Today we take a deep dive into the early recordings of Buddy Clark, a favored singer around these parts, and an even deeper dive into the Glenn Miller catalogue, the latter courtesy of our friend David Federman.
For Clark, we have his complete 1934-36 output with the Lud Gluskin orchestra - 25 songs in all. The Miller trove includes both volumes of the his "Limited Editions" - 1950s sets of commercial recordings and airchecks that haven't been reissued in that form.
Buddy Clark with Lud Gluskin (1934-36)
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Buddy Clark |
Buddy Clark was just 23 when he first entered the recording studio in 1934. Although his mature manner was not fully in evidence at that point, it was only a matter of months before he was sounding very much like the Buddy of his 1940s hits.
Clark was a singer for hire in those days, and appeared with several bandleaders on their records during this early period - Freddy Martin, Eddy Duchin, Xavier Cugat, Joe Moss, Ruby Newman, Nat Brandwynne and Archie Bleyer. He even made a few records under his own name for Melotone. But most of his sessions were with Lud (Ludwig) Gluskin, one-time partner with Jimmy Durante, and then a Paul Whiteman drummer who decided to remain behind in Paris following a European tour. Gluskin became a popular and much recorded bandleader there, until returning to the states circa 1934.
Gluskin called the American ensemble his "Continental Orchestra," presumably a nod to his European popularity. I haven't been able to discover who was in the band - or even if it had a existence outside the studio, but I will say that the musicians are experts and the arrangements are pleasingly elaborate in the mid-30s style - bouncy two-beat, chalumeau-register clarinet, fruity saxes, rat-a-tat or tightly-muted trumpets, strings, harp and ringing piano figures. Also as was the practice back then, the singer is limited to a chorus or two in the middle of the arrangement.
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Blue shellac, blue label |
At first, Gluskin and Clark recorded for Columbia, back in its blue shellac and blue label days. Their initial date was in October 1934, when they took up two songs from a Broadway revue called
Continental Varieties. On the stage, Lucienne Boyer sang both
"Speak to Me with Your Eyes" and the very popular
"Hands Across the Table" in French. As he often did throughout his career, Mitchell Parish was on hand to provide English lyrics, in this case for the Jean Delettre music. Those are the versions that Clark sang.
At this early stage, Buddy had adopted some of the more dramatic mannerisms of his contemporary Bing Crosby. He soon was to moderate them (as did Crosby), but there is no doubt who was his inspiration.
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Lud Gluskin |
Buddy's next assignment, in November, was the title song of the film
Sweet Music, where it was introduced by Rudy Vallée. Harry Warren and Al Dubin were the authors.
Calling All Stars, from whence came an ode to Gigolo Joe ("Just Mention Joe") was a short-lived Broadway revue produced by Lew Brown, with a cast that included Gertrude Niesen, who I believe introduced this song. As they often were, Gluskin and Clark were surprisingly persuasive in this Latin number. Indeed on that same November date, they recorded an early Raymond Scott number called "Tia Juana." The backing of that song was another Jean Delettre-Mitchell Parish outing, "Dancing with My Darling."
By January 1935, Clark was fully recognizable as the singer who was to become popular in the 1940s. The first recording on the January date was one of Oscar Levant's tunes, "Pardon My Love," with words by Milton Drake. But the prize of the session - and one of my favorites from this collection - was "It's You I Adore," by William Livingston and J. Russell Robinson, who also wrote "Margie," "Singing the Blues" and "A Portrait of Jennie."
Clark and Gluskin moved right back into the Latin repertoire with "The Rhythm of the Rumba," bringing along Joe Host as a faux-Cuban for the occasion. "Host" was actually Joe Hostetter, ex-Glen Gray trumpeter. "Rhythm of the Rumba" and its disc mate, "The Magic of You," were written by Ralph Rainger for the film Rumba, starring George Raft. I suspect you can see Raft, who was a dancer, do the r[h]umba in that film.
That January session closed out Gluskin's contract with Columbia. He and Clark were on to Brunswick for new recordings starting in September 1935.
The first song they set down was
"Rhythm and Romance" by George Whiting, "Nat Schwartz" (Nat Burton) and J. C. Johnson, which also was recorded by Ella Fitzgerald. Its backing was the far more famous
"Red Sails in the Sunset," with music by "Hugh Williams" (Wilhelm Grosz) and lyrics by Jimmy Kennedy, which emanated from Broadway's
Provincetown Follies. Bing had the bigger hit version, but Buddy's was a good one.
The next coupling came from the 1935 musical, Here's to Romance, which starred operatic tenor Nino Martini, for a short time also a crossover star in films. First was the title song, backed with "Midnight in Paris."
Better remembered than either of those tunes was "Moon Over Miami" by Joe Burke and Edgar Leslie. These days it is mostly known for being used in the 1941 film of the same name, but it was written in 1935, and recorded by Gluskin in December. Buddy's reading is very fine. The flip side did not have a Clark vocal, unusually.
On the same date, Clark and Gluskin set down two songs from the film King of Burlesque, introduced by two very different singers - "I've Got My Fingers Crossed" by Fats Waller and the wonderful "I'm Shooting High" by the equally wonderful Alice Faye. These Ted Koehler-Jimmy McHugh songs are well suited to Clark's optimistic style.
We move on to an April 1936 session that included four songs, three of them English. "She Shall Have Music" and "My First Thrill" came from the Jack Hylton film She Shall Have Music. The writers were Maurice Sigler, Al Goodhart and Al Hoffman.
Another bandleader who became famous in England (although he was actually American) was Carroll Gibbons. His contribution to this set is
"On the Air," written with James Campbell and Reginald Connelly. The lyrics are best suited to broadcast use, but the song is pleasantly melodious and perhaps appropriate for the performers - Clark was often on radio and Gluskin would soon became CBS music director. The B-side is
"Sunshine at Midnight" by the eminent lyricist Edward Heyman and the talented bandleader Matty Malneck.
Clark's final session with Gluskin was in November 1936. "Rainbow on the River" comes from the film of the same name, with songs by Paul Francis Webster and Louis Alter, whose work has appeared here before. The song was written for the 10-year-old Bobby Breen, who had a brief vogue. It was backed by "You're Too Good to Be True" by Bud Green and Jesse Grier.
For their final recording, Clark and Gluskin again turned to the English film industry, plucking two songs from Head Over Heels, both introduced by Jessie Matthews - "Head Over Heels in Love" and "May I Have the Next Romance with You?" The songwriters were Americans Mack Gordon and Harry Revel (the latter was born in England).
The sound from these 78s is generally exceptionally vivid, showing both Clark and Gluskin's band to good effect. The source materials are from Internet Archive, cleaned up (at times laboriously) by me.
Special thanks to friend of the blog and discographer Nigel Burlinson, whose Buddy Clark discography was invaluable in researching and dating these recordings. The discography is enclosed in the download; the Gluskin recordings are in red.
Glenn Miller - The Limited Editions
Our great friend David Federman has finished a very worthy project - reassembling the two Glenn Miller "Limited Editions" that came out in 1953 and 1954, which have never been reissued in their original form.
The Limited Editions were both five-LP sets covering 1939-42: the first included commercial recordings and broadcasts; the second was entirely airchecks. They show the Miller band at its commercial zenith, before World War II intervened, and eventually ended Miller's life in 1944. All your favorite performers are on hand: Ray Eberle, Marion Hutton, the Modernaires and Tex Beneke.
David justifiably calls it "a Glenn Miller treasure trove." He writes, "Miller was the first hero of my musical life after I saw the 1954 biopic of his life. I was 12 and Miller was like a Damascus Road." Strangely, I had the same reaction to the bandleader at about the same age, but the occasion was the release of his two movie soundtracks.
One note - for Vol. 1, if the performance date is preceded by a "B", it is taken from a broadcast; if "R," it is a studio recording.
"This offering is both a labor and a gift of love," David tells us. His work is much appreciated. Links are in the comments.