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THE BANDWAGON
(Coiitiiiitrd from page 59)
llie rise of the Dorsey outfit is Tommy himself. Because he's the kind of a guy he is, his band is the kind of a band it is.
LAST S.-picinhcr. Bc'iiiiy (;n.Hl,nan jcw doing a snics of onc-ii'mltt sUmd.s on his 'Miy hack to Xcio )'ork from IloUyioood. He ivas in Baltiuiorc lohcn somclhiiig happened to one of his tromhoiic phiycrs. Trying to find a solution. Bonny f'uiallv called Tommy in Xczc York and asked him if he could find a troniJ'onist and send him dozen to Baltini(0-e in time to plav the dance that night. Tommy didn't bother searching for a musician good enough to sit-in zeith the (ioodina)! band. He took his men second trombonist, put him on the train for Baltimore and found a substitute to play in the Dorsey orchestra that night.
TWO years ago September, Tommy organized his band. Most of his men have been with htm from the beginning. He cares nothing about the reputation or background possible members might be able to supply. If they have talent, he wants them. For example, his new trombonist. Earl Hagen, is exactly eighteen years old! Freddie Stulce, one of his saxophonists, made a trip East with the Southern Methodist University band, asked Tommy for a job — and got it!
HIS chief arranger, Paul Wetstein, is a Phi Beta Kappa graduate of Dartmouth. He sent Tommy a few samples, and now he's turning out some of the finest swing arrangements in all these many states. Edythe Wright was a sophomore in college when she substituted one night for the regular singer in Frank Dailey's band at a summer resort. Tommy happened to hear her, and she went to work immediately.
ALL this collegiate influence may be responsible for the fraternity-house atmosphere surrounding the Dorsey band. The best ez'idence of it cojncs Toitlt spring. The si.vtcen menibers of the organircation divide into tieo sections. One is called Bud Treeman's (he's king of the tenor .sa.v) "Giants." The other is kno:en os Tommy Dorsey's ".Midgets." The idea behind all this is a baseliall game, and ivhen the boys start sieinging their bats — well, after all, they really can sicing their saxes and trumpets and trombones. You ean't expect too iniieh!
FACES ON THE CUTTINGROOM FLOOR
I thought you might be interested in parts of a letter written by Raymond Scott from Hollywood. The missive was produced just after he and the Quintet finished work on Happy Landing, the last Sonja Henie picture:
"We'll probably go down in Hollywood history as being billed in more pictures that we weren't in than anyone else in Hollywood.
"For instance, we got swell billing in Ali Baba (Eddie Cantor's last picture), but were practically unseen behind beards. Selznick was so pleased with the bit of recording that we did for Nothing Sacred that we received marvelous billing again, even though we weren't photographed.
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