Podcasts about tommy dorsey orchestra

Haldane virtuosos team up for concert For the first time, longstanding Haldane pals Sofia Kelly and Delia Starr are performing their greatest hits together at an independent, one-off concert at St. Mary's Church in Cold Spring on May 31. In the fall, Kelly will attend the University of Cincinnati to study classical vocal music. Many selections on the program will highlight her dramatic, operatic style and are works she submitted on audition tapes for college applications and competitions, like attending the Interlochen Arts Camp in Michigan and singing at the International InterHarmony Music Festival in Italy. In a video of the lieder "Die Stille Stadt" by Alma Mahler (wife of Gustav), recorded at St. Mary's and on the program for Sunday, she looks ready to vanquish a village as her booming voice resonates. Starr began plunking the piano at age 5 and is a fourth-generation musician. In addition to composing solo piano works in the classical vein, she wrote a piece at the Boston University Tanglewood Institute for a string quartet and will perform a "Piece for Clarinet and Piano" at the show (Katherine Filatov will accompany). Beyond their passion for European art music, the two share another bond: Their fathers are professional musicians. Composer and jazz pianist Daniel Kelly learned to play classical after Sofia cottoned on to the genre a couple of years ago, and will accompany her on a tune by Randy Newman and one of his originals based on a poem by Rainer Maria Rilke. Eric Starr's father, Nelson, played trumpet in the Tommy Dorsey Orchestra. Eric composes, leads Haldane's jazz performance program and teaches drums and piano at his Cold Spring studio. He also holds annual recitals at the Chapel Restoration, where Delia has played three solo shows. Kelly decided to attend a large school where she could minor or double-major in environmental studies. Starr, a junior, is applying to conservatories as well as universities and will major in composition, perhaps with a minor in piano performance. "It's nice to meet other people with different interests," says Starr. "I love music, but don't want to be trapped in a bubble with the same type of people." She's expanding her writing prowess beyond the piano because "it makes you a better candidate," she says. "I'm gearing up for tours and applications." Pecking out parts on the keyboard, she also plays back MIDI simulations of other instruments in her software program. "That's why piano is so great; all the notes are in front of you, and I use that to my advantage because it's easy to translate lines or chords for other instruments," she says. At the concert, Starr will perform her original music alongside pieces by Chopin and Beethoven. Her compositions hint at Brahms' cinematic style, and she admits an affinity for French impressionists like Fauré and Debussy. "I love film scores, and that may be something I get into," she says. Kelly and Starr crafted a thoughtful program that features guest artists, offers varied musical styles and contrasts vocals with instrumentals. "We've been talking about doing a concert together for so long, and it's now or never in our Haldane lives, so we're ready for a musical goodbye," says Kelly. "Delia and I share a sense of deep camaraderie in the music world, and we'll always be in the same orbit." St. Mary's Church is located at 1 Chestnut St. in Cold Spring. The free concert begins at 4 p.m. and will be followed by a reception.

On a recent wintry afternoon in Manhattan, Stephan Crump was doing what he has done countless times in the city—toting his upright bass, clad in a heavy black bag, along the sidewalk, as if he had a baby that was also a bear.  Finding his car, Crump shimmied the instrument through the minivan's side, climbed into the front seat, exhaled, and then grinned. In less than 24 hours, he would fly to Portland to teach “On Magnetism,” a long-accreting class on connecting more deeply with yourself and others through your instrument, and to play solo at the city's jazz festival. But he knew he first needed to make the 40-minute trek from Brooklyn to Finlay + Gage, the legendary bass shop in Tribeca, to have his bass adjusted, so that he could make that connection himself. The sound post—that stout wooden dowel inside the bass that keeps it from collapsing on itself, and that the French call l'âme, or the soul—wasn't sitting quite right. “It's so personal, elusive, and mysterious. Yes, it's a mechanical thing, but it has so much mojo to it. That's why it's called ‘the soul,'” Crump explained several days later from Portland, noting that the hassle of the errand had been worth it. The bass felt good in his hands again. “It's this combination of sound and feel.” For a quarter-century now, pairing sound and feel have become Crump's ambit and expertise. A bassist and composer, collaborator and bandleader, Crump has become one of New York's most steadfast and experienced instrumentalists. He was the anchor of Vijay Iyer's foundational trio for 20 years, even as he developed a slew of imaginative ensembles of his own—the two-guitar Rosetta Trio, the Borderlands Trio alongside Kris Davis and Eric McPherson, the Secret Keeper duo with Mary Halvorson, just to sample. In all of these contexts, the act of bringing the rest of his life to the bass—the trauma and hope, the frustration and delight—remains Crump's primary motivation. It is, if you will, the soul of his playing. “All art is an expression of the artist's presence in that moment. Musicians need our evolving physical capabilities on the instrument and technical knowledge—how notes interact harmonically and melodically, transcribing our heroes, learning all that,” Crump said. “But in the act of making music, we need to allow that stuff to fall away, to not impose it on the music, to relinquish our defenses. We are sculpting energy as we make music, shaping magnetism.” In some ways, Crump's career is the fulfillment of his father's own youthful ambition. His dad toyed with turning pro as a jazz drummer, but he pursued architecture instead. (That's also how he met Crump's mother, who comes from a long line of French architects.) His devotion to jazz, though, didn't waver, and he would constantly play jazz classics—Monk, Miles, Coltrane, MJQ—in the family's Memphis home. Crump thinks that's where he fell for the bass, especially when the low-end would creep through old wooden walls at night. At his mother's behest, though, Crump's training started with piano, the Suzuki Method leading him through the classics and eventually to his all-time musical hero, Stevie Wonder. But at 13, Crump finally got his first bass, a MapleGlo Rickenbacker 4001 like that of another hero, Yes' Chris Squire. He joined a crackling power trio with his brother, later enlisted in a larger band, and then started his own group; they all gigged hard. Backpacking through Spain by himself after high school, however, he encountered an epiphany by the name of Dave Holland, playing in his mighty and future-facing quartet. The upright bass: That was Crump's future. His first was a dilapidated plywood model, collecting dust in a corner of Amherst College, where he'd in part gone to escape family turmoil down south. He'd intended to study physics and music, but he soon realized that his energy and enthusiasm belonged with the latter. That was helped along by a guitarist pal Crump met during his first few weeks at Amherst. He had connections in the West Village. Crump had the car. (“The bassist,” he half-joked, “always has the car.”) Most every week, they would drive the four hours south, link with high-caliber New York pros they'd hired, play until 2 a.m. or so, and head back to school. “That was really powerful and clarifying. It was thrilling to be 18 and gigging in New York. I got a taste for that level of musicianship, and I was doing more than just cutting it,” he said, smiling. “By the end of my first semester, I knew I was moving to New York as soon as I graduated.” That is precisely what Crump did. He used his paycheck from a month-long, fresh-out-of-college stint with the Tommy Dorsey Orchestra to rent his first Brooklyn apartment in 1994. He dove right in, roving the West Village with his bass, listening, and joining late-night jams that ended with the sun's arrival. He'd seal his shades with tape, sleep, and repeat.  Crump, though, bristled at the scene's pervasive machismo, how some of the city's most vaunted players would put up walls to prevent revealing too much of themselves through their music. That's actually what he craved. Crump found others who shared his ardor, earnestness, and a belief in what jazz could show of and to a person. Those people, like saxophonists Chris Cheek and Miguel Zenón, helped shape his first albums. There was film score work and sessions and stages alongside singer-songwriters. In these concentric creative circles, he met a young singer, Jen Chapin, and fell in love. They got married in September 1999.  After five years, the existence Crump had imagined for himself as a New York musician was happening. “My goal from the start was to come to New York and make a life in music—to make music that I loved, to learn and grow with amazing musicians,” said Crump. “I never set out to be a rock star, a jazz star. I just wanted to make music—real, deep, honest shit, you know?” Actually, Crump flirted with something at least like “jazz stardom” during a 20-year stint in Vijay Iyer's trio. Iyer cold-called Crump soon after moving to New York in 1999, on a friend's recommendation. They spent the next 20 years building the band into one of modern jazz's most successful units. It was a tremendous trip, of course, but it was again clarifying for Crump, revealing the sorts of bands he wanted to build outside of the Iyer orbit. He steadily realized that traditional jazz ensembles were not his preferred vehicle. The bass could get lost, its role restricted. And the power dynamics with such a clear and visible leader created an environment of dominance (again, often masculine) that he hoped to avoid. “Control and bravado keep you from deeper layers of experience and expression,” he said. “When you find yourself with a group of people who are willing to at least attempt ego dissolution and real communion, you have the opportunity for transcendence. You open a portal for each other and the audience—that's a service to society.” Crump has found those connections in so many contexts, emptying his feelings into his diverse ensembles. Rosetta Trio's bittersweet groove, for instance, emerged from little Fender Rhodes fragments he compiled in the months after watching 9/11 unfold with Jen from their Brooklyn roof. Open Wide, his 2002 set of duets with her, are intimate and entangled portraits of marriage's first few difficult, delightful years.  The music of Rhombal—his celebrated quartet with Tyshawn Sorey, Adam O'Farrill, Ellery Eskelin—unfolded after the death of his brother, Patrick, the one who first brought him into a band back in Memphis. And Slow Water, his latest project built with a drum-less sextet of fascinating New York artists, hinges on the Memphis native's experiences with bodies of water around the world, his lifelong love of nature, and his worry about and hope for our collective future.    “The acoustic bass is almost infinite as an instrument, sonically and expressively, but so much of that can get covered up in a traditional ensemble,” he said, turning toward his duos with saxophonist Steve Lehman and guitarist Mary Halvorson. “Those experiences gave me so much more room to explore the terrain of the instrument, its possibilities. That pushes you. It's the kind of scary environment you want to put yourself in.” When Crump talks about and teaches music, he doesn't discuss notes. Or rather, they are only the beginning, the technical basis for something that can and should be something much richer. Notes are vessels that the player then fills with their experiences, their ideas, their emotions, their essence.  These are gestures, at least as he has put it for many years now, the basis of the music he wants to put into and get out of the world. In some significant ways, this echoes his childhood in Memphis, where his Southern grandmother instilled the value of a story well told, and where he worked alongside his uncle building furniture—really, sculptures of wood—that they would sand until the material seemed somehow to shimmer. (Crump's music stand was made by his uncle, Stephen.) It wasn't just an object or a story; it was a piece of work you invested yourself in until it became art. “A note is an abstract notion, meaningless without all of the human, spiritual stuff you can channel into it,” Crump said. “A gesture has the physical element, a sense of offering, a reflection of our presence through each unfolding moment.” 

Tonight's show has boogie woogie and more by Artie Shaw, Harry James, Lionel Hampton, Tommy Dorsey Orchestra, Arthur 'Guitar Boogie' Smith, New Orleans' Own the Dukes of Dixieland, Mongo Santamaria, Johnny Hodges & Wild Bill Davis, Santana (Greg Rolie keyboard), Gabor Szabo, Paco De Lucia, the Rosenberg Trio, Piano Connection & Marcs Boogie, Sue Palmer, and the Spencer Wyatt Big Band.

Kevin McCloud and Tim Ross are hosts of Tim and Kev's Big Design Adventure, a globe-trotting podcast centered on people, places, architecture, and design. Later, baritone saxophonist Leigh Pilzer, whose powerful sound has anchored ensembles from the DIVA Jazz Orchestra to the immortal Tommy Dorsey Orchestra.

First up, for our concrete fans, art critic and author Blake Gopnik looks inside modernism through his book, Brutalist Interiors.  Holland Murphy solves the mystery of a house in Dallas. From there, we head to St. Louis, where Pam Sanfilippo of the Eero Saarinen-designed Gateway Arch National Park shares how Saarinen's soaring 630-foot monument endures for millions of visitors.  And we wrap up with the Rolling Stones of swing, the Tommy Dorsey Orchestra, carrying forward one of the greatest big bands with leader Jeff Bush. 

In Breaking Walls episode 88, we spotlight the 1945-46 season of The Jack Benny Program. This season introduced characters like telephone operators Gertrude and Mabel, press agent Steve Bradley, hot dog vendor Mr. Kitzel, and Ronald and Benita Colman. This season featured guest appearances from Ingrid Bergman, Isaac Stern, Van Johnson, Ray Milland, Peter Lorre, Louella Parsons, Fred Allen, Ed Sullivan and others. It also was the season in which Dennis Day returned from the Navy and one of the most ingenious marketing campaigns in entertainment history took place: The “I Can't Stand Jack Benny” Contest. Highlights: • Jack's slipping ratings • Problems with General Foods • Jack changes sponsors • The War ends and a new season begins • Mabel Flapsaddle & Gertrude Gearshift • Steve Bradley and his big ideas • $10,000 and $646,000 • Jack gets robbed • The Contest • Mail pours in • The Colmans can't stand Jack Benny • Jack's ratings soar • Christmas of 1945 & The Rose Bowl • Fred Allen and the end of the Contest • Isaac Stern • Palm Springs • Van Jackson • Ed Sullivan and the end of the season • King for a Day The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • Sunday Nights at Seven - by Jack and Joan Benny • On The Air: The Encyclopedia of Old-Time Radio - by John Dunning • Network Radio Ratings, 1932-1953 - by Jim Ramsburg • As well as articles from Radio Life on January 27th and February 3rd, 1946 On the interview front: •Jack Benny, Ezra Stone, Kate Smith, Don Wilson, Eliott Lewis, Phil Harris, Frank Nelson and Dennis Day were with Chuck Schaden. Chuck's interviews from an over 39-year career can be listened to for free at SpeakingofRadio.com • Vincent Price and Mel Blanc were with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. The full interviews can be heard at GoldenAge-WTIC.org • Dennis Day was also with John Dunning for his 1980s 71KNUS Radio program from Denver. Some of his interviews can be found at OTRRLibrary.org • And Finally Jack Benny, Dennis Day, Phil Harris, Frank Nelson, Don Wilson and Mel Blanc were also with Jack Carney for his early 1980s Comedy Program. Much of this audio was originally taken from a 1972 PBS Documentary on Great Radio Comedians. Thank you Goodmond Danielson for supplying me with the audio. Selected music featured in today's episode was: • Love in Bloom by Bing Crosby • It's Been a Long, Long, Time by the Harry James Orchestra • Chickery Chick by Sammy Kaye with Billy Williams & Nancy Norman • Manhattan Serenade by the Tommy Dorsey Orchestra with Jo Stafford • It Might as Well Be Spring by Larry Stephens • Danny Boy by Dennis Day • Along the Navajo Trail by Bing Crosby and the Andrews Sisters WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers URL - thewallbreakers.com Online Store - jamesthewallbreaker.com/shop/

A conversation with Canadian jazz and blues drummer - Rudy Albin Petschauer (The Fabulous Thunderbirds, James Hunter, Tommy Dorsey Orchestra) - https://fabulousthunderbirds.com

Midway through his seven-year stint with the Tommy Dorsey Orchestra, the brilliant arranger/composer Sy Oliver wrote this tune, which became a huge late World War II-era hit for the band. The chart-topping sensation — which Sy called simply “Opus No. 1” — went on to be radio hits for many other performers as well, from Gene Krupa and Harry James to the Mills Brothers and the Four Freshmen.Sid Garris and Those Sassy LyricsLargely responsible for the song's success was Sid Garris's work in creating those playful words.His lyrics lays out the songwriter's perennial dilemma: trying to think of a name for a catchy melody he has created, hoping to hook a famous crooner into performing it. I'm racking my brains to think of a name To give to this tune so Perry can croon And maybe old Bing will give it a fling And that'll start everyone humming the thing …Meet SidBorn in New York City in 1921, Garris was a violinist by training, performing with the Philadelphia Orchestra and later with the Dayton, Ohio, Philharmonic, and while he created some of the cheekiest lyrics of the late swing era, his music career ultimately didn't involve performing.The late 1940s and early 1950s found Garris working as a jazz disc jockey in Ohio (Dayton and Cleveland), where he was known as "Symphony Sid."Then in 1953 he relocated to the West Coast where he became a much-sought-after entertainment executive, managing The Four Freshmen, Ray Anthony and Stan Kenton and, then in the 1960s, The New Christy Minstrels, Anthony Quinn, Robert Culp and Jose Feliciano. Anita O'Day Rocks ItBut back to that song, Sy Oliver's employer, Tommy Dorsey, was the first to put “Opus One” on disc, recording it as an instrumental on Nov. 14, 1944, but the signature vocal version was Anita O'Day's rendition recorded the following August.That was an all-star session. Gene Krupa led the big band from behind his drums. Trumpeter Roy Eldridge accented Anita's vocals as the guest soloist. Quincy Jones made the arrangement. Sy Oliver After ‘Opus One'A year after “Opus One” was a hit for Anita and Q, Roy and Gene, Sy Oliver left the Dorsey band to begin work as a freelance arranger and as music director for Decca Records.In June 1950, Sy Oliver and his Orchestra recorded the first American version of "C'est si Bon" and "La Vie en Rose" for Louis Armstrong. Then a decade later, some of his career's most successful arrangements were for the 1961 Frank Sinatra album, I Remember Tommy, a combined tribute to their former boss, Dorsey.In 1974, Sy began nightly shows with a small band at New York's Rainbow Room, a gig that continued for the next 10 years before he retired in 1984.Meanwhile, his great song — that magical first opus — lives on and on. Our Take on the TuneIt was the end of a fun evening at the Bowen house, but nobody was quite ready to quit yet. Jack started padding a sweet swing rhythm on the house bongos and Randy jumped in with a bass line that fits it to a T. Charlie got the chords going, just as Danny flew in with that cool melody over Sam's smooth harmonica fills. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

#869 - John Lovell The John Lovell Interview is featured on The Paul Leslie Hour. Are you here? I asked, but I already knew that you were! Whether you know it or not, you're listening to The Paul Leslie Hour! We've got an exciting interview from the archives with trumpeter John Lovell. Composer and trumpet player John Lovell's musical career has had some very interesting chapters. Of course he's got some jazz history and since April is Jazz Appreciation Month (JAM), we thought let's get this John Lovell interview out there.

 Now, John Lovell started playing trumpet at five years old, but professionally it all started with the Tommy Dorsey Orchestra. Through the years he got to play with a lot of great acts: The O'Jays, Tony Bennett, Ben E. King, and Bob Hope. When Paul caught up to talk with Johnny Martini Lovell, he was in Atlanta on one of the off days of the Jimmy Buffett tour. A lot of you know John Lovell has been performing with Jimmy Buffett and the Coral Reefer Band for more than 30 years…since 1992. Hey, did you all hear that Jimmy Buffett is going to release a new album this September 2023? So far we hear the title of the record is going to be “Equal Strain on All Parts.” It's going to have some really great talent on the album: Lennie Gallant and the Preservation Hall Jazz Band for starters. We'll keep you apprised. Just remember, The Paul Leslie Hour is made possible by people just like you, the listeners. Just go right here, and we thank you for listening and for supporting. Are you ready to hear what John Lovell had to say to Paul Edward Leslie? I know I am. Let's listen together. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

I am very excited to announce this week's guest and Reno local, Gary Mayne. Gary has performed, recorded, taught, presented clinics and provided masterclasses at Universities, public schools, conferences, and festivals around the world. He regularly presents on topics of mental health at universities such as the Eastman School of Music, Arizona State University, University of North Texas, University of Iowa, and the University of Nevada Reno. Gary served as the trombone teacher at the LeBam Music Camp in Beirut, Lebanon as well as an ensemble director at the Cyprus Jazz Workshop in Nicosia, Cyprus. As a big band performer he has performed and recorded regularly with groups such as the Glenn Miller Orchestra, the Tommy Dorsey Orchestra, the Ben Markley Big Band, The Arturo Sandoval Mambo Big Band the David Caffey Jazz Orchestra, and many more. As a symphonic musician, Gary has performed with the Colorado Symphony, the Reno Philharmonic, the Colorado Music Festival Orchestra, Opera Colorado, the Greeley Philharmonic Orchestra, the Wyoming Symphony and the Colorado Springs Philharmonic and has toured as a member of the SPARK Brass Quintet. Gary also spent 10 years as the trombonist with Big Head Todd and the Monsters and has performed and recorded with them in Colorado, Florida, and the Caribbean as well as performing at numerous festivals with multiple headlining shows at Red Rocks Amphitheater. In addition to his impressive musical credits, Gary is a licensed therapist in Reno and owns Sound Minds Mental Health PLLC. Gary specializes in treating trauma and working with couples, but also works with general needs like anxiety, depression, grief, and other human experiences. Gary attended the University of Northern Colorado and Trinity Washington University in Washington, DC.Gary has a truly unique and special combination of experiences that provides deep understanding into the mental health challenges that musicians face. He valuable suggestions in this interview are applicable to just about everyone, musician or not, but can easily be applied to the specific challenges that musicians face.

After more than two years, a Strong Songs jazz mystery is finally solved.Thanks to listener (and outro soloist) Jeff Bean, who finally cracked the case of the mysterious lick played by Clifford Brown, Lee Morgan, and may others. I can finally sleep at night.FEATURED ON THIS EPISODE:"Moanin" by Bobby Timmons recorded by Art Blakey and the Jazz Messengers for Moanin', 1958"Jordu" by Duke Jordon recorded by the Clifford Brown quintet, 1954"Seranade to a Cukoo" by the Rahsaan Roland Kirk quartet from I Talk With Spirits, 1964"All This and Heaven Too" by Jimmy Van Heusen with lyrics by Eddie Delange, performed by the Tommy Dorsey ORchestra feat. Frank Sinatra in 1940“Fly Me To The Moon” by Bart Howard, recorded by Frank Sinatra with the Count Basie Orchestra on It Might As Well Be Swing, 1964-----LINKS-----SUPPORT STRONG SONGSPaypalme/kirkhamiltonmusic | Patreon.com/strongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIA@StrongSongs | @Kirkhamilton | IG: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmTHE STRONG SONGS PLAYLISTSpotify | Apple Music | YouTube Music

Audio Intro gives background on the origin of this program broadcast by the Armed Forces Radio Service and featuring Martha Wilkerson as "Gi-Jill" Artists and Songs heard on this broadcast include: Benny Goodman Orchestra: "I Found A New Baby" Lionel Hampton: "Sunny Side of the Street" Jo-Stafford: "Good Night, Wherever You Are" and Tommy Dorsey Orchestra: "Old John Silver" This track is stored in the GI-Jive GI-Jill Playlist

Award winning composer, has 15 CD's & 5 DVD's, conductor, trumpeter, Creator & director of Pop Evolution & Pop Strings Orchestra (award winning 14-piece ensemble), he has performed internationally with Tommy Dorsey Orchestra, has been featured with headliners such as Natalie Cole, Gladys Knight, Cirque Du Soleil, Franki Valli, 2000 US Presidential Inaugural Ball, the LV Raiders House Band and performs at the beautiful Smith Center in LV. A fun discussion that includes:His days living in Youngstown, OH that tells us how he was molded, his love of music, and how he got from there to Las Vegas. What he learned from travelling with the Tommy Dorsey Orchestra and his first gig in Las Vegas that brings some laughter. Being the music director for Paul Shaffer at Caesar's Palace and working on the Grammy LP of Gladys Knight.We get into his groups of Pop Strings Orchestra, Pop Evolution, Pop 40, and his other acts. How he landed becoming the house band for the LV Raiders, what this has done for him personally & professionally where he performed with Sammy Hagar at halftime. Setlists, going from 200 people to 60,000 fans and the atmosphere of the Monday Night Football game that opened the stadium. Obtaining all the musicians with vast experience in his groups and bands from past that have had an influence on him. What else he would ever be doing if wasn't in music. (Great answer) Links:David Perrico Website: https://www.davidperricomusic.com/Follow him on Face Book: https://www.facebook.com/DavidPerricoPopEvolutionFollow David on Instagram: https://www.instagram.com/david_perrico/Before the Lights Website: https://www.beforethelightspod.com/Follow us on Instagram: https://www.instagram.com/beforethelightspodcast/Become a BTL Member: https://www.beforethelightspod.com/member-areas Extra 5String Queen- 90-minute Tribute to Queen with an all-female ensembleHis favorite sports teamsWorking on cruise lines and The ScintasWhat he did over the shutdown in Las VegasSupport the show (https://www.beforethelightspod.com/member-areas)

A fun discussion that includes:His days living in Youngstown, OH that tells us how he was molded, his love of music, and how he got from there to Las Vegas. What he learned from travelling with the Tommy Dorsey Orchestra and his first gig in Las Vegas that brings some laughter. Being the music director for Paul Shaffer at Caesar's Palace and working on the Grammy LP of Gladys Knight.We get into his groups of Pop Strings Orchestra, Pop Evolution, Pop 40, and his other acts. How he landed becoming the house band for the LV Raiders, what this has done for him personally & professionally where he performed with Sammy Hagar at halftime. Setlists, going from 200 people to 60,000 fans and the atmosphere of the Monday Night Football game that opened the stadium. Obtaining all the musicians with vast experience in his groups and bands from past that have had an influence on him. What else he would ever be doing if wasn't in music. (Great answer) Links:David Perrico Website: https://www.davidperricomusic.com/Follow him on Face Book: https://www.facebook.com/DavidPerricoPopEvolutionFollow David on Instagram: https://www.instagram.com/david_perrico/Before the Lights Website: https://www.beforethelightspod.com/Follow us on Instagram: https://www.instagram.com/beforethelightspodcast/Become a BTL Member: https://www.beforethelightspod.com/member-areas

In 2002 I made a series of documentary programs for BBC Radio 2 about the singers who made their names with the big bandleaders. Frank Sinatra got his start with trumpeter Harry James' band but when he saw the chance to join the much more successful Tommy Dorsey Orchestra, he went after it. In Dorsey he found his biggest musical influence and most powerful foe. This show tells the story of the powerful relationship of these two great artists.   Please Like, Share, and Subscribe to our YouTube channel:

Hey y'all. I am Shay. This is thebuzzr podcast. First, music history for July 20th.In 1940 Billboard's first comprehensive record chart was published. Their first number one song was "I'll Never Smile Again" by Frank Sinatra and the Tommy Dorsey Orchestra.Tonight we have U.S.-based artist The Meskimo on the show.  He is putting out incredible music and the releases are outstanding! Enjoy getting to know this upcoming artist & find out what moves him and where he sees his path in the music coming out the remainder of this year. Enjoy the show! Tracks "There Should Be More Stars, I've Counted Them Twice" 9:07:28"The Brother McKenna Dropout" 19:27:12 https://youtu.be/ADUMLWO2svkEveryone has or has known someone that has had a hard time overcoming a dependence; substances, food, sex etc etc. Don't ever give up on yourself or a loved one trying to better themselves! The fact you/they are wanting a change is monumental! Everybody needs help, be that positive light in someone's life! If you are currently struggling with letting something go, focus on the person you want to be and not who you have been….YOU GOT THIS! We get by with a little help from our friends…new AND old! We are all living under the same sun & moon, let's help each other out and make our time a more positive era to be in!https://youtu.be/PbMVKlb7fgY Facebook Twitter Youtube Spotify Soundcloud Instagram Tiktok Link Previous Next

 Midway through his seven-year stint with the Tommy Dorsey Orchestra, the brilliant arranger/composer Sy Oliver wrote this tune which became a huge World War II-era hit for the band. The song — which Sy called simply “Opus One” — went on to be radio hits for many others, from Gene Krupa and Harry James to the Mills Brothers. Meanwhile, here’s a cool aside about the composer. Sy Oliver grew in Battle Creek, Michigan, in a very musical family. His mother taught piano, and his dad …. Well, his father was a multi-instrumentalist who made a name for himself in the early part of the century by demonstrating the versatility of saxophones at a time when the instrument was little used outside of marching bands. Well, we think the elder Oliver would be very pleased at how well our Veezy Coffman has learned that lesson. Listen as Veezy takes his son Sy’s tune and turns it every which way but loose! Here, a highlight from last night’s rehearsal, is Veezy Coffman wailing on “Opus One.”

In this edition of the “Big Band Files with Doug Miles” we salute the late, great New York radio station WNEW 1130 as we re-create it’s style of broadcasting with classic Christmas songs from Judy Garland, Jack Jones, Mel Torme, Dean Martin, Bing Crosby, Andy Williams, Nancy Wilson, Peggy Lee, Tommy Dorsey Orchestra, Count Basie Orchestra and more. (www.dougmilesmedia.com)

Due to the COVID pandemic, the 2020 Sun Valley Jazz Festival was forced to cancel this year, so we decided to do a special episode of Same Difference and take us all back to relive last year's fun! Join us for our VERY special interview with Terry Myers, leader of the Tommy Dorsey Orchestra, as we talk about Jazz, the Dorsey band, Sinatra, Sun Valley, and much much more!

NOTE: THIS IS A RE-VOICED RE-PRODUCED VERSION OF THE (SINCE DELETED) ORIGINAL, FEATURING A MUCH BETTER MICROPHONEBorn in 1914, Ruth Lowe spent the first few years of her life in Toronto before moving with Mom, Dad and little sister to California. The family had been struggling, but Dad – an American – had a couple brothers in Glendale… so he opened a butcher shop there. One problem. You’ve probably heard of it. It’s called the Great Depression and it eventually put an end to Dad’s business. So the Lowes uprooted again and returned to Canada with little more than the piano Ruth and her sister Mickey had trained on. THEME MUSICFull Bloom, by Emily Klassen - http://cfccreates.com/alumni/2180FEATURED MUSICDoin' The Suzie Q, by Ina Ray Hutton and the MelodearsI'll Never Smile Again, by The Percy Faith Orchestra, composed by Ruth LoweI'll Never Smile Again, by Glenn Miller, composed by Ruth LoweI'll Never Smile Again, by The Tommy Dorsey Orchestra, composed by Ruth LowePut Your Dreams Away, by Frank Sinatra, composed by Ruth Lowe, Paul Mann, and Stephan WeissBACKGROUND MUSICStrangeViola.WAV by martysonic - https://freesound.org/people/martysonic/Unreal Piano | tictac9 by tictac9 - https://freesound.org/people/tictac9/

A discussion of Orson Welles' 1941 film about the the rise and fall of a newspaper magnate. Is it "the greatest film of all time" as critics say? Intro music: "Magne Pater" by Dominican Schola Cantorum. Outro music: "Oh! Look At Me Now" by The Tommy Dorsey Orchestra, with Frank Sinatra and Connie Haines.

In Breaking Walls episode 88, we spotlight the 1945-46 season of The Jack Benny Program. This season introduced characters like telephone operators Gertrude and Mabel, press agent Steve Bradley, hot dog vendor Mr. Kitzel, and Ronald and Benita Colman. This season featured guest appearances from Ingrid Bergman, Isaac Stern, Van Johnson, Ray Milland, Peter Lorre, Louella Parsons, Fred Allen, Ed Sullivan and others. It also was the season in which Dennis Day returned from the Navy and one of the most ingenious marketing campaigns in entertainment history took place: The “I Can’t Stand Jack Benny” Contest. Highlights: • Jack’s slipping ratings • Problems with General Foods • Jack changes sponsors • The War ends and a new season begins • Mabel Flapsaddle & Gertrude Gearshift • Steve Bradley and his big ideas • $10,000 and $646,000 • Jack gets robbed • The Contest • Mail pours in • The Colmans can’t stand Jack Benny • Jack’s ratings soar • Christmas of 1945 & The Rose Bowl • Fred Allen and the end of the Contest • Isaac Stern • Palm Springs • Van Jackson • Ed Sullivan and the end of the season • King for a Day The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today’s episode was: • Sunday Nights at Seven - by Jack and Joan Benny • On The Air: The Encyclopedia of Old-Time Radio - by John Dunning • Network Radio Ratings, 1932-1953 - by Jim Ramsburg • As well as articles from Radio Life on January 27th and February 3rd, 1946 On the interview front: •Jack Benny, Ezra Stone, Kate Smith, Don Wilson, Eliott Lewis, Phil Harris, Frank Nelson and Dennis Day were with Chuck Schaden. Chuck’s interviews from an over 39-year career can be listened to for free at SpeakingofRadio.com • Vincent Price and Mel Blanc were with Dick Bertel and Ed Corcoran for WTIC’s The Golden Age of Radio. The full interviews can be heard at GoldenAge-WTIC.org • Dennis Day was also with John Dunning for his 1980s 71KNUS Radio program from Denver. Some of his interviews can be found at OTRRLibrary.org • And Finally Jack Benny, Dennis Day, Phil Harris, Frank Nelson, Don Wilson and Mel Blanc were also with Jack Carney for his early 1980s Comedy Program. Much of this audio was originally taken from a 1972 PBS Documentary on Great Radio Comedians. Thank you Goodmond Danielson for supplying me with the audio. Special thanks to our Sponsors: • Twelve Chimes, It’s Midnight https://twelvechimesradio.blogspot.com • The Fireside Mystery Theatre https://www.firesidemysterytheatre.com • The Mysterious Old Radio Listening Society https://www.ghoulishdelights.com/series/themorls/ Selected music featured in today’s episode was: • Love in Bloom by Bing Crosby • It’s Been a Long, Long, Time by the Harry James Orchestra • Chickery Chick by Sammy Kaye with Billy Williams & Nancy Norman • Manhattan Serenade by the Tommy Dorsey Orchestra with Jo Stafford • It Might as Well Be Spring by Larry Stephens • Danny Boy by Dennis Day • Along the Navajo Trail by Bing Crosby and the Andrews Sisters I’d also like to thank Walden Hughes and John and Larry Gassman. Listen to their shows on the Yesterday USA radio network. A Special Thank you to: Ron Baron Ryan Kramer Christian Neuhaus Aimee Pavy WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers URL - thewallbreakers.com Online Store - jamesthewallbreaker.com/shop/

This time on the show Bill is missing in action, but Eric and Jeremy speak with Frank Wosar, principal trombonist for the Tommy Dorsey Orchestra, Director of Jazz Bands at Valencia College, and oh, did we mention, the new Director of the Space Coast Symphony Jazz Orchestra. If you’ve been to any of our Jazz concerts over the last few years, no doubt you’ve seen Frank front and center playing trombone and sometimes conducting. On the show he discusses his thoughts on maintaining a music career, and talks about the upcoming Jazz Jam concert this weekend and his expectations for the Jazz Orchestra under his watch.

Mit ihrem 14. Album legt die österreichische Sängerin Simone Kopmajer erneut den Spotlight auf Jazz und so heißt denn auch das Album - Spotlight on Jazz. Ihre Gesangsartistik und ihre glühende Band ergeben ein harmonisches Ganzes und dass Simone auch wunderbare Songs schreiben kann, beweist sie auf diesem Album ebenfalls. Ihr Mighty Tender Love ist ein echtes Schmuckstück, hier hat sie auch den Text verfasst, bei zwei weiteren Kopmajer-Kompositionen, namentlich Spotlights und Remember Jeannie schrieb Karolin Türk die Texte, bei A Gift From Buddy und We’re Goin In schrieb wiederum die Jazz-Sängerin die Texte. Die Musik hingegen stammt jeweils von Terry Myers, der mit seinem luftigen Saxofon-Spiel wichtige Akzente auf dem Album setzt. Im Gegensatz zu Simone Kopmajer und ihren Bandkollegen Paul Urbanek am Piano, Martin Spitzer an der Gitarre, Karl Sayer am Bass und Reinhardt Winkler an den Drums ist Terry Myers der an Erfahrung reichste. Der Saxofonist spielte u.a. beim Tommy Dorsey Orchestra und mit Exzellenzen wie Ray Charles, Rosemary Clooney, Wild Bill Davison und Milt Hinton, um nur einige wenige zu nennen. So sind auch die Klassiker zu erklären, die auf Spotlight on Jazz in neuen Gewändern zu Gehör gebracht werden, wie Pennies from Heaven, Poinciana, Stompin’ at the Savoy und Mood Indigo. Ein sehr leiwandes Album also, das Simone Kopmajer mit ihrer hervorragenden und gleichermaßen spielfreudigen Band vorlegt. Wir trafen uns im Rahmen ihrer Album-Präsentation in Wien zu einem kurzweiligen Gespräch, das uns bis nach Asien führte.

Our second in the series of The Big Bands features the Tommy Dorsey Orchestra.  Listen to Swing and Jazz as we present the Big Band Era.  Join us on this musical memory flight.  We depart the Gate at 3:00 pm EDT. 

Frank Sinatra's second stint with a big band was with the Tommy Dorsey Orchestra. Together, they recorded many of the classic songs of the big band era between the years of 1940 and 1942. Recently, I played saxophone in a big band that backed up a gentleman who put on a Frank Sinatra show. It was such fun playing many of the Sinatra classics. This prompted me to put together the show today as I realized that it had been quite some time since we listened to these timeless recordings. I hope you enjoy these sides by Tommy, Frank, Buddy Rich, the Pied Pipers and the rest of the Dorsey Orchestra. Please visit this podcast at http://bigbandbashfm.blogspot.com

On Part Four of the Dorsey Brothers we conclude the series with a live broadcast of the reunited brothers. The late 1940's was a hard time for the big bands with Tommy disbanding his band in 1946. But he couldn't stay away and was back with a new group. Jimmy gave up his band and the new group was billed as The Tommy Dorsey Orchestra featuring Jimmy Dorsey. They remained together until Tommy's death in 1956. The broadcast on today's show is from Frank Dailey's Meadowbrook ballroom recorded in 1955. Please visit this podcast at http://www.fgmiller.com/bbb/

Today I am starting a four part series on the Dorsey Brothers, Tommy and Jimmy. Together and separately they recorded some of the biggest hits of the big band era. We will be starting with some of the early original recordings of the Dorsey Brothers orchestra. Then in part two, I will be focusing on Jimmy's orchestra. In part three we will look at Tommy's orchestra and in the final part we will look at the Tommy Dorsey Orchestra featuring Jimmy Dorsey when they were together again. This is a great series filled with many hits that you are sure to like. Please visit this podcast at http://www.fgmiller.com/bbb/

Music from a bygone era but just as fresh as the memories you have for it. Let's go back in time with Danny Lane for the best hour of your day. Request your favorite Big Band song to dannymemorylane@gmail.com In this episode you'll hear: 1) You're A Heavenly Thing by Benny Goodman & His Orchestra 2) Let's Get Away From It All by Frank Sinatra (w/ The Tommy Dorsey Orchestra & Connie Haines and the Pied Pipers, vocal) 3) Just One of Those Things by Sonny Burke & His Orchestra 4) Sock Hop by Si Zentner & His Orchestra 5) Stop, Pretty Baby, Stop by Count Basie (w/ Joe Williams, vocal) 6) Old Spice by Lucky Millinder 7) Alexander's Ragtime Band by Ray Charles 8) Perdido by Harry James & His Orchestra 9) A Bushel And A Peck by Perry Como & Betty Hutton 10) Take The "A" Train by Marica Hiraga 11) Jericho by Cozy Cole 12) King Porter Stomp by Ted Heath 13) Ration Blues by Louis Jordan 14) Little Brown Jug by Glenn Miller & His Orchestra 15) Oop Bop Sh'bam by Buddy Rich 16) I Didn't Know What Time It Was by The Les Brown Orchestra 17) Johnson Rag by Xavier Cugat 18) Just You, Just Me by Red Norvo & His Orchestra 19) Somebody Somewhere by Doris Day 20) Tiger Rag by Al Hirt

It’s Confetti Park Storytime! In this episode, we hear Louisiana-born big band leader and children’s author Leif Pedersen narrate The Missing Chord, the very first book of the Swamp Kids series. The Swamp Kids are friends and bandmates who live in Bayou Bleu near Mamou, Louisiana. Led by Pierre a le Gator on fiddle, the musical swamp kids include Mon Cher the pretty raccoon and TuTu the Turtle on washboard. There’s also a fish who keeps time by splashing his tail in the water. But they just can’t get their sounds quite right! What’s missing? Will they find it before the big Battle of the Bands contest? Sachet the Crawfish longs to join in the merry music making, but he wants to bring just the right sound to the group. Maybe he has just what the Swamp Kids need! Swamp Kids’ creator Leif Pedersen is a fabulous musician in his own right. Leif has been a lead singer for many famous internationally touring Big Bands orchestras, such as Tommy Dorsey Orchestra, Al Beletto’s Big Jazz Band, Pete Fountain, and Woody Herman’s Band. Today, the New Orleans native leads his own band. The Swamp Kids is a growing enterprise, with four books in the series and more coming. All of the books contain “Lagniappe Lessons” by Louisiana celebrities—famous Cajun fiddler Doug Kershaw is the guest star in The Lost Chord! Visit www.theswampkids.com for puzzles, plush toys, activity sheets of teachers, and more!

Bob Cary played with the Tommy Dorsey Orchestra as well as touring the world and the high seas. This week we talk about "The Gene Machine" and about the importance of playing with emotion.

Today I had an opportunity to talk with one of my personal clarinet and saxophone heroes: Ken Peplowski. In this interview we talk about clarinet and saxophone techniques, jam session etiquette, equipment, being a professional musician, Benny Goodman, and house parties. Mr. Peplowski has had an incredible career as a musician with 40 CD's as a soloist and over 400 as a sideman. Peplowski's career includes playing in a polish polka band as a child, working in the Tommy Dorsey Orchestra under the direction of Buddy Morrow, studying with Sonny Stitt, and touring with Benny Goodman. Official Website: http://kenpeplowski.com/

In July 1942, American prisoners of war were performing Julius Caesar on a makeshift stage in Burma at the same time that the Tommy Dorsey Orchestra played the Hippodrome Theatre on Eutaw Street. In June 1944, more than 3,000 U.S. Marines died capturing the Mariana Islands in the western Pacific Ocean while fans back in Baltimore were cheering the International League Orioles in their successful bid for a championship.These are just two of the startling juxtapositions that Gilbert Sandler writes about in his account of life on the home front in Baltimore during World War II. Rarely seen photographs from the Baltimore Sun, the News-American, and the Afro-American bring to life the rich, personal anecdotes of wartime Baltimoreans and transport readers back to an indelible era of Baltimore history.Born and raised in Baltimore, and a service member in the Navy during WWII, Gilbert Sandler is author of Jewish Baltimore: A Family Album and the award-winning Small Town Baltimore: An Album of Memories. Sandler hosts the popular "Baltimore Stories" series on WYPR-FM. Recorded On: Tuesday, September 27, 2011

Dorsey At His Best-STEREO-Revised In Big Band history, the Tommy Dorsey Orchestra is recognized as one of the best all-around dance bands. It could swing with the best of them, and no other band could come close to Tommy's when it came to playing ballads. Tommy Dorsey, "The Sentimental Gentleman of Swing", was a master at creating warm, sentimental, and always musical moods - at superb dancing and listening tempos.