A Quote by Frank Sinatra
My greatest teacher was not a vocal coach, not the work of other singers, but the way Tommy Dorsey breathed and phrased on the trombone.
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The thing that influenced me most was the way Tommy played his trombone. It was my idea to make my voice work in the same way as a trombone or violin-not sounding like them, but "playing" the voice like those instrumentalists.
Tommy Dorsey would walk up to you if you had a tuxedo on and make sure you didn't have on white socks.
I joined Tommy Dorsey at the Paramount Theater in New York as a singer. I replaced Frank Sinatra.
I feel there are tone singers, and there are more vocal gymnastics singers. And I think that's amazing when people can do that, but I think there's room for the tone singers. And there aren't a lot of them.
It [my vocal] didn't sound like what I wanted to hear; the vibrato isn't what I liked anymore. So I got myself to an ear, nose and throat guy who does a lot of work with singers, and I was hoping there was a big wart on my vocal cords or something and they could scrape it off and I could have the voice I wanted. But he said, "No, for 71, that's your voice."
I've seen a couple of singer switches happen right before my eyes, one being Roy Khan to Tommy Karevik in Kamelot, and the other was Anette Olzon to Floor Jansen in Nightwish. Those happened with me present, and I saw how well the fans took to these singers because they were presented in the proper way.
Singing doesn't have to mean that you sound like Stevie Wonder. I love to sing. I'm not the greatest singer in the world. But, a lot of my favorite singers aren't the greatest singers in the world.
He taught me everything I know. Every note I write I learned from that man upstairs. People rave over my arranging today, and I just think to myself, God bless Tommy Dorsey. If it hadn't been for him, I never could have done it.
People talk about Frank Sinatra all the time - and they should talk about Frank - but he had the greatest arrangers. They worked for him in a different kind of way than they worked for other people. They gave him arrangements that are just sublime on every level. And he, of course, could match that because he had this ability to get inside of the song in a sort of a conversational way. Frank sang to you, not at you, like so many pop singers today. Even singers of standards.
Tommy Dorsey was the last of the band leaders... He was ahead of his time; if he got drunk, he got difficult, but then who the hell isn't difficult when you get drunk.
We used to play the Savoy Ballroom, and we always had a boogie tune in the set. Bands like Tommy Dorsey used to do a little boogie woogie. The big bands.
There's Tommy, Tommy Lee the rock star, and Tommy the dad. I'm wearing several hats these days.
O it's Tommy this, and Tommy that, and Tommy 'ow's your soul/But it's thin red line of heroes when the drums begin to roll.
I know singers; I've worked with some of the greatest singers in the world.
If you take golf, you have a teacher for the drive, a teacher for the approach play, and a teacher for the putt. That's three specialist coaches for one player. In football, one coach looks after 25 players.
I was growing up at a time when music was growing and changing so fast. I had learned all the big band sounds of the 1940s, Glenn Miller, Tommy Dorsey. But then along came Chuck Berry, Les Paul, Fats Domino and I figured out how to make their music as well.
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