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  

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 or 
recordings of this?



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  
Los Angeles Times today, which, by the way, was on the front page. They  
about him providing the "whip" sound for Frankie Laine's recording of "Mule 
Train," the overdubbing on Patti Page's "Money, Marbles and Chalk," and his  
in the careers of Mercury artists like Vic Damone and Patti Page. He even 
mentions Miller playing on the "Charlie Parker with Strings" LPs. Miller did  
lot for Columbia in the same way Dave Dexter did for Capitol; they were fine  
middle-of-the-road artists, but refused to change with the times or accept  
validity of the public's changing styles. Miller turned down Elvis; Dexter 
turned down the Beatles at least four times. They made their mark for what  
themselves liked, but as businessmen, they had their limitations and failed  
have their fingers on the pulse of where the public's tastes were going.  
This is 
why 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 same 
thing at Columbia, but refused to acknowledge rock 'n' roll as a bonafide  
form and something that could have made Columbia millions. Instead, they 
stagnated in the rock world. Only John Hammond gave Columbia any place in  
rock world by signing Bob Dylan, then just a folk singer who happened to  
into a rock legend. As a partial result of Miller's influence, Columbia  
have 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  
>early role in Mercury 
> Records, which was important for the young independent company. Miller was  
>oboe player, Eastman 
> School trained. He was hired at Mercury by John Hammond and he, Hammond  
>David Hall comprised the 
> company's earliest classical-music staff. Miller recorded an album of 
>oboe/chamber orchestra music 
> for Mercury, as well as worked on the "Charlie Parker with Strings"  
>for Norman Granz. At 
> that time, Granz was affiliated with Mercury.
> After Miller went to Columbia and, among many other things, founded the  
>30th Street studio, 
> he continued to moonlight with other projects. One on-going thing for him  
>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  
>as this old 
> fuddy-duddy of suburbia in the age of rock and roll with his sing-along  
>The goatee should have 
> slain that myth. Both Miller and Hammond were cutting-edge dudes in their  
>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  
>Records. May he rest 
> in peace.
> -- Tom Fine