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The Iconic Recording of 'All the Things You Are' by Tommy Dorsey Orchestra

Jazz Trombonist and Big Band Leader Tommy Dorsey

The Musical Journey of 'All the Things You Are'

'All the Things You Are' and Tommy Dorsey

'All the Things You Are' is a timeless standard that made its debut in the 1939 musical *Very Warm for May*. When the Tommy Dorsey Orchestra recorded this piece, it was arranged by the renowned Paul Weston, giving it a unique flavor that resonated with jazz and swing enthusiasts.

The Impact of the 1939 Recording

The recording by the Tommy Dorsey Orchestra not only showcased the incredible talent of the band but also featured the smooth vocals of Frank Sinatra, who was a young star at the time. This rendition helped elevate the track's popularity and firmly established it as a jazz standard.

Why 'All the Things You Are' Endured Over the Years

Compositional Brilliance

'All the Things You Are' is celebrated for its intricate harmonies and memorable melody, which have captivated musicians and audiences alike. The song was written by Jerome Kern with lyrics by Oscar Hammerstein II, demonstrating the magic of their collaboration that continues to inspire new generations.

A Lasting Legacy in Jazz

The Tommy Dorsey Orchestra's version created a pathway for countless artists to cover the song. Over the decades, it has been interpreted by jazz legends like Ella Fitzgerald, Bill Evans, and John Coltrane, showcasing its versatility across various musical styles.

Fun Fact

'All the Things You Are' in Popular Culture

The timeless quality of 'All the Things You Are' has made it a staple not only in jazz music but also in films and television, appearing in various adaptations over the years, thus cementing its place in American music history.

Additional Resources

Recommended Reading on 'All the Things You Are'

For those interested in deeper exploration of this jazz standard, consider reading The Real Book, Vol. 1, which includes the composition, or Jazz Standards: A Guide to Building a Repertoire, which discusses its significance in jazz history.