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Mitch Miller

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For other people with similar names, seeMitchell Miller.

Mitch Miller
Mitch Miller (center) in December 1961
Mitch Miller (center) in December 1961
Background information
Birth nameMitchell William Miller
Born(1911-07-04)July 4, 1911
Rochester, New York,U.S.
DiedJuly 31, 2010(2010-07-31)(aged 99)
New York City,U.S.
GenresChoral,traditional pop
Occupation(s)
  • Musician
  • singer
  • conductor
  • record producer
  • record company executive
Instrument(s)English horn,oboe,vocals
Years active1928–2005

Mitchell William Miller(July 4, 1911 – July 31, 2010)[1][2]was an American choral conductor, record producer, record-industry executive, and professionaloboist.He was involved in almost all aspects of the industry, particularly as aconductorandartists and repertoire(A&R) man. Miller was one of the most influential people in Americanpopular musicduring the 1950s and early 1960s, both as the head of A&R atColumbia Recordsand as a best-selling recording artist with anNBCtelevision series,Sing Along with Mitch.A graduate of theEastman School of Musicof the University of Rochester in the early 1930s, Miller began his musical career as a player of theoboeandEnglish horn,making numerous highly regarded classical and popular recordings.

Early life

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Mitchell William Miller was born to aJewishfamily[3]inRochester, New York,on July 4, 1911. His mother was Hinda (Rosenblum) Miller, a former seamstress, and his father, Abram Calmen Miller, a Russian-Jewish immigrant wrought-iron worker. Mitch had four siblings, two of whom, Leon and Joseph, survived him. He attended East High School.[2]

Career

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Classical and jazz oboe

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Miller took up the oboe at first as a teenager, because it was the only instrument available when he went to audition for his junior high school orchestra.[2]After graduating from East High School he attended theEastman School of Musicin Rochester, where he met and became a lifelong friend ofGoddard Lieberson,who became president of the CBS music group in 1956.[4]

After graduating from Eastman, Miller played with theRochester Philharmonic Orchestraand then moved to New York City, where he was a member of theAlec WilderOctet (1938–41 and occasionally later), as well as performing withDavid Mannes,Andre Kostelanetz,Percy Faith,George Gershwin,andCharlie Parker.He worked withFrank Sinatraon the 1946 recording ofFrank Sinatra Conducts the Music of Alec Wilder.[2]

Miller played the English horn part in the Largo movement ofDvořák'sNew World Symphonyin a 1947 recording conducted byLeopold Stokowski.[5]In 1948 he performed Mozart'sOboe Concerto in C majorwith theCBS Symphony Orchestraconducted byAlfredo Antoniniin a broadcast forVoice of America.[6]

Miller gave the American premiere ofRichard Strauss'sOboe Concertoin a 1948 radio broadcast. Strauss had originally assigned rights to the premiere toJohn de Lancie,who gave him the idea for the concerto while stationed near Strauss's villa inGarmisch.However, since meeting the composer, de Lancie had won a section oboist position with thePhiladelphia Orchestra,and as a junior player to the orchestra's principal oboistMarcel Tabuteauwas unable to fulfill Strauss's wishes. De Lancie then gave the rights for the premiere to Miller.[7]

As part of theCBS Symphony,Miller participated in the musical accompaniment on the 1938 radio broadcast ofOrson Welles'sMercury Theater on the Airproduction ofThe War of the Worlds.He also performed inBeethoven's Symphony No. 5 in C minor.[8]

A&R man

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Miller joinedMercury Recordsas a classical music producer and served as the head ofArtists and Repertoire(A&R) at Mercury in the late 1940s, and then joinedColumbia Recordsin the same capacity in 1950. This was a pivotal position in a recording company, because the A&R executive decided which musicians and songs would be recorded and promoted by that particular record label.

He defined the Columbia style through the early 1960s, signing and producing many importantpop standardsartists for Columbia, includingJohnnie Ray,Percy Faith,Ray Conniff,Jimmy Boyd,Johnny Mathis,[9]Tony Bennett,andGuy Mitchell(whose pseudonym was based on Miller's first name).

After arriving at Columbia, Miller enticedFrankie Laineto join the label after his early successes at Mercury. Miller helped direct the careers of artists who were already signed to the label, such asDoris Day,Dinah Shore,andJo Stafford.Miller also discoveredAretha Franklin,and signed her to the first major recording contract of her career. She left Columbia after five years, whenAhmet ErtegunofAtlantic Recordspromised Franklin artistic freedom to create records outside the pop mainstream in a more rhythm-and-blues-driven direction.

Mitch Miller disapproved of rock 'n' roll[9]—one of his contemporaries described his denunciation of it as "The Gettysburg Address of Music" —and passed not only onElvis PresleyandBuddy Holly,who became stars onRCAandCoral,respectively, but onThe Beatlesas well, creating a fortune in revenue for rivalCapitol.Previously, Miller had offered Presley a contract but balked at the amount Presley's manager,Colonel Tom Parker,was asking.[10]However, in 1958 he signedJohnny CashandCarl Perkins,two of Presley's contemporaries atSun Records.[10]

According to formerNewsweekmusic critic Karen Schoemer, Miller's refusal to record in the genre was also due to his fear that the label, and its corporate parentCBS,would be implicated in the scandal surroundingpayolaif he did so, remarking:

I knew what was going on—everybody in the business knew what was going on. You had to pay to play.[11]

In defense of his anti-rock stance, he once toldNMEin January 1958: "Rock 'n' roll is musical baby food: it is the worship of mediocrity, brought about by a passion for conformity."[12]

Despite his distaste for rock 'n' roll, Miller emphasized emotional expression over vocal perfection[9]and often produced records for Columbia artists that were rockish in nature.[9]Two examples are "A White Sport Coat (and a Pink Carnation)"byMarty Robbinsand "Rock-a-Billy"by Guy Mitchell.

Record producer

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As a record producer, Miller gained a reputation for both innovation andgimmickry.Although he oversaw dozens of chart hits, his relentlessly cheeryarrangementsand his penchant fornoveltymaterial—for example, "Come On-a My House"(Rosemary Clooney), "Mama Will Bark"(Frank Sinatra andDagmar)—have drawn criticism from some admirers oftraditional pop music.Music historianWill Friedwaldwrote in his bookJazz Singingthat

Miller exemplified the worst in American pop. He first aroused the ire of intelligent listeners by trying to turn—and darn near succeeding in turning—great artists like Sinatra, Clooney, and Tony Bennett into hacks. Miller chose the worst songs and put together the worst backings imaginable—not with the hit-or-miss attitude that bad musicians traditionally used, but with insight, forethought, careful planning, and perverted brilliance.[13]

At the same time, Friedwald acknowledges Miller's great influence on later popular music production:

Miller established the primacy of the producer, proving that even more than the artist, theaccompaniment,or the material, it was the responsibility of the man in the recording booth whether a record flew or flopped. Miller also conceived the idea of the pop record "sound" per se: not so much an arrangement or a tune, but an aural texture (usually replete with extramusical gimmicks) that could be created in the studio and then replicated in live performance, instead of the other way around. Miller was hardly a rock 'n' roller, yet without these ideas there could never have been rock 'n' roll. "Mule Train",Miller's first major hit (for Frankie Laine) and the foundation of his career, set the pattern for virtually the entire first decade of rock. The similarities between it and, say,"Leader of the Pack",need hardly be outlined here.[14]

While some of Columbia's performers, includingHarry James,[15]Frank Sinatra,andRosemary Clooney,[16]resented Miller's methods, the label maintained a high release-to-hit ratio during the 1950s. Sinatra particularly blamed his temporary fall from popularity while at Columbia on Miller; the crooner felt that he was forced by Miller to record material like "Mama Will Bark" and "The Hucklebuck".[17]Miller countered that Sinatra's contract gave him the right to refuse any song.

Recording artist

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Miller's single for his 1957 recording of "The River Kwai March" and "Colonel Bogey March"

In the early 1950s, Miller recorded with Columbia's house band as "Mitchell Miller and His Orchestra." He also recorded a string of successful albums and singles, featuring a male chorale and his own arrangements, under the name "Mitch Miller and the Gang" beginning in 1950. The ensemble's hits included "The Children's Marching Song" (more commonly known as "This Old Man"),"Tzena, Tzena, Tzena",and"The Yellow Rose of Texas",which topped the U.S.Billboardchart,sold over one million copies in the United States alone, and reached No. 2 on theUK singles chart.[18]Miller's medley of the two marches fromThe Bridge on the River Kwai,"The River Kwai March"and"Colonel Bogey March",lasted 29 weeks on the Billboard pop charts in 1958, longer than any other record completely within that year.

In 1957, Miller's orchestra and chorus recorded "U.S. Air Force Blue",aUnited States Air Forcerecruiting song. He and his orchestra also recorded children's music for the Golden Records label. A choral group called The Sandpiper Singers provided the vocals for these recordings, including an album ofMother Goosenursery rhymes.

In 1961, Miller also provided two choral tracks set toDimitri Tiomkin's title music on the soundtrack toThe Guns of Navarone.Followed by the theme ofThe Longest Dayover the end credits in 1962 and the "Major Dundee March", the theme song toSam Peckinpah's 1965Major Dundee.Though the film was a boxoffice bomb, the song remained popular for years.

In 1987, Miller conducted theLondon Symphony Orchestrawith pianistDavid Golubin a well-received[19]recording of Gershwin'sAn American in Paris,Concerto in FandRhapsody in Blue.What made this recording special was that it was produced using the original sheet music that was handed out by Gershwin to his band for an early U.S. tour, along with Gershwin's performance directions as noted by then band member Miller.[citation needed]

Sing Along with Mitch

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Main article:Sing Along with Mitch

Initially airing as a one-shot episode of theNBCtelevision showStartime(season 1, episode 32) on May 24, 1960,Sing Along with Mitchwent on to become a weekly series in 1961 as a community sing-along program hosted by Mitch Miller and featuring a male chorus. The program, videotaped in New York, was basically an extension of Miller's series of ColumbiaSing Along with Mitchrecord albums. In keeping with the show's title, viewers were presented with lyrics at the bottom of the television screen at the beginning and ending of each episode. While many insist there was abouncing ballto keep time, Miller correctly said this was something they remembered from movie theaterScreen SongsandSong Car-Tunessing-along cartoons.[20][21]

Each weekly episode concluded with the same abruptly-ending nonsense choral song, to thetuneofThe Stars and Stripes Forever:

Be kind to your web-footed friends,
For a duck may be somebody's mother.
Be kind to your friends in the swamp,
Where the weather is very, very domp.
Now, you may think that this is the end,
Well, it is![22]

SingerLeslie Uggams,pianistDick Hyman,accordionist Dominic Cortese, and the singing Quinto Sisters were regularly featured onSing Along with Mitch.One of the tenors in Miller's chorale,Bob McGrath,later went on to a long and successful career on thePBSchildren's showSesame Street(he was a founding member of the "human" cast in 1969 and McGrath became its longest-serving cast member until his enforced retirement in 2016).[23]

Sing Along with Mitchoccasionally featured celebrity guests who would appear throughout the hour, and whose repertoire would be worked into the episode's list of songs:George Burns,Milton Berle,andShirley Templeamong them. The show also offered cameos by uncredited celebrities not necessarily known for their singing ability, who were either visiting or working in New York. These surprise guests were dressed like the male chorus members and hidden among them for the closing sing-along, includingJohnny Carson,Jerry Lewis,Wally Cox,Buddy Hackett,andJoe E. Ross(in his police uniform from theCar 54, Where Are You?sitcom).

As the popularity of the TV show rose, Miller continued to produce and record several "Sing Along with Mitch" record albums, complete with tear-out lyric sheets. The album series ultimately comprised 20 titles, released from 1958 to 1963.

Sing Along with Mitchran on television from 1961 until the network canceled it in 1964, a victim ofchanging musical tastes.Selected repeats aired briefly on NBC during the spring of 1966. The show's primary audience was over the age of 40 and it did not gain the favor of advertisers targeting the youth market.[citation needed]Miller's lawyers continued to defend his Sing-Along trademark for years, even down to the level of a small community theater advertsing a sing-alongMikadoin 1997.[citation needed]

Miller left Columbia Records in 1965 and joinedMCA Inc.as a consultant, signing the same year with MCA'sDecca Recordssubsidiary.[24]

In later years, Miller carried on the sing-along tradition, leading crowds in song in personal appearances. For several years, Miller was featured in a popular series ofChristmasfestivities inNew Bedford,Massachusetts,leading large crowds singing carols. Miller hosted a 1981 TV reunion of the Sing Along Gang for NBC (featuring veterans from the original gang, including Bob McGrath, Andy Love, Paul Friesen, Victor Griffin, and Dominic Cortese). Miller also appeared as host of two PBS television specials,Keep America Singing(1994) andVoices In Harmony(1996), featuring champion quartets and choruses ofSPEBSQSAandSweet Adelines International.He also appeared conducting regional orchestras and filled in many times as guest conductor of theBoston Popsorchestra.

Conducting style, and parodies

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At his first rehearsal for television, Miller took his position in front of the chorus and began conducting in the usual choirmaster manner: arms outstretched with hands gesturing, so the singers could see his signals. The TV director stopped him, objecting that Miller's arms were out of the camera's range and could not be seen on the television screen. Miller pulled his arms closer to his body, but the director stopped him once more. It was not until Miller's elbows were almost touching his body, and his arms extremely restricted, that the director was satisfied. Miller dutifully adopted the jerky, confined style of conducting and kept it for the duration of the series.

The rigid format ofSing Along with Mitchlent itself to parodies.Steve Allenonce performed a pointed satire, with the comedian made up as Miller and robotically bending his armsà laMiller while conducting. The sketch spoofed the show's production values, including cameras panning among the vocalists, going out of control and knocking them over, then chasing Allen out of the studio and onto the roof.Ross Bagdasarianproduced an animated spoof in a segment ofThe Alvin Show,with theDavid Sevillecharacter conductingAlvin and the Chipmunksin Miller's herky-jerky style, singing "Down in the Valley"while scrambled lyrics appeared on-screen.Stan Freberg,who had previously recorded "Wunnerful! Wunnerful!", a scathing satire ofThe Lawrence Welk Show,presented an equally brutal satire of the show, "Sing Along with Freeb", on his February 1962 ABC special,The Chun King Chow Mein Hour.Jonathan and Darlene Edwards(Paul WestonandJo Stafford) produced an entire album (Sing Along with Jonathan and Darlene Edwards,1962) of sing-along in the Miller style but deliberately off-key, which supposedly greatly angered Miller.[25]On the cartoon seriesThe Flintstones,Fred and Barney appeared on the "Hum Along with Herman" show (for people who do not know the words), another satire of Miller's show.[26]Bigtop Recordsin 1963 released a record byThe Dellwoodsand under the aegis ofMad,titledFink Along with Mad.

Personal life and death

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Miller was married for 65 years to the former Frances Alexander, who died in 2000.[2]They had two daughters, a son, two grandchildren and two great-grandchildren. His son, Mike (Mitchell) Miller Jr., is a respected children's book illustrator who featured in several ofJack Sendak's books.[27][28][29][30][31][32][excessive citations]

Miller lived in New York City for many years, where he died on July 31, 2010, after a short illness, nearly four weeks after his 99th birthday.[2]

Discography

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Singles

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Year Title Charts
US UK
1950 "Tzena, Tzena, Tzena" 3
1955 "The Yellow Rose of Texas" 1 2
1956 "Song for a Summer Night" 8
1958 "March from the River Kwai"and"Colonel Bogey""(medley) 20
1959 "The Children's Marching Song"(also known as"This Old Man") 16
1959[33] "When Johnny Comes Marching Home"

Albums

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As 'Mitch Miller and the Gang':

As 'Mitch Miller and the Sing Along Chorus':

  • Golden Harvest Sing Along(Columbia, 1961)

Awards and honors

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References

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  1. ^"Famed Conductor, Mitch Miller, Dies at 99 in Manhattan".WNBCNews.Associated Press.August 2, 2010.RetrievedAugust 2,2010.
  2. ^abcdefSevero, Richard (August 2, 2010)."Mitch Miller, Maestro of the Singalong, Dies at 99".The New York Times.RetrievedAugust 2,2010.
  3. ^Bloom, Nate (December 22, 2014)."All those Holiday/Christmas Songs: So Many Jewish Songwriters!".Jewish World Review.
  4. ^Dannen, Frederic,Hit Men: Power Brokers and Fast Money Inside The Music Business,Vintage Books, 1991; (ISBN0099813106), p. 62
  5. ^Lemco, Gary (May 1, 2009)."Stokowski Conducts = Dvorak: Symphony No. 9".Audio Audition. Archived fromthe originalon January 18, 2013.RetrievedAugust 3,2010.
  6. ^"Voice of America Collection of Radio Broadcasts, June 13, 1948",New York Public Library Archives and Manuscripts, archives.nypl.org
  7. ^Keller, James M. (April 2016)."Concerto for Oboe and Small Orchestra in D major"(PDF).New York Philharmonic.RetrievedJanuary 17,2019.
  8. ^Eder, Bruce.Mitch Miller: BiographyatAllMusic
  9. ^abcdGilliland, John(1969)."Show 23 – Smack Dab in the Middle on Route 66. [Part 2]"(audio).Pop Chronicles.University of North Texas Libraries.
  10. ^abWorth, Fred (1992).Elvis: His Life from A to Z.Outlet. p. 38.ISBN978-0-517-06634-8.
  11. ^Schoemer, Karen (September 22, 2006).Great pretenders: my strange love affair with '50s pop music.New York: Free Press.ISBN9780743272469– via Internet Archive.
  12. ^Tobler, John (1992).NME Rock 'N' Roll Years(1st ed.). London: Reed International Books Ltd. p.48.ISBN978-0600576020.
  13. ^Friedwald, Will(August 22, 1996).Jazz Singing: America's Great Voices from Bessie Smith to Bebop and Beyond.Da Capo Press. p.221.ISBN978-0306807121– viaInternet Archive.
  14. ^Friedwald, Will(March 22, 1997).Sinatra! The Song Is You: A Singer's Art.New York City: Da Capo Press. p.174.ISBN9780306807428– viaInternet Archive.
  15. ^Hinckley, David (September 20, 2004)."Pop Goes The Little Old Music Maker – Mitch Miller and the Public Taste".New York Daily News.RetrievedFebruary 10,2017.
  16. ^Steyn, Mark (April 9, 1998)."The Worst Songwriter of All Time".Slate.Archived fromthe originalon June 24, 2009.RetrievedMay 26,2017.
  17. ^Gilliland, John(1969)."Show 22 – Smack Dab in the Middle on Route 66: A skinny dip in the easy listening mainstream. [Part 1]"(audio).Pop Chronicles.University of North Texas Libraries.Track 2.
  18. ^Roberts, David (2006).British Hit Singles & Albums(19th ed.). London: Guinness World Records Limited. p. 367.ISBN1-904994-10-5.
  19. ^Schneider, Edward (December 6, 1987)."Gershwin: His Music Is In Vogue—Still".The New York Times.RetrievedFebruary 15,2008.
  20. ^Presenters: Tony Cox; Jim Bessman (August 3, 2010)."Remembering Singing Along With Mitch Miller".Talk of the Nation.NPR.
  21. ^A number of excerpts fromSing Along with Mitchhave appeared on video-streaming services such as YouTube. No bouncing ball is in evidence in the clips presented.
  22. ^Mitch Miller and the Gang: "Be kind to your web-footed friends"onYouTube,fromSing Along with Mitch
  23. ^"'Sesame Street' let go three longtime cast members ".Entertainment Weekly.
  24. ^"Mitch Miller & Decca Sing a 'Pact-a-Long'".Billboard.December 11, 1965. p. 3.RetrievedOctober 23,2011.
  25. ^Interview byMichael Feinstein,bonus tracks onStafford, Jo (2003).Ballad of the Blues(Audio CD). Feinery.
  26. ^"Sing Along With Mitch | A Television Heaven Review".Televisionheaven.co.uk. Archived fromthe originalon October 15, 2012.RetrievedDecember 18,2012.
  27. ^Montreville, Doris De; Crawford, Elizabeth D. (1978).Fourth Book of Junior Authors & Illustrators.H. W. Wilson Company.ISBN978-0-8242-0568-3.
  28. ^Stone, Desmond (April 25, 1996).Alec Wilder in Spite of Himself: A Life of the Composer.Oxford University Press.ISBN978-0-19-535728-8.
  29. ^The Glass Slipper: Charles Perrault's Tales from times past(Catalog entry UW-Madison Libraries). Four Winds Press. November 13, 1981.ISBN9780590076036.RetrievedFebruary 15,2023– via search.library.wisc.edu.
  30. ^"Perrault's Tales Signed by illustrator Mitchell Miller admired by Maurice Sendak | #514924688".Worthpoint.RetrievedFebruary 15,2023.
  31. ^Wersba, Barbara (July 21, 1968)."Martze. By Jack Sendak. Illustrated by Mitchell Miller. 70 pp. New York: Farrar, Straus & Giroux. $3.50".The New York Times.RetrievedFebruary 26,2023.
  32. ^Babbitt, Natalie (March 5, 1972)."Poor Treehorn, poor Yanos; The Magic Tears; By Jack Sendak. Illustrated by Mitchell Miller. New York: Harper & Row.(Ages 7 to 11)".The New York Times.RetrievedFebruary 26,2023.
  33. ^"Mitch Miller And The Gang – Folk Songs Sing Along With Mitch".Discogs.November 13, 2023.
  34. ^Whitburn, Joel(2004).Christmas in the Charts (1920–2004).Wisconsin: Record Research Inc. p. 106.ISBN0-89820-161-6.
  35. ^"Honorary Members".Barbershop Harmony Society.RetrievedMay 26,2017.
  36. ^"Rochester Music Hall of Fame Announces 2013 Class of Inductees"(Press release). Rochester Music Hall of Fame. February 28, 2013. Archived fromthe originalon June 18, 2021.RetrievedMay 26,2017.
[edit]
Archives at
LocationLibrary of Congress
IdentifiersJPB 14-31Edit this on Wikidata
SourceMitch Miller papers, circa 1950-1996
How to use archival material
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