Tommy Dorsey

Tommy Dorsey
  • Born
    November 19, 1905
    Shenandoah, Pennsylvania
  • Died
    November 26, 1956
    Greenwich, Connecticut (age 51)

Tommy Dorsey formed his first solo band in 1935, taking over the Joe Haymes orchestra after an argument with his brother, Jimmy, led the infamously ill-tempered trombonist to walk out on the band they co-led. The evolution of Tommy Dorsey’s sound can be divided into three distinct phases, each with three sets of distinct vocalists.

Early Period

Getting started just as the swing era was born, much of Dorsey’s output during the 1930s had one foot in the past. Songs like “Who,” “Marie,” and “The Music Goes Round and Round” harken back to early-1930s white jazz and seem quaintly nostalgic in comparison to the output of contemporaries like Benny Goodman and Glenn Miller. This early period, from 1935 to 1939, can be neatly bookended by the arrival and departure of Dorsey vocalists Edythe Wright and Jack Leonard, whose singing styles were also rooted in the early 1930s.

Dorsey’s manager discovered Wright when she filled in one night as vocalist for the Meadowbrook Ballroom’s house orchestra. Wright’s voice is synonymous with the band’s early success and proved popular with audiences. Wright also proved popular with the married Dorsey, which, if rumors are to be believed, led to her departure from the band in October 1939. One rumor, most likely untrue, hinted that she left because she’d become pregnant. Gossip in the press about Wright and Dorsey continued for several years after she’d quit the band, often speculating that Dorsey was going to leave his wife and marry her, even after Wright herself had married a Vermont doctor.

Cliff Weston had been Dorsey’s original male vocalist, appearing on the band’s first studio recordings in September 1935. Leonard was singing with Bert Block’s orchestra when Dorsey hired him away later that year. He quickly became Dorsey’s main asset, rivaling Bing Crosby as the most popular male vocalist in the country. His voice graced some of the band’s most successful recordings, such as “Marie,” “All the Things You Are,” “Our Love,” and “Indian Summer.” Leonard was fired from the band in November 1939, a month after Wright left, in what was likely Dorsey’s angry reaction to rumors that the singer was going to leave for a solo career. Publicly it was announced that Leonard was taking time off and would return soon, though that never happened.

Along with Leonard, Dorsey also hired arranger Odd (Axel) Stordhal and trumpeter Joe Bauer away from Block’s orchestra. The three men sang as The Three Esquires, a vocal ensemble which later expanded to become The Four Esquires.

Golden Years

Soon after Leonard and Wright’s departure, and partly because of it, Dorsey’s sound took on a more modern tone. The loss of a radio contract forced him to shuffle the band to cut costs. He let go higher paid musicians and brought in younger talent. He also hired arranger Sy Oliver, who had just left Jimmy Lunceford’s orchestra. Oliver’s arrangements gave Dorsey’s band the more swinging sound it became noted for in the early 1940s.

Dorsey’s choice of vocalists also reflected this shift. To replace Wright and Leonard, he first hired Anita Boyer and Allan DeWitt. Neither lasted long however. Boyer left in January 1940, to be replaced by Connie Haines, and Dewitt, with whom Dorsey became unsatisfied, was let go that same month when Dorsey managed to secure Frank Sinatra’s release from Harry James. Vocal group the Pied Pipers also joined the band in late 1939.

The new sound brought by this change in personnel is obvious when listening to Dorsey’s output between 1939 and 1942, and never was a bandleader so blessed with vocal talent. Sinatra’s voice quickly earned him both the number one spot in every vocalist poll and the adoration of millions of shrieking teenage girls. Dorsey’s female chirps also proved popular with the public. Haines handled the bouncier numbers, while Pied Piper Jo Stafford often stepped up to sing romantic tunes or handle specialty numbers. The Pipers themselves were rivaled in popularity only by Miller’s Modernaires. Arranger Oliver also sometimes sang on specialty tunes.

This golden age of Dorsey, though, came to a crashing halt in late 1942. When Haines left in March of that year due to illness, Stafford stepped up as solo female vocalist, temporarily at first, but as audiences responded positively to her, Dorsey kept her in the top spot. Sinatra, sensing that now was the right time to cash in on his extreme popularity, left the band in September to go solo, and Dorsey shrewdly brought in the almost equally as popular Dick Haymes to replace him, which might have worked had it not been for a row between the Pied Pipers and Dorsey on Thanksgiving Day, which ended with the bandleader angrily firing one of the members. In response, the entire group quit, including Stafford. While Haymes might have been able to replace Sinatra in Dorsey’s overall sound, the loss of the Pied Pipers and Stafford left a big gap that proved impossible to fill. The band’s sound was never quite the same again, and its popularity suffered.

Later Years

None of Dorsey’s post-classic vocalists ever captured the public’s ear like Sinatra, Haines and Stafford. To replace Stafford, Dorsey brought in Barbara Canvin, also known as Bobbie Canvin, one of the Mellowaires who backed Capitol Record artists in 1942. She was gone at the end of April 1943 though, with Liz Tilton, sister of former Goodman vocalist Martha, hired to replace her. Tilton herself left in June for health reasons, replaced by Betty Brewer. Pat Dane, Dorsey’s wife, joined right before Tilton’s departure to share vocal duties. She remained for a short while when Brewer joined.

In early 1943, Dorsey hired the four Clark Sisters to replace the Pied Pipers, changing their name to the Sentimentalists, a play on his nickname, the Sentimental Gentleman of Swing. They remained with the band until April 1946 when they left, with Dorsey’s blessing, to star in a sustainer program on the Mutural Network, Endorsed by Dorsey, at which time they reverted to their former name.

Haymes left in May 1943 to start a successful solo career. Dorsey then hired Skip Nelson, who had previously worked for Chico Marx and Glenn Miller. Both Nelson and Brewer survived Dorsey’s infamous purge of August 1943, when he fired all his musicians and started a new band from scratch. Nelson exited in September, however, to begin a failed solo career. Brewer remained into early 1944.

After Nelson departed, Dorsey had a difficult time finding a suitable male vocalist who was willing to go on the road. Jimmy Cook briefly sang, and then in November Dorsey resorted to putting guitarist Teddy Walters in front of the mike. Walters, who sounded much like Sinatra, was an unexpected hit, wowing audiences. Dorsey offered him a five-year contract, but Walters objected to a clause which gave Dorsey a percentage of his earnings should he go solo. Walters left the band at the first of the year rather than sign.

In January 1944, Bob Allen disbanded his own orchestra and joined Dorsey as vocalist. Freddie Stewart took Allen’s place in late 1944 when Allen went into the service, staying until February 1945. After Stewart left, Dorsey again went through a difficult period of male vocalists. Hal Winters replace Stewart but lasted only three days. Bassist Charlie Karroll then sang for one night until Dorsey hired both Frankie Lester and Billy Usher, uncertain which he’d choose for the permanent spot. Lester won, and Usher was gone before the end of the month. Lester didn’t last long though. He was gone by April, replaced by Stuart Foster, who finally gave Dorsey some stability. Foster remained with the orchestra until its demise.

Bonnie Lou Williams replaced Brewer as female vocalist, remaining until mid-1945. Pat Brewster recorded with the band in late 1945, and Peggy Mann in early 1946. In August 1946, as part of a radio stunt promoted by the Mutual Broadcasting System, a national contest was held to select the band’s new chirp, with six regional winners vying for the spot on live radio. 18-year-old Sherry Sherwood of Washington won the honors, which was also to have included an appearance in the film The Fabulous Dorseys the following year. The band, however, didn’t hold together long enough for her dream to come true.

Dorsey disbanded in November 1946 after experiencing serious problems with his booking agency, though he briefly reorganized in December to fulfill a four-week contract at New York’s Capitol Theater that he’d previously signed. As soon as that gig ended, he disbanded again. During that same period, seven other major bandleaders folded as well, including Benny Goodman, Harry James and Les Brown. All faced similar problems. Venues had dried up, radio work was harder to get, record sales were slow, and musicians increasingly refused to go on the road. It was the end of the big band era.

Dorsey couldn’t stay away from the bandstand however. He organized a new orchestra in May 1947 which included several holdovers from his old band. Foster returned as male chirp. Vocal group the Town Criers also sang with member Lucy Ann Polk soloing. Other vocalists for this later band included English singer Denny Dennis, Harry Prime, and Lucy Ann’s brother, Gordon. The Clark Sisters returned in late 1947 to record several songs with the orchestra under their own name, and in late 1948 Dorsey featured another vocal group called the Sentimentalists, though they were not the Clark Sisters but instead a Canadian quintet of three males and two females. Dorsey eventually folded his new band into brother Jimmy’s, forming a second Dorsey Brothers Orchestra, which he lead until his death in 1956.


See entries for each vocalist or vocal group.

Though considered one of the great swing bands, Tommy Dorsey’s orchestra probably swung the least of any group in that genre, especially in its early years. Ballads were Dorsey’s strong point. Downbeat magazine named his orchestra best sweet band of the year in 1939, 1942, 1943 and 1945. Few bands came close to matching Dorsey’s on slow romantic numbers, a fact which earned him the nickname “Sentimental Gentleman of Swing.”

Dorsey was often neither sentimental nor a gentleman though. He was as well-known for his fiery temper as he was for his music. During the 1920s and early 1930s, he and brother Jimmy had worked with some of the top dance bands and jazz artists of that era, often putting groups together on their own to support other acts. They were already extremely well-known and well-respected in 1935 when they officially formed an orchestra of their own. Tommy led the band, while Jimmy was content to sit in the orchestra. An off-hand comment made by Jimmy, though, about the pacing of a song led Tommy to storm off the stand one day, never to return.

Striking out on his own, Tommy bought the Joe Haymes Orchestra and began to shape it into what became a legendary outfit. Success was instantaneous, and the band topped the charts many times throughout the late 1930s. His sound can be divided into three distinct phases. Early Dorsey bridged the gap between popular music of the early 1930s and that of the swing era. In late 1939, the band shifted more fully into swing music, but from 1943 onwards the orchestra fell into decline until it disbanded in late 1946.

Dorsey re-emerged with a new band in 1948 but eventually combined it with his brother Jimmy’s to create a second Dorsey Brothers Orchestra, which continued until Tommy’s unexpected death in 1956. Dorsey choked to death during the night after becoming ill and vomiting while under the effects of a sleeping pill. A sad end for one of the greatest bandleaders of all time.


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  • The Music Goes 'Round and Around
    Tommy Dorsey (Edythe Wright), Victor (1935)
  • The Dipsy Doodle
    Tommy Dorsey (Edythe Wright), Victor (1937)
  • Who?
    Tommy Dorsey (Jack Leonard), Victor (1937)
  • Careless
    Tommy Dorsey (Allan DeWitt), Victor (1939)
  • Darn That Dream
    Tommy Dorsey (Anita Boyer), Victor (1939)
  • I've Got My Eyes on You
    Tommy Dorsey (Allan DeWitt), Victor (1939)
  • Indian Summer
    Tommy Dorsey (Jack Leonard), Victor (1939)
  • I'll Never Smile Again
    Tommy Dorsey (Frank Sinatra, Pied Pipers), Victor (1940)
  • Two Dreams Met
    Tommy Dorsey (Connie Haines), Victor (1940)
  • Blue Skies
    Tommy Dorsey (Frank Sinatra), Victor (1941)
  • Kiss the Boys Goodbye
    Tommy Dorsey (Connie Haines), Victor (1941)
  • Let's Just Pretend
    Tommy Dorsey (Jo Stafford), Victor (1941)
  • Oh, Look at Me Now
    Tommy Dorsey (Frank Sinatra, Connie Haines, Pied Pipers), Victor (1941)
  • What Is This Thing Called Love
    Tommy Dorsey (Connie Haines), Victor (1941)
  • Will You Still Be Mine
    Tommy Dorsey (Connie Haines), Victor (1941)
  • Yes, Indeed
    Tommy Dorsey (Sy Oliver, Jo Stafford), Victor (1941)
  • Like Someone in Love
    Tommy Dorsey (Bonnie Lou Williams), Victor (1944)
  • Sleigh Ride in July
    Tommy Dorsey (Bonnie Lou Williams), Victor (1944)
  • The Sunny Side of the Street
    Tommy Dorsey (The Sentimentalists), RCA Victor (1944)
  • ”There’s No You”
    Tommy Dorsey (Billy Usher), RCA Victor (1945)
  • Any Old Time (I'm Feeling Blue)
    Tommy Dorsey (Billy Usher), RCA Victor (1945)
  • Chicago
    Tommy Dorsey (Sy Oliver, The Sentimentalists), RCA Victor (1945)
  • The Moment I Met You
    Tommy Dorsey (The Sentimentalists), RCA Victor (1945)
  • That Went Out with Button Shoes
    Tommy Dorsey (Stuart Foster, Pat Brewster, The Sentimentalists), RCA Victor (1945)
  • Never Too Late to Pray
    Tommy Dorsey (Stuart Foster, The Sentimentalists), RCA Victor (1945)
  • A Door Will Open
    Tommy Dorsey (Stuart Foster, The Sentimentalists), RCA Victor (1945)
  • Nevada
    Tommy Dorsey (Stuart Foster, The Sentimentalists), RCA Victor (1945)
  • Where Did You Learn to Love
    Tommy Dorsey (Stuart Foster, The Sentimentalists), RCA Victor (1946)
  • Moon Love
    Tommy Dorsey (The Town Criers, The Sentimentalists), RCA Victor (1947)
  • Like a Leaf in the Wind
    Tommy Dorsey (Stuart Foster, The Sentimentalists), RCA Victor (1947)
  • Because I Care
    Tommy Dorsey (Harry Prime, The Town Criers, The Clark Sisters), RCA Victor (1947)
  • Evelyn
    Tommy Dorsey (Harry Prime, The Clark Sisters), RCA Victor (1947)
  • Until
    Tommy Dorsey (Harry Prime, The Town Criers, The Clark Sisters), RCA Victor (1947)
  • Starlight Rendezvous
    Tommy Dorsey (Harry Prime, The Town Criers, The Clark Sisters), RCA Victor (1947)
  • Down by the Station
    Tommy Dorsey (Lucy Ann Polk, Denny Dennis, The Sentimentalists), RCA Victor (1948)

All recordings are from the Internet Archive's 78rpm collection. Copyright owners, please see our removal policy.


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  • Victory Parade of Spotlight Bands: Tommy Dorsey
    February 12, 1945 (AFRS) 14:29