Not all discs are pictured; all these are V+ at worst or I'd have pitched them. see below
1. VICTOR 25523 swing classic TOmmy Dorsey E- / E- 2. DECCA 476 Dorsey Brothers V++ / V++ 3. DECCA 480 Dorsey Brothers V+ / V+ 4. COLUMBIA 38649 Kimmy Dorsey V+ / V+ 5. VICTOR 25320 Tommy Dorsey / benny goodman E- / E- 6. DECCA 3840 Bing Crosby E- / E- (this guy was bob crosby's brother; pretty fair singer) 7. DECCA 3629 Jimmy Dorsey V+ / V+ 8. VICTOR 26085 Tommy Dorsey E- / E- 9. VICTOR 24364 Paul Whiteman G+ / G+ not sure how to grade this one--it has weird splotches on it that lightly affect sound, but otherwise E-. It looks terrible tho




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WIKIPEDIA:

Usage of terminology is not uniform across the English-speaking world (see below). In more modern usage, the playback device is often called a "turntable", "record player", or "", although each of these terms denote categorically distinct items. When used in conjunction with a as part of a setup, turntables are often colloquially called "decks". In later electric phonographs (more often known since the 1940s as record players or turntables), the motions of the stylus are converted into an by a , then converted back into sound by a .

Close up of the mechanism of an Edison Amberola, circa 1915

The term phonograph ("sound writing") was derived from the words φωνή (phonē, 'sound' or 'voice') and γραφή (graphē, 'writing'). The similar related terms gramophone (from the Greek γράμμα gramma 'letter' and φωνή phōnē 'voice') and graphophone have similar root meanings.

In , "gramophone" may refer to any sound-reproducing machine using , which were introduced and popularized in the UK by the . Originally, "gramophone" was a proprietary of that company and any use of the name by competing makers of disc records was vigorously prosecuted in the courts, but in 1910 an English court decision decreed that it had become a generic term;

United States Early phonograph at Deaf Smith County Historical Museum in ,

In , "phonograph", properly specific to machines made by Edison, was sometimes used in a generic sense as early as the 1890s to include cylinder-playing machines made by others. But it was then considered strictly incorrect to apply it to 's upstart Gramophone, a very different machine which played nonrecordable discs (although Edison's original Phonograph patent included the use of discs.)

Australia Wood engraving published in , depicting a public demonstration of new technology at the Royal Society of Victoria (Melbourne, Australia) on 8 August 1878.

In , "record player" was the term; "turntable" was a more technical term; "gramophone" was restricted to the old mechanical (i.e., wind-up) players; and "phonograph" was used as in . The "phonograph" was first demonstrated in Australia on 14 June 1878 to a meeting of the by the Society's Honorary Secretary, who published "The Sounds of the Consonants, as Indicated by the Phonograph" in the Society's journal in November that year. On 8 August 1878 the phonograph was publicly demonstrated at the Society's annual conversazione, along with a range of other new inventions, including the .

Early history Dictionary illustration of a . This version uses a barrel made of . Phonautograph Main article:

The phonautograph was invented on March 25, 1857 by Frenchman Édouard-Léon Scott de Martinville, an editor and typographer of manuscripts at a scientific publishing house in Paris. One day while editing Professor Longet's Traité de Physiologie, he happened upon that customer’s engraved illustration of the anatomy of the human ear, and conceived of "the imprudent idea of photographing the word." In 1853 or 1854 (Scott cited both years) he began working on "le problème de la parole s'écrivant elle-même" ("the problem of speech writing itself"), aiming to build a device that could replicate the function of the human ear.

Scott coated a plate of glass with a thin layer of . He then took an acoustic trumpet, and at its tapered end affixed a thin membrane that served as the analog to the . At the center of that membrane, he attached a rigid boar's bristle approximately a centimeter long, placed so that it just grazed the lampblack. As the glass plate was slid horizontally in a well formed groove at a speed of one meter per second, a person would speak into the trumpet, causing the membrane to vibrate and the stylus to trace figures that were scratched into the lampblack. On March 25, 1857, Scott received the French patent #17,897/31,470 for his device, which he called a phonautograph. The earliest known surviving recorded sound of a human voice was conducted on April 9, 1860 when Scott recorded someone singing the song "" ("By the Light of the Moon") on the device. However, the device was not designed to play back sounds, as Scott intended for people to read back the tracings, which he called phonautograms. This was not the first time someone had used a device to create direct tracings of the vibrations of sound-producing objects, as had been used in this way by English physicist in 1807. By late 1857, with support from the Société d'encouragement pour l'industrie nationale, Scott’s phonautograph was recording sounds with sufficient precision to be adopted by the scientific community, paving the way for the nascent science of acoustics.

The device’s true significance in the history of recorded sound was not fully realized prior to March 2008, when it was discovered and resurrected in a Paris patent office by First Sounds, an informal collaborative of American audio historians, recording engineers, and sound archivists founded to make the earliest sound recordings available to the public. The phonautograms were then digitally converted by scientists at the in California, who were able to play back the recorded sounds, something Scott had never conceived of. Prior to this point, the earliest known record of a human voice was thought to be an 1877 phonograph recording by . The phonautograph would play a role in the development of the , whose inventor, Emile Berliner, worked with the phonautograph in the course of developing his own device.

Paleophone

, a French poet and amateur scientist, is the first person known to have made the conceptual leap from recording sound as a traced line to the theoretical possibility of reproducing the sound from the tracing and then to devising a definite method for accomplishing the reproduction. On April 30, 1877, he deposited a sealed envelope containing a summary of his ideas with the , a standard procedure used by scientists and inventors to establish of unpublished ideas in the event of any later dispute.

An account of his invention was published on October 10, 1877, by which date Cros had devised a more direct procedure: the recording stylus could scribe its tracing through a thin coating of acid-resistant material on a metal surface and the surface could then be etched in an acid bath, producing the desired groove without the complication of an intermediate photographic procedure. The author of this article called the device a phonographe, but Cros himself favored the word paleophone, sometimes rendered in French as voix du passé ('voice of the past').[]

Cros was a poet of meager means, not in a position to pay a machinist to build a working model, and largely content to bequeath his ideas to the free of charge and let others reduce them to practice, but after the earliest reports of Edison's presumably independent invention crossed the Atlantic he had his sealed letter of April 30 opened and read at the December 3, 1877 meeting of the French Academy of Sciences, claiming due scientific credit for priority of conception.

Throughout the first decade (1890–1900) of commercial production of the earliest crude disc records, the direct acid-etch method first invented by Cros was used to create the metal master discs, but Cros was not around to claim any credit or to witness the humble beginnings of the eventually rich phonographic library he had foreseen. He had died in 1888 at the age of 45.

The early phonographs for Edison's phonograph, May 18, 1880

conceived the principle of recording and reproducing sound between May and July 1877 as a byproduct of his efforts to "play back" recorded messages and to automate speech sounds for transmission by . His first experiments were with waxed paper. He announced his invention of the first phonograph, a device for recording and replaying sound, on November 21, 1877 (early reports appear in and several newspapers in the beginning of November, and an even earlier announcement of Edison working on a 'talking-machine' can be found in the on May 9), and he demonstrated the device for the first time on November 29 (it was on February 19, 1878, as US Patent 200,521). "In December, 1877, a young man came into the office of the Scientific American, and placed before the editors a small, simple machine about which very few preliminary remarks were offered. The visitor without any ceremony whatever turned the crank, and to the astonishment of all present the machine said: 'Good morning. How do you do? How do you like the phonograph?' The machine thus spoke for itself, and made known the fact that it was the phonograph..."

The music critic attended an early demonstration (1881–2) of a similar machine. On the early phonograph's reproductive capabilities he writes "It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc. Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all. When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it. I daresay both opinions were correct."

newspaper from Melbourne, Australia, reported on an 1878 demonstration at the , writing "There was a large attendance of ladies and gentlemen, who appeared greatly interested in the various scientific instruments exhibited. Among these the most interesting, perhaps, was the trial made by Mr. Sutherland with the phonograph, which was most amusing. Several trials were made, and were all more or less successful. "Rule Britannia" was distinctly repeated, but great laughter was caused by the repetition of the convivial song of "He's a jolly good fellow," which sounded as if it was being sung by an old man of 80 with a very cracked voice."

Early machines Phonograph cabinet built with , 1912. The clockwork portion of the phonograph is concealed in the base beneath the statue; the amplifying horn is the shell behind the human figure.

Edison's early phonographs recorded onto a thin sheet of metal, normally , which was temporarily wrapped around a grooved mounted on a correspondingly supported by plain and threaded . While the cylinder was rotated and slowly progressed along its , the airborne vibrated a connected to a that indented the foil into the cylinder's groove, thereby recording the vibrations as "hill-and-dale" variations of the depth of the indentation.

Introduction of the disc record 2:24 This 1906 recording (with the character being voiced by ) enticed store customers with the wonders of the invention.
2 minutes, 23 seconds. Problems playing this file? See .

By 1890, record manufacturers had begun using a rudimentary duplication process to mass-produce their product. While the live performers recorded the master phonograph, up to ten tubes led to blank cylinders in other phonographs. Until this development, each record had to be custom-made. Before long, a more advanced -based process made it possible to simultaneously produce 90–150 copies of each record. However, as demand for certain records grew, popular artists still needed to re-record and re-re-record their songs. Reportedly, the medium's first major African-American star was obliged to perform his "The Laughing Song" (or the separate "The Whistling Coon") literally thousands of times in a studio during his recording career. Sometimes he would sing "The Laughing Song" more than fifty times in a day, at twenty cents per rendition. (The average price of a single cylinder in the mid-1890s was about fifty cents.)[]

Oldest surviving recordings

's cylinder recording for an experimental talking clock is often identified as the oldest surviving playable sound recording, although the evidence advanced for its early date is controversial. Wax recordings of 's choral music made on June 29, 1888, at in London were thought to be the oldest-known surviving musical recordings, until the recent playback by a group of American historians of a recording of made on April 9, 1860.

The 1860 phonautogram had not until then been played, as it was only a transcription of sound waves into graphic form on paper for visual study. Recently developed optical scanning and image processing techniques have given new life to early recordings by making it possible to play unusually delicate or physically unplayable media without physical contact.

A recording made on a sheet of tinfoil at an 1878 demonstration of Edison's phonograph in St. Louis, Missouri has been played back by optical scanning and digital analysis. A few other early tinfoil recordings are known to survive, including a slightly earlier one which is believed to preserve the voice of U.S. President , but as of May 2014 they have not yet been scanned.[] These antique tinfoil recordings, which have typically been stored folded, are too fragile to be played back with a stylus without seriously damaging them. Edison's 1877 tinfoil recording of Mary Had a Little Lamb, not preserved, has been called the first instance of .

On the occasion of the 50th anniversary of the phonograph, Edison recounted reciting Mary Had a Little Lamb to test his first machine. The 1927 event was filmed by an early camera, and an audio clip from that film's soundtrack is sometimes mistakenly presented as the original 1877 recording. Wax cylinder recordings made by 19th century media legends such as and Shakespearean actor are amongst the earliest verified recordings by the famous that have survived to the present.

Improvements at the Volta Laboratory Main article:

and his two associates took Edison's phonograph and modified it considerably to make it reproduce sound from wax instead of tinfoil. They began their work at Bell's in Washington, D. C., in 1879, and continued until they were granted basic patents in 1886 for recording in wax.

Although Edison had in 1877, the fame bestowed on him for this invention was not due to its efficiency. Recording with his tinfoil phonograph was too difficult to be practical, as the tinfoil tore easily, and even when the was properly adjusted, its reproduction of sound was distorted, and good for only a few playbacks; nevertheless Edison had discovered the idea of . However immediately after his discovery he did not improve it, allegedly because of an agreement to spend the next five years developing the system.

Volta's early challenge

Meanwhile, Bell, a and experimenter at heart, was looking for new worlds to conquer after having patented the . According to , it was through that Bell took up the phonograph challenge. Bell had married in 1879 while Hubbard was president of the Edison Speaking Phonograph Co., and his organization, which had purchased the Edison patent, was financially troubled because people did not want to buy a machine which seldom worked well and proved difficult for the average person to operate.

Volta Graphophone See also: A 'G' (Graham Bell) model Graphophone being played back by a typist after its cylinder had recorded dictation.

The sound vibrations had been indented in the wax which had been applied to the Edison phonograph. The following was the text of one of their recordings: "There are more things in heaven and earth, Horatio, than are dreamed of in your philosophy. I am a Graphophone and my mother was a phonograph." Most of the disc machines designed at the Volta Lab had their disc mounted on vertical turntables. The explanation is that in the early experiments, the turntable, with disc, was mounted on the shop lathe, along with the recording and reproducing heads. Later, when the complete models were built, most of them featured vertical turntables.

One interesting exception was a horizontal seven inch turntable. The machine, although made in 1886, was a duplicate of one made earlier but taken to Europe by . Tainter was granted on July 10, 1888. The playing arm is rigid, except for a pivoted vertical motion of 90 degrees to allow removal of the record or a return to starting position. While recording or playing, the record not only rotated, but moved laterally under the stylus, which thus described a spiral, recording 150 grooves to the inch.

The basic distinction between the Edison's first phonograph patent and the Bell and Tainter patent of 1886 was the method of recording. Edison's method was to indent the sound waves on a piece of tin foil, while Bell and Tainter's invention called for cutting, or "engraving", the sound waves into a wax record with a sharp recording stylus.

Graphophone commercialization A later-model Columbia Graphophone of 1901 3:52 Edison-Phonograph playing: Iola by the Edison Military Band (video, 3 min 51 s)

In 1885, when the Volta Associates were sure that they had a number of practical inventions, they filed applications and began to seek out investors. The of Alexandria, Virginia, was created on January 6, 1886, and incorporated on February 3, 1886. It was formed to control the patents and to handle the commercial development of their sound recording and reproduction inventions, one of which became the first .

After the Volta Associates gave several demonstrations in the City of Washington, businessmen from created the on March 28, 1887, in order to produce and sell the machines for the budding phonograph marketplace. The Volta Graphophone Company then merged with American Graphophone, which itself later evolved into .

A coin-operated version of the Graphophone, , was developed by Tainter in 1893 to compete with nickel-in-the-slot entertainment phonograph demonstrated in 1889 by Louis T. Glass, manager of the Pacific Phonograph Company.

The work of the Volta Associates laid the foundation for the successful use of in business, because their wax recording process was practical and their machines were durable. But it would take several more years and the renewed efforts of Edison and the further improvements of and many others, before the became a major factor in .

Disc vs. cylinder as a recording medium

Discs (that aren't re-recordable) are not inherently better than cylinders at providing audio fidelity. Rather, the advantages of the format are seen in the manufacturing process: discs can be stamped, and the matrixes to stamp disc can be shipped to other printing plants for a global distribution of recordings; cylinders could not be stamped until 1901–1902, when the gold moulding process was introduced by Edison.

A Victor V phonograph, circa 1907 Personal tools

Contents Tommy Dorsey Tools










From Wikipedia, the free encyclopedia This article is about trombonist and bandleader. For the pianist and jazz and gospel composer, see . Tommy Dorsey Dorsey in 1947 Background informationBirth nameThomas Francis Dorsey Jr.BornNovember 19, 1905
, U.S.DiedNovember 26, 1956 (aged 51)
, U.S.Genres Occupation(s) Bandleader trombonist conductor Instrument(s) Trombone trumpet cornet Years active1921–1956Labels

Thomas Francis Dorsey Jr. (November 19, 1905 – November 26, 1956) was an American trombonist, composer, conductor and bandleader of the big band era. He was known as the "Sentimental Gentleman of Swing" because of his smooth-toned trombone playing. His theme song was "". His technical skill on the trombone gave him renown among other musicians. He is widely considered one of the best Jazz musicians of all time. He was the younger brother of bandleader . After Dorsey broke with his brother in the mid-1930s, he led an extremely successful band from the late 1930s into the 1950s. He is best remembered for standards such as "", "", "Marie", "On Treasure Island", and his biggest hit single, "".

Early life

Born in Mahanoy Plane, Pennsylvania, Thomas Francis Dorsey Jr. was the second of four children born to Thomas Francis Dorsey Sr., a bandleader, and Theresa (née Langton) Dorsey. He and Jimmy, his older brother by slightly less than two years, became known as the Dorsey Brothers. The two younger siblings were Mary and Edward, who died young. Tommy Dorsey studied the trumpet with his father but later switched to trombone.

At age 15, Jimmy recommended Tommy to replace Russ Morgan in the Scranton Sirens, a in the 1920s. Tommy and Jimmy worked in bands led by , , , and . In 1923, Dorsey followed Jimmy to Detroit to play in 's band and returned to New York in 1925 to play with . In 1927, he joined . In 1929, the Dorsey Brothers had their first hit with "Coquette" for .

In 1934, the Dorsey Brothers band signed with , having a hit with "I Believe in Miracles". was a member of the Dorsey Brothers Orchestra in 1934 and 1935, composing "", "", "", and "", all recorded for Decca, for the band. Acrimony between the brothers led to Tommy Dorsey walking out to form his own band in 1935 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 and .

His own band

In 2009, recalled recording "Opus One" with Dorsey in the 1940s, commenting on Dorsey's desire to be precise and exact. Expanding on De Franco's opinions about Dorsey, writer Peter Levinson said, "He wanted things to be done his way."

The band was popular almost from the moment it signed with RCA Victor for "On Treasure Island", the first of four hits in 1935. After his 1935 recording, however, Dorsey's manager dropped the "hot jazz" that Dorsey had mixed with his own lyrical style, and instead had Dorsey play pop and vocal tunes. Dorsey kept his Clambake Seven as a Dixieland group that played during performances. Dorsey became the co-host of The Raleigh-Kool Program on the radio with comedian Jack Pearl, then become the host.

By 1939, Dorsey was aware of criticism that his band lacked a jazz feeling. He hired arranger away from the band. Sy Oliver's arrangements include "" and "T.D.'s Boogie Woogie"; Oliver also composed two of the new band's signature instrumentals, "Well, Git It" and "". In 1940, Dorsey hired singer from bandleader . Sinatra made eighty recordings from 1940 to 1942 with the Dorsey band. Two of those eighty songs are "" and "". 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. appeared in 1961. In turn, Dorsey said his trombone style was heavily influenced by .

Among Dorsey's staff of arrangers was who arranged for Sinatra in his and years. Another member of the Dorsey band was trombonist , 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 , was . , 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 instrumentalists, singers, and arrangers in the 1930s and '40s, including trumpeters , , , , and , pianists , , clarinetists , , and . Others who played with Dorsey were drummers , , saxophonist , and singers Sinatra, , Jack Leonard, , with , , and .

In 1944, Dorsey hired , name with which he renamed the already known vocal band The Clark Sisters asking them not to reveal their identity. They replaced the Pied Pipers. Dorsey also performed with singer He hired ex-bandleader and drummer after Krupa's arrest for marijuana possession in 1943. In 1942, broke up his band, and Dorsey hired the Shaw string section. As in magazine observed 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."

Dorsey made further business decisions in the music industry. He loaned money to enabling him to launch his 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 , 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 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 , as many big bands did due to the shift in music economics following the war, but Tommy Dorsey's album for , "All Time Hits" placed in the top ten records in February 1947. In addition, "", a single recorded by Dorsey, became a top-ten hit in March 1947. As a result, Dorsey was able to re-organize a big band in early 1947. The Dorsey brothers were also reconciling. The biographical film (1947) 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 Decca. He was promised $2,000 if he switched to their label. However, he was reported to have collected $2,500 instead.

Jimmy Dorsey broke up his big band in 1953. Tommy invited him to join as a feature attraction. In 1953, the Dorseys focused their attention on television. On December 26, 1953, the brothers appeared with their orchestra on 's television show, which was preserved on and later released on home video by Gleason. The brothers took the unit on tour and onto their own television show, , from 1954 to 1956. In January 1956, The Dorseys made rock music history introducing on his national television debut. Presley, then a regional country singer, made six guest appearances on Stage Show promoting his first releases for RCA Victor several months before his more familiar visits to the , , and variety programs.

Personal life

Dorsey was married three times. His first wife was 16-year-old Mildred "Toots" Kraft, with whom he eloped in 1922, when he was 17. The couple had two children, Patricia and Thomas F. Dorsey III (nicknamed "Skipper"). In 1935, they moved to "Tall Oaks", a 21-acre (8.5 ha) estate in . They divorced in 1943 after Dorsey's affair with his former singer .

Dorsey's second wife was film actress in 1943, and they were divorced in 1947, but not before he gained headlines for striking actor when Hall embraced her. Finally, Dorsey married Jane Carl New on March 27, 1948, in Atlanta, Georgia. She had been a dancer at the nightclub in New York City. Tommy and Jane Dorsey had two children, Catherine Susan and Steve.

Death and aftermath

Dorsey died on November 26, 1956, at his home in , a week after his 51st birthday. He had begun taking sleeping pills regularly at this time, causing him to become heavily sedated; he choked to death in his sleep after having eaten a large meal. Jimmy Dorsey led his brother's band until his own death from the following year. At that point, trombonist became leader 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 reached #7 on the Billboard charts and earned a gold record in fall of 1958 with the hit single "Tea for Two Cha-Cha". The band was also fronted by after Dorsey’s death in 1956.

After Covington led the band, tenor saxophonist led it from 1961, continuing until 1966. made his professional singing debut with the band at Dallas Memorial Theater in Texas in 1963. Later, trombonist and bandleader led the Tommy Dorsey Orchestra from 1977 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 in Valhalla, New York.

The grave of Tommy and Jane Dorsey in Number-one hits

Tommy Dorsey had a run of 286 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 ), "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 ), 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. "RCA Victor ... scored with 'There Are Such Things', which had a Sinatra vocal; it hit number one in January 1943, as did 'In the Blue of the Evening', another Dorsey record featuring Sinatra, in August, while a third Dorsey/Sinatra release, 'It's Always You,' hit the Top Five later in the year, and a fourth, 'I'll Be Seeing You', reached the Top Ten in 1944." It should be added that these 1943 and 1944 Sinatra hits were older recordings reissued because the prevented Sinatra, now a popular singer, from recording new material. The website "Tommy Dorsey A Songwriter's Friend" says, "the orchestra had over 200 top twenty recordings including the No. 1 hits 'The Music Goes Round and Round' (1935), 'Alone' (1936) 'You' (1936), '' (1937), 'Satan Takes a Holiday' (1937), 'The Big Apple' (1937), 'Once in a While' (1937), 'The Dipsy Doodle' (1937), 'Music, Maestro, Please' (1938), 'Our Love' (1939), 'Indian Summer' (1939), 'All the Things You Are' (1939), 'I'll Never Smile Again' (1940), 'Dolores' (1941), 'There are Such Things' (1942), and 'In the Blue of the Evening' (1943)."

Songs written by Tommy Dorsey 1929: "You Can't Cheat a Cheater" with Phil Napoleon and Frank Signorelli 1932: "Three Moods"; NB. Dorsey recorded two takes of this song for OKeh Records, on August 6, 1932, in New York City. 1937: "" 1938: "Chris and His Gang" with Fletcher and Horace Henderson 1938: Tommy Dorsey wrote the song "Peckin' With Penguins" for a 1938 -directed cartoon, "Porky's Spring Planting" for the studio 1939: "" 1939: "" 1939: "" 1939: "" 1939: "Night in Sudan" 1939: "Dark Laughter" with 1945: "Fluid Jive" 1946: "Nip and Tuck" 1947: "Trombonology"

Written with Fred Norman

"Bunch of Beats" "Mid Riff" "Candied Yams"