Dorsey has a speaking role, but he’s stuck with hokey lines that were a Hollywood writer’s idea of how jazz musicians talked.
#TOMMY DORSEY WELL GIT IT MOVIE#
One of the big production numbers in the movie is “I’ll Take Tallulah.” (Powell’s character is named Tallulah.) Dorsey’s band does little more than provide accompaniment, but Buddy Rich gets to participate in Powell’s dance routine. The band’s next movie was Ship Ahoy, starring tap dancer Eleanor Powell and comedian Red Skelton. The Dorsey band’s first movie, Las Vegas Nights, came out in March of 1941 and was notable for being Frank Sinatra’s film debut. The band’s powerful swing is represented by Sy Oliver arrangements like “So What,” “Loose Lid Special,” and “Well, Git It!” Although jazz fans loved the Oliver numbers, the vocal ballads were much more popular and sold many more records.īig bands were such big business in the early 40s that Hollywood producers were signing them up for appearances in movie musicals and comedies. The sweet, romantic side of the band can be heard in such timeless records as “I’ll Never Smile Again,” “Star Dust,” and “Everything Happens to Me,” all featuring Frank Sinatra. Tommy Dorsey with Frank Sinatra, Jo Stafford and the Pied Pipers After Goodman temporarily disbanded in 1940, Elman found a new home in the Dorsey band where he dominated the brass and was the featured trumpet soloist. A spirited and effusive musician, he had been a member of Benny Goodman’s classic 1936-39 orchestra, although for most of the time he was stuck in the shadow of Harry James. The arrival of trumpeter Ziggy Elman was the last important addition to Tommy Dorsey’s greatest band. To enhance the sweet side, Dorsey brought in some new singers: Jo Stafford and the Pied Pipers and that skinny kid from trumpeter Harry James’ band, Frank Sinatra. There was also romantic, mood music often featuring Dorsey’s smooth, lyric trombone. With his technical skills and extroverted personality, Rich gave the band an unrivaled power and drive.īut that was just one side of the Dorsey orchestra’s personality. With Oliver on board, Dorsey was able to entice master drummer Buddy Rich away from Artie Shaw, just before the clarinetist ran away to Mexico. Tommy Dorsey's band in a still from the 1941 movie Las Vegas Nights. The band now had a totally new musical personality, dramatically changing from a sluggish, middle-of-the-road pop group into a thrilling, modern jazz band. Oliver and Dorsey revamped the band’s book and within a few months almost completely overhauled the personnel. His first move was hiring arranger Sy Oliver away from the Jimmie Lunceford Orchestra, one of the greatest and most admired African-American bands of the thirties. Its jazz instrumentals were often stuck in an old-fashioned, two-beat Dixieland rut.ĭorsey knew he needed to freshen his approach if he wanted to maintain his popularity in the increasingly crowded and competitive big band field. It cranked out hundreds of dull, pop tunes that all sounded more or less the same. But despite its popularity, the Dorsey band, other than the leader’s pretty trombone, wasn’t all that special. Glenn Miller’s did too, but not at the same level of musical excellence.īy 1940 Tommy Dorsey had been one of the most successful bandleaders in the country for a half-decade, racking up dozens of hit records.
While the “sweet bands” of Kay Kyser, Horace Heidt and others specialized in musical entertainment designed for theater engagements, Dorsey’s was one of the few swing bands that did. Like all the top bands of the day, Dorsey worked just as much in theaters as ballrooms, playing stage shows between movies. This Dorsey outfit wasn’t just a dance orchestra, but a musical variety show. It’s a band that, in my estimation, ranks among the ten finest groups of the Swing Era. This week on SDPB Radio’s Big Band Spotlight, we’re featuring music from Tommy Dorsey’s remarkable orchestra of 1940-42.
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