ModernBingFan0377 wrote:

Ian Kerstein wrote:

That's a beautiful tune and recording and yes, it has both those elements in abundance.

I was brought up with the later Universal Studio Orchestra's version from 1954, under the direction of (I think) Henry Mancini, recorded for "The Glenn Miller Story" film soundtrack. In the mid-eighties I was delighted when a genuine stereo recorded version of the soundtrack was discovered and subsequently released film wise and also on the LP and CD formats. It's one of my favourite recordings - "Moonlight Serenade" being the standout track.

I'm sure I've seen a photograph of the two of them together - but did Bing ever record with Glenn Miller? 
 

They never properly recorded together, however in 1944 they did appear in a radio show in England together. The highlight of it, to me, is when Bing gets to give the Miller arrangement of Poinciana a go. Here’s a link to the Poinciana performance.

https://youtu.be/VTmsyp-CtZE

I’ve always been a fan of The Glenn Miller Story, it’s saccharine and a bit mushy, but I love watching it around Christmas time for that very reason. If it was Mancini, he did a wonderful job recreating the sound of the Miller band. I have the soundtrack on a 10” LP, but I have the film on DVD.

Outside of the radio work, Bing did not record with The Glenn Miller Orchestra. However, Glenn did record with Bing. Miller was a member of The Dorsey Brothers Orchestra in the late 20s/early 30s. He wrote the arrangements for the 26 January 1929 session and you can hear him in duet with Tommy Dorsey on My Kinda Love. I would assume Tommy is playing the higher part and Glenn the lower notes.

Personally I cannot pick a piece from Bing's list as a particular favourite. They are all good tracks. I like the mix of "Classical" (it is technically music from the Romantic Period) and Swing on his list. 

I would not be a good guest on Desert Island Discs - I have too many choices.

I have a theory as to why Bing is a little off in the two Lionel Hampton tracks. He recorded these on the 21 January 1946.

Five days earlier, Bing recorded three outstanding tracks with Eddie Condon's group. Malcolm quotes an extract from Newsweek about the recording session in Day by Day. The following portion is the basis of my theory:
Although trouble loomed when Jack Kapp, president of Decca and Crosby-adviser-extraordinary on record policy, walked in and asked if “Wild Bill” Davison’s trumpet ought to stay so dirty. “You go back to the board of directors if you make one more remark,” Crosby said. “I’ve flown these boys in at great expense. Eddie flew in without a plane.” 

Although Bing presented himself as confident and in control during this session, Kapp must have had words with him regarding these jazz sides. We know from his personal writings that Bing often doubted his vocal abilities and would stew on recent experiences. This difference of opinion may have rattled Bing enough to feel a little uncomfortable during the Lionel Hampton sessions.

Also the quaver placement in Hampton's interpretation of Swing is different to the Condon group. Maybe Bing just couldn't change groove. 

Pinetop is a curiosity that I've never understood as to why it had to be done. Surely the decision makers could have thought of another song that would have equally showcased Bing and Hamp's unique gifts!

On the Sunny Side of the Street is the better obviously. However, a slightly quicker tempo and maybe Hampton using softer mallets would have helped.  

It is a pity Bing and Lionel didn't do more to prove they could have waxed better.  

Mind you, I still feel these Hampton sides we have are essential listening.  
 

SOMEONE TO WATCH OVER ME11 Feb. 1948 Rad. “Philco Radio Time”.Joe Venuti; violin, Oscar Levant; piano, John Scott Trotter and his Orchestra