Tommy Dorsey Orchestra

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Lore & Background

In 1940, Dorsey hired singer Frank Sinatra from bandleader Harry James. 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". Sinatra achieved his first great success as a vocalist in the Dorsey band and claimed he learned breath control from watching Dorsey play trombone. Sy Oliver and Sinatra did a posthumous tribute album to Dorsey on Sinatra's Reprise records, titled *I Remember Tommy*, which appeared in 1961. Dorsey's orchestra was known primarily for its renderings of ballads at dance tempos, frequently with singers such as Jack Leonard and Frank Sinatra. The band featured a number of instrumentalists, singers, and arrangers in the 1930s and '40s, including trumpeters Zeke Zarchy, Bunny Berigan, Ziggy Elman, 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 Sinatra, Ken Curtis, Jack Leonard, Edythe Wright, Jo Stafford with the Pied Pipers, Dick Haymes, and Connie Haines. Among Dorsey's staff of arrangers was Axel Stordahl who arranged for Sinatra in his Columbia and Capitol 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.

In Their Own Story

The ballroom lights dimmed to a soft amber glow as the trombones began their warm-up hum. Dust motes danced in the spotlight where the young vocalist stood alone, clutching his microphone stand like a lifeline. Behind him, the brass section waited in perfect synchronization, eyes fixed on their conductor. He took a breath that seemed to hold the weight of the entire room's anticipation. As the first note swelled from the rhythm section, he closed his eyes and let the melody carry him forward, unaware that this moment would echo through history.

Reader's Guide

The relationship between the singer and the bandleader defined a generation of American music. When the young vocalist first stepped onto the bandstand, he brought a new intimacy to the microphone that contrasted with the booming brass sections of his peers. Under Dorsey's guidance, he learned how to breathe life into a melody, treating each song as a personal confession rather than mere entertainment. This mentorship was not without friction, yet it forged the discipline required for longevity in show business. The orchestra itself was renowned for its precision and smooth textures, often favoring slower tempos that allowed vocalists to shine. Touring across the country by train, they brought this sophisticated sound to packed ballrooms from coast to coast. The connection between the band's arrangements and the singer's delivery created a signature style that audiences instantly recognized on radio broadcasts. Even after the vocalist departed to pursue his own path, the shadow of those early years remained visible in his phrasing. Ultimately, this ensemble represents more than just a group of musicians; it is the foundational chapter of a legend. Their recordings serve as time capsules of an era where live performance reigned supreme. Fans studying this period understand that without the structure provided by the orchestra, the solo career might have lacked the polish needed for global domination. The legacy endures in every ballad sung since.

Did You Know?

• Frank Sinatra made eighty recordings with the Tommy Dorsey band from 1940 to 1942.
• Sinatra claimed he learned breath control from watching Dorsey play trombone.
• Dorsey hired Sinatra from bandleader Harry James in 1940.
• Sy Oliver and Sinatra did a posthumous tribute album to Dorsey titled *I Remember Tommy*, released in 1961.
• Two of Sinatra's eighty recordings with Dorsey are 'In the Blue of Evening' and 'This Love of Mine'.

Historical Context of the 1998 Compilation

Released in 1998, this three-disc collection serves as a vital archival document capturing Frank Sinatra's early vocal performances with the Tommy Dorsey Orchestra. These recordings mark the dawn of a five-decade singing career that would eventually define an era of American music. The set is particularly significant because it made numerous tracks available on compact disc for the first time, many of which Sinatra had intentionally excluded from his studio albums during his lifetime. Prior to this digital release, these specific performances were largely accessible only through vinyl transfers from 78 rpm records. Notably, a comprehensive six-LP box set titled The Dorsey/Sinatra Sessions was issued by RCA Victor in 1982, compiled by Alan Dell and accompanied by a detailed discography leaflet. While the earlier vinyl collection offered an even more extensive tracklist of 83 songs organized by matrix numbers, the 1998 CD release curated a specific selection that brought these foundational moments to a modern audience, preserving the raw energy of Sinatra's initial collaboration with Dorsey.

Musical Repertoire and Song Selection

The compilation showcases an impressive breadth of standards from the Golden Age of songwriting, featuring compositions by legendary duos such as Johnny Burke and Jimmy Van Heusen. Listeners are treated to iconic ballads like 'Polka Dots and Moonbeams,' 'Imagination,' and 'I'll Never Smile Again,' alongside lesser-known gems that highlight Sinatra's interpretive range during this formative period. The tracklist spans three discs, including emotional numbers like 'The One I Love (Belongs to Somebody Else)' and upbeat selections such as 'Dolores.' The collection also features works by Irving Berlin, Cole Porter, and Burton Lane, demonstrating the orchestra's versatility in backing Sinatra on everything from 'Blue Skies' to 'Night and Day.' Many of these songs, including 'Let's Get Away from It All,' which runs nearly five minutes, reveal a young vocalist exploring complex emotional landscapes. The inclusion of tracks like 'The Call of the Canyon' and 'Stardust' underscores how this partnership helped establish Sinatra as a master of the Great American Songbook before he launched his solo career.

Evolution from Vinyl to Digital Format

The journey of these recordings from their original 78 rpm discs to the 1998 CD set illustrates the evolving landscape of music preservation. Before the digital era, enthusiasts relied on the 1982 RCA Victor box set, which transferred these historic performances from fragile shellac records to vinyl LPs. That earlier release was notable for its extensive nature, containing 83 tracks arranged numerically by their original matrix numbers and including a leaflet with full discographic details. The 1998 compilation, while slightly less comprehensive in total track count, offered the convenience of compact discs and included songs that had never been issued on CD before. This transition allowed for greater accessibility, as many of these tracks were previously difficult to find outside of specialized vinyl collections. The shift also highlighted how certain recordings, such as unpublished takes or remakes from 1940 and 1941 found in the original RCA set, remained part of a larger historical narrative that continued to be explored by collectors and historians alike.

Archival Significance and Unreleased Material

Beyond the standard tracklist, the history of these sessions includes numerous additional titles that were captured but not always immediately released. The original vinyl box set documented specific recording dates from February 1940 through June 1942, revealing a period of intense creative output between Sinatra and Dorsey. Among these are unpublished takes, such as a variant of 'Hear My Song Violetta' and an unreleased first take of 'Neiani,' which offer rare insights into the recording process of the time. The archives also contain remakes, like the June 1941 version of 'Free For All,' replacing an earlier unreleased attempt from May of that year. These details, including specific dates for tracks like 'Shake Down The Stars' and 'The Fable Of The Rose,' provide a granular look at the band's productivity during this era. Such archival depth ensures that future generations can appreciate not just the final polished songs, but also the experimental and developmental stages of one of music history's most important partnerships.