the Wings” broadcast was aired over NBC.







































General Eisenhower and General Arnold.


Later, the orchestra appeared at the National Press Club in Washington before a distinguished gathering, including President Harry Truman, General Eisenhower and General Arnold.   Before their performance, General Eisenhower and Geneneral Arnold went over to talk to the musicians,  tell them that their work was finished and that they were officially getting out of the army.

























Then, emcee Eddie Cantor said the following words: “Glenn Miller was a very wonderful man who led a very wonderful band.  As a civilian, he led an orchestra that for three and a half years was the number one band in America.  Glenn could have stayed here in America.  He could have stayed and made himself a lot more money, and then, if he wanted to, he could have retired, an independently wealthy man.  But he chose not to.  He was an extremely patriotic man and he felt an intense obligation to serve his country that had gone into war.  So he disbanded his great orchestra, and he formed an even greater one.  Still, he could have remained here in America.  But again he chose not to.  Instead, he chose to take himself and his orchestra overseas, to where he felt he could do the most good for our fighting men.  And what a tremendous morale-building job he and his men did over there.  And now this great band is back here with us this evening, but without its most important member, Major Glenn Miller himself.  For, as we know all too well, he made the supreme sacrifice for his country.  But he will never be forgotten, for always we will have the sound of the great music that he created.  And now, it is an extreme honor for me to present to you this evening the Glenn Miller Army Air Forces Band under the direction of Sergeant Ray McKinley.”                    

As Eddie Cantor concluded his introduction, the curtains parted and the band played the opening bars of Glenn Miller’s own composition “Moonlight Serenade”.  


























With no hesitation whatsoever,  President Harry S Truman,  in a spontaneous gesture of appreciation for everything that Glenn Miller and his men had done,  rose to his feet to lead the entire audience in a standing ovation for the orchestra.   

No popular musician in the history of our country had ever received this kind of recognition from the President of the United States of America.
                   
That night, the men of the Army Air Force Orchestra realized the true magnitude of their contribution.  In less than one year,  the Glenn Miller Army Air Force Band engaged in over 800 performances.  Of these, 500 were broadcasts heard by millions.  There were more than 300 personal appearances including concerts and dances, with a gross attendance of over 600,000.























Jerry Gray.


The AEF Band, carried on playing and supporting their troops,  even without their big leader,  and Jerry Gray conducted them until November the 17th 1945,  when they gave their last concert.

























Going Home!!!


When Glenn Miller disappeared, he left behind his wife, the former Helen Burger, originally from Boulder, Colorado, and the two children they adopted in 1943 and 1944, Steven and Jonnie.

Helen Miller accepted the Bronze Star medal for Glenn Miller in February 1945.

It was said that Helen Miller had kept many of Glenn Miller's personal effects in their bedroom and even prepared his bed every evening, and laid out his bed clothes, just in case he should miraculously return home at any moment. She did this every day until the day that she suddenly died in 1966, at the age of 64.  Her passing was mentioned in some newspapers, but the occasion of  her death received very little other notice.


























Glenn Miller by Dennis Spragg.


Glenn Miller's favorite quotation, was one from Duke Ellington: "It Don't Mean a Thing If it Ain't Got that Swing!"


Some Glenn Miller Quotes

“By giving the public a rich and full melody, distinctly arranged and well played, all the time creating new tone colors and patterns, I feel we have a better chance of being successful. I want a kick to my band, but I don't want the rhythm to hog the spotlight.” - Glenn Miller

"I haven't a great jazz band, and I don't want one... A dozen colored bands have a beat better than mine."  - Glenn Miller

"It was always intended to be an all-around combination; but when we do play a swing number we expect and try to make it swing as much as possible."  - Glenn Miller

"Why do you judge me as a musician, John? All I'm interested in is making money."  - Glenn Miller

"There is no rest, there must be no rest for a fellow when he is successful.  He has got to keep right on going . . . And don't think that I am the product of luck or breaks or anything like that.  I have worked hard ever since I came out of the University of Colorado.  I have played the trombone in so many orchestras I can't count them all."  - Glenn Miller

"It's an inspiring sight to look down from the balcony on the heads of 7,000 people swaying on a dance floor - especially when you are getting $600 for every thousand of them."  - Glenn Miller

“I thought I had swell ideas, and wonderful musicians, but the hell of it, no one else did.”  - Glenn Miller

"We didn't come here to set any fashions in music. We merely came to bring a much-needed touch of home to some lads who have been here a couple of years." - Glenn Miller

"A band ought to have a sound all of its own. It ought to have a personality." - Glenn Miller

"As long as [the Miller Luck] stays with us, we have nothing to worry about." - Glenn Miller to band manager Lt. Don Haynes,  after the band narrowly missed being hit by a buzz bomb












































                




Major Alton Glenn Miller, United States Army Air Corps has been missing in action since December 15, 1944. Major Glenn Miller was eligible for a memorial headstone in Arlington National Cemetery as a service member who died on active duty whose remains were not recoverable. At his daughter's request, a stone was placed in Memorial Section H, Number 464-A on Wilson Drive in Arlington National Cemetery in April 1992.


Military Awards

Maj. Glenn Miller earned the following awards: Bronze Star Medal, World War II Victory Medal, American Campaign Medal, European, African and Middle Eastern Campaign Medal; Marksman Badge with Carbine and Pistol Bars.


Bronze Star Medal Citation

"Major Alton Glenn Miller (Army Serial No. 0505273), Air Corps, United States Army, for meritorious service in connection with military operations as Commander of the Army Air Force Band (Special), from 9 July 1944 to 15 December 1944.  Major Miller,  through excellent judgment and professional skill, conspicuously blended the abilities of the outstanding musicians, comprising the group, into a harmonious orchestra whose noteworthy contribution to the morale of the armed forces has been little less than sensational.  Major Miller constantly sought to increase the services rendered by his organization, and it was through him that the band was ordered to Paris to give this excellent entertainment to as many troops as possible.  His superior accomplishments are highly commendable and reflect the highest credit upon himself and the armed forces of the United States."






















On May 7, 1986 the push to have a commemorative stamp issued for Glenn Miller by the US Postal service was begun.  Joy Levitt, of Wayne, New Jersey,  worked hard at the effort and saw it come to fruition with the stamp being issued on September 11, 1996.






















The colored pencil artwork, which was based on a Miller publicity photograph, was done by Bill Nelson.



























Glenn Miller led one of the most popular and best-remembered dance bands of the swing era.  In his lifetime he was seen as an intense,  ambitious perfectionist,  and his success was built on the precise playing of carefully crafted arrangements,  rather than propulsive swing or fine jazz solo improvisation  (his only important jazz soloist was Bobby Hackett).  He was particularly noted for the device of doubling a melody on saxophone with a clarinet an octave higher.  His arrangements were seamless and rich.

Although he had many hits with sentimental ballads performed by such singers as Ray Eberle and Marion Hutton, it was his swinging riff tunes,  for example "In the Mood" and "Tuxedo Junction", which became most famous.  In 1943, he published "Glenn Miller's Method for Orchestral Arranging".


























Glenn Miller composed individually or in collaboration with others at least fourteen songs that are available on recordings.  He added lyrics to an additional tune.  These and many other songs were recorded by Miller with his pre-war civilian bands and his Army Air Force band.

As of May 2008, there were more than 1,400 CD's of Glenn Miller's music that is readily available.

Glenn Miller and his Orchestra recorded 70 Top Ten hits during their brief, three-and-one-half years on the national music scene:

1939 · 17 Top Ten Hits

1940 · 31 Top Ten Hits

1941 · 11 Top Ten Hits

1942 · 11 Top Ten Hits


In his book "Glenn Miller & His Orchestra",  George Simon wrote this about the man. "His favorite author was Damon Runyon.  His favorite book was the Bible.  Spencer Tracy and Olivia de Havilland were his favorite movie actor and actress.  His big loves were trout fishing,  playing baseball,  listening to good music,  sleep and money.  His pet hates were bad swing,  early-morning telephone calls (he liked to sleep from 4 a.m. to noon),  and the phrase 'goodbye now'."
























King George VI. Queen Elizabeth and Princess Elizabeth.
                 

One day in Bedford, Glenn Miller and Don Haynes was introduced to Her Royal Majesty, Queen Elizabeth, who had been visiting the local American Red Cross Club.   The Queen extended her right hand, shook hands warmly, and, smiling, said, “Let me commend you and Captain Miller, and the members of your fine organization for the wonderful morale work you are doing.  The Princesses Elizabeth and Margaret are avid Glenn Miller fans and listen to your nightly wireless broadcasts regularly.”                    

Another big fan turned out to be General Dwight D. Eisenhower.  The one time Captain Glenn Miller and his men met “Ike” was at a concert for his headquarters staff.  Following the concert,  the Supreme Commander made a point of going over to Captain Glenn Miller and personally thanking him for the orchestra’s important contribution to the morale of his troops.


















Major Glenn Miller and The Band of the Allied Expeditionary Force.



London Arena Concert

London Arena Concert Attendee: "I was at that concert at the London arena on Jan 24, 1942 and its one time in my life that I cherish and will never forget. There were so many people packed in the arena that the fire Marshall who attended the concert just turned his head and looked the other way. The complete dance floor was shoulder to shoulder. If one tried to move it was one to two inches at a time. Besides Marion Hutton and Ray Eberle, there was Tex Beneke and the Modernaires. To the best of my memory, Miller's opening tune was a fast jump melody . When it was over and the thundering applause, there was a moment of complete silence. The band stood up and then "Moonlight Serenade was played. It was the most beautiful sound ever. It sent shivers up ones back. As I said before it was a time in my life that I shall never forget. The orchestra played till 1:00 am."

Another London Arena Concert attendee: (notes taken from a diary) "My date and I walked about 12 blocks to the arena arriving at about 7:25pm. Doors opened at 7:30pm and we had to wait until 8:30pm to check our coats. We listened and danced to Miller's music all evening. He played: "Sunrise Serenade", "In the mood", "Tuxedo Junction", "Little Brown Jug", "Stardust", "Bugle Call Rag", "Boulder Buff", "Jingle Bells", "Chattanooga Choo Choo", "Song of the Volga Boatmen", "String of Pearls", "Anvil Chorus", "Nickel Serenade", "It happened in Sun Valley", "Indian Summer", "Moonlight Sonata", "Humpty Dumpty Heart" and "Elmer's Tune" among others. At one point during the evening, Glenn asked the audience if they had any requests and everyone shouted "String of Pearls", which he hadn't yet played. He then said something like "Oh, no! if we play "String of Pearls" now, you'll all go home!", creating quite a laugh. He played until midnight. My date and I sat and waited until about 1:30am when we got our coats and walked to her home. Then I rode across the city on my bicycle, arriving home at 2:45am."

























Glenn Miller Band Alumni

Many of the Miller musicians went on to studio and touring careers in Hollywood and New York after World War II.  Musicians who went from the Miller bands to important reputations afterwards include:

Artie Malvin, (1922–2006), Glenn Miller's AAF Band had a vocal group called "The Crew Chiefs". Artie Malvin was the baritone of the four men. After World War II and Miller's death, Malvin became heavily immersed in the popular music of the forties and fifties, being involved in everything from children's music to the nascent beginnings of rock to jingles for commercials. By the 1970s Artie Malvin was involved with "The Carol Burnett Show"[151] doing special musical material.

Billy May, (1916–2004), a trumpeter and an arranger for the civilian band, became a much-coveted arranger and studio orchestra leader after that band broke up, going on to work with Frank Sinatra, Rosemary Clooney, Anita O'Day, and Bing Crosby, among other singers of the post-war era.

Bobby Hackett, (1915–1976), Cornetist, solos on "A String of Pearls", with Glenn Miller in 1941, for Bluebird records". Bobby Hackett went on to work with Jackie Gleason and Dizzy Gillespie.

George Siravo, (1916–2000) was an arranger with Glenn Miller's first band in the late 1930s. Siravo went on to become a staff arranger with Columbia Records in the 1940s, working with Frank Sinatra[131] and Doris Day.

Johnny Desmond, (1919–1985), a lead vocalist from the Army Air Force Band, became a popular singer in the 1950s, and appeared on Broadway in the 1960s in Funny Girl with Barbra Streisand.

Kay Starr, (b. 1922), became a pop, jazz and country singer in the post-war period. In 1939, Marion Hutton, the regular "girl singer", became sick and sixteen year old Kay Starr was flown in to replace her. Kay Starr's two recordings with Glenn Miller were two 1939 sides, "Baby Me" and "Love With a Capital You".

Paul Tanner, (b.1917), trombonist for the civilian band, went on to create the electrotheremin and perform on songs such as Good Vibrations by The Beach Boys.


Some of the Army Air Force members went on to notable careers in classical music and modern jazz. Three such are:

Addison Collins, Jr. played French Horn in the service band. He is featured as "Junior" Collins on the Miles Davis Birth of the Cool recordings of 1949–50.

Norman Leyden (b. 1917) an arranger from the Army Air Force Band later became a noted arranger in New York, composing arrangements for Sarah Vaughan, among other artists. His long career culminated with his highly regarded work for the Oregon Symphony, now as Laureate Associate Conductor.

Mel Powell, (1923–1998), was the pianist and one of the arrangers in the Glenn Miller Army Air Force Band. Gary Giddins comments on "[Miller's] splendid forty-two-piece Army Air Force Band’s startling performance of 'Mission to Moscow.'” "Mission to Moscow" was arranged by Mel Powell, the former pianist for the Benny Goodman orchestra before he was drafted into the service and subsequently joined the Miller orchestra. "Pearls on Velvet" with the Air Force Band is also one of his compositions. "In 1949, he decided on a radical change of direction, setting aside jazz and enrolling as a pupil of the composer and teacher Paul Hindemith at Yale University." Powell started teaching at the California Institute for the Arts in Los Angeles in 1969.





























“As the years go by, I am increasingly grateful that I was a tiny part of the era of the great swing bands.  This was the golden age of popular music for me." 

"They were all great, but I have to think that the Glenn Miller band was the greatest.  Unlike so many of the others, Glenn was not a virtuoso instrumental soloist.  And so instead of his horn he did it with great personnel and innovative harmonic experiments producing a sound that was his and his alone.  Glenn employed a harmonization that was new and vastly different.  If I even attempted a description of what he did, I would be immediately adrift.  I think it was the way he voiced his instruments.  It was just beautiful.  And when you heard the sound, it was recognizable and memorable.  It was just Glenn Miller.  Glenn as a person was just as memorable.  He was a very good personal friend, from the early days on, ever since he performed on some of the records I made with the Dorsey Brothers Orchestra during the early stages of my career." 

"During World War II we were united for the last time, when I sang in London with his great AAF Orchestra.  About the best thing I can remember about Glenn, personally, was his innate taste and class.  He loved good things, musically, and in his personal life.  Although he came from Colorado,"

"I believe his taste in clothes and life-style was definitely Ivy League.  A most attractive man, and, of course, tremendously gifted.  I have no doubt, had he lived, he would have been a tremendous force in the popular music in the years to come, not that he wasn’t already.  It is unfortunate that he isn’t with us here today.” - Harry Lillis “Bing” Crosby (1904-1977)






















United States soldiers listen to a Saturday afternoon jam session by Glenn Miller's Band at Camp Herbert Tareyton near Le Havre, France.


























 
Encouraged by the sustained success of Tex Beneke and Flanagan, and also by the box-office success of The Glenn Miller Story in 1954, the Glenn Miller estate has managed numerous successor bands since 1956. Over the years, the "Official Glenn Miller Orchestra" has been directed by various leaders, including Ray McKinley, Buddy DeFranco, Peanuts Hucko, Buddy Morrow, Jimmy Henderson, and Larry O'Brien.


























Sources Include:
Glenn Miller Archive at University of Colorado at Boulder
"Music in the Miller Mood" by George Spink
“The Glenn Miller Orchestra” by George Simon
The BBC
Glenn Miller Productions, Inc.
Artist Direct biography of Glenn Miller, written by William Ruhlmann,
All Music Guide.

Drummer and biographer: George T. Simon (1912–2001). George Simon knew and worked with Glenn Miller from his early sideman days to the days of leading his civilian band and finally, worked with him when he was stateside with the Army Air Force band. Simon was a drummer for some of the Miller bands.  He helped his friend Glenn Miller with personnel using the connections that Simon had as editor with the now defunct Metronome magazine.  George Simon wrote the liner notes for eleven Miller reissues, among them: Glenn Miller Army Air Force Band, 1955,  Glenn Miller On The Air, 1963 and Glenn Miller: A Legendary Performer, 1974.  During a long career, he also wrote articles with topics ranging from Miller and Frank Sinatra to Thelonious Monk.

In 1974, Simon won a Grammy award for his liner notes for the RCA record: Bing Crosby: A Legendary Performer.