Radio and television mirror (July-Dec 1942)

Facing the Music Continued jrora page 7 TRY MA6IIETRED Clear, thrilling red— so smartso universally flattering ! Other high 'fashion colors in the brilliant Coly 9-shade collection : 6/rAfff bright "gipsy" tones BALI luscious, siren shade DAHLIA lovely, flower-soft TAMALE ultra-chic "Latin"'' red All this happened more than five years ago but from it eventually stemmed the most promising new dance band of the 1942 season. Hal Mclntyre's orchestra has clicked solidly over network airlanes and on Victor records since it was organized early in October. The band just finished a healthy run at Glen Island Casino and is now on tour. They return to that Westchester, N. Y., dance oasis in August to recapture the valuable MBS and CBS network broadcast times. Hal went down to New York to see the great Goodman and soon learned why the clarinetist had summoned him. He was hustled up to the bandstand and told to play along with such celebrated swingsters as Gene Krupa, Jess Stacey and Ziggy Elman. A week or so later, Goodman introduced him to Glenn Miller. "Hal," Benny said, "Glenn is going to start his own band pretty soon and I think you will be a good bet for him." Hal was the first man Miller hired. The new outfit, young and eager, received good notices from the music critics but failed to win enough bookings. After a year of struggling, Miller decided to disband temporarily. Hal returned to Cromwell, Connecticut, and the factory job. "I wasn't discouraged," he says. "I knew Glenn would get going again and I kept calling him every week. That Spring he reorganized and I rushed back to New York." The second try was more successful. Glenn Miller hit his stride and became one of the country's top-notch band leaders, and Hal Mclntyre basked in glory as the band's lead saxophonist, and Miller's room-mate. "I was walking on air," Hal continued, "for I was doing the thing I always wanted to and getting $10,000 a year for doing it." When Miller suggested that Hal become a band leader himself, the boy was startled. "I wanted the chance" he admits, "but I was scared. After all it meant giving up a wonderful, secure job for a heart-breaking gamble. I knew the frustrations and hardships Glenn had experienced. I remembered the many nights when Glenn and I weren't sure where our next meal would come from." But the more Miller urged Hal to try, the more the boy became eager to take the risk. An all-night conference with ace arranger Dave Matthews helped Hal make his final decision. "We got to talking about new ideas in dance music. My plan was to concentrate on smooth section work with emphasis on saxophones. I wanted to experiment with colorful tones and unusual groupings that would give the band a style dancers would recognize." With Glenn Miller's support, the new outfit had no trouble getting an initial hearing. It came October 31, 1941, at Glen Island Casino when they pinch-hit for Claude Thornhill. Out front was the cream of Tin Pan Alley. After the last set the management offered Hal a contract to start there in January. Hal is now twenty-eight and is married to the girl from back home, 52 Jane Avery. They live in a rented house in Westchester, and they plan to have a family. Hal helps support his mother and father. Veterans of the dance band world are constantly amazed at the new bandleader's easy-going philosophy. He doesn't think or talk like the average baton-waver. When overenthusiastic well-wishers map out plans for that first million, Hal remarks: "All this talk about making big dough is fine but I'll be just as happy making a comfortable living. The best time I ever had was working in Glenn's band when it was trying to make the grade and my pay check averaged $49 a week." There's a mythical wailing wall on radio row for bandsmen who moan about their profession's ethics. Hal doesn't frequent it. Hal has such faith in the boys working for him that he doesn't mind when rivals try to woo his best men away. "Gosh, if the boys want to leave me to make more money now, let them do it. I figure that the fellows who think that way can always be replaced." OFF THE RECORD Erskine Butterfield: "Devil Sat Down and Cried" — "Boogie de Concerto" (Decca 8600). A "sleeper" that packs a punch with its subtle, swing lilt. Hal Mclntyre: "Mem'ry of this Dance" — "Rivers to Cross (Victor 27840). Intelligent arrangements of two very satisfactory ballads. Carl Denny sings both of them. Harry James: "Sleepy Lagoon" — "Trumpet Blues" (Columbia 36549). Goodly share of Harry's torrid trumpeting, which is just what this band's fans want. Dinah Shore-Freddy Martin : "I Look at Heaven" — "Can't Give You Anything But Love" (Bluebird 11487). A new team one would wish might be permanent. Topside is vocal interpretation of Grieg's Piano Concerto. Dick Jurgens: "One Dozen Roses" — "Always In My Heart" (Okeh 6636) Surprise tune that will make the grade paired with a stock ballad helped immeasurably by Harry Cool's crisp vocal delivery. Rudy Vallee : "Letter from London" — "I Just Couldn't Say It Before" (Victor 27823). First Vallee tune in quite a while should be welcomed by all. Ray Noble: "Very Thought of You"— "Goodnight Sweetheart" (Columbia 36546). Noble plays two of his own tunes to produce an excellent platter. Vaughn Monroe: "Me and My Melinda"— "Tom Thumb" (Bluebird 11473). Irving Berlin's latest song is earmarked for Hit Parade rating and Monroe teams it with a sprightly instrumental number. Jimmy Dorsey: "Taint No Good" (Decca 4262). Dorsey devotes both sides to this bounce number and the whole troupe goes to town. Glenn Miller: "Sh, It's a Military Secret"— "She'll Always Remember" (Bluebird 11493). All the Miller tricks are brought out for this platter and the results are not disappointing. The Modernaires harmony stands out. Recommended Albums: Lena Home's package of torch songs includes such classics as "Moanin' Low," title song of the album, "Stormy Weather," "Man I Love," and "Where or When." Another good bet is Fats Waller's album of piano solos. Both are from Victor. RADIO AND TELEVISION MIRROR