Thomas Francis "Tommy" Dorsey, Jr. (November 19, 1905 - November 26, 1956) … Read Full Bio ↴Thomas Francis "Tommy" Dorsey, Jr. (November 19, 1905 - November 26, 1956) was an American jazz trombonist, trumpeter, composer, and bandleader of the Big Band era. He was known as "The Sentimental Gentleman of Swing", because of his smooth-toned trombone playing. Although he was not known for being a notable soloist, his technical skill on the trombone gave him renown amongst other musicians. He was the younger brother of bandleader Jimmy Dorsey. After Dorsey broke with his brother in the mid-1930s, he led an extremely popular and highly successful band from the late 1930s into the 1950s, the Tommy Dorsey Orchestra.
Thomas Francis Dorsey, Jr., was born in Shenandoah, Pennsylvania, the second of four children born to Thomas Francis Dorsey, Sr., and Theresa (née Langton) Dorsey. He and Jimmy, his older brother by slightly less than two years, would become famous as the "Dorsey Brothers". The two younger siblings were Mary and Edward (who died young). Tommy Dorsey initially studied the trumpet with his father, only to later switch to the trombone.
His Father, Thomas F. Dorsey, Sr. died July 13, 1942. Thomas Sr was born in Shenandoah, PA and was a bandleader himself.
At age 15, Jimmy recommended Tommy as the replacement for Russ Morgan in the 1920s territory band "The Scranton Sirens." Tommy and Jimmy worked in several bands, including those of Tal Henry, Rudy Vallee, Vincent Lopez, Nathaniel Shilkret. In 1923, Dorsey followed his brother Jimmy to Detroit to play in Jean Goldkette's band and later returned to New York in 1925 to play with the California Ramblers. In 1927 he joined Paul Whiteman. In 1929, the Dorsey Brothers had their first hit with "Coquette" for OKeh records.
In 1934, the Dorsey Brothers band signed with Decca records, having a hit with "I Believe In Miracles". Future bandleader Glenn Miller was a member of the Dorsey Brothers Orchestra in 1934 and 1935, composing "Annie's Cousin Fanny", "Tomorrow's Another Day", "Harlem Chapel Chimes", and "Dese Dem Dose", all recorded for Decca, for the band. Ongoing acrimony between the brothers, however, led to Tommy Dorsey's walking out to form his own band in 1935, just as the orchestra was having a hit with "Every Little Moment." Dorsey's orchestra was known primarily for its renderings of ballads at dance tempos, frequently with singers such as Jack Leonard and Frank Sinatra.
Tommy Dorsey's first band was formed out of the remains of the Joe Haymes band, and so began Dorsey's long-running practice of raiding other bands for talent. If he admired a vocalist, musician, or arranger, he would think nothing of taking over their contracts and careers. Dorsey had a reputation for being a perfectionist. He was volatile and also known to hire and fire (and sometimes rehire) musicians based on his mood. The new band was popular from almost the moment it signed with RCA Victor with "On Treasure Island", the first of four hits for the new band in 1935. After his 1935 recording however, Dorsey's manager cut the "hot jazz" that Dorsey had mixed with his own lyrical style and instead had Dorsey play pop and vocal tunes. Dorsey would keep his Clambake Seven as a Dixieland group that played during performances, too. The Dorsey band had a national radio presence in 1936, first from Dallas and then from Los Angeles. Tommy Dorsey and his Orchestra took over comedian Jack Pearl's radio show in 1937.
By 1939, Dorsey was aware of criticism that his band lacked a jazz feeling. He hired arranger Sy Oliver away from the Jimmie Lunceford band. Sy Oliver's arrangements include "On The Sunny Side of the Street" and "T.D.'s Boogie Woogie"; Oliver also composed two of the new band's signature instrumentals, "Well, Git It" and "Opus One". In 1940, Dorsey hired singer Frank Sinatra from bandleader Harry James. Frank Sinatra made eighty recordings from 1940 to 1942 with the Dorsey band. Two of those eighty songs are "In The Blue of Evening" and "This Love of Mine". Frank Sinatra achieved his first great success as a vocalist in the Dorsey band and claimed he learned breath control from watching Dorsey play trombone. In turn, Dorsey said his trombone style was heavily influenced by that of Jack Teagarden. Among Dorsey's staff of arrangers was Axel Stordahl who arranged for Frank Sinatra in his Columbia and Capitol records years. Another member of the Dorsey band was trombonist Nelson Riddle, who later had a partnership as one of Sinatra's arrangers and conductors in the 1950s and afterwards. Another noted Dorsey arranger, who in the 1950s, married and was professionally associated with Dorsey veteran Jo Stafford, was Paul Weston. Bill Finegan, an arranger who left Glenn Miller's civilian band, arranged for the Tommy Dorsey band from 1942 to 1950.
The band featured a number of future famous instrumentalists, singers and arrangers in the 1930s and '40s, including trumpeters Zeke Zarchy, Bunny Berigan, Ziggy Elman, Carl "Doc" Severinsen, and Charlie Shavers, pianists Milt Raskin, Jess Stacy, clarinetists Buddy DeFranco, Johnny Mince, and Peanuts Hucko. Others who played with Dorsey were drummers Buddy Rich, Louie Bellson, Dave Tough saxophonist Tommy Reed, and singers Frank Sinatra, Jack Leonard, Edythe Wright, Jo Stafford with The Pied Pipers, Dick Haymes and Connie Haines. In 1944, Dorsey hired The Sentimentalists who replaced The Pied Pipers. Dorsey also performed with singer Connee Boswell Dorsey hired ex-bandleader and drummer Gene Krupa after Krupa's arrest and scandal for marijuana possession in 1943. In 1942 Artie Shaw broke up his band and Dorsey hired the Shaw string section. As George Simon in Metronome magazine notes at the time, "They're used in the foreground and background (note some of the lovely obbligatos) for vocal effects and for Tommy's trombone."
As Dorsey became successful, he made business decisions in the music industry. He loaned Glenn Miller money to launch Miller's successful band of 1938, but Dorsey saw the loan as an investment, entitling him to a percentage of Miller's income. When Miller balked at this, the angry Dorsey got even by sponsoring a new band led by Bob Chester, and hiring arrangers who deliberately copied Miller's style and sound. Dorsey branched out in the mid-1940s and owned two music publishing companies, Sun and Embassy. After opening at the Los Angeles ballroom, The Hollywood Palladium, on the Palladium's first night, Dorsey's relations with the ballroom soured and he opened a competing ballroom, The Casino Gardens circa 1944. Dorsey also owned for a short time a trade magazine called The Bandstand.
Tommy Dorsey disbanded his own orchestra at the end of 1946. Dorsey might have broken up his own band permanently following World War II, as many big bands did due to the shift in music economics following the war, but Tommy Dorsey's album for RCA, "All Time Hits" placed in the top ten records in February 1947. In addition, "How Are Things In Glocca Morra?", a single recorded by Dorsey, became a top-ten hit in March 1947. Both of these successes made it possible for Dorsey to re-organize a big band in early 1947. The Dorsey brothers were also reconciling. The biographical film of 1947, The Fabulous Dorseys describes sketchy details of how the brothers got their start from-the-bottom-up into the jazz era of one-nighters, the early days of radio in its infancy stages, and the onward march when both brothers ended up with Paul Whiteman before 1935 when The Dorsey Brothers' Orchestra split into two. In the early 1950s, Tommy Dorsey moved from RCA Victor back to the Decca record label.
Jimmy Dorsey broke up his own big band in 1953. Tommy invited him to join up as a feature attraction and a short while later, Tommy renamed the band the Tommy Dorsey Orchestra featuring Jimmy Dorsey. In 1953, the Dorseys focused their attention on television. On December 26, 1953, the brothers appeared with their orchestra on Jackie Gleason's CBS television show, which was preserved on kinescope and later released on home video by Gleason. The brothers took the unit on tour and onto their own television show, Stage Show, from 1955 to 1956. On numerous episodes, they introduced future noted rock musician Elvis Presley to national television audiences, prior to Presley's better known appearance on the Ed Sullivan Show.
Married life
Dorsey's married life was varied and, at times, lurid. His first wife was 16-year-old Mildred Kraft, with whom he eloped in 1922, when he was 17. They had two children, Patricia and Tom (nicknamed "Skipper"). They divorced in 1943 after Dorsey's affair with his former singer Edythe Wright. He then wed movie actress Pat Dane in 1943, and they were divorced in 1947, but not before he gained headlines for striking actor Jon Hall when Hall embraced Dorsey's wife. Finally, Dorsey married Jane Carl New on March 27, 1948, in Atlanta, Georgia. She had been a dancer at the Copacabana nightclub in New York City. Tommy and Jane Dorsey had two children, Catherine Susan and Steve.
On November 26, 1956, Tommy Dorsey died at age 51 in his Greenwich, Connecticut, home. He had eaten a heavy meal and began choking in his sleep. Dorsey began taking sleeping pills regularly at this time; therefore, he was so sedated that he was unable to awaken and died from choking. Jimmy Dorsey led his brother's band until his own death from lung cancer the following year. At that point, trombonist Warren Covington assumed leadership of the band with Jane Dorsey's blessing as she owned the rights to her late husband's band and name. Billed as the "Tommy Dorsey Orchestra Starring Warren Covington", they topped the charts in 1958 with "Tea For Two Cha-Cha". After Covington led the band for a short period, Sam Donahue led it starting in 1961, continuing until the late 1960s. Buddy Morrow conducted the Tommy Dorsey orchestra until his death on September 27, 2010. Jane Dorsey died of natural causes at the age of 79, in Miami, Florida in 2003. Tommy and Jane Dorsey are interred together in Kensico Cemetery in Valhalla, New York.
Number one hits
Tommy Dorsey had a run of 286 Billboard chart hits. The Dorsey band had seventeen number one hits with his orchestra in the 1930s and 1940s including: "On Treasure Island", "The Music Goes 'Round and Around", "You", "Marie" (written by Irving Berlin), "Satan Takes a Holiday", "The Big Apple", "Once in a While", "The Dipsy Doodle", "Our Love", "All the Things You Are", "Indian Summer", and "Dolores". He had two more number one hits in 1935 when he was a member of the Dorsey Brothers Orchestra: "Lullaby of Broadway" (written by Harry Warren), number one for two weeks, and "Chasing Shadows", number one for three weeks. His biggest hit was "I'll Never Smile Again", featuring Frank Sinatra on vocals, which was number one for twelve weeks on the Billboard pop singles chart in 1940. "In the Blue of Evening" was number 1 on the Billboard pop singles chart in 1943.
Songs written by Tommy Dorsey
1929: "You Can't Cheat A Cheater" with Phil Napoleon and Frank Signorelli
1932: "Three Moods"
1937: "The Morning After"
1938: "Chris and His Gang" with Fletcher and Horace Henderson; Tommy Dorsey wrote the song "Peckin' With Penguins" for a 1938 Frank Tashlin-directed Porky Pig cartoon, "Porky's Spring Planting" for the studio Warner Bros.
1939: "To You", "This Is No Dream", "You Taught Me to Love Again", "In The Middle Of A Dream", "Night In Sudan"
1945: "Fluid Jive" and "Fried Chicken"
1946: "Nip and Tuck"
1947: "Trombonology"
Co-wrote "Bunch of Beats", "Mid Riff", and "Candied Yams" with Fred Norman.
Honors and posthumous recognition
In 1982, the 1940 Victor recording "I'll Never Smile Again" was the first of a trio of Tommy Dorsey recordings to be inducted into the Grammy Hall of Fame. His theme song, "I'm Getting Sentimental Over You" was inducted in 1998, along with his recording of "Marie" written by Irving Berlin in 1928.[85] In 1996, the U.S. Postal Service issued a Tommy Dorsey and Jimmy Dorsey commemorative postage stamp.
Discography
1961: The One And Only Tommy Dorsey (RCA Camden)
1966: Tommy Dorsey's Dance Party (Vocalion)
1976: Tommy Dorsey (1937 - 1941) (AMIGA)
The Essence of Tommy Dorsey (1935-1949 recordings under RCA, reissued under Phantom Sound & Vision)
This is Tommy Dorsey, Volume 1 (1935-1944 recordings under RCA, reissued by Collectibles)
1988: All-Time Greatest Dorsey/Sinatra Hits, Vol. 1-4 (RCA)
1982: The Dorsey/Sinatra Sessions (RCA)
1990: Yes, Indeed! (Bluebird/RCA)
1991: Music Goes Round and Round (Bluebird/RCA)
1994: Stop, Look and Listen (1994) (ASV/Living Era Records)
1999: The V-Disc Recordings (Collectors' Choice Music)
1999: 1937, Vol. 3
2001: This Is Tommy Dorsey & His Orchestra, Vol. 1 (Collectables Records)
2004: 1939, Vol. 3
2004: Tommy Dorsey: The Early Jazz Sides: 1932 - 1937 (Jazz Legends)
2004: It's D'Lovely 1947-1950 (Hep Records)
V-Disc Recordings
Blue Skies, No. 1B, October, 1943, with Frank Sinatra and the Pied Pipers
Well Get It, No. 86A, December, 1943
April in Paris, No. 134, 1944
Swing Low, Sweet Chariot, No. 150B, March, 1944
Hawaiian War Chant and March of the Toys, No. 195B, May, 1944
Paramount on Parade, No. 206, 1944
Minor Goes A'Muggin' and Losers Weepers, No. 220A, 1944
Not So Quiet Please, No. 220B, 1944, with Gene Krupa
Wagon Wheels, No. 222A, 1944
T.D. Chant, No. 222B, with Gene Krupa and Buddy DeFranco
Tess's Torch Song and Milkman Keep Those Bottles Quiet, No. 227A, 1944, with Georgia Gibbs
Irresistible You and I Never Knew, No. 227B, with Bob Allen and The Sentimentalists
Small Fry, No. 269A, 1944, with Bing Crosby
Milenberg Joys, No. 273B, 1944
Sweet and Lovely and The Lamp is Low, No. 320A (Army), November, 1944
Melody in A and Chicago, No. 322A, 1944
Over the Rainbow and I May Be Wrong But I Think You're Wonderful, No. 335A, December, 1944, with Judy Garland
For All We Know and The Lady in Red, No. 347A (Army), January, 1945
Nobody's Baby and Three Little Words, No. 362A, 1945
Smoke Gets in Your Eyes and Sweetheart of Sigma Chi, No. 391A, March, 1945
More Than You Know, No. 451A (Army); No. 231A (Navy), June, 1945, with Jimmy Dorsey and His Orchestra
Brotherly Jump, No. 451B, June, 1945, with Jimmy Dorsey and His Orchestra
I'll Never Smile Again, No. 582A (Army), February, 1946, with Frank Sinatra and the Pied Pipe
Boogie Woogie, No. 877A, January, 1949
Marie, No. 890A, Tommy Dorsey and Band, March, 1949
Filmography
Segar Ellis and His Embassy Club Orchestra (1929)needs citation
Alice Bolden and Her Orchestra (1929)
Tommy Dorsey and his Orchestra appear in the following films for the studios Paramount, MGM, Samuel Goldwyn, Allied Artists and United Artists:
Las Vegas Nights (1941)
Ship Ahoy (1942)
Presenting Lily Mars(1943)
Girl Crazy (1943)
Du Barry Was a Lady (1943)
Thrill of a Romance (1945)
The Great Morgan (1946)
The Fabulous Dorseys (1947)
A Song Is Born (1948)
Disc Jockey (1951)
The Dorsey Brothers appear in the 1953 sixteen-minute Universal-International film called The Dorsey Brothers Encore.
Grammy Hall of Fame
Tommy Dorsey was posthumously inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance."
Thomas Francis Dorsey, Jr., was born in Shenandoah, Pennsylvania, the second of four children born to Thomas Francis Dorsey, Sr., and Theresa (née Langton) Dorsey. He and Jimmy, his older brother by slightly less than two years, would become famous as the "Dorsey Brothers". The two younger siblings were Mary and Edward (who died young). Tommy Dorsey initially studied the trumpet with his father, only to later switch to the trombone.
His Father, Thomas F. Dorsey, Sr. died July 13, 1942. Thomas Sr was born in Shenandoah, PA and was a bandleader himself.
At age 15, Jimmy recommended Tommy as the replacement for Russ Morgan in the 1920s territory band "The Scranton Sirens." Tommy and Jimmy worked in several bands, including those of Tal Henry, Rudy Vallee, Vincent Lopez, Nathaniel Shilkret. In 1923, Dorsey followed his brother Jimmy to Detroit to play in Jean Goldkette's band and later returned to New York in 1925 to play with the California Ramblers. In 1927 he joined Paul Whiteman. In 1929, the Dorsey Brothers had their first hit with "Coquette" for OKeh records.
In 1934, the Dorsey Brothers band signed with Decca records, having a hit with "I Believe In Miracles". Future bandleader Glenn Miller was a member of the Dorsey Brothers Orchestra in 1934 and 1935, composing "Annie's Cousin Fanny", "Tomorrow's Another Day", "Harlem Chapel Chimes", and "Dese Dem Dose", all recorded for Decca, for the band. Ongoing acrimony between the brothers, however, led to Tommy Dorsey's walking out to form his own band in 1935, just as the orchestra was having a hit with "Every Little Moment." Dorsey's orchestra was known primarily for its renderings of ballads at dance tempos, frequently with singers such as Jack Leonard and Frank Sinatra.
Tommy Dorsey's first band was formed out of the remains of the Joe Haymes band, and so began Dorsey's long-running practice of raiding other bands for talent. If he admired a vocalist, musician, or arranger, he would think nothing of taking over their contracts and careers. Dorsey had a reputation for being a perfectionist. He was volatile and also known to hire and fire (and sometimes rehire) musicians based on his mood. The new band was popular from almost the moment it signed with RCA Victor with "On Treasure Island", the first of four hits for the new band in 1935. After his 1935 recording however, Dorsey's manager cut the "hot jazz" that Dorsey had mixed with his own lyrical style and instead had Dorsey play pop and vocal tunes. Dorsey would keep his Clambake Seven as a Dixieland group that played during performances, too. The Dorsey band had a national radio presence in 1936, first from Dallas and then from Los Angeles. Tommy Dorsey and his Orchestra took over comedian Jack Pearl's radio show in 1937.
By 1939, Dorsey was aware of criticism that his band lacked a jazz feeling. He hired arranger Sy Oliver away from the Jimmie Lunceford band. Sy Oliver's arrangements include "On The Sunny Side of the Street" and "T.D.'s Boogie Woogie"; Oliver also composed two of the new band's signature instrumentals, "Well, Git It" and "Opus One". In 1940, Dorsey hired singer Frank Sinatra from bandleader Harry James. Frank Sinatra made eighty recordings from 1940 to 1942 with the Dorsey band. Two of those eighty songs are "In The Blue of Evening" and "This Love of Mine". Frank Sinatra achieved his first great success as a vocalist in the Dorsey band and claimed he learned breath control from watching Dorsey play trombone. In turn, Dorsey said his trombone style was heavily influenced by that of Jack Teagarden. Among Dorsey's staff of arrangers was Axel Stordahl who arranged for Frank Sinatra in his Columbia and Capitol records years. Another member of the Dorsey band was trombonist Nelson Riddle, who later had a partnership as one of Sinatra's arrangers and conductors in the 1950s and afterwards. Another noted Dorsey arranger, who in the 1950s, married and was professionally associated with Dorsey veteran Jo Stafford, was Paul Weston. Bill Finegan, an arranger who left Glenn Miller's civilian band, arranged for the Tommy Dorsey band from 1942 to 1950.
The band featured a number of future famous instrumentalists, singers and arrangers in the 1930s and '40s, including trumpeters Zeke Zarchy, Bunny Berigan, Ziggy Elman, Carl "Doc" Severinsen, and Charlie Shavers, pianists Milt Raskin, Jess Stacy, clarinetists Buddy DeFranco, Johnny Mince, and Peanuts Hucko. Others who played with Dorsey were drummers Buddy Rich, Louie Bellson, Dave Tough saxophonist Tommy Reed, and singers Frank Sinatra, Jack Leonard, Edythe Wright, Jo Stafford with The Pied Pipers, Dick Haymes and Connie Haines. In 1944, Dorsey hired The Sentimentalists who replaced The Pied Pipers. Dorsey also performed with singer Connee Boswell Dorsey hired ex-bandleader and drummer Gene Krupa after Krupa's arrest and scandal for marijuana possession in 1943. In 1942 Artie Shaw broke up his band and Dorsey hired the Shaw string section. As George Simon in Metronome magazine notes at the time, "They're used in the foreground and background (note some of the lovely obbligatos) for vocal effects and for Tommy's trombone."
As Dorsey became successful, he made business decisions in the music industry. He loaned Glenn Miller money to launch Miller's successful band of 1938, but Dorsey saw the loan as an investment, entitling him to a percentage of Miller's income. When Miller balked at this, the angry Dorsey got even by sponsoring a new band led by Bob Chester, and hiring arrangers who deliberately copied Miller's style and sound. Dorsey branched out in the mid-1940s and owned two music publishing companies, Sun and Embassy. After opening at the Los Angeles ballroom, The Hollywood Palladium, on the Palladium's first night, Dorsey's relations with the ballroom soured and he opened a competing ballroom, The Casino Gardens circa 1944. Dorsey also owned for a short time a trade magazine called The Bandstand.
Tommy Dorsey disbanded his own orchestra at the end of 1946. Dorsey might have broken up his own band permanently following World War II, as many big bands did due to the shift in music economics following the war, but Tommy Dorsey's album for RCA, "All Time Hits" placed in the top ten records in February 1947. In addition, "How Are Things In Glocca Morra?", a single recorded by Dorsey, became a top-ten hit in March 1947. Both of these successes made it possible for Dorsey to re-organize a big band in early 1947. The Dorsey brothers were also reconciling. The biographical film of 1947, The Fabulous Dorseys describes sketchy details of how the brothers got their start from-the-bottom-up into the jazz era of one-nighters, the early days of radio in its infancy stages, and the onward march when both brothers ended up with Paul Whiteman before 1935 when The Dorsey Brothers' Orchestra split into two. In the early 1950s, Tommy Dorsey moved from RCA Victor back to the Decca record label.
Jimmy Dorsey broke up his own big band in 1953. Tommy invited him to join up as a feature attraction and a short while later, Tommy renamed the band the Tommy Dorsey Orchestra featuring Jimmy Dorsey. In 1953, the Dorseys focused their attention on television. On December 26, 1953, the brothers appeared with their orchestra on Jackie Gleason's CBS television show, which was preserved on kinescope and later released on home video by Gleason. The brothers took the unit on tour and onto their own television show, Stage Show, from 1955 to 1956. On numerous episodes, they introduced future noted rock musician Elvis Presley to national television audiences, prior to Presley's better known appearance on the Ed Sullivan Show.
Married life
Dorsey's married life was varied and, at times, lurid. His first wife was 16-year-old Mildred Kraft, with whom he eloped in 1922, when he was 17. They had two children, Patricia and Tom (nicknamed "Skipper"). They divorced in 1943 after Dorsey's affair with his former singer Edythe Wright. He then wed movie actress Pat Dane in 1943, and they were divorced in 1947, but not before he gained headlines for striking actor Jon Hall when Hall embraced Dorsey's wife. Finally, Dorsey married Jane Carl New on March 27, 1948, in Atlanta, Georgia. She had been a dancer at the Copacabana nightclub in New York City. Tommy and Jane Dorsey had two children, Catherine Susan and Steve.
On November 26, 1956, Tommy Dorsey died at age 51 in his Greenwich, Connecticut, home. He had eaten a heavy meal and began choking in his sleep. Dorsey began taking sleeping pills regularly at this time; therefore, he was so sedated that he was unable to awaken and died from choking. Jimmy Dorsey led his brother's band until his own death from lung cancer the following year. At that point, trombonist Warren Covington assumed leadership of the band with Jane Dorsey's blessing as she owned the rights to her late husband's band and name. Billed as the "Tommy Dorsey Orchestra Starring Warren Covington", they topped the charts in 1958 with "Tea For Two Cha-Cha". After Covington led the band for a short period, Sam Donahue led it starting in 1961, continuing until the late 1960s. Buddy Morrow conducted the Tommy Dorsey orchestra until his death on September 27, 2010. Jane Dorsey died of natural causes at the age of 79, in Miami, Florida in 2003. Tommy and Jane Dorsey are interred together in Kensico Cemetery in Valhalla, New York.
Number one hits
Tommy Dorsey had a run of 286 Billboard chart hits. The Dorsey band had seventeen number one hits with his orchestra in the 1930s and 1940s including: "On Treasure Island", "The Music Goes 'Round and Around", "You", "Marie" (written by Irving Berlin), "Satan Takes a Holiday", "The Big Apple", "Once in a While", "The Dipsy Doodle", "Our Love", "All the Things You Are", "Indian Summer", and "Dolores". He had two more number one hits in 1935 when he was a member of the Dorsey Brothers Orchestra: "Lullaby of Broadway" (written by Harry Warren), number one for two weeks, and "Chasing Shadows", number one for three weeks. His biggest hit was "I'll Never Smile Again", featuring Frank Sinatra on vocals, which was number one for twelve weeks on the Billboard pop singles chart in 1940. "In the Blue of Evening" was number 1 on the Billboard pop singles chart in 1943.
Songs written by Tommy Dorsey
1929: "You Can't Cheat A Cheater" with Phil Napoleon and Frank Signorelli
1932: "Three Moods"
1937: "The Morning After"
1938: "Chris and His Gang" with Fletcher and Horace Henderson; Tommy Dorsey wrote the song "Peckin' With Penguins" for a 1938 Frank Tashlin-directed Porky Pig cartoon, "Porky's Spring Planting" for the studio Warner Bros.
1939: "To You", "This Is No Dream", "You Taught Me to Love Again", "In The Middle Of A Dream", "Night In Sudan"
1945: "Fluid Jive" and "Fried Chicken"
1946: "Nip and Tuck"
1947: "Trombonology"
Co-wrote "Bunch of Beats", "Mid Riff", and "Candied Yams" with Fred Norman.
Honors and posthumous recognition
In 1982, the 1940 Victor recording "I'll Never Smile Again" was the first of a trio of Tommy Dorsey recordings to be inducted into the Grammy Hall of Fame. His theme song, "I'm Getting Sentimental Over You" was inducted in 1998, along with his recording of "Marie" written by Irving Berlin in 1928.[85] In 1996, the U.S. Postal Service issued a Tommy Dorsey and Jimmy Dorsey commemorative postage stamp.
Discography
1961: The One And Only Tommy Dorsey (RCA Camden)
1966: Tommy Dorsey's Dance Party (Vocalion)
1976: Tommy Dorsey (1937 - 1941) (AMIGA)
The Essence of Tommy Dorsey (1935-1949 recordings under RCA, reissued under Phantom Sound & Vision)
This is Tommy Dorsey, Volume 1 (1935-1944 recordings under RCA, reissued by Collectibles)
1988: All-Time Greatest Dorsey/Sinatra Hits, Vol. 1-4 (RCA)
1982: The Dorsey/Sinatra Sessions (RCA)
1990: Yes, Indeed! (Bluebird/RCA)
1991: Music Goes Round and Round (Bluebird/RCA)
1994: Stop, Look and Listen (1994) (ASV/Living Era Records)
1999: The V-Disc Recordings (Collectors' Choice Music)
1999: 1937, Vol. 3
2001: This Is Tommy Dorsey & His Orchestra, Vol. 1 (Collectables Records)
2004: 1939, Vol. 3
2004: Tommy Dorsey: The Early Jazz Sides: 1932 - 1937 (Jazz Legends)
2004: It's D'Lovely 1947-1950 (Hep Records)
V-Disc Recordings
Blue Skies, No. 1B, October, 1943, with Frank Sinatra and the Pied Pipers
Well Get It, No. 86A, December, 1943
April in Paris, No. 134, 1944
Swing Low, Sweet Chariot, No. 150B, March, 1944
Hawaiian War Chant and March of the Toys, No. 195B, May, 1944
Paramount on Parade, No. 206, 1944
Minor Goes A'Muggin' and Losers Weepers, No. 220A, 1944
Not So Quiet Please, No. 220B, 1944, with Gene Krupa
Wagon Wheels, No. 222A, 1944
T.D. Chant, No. 222B, with Gene Krupa and Buddy DeFranco
Tess's Torch Song and Milkman Keep Those Bottles Quiet, No. 227A, 1944, with Georgia Gibbs
Irresistible You and I Never Knew, No. 227B, with Bob Allen and The Sentimentalists
Small Fry, No. 269A, 1944, with Bing Crosby
Milenberg Joys, No. 273B, 1944
Sweet and Lovely and The Lamp is Low, No. 320A (Army), November, 1944
Melody in A and Chicago, No. 322A, 1944
Over the Rainbow and I May Be Wrong But I Think You're Wonderful, No. 335A, December, 1944, with Judy Garland
For All We Know and The Lady in Red, No. 347A (Army), January, 1945
Nobody's Baby and Three Little Words, No. 362A, 1945
Smoke Gets in Your Eyes and Sweetheart of Sigma Chi, No. 391A, March, 1945
More Than You Know, No. 451A (Army); No. 231A (Navy), June, 1945, with Jimmy Dorsey and His Orchestra
Brotherly Jump, No. 451B, June, 1945, with Jimmy Dorsey and His Orchestra
I'll Never Smile Again, No. 582A (Army), February, 1946, with Frank Sinatra and the Pied Pipe
Boogie Woogie, No. 877A, January, 1949
Marie, No. 890A, Tommy Dorsey and Band, March, 1949
Filmography
Segar Ellis and His Embassy Club Orchestra (1929)needs citation
Alice Bolden and Her Orchestra (1929)
Tommy Dorsey and his Orchestra appear in the following films for the studios Paramount, MGM, Samuel Goldwyn, Allied Artists and United Artists:
Las Vegas Nights (1941)
Ship Ahoy (1942)
Presenting Lily Mars(1943)
Girl Crazy (1943)
Du Barry Was a Lady (1943)
Thrill of a Romance (1945)
The Great Morgan (1946)
The Fabulous Dorseys (1947)
A Song Is Born (1948)
Disc Jockey (1951)
The Dorsey Brothers appear in the 1953 sixteen-minute Universal-International film called The Dorsey Brothers Encore.
Grammy Hall of Fame
Tommy Dorsey was posthumously inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance."
The One I Love
Tommy Dorsey Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
When days are long and nights are lonely
And all my daydreams have gone astray
I think about the one and only
Who's bound to find me some golden day
The one I love is coming along some day
And I'll have none except the one I love
He/She may be near or ever so far away
But I'll have none except the one I love
And though our meeting is left to chance
Until our meeting
I still will have my dream romance
And through the night I pray to the moon above
To please be kind and find the one I love
And all my daydreams have gone astray
I think about the one and only
Who's bound to find me some golden day
The one I love is coming along some day
And I'll have none except the one I love
He/She may be near or ever so far away
And though our meeting is left to chance
Until our meeting
I still will have my dream romance
And through the night I pray to the moon above
To please be kind and find the one I love
The lyrics of Tommy Dorsey & His Orchestra's song The One I Love convey the pain and loneliness felt by someone whose daydreams have been shattered. The singer pines for the one person who can make their life meaningful again. The repeated refrain, "I'll have none except the one I love," serves as a reminder of the depth of their love and commitment. The singer is optimistic that one day their true love will come into their life, either near or far away. Despite the uncertainty of when they will meet, the singer holds onto the hope of their dream romance. The final lines of the song reveal the desperation of the singer, praying to the moon above to find their soulmate.
The song relates to the common theme of romantic longing and unrequited love. The lyrics emphasize the importance of finding and holding on to a true love, even if it means waiting a lifetime. The orchestra's arrangement adds to the sentimentality of the piece, with its use of slow, sweeping movements and the sound of the solo trumpet carrying the melody. The song speaks to a universal truth that many can relate to, making it a timeless classic.
Line by Line Meaning
When days are long and nights are lonely
During times when the days feel endless and the nights are lonesome
And all my daydreams have gone astray
And all the fantasies I have imagined for my future have deviated from my hopes and desires
I think about the one and only
I contemplate the existence of the one and only person that I truly love
Who's bound to find me some golden day
Who is bound to discover a fortunate occasion to cross paths with me one day
The one I love is coming along some day
The one I have deep and affectionate feelings for is eventually going to appear in my life one day
And I'll have none except the one I love
And once they arrive, no one else will matter to me except for the one I love
He/She may be near or ever so far away
This person may either be within my reach or far away across a great distance
But I'll have none except the one I love
Nonetheless, no one else will be able to capture my heart besides them
And though our meeting is left to chance
While there is an aura of uncertainty when it comes to us potentially meeting each other
Until our meeting
Up until that moment we come across each other unnoticed
I still will have my dream romance
I will continue to maintain my idealistic and sentimental image of what a perfect romance should be like
And through the night I pray to the moon above
During the night, I pray to the celestial body up above
To please be kind and find the one I love
Asking that the moon be willing to bestow me the gift of helping me eventually discover the one I love
Lyrics © HAL LEONARD CORPORATION , Sony/ATV Music Publishing LLC
Written by: BRONISLAW KAPER, GUS KAHN, WALTER JURMANN
Lyrics Licensed & Provided by LyricFind
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@schwei56
This chart is so spectacular and timeless that it must by by Sy. All the bells and whistles.
@RoryVanucchi
Great song. Early Sinatra Dorsey is great stuff
@jakobstevens
The best version of this
@Trombonology
As fans of the Big Band Era know, the standard 10-inch 78 rpm record limited the arranger to about three and a half minutes in which to present the song and band to good advantage as well as to display the arranger's own style. Until around '41, at which time the vocalist began to assume greater prominence on dance band records, the typical format in a big band arrangement for a vocal record was a brief introduction; an instrumental chorus; usually a brief modulatory passage; a vocal chorus; usually an instrumental half chorus, rarely a whole. If the song was taken at a crawl, sometimes the final instrumental segment lasted a mere eight bars or less. The great Sy Oliver, my favorite arranger, regularly departed, in dramatic fashion, from this formula, however, and "The One I Love (Belongs to Somebody Else)" is a magnificent example. Sy opens the chart with an attention-grabbing intro, lasting a full sixteen bars, in which altoist Fred Stulce wails against a repeated brass figure and Buddy Rich's hard-swinging drums. TD, with his famous Solo-tone mute, comes in to commence the melody in the first full chorus, which is shared by the leader, the full ensemble and tenorist Don Lodice. A four-bar modulatory passage follows, but instead of the vocal, we then get another half-chorus with first the full band and then Johnny Mince's plaintive clarinet. Finally, with the Pipers humming against him, Sinatra enters quietly and conversationally with "You know, the one I love belongs to somebody else," whereupon the Pipers go into their hepcat jive. Joe Bushkin's support in this vocal passage is superb! Despite the fact that this song is lament, Frank and the Pipers end in triumphant fashion. Still, even with the frequent brass blasts and Buddy's relentlessly groovy beat, the side manages to convey the wistfulness of this Jones-Kahn standard, thanks to TD's intimate tone and Sinatra's marvelous reading of the lyric.
@moldyoldie7888
For a live version, it's the lead off tune at https://youtu.be/UBGh2aauAVA