This is REAL music! I wish we still had it on the popular scene today instead of the junk you always hear. I wonder if Glenn Miller realized he had created one of the most recognized songs on the planet when he recorded this.
I'm quite sure he did. According to George T. Simon, an officer listening to the AAF Orchestra asked him if he ever got tired of playing In the Mood. His response was on the order of "Sir, I won't ever get tired of a song that's been so good to me." (not an exact quote, but it has the gist of his answer)
The original Joe Garland composition was recorded in early 1938 by Edgar Hayes & his Orchestra, and is a fantastic uptempo version, with bass(!) saxophone played by Joe Garland himself (a bunch of the Hayes band recordings feature the wonderful bass sax snorts of Mr. Garland). In late 1938 he sold the tune to Artie Shaw, whose band played the tune with the same structure, but at a slower tempo (slower than the Miller version), and with updated instrumental arrangements that gave it a texture that more closely resembled the eventual Miller version. When Miller purchased the the in 1939, he had it trimmed down and re-arranged into the version we are all most familiar with. in 2022, the Czech band Ondřej Havelka and his Melody Makers released an album Swing Nylonového Věku (Swing of the Nylon Age) containing a version that is a hybrid between the Miller rendition and the earlier versions, and it is also very enjoyable.
How cool. I’ve heard this band many times; they are amazing at what they do. But I’ve never heard this arrangement. Kinda nice to come across a new gem. Thanks for posting this.
It predates the famous 1939 version by several years. My understanding is that the arrangement bounced from band to band because no one could figure out how to cut it to fit on one side of a 78. Artie Shaw owned it for a while and performed it on radio but similarly neither he nor his arrangers could figure out where & what to cut. So he sold it to this up and coming arranger and conductor named Miller ...
@@Poisson4147 - I think that was part of Miller's genius, being able to arrange a song to fit the three minute or so recording time available on the era's typical 78 rpm record.
@@RustySax1949 He considered himself to be more of an editor and arranger than composer and performer. I had a brief conversation with Jerry Gray's son at one of the annual Miller Festivals in Clarinda. Jerry was quite comfortable working with Glenn. He was given near-complete freedom to write; Miller would then pencil in a few minor changes that Jerry said were almost invariably improvements. I find it interesting that Miller wrote so few songs during is (too-short) life - IIRC only 14 or 15 pieces. Of course given that one was _Moonlight Serenade_ ... !!
I recorded off the radio, when I was in high school, of the Artie Shaw band, about 1937, playing In The Mood.....the long and slower version. I think it was a live recording. I don;t think Shaw ever recorded it; probably because it was too long.
The full arrangement's length precluded any commercial recordings. IIRC Shaw's version was something like 5 and a half minutes, impossible to put on a standard 78 and difficult even for the larger disks used for symphonic recordings. Glenn's genius was knowing what, when, and how to cut so it would fit on a 10-inch disk. Although the more I hear the original version the more interesting I find it compared to the one we've come to know and love. You have to wonder what would have happened if longer formats had been available back then.
That's correct. The original version was too long to fit on a 78. Here's an air check. ruclips.net/video/-r12QoE3UxA/видео.html Miller's genius was knowing just what to change to get within the technology-imposed limits of the era without damaging the tune itself.
@@Poisson4147 But in July 1937, Benny Goodman recorded Sing,Sing, Sing, which is slightly over 8 minutes. Divided and put on both Aand B sides of disc. Maybe this recording ofIn TheMood did not have a natural division point, to d othat?
Back in 39 or 40 I believe, Artie Shaw played this number and it was a fully unedited version. In fact, one of Glenn's early broadcast shows. I think maybe 38 or close to 39 give or take. Glenn actually played this number unedited. It wasn't till about 1940 when he re arranged in the mood to the way you know it today.
Glenn had the summer of 1939 gig at the Glen Island Casino in New Rochelle, New York. I have a copy of the broadcast from July 28th and Glenn did indeed play this unedited version. The Artie Shaw version is on RUclips ruclips.net/video/aLlgaDRI2a8/видео.html Shaw's version is much slower and more swingy IMO.
Glenn played this version, The Edgar Hayes version, several times in the summer of 1939. But the (now) famous riff dates back into the 1920s. I had a chance to interview Paul Tanner at length--like eight hours--in 2002. His recollection was that the cuts began to emerge as they played it. MacGregor wrote the harmonic at the end. There will always be the question of whether Eddie Durham introduced the brass peddle-stops after the trumpet solo. Paul believed that Durham did not do so. I don't know what the manuscript trail shows regarding them and I would not be qualified to assess them.. Glenn, apparently, was the one who said "we can do a sax battle" right here, but it was the bandsmen who initially suggested cutting the second theme. Glenn did so while adding a brief transition. Paul and I had another long talk in 2004 and he told me at that time that Chummy MacGregor's recollection was probably closest to what actually happened.
I appreciate the comment. No, I don't do anything significant. I record with a Rode Stereo Video Mic X. It has served me well and does a great job. The music is amplified somewhat with the high school auditorium sound system, but not significantly.
It’d be annoying as heck to be sitting there in the audience and having your field of vision eclipsed by multiple people holding up cells and recording it. Do they not realize everyone behind them has to see that light?. It’s incredible and unfortunate how many have ZERO concern or care for others’ experience.
Yes it is, Dave. It's even more annoying when these devices ring at full volume in the middle of a concert. The 2022 Festival had almost every performance interrupted by a cell phone, people singing, whistling, talking or doing whatever during the presentations, ruining it for everyone else.
We call the ignoramuses in my country. In Scotland, we call them F...king idiots. I would never stand up and obstruct the people behind me. Social structure is falling apart.
He played it on the air but never recorded it because it was too long to fit on a 78. ruclips.net/video/-r12QoE3UxA/видео.html Miller's genius was knowing just what to change so the song could be released on Bakelite.
It's sad they never found their airplane. My dad told me when was in the service you could go out with 40 dollars and come back with 20 dollars grew yp listen to the Glen Miller band
UC-64s were remarkably flimsy aircraft given their origin as a Canadian bush plane, the Noorduyn Norseman. The only full-metal sections were the engine compartment and cockpit. The rest of the plane was made of metal and wood struts covered with doped fabric (!!) Analyses of water crashes in Canada showed that the planes' fixed-strut landing gear would "grab" the water's surface, either immediately pulling the fuselage apart or destroying it in a cartwheel. Reportedly every single such crash was non-survivable. Some years ago I spoke with an aircraft-recovery expert. His take was that after decades underwater it's unlikely anything beyond the cockpit skin and engine block are still intact. That leaves wreckage about the size of a refrigerator, buried in the Channel along with 2-3 millennia worth of other debris. On top of that UC-64s had only minimal instrumentation so there's no way to know where the plane might have gone down, or even if F/O Morgan might have gone off-course if and when he realized he was lost. Sadly it seems that short of an unplanned discovery, the likelihood of finding the plane is minimal at best. 😢😢
![GEEK TIMË [OFFICIAL AUDIO]](http://i.ytimg.com/vi/ry-6RvkH880/mqdefault.jpg)
This is REAL music! I wish we still had it on the popular scene today instead of the junk you always hear. I wonder if Glenn Miller realized he had created one of the most recognized songs on the planet when he recorded this.
Based Comment
And also one that still thrills today.
I'm quite sure he did. According to George T. Simon, an officer listening to the AAF Orchestra asked him if he ever got tired of playing In the Mood. His response was on the order of "Sir, I won't ever get tired of a song that's been so good to me." (not an exact quote, but it has the gist of his answer)
I never knew of this. Miller’s improvements certainly prove his genius.
The original Joe Garland composition was recorded in early 1938 by Edgar Hayes & his Orchestra, and is a fantastic uptempo version, with bass(!) saxophone played by Joe Garland himself (a bunch of the Hayes band recordings feature the wonderful bass sax snorts of Mr. Garland). In late 1938 he sold the tune to Artie Shaw, whose band played the tune with the same structure, but at a slower tempo (slower than the Miller version), and with updated instrumental arrangements that gave it a texture that more closely resembled the eventual Miller version. When Miller purchased the the in 1939, he had it trimmed down and re-arranged into the version we are all most familiar with.
in 2022, the Czech band Ondřej Havelka and his Melody Makers released an album Swing Nylonového Věku (Swing of the Nylon Age) containing a version that is a hybrid between the Miller rendition and the earlier versions, and it is also very enjoyable.
How wonderful to just be here in 2021 and hear 👂 this Amazing sounds bravo to the band round of applause 👏
How cool. I’ve heard this band many times; they are amazing at what they do. But I’ve never heard this arrangement. Kinda nice to come across a new gem. Thanks for posting this.
It predates the famous 1939 version by several years. My understanding is that the arrangement bounced from band to band because no one could figure out how to cut it to fit on one side of a 78. Artie Shaw owned it for a while and performed it on radio but similarly neither he nor his arrangers could figure out where & what to cut. So he sold it to this up and coming arranger and conductor named Miller ...
@@Poisson4147 - I think that was part of Miller's genius, being able to arrange a song to fit the three minute or so recording time available on the era's typical 78 rpm record.
@@RustySax1949 He considered himself to be more of an editor and arranger than composer and performer. I had a brief conversation with Jerry Gray's son at one of the annual Miller Festivals in Clarinda. Jerry was quite comfortable working with Glenn. He was given near-complete freedom to write; Miller would then pencil in a few minor changes that Jerry said were almost invariably improvements.
I find it interesting that Miller wrote so few songs during is (too-short) life - IIRC only 14 or 15 pieces. Of course given that one was _Moonlight Serenade_ ... !!
I recorded off the radio, when I was in high school, of the Artie Shaw band, about 1937, playing In The Mood.....the long and slower version. I think it was a live recording. I don;t think Shaw ever recorded it; probably because it was too long.
The full arrangement's length precluded any commercial recordings. IIRC Shaw's version was something like 5 and a half minutes, impossible to put on a standard 78 and difficult even for the larger disks used for symphonic recordings. Glenn's genius was knowing what, when, and how to cut so it would fit on a 10-inch disk.
Although the more I hear the original version the more interesting I find it compared to the one we've come to know and love. You have to wonder what would have happened if longer formats had been available back then.
@@Poisson4147 Billy Joel: ... They cut it down to three-oh-five ...
That's correct. The original version was too long to fit on a 78. Here's an air check. ruclips.net/video/-r12QoE3UxA/видео.html
Miller's genius was knowing just what to change to get within the technology-imposed limits of the era without damaging the tune itself.
@@Poisson4147 But in July 1937, Benny Goodman recorded Sing,Sing, Sing, which is slightly over 8 minutes. Divided and put on both Aand B sides of disc. Maybe this recording ofIn TheMood did not have a natural division point, to d othat?
Very interesting. Thanks for sharing. I liked when Nick Hilscher led the band.
I'll be attending a performance of the Glenn Miller Orchestra this evening at the Pitt/Bradford College campus in Bradford, Pennsylvania. 10/17/2022
this version is also very good
That was very good guys excellent Bravo
Glenn Miller "In the Mood" one of my faves for sure!!!!! When are you coming back to Grand Rapids,Mn???????
You would have to check with the Glenn Miller Orchestra, I just shoot video for the Glenn Miller Birthplace Society. Thanks.
The very first version of "In The Mood" is Wingy Manone's "Tar Paper Stomp"
VERY interesting!
Glen Miller
The Master
R.I.P.
Back in 39 or 40 I believe, Artie Shaw played this number and it was a fully unedited version. In fact, one of Glenn's early broadcast shows. I think maybe 38 or close to 39 give or take. Glenn actually played this number unedited. It wasn't till about 1940 when he re arranged in the mood to the way you know it today.
Glenn had the summer of 1939 gig at the Glen Island Casino in New Rochelle, New York. I have a copy of the broadcast from July 28th and Glenn did indeed play this unedited version. The Artie Shaw version is on RUclips ruclips.net/video/aLlgaDRI2a8/видео.html Shaw's version is much slower and more swingy IMO.
Thank you goodbye and gooluck 😊
This was not the version Miller is famous for. This is the original unedited version that the public never heard before Glenn modified it.
Glenn played this version, The Edgar Hayes version, several times in the summer of 1939. But the (now) famous riff dates back into the 1920s. I had a chance to interview Paul Tanner at length--like eight hours--in 2002. His recollection was that the cuts began to emerge as they played it. MacGregor wrote the harmonic at the end. There will always be the question of whether Eddie Durham introduced the brass peddle-stops after the trumpet solo. Paul believed that Durham did not do so. I don't know what the manuscript trail shows regarding them and I would not be qualified to assess them.. Glenn, apparently, was the one who said "we can do a sax battle" right here, but it was the bandsmen who initially suggested cutting the second theme. Glenn did so while adding a brief transition. Paul and I had another long talk in 2004 and he told me at that time that Chummy MacGregor's recollection was probably closest to what actually happened.
Музыка на веки.
Thanks.
Pre glenn miller version
The Edgar Hayes version of In The Mood.
Do you use a compressor or auto gain setting on the audio? It doesn’t sound like it. Sounds great.
I appreciate the comment. No, I don't do anything significant. I record with a Rode Stereo Video Mic X. It has served me well and does a great job. The music is amplified somewhat with the high school auditorium sound system, but not significantly.
It’d be annoying as heck to be sitting there in the audience and having your field of vision eclipsed by multiple people holding up cells and recording it. Do they not realize everyone behind them has to see that light?. It’s incredible and unfortunate how many have ZERO concern or care for others’ experience.
Must suck
Yes it is, Dave. It's even more annoying when these devices ring at full volume in the middle of a concert. The 2022 Festival had almost every performance interrupted by a cell phone, people singing, whistling, talking or doing whatever during the presentations, ruining it for everyone else.
@@kcbigbandjazz Absolutely true. There must be some way to control that boorish behavior but I'm at a loss. Maybe Shari the Enforcer??
We call the ignoramuses in my country. In Scotland, we call them F...king idiots. I would never stand up and obstruct the people behind me. Social structure is falling apart.
This is the un edited version.
Artie Shaw recorded it before
AFAIK he never made a commercial 78 recording because it would have taken two sides of a disk, but there's a very nice air check of a broadcast.
He played it on the air but never recorded it because it was too long to fit on a 78. ruclips.net/video/-r12QoE3UxA/видео.html
Miller's genius was knowing just what to change so the song could be released on Bakelite.
A minute & thirty-five seconds of a fool running his suck.
Totally uncalled for. Nick does a great job leading the band, and he did a fabulous job explaining the history of this tune.
It's sad they never found their airplane. My dad told me when was in the service you could go out with 40 dollars and come back with 20 dollars grew yp listen to the Glen Miller band
UC-64s were remarkably flimsy aircraft given their origin as a Canadian bush plane, the Noorduyn Norseman. The only full-metal sections were the engine compartment and cockpit. The rest of the plane was made of metal and wood struts covered with doped fabric (!!) Analyses of water crashes in Canada showed that the planes' fixed-strut landing gear would "grab" the water's surface, either immediately pulling the fuselage apart or destroying it in a cartwheel. Reportedly every single such crash was non-survivable.
Some years ago I spoke with an aircraft-recovery expert. His take was that after decades underwater it's unlikely anything beyond the cockpit skin and engine block are still intact. That leaves wreckage about the size of a refrigerator, buried in the Channel along with 2-3 millennia worth of other debris. On top of that UC-64s had only minimal instrumentation so there's no way to know where the plane might have gone down, or even if F/O Morgan might have gone off-course if and when he realized he was lost.
Sadly it seems that short of an unplanned discovery, the likelihood of finding the plane is minimal at best. 😢😢