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Can you imagine Mitch Miller seeing anything in Stevie Ray Vaughn in his 70s? 
You might write this off to a classical background,but for every closed-minded 
classical musician,there are just as many examples of 
composers,violinists,etc.who embraced jazz in the 20s,and 30s, and a few who 
embraced rock.The Leonard Bernstein Brian Wilson example,is one of the most 
obvious ones,but there are a few others.

Roger





________________________________
From: "[log in to unmask]" <[log in to unmask]>
To: [log in to unmask]
Sent: Tue, August 3, 2010 8:45:10 PM
Subject: Re: [ARSCLIST] Mitch Miller RIP

I met both hammond and miller in my travels and while they certainly shared some 
similarities hammond was by far the greater judge of talent and willing to 
evolve. Miller remained mired in an antiquated sense of what pop meant while 
hammond went on to sign springsteen! Hammond was funny, approachable and 
engaging, miller not so much. Same generation but such different sensibilities.

Sent via DROID on Verizon Wireless

-----Original message-----
From: Roger Kulp <[log in to unmask]>
To: [log in to unmask]
Sent: Wed, Aug 4, 2010 02:32:44 GMT+00:00
Subject: Re: [ARSCLIST] Mitch Miller RIP

The article also mentions him conducting symphony orchestras.Any videos 
orrecordings of this?

Roger







________________________________
From: Cary Ginell <[log in to unmask]>
To: [log in to unmask]
Sent: Tue, August 3, 2010 12:47:13 PM
Subject: Re: [ARSCLIST] Mitch Miller RIP

There's a lot on Miller's work for Mercury in Dennis McClellan's article in 
theLos Angeles Times today, which, by the way, was on the front page. They 
talkedabout him providing the "whip" sound for Frankie Laine's recording of 
"MuleTrain," the overdubbing on Patti Page's "Money, Marbles and Chalk," and his 
rolein the careers of Mercury artists like Vic Damone and Patti Page. He 
evenmentions Miller playing on the "Charlie Parker with Strings" LPs. Miller did 
alot for Columbia in the same way Dave Dexter did for Capitol; they were fine 
formiddle-of-the-road artists, but refused to change with the times or accept 
thevalidity of the public's changing styles. Miller turned down Elvis; 
Dexterturned down the Beatles at least four times. They made their mark for what 
theythemselves liked, but as businessmen, they had their limitations and failed 
tohave their fingers on the pulse of where the public's tastes were going. This 
iswhy someone like George Martin has to be admired: he was a classical guy who 

produced the Goons in England and used his ability to adapt to the 
Beatles'style. With Miller's musicality and experience, he might have done the 
samething at Columbia, but refused to acknowledge rock 'n' roll as a bonafide 
artform and something that could have made Columbia millions. Instead, 
theystagnated in the rock world. Only John Hammond gave Columbia any place in 
therock world by signing Bob Dylan, then just a folk singer who happened to 
developinto a rock legend. As a partial result of Miller's influence, Columbia 
didn'thave any bonafide rock 'n' roll talents until Janis Joplin in the late 
'60s. 



Cary Ginell

> Date: Tue, 3 Aug 2010 13:58:50 -0400
> From: [log in to unmask]
> Subject: [ARSCLIST] Mitch Miller RIP
> To: [log in to unmask]
> 
> In the (few) obits I've read for Mitch Miller, I didn't see any mention of 
his
> early role in Mercury
> Records, which was important for the young independent company. Miller was 
an
> oboe player, Eastman
> School trained. He was hired at Mercury by John Hammond and he, Hammond 
and
> David Hall comprised the
> company's earliest classical-music staff. Miller recorded an album 
>ofoboe/chamber orchestra music
> for Mercury, as well as worked on the "Charlie Parker with Strings" 
sessions
> for Norman Granz. At
> that time, Granz was affiliated with Mercury.
> 
> After Miller went to Columbia and, among many other things, founded the 
famous
> 30th Street studio,
> he continued to moonlight with other projects. One on-going thing for him 
in
> the 50's and 60's was
> conducting, arranging and producing sessions for Little Golden Book kiddie 

> records. He did some of
> these sessions at Fine Sound and then Fine Recording.
> 
> Some of the obits and tributes struck me as very ironic. Miller was 
portrayed
> as this old
> fuddy-duddy of suburbia in the age of rock and roll with his sing-along 
show.
> The goatee should have
> slain that myth. Both Miller and Hammond were cutting-edge dudes in their 
time,
> very much on the
> forefront of music and intellectual thought, and far left of the 
mainstream in
> their social and
> political views. They were progressives before there was such a term.
> 
> Mitch Miller did much for the music business, and for Mercury and then 
Columbia
> Records. May he rest
> in peace.
> 
> -- Tom Fine