Editing Glenn Miller (section)

==Reaction from musical peers==
[[File:Glenn Miller.jpg|thumb|Miller from the ''Billboard Music Yearbook'']]
[[Louis Armstrong]] thought enough of Miller to carry around his recordings, transferred to seven-inch tape reels when he went on tour. "[Armstrong] liked musicians who prized melody, and his selections ranged from Glenn Miller to [[Jelly Roll Morton]] to [[Tchaikovsky]]."<ref>Armstrong, Louis. "Reel to Reel". ''The Paris Review.'' Spring 2008: 63.</ref> Jazz pianist [[George Shearing]]'s quintet of the 1950s and 1960s was influenced by Miller: "with Shearing's [[locked hands style]] piano (influenced by the voicing of Miller's saxophone section) in the middle [of the quintet's harmonies]".<ref>{{cite news |last=Zwerin |first=Mike |date=August 17, 1995 |url=https://www.nytimes.com/1995/08/17/style/17iht-shearing.t.html |title=George Shearing at 76:Still Holding His Own |newspaper=International Herald Tribune |access-date=November 8, 2014 |archive-date=November 9, 2014 |archive-url=https://web.archive.org/web/20141109095628/http://www.nytimes.com/1995/08/17/style/17iht-shearing.t.html |url-status=live }}</ref><ref>{{cite news |last=Keepnews |first=Peter |date=February 14, 2011 |url=https://www.nytimes.com/2011/02/15/arts/music/15shearing.html |title=George Shearing, 'Lullaby of Birdland' Jazz Virtuoso, Dies at 91 |newspaper=The New York Times |quote=What [Shearing] was aiming for [...] was 'a full block sound, which, if it was scored for saxophones, would sound like the Glenn Miller sound. And coming at the end of the frenetic bebop era, the timing seemed to be right.' |access-date=February 8, 2017 |archive-date=May 24, 2017 |archive-url=https://web.archive.org/web/20170524065001/http://www.nytimes.com/2011/02/15/arts/music/15shearing.html |url-status=live }}</ref> 

[[Frank Sinatra]] and [[Mel Tormé]] held the orchestra in high regard. Tormé credited Miller with giving him helpful advice when he first started his singing and songwriting career in the 1940s. Tormé met Miller in 1942, the meeting facilitated by Tormé's father and Ben Pollack. Tormé and Miller discussed "[[That Old Black Magic]]", which was just emerging as a new song by [[Johnny Mercer]] and [[Harold Arlen]]. Miller told Tormé to pick up every song by Mercer and study it and to become a voracious reader of anything he could find, because "all good lyric writers are great readers."<ref>{{Cite book|title=It Wasn't All Velvet |last=Torme |first=Mel|author-link=Mel Tormé|year=1988 |publisher=Penguin|location=New York |isbn=0-86051-571-0|pages=42–44|url=https://books.google.com/books?id=7eeuPQAACAAJ }}</ref> In an interview with George T. Simon in 1948, Sinatra lamented the inferior quality of music he was recording in the late '40s, in comparison with "those great Glenn Miller things"<ref>Simon (1971), p. 359.</ref> from eight years earlier. Frank Sinatra's recording sessions from the late 1940s and early 1950s use some Miller musicians. Trigger Alpert, a bassist from the civilian band, Zeke Zarchy for the Army Air Forces Orchestra and Willie Schwartz, the lead clarinetist from the civilian band back up Sinatra on many recordings.<ref>{{cite web |url=http://www.jazzdiscography.com/Artists/Sinatra/columbia2.php |title=Frank Sinatra – The Columbia Years – 1947–1949 |website=Jazzdiscography.com |access-date=July 27, 2017 |archive-date=November 6, 2018 |archive-url=https://web.archive.org/web/20181106190821/https://jazzdiscography.com/Artists/Sinatra/columbia2.php |url-status=live }}</ref><ref name="steve-albin1">{{cite web |url=https://jazzdiscography.com/Artists/Sinatra/columbia2.php |title=Frank Sinatra – Columbia II |website=JazzDiscography.com |access-date=July 27, 2017 |archive-date=March 17, 2017 |archive-url=https://web.archive.org/web/20170317113925/http://www.jazzdiscography.com/Artists/Sinatra/columbia2.php |url-status=live }}</ref>

It was a surprise that clarinetist [[Buddy DeFranco]] took on the job of leading the [[Glenn Miller Orchestra (1946-present)|Glenn Miller Orchestra]] in the late 1960s and early 1970s. De Franco was already a veteran of bands like Gene Krupa and Tommy Dorsey in the 1940s. He was also a major exponent of modern jazz in the 1950s.<ref>{{cite web |url=http://www.buddydefranco.com/bio.html |title=Buddy's Bio |publisher=Buddy DeFranco |access-date=November 8, 2014 |archive-date=December 29, 2014 |archive-url=https://web.archive.org/web/20141229203629/http://www.buddydefranco.com/bio.html |url-status=live }}</ref> He never saw Miller as leading a swinging jazz band, but DeFranco is extremely fond of certain aspects of the Glenn Miller style. "I found that when I opened with 'Moonlight Serenade', I could see men and women weeping as the music carried them back to years gone by."<ref>Zammarchi 238</ref><ref>DeFranco's favorite Miller recordings are "[[Skylark (song)|Skylark]]" and "[[Indian Summer (Glenn Miller song)|Indian Summer]]" see Zammarchi 237</ref> De Franco says, "the beauty of Glenn Miller's ballads ... caused people to dance together."<ref>Zammarchi 237</ref>