DOCSLIB.ORG

Victor & Bluebird Records

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Victor & Bluebird Records July 1. m Chicago July 1.1940 FEATURES DOWN BEAT ‘Hog Mouth Was So Sad Kick BY JOE LANC, JR. Indianapolis—Finest kirk of the week, during ill« AFM con- Powerful He Could vrnlion, was running arrow* Bub Crosby and Oxzie Nelson in llic Hotel Claypool bar rrying into iheir beers with their hair hang­ Play Your Name’ ing in their eyes. They were discussing ihe Ger­ BY ONAH L SPENCER man push into Paris. Chicago—Jasper Taylor ia the man who first used a washboard in a jazz band. Big Names for And he waa and still is a good drummer. Starting with W. C. Handy in Memphis in 1913, Taylor came to Chicago in 1916 and made records Delavan Lake Spot for Paramount and other labels with Jimmy O’Brien, Jelly Roll Morton nnd others. In France, during the war, Taylor played drums in the Delavan Lake. Wis.—Following Usher, DI «65th Infantry band. Later he*—- Bill Carlsen’s opening for nine hroeder m j65th Infantry band. Later h_ played with Will Marion Cook’s orchestra was playing in. days at Oriental ballroom, Don now-famous combo at the Clef “I also saw Jelly Roll Morton Wallace’s Northwestern U. band ual nig^ Club, New York. read a piano manuscript he had takes eight days opening July 7, Later, he played with Dave Pey­ never seen, upside down, and he Th® Down Scot Club, a program conducted by Ruth Royal after which Les Hite’s band cornea ton’s Grand Theater ork here, and plaved it without halting.” (center in picture) on station KCKN, Kansas City. Kansas, featured in for a week. The spot is being also at the Plan- Taylor knows hundreds of stories corn-ct maestro Henry Busse, left, and his vocalist Billy Sherman on managed by Eddie Gilmartin, for­ Hack tation with King like those. And he has witnesses to a recent broadcast. The show has a huge following. Phot» courtesy mer manager of the Savoy ball­ Oliver, in 1925. prove ’em all. Randall Jeurr. room in Chicago. Here are some ree of Taylor’s prize idolph IK memories: Some of the “In 1917,” aaya « I« Mia GLENN : June 11 he, “a clarinet­ top-notchers selected ist named Wil­ MILLER e of B« from the latest lists Hack, th« liam Phillips came to Chicago dee, i» St cs old. Siu to play with rged that Jasper Taylor John Wreck- VICTOR RECORDS 75c • I 1 a e k liffe'a orchestra. ack her. They called him ‘Hog Mouth’ be­ 26640 Shake It and Break It »uel Roff, cause his lips measured an inch Wild Man Blues a, her at- end a half in thickness. Because Sidney Bechet and hts ney, sail his lips were exception strong it TOMMY had ae- wu possible for him to execute DORSEY New Orleans Feetwarmers unusual tones and sounds, both 26626 *Blue Lovebird lement ot harsh and beautiful, from his 700, a me. clarinet. So remarkable was his ‘How Can I Ever Be Alone? control that he would, or could, Larry Clinton and his Orchestra call out person’s names in an au­ ART» dience on his instrument. He is the SHAW 26641 *When the Swallows could ma originator of the expression 'That s Come Back to Capistrano AW that was used by bands in the tatemeaL ♦The Breeze and I band far twenties. This term was used to ■ign off or end a dance. All bands Xavier Cugat and his used this at that time. But the Waldorf-Astoria Orchestra remarkable feature was that Phil­ 4^^ lips not only originated it but ex­ 2662* ♦I’ll Never Smile Again pressed these words on his instru­ Marcheta tin ment when others depended on verbal expression of the term. Tommy Dorsey and his Orchestra “Phillips also originated the 26598 Concerto for Cootie ‘jackass bray’ in such numbers as rtin, stir Livery Stable Blues, etc. It hap­ ♦Me and You rinet mn pened thus: Duke Ellington tang, “One day when featured with 'A. G. Allen’s Minstrel Band,’ he 26627 *Meet the Sun Half-Way an Savitt was doing a solo out front of the Shine most brilliantly on ♦The Girl Who Took a lan Hotel tent show when a farmer's jack­ Second Look d, it was ass interrupted with a long and Hal Kemp and his Orchestra n auction loud bray. Phillips replied to the F donkev with a clarinet bray that 1, Barmt brought laughs and applause. Re­ 26614 *Mister Meadowlark but then mit, he kept the braying in his Victor and Bluebird Records *My Fantasy h an ev« solo. He played New Orleans and Artie Shaw and his Orchestra bbed it later used his jackass bray in here. Ue Livery Stable Blues. 26617 *Hangin’ Around lineaa waa “I also saw and heard William iroadcasto Boudon Grant Still on the spur of the I’ve Found a New Baby I WENK moment change Aunt Hager's Chil­ ■st chair dren Blues on cello to a religious Dicky Wells and his Orchestra the band background. And so majestic was r Dorsey, this solo that he had some of the apton on audience in tears. And for an en­ BLUEBIRD RECORDS 35c ■. Bernie core he did one more chorus, play­ Mill with B-10751 MU This and Heaven, reported ing violin, cello, oboe, and organ TT’S OPEN SEASON for swell inquiring musician or an ad­ chimes. This occurred in Knox­ , playinf Too iile tenor ville, in 1919, when both of us * tunes, and here they are — miring fan, you’ll find the lat­ were with W. C. Handy’s ‘Memphis ♦Where Do You . Skippy lead alto Blues Band.’ played by the brightest stars est tunes styled in your tempo Keep Your Heart? "I saw both of Joe (King) Oli­ Charlie Barnet and his Orchestra ver’s eyeballs extend out almost an in the musical firmament—re­ by a top ranking maestro on inch while he was blowing a hot B-10752 ‘Maybe chorus above the staff. This hap­ corded to perfection on Victor Victor and Bluebird Records. ♦Pushin’ the Conver­ pened at old Dreamland Cafe, the about 1925. and Bluebird Records. So turn Get all the details of the newest sation Along “When a piano player was late Bob Chester and his Orchestra IIP at a $700 engagement in Memphis the temperature controls over selections from your regular I saw W. C. Handy play piano the B-10709 Midnight Stroll entire night with left hand, and to the head man of your favorite RCA Victor music merchant. ♦Fine and Mellow trumpet with right t Erskine Hawkins Chrome “1 also know that Clarence band and give your summer Jones of the Southernaires and W. B-107S0 ♦Tangleweed Round Afferdi For better reproduction use RCAVictor C. Handy could both enter a the­ pleasure the satisfying accom­ My Heart • Drip- ater and tell you what key the Red Seal Needles, 50 points per package. Vill »et paniment of the nifty new ♦It’s All Over Now Trademarks'*Victor ”and*'RCAVictor" Art Kassel and his numbers. Whether you’re an Reg. U. S. Pat. Off. by RCA Mfg. Co., Inc? Meroff Mun Hurt Kassels -in-the-Air Prette- Ssvi»i In Fist Fight B-10736 ParadeoftheStompers The World's Greatest Artists are on Victor and Bluebird Records ♦I’m In aWeary Mood Gpm*- BY MILTON KiRLE Harlan Leonard and his Rockets Pittsburgh—Ernie Nutter, trum­ B-10749 Blue Lou peter, and Bob Durfee, tenor man ♦How Long Blues i nan* and clarinetist, both with the band Benny Meroff was fronting at the Wingie Manone and his Orchestra Shield Stanley Theater last month, came to blows between shows. Nutter’s 8-10740 Slow Freight iplete). lip wa;- cut badly, necessitating a Bugle Call Rag $2.00. •ub, Johnny Marino, who came VICTOR & BLUEBIRD RECORDS Glenn Miller and his Orchestra money over from Max Adkins' pit band to help out. 8-10766 Lonesome Road Durfee and Nutter roomed to­ Victor División, RCA Manufacturing Co., Inc., Camden, N. J. Mandy, Make Up Your Mind gether. Meroff is fronting Don A Service of tho Radio Corporation of America Muggsy Ranier and his Seat’s Chicago crew on his current road tour. Vince Tomei of Pitt has Ragtime Band joined it on lead alto. •Vocal Refrain.
Load more

Recommended publications
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Adéla Jonášová
    Wikipedista:Alfi51 Žiji v Českém Těšíně. Aleš Havlíček Jsem důchodce a rád si hraji s počítačem. Články mnou založené Alannah Currie Aldeburgh Angie Dickinson Alexandre Francois Debain Alex Sadkin Andělín Grobelný Adéla Jonášová Anita Carter Axel Stordahl The Beatmen Beatles For Sale Bedřich Havlíček Berthold Bartosch Biela voda (přítok Teplice) Billy Vera Bob Chester Bobbi Kristina Brown Bobby Vee Bobby Vinton Carlene Carter Carl Perkins Chuck Jackson Dana Vrchovská Eydie Gormé Emil Vašek Festival Kino na hranici Flora Murrayová Frankie Avalon Frank P. Banta French press Aleš v roce 2008 George Dunning George Botsford Gene Greene Hal Základní informace David Hans Mrogala Harmonium Harry James Helen Carter Help! (album) Howard Deutch Ida Münzbergová Narození 21. dubna 1951 Ina Ray Hutton Ipeľská pahorkatina Ivana Ostrava, Česko Wojtylová Izabela Trojanowska Jakub Mátl James Scott Žánry pop, blues (hudebník) Jan Hasník Javorianska hornatina Jerzy Povolání hudební skladatel, počítačový Kronhold Jimmy Durante John Keeble José Feliciano Joseph Lamb Judy Clay June Hutton Jungle fanatik a wikipedista Funk Kateřina Kornová Koruna (hudba) Kunešovská Nástroje kytara hornatina Ladislav Báča Largo (Florida) LaVerne Sophia Aktivní roky dosud Andrews Les Brown (hudebník) Let It Be (album) Louis Manžel(ka) Dagmar Krzyžánková Prima Louisa Garrett Andersonová Madelyn Deutch Maggi Hambling Martha a Tena Maxene Angelyn Andrews Děti Aleš, Martin Mezinárodní divadelní festival Na hranici Millicent Garrett Rodiče Bedřich Havlíček, Fawcett Mira Kubasińska Mud
    [Show full text]
  • Artie Shaw 1938-1939
    Glenn Miller Archives ARTIE SHAW 1938-1939 Prepared by: Reinhard F. Scheer-Hennings and Dennis M. Spragg In Cooperation with the University of Arizona Updated December 11, 2020 1 Table of Contents I. 1938 ................................................................................................................... 3 June 1938 ............................................................................................................... 3 July 1938 ................................................................................................................ 4 August 1938 ......................................................................................................... 12 September 1938 ................................................................................................... 15 October 1938 ........................................................................................................ 32 November 1938 .................................................................................................... 37 December 1938 .................................................................................................... 60 II. 1939 ............................................................................................................... 101 January 1939 ...................................................................................................... 101 February 1939 .................................................................................................... 131 March 1939 ........................................................................................................
    [Show full text]
  • Glenn Miller and His Orchestra “Top 10 Hits” 1939-1943
    GLENN MILLER AND HIS ORCHESTRA “TOP 10 HITS” 1939-1943 Prepared by: Dennis M. Spragg September 2017 TABLE OF CONTENTS INTRODUCTION .............................................................................................................................4 METHODOLOGY .............................................................................................................................4 1. SUMMARY ..................................................................................................................... 5 2. The Billboard Top 10 Records, 1940-1943........................................................................ 8 3. The Billboard #1 Records, 1940-1943 .............................................................................. 9 4. The Billboard Chronology, 1940-1943 ........................................................................... 10 1940 ............................................................................................................................................ 10 1941 ............................................................................................................................................ 11 1942 ............................................................................................................................................ 13 1943 ............................................................................................................................................ 16 5. Your Hit Parade Top 10 Records, 1939-1940 .................................................................
    [Show full text]
  • “In the Mood”--Glenn Miller and His Orchestra (1939) Added to the National Registry: 2004 Essay by Dennis M
    “In the Mood”--Glenn Miller and His Orchestra (1939) Added to the National Registry: 2004 Essay by Dennis M. Spragg (guest post)* “The Anthem of the Swing Era” On August 1, 1939, Glenn Miller and his Orchestra recorded the Joe Garland composition “In the Mood” for RCA Bluebird records. It became a top-selling record that would be permanently associated with Miller and which has become the easily recognized “anthem of the swing era.” “In the Mood” appears to have been inspired by several earlier works from which the tune was developed. Once composed, it remained a “work in progress” until recorded by Miller. The first indication of a composition with elements resembling what would become “In the Mood” was “Clarinet Getaway,” recorded by the Jimmy O’Bryant Washboard Wonders in 1925 for Paramount records. It is matrix number P-2148 and was issued as Paramount 12287. It was paired with a tune titled “Back Alley Rub.” The recording was made by a four-piece band with Arkansas native O’Bryant playing clarinet and accompanied by a piano, cornet and washboard player. Following O’Bryant, similar themes were evident in the Wingy Manone recording of “Tar Paper Stomp.” Manone’s recording is considered the genesis of “In the Mood” by most jazz historians. The recording is by Barbeque Joe and his Hot Dogs, the name under which Manone recorded at the time. Manone recorded “Tar Paper Stomp” on August 28, 1930, for the Champion label (which was acquired by Decca in 1935). Reissues credit the record to Wingy Manone and his Orchestra.
    [Show full text]
  • Glenn Miller 1941 “Keep ‘Em Flying” America’S Number One Band
    GLENN MILLER 1941 “KEEP ‘EM FLYING” AMERICA’S NUMBER ONE BAND Dedicated to the Glenn Miller Birthplace Society June 2021 Prepared by: Dennis M. Spragg Glenn Miller Archives Glenn Miller and his Orchestra, Cafe Rouge, January 1941 A Pivotal Year 1941 was a pivotal year in the history of the United States and for America’s number one bandleader, Glenn Miller. As of January 1, all ASCAP-licensed music (most popular music) was off the air. Glenn broadcast with a replacement BMI-licensed theme, “Slumber Song.” On January 17, the band recorded the classic “Song of the Volga Boatmen,” Bill Finegan’s traditional music response to Jerry Gray’s treatment of “Anvil Chorus.” If not for the broadcasting industry vs. ASCAP dispute, these two all-time Miller hits might never have been written or performed. Further changes arrived to shake up the successful Miller musical organization. A gossip columnist ran a story about Marion Hutton’s pregnancy, which pushed her to stop performing sooner than anticipated. By January 1941, Marion was only appearing on Glenn’s “Chesterfield Moonlight Serenade” broadcasts and not at the Café Rouge. Miller had to replace her. A young “dimpled darling” named Dorothy Claire from LaPorte, Indiana was singing for bandleader Bobby Byrne. Dorothy was under contract for three years with Byrne. So when Bobby learned that Glenn Miller intended to hire Ms. Claire, he promptly sued Miller for $25,000. However, Claire joined the Miller band on January 8. Glenn offered her a salary of $250 per week, a significant raise from the $75 per week she earned with Byrne.
    [Show full text]
  • CBS Newsletter December-2017
    December 2017 BLUES NEWS NEW OFFICERS AND BOARD OF DIRECTORS ELECTED CONGRATULATIONS! Bill Koteles Anthony Lovano Elaine DeStephano Kris Diehl President Vice President Treasurer Secretary Dave Rolland Mike Kormos Robert Dickow Penny Holycross Susanne Mayer Board Member Board Member Board Member Board Member Board Member WWW.CLEVELANDBLUES.ORG Cleveland Blues Society 12/5/2017 1 Inside this i s s u e : Letter from the New Board Members Cover President Letter from the President 2 November Jam 3 Bill Koteles Upcoming Events 4 Blues You Should Know 5-7 7 Life Lessons: 8-9 John Adams I’d like to thank all who attended the CBS election Jam in Novem- ber and those who voted via proxy. Especially all those who ran Thank You Sponsors Back for a position on the new board. We are fortunate to have a num- Cover ber of returning board members who are familiar with current projects and upcoming goals. Our first time board members have shown interest and concern for the future of CBS. Do you have an idea for an article?—email Elaine [email protected] The new board held their first board meeting right after the elec- tion and appointed Kris Diehl as the Secretary for the open posi- tion. Our first major project is to finalize the process for the CBS Schol- arship and Educational Fund. The fund was a goal of John Adams when CBS started the Blues Cruise to raise major funding. The cruise and other fundraising activities will continually add growth to the fund. We also have a new website.
    [Show full text]
  • Jubilee Records Early 78 RPM Releases
    The Beginnings of Jubilee Records © 2020 Frank Daniels After a stint at Stanford University, where he both boxed and played football, Jerry Blaine from Brooklyn pursued his goal of becoming a bandleader. By December 1936, Jerry’s band was playing at the Cocoanut Grove club at the Park Central Hotel in New York City. In March 1937, Blaine and his Orchestra recorded three songs for the Master Record label, which was best-known for Duke Ellington. Master/Varsity seems not to have released any of the songs. Before the end of 1937, Blaine had signed with Paramount Pictures to appear in several short features, and Bluebird Records (RCA Victor) had roped him in for three recording sessions – each of which produced three singles. Singles recorded on October 15, 1937: B-7227 “Farewell My Love”/ “Sweet Varsity Sue” [with Johnny McKeever] B-7228 “The Snake Charmer”/ “Dipsy Doodle” [B-side with Phyllis Kenny] B-7244 “Moaning in the Morning”/ “Down With Love” [A-side with Phyllis Kenny] Singles recorded on December 17, 1937: B-7344 “Bei Mir Bist du Schön”/ “The Big Dipper” [with Phyllis Kenny] B-7354 “I Double Dare You”/ “You’re Out of This World” [with Phyllis Kenny] B-7357 “Sail Along, Silv’ry Moon”/ “Always and Always” [with Phyllis Kenny] Singles recorded on February 18, 1938: B-7443 “Ti-Pi-Tin”/ “Prove It” [with Phyllis Kenny] B-7445 “Two Bouquets”/ “When I Walk With You” [with Phyllis Kenny] B-7455 “Romance in the Dark”/ “Let’s Sail to Dreamland” [with Phyllis Kenny] Jerry’s band was known at first as the Stream Line (or Streamlined) Rhythm Orchestra.
    [Show full text]
  • The Sound of Ethnic America: Prewar “Foreign-Language” Recordings & the Sonics of Us Citizenship
    THE SOUND OF ETHNIC AMERICA: PREWAR “FOREIGN-LANGUAGE” RECORDINGS & THE SONICS OF US CITIZENSHIP Mathew R. Swiatlowski A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of American Studies in the College of Arts & Sciences Chapel Hill 2018 Approved by: Jocelyn R. Neal Sharon P. Holland Timothy Marr Michael Palm Andrea Bohlmam © 2018 Mathew R. Swiatlowski ALL RIGHTS RESERVED ii ABSTRACT Mathew R. Swiatlowski: The Sound of Ethnic America: Prewar “Foreign-Language” Records and the Sonics of US Citizenship (Under the direction of Jocelyn R. Neal) This dissertation explores the juncture of sound and citizenship to consider how the boundaries of nation are maintained at both geospatial and cultural borders. Specifically, the project concerns “foreign-language” recordings made by US recording companies prior to World War II (hereafter, prewar). With the onset of war in Europe in 1914, “foreign-language” recordings were increasingly cut domestically, featuring vernacular performers of the Great Wave of immigration that brought Hungarian, Syrian, Ukrainian, Turkish, Polish, Mexican, Chinese, and Japanese peoples, alongside a host of other nationalities, to the US beginning in the latter half of the nineteenth century. Initially marketed to specific immigrant populations in the US, these recordings eventually became the province of postwar record collectors and the reissue music market by the 1970s. The narrative of the project draws much of its power by connecting their discrete moments of circulation with the political realities that shaped their audition. As such, the project examines the interplay between, what I call, the “national vernacular imaginary” and state policy in regards to immigration and citizenship.
    [Show full text]
  • Fall Test 2017
    FALL 2017 Les Guédry et Petitpas d’Asteur Vol. 15, Iss. 3 GENERATIONS IN THIS ISSUE With each issue of “Generations” that we produce I am amazed at the exceptional people in the Guédry and Petitpas families. We have outstanding people in almost every field of endeavor – the arts, music, athletics, scientific, engineering, religious, medical, gov- HANK WILLIAMS’ 2 ernnment, writing, theatre, military and so many others. And to remember that just 250 JAMBALAYA years ago our ancestors were stripped of everything they had, but their dignity, honesty and AND THE GUIDRY religion, put on ships and sent to outposts throughout North America and Europe. They CONNECTION refused to be exterminated and grew as a community in the ensuing years. The story of by R. Martin Guidry their survival through horrific times and their ability to overcome all odds and produce off- spring that could rise to the tops of their professional fields is truly a story that should be told. Almost everyday I learn of a new leader from our family. Yesterday it was Valérie BON APPETIT: 5 Recipes from the Plante, the new Mairess (Mayor) of Montréal, Canada. Ms. Plante is a direct descendant Guédry/Labine/ of Claude Petitpas and Catherine Bugaret through their daughter Henriette, wife of Prudent Petitpas Family Robichaud. In this issue we honor Ms. Marie Ginette Petitpas Taylor – the new Minister of Health for Canada. BOOK NOOK 6 Our next Guédry & Petitpas Reunion is just 18 months away. That may seem a long time, but it will be here before we know it. We have begun planning for the Reunion.
    [Show full text]
  • Introduction
    Introduction Welcome to “The Greatest Hits Explained”. My name is Michael Winter and I’m the host and editor of the show. I’m a German American passionate music lover and if you’re one, too, ready to dive deep into the world of music history with me, awesome. No matter where you are on this beautiful planet, no matter what time zone you’re in or what you’re doing right now (maybe you’re in your car, maybe on a train, a plane, in your home or in the gym) – I’m glad you’re here and I’m really looking forward to this journey together. This show is not directed at people in a specific country – rather, it is a show that will hopefully find you on any of the 7 continents Asia, Africa, Europe, Australia, North America, South America or even Antarctica. Just drop me a note from one music lover to another – I hope to hear from all of you. Always remember that music is one of the major positive forces that connects us all as it doesn’t know any borders. Today, we’re gonna talk about one of the most recognizable popular songs and big band titles ever recorded: “In The Mood” by Glen Miller. And while the center of this episode is the song itself, you’ll hear me explore Glen Miller’s life and a number of interesting details about some of his contemporaries as well. That’s how I usually approach things – by picking a memorable song that made history and then I not only analyze the song but everything around it, too, with a noticeable German accent.
    [Show full text]
  • A Portrait of Tommy Dorsey
    A PORTRAIT OF TOMMY DORSEY Prepared by Dennis M. Spragg Glenn Miller Archive Updated April 21, 2015 1 THE TALENTED AND TEMPERAMENTAL TD Although he celebrated his birthday as November 19, 1905, according to Schuylkill County records, Thomas Francis “Tommy” Dorsey, Jr. was born November 27, 1905 in Mahanoy Plane, a small town outside Shenandoah, Pennsylvania, the second son of Thomas Francis “Pop” Dorsey (born 1872) and Theresa “Tess” Langton (married 1901), Americans of Irish ancestry. Their firstborn son was James Francis “Jimmy” Dorsey, born February 29, 1904. The Dorsey couple bore two additional offspring, Mary, born 1907 and Edward, born 1911. Edward only lived to the age of three. Shenandoah was located in the heart of Pennsylvania coal country. Coal miner Pop Dorsey was once quoted as saying; “I would do anything to keep my sons out of the mines”. The Dorsey parents were interested in music and musically inclined. They saw music as a path for their sons to escape what they considered the “dead-end” future of coal mining. Pop and Tess Dorsey instilled a love of music in their sons. The father favored the cornet as an instrument and his sons fought over who would play it better. Ultimately, Jimmy Dorsey would gravitate to reed instruments and Tommy Dorsey to brass instruments. As children, the sons played in local parades and concerts. As they grew into adolescence, the brothers took nonmusical jobs to supplement the Dorsey family income. Young Tommy worked as a delivery boy. In 1920, the family moved to Lansford, Pennsylvania, where Pop Dorsey became leader of the municipal band and a music teacher.
    [Show full text]