Jerry Gray

Returning to my series of postwar big bands, here is a 1956 band led by one of the most famous of the swing band arrangers, Jerry Gray.

Gray first came to notice for Artie Shaw arrangements, including Shaw's biggest hit, Begin the Beguine. Shaw, always ambivalent about fame, disbanded that particular group in 1939, and Gray went to Glenn Miller. He proceeded to write many of that band's iconic numbers - Pennsylvania 6-5000, Sun Valley Jump and A String of Pearls - and arranged others - Chattanooga Choo-Choo, Elmer's Tune and Moonlight Cocktail. Many people think he invented the clarinet-lead Miller sound.

Miller of course died during the war, and later his estate set up an excellent Miller-themed band led by saxophonist Tex Beneke. Other bands also adopted the Miller sound, notably Ray Anthony and Ralph Flanagan (previously heard here). Gray himself used the "sound" at times; it can be heard on this LP on You Leave Me Breathless.

But Gray wasn't limited to that sound. His own identity was much more tied up with his compositions. His pattern was to start with a short melodic cell, repeat it, vary it, and then elaborate. If you are familiar with the Miller library, Pennsylvania 6-5000 is a good example of this pattern. Here, his band theme, Shades of Gray displays the same approach, as does What's Your Hurry? (which begins with a reprise of Shades of Gray).

These sides were recorded in Hollywood in December 1956, with the following personnel:

Al Porcino, Carlton McBeath, Gene Duermeyer, Bill Mattison (tp) Jimmy Priddy, Bob Robinson, Dave Wells (tb) Med Flory (cl,as) Bob Thomas (as) Dave Madden, Bill Massingill (ts) Jack Dulong (bar,as) Ernie Hughes (p) Irv Edelman (b) Mel Lewis or Chiz Harris (d)

The recording was one of the first that Liberty made in stereo, and was assigned its second stereo number (the first was for Martin Denny's Primativa). It's an interesting example of early stereo. Despite the cover claims of multi-channel recording, it actually sounds quite simply miked and is not particularly well balanced. The stereo effect is not marked; tastes would soon change to favor directional stereo, with the stereo effect created in the mixing board using multiple mikes rather than through a realistic in-studio balance.

I'll probably be back later with the recordings that Gray issued in an attempt to capitalize on 1953's Glenn Miller Story.