Staight outta Big D…
by Paula Bosse
The Boston Symphony Orchestra had Arthur Fiedler and its popular-music offshoot, The Boston Pops. The Dallas Symphony Orchestra had Anshel Brusilow and The Dallasound.
Brusilow, a Philadelphia native, came to Dallas in 1970 as the resident conductor of the Dallas Symphony Orchestra. The DSO was in financial straits at the time, so in a bid to increase the orchestra’s demographic reach, Brusilow borrowed Fiedler’s idea and formed his own “pops” orchestra, which played jazzy arrangements of pop songs and light classical music. He named this sideline project “The Dallasound.” It was very popular, but it didn’t improve the financial problems of the DSO, and Brusilow was gone after only 3 years. He then went on to accept a teaching a position at North Texas State University (now the University of North Texas). After 9 years at UNT, he began teaching at SMU’s Meadow School of the Arts in 1983. Brusilow died in 2018 — he spent the last 48 years of his life in Dallas.
Here are the liner notes for the Dallasound album (1971):
THE DALLAS SYMPHONY ORCHESTRA
One of America’s oldest orchestras, the Dallas Symphony Orchestra was founded in 1900. Through the years, it has served its community and the entire North Texas area with the finest in music from the greatest composers the world has known. From a modest beginning — with 35 members giving a handful of concerts a season — the Dallas Symphony Orchestra currently has 85 members and performs more than 160 concerts each season. Its membership would comprise a “Who’s Who” of some of the finest artists in the world.
With its reputation for the classics well-established, the Dallas Symphony Orchestra now adds another brilliant facet to its already illustrious history — the DALLASOUND — a new sound and a new concept in music making. A big band sound incorporating the latest and most exciting modern-day pop sounds – special arrangements of tunes by the Beatles, Simon and Garfunkel, Jim Webb and many others.
Featured as special guest artists on the first recording on the DALLASOUND Label are three outstanding jazz musicians from the Dallas area — Paul Guerrero on drums, Jack Petersen on guitar and Al “Little Al” Wesar on Fender bass. Arrangements are by one of the most gifted arrangers in the business — Wilfred Holcombe of Trenton, New Jersey. Not just stock orchestral arrangements, but the swingingest, rockingest big band arrangements around! Settle back and listen to some of the most exciting music you will ever hear made by a symphony orchestra!
Like many of the world’s great violinist/conductors, Anshel Brusilow laid aside his Stradivarius several years ago and took baton in hand in earnest. His extensive performing and conducting experience with three of the world’s greatest conductors — Eugene Ormandy, George Szell and Pierre Monteux — placed him in good stead on the podium. He came to Dallas after two extremely busy years and more than 300 concerts with the Chamber Symphony of Philadelphia, including five recordings with RCA Victor.
With him he brought the DALLASOUND and a new era for Dallas’s symphony orchestra. Completely at home with the standard symphonic fare, he is equally proficient when ” swinging” with the DALLASOUND. Thousands of Dallasites have been converted to the new sound a symphony orchestra can make, a fact which substantiates Anshel Brusilow’s theory that the Dallas Symphony Orchestra belongs to all the people of a community and must therefore serve them in as many ways as it can. Thanks to Anshel Brusilow, the Dallas Symphony embarks on a new direction in music — the DALLASOUND!
The album’s musical offerings included arrangements of George Harrison’s “Something” and “My Sweet Lord,” The Carpenters’ “We’ve Only Just Begun,” The Doors’ “Light My Fire,” Tom Jones’ “It’s Not Unusual” and “Delilah,” and everyone’s favorite ubiquitous weird song from the late ’60s, “MacArthur Park.”
Sources & Notes
Images from the front and back cover of the DALLASOUND album were found on Amazon, here.
A really good interview with Anshel Brusilow can be found in the “High Profile” article by Marty Primeau (Dallas Morning News, July 17, 1983).
Copyright © 2022 Paula Bosse. All Rights Reserved.