www.JimmyDorseyOrchestra.com

Do you have any photos of The Band or perhaps a story or favorite quote you'd like posted to our fan club page? We'd love your to hear from you! Please email Billtole1@aol.com today to have your photo, story or quote added!

Bill: Thank you for a wonderful afternoon stroll down memory lane and the history of the Dorsey brothers Bands. When I was overseas during WW2 I remember that the Armed Forces radio opened every broadcast day with Tommy's Opus 1. Your version is different but it still brought back memories. Your performance yesterday was super and brought a lot of enjoyment and memories to us old guys here in Arizona. I purchased your CD and am wondering if you have others that you have recorded. I don't find any place on your web site that indicates that you do or how one would order one if you did. Again thank you for an enjoyable afternoon. Lt. Col. Duane, USAF RET.

Bill Tole Los Angeles

Born in Pittsburgh, PA., Bill Tole comes from a musical family. His father was a high school band director and a representative for Selmer and King musical corporations for many years and is currently active as a professional trombonist and pianist. His mother also plays the piano, and for many years performed as a vocalist and accompanist for master chorales in Western Pennsylvania. Until retirement, she was a music teacher for children with special needs. His parents both have been a tremendous influence on Bill developing an appreciation and love for the art.

Wishing to pursue a career as a musician...

14 The Billboard January 31,1942

MUSIC-REVIEWS

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A critical analysis of the latest record releases, covering both the musical and commercial angles of each disk reviewed. Reviews of greater length are given to recordings that possess unusual Interest as to artist, selection, or both.

Paragraphs in heavy type are designed for operators of automatic phonograhs as a guide to the potential value of recordings in music machines.

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Arthur Murray Taught 'Me Dancing in a Hurry—FT; VC. Not Mine-^-PT; VC. Tangerine—FT; VC. Ev'rything I Love—FT; VC.

THE forthcoming feature picture. The. Fleet's In, giving the Dorsey band featured billing, is the source for three of these four sides. The combination of the late Victor Schertzinger and Johnny Mercer gave promise that the screen score •would be rich in melody and smart in lyrics. And that's just exactly what these sides show. The one song that looms bigger than the others Is Tangerine (4:133). It's a dainty serenade to the lipstick girl with just enough of the Latin flavor to the melody to make it easily adaptable to the Dorsey pattern fitted for Green Eyes and Amapola. Bob Eberly sings softly and sweetly about this esoteric Tangerine. The maestro's saxophone flourishes picks up the tempo, and after getting the chorus off to a rhythmic start, Helen O'Connell chimes in to give the lyrics a swingy punch. Her Tangerine is the girl from a Macy's basement counter.

A torch ballad with obvious opportunities to click commercially in a big way is contained in the Not Mine side (4:123). Both Bob Eberly and Helen O'Connell carry the side, tooth keeping it on the smooth and romancy side. For Miss Helen's vocal chore, Dorsey provides the rhythmic contrast by tempering the tune with a beguine beat that adds to its allurement. For the A side of the disk, it's Miss Helen again for a novelty song wrapped up with clever wordage, taking all of the side to bemoan her experiences in being taught to dance the rumba, in a hurry by the advertising-minded Arthur Murray. Strictly for a screen sequence, but it gives of a fine flair- for •comedy .singing on the part of Dorsey's blonde vocal charmer.

The remaining item, mated to the Tangerine disk, is Cole Porter's Ev'rything I
Love from Let's Face It. Taking the ballad at a moderate tempo, trombones open the chorus, the muted trumpets taking over and the maestro's clarinet making it complete. For the remainder of the winding, it's .Bob Eberly's soft and romantic baritoning.

It's a field day for the music machine operators with these four sides. Each of the sides hold much promise for long life in the music boxes, especially the three from his picture score. For immediate attention, "Tangerine" is the one side that doesn't need the screen association to get it started. It's ready for a ride right now. And so is 'its plattermate, the up-and-coming ballad from the Cole Porter show, already finding favor with the general public.

TOPS on the coin phonos—The Billboard Record Buying Guide's "Going Strong" classification is seemingly never without one of his disks—tops in theaters—his Strand Theater, New York, house record should stand for years—tops in films—his "Fleet's In" pic for Paramount has been a terrific box-office proposition—tops in hotels—the Hotel Pennsylvania never rocks quite as much as when Dorsey is on hand—jimmy Dorsey goes into the home stretch of 1942 more firmly entrenched than ever.

In November Dorsey will take his outfit back to Hollywood, where he and the band and vocalists Helen O'Connell and Bob Eberly will be featured in MGM's “I Dood It" with Red Skelton. On the way out- and on the way back the band will play its usual top theaters, high-priced ballrooms, etc. And whether the Petrillo disk ban is lifted or not, Decca will be able to continue regular releases of Dorsey hits, slapped on wax before the ban took effect.

To match past record hits like "Amapola," "Blue Champagne," "John Silver," "Jim," "Yours" and "Green Eyes," Dorsey can offer more recent successes like "Tangerine," "I Remember You" and "Sleepy Lagoon" and his latest smashes, "Kalamazoo," "At the Cross Roads," "Manhattan Serenade," "My Devotion" and "Take Me."

Singers Helen O'Connell and Bob Eberly remain without peer in the band warbling field; they are stars in their own right. Recent personnel changes in the Dorsey band have transformed it from merely a fine, solid, clean-playing crew to one of the greatest big jazz outfits of all. It is the closest thing there is to an all-star band. Jimmy Dorsey is that kind of a guy: he could have a good band and the public would think it great, but he prefers to have a great band, and that's what he's got.

Bill Burton, of course, is personal manager, and General Amusement Corporation does
the booking.