‘Gamekeeper-turned-Poacher..!’

Well I suppose, just looking at the number of superb documentaries that are regularly appearing on both the traditional terrestrial channels & myriad satellite channels and the vast array of knowledgeable historians & lecturers with deep wells of fascinating knowledge to share, there was always an outside chance I might have something in between my ears that could prove useful to another producer, (then I woke up!)

However though I would certainly not wish to elevate my way up to the ranks of those superb contributors who are regularly seen on TV as serious & enthusiastic expert ‘talking heads’, after 27 years of working in the field of Third Reich Military Music, I must admit it was rather flattering to be asked if I could make a similar small contribution to a new BBC TV documentary series currently being produced by R K Productions in Leeds entitled ‘Len Goodman’s Big Bands’…

I have to nevertheless admit it was a somewhat odd and a slightly disconcerting feeling to once again be moving from behind the camera to very briefly appearing in front of the magic lantern, (though I have presented a couple of Travel TV documentaries before), but this time I really had to look as if I knew what I was talking about rather than just point to the stunning scenery & enthusing for the viewers - so no pressure then!).

But then that is always assuming my small contribution makes it to the final edit and is not last seen being metaphorically swept up on the cutting-room floor, (because of course now everything is hi-tech digital edits, so a similar fate would that of being simply deleted & banished out into the ether!)…oh how cruel the world of television can be..!

Mind you, I’ve been around this industry long enough to know how this all usually unfolds, so I am fairly sanguine about how things turn out, but nevertheless I had a superb day on location with the well known professional Ballroom Dancer and judge on the BBC’s ‘Strictly Come Dancing’ Mr Len Goodman, in this new role of fronting this superb new series by Roger Keech for the new BBC Four Channel.. (I say ‘new’ but it has been around a while now..and showing some very interesting documentaries).

However I digress, (as is my usual habit), for as many collectors & enthusiasts out there who have come to know my company Tomahawk Films and its now specialist Third Reich Military & Civilian Music output these past 27 years, though a former TV Floor and Unit Production Manager thence Producer myself, these days happily my usual involvement with such fascinating work is very much from behind the camera, either to provide music, film & sound-effects or specialist historical background information to television researchers or to occasionally record the voice-over for the documentary soundtrack in question, if I’m lucky..!

However when Mr Keech, the engaging producer of this BBC Four series & I got talking about supplying some of Tomahawk Films’ German music archive to his series, he kindly asked if I would also care to be interviewed on camera by Mr Goodman, thus contributing to a specific section on Glenn Miller & WW-II German music, to which I happily agreed.

But after all these recent years of standing behind the camera or directing other people’s performances, going on camera myself again felt somewhat strange and very much as if I was turning from Gamekeeper-to-Poacher and, if I am honest, despite having lived a good part of my life on TV sets and in live radio studios, I was amazed at how long it took me to relax and actually think about what I needed to say for the cameras.. (by which time the interview was over..dang!!)

Mr Keech & I had been e-mailing each other as we sought to establish what he needed and what I could talk about and then last Friday I found myself at the former RAF Twinwood Night-Bomber Operational Training air-base north of Bedford, the aerodrome from which Glenn Miller made his fateful flight in December 1944. I say ‘found myself’, which is an over simplification, for this former air-field is well hidden and the only way to find it is to drive through a modern housing estate and then skirt behind a clump of trees then up a long stretch of unmade farm track..yes, quite!

Sadly my Sat Nav got confused and directed me to a house right in the middle of the housing estate; however luckily I managed to collar a local who kindly pointed me in the right direction. I finally knew I was close because as I pulled off the main road onto the dusty track as directed, a rather sumptuous & good-looking Jaguar saloon was just ahead of me and a very distinguished gentleman had got out to open the closed farm gate: Mr Len Goodman himself as I live & breathe, and by crikey, is he tall or what?

I am a fairly reasonable 5’8” when I remember to stand upright, but he towered over me as we exchanged greetings, (and laughed and swapped opinions on just how hard this blessed air-field had been to find) and then I offered to close the gate after he had driven through and I would play ‘tail-end Charlie’ and follow in my car behind his to the airfield!

So the pair of us then bounced up this long rutted track, his huge jag nimbly handling the ruts whilst my new Peugeot, with its low-slung, sporty suspension tried hard to break my spine as I aimed.. and failed.. to miss the holes. But eventually the pair of us in convoy drove on to the old perimeter road and, (though the huge, original concrete runway has since been dug up & restored to farming land),up to the former flight control tower & surrounding buildings, sitting just at the top of this old road.

Today they offer a superb mirror reflecting back those halcyon war-time days as, included on-site, is the official UK Glen Miller Museum; this indeed was the reason for the interviews being filmed here on location, for in the afternoon after my mini-performance on camera, a nephew of former USAAF Major Glenn Miller was also to be interviewed… and what better setting than the base at which his late uncle made his final, and sadly, ill-fated flight from the UK..

Mr Goodman and I eventually found our way into the aerodrome compound to be confronted by a green-painted control tower and a number of typical war-time camo-painted buildings with anti-blast white tape criss-crossing over the windows, plus a NAAFI building and various other assorted out-buildings…

Quite a sight that you would never have believed was still here, almost hidden as it was by the slowly advancing thick, dense forest surrounding this former old World War Two air-base…

RAF Twinwood was an Operational Training Unit for Night Bomber crews flying Mosquitos & Beaufighters and the pilots would be trained here for night sorties over a blacked-out Third Reich. Today the control tower is decked out as it would have been in 1944, with several of the crew-rooms having flying jackets draped over crew chairs, so the whole ‘war-time bomber field vibe’ is very much still there, thus offering a superb back-drop for filming WW-II documentary interviews…

Mr Goodman and I spent a happy half-hour chatting on camera in that evocative RAF tower with all its ghosts and war-time history still hanging in the air and with the Glenn Miller connection, stemming from the fact that this bomber airfield was the closest to Bedford, where his famous war-time Orchestra were based as a safer alternative from Blitzed London. Thus RAF Twinwood was a very convenient base for him to fly back & forth to occupied France for his many morale-boosting troop concerts. It was also at RAF Twinwood on August 27th 1944, that Glenn Miller and his Orchestra performed a concert as a ‘thank you’ to all of the hard-working RAF ground-crew that allowed him and his USAAF musicians free access flying in and out on their musical duties.

Sadly it was to be just 4 months later that, on December 15th 1944, and bound for France, Glenn Miller boarded his Army Co-operation Norseman aircraft outside of the RAF Twinwood Control Tower and set off into the night sky… never to be seen again! Since that day myriad theories as to what actually happened to him remain legion.. I was always of the belief that his Norseman ‘plane flying low across the Channel to France, may have been accidentally hit by returning RAF Lancasters, USAAF B.17 Flying Fortresses or B.24 Liberators who, approaching the English coast, jettisoned any remaining bombs from their missions over Germany ahead of landing back at their bases, and Miller’s plane had simply been unlucky and been hit by one of these jettisoned bombs as he headed out to France in the opposite direction…

However in talking to Keith Hill, (below), a superb aviation artist who now has a permanent exhibition of World War Two US & RAF aircraft in one of the Control Tower’s ground-level rooms, (including a superb painting he produced of Glen Miller’s Norseman plane), he mentioned a new documentary that has come out in the US whereby an expert who has been looking into the mystery of Miller’s disappearance on that fateful December day in 1944. The new researcher has uncovered a witness who saw the Norseman flying over Maidenhead on the night of December 15th, (thereby off course at the hands of a somewhat inexperienced Air Force ‘taxi’ pilot).

However more significantly, there had been a problem in some of the larger bombers with engine parts freezing up in the wintry temperatures, (parts which, unfortunately this smaller Norseman shared), and as a direct result pilots were ordered not to fly in low temperature conditions. However Glen Miller’s pilot did take off into the freezing night sky..and this new research suggests that somewhere off-course and over the English Channel, the Norseman’s engine froze solid as warned… and plummeted vertically out of the sky and into the Channel, never to be traced..!

Whatever the true reason behind this tragic loss of a popular war-time band leader, it is a fitting tribute to USAAF Major Glen Miller that RAF Twinwood, the airfield from which he made his last flight, now boasts its own Glenn Miller Museum, which is open to the public at weekends and where, once a year, a full 1940’s tribute concert is performed in his name. So what remains of RAF Twinwood’s Control Tower & its ancillary buildings here on the edge of the forest was a great location for producer Roger Keech to record interviews for his new BBC series, ‘Len Goodman’s Big Bands’ which is due for transmission over Christmas…

It was also a perfect setting to get us both talking about our other great passions, WW-II Vintage bomber & fighter aircraft as it turned out he has been very heavily involved in filming with the Battle of Britain Memorial Flight’s Lancaster, Spitfire & Hurricane (along with the arrival of Canada’s last air-worthy Lancaster to fly alongside our our Lanc), whilst I could swap stories of my time in the US with the Confederate Air Force and Battle of Britain Movie stunt pilot Connie Edwards on his ranch in Texas with his beloved ME109s & Spitfires from the 1969 movie… so hopefully, if the gods are willing, we might be able to share our great aviation passion again before too much longer!

Copyright @ Brian Matthews 2014

Choir Training in the Wehrmacht…

Throughout the history of German military music, the twin performances of full regimental band & soldiers’ song, by a single voice or full field-choir have run parallel with both vital to troop entertainment in the barracks or in the field. Compared to other field-entertainment such as cinema & theatre or concert performances, a choir raised from combat troops was seen as being on-hand & ready to sing in all locations and in all conditions when a band was not available.

The importance of singing in the Armed Forces of the Third Reich was underlined by Generalfeldmarschall von Keitel who said in the foreword to the Handbuch für die Singleiterder Wehrmacht (Army Handbook for Those in Charge of Soldiers’ Singing): “Throughout the ages, songs have been the comrades of German soldiers in good times and bad; for soldiers on the march, at rest or at play, singing is always the living expression of soldierly comradeship. Whoever is in charge of soldiers singing has himself to be in possession of a great wealth of knowledge and has to have a happy way of passing this knowledge on…He also has to understand the deeper purpose of soldiers’ song and music. In times of struggle, music is a source of joy, of up-lifting, and inner strength for the people. Those in charge of singing have to unlock this source of strength for their men…..”

Writing in the same manual, Hauptmann Wilhelm Matthes summed up the value of song to the German Army in 1940: “Whatever moves a soldier’s innermost feelings most strongly, be it battle, victory, death, comradeship, loyalty, love of weaponry, love of homeland, love of wife and family, all these emotions find their immediate expression in the wealth of beautiful soldiers’ songs which have been handed down through many generations, and also in the great number of new songs which give expression to the experiences of the current war….”

Set against this widely held belief, the Wehrmacht High Command decreed it desirable that, given the appropriate good will and organisation, every division or regiment in the German armed forces should be in a position to set up its own small choir, despite the demands of military duties or the restrictions put upon it by being a front-line unit.

Understanding that such choirs could only function with the full support of its commanding officer and the skill of the conductor, it was also stated in the Wehrmacht Handbook that: choir singing should be seen and rewarded as a part of service to the troop, and not just as a simple leisure activity. This should be achieved by recruiting eight good singers who have a rudimentary knowledge of how to read music. All too often such ventures fail because an advert is placed simply saying “Volunteer Singers Wanted” and then the applicants are accepted with no further selection.

These eight singers will then motivate others by performing comparatively simple songs to a high standard, so attracting others to come forward, and once the choir has reached 24 to 28 members, it can then cope with more tasks and the change of personnel that will undoubtedly occur within a combat unit….”

Oberkommando der Wehrmacht’s advice on selecting a choirmaster was: “to search for a conductor with previous experience of amateur choirs, someone who knows how to handle a variety of voices and who can combine educational flair with energy and staying power. Most of all, that soldier should know how to capture and hold his singers’ attention and how to inspire them, be he a good amateur or a professional…”

On programme selection, the training manual also suggested that it was: “far better to undertake a simple song rather than dishearten a choir by attempting something far too complicated. Conductors of field choirs have a unique opportunity to influence the tastes of a wide selection of the population by choosing music of an artistic value as found in folk songs and truly popular music…

Copyright @ Brian Matthews 2014

Nazi Propaganda Swing from Charlie & His Orchestra..!

Just one of the many enjoyable aspects of producing Tomahawk Film’s digital re-mastered archival music CDs is that, thanks to our searches in Germany, aided by our friends & colleagues on the continent, is that we never know from one day, or one month, to the next just what wonderful material will emerge from hiding..and what new titles we can produce as a result..!

When Tomahawk first became a professional  restorer of period audio archival material some 25 years ago, it was the military side of the Third Reich that we concentrated on, but after many years in the Dubmaster studio with archival engineer Simon ‘Woody’ Wood, I found that I was really becoming captivated by the wonderful civilian music that also emanated from this period… and once we had produced our Wunschkonzert fuer die Wehrmacht series, we realised our audiences were too..!

From the Music of Lale Andersen to Wilhelm Strienz, from Dance Music of the Third Reichto the Songs of Mimi Thoma, we were certainly widening our net… however it was perhaps the Nazi Propaganda Radio Swing, Blues & Jazz classics from the famous Lutz Templin Orchestra, (better known as ’Charlie and His Orchestra’) that really caught our further historical attention & interest and I am very proud of the CD that came out of another fantastic editing & re-mastering session with Woody:

Perhaps one of the lesser know theatres of World War Two was the ‘Battle of the Airwaves’ and the leading exponents were the radio producers of the Reich’s Propaganda Ministry in Berlin, whose short-wave radio broadcasts from Reichsender Berlin took many forms; and whilst Lord Haw-Haw remains the most infamous voice heard on these Nazi air-waves, the Lutz Templin Orchestra aka ‘Charlie and his Orchestra’ was, broadcasting to the outside world, perhaps one of the most widely listened to!

Working directly to Propaganda Minister Joseph Goebbels, a team of top composers & lyricists set about parodying well-known American Jazz, Blues & Swing classics of the day and specifically penned, first anti-British & anti-Semitic lyrics, thence anti-American & Soviet broadsides, which Propaganda Ministry linguists would then translate into English for broadcast.

Whilst ‘Charlie’ in the title was believed to be famous German crooner Karl Schwedler, (who was allowed to travel throughout occupied France, Holland & neutral Sweden, to collect examples of the latest Anglo-American music, banned in Nazi Germany), it was band co-leader Lutz Templin who was the driving force behind the parodies’ musical  arrangements.

Though the band line-up changed regularly between 1940 & 1945 as many of its professional German musicians, (drafted into the Wehrmacht & Waffen-SS Musikkorps), were replaced by Belgian & Dutch musicians from the Occupied countries, Templin’s continued influence could be felt as the band performed in Berlin; then as the Allied bombing of Germany intensified it relocated to perform & continue broadcasting on short-wave radio, (Kurzwellensender), in Stuttgart from the Summer of 1943.

As the war raged on, so the skits parodied different events & countries involved in the war effort, but the songs never lost their distinctive feel of 1940’s war-time radio and this superb 16-track collection of clever English lyrics, ranging from the funny to the vitriolic, offers some stunning Nazi Propaganda Swing classics including: I Double-Dare You, Miss BBCBye ‘Bye Empire and Black-out Blues..

In addition there is, at Goebbels’ insistence, two poignant Lale Andersen English lyrics vocals on Under an Umbrella & Lili Marleen, which were specifically aimed at capitalizing on the home-sickness many Allied servicemen posted overseas would already be feeling…!

I hope you’ll derive as much fun from listening to this very rare and hugely engaging collection of Nazi Propaganda music as I did in re-mastering & producing it… it’s certainly full of wonderfully entertaining tracks that should hopefully, (as they say in theatrical circles), ‘delight & amaze you…’

Copyright @ Brian Matthews 2013