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The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series …
8.120625* 8.120628 8.120632*
8.120681* 8.120697* 8.120746*
* Not available in the USA
NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 120762bk DorseyBros 14/2/05 8:43 PM Page 2
THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s. The tempestuous brothers engaging in repeated bouts of fisticuffs with Martha Boswell, piano; Eddie Lang, guitar; Tracks 12-14: George Thow, Jerry Neary, Charlie really had three separate stages of their careers: each other; spitting, slashing brawls, in which Artie Bernstein, bass; Stan King, drums Spivak, trumpets; Tommy Dorsey, Glenn Miller, first, as freelance sidemen for the small, hot New they not only beat each other up, but destroyed Track 5: Manny Klein, Frank Guarente, Charlie Don Mattison, trombones; Jimmy Dorsey, York studio bands of the late ’20s; second, as each others’ instruments as well. Usually, these Margulis, Bunny Berigan, trumpets; Tommy clarinet, alto sax; Jack Stacey, alto sax; Skeets co-leaders of the short-lived Dorsey Brothers battles were over the most mundane disputes, Dorsey, Lloyd Turner, Chuck Campbell, Herfurt, tenor sax, flute on track 12; Bobby van Orchestra and finally, as highly successful and when someone would attempt to break trombones; Jimmy Dorsey, clarinet, alto sax; Eps, piano; Roc Hillman, guitar; Delmar leaders of their own respective big bands of the them up, the two brothers often ganged up on Lyle Bowen, alto sax; Jimmy Crossan, Larry Kaplan, bass; Ray McKinley, drums late ’30s and ’40s. This CD deals with the the peacemaker. Binyon, tenor sax; Fulton McGrath, piano; Dick Track 15: George Thow, Charlie Spivak, second of these stages. Born in Pennsylvania, Jimmy (a leap year McDonough, guitar; Artie Bernstein, bass; Stan trumpets; Tommy Dorsey, Joe Yukl, Don Although two people acting as co-leaders of baby, born in Shenandoah on 29 February King, drums Mattison, trombones; Jimmy Dorsey, clarinet, a popular dance band sounds like a difficult 1904) and Tommy (born in Mahanoy City on Tracks 6 & 7: Frank Guarente or Charlie alto sax; Jack Stacey, alto sax; Skeets Herfurt, concept, it has been done successfully, although 19 November 1905), both took cornet lessons Margulis, Bunny Berigan, Manny Klein, tenor sax, flute; Bobby van Eps, piano; Roc not often. Note the ’20s groups led by, early on from their father, who led a local trumpets; Tommy Dorsey, Glenn Miller, Chuck Hillman, guitar; Delmar Kaplan, bass; Ray respectively, Victor Arden/Phil Ohman and concert band. By the time they were teenagers, Campbell or Lloyd Turner, trombones; Jimmy McKinley, drums Carlton Coon/Joe Sanders. However when the Jimmy had settled on the clarinet and Tommy on Dorsey, clarinet, alto sax; Lyle Bowen, alto sax; Tracks 16-19: George Thow, trumpet; Tommy leaders are brothers, the result can be even more trombone. Jimmy would later become an adept Jimmy Crossan, Larry Binyon, tenor sax; Joe Dorsey, Joe Yukl, Don Mattison, trombones; troublesome, as Tommy and Jimmy soon alto saxophonist as well and would double Venuti, violin; Fulton McGrath, piano; Dick Jimmy Dorsey, clarinet, alto sax; Jack Stacey, discovered. Joining forces as a recording unit frequently on the instrument as well as McDonough, guitar; Artie Bernstein, bass; Stan alto sax; Skeets Herfurt, tenor sax; Bobby van beginning in 1928, the Dorseys not only made occasionally play trumpet. Both worked in a King, drums Eps, piano; Roc Hillman, guitar; Delmar records on their own, but backed some of the popular territory band called the Scranton Sirens Kaplan, bass; Ray McKinley, drums most influential vocalists of the ’30s, including that traveled a lot but unfortunately released Bing Crosby, Mildred Bailey, and the Boswell only one 78. By the late 1920s they were firmly Sisters. They hit their stride in 1934 when they ensconced in the lucrative New York studio decided to form a touring band, recording first business, cutting hot jazz sides with the likes of for Brunswick, and then moving with Jack Kapp Red Nichols, Miff Mole, Joe Venuti, and Eddie Original monochrome photo of the Dorsey Brothers from Michael Ochs Archives / Redferns
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7. Annie’s Cousin Fannie 3:09 14. Honeysuckle Rose 6:37 Lang. In addition, they played for many of the gliding trombone solo by Tommy Dorsey that (Glenn Miller) (Fats Waller–Andy Razaf) biggest names in the dance band business, forecast his reluctant but necessary label as the Vocals by Ensemble: Tommy Dorsey, Kay Vocals by Skeets Herfurt, Roc Hillman, including Jean Goldkette, Nat Shilkret, Rudy ‘sentimental gentleman of swing’. The Dorseys Weber, Don Mattison, Skeets Herfurt, Don Mattison Vallee, and Paul Whiteman. had a knack for bringing out the best in vocalists Glenn Miller Decca 296, mx 38409-A, 38410-A In 1928 the Dorsey brothers began who fronted their band. Bing Crosby seemed to Brunswick 6938, mx B 15249-C Recorded 23 August 1934 recording under their own name, but only as a genuinely enjoy himself when he sang Someone Recorded 4 June 1934 15. Solitude 4:36 studio group. Their records reflected some of Stole Gabriel’s Horn at their joint session for 8. By Heck 3:14 (Duke Ellington–Eddie deLange–Irving Mills) the better Paul Whiteman efforts of that period Brunswick in 1933. (L. Wolfe Gilbert–S. R. Henry) Kay Weber, vocal and even included an attempt to emulate When they decided to go on the road with Decca 118, mx 38302-A Decca 15013, mx 39243-A Whiteman’s combining classical music with jazz. their band in 1934, they took some of their Recorded 14 August 1934 Recorded 11 January 1935 One of the two records issued by The Dorsey members from remnants of the recently 9. I’m Getting Sentimental Over You 2:37 16. Tailspin 2:53 Brothers and Their Concert Orchestra was even disbanded Smith Ballew orchestra, including (Ned Washington–George Bassman) (Frank Trumbauer–Jimmy Dorsey) conducted by Eugene Ormandy. trombonist/arranger Glenn Miller, drummer Ray Bob Crosby, vocal Decca 560, mx 39342-A The earliest record included in this collection McKinley, saxophonist Arthur ‘Skeets’ Herfurt, Decca 115, mx 38304-A Recorded 6 February 1935 is an alternate take of Jimmy Dorsey’s 1932 tour and vocalist Kay Weber. The new group was Recorded 15 August 1934 17. Dipper Mouth 2:24 de force, Oodles of Noodles, in which Dorsey’s larger than those the Dorseys had been playing 10. Stop, Look and Listen 3:18 (Joe Oliver) virtuosity on the alto sax is exhibited. This ‘B’ with in New York studios, consisting of 11–15 (John & George Van Eps–Ralph Freed) Decca 561, mx 39345-A take was first issued in the 1940s on a Columbia men, a size that could be compared to the Casa Decca 208, mx 38303-A Recorded 6 February 1935 78 album in the ‘Hot Jazz Classics’ series Loma Orchestra, one of the best of the white Recorded 15 August 1934 18. You’re Okay 2:52 featuring early sessions by the Dorsey Brothers. bands of the period that played arranged jazz. 11. Heat Wave 2:56 (Rube Bloom–Mitchell Parish) Even when provided with a transcript of the According to Ray McKinley, the idea was to (Irving Berlin) Decca 1304, mx 39339-A music, it is difficult to follow the notes as they pitch the sound of the band around the middle- Decca 208, mx 38301-A Recorded 6 February 1935 whiz by. register sonority of Bing Crosby, who had Recorded 14 August 1934 19. Weary Blues 3:59 The 1933 tracks are carry-overs from the fronted the Dorsey band on occasion. Crosby 12. Milenberg Joys 3:11 (Artie Matthews) Dorseys’ career in the compact New York outfits was then the hottest vocalist in the business and (Leon Rappolo–Paul Mares–Jelly Roll Decca 15013, mx 39341-A typified by Red Nichols’ Five Pennies. Backing the Dorseys felt that there was something in his Morton) Recorded 6 February 1935 facile singers such as Crosby, Bailey, and the resonant baritone that would work by focusing Decca 119, mx 38407-A The Dorsey Brothers Orchestra Boswells, Tommy and Jimmy were featured in their sound in the low brass and saxophones. Recorded 23 August 1934 All selections recorded in New York solos that showed their versatility in This may have been one reason why they 13. Basin Street Blues 3:07 accompanying singers with different styles. The frequently used Bing’s brother Bob on vocals on Transfers & Production: David Lennick (Spencer Williams) Boswells’ lovely version of the Duke Ellington their records. Digital Restoration: Graham Newton Bob Crosby, vocal standard Mood Indigo includes glorious The Dorseys’ repertoire was uneven, thanks Decca 118, mx 38412-A Original 78s from the collections of David harmonies by the sisters (replicating the three- in part to frequent ‘requests’ to record certain Lennick & John Wilby Recorded 23 August 1934 clarinet lead popularized by Ellington) and a publishers’ material. Witness such mundane
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explosive fights that took place between the co- disagreement as to what tempo to play on “I’ll selections as “I’d Like to Dunk You in My languid vocal by Kay Weber) and the perennial leading brothers dashed any hopes of success. Never Say ‘Never Again’ Again”, it was probably Coffee” and “I Threw a Bean Bag at the Moon”. flag-waver, Weary Blues, which proved once and In an interview with Richard Sudhalter, Bonnie just one fight too many. Tommy left the band But the tracks displayed on this CD show the for all that Dixieland could be danceable. Both Lake, who wrote the Dorsey Brothers’ theme to Jimmy and formed his own group, virtually musical brilliance Tommy and Jimmy Dorsey of these titles were issued on 12-inch 78s. The song, “Sandman”, recalled them fighting taking over Joe Haymes’ orchestra. were capable of in the two short years they were other extended track was the two-part 10-inch constantly: at rehearsals, recording sessions, Worldwide fame remained ahead for both together. release of Fats Waller’s Honeysuckle Rose. and even in public. On one occasion at the Dorseys as their respective orchestras were Shim Sham Shimmy features one of the The Dorseys had used a variety of trumpet famed Onyx Club on 52nd Street in Manhattan, among the most successful and best Dorseys’ patented ‘fade-in’ and ‘fade-out’ players on their New York studio recordings, and Tommy threw Jimmy down a flight of stairs. remembered of the Big Band Era. One wonders arrangements with one of Bunny Berigan’s most continued to do so in their new touring band. Writing in Metronome, George T. Simon how they would have fared had their sibling memorable solos in the middle. I’m Getting Bunny Berigan, Charlie Margulis, and Manny grandly called the Dorsey orchestra ‘one of the rivalry not got in the way, and the Dorsey Sentimental Over You foreshadowed Tommy’s Klein were used on many of their pre-1934 slickest, most exciting musical aggregations ever Brothers Orchestra had continued into the heart fame in later years when the Ned Washington/ recordings, but for their dance band, they used to enter our musical lives’. But it was to last of the Swing Era. George Bassman tune became his theme song mainly George Thow, a veteran of the Isham little more than a year. On Decoration Day, (the Dorseys had previously recorded it in Jones orchestra who proved to be a source of 1935, Tommy Dorsey stalked off the bandstand Cary Ginell 1932). It is crooned most effectively by Bob many hot solos, punctuated by the imaginative at the Glen Island Casino, never to return. – writer and music historian, a 2004 recipient of the Crosby, who does his best to replicate brother percussion work of Ray McKinley. Both Dorsey Although the dispute was reportedly over a mere ASCAP/Deems Taylor award. Bing’s style. brothers played trumpet, but by this time Tailspin, one of their hotter numbers, was Tommy had abandoned it entirely in favor of the co-written by Jimmy Dorsey and Frankie trombone (a tragedy since T.D.’s trumpet Trumbauer (who also recorded it with Paul playing best reflected his explosive 1. Shim Sham Shimmy 3:15 4. Someone Stole Gabriel’s Horn 2:59 Whiteman) and featured a beautiful Bixian solo temperament). (Jimmy Dorsey–Fulton McGrath) (Ned Washington–Edgar Hayes–Irving Mills) by Tommy on trombone. Jimmy adds two four- Ray McKinley would later say that what the Brunswick 6537, mx B 13152-A Bing Crosby, vocal bar solos of crisp triple-tonguing on alto to Dorseys needed most was an identifying sound. Recorded 14 March 1933 Brunswick 6533, mx B 13149-A round out the track, with a tasty coda added as Although Glenn Miller would later prove to be a 2. Mood Indigo 3:14 Recorded 14 March 1933 a final dessert topping. King Oliver’s Dipper superb arranger, and who would create one of (Duke Ellington–Irving Mills–Barney Bigard) 5. (I Can Make Most Anything But) I Can’t Mouth gets a sprightly treatment highlighted by the most unique sounds in the Big Band Era, The Boswell Sisters, vocal Make a Man 2:57 Ray McKinley’s crisp drumming and off-the-beat McKinley recalled that Miller’s inability to define Brunswick 6470, mx B 12860-A (Rube Bloom–Joseph Young) cymbal slaps (Ray’s is the voice who yells out the a particular sound for the Dorseys resulted in his Recorded 9 January 1933 Mildred Bailey, vocal obligatory ‘Oh, play that thing!’). Skeets ‘heading off in all kinds of directions’. As a 3. Oodles of Noodles 2:38 Brunswick 7542, mx B 14157-A Herfurt was a valuable addition to the group, result, most of the songs the band played were (Jimmy Dorsey) Recorded 17 October 1933 playing hot tenor sax solos and even substituting the result of head arrangements. Jimmy Dorsey, alto sax solo 6. Judy 2:58 a lighter sound on the flute for Milenberg Joys. Although the new band opened with Columbia 36063, mx B 12073-B (Hoagy Carmichael) The band does get a chance to stretch out optimism for the future at the exclusive Sands Recorded 14 July 1932 Brunswick 6938, mx B 15091-A on several songs, including Solitude (featuring a Point Bath Club on Long Island, the frequent, Recorded 23 April 1934
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explosive fights that took place between the co- disagreement as to what tempo to play on “I’ll selections as “I’d Like to Dunk You in My languid vocal by Kay Weber) and the perennial leading brothers dashed any hopes of success. Never Say ‘Never Again’ Again”, it was probably Coffee” and “I Threw a Bean Bag at the Moon”. flag-waver, Weary Blues, which proved once and In an interview with Richard Sudhalter, Bonnie just one fight too many. Tommy left the band But the tracks displayed on this CD show the for all that Dixieland could be danceable. Both Lake, who wrote the Dorsey Brothers’ theme to Jimmy and formed his own group, virtually musical brilliance Tommy and Jimmy Dorsey of these titles were issued on 12-inch 78s. The song, “Sandman”, recalled them fighting taking over Joe Haymes’ orchestra. were capable of in the two short years they were other extended track was the two-part 10-inch constantly: at rehearsals, recording sessions, Worldwide fame remained ahead for both together. release of Fats Waller’s Honeysuckle Rose. and even in public. On one occasion at the Dorseys as their respective orchestras were Shim Sham Shimmy features one of the The Dorseys had used a variety of trumpet famed Onyx Club on 52nd Street in Manhattan, among the most successful and best Dorseys’ patented ‘fade-in’ and ‘fade-out’ players on their New York studio recordings, and Tommy threw Jimmy down a flight of stairs. remembered of the Big Band Era. One wonders arrangements with one of Bunny Berigan’s most continued to do so in their new touring band. Writing in Metronome, George T. Simon how they would have fared had their sibling memorable solos in the middle. I’m Getting Bunny Berigan, Charlie Margulis, and Manny grandly called the Dorsey orchestra ‘one of the rivalry not got in the way, and the Dorsey Sentimental Over You foreshadowed Tommy’s Klein were used on many of their pre-1934 slickest, most exciting musical aggregations ever Brothers Orchestra had continued into the heart fame in later years when the Ned Washington/ recordings, but for their dance band, they used to enter our musical lives’. But it was to last of the Swing Era. George Bassman tune became his theme song mainly George Thow, a veteran of the Isham little more than a year. On Decoration Day, (the Dorseys had previously recorded it in Jones orchestra who proved to be a source of 1935, Tommy Dorsey stalked off the bandstand Cary Ginell 1932). It is crooned most effectively by Bob many hot solos, punctuated by the imaginative at the Glen Island Casino, never to return. – writer and music historian, a 2004 recipient of the Crosby, who does his best to replicate brother percussion work of Ray McKinley. Both Dorsey Although the dispute was reportedly over a mere ASCAP/Deems Taylor award. Bing’s style. brothers played trumpet, but by this time Tailspin, one of their hotter numbers, was Tommy had abandoned it entirely in favor of the co-written by Jimmy Dorsey and Frankie trombone (a tragedy since T.D.’s trumpet Trumbauer (who also recorded it with Paul playing best reflected his explosive 1. Shim Sham Shimmy 3:15 4. Someone Stole Gabriel’s Horn 2:59 Whiteman) and featured a beautiful Bixian solo temperament). (Jimmy Dorsey–Fulton McGrath) (Ned Washington–Edgar Hayes–Irving Mills) by Tommy on trombone. Jimmy adds two four- Ray McKinley would later say that what the Brunswick 6537, mx B 13152-A Bing Crosby, vocal bar solos of crisp triple-tonguing on alto to Dorseys needed most was an identifying sound. Recorded 14 March 1933 Brunswick 6533, mx B 13149-A round out the track, with a tasty coda added as Although Glenn Miller would later prove to be a 2. Mood Indigo 3:14 Recorded 14 March 1933 a final dessert topping. King Oliver’s Dipper superb arranger, and who would create one of (Duke Ellington–Irving Mills–Barney Bigard) 5. (I Can Make Most Anything But) I Can’t Mouth gets a sprightly treatment highlighted by the most unique sounds in the Big Band Era, The Boswell Sisters, vocal Make a Man 2:57 Ray McKinley’s crisp drumming and off-the-beat McKinley recalled that Miller’s inability to define Brunswick 6470, mx B 12860-A (Rube Bloom–Joseph Young) cymbal slaps (Ray’s is the voice who yells out the a particular sound for the Dorseys resulted in his Recorded 9 January 1933 Mildred Bailey, vocal obligatory ‘Oh, play that thing!’). Skeets ‘heading off in all kinds of directions’. As a 3. Oodles of Noodles 2:38 Brunswick 7542, mx B 14157-A Herfurt was a valuable addition to the group, result, most of the songs the band played were (Jimmy Dorsey) Recorded 17 October 1933 playing hot tenor sax solos and even substituting the result of head arrangements. Jimmy Dorsey, alto sax solo 6. Judy 2:58 a lighter sound on the flute for Milenberg Joys. Although the new band opened with Columbia 36063, mx B 12073-B (Hoagy Carmichael) The band does get a chance to stretch out optimism for the future at the exclusive Sands Recorded 14 July 1932 Brunswick 6938, mx B 15091-A on several songs, including Solitude (featuring a Point Bath Club on Long Island, the frequent, Recorded 23 April 1934
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7. Annie’s Cousin Fannie 3:09 14. Honeysuckle Rose 6:37 Lang. In addition, they played for many of the gliding trombone solo by Tommy Dorsey that (Glenn Miller) (Fats Waller–Andy Razaf) biggest names in the dance band business, forecast his reluctant but necessary label as the Vocals by Ensemble: Tommy Dorsey, Kay Vocals by Skeets Herfurt, Roc Hillman, including Jean Goldkette, Nat Shilkret, Rudy ‘sentimental gentleman of swing’. The Dorseys Weber, Don Mattison, Skeets Herfurt, Don Mattison Vallee, and Paul Whiteman. had a knack for bringing out the best in vocalists Glenn Miller Decca 296, mx 38409-A, 38410-A In 1928 the Dorsey brothers began who fronted their band. Bing Crosby seemed to Brunswick 6938, mx B 15249-C Recorded 23 August 1934 recording under their own name, but only as a genuinely enjoy himself when he sang Someone Recorded 4 June 1934 15. Solitude 4:36 studio group. Their records reflected some of Stole Gabriel’s Horn at their joint session for 8. By Heck 3:14 (Duke Ellington–Eddie deLange–Irving Mills) the better Paul Whiteman efforts of that period Brunswick in 1933. (L. Wolfe Gilbert–S. R. Henry) Kay Weber, vocal and even included an attempt to emulate When they decided to go on the road with Decca 118, mx 38302-A Decca 15013, mx 39243-A Whiteman’s combining classical music with jazz. their band in 1934, they took some of their Recorded 14 August 1934 Recorded 11 January 1935 One of the two records issued by The Dorsey members from remnants of the recently 9. I’m Getting Sentimental Over You 2:37 16. Tailspin 2:53 Brothers and Their Concert Orchestra was even disbanded Smith Ballew orchestra, including (Ned Washington–George Bassman) (Frank Trumbauer–Jimmy Dorsey) conducted by Eugene Ormandy. trombonist/arranger Glenn Miller, drummer Ray Bob Crosby, vocal Decca 560, mx 39342-A The earliest record included in this collection McKinley, saxophonist Arthur ‘Skeets’ Herfurt, Decca 115, mx 38304-A Recorded 6 February 1935 is an alternate take of Jimmy Dorsey’s 1932 tour and vocalist Kay Weber. The new group was Recorded 15 August 1934 17. Dipper Mouth 2:24 de force, Oodles of Noodles, in which Dorsey’s larger than those the Dorseys had been playing 10. Stop, Look and Listen 3:18 (Joe Oliver) virtuosity on the alto sax is exhibited. This ‘B’ with in New York studios, consisting of 11–15 (John & George Van Eps–Ralph Freed) Decca 561, mx 39345-A take was first issued in the 1940s on a Columbia men, a size that could be compared to the Casa Decca 208, mx 38303-A Recorded 6 February 1935 78 album in the ‘Hot Jazz Classics’ series Loma Orchestra, one of the best of the white Recorded 15 August 1934 18. You’re Okay 2:52 featuring early sessions by the Dorsey Brothers. bands of the period that played arranged jazz. 11. Heat Wave 2:56 (Rube Bloom–Mitchell Parish) Even when provided with a transcript of the According to Ray McKinley, the idea was to (Irving Berlin) Decca 1304, mx 39339-A music, it is difficult to follow the notes as they pitch the sound of the band around the middle- Decca 208, mx 38301-A Recorded 6 February 1935 whiz by. register sonority of Bing Crosby, who had Recorded 14 August 1934 19. Weary Blues 3:59 The 1933 tracks are carry-overs from the fronted the Dorsey band on occasion. Crosby 12. Milenberg Joys 3:11 (Artie Matthews) Dorseys’ career in the compact New York outfits was then the hottest vocalist in the business and (Leon Rappolo–Paul Mares–Jelly Roll Decca 15013, mx 39341-A typified by Red Nichols’ Five Pennies. Backing the Dorseys felt that there was something in his Morton) Recorded 6 February 1935 facile singers such as Crosby, Bailey, and the resonant baritone that would work by focusing Decca 119, mx 38407-A The Dorsey Brothers Orchestra Boswells, Tommy and Jimmy were featured in their sound in the low brass and saxophones. Recorded 23 August 1934 All selections recorded in New York solos that showed their versatility in This may have been one reason why they 13. Basin Street Blues 3:07 accompanying singers with different styles. The frequently used Bing’s brother Bob on vocals on Transfers & Production: David Lennick (Spencer Williams) Boswells’ lovely version of the Duke Ellington their records. Digital Restoration: Graham Newton Bob Crosby, vocal standard Mood Indigo includes glorious The Dorseys’ repertoire was uneven, thanks Decca 118, mx 38412-A Original 78s from the collections of David harmonies by the sisters (replicating the three- in part to frequent ‘requests’ to record certain Lennick & John Wilby Recorded 23 August 1934 clarinet lead popularized by Ellington) and a publishers’ material. Witness such mundane
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THE DORSEY BROTHERS Personnel Tracks 1, 3 & 4: Bunny Berigan, trumpet; Tracks 8-11: Manny Klein & unknown, trumpet; ‘Stop, Look and Listen’ Original 1932-1935 Recordings Tommy Dorsey, trombone; Jimmy Dorsey, Tommy Dorsey, Glenn Miller, trombones; clarinet, alto sax; Larry Binyon, tenor sax; Jimmy Dorsey, clarinet, alto sax; unknown, alto Whether you call them The Fabulous or The over to the newly formed American Decca label. Fulton McGrath, piano; Dick McDonough, sax; Larry Binyon (?), tenor sax; Fulton Battling Dorsey Brothers, Tommy (1905-1956) In the two knock-down drag-out years that guitar; Artie Bernstein, bass; Stan King, drums McGrath (?), piano; Dick McDonough, guitar; and Jimmy Dorsey (1904-1957) were major followed, the Dorseys produced some Track 2: Bunny Berigan, trumpet; Tommy Artie Bernstein (?), bass; Stan King or Ray influences on the development of jazz in the outstanding and exciting jazz, all the while Dorsey, trombone; Jimmy Dorsey, clarinet; McKinley, drums 1920s and ’30s. The tempestuous brothers engaging in repeated bouts of fisticuffs with Martha Boswell, piano; Eddie Lang, guitar; Tracks 12-14: George Thow, Jerry Neary, Charlie really had three separate stages of their careers: each other; spitting, slashing brawls, in which Artie Bernstein, bass; Stan King, drums Spivak, trumpets; Tommy Dorsey, Glenn Miller, first, as freelance sidemen for the small, hot New they not only beat each other up, but destroyed Track 5: Manny Klein, Frank Guarente, Charlie Don Mattison, trombones; Jimmy Dorsey, York studio bands of the late ’20s; second, as each others’ instruments as well. Usually, these Margulis, Bunny Berigan, trumpets; Tommy clarinet, alto sax; Jack Stacey, alto sax; Skeets co-leaders of the short-lived Dorsey Brothers battles were over the most mundane disputes, Dorsey, Lloyd Turner, Chuck Campbell, Herfurt, tenor sax, flute on track 12; Bobby van Orchestra and finally, as highly successful and when someone would attempt to break trombones; Jimmy Dorsey, clarinet, alto sax; Eps, piano; Roc Hillman, guitar; Delmar leaders of their own respective big bands of the them up, the two brothers often ganged up on Lyle Bowen, alto sax; Jimmy Crossan, Larry Kaplan, bass; Ray McKinley, drums late ’30s and ’40s. This CD deals with the the peacemaker. Binyon, tenor sax; Fulton McGrath, piano; Dick Track 15: George Thow, Charlie Spivak, second of these stages. Born in Pennsylvania, Jimmy (a leap year McDonough, guitar; Artie Bernstein, bass; Stan trumpets; Tommy Dorsey, Joe Yukl, Don Although two people acting as co-leaders of baby, born in Shenandoah on 29 February King, drums Mattison, trombones; Jimmy Dorsey, clarinet, a popular dance band sounds like a difficult 1904) and Tommy (born in Mahanoy City on Tracks 6 & 7: Frank Guarente or Charlie alto sax; Jack Stacey, alto sax; Skeets Herfurt, concept, it has been done successfully, although 19 November 1905), both took cornet lessons Margulis, Bunny Berigan, Manny Klein, tenor sax, flute; Bobby van Eps, piano; Roc not often. Note the ’20s groups led by, early on from their father, who led a local trumpets; Tommy Dorsey, Glenn Miller, Chuck Hillman, guitar; Delmar Kaplan, bass; Ray respectively, Victor Arden/Phil Ohman and concert band. By the time they were teenagers, Campbell or Lloyd Turner, trombones; Jimmy McKinley, drums Carlton Coon/Joe Sanders. However when the Jimmy had settled on the clarinet and Tommy on Dorsey, clarinet, alto sax; Lyle Bowen, alto sax; Tracks 16-19: George Thow, trumpet; Tommy leaders are brothers, the result can be even more trombone. Jimmy would later become an adept Jimmy Crossan, Larry Binyon, tenor sax; Joe Dorsey, Joe Yukl, Don Mattison, trombones; troublesome, as Tommy and Jimmy soon alto saxophonist as well and would double Venuti, violin; Fulton McGrath, piano; Dick Jimmy Dorsey, clarinet, alto sax; Jack Stacey, discovered. Joining forces as a recording unit frequently on the instrument as well as McDonough, guitar; Artie Bernstein, bass; Stan alto sax; Skeets Herfurt, tenor sax; Bobby van beginning in 1928, the Dorseys not only made occasionally play trumpet. Both worked in a King, drums Eps, piano; Roc Hillman, guitar; Delmar records on their own, but backed some of the popular territory band called the Scranton Sirens Kaplan, bass; Ray McKinley, drums most influential vocalists of the ’30s, including that traveled a lot but unfortunately released Bing Crosby, Mildred Bailey, and the Boswell only one 78. By the late 1920s they were firmly Sisters. They hit their stride in 1934 when they ensconced in the lucrative New York studio decided to form a touring band, recording first business, cutting hot jazz sides with the likes of for Brunswick, and then moving with Jack Kapp Red Nichols, Miff Mole, Joe Venuti, and Eddie Original monochrome photo of the Dorsey Brothers from Michael Ochs Archives / Redferns
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The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends and Nostalgia series …
8.120625* 8.120628 8.120632*
8.120681* 8.120697* 8.120746*
* Not available in the USA
NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality THE DORSEY BROTHERS 8.120762 SO,LO LISTEN” & LOOK “STOP, BROTHERS DORSEY THE www. NOTES ANDFULLRECORDING DETAILS INCLUDED Newton byGraham Restoration Digital Transfers andProductionbyDavid Lennick h 9 Weary Blues 19. You’re Okay 18. DipperMouth 17. Tailspin 16. Solitude 15. HoneysuckleRose 14. BasinStreetBlues 13. MilenbergJoys 12. Stop,LookAndListen 10. 1 HeatWave 11. 9. I’m Getting Sentimental Over You I’mGettingSentimental 9. ByHeck 8. Annie’sCousinFannie 7. Judy 6. (ICanMake MostAnythingBut) 5. SomeoneStoleGabriel’sHorn 4. OodlesOfNoodles 3. MoodIndigo 2. .ShimShamShimmy 1. & g I Can’tMake AMan 05NxsRgt nentoa t Design:RonHoares 2005 NaxosRightsInternationalLtd naxos.com 2:58 2:53 4:36 3:14 2:56 2:52 3:59 3:14 2:24 3:11 6:37 3:07 2:38 3:15 2:57 3:09 3:18 Made intheEU 2:59 2:37 Original 1932-1935Original Recordings 62:52 ADD Total Time
8.120762
THE DORSEY BROTHERS BROTHERS DORSEY THE 8.120762