WEBVTT
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It's make believe ballroom time.
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Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make Believe ballroom time and free to everyone. It's
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no time to friend your Dalis said bombs, close your
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eyes and vis.
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You lie in your solitude.
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Your favorite bands are on this dance and mister Miller,
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but you're in the wood.
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It's make Believe ballroom time. We are a sweet romance.
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You make me bob.
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Come on, gentlemen, last dance, last, Hello world. I'm Jeff Bresler,
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turning on the lights of the Make Belief Ballroom and
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welcoming you into my crystal studio for another program of
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classic big band music from the nineteen thirties and forties.
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Please get ready as I play for you some amazing jazz, swing, blues,
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and boogie woogie favorites. Folks, you're listening to the Make
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Believe ball Rope, broadcasting almost continuously since nineteen thirty five.
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And welcome, Welcome, Welcome one and all, and thanks so
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much for joining me today. You want to swing well,
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you won't be able to help yourself if you listen
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to this.
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Lady, I think you think they leave didn't about the.
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Ziggi Ellman trumpet, Imi Sharzer, George co Alto, Sacks, Fidal Muso,
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Arthur Olini, tenors, saxes, Jess Stacey the piano, Alan Roy's guitar,
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Benny Goodman's brother Harry Goodman playing the bass, Lionel Hampton
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the drums, recorded February the eighth, nineteen thirty seven, in
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New York City via Victor Records. Lionel Hampton and his
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Orchestra with Stomp. One more record than a listener's email,
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recorded on Victor Records in Chicago on October sixth, nineteen
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thirty nine, Earl Hines and his Orchestra with Gator Swing.
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I'm Jeff Bresler, and this is the weekly edition of
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the Make Believe Ballroom. And I will get to that
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listener's email in just a moment, But first I wanted
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to acknowledge that the great, rich, almost operatic bass baritone
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voice of Billy Eckstein was heard with the Earl Hinz
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Orchestra starting in nineteen thirty nine. The same year a
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gator swing that we just heard was recorded. Let me
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play one with Billy Eckstein providing the vocal. Billy also
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driving Force and bebop that as a solo artist, and
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if you're of the age, you probably saw mister Eckstein
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perform on everything from Ed Sullivan to different hosts versions
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of The Tonight Show to Dean Martin and merv Griffin
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and every other variety show in between. So here is
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Billy Eckstein with the Earl Hines Orchestra back in nineteen forty.
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Hello Baby, I had to call you, hello baby.
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I had to call you all the food because I
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feel so lonesome and daddy wants his Babyfore It's a
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down red rotten load down, dirty shame. It's a down ride,
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rotten load down, dirty shame.
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The way you're treating poor me.
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I know I'm not to blame.
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Jelly Jelly, Jelly Jelly stays all love, Jemmy, Jemmy, Jeremy.
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Jealoustey John Jenny Roll, killed my baby and run my
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Mammy Stone.
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Jelly Jelly by Earl Hines and his Orchestra. Vocal by
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Billy Eckstein, recorded on Bluebird Records in nineteen forty. Beautiful
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voice of Billy, Piano of Earl and a little Hawaiian
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steel Guitar nineteen forty style to boot. This is Jeff
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Pressler and this is the one, the only, the original
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Make Believe Ballroom, America's third longest running radio program radio
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music program. And if you'd like to email me, I'm
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Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at
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Make Believe Ballroomradio dot com. And a listener who did,
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indeed do exactly that was George Well who listens in Ashkosh, Wisconsin.
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And he writes, Jeff, longtime listener to your show, I'm
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getting to be an old fog he I love swing
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in thirties jazz did old fogies who actually lived in
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the thirties and forties like swing. And that was signed
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by George Well. Good question, George, you old fogy. My opinion,
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I think in the early days of swing was probably
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looked at by old fogies is kind of loud and abrasive.
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But a swing became more prominent on the radio, especially
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many old fogies I think started to embrace it. For
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the die hard swing and jitterbug haters, I think they
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ignored swing and listened to the sweet bands Sammy Kay,
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Chef Fields and his rippling rhythm, Jan Gar even Glenn Miller.
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To a certain extent, old fogies would have listened to
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Bing Crosby Altho many younger also liked his music Else
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Blue Barron. You know, bands that played a smooth, melody
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focused and romantic style of dance music appealed most to
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old fogies. And who George Well, in my mind is
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the definitive sweet band leader. Listen and tell me who
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it is.
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Way down on the levee in Old Alabami, there's Daddy
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and Mamie. There's Ephraim and Sammie on the moon Lie night,
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you can find them all waiting for the Robert E lead.
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Watch them shof along. You want to see them shuffle.
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Along, Go take your bed, scarce, read path, go down
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to the leve just head for the levy and you'll
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join that shuffle and thraw.
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Because when you hear that music and soul.
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It's simply gray.
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Waiting on the levee, waiting.
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For the robber de.
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Who was that?
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It was mister New Year's Eve himself, Guy Lombardo leading
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his orchestra the Royal Canadians on Decca Records, Waiting for
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the Robert E Lee Vocal by Kenny Garner recorded in
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New York City on December the thirtieth, nineteen forty one.
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Guy Lombardo achieved huge, well not just national, but international
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success with the definitive in my Mind Sweet Orchestra. As
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a matter of fact, Guy Lombardo's music was billed as
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the sweetest music this side of Heaven, and too many
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people it sure was. In a career spanning well nearly
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fifty years, the Lombardo family, Guy and his brother Carmen
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are believed to have sold between one hundred million and
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three hundred million records and of course a fixture for
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New Year's Eve for decades on the television. So thank
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you very much, George Well in Wisconsin for your email,
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and I hope that answers your question once again to
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reach me, I'm Jeff at MakeBelieve Ballroom Radio dot com.
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That's Jeff at make Believe Ballroom Radio dot com. H
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from nineteen thirty nine. A Frankie Carl Arrange tune shadows
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Jane Savat and his top hatters. I'm not wearing a
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top hat, but I tipped my hat to you, and
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thanks for spending some time with me today here in
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the Crystal studio for this edition of the Make Believe Ballroom,
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Let's Swing Again, then a story about a popular but
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hard luck singer. They even gave her that as a nickname,
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hard Luck.
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He don't love anything. I love him didn't from the first.
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Numbers Great Swing Jam there by Red Norvo and is
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aptly named Swing Octet and an all star group. It
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was with Red playing the xylophone. I think Red Norvo
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went full out playing the vibes. In the mid forties,
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long after this record was recorded, we had an addition
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to Red Norvo, Johnny Mintz clarinet, double bass, Ardie Bernstein
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on the drums, Gene Krupa the guitar, George Van Epps
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the piano, the Great Teddy Wilson tenor Sacks equally as
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great Leon chew Berry, the trombone Jack Jenny, and the
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trumpet was played by Bunny Berrigan. Recorded for Columbia Records
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in New York City, January the twenty fifth, nineteen thirty five.
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And before that record, I mentioned that I wanted to
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take a moment to talk about a female vocalist who
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was known in the industry as quote unquote hard luck.
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Amy let me play one of her records. Then see
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what the hard luck was all about?
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How do you like to love me? How do you
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like it?
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How do you like to give me?
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How's about it?
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Couldn't you kind of care that you learn about to
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have my way?
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How do you like to love me on the level?
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How the likeness means?
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Like the devil?
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Would you be.
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Defined to keep me on your.
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Mind all day? I told my Dodormne loryer to see
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what they see.
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The moment and there's all you where they take him?
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How do you like to love me?
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And no love?
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How do you like to drop this and sleep about?
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Could you have a care if you learn.
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About him my way?
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How do you like it?
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And for me?
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I'd like im by?
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Would you like the pap now in a little runtry
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towns way down fir down among the deals month where
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the friends or not for notting way down.
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Fir Could you promise to be true to love me?
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Would you say I ooh money.
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Me me?
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How do you like to love me?
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How do you like it? How do you like to contain?
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How about it?
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Good to come to him but to learn upon him
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a way?
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How do you like it?
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That's for me?
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I like.
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From a radio show called thirty minutes in Hollywood. We
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just heard songstress Amy Arnell sing How'd You Like to
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Love Me? From a broadcast that took place on maybe eighth,
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nineteen thirty eight. And now, folks, the hard Luck Amy Tail.
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Amy Arnell was born in Portsmouth, Virginia, and her first
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big break actually took place right there where a string
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of incidents over several years to come led to her nickname.
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As the story goes this, the Portsmouth incident was the
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first mishap that earned her the nickname hard Luck Amy.
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The Great band leader Tommy Tucker was playing in Portsmouth,
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Virginia and needed a vocalist for the gig where they
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were playing for just a brief one night's stand. So
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at the end of the evening, Tucker was so impressed
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with Amy, and he was sort of female vocalist, he
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offered her a permanent job. So Amy told her mom
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and dad and packed up her belongings and she followed
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the Tucker band to Miami a few days later. But
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when she arrived, she learned that she miscalculated the time
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and the orchestra had actually left for Detroit a few
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hours prior, so she grabbed the first train out to
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follow them. The trip to Detroit was extremely uncomfortable, especially
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after taking a train to Miami from Portsmouth, and she
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ended up performing her first show with Tucker with the
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severe back pains. The pain increased so much that on
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the second day they moved her dressing room so she
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wouldn't have to use the stairs. Well, not deterred and
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full of talent, she stayed with Tucker for many years,
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starting in the mid thirties right into the early forties,
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but it was in no way smooth sailing for hard
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luck Amy Arnell took a leave of absence from Tucker's
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van several times in the nineteen forties. An hour after
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a May nineteen forty two show, she had to be
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rushed to the hospital for an emergency appendectomy. A singer
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named bab Stewart we've played some of her music here
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replaced her in Tucker's band during her recovery, but just
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a few months later. After she recovered in September, she
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left the band for one week to travel to Hollywood
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for a screen test with MGM, and a train accident
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took place, not her train, but a train in front
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of her, and she made it just in time to
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Hollywood for the test. In May of nineteen forty three,
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she underwent a spinal operation in New York hospital, which
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was expected to put her out of the band for
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three months, so she traveled to the West Coast to recover.
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Tucker initially announced he wouldn't replace Arnell during her absence,
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and she made later return in early June, before ending
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up in the hospital once again at the end of
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the month, where she had to go to have another
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spinal surgery in July. But her biggest hard luck tail
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was probably Amy Arnell's most significant. During a nineteen forty
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one recording session, Arnell sang with a bad sore throat
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in the recording studio, and being the hard luck Amy
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she was. Neither she nor Tommy Tucker were happy with
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the results of the session, but Tucker decided to okay
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the B side of the record anyway. Why don't we
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listen to that B side and then the rest of
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the story.
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I don't want to set the world. I just want
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to start.
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Aflame in your heart. In my heart, I have but
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warm the that one is you. No lover will do.
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I've lost all ambition the world, Leo Craig, I just
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want to be the one you love, and with your
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admission that you feel the.
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Same, I'll have read.
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The goal and dreaming of.
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I don't want to set.
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The world fall by. I just want to start.
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The flaming your.
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Want to set the world on time?
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No no, I just want to start.
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Flame in your car.
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Never will come, is mind hard? I have but one
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is I, oh man, and that one is you. No
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other one, no one will.
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I have lost all ambition for world acclaim.
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I want to be the only one, the only one
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that you.
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Love, and with your admission that you feel the same.
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I will then reach the goal and dreaming want to
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set the world on five.
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No no, I just want to start claiming your bard mind,
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sweet one.
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I just.
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Start a number one song for four weeks on your
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hit parade. I don't want to set the World on Fire,
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performed by Tommy Tucker's band known as Tommy Tucker Time
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vocal by Amy Arnell and the Voices Three, recorded for
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Okay Records in nineteen forty one, and despite hard luck,
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Amy having a vicious sore throat, and despite both her
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and Tucker disliking the take that song, I don't want
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to set the World on Fire became the most successful
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recording for Tucker, selling over half a million copies and
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moving the band from being a five hundred dollars a
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night orchestra into the top earning bracket. As a matter
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of fact, Amy Arnell received a very generous rais and
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used the extra money to open a flower shop Flowers
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by Arnell on Sunset Boulevard in Hollywood. So the hard
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luck Amy Arnell's sore Throat led to one of the
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greatest recordings of the nineteen forties.
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Very Di then the name, later.
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Recorded in New York City on May the seventeenth, nineteen
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thirty seven for Bluebird Records. That was Teddy Hill and
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his NBC Radio Orchestra with Blue Rhythm, Fantasy and now
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here on the Make Believe Ballroom. Why don't we go
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to another listener's email and my good friend Max Catani
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in Italy. I got your two emails, but my ZIP
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extractors has gone south. But I will listen as soon
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as I take care of that. This email on the
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screen is from Larry lu Casey, one of our Austin,
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Texas listeners. Home of my daughter and son in law
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and passed home of me when I worked at the
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wonderful Saint Edward's University, and Larry writes, gentlemen, can you
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play something by Red Nichols? I never heard any of
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his music on your show. Keep the music Alive. And
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that's signed by Larry. Thanks Larry from Austin, Texas. And
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Red Nichols, the great carnetist and bandleader of the Five
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Pennies Nichols and Pennies, Red Nichols and the Five Pennies.
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Major music star of the twenties, thirties and beyond. Red
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Nichols was a prolific recording artist. It said that he
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went into the recording studio and made during his career
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over four thousand sides. So let's play a couple for you,
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Larry Luke Casey and I'll start with this.
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One by.
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An Old.
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Bay and the.
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S from Brunswick Records, Ida sweet as Apple Cider song
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made famous by Eddie Canter, but here by Red Nichols
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and his Five Pennies, recorded in New York City August fifteenth,
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believe it or not, back in nineteen twenty seven. Some
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wonderful bass sex work there by Adrian Rolini on that recording.
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Another one by Red Nichols for you and wait until
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you findt who his five Pennies were on this record
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Listen from Brunswick, Indiana by Red Nichols and his Five
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Pennies recorded in New York City April eighteenth, nineteen twenty nine.
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So it's nineteen twenty nine, a lot of young musicians
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looking to make it big and no exception here.
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So who is in this.
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Version of the five Pennies? He's playing back home in Indiana?
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How about Benny Goodman, Glenn Miller, Jack T. Garden, Gene
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Crooper and Manny Klein. Amazing? The number was also arranged
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by Glenn Miller, the Great Red Nichols and his Five
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Pennies here on the Make Believe Ballroom And thanks Larry
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from Austin, Texas for your email again to reach me.
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I'm Jeff at Make Believe Ballroom Radio dot com. That's
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Jeff at Make Believe Ballroom Radio dot com.
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You leave me alone. You don't even polls.
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You can't be as ab in the sky, but what goes.
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Up must come down.
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That babe you can find too high.
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It's all over town and you're chasing around. But I'm
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not gonna sit home and cry Remember what goes up
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must come and maybe you've been flying too high. You
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want to get your walking papers, but now it's too late,
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because I know you too well. When you're through cutting papers,
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you break down my game during my front door bell.
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So go have your planes and don't miss a tap.
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I'll see you down the world by and by. Remember
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what goes.
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Up must come down, and maybe you've been.
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Flying too high.
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Recorded in London on June the twenty eighth, nineteen thirty nine.
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That was Giraldo and his orchestra with what goes up
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Must Come Down via his master's voice. British Decca Records.
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Let's see if we could squeeze two more records, and
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I know we have time for at least one more.
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Anytime at all your heart desires, any time at all,
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anything at all your heart requires.
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I'll await your call, waiting patiently. Will be my one
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end evil. All the loving me belongs.
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To you forever, any time at all.
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It doesn't matter if my chance is small.
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You can have my heart upon a silver platter. I've
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built my dreams.
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Around you, and if you ever fall, I'll be there
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with open arms. Any kind of at.
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All From Decca records any Time I'm at All by
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Jimmy Dorsey and his orchestra vocal by Vi Meely, recorded
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in New York City, May the sixteenth, nineteen thirty eight.
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And folks, we are out of time. The big hand
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on the big bullovo'clock here in the Crystal studio is
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quickly approaching the top of the hour. So thanks so
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much for joining me today. To reach me, I'm Jeff
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at MakeBelieve Ballroomradio dot com. That's Jeff at MakeBelieve Ballroom
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00:56:33.159 --> 00:56:38.360
Radio dot com. For past shows or to record requests,
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00:56:38.679 --> 00:56:43.480
go to make Believe Ballroom dot com. That's MakeBelieve Ballroom
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00:56:43.599 --> 00:56:47.920
dot com. A big thanks to our syndicators and distributors
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00:56:48.639 --> 00:56:53.559
for offering the Make Believe Ballroom cost free to commercial, free, public,
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00:56:53.719 --> 00:56:58.119
community and university radio stations in the United States. In
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00:56:58.199 --> 00:57:03.559
the UK, they are the Public Radio Exchange PRX, the
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00:57:04.000 --> 00:57:10.280
PACIFICA Network, and Global Community Radio. The program's flagship affiliate
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00:57:10.599 --> 00:57:16.000
is Jazz ninety point one WGMC in Rochester, New York.
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00:57:16.599 --> 00:57:21.239
The Ballroom also heard on your favorite podcast provider, so
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00:57:21.440 --> 00:57:25.360
Friends until next week. This has been Jeff Bresler
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It's make believe ballroom time.
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Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make Believe ballroom time and free to everyone. It's
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no time to friend your Dalis said bombs, close your
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eyes and vis.
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You lie in your solitude.
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Your favorite bands are on this dance and mister Miller,
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but you're in the wood.
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It's make Believe ballroom time. We are a sweet romance.
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You make me bob.
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Come on, gentlemen, last dance, last, Hello world. I'm Jeff Bresler,
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turning on the lights of the Make Belief Ballroom and
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welcoming you into my crystal studio for another program of
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classic big band music from the nineteen thirties and forties.
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Please get ready as I play for you some amazing jazz, swing, blues,
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and boogie woogie favorites. Folks, you're listening to the Make
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Believe ball Rope, broadcasting almost continuously since nineteen thirty five.
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00:01:36.640 --> 00:01:39.640
And welcome, Welcome, Welcome one and all, and thanks so
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much for joining me today. You want to swing well,
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you won't be able to help yourself if you listen
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to this.
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Lady, I think you think they leave didn't about the.
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Ziggi Ellman trumpet, Imi Sharzer, George co Alto, Sacks, Fidal Muso,
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Arthur Olini, tenors, saxes, Jess Stacey the piano, Alan Roy's guitar,
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Benny Goodman's brother Harry Goodman playing the bass, Lionel Hampton
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the drums, recorded February the eighth, nineteen thirty seven, in
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New York City via Victor Records. Lionel Hampton and his
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Orchestra with Stomp. One more record than a listener's email,
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recorded on Victor Records in Chicago on October sixth, nineteen
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thirty nine, Earl Hines and his Orchestra with Gator Swing.
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I'm Jeff Bresler, and this is the weekly edition of
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the Make Believe Ballroom. And I will get to that
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listener's email in just a moment, But first I wanted
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to acknowledge that the great, rich, almost operatic bass baritone
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voice of Billy Eckstein was heard with the Earl Hinz
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Orchestra starting in nineteen thirty nine. The same year a
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gator swing that we just heard was recorded. Let me
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00:09:06.240 --> 00:09:12.440
play one with Billy Eckstein providing the vocal. Billy also
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driving Force and bebop that as a solo artist, and
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00:09:18.240 --> 00:09:22.519
if you're of the age, you probably saw mister Eckstein
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perform on everything from Ed Sullivan to different hosts versions
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of The Tonight Show to Dean Martin and merv Griffin
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00:09:32.159 --> 00:09:36.840
and every other variety show in between. So here is
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Billy Eckstein with the Earl Hines Orchestra back in nineteen forty.
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Hello Baby, I had to call you, hello baby.
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I had to call you all the food because I
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feel so lonesome and daddy wants his Babyfore It's a
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down red rotten load down, dirty shame. It's a down ride,
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rotten load down, dirty shame.
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The way you're treating poor me.
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I know I'm not to blame.
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Jelly Jelly, Jelly Jelly stays all love, Jemmy, Jemmy, Jeremy.
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Jealoustey John Jenny Roll, killed my baby and run my
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Mammy Stone.
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Jelly Jelly by Earl Hines and his Orchestra. Vocal by
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Billy Eckstein, recorded on Bluebird Records in nineteen forty. Beautiful
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voice of Billy, Piano of Earl and a little Hawaiian
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steel Guitar nineteen forty style to boot. This is Jeff
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Pressler and this is the one, the only, the original
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Make Believe Ballroom, America's third longest running radio program radio
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music program. And if you'd like to email me, I'm
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Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at
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Make Believe Ballroomradio dot com. And a listener who did,
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indeed do exactly that was George Well who listens in Ashkosh, Wisconsin.
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And he writes, Jeff, longtime listener to your show, I'm
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getting to be an old fog he I love swing
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in thirties jazz did old fogies who actually lived in
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the thirties and forties like swing. And that was signed
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by George Well. Good question, George, you old fogy. My opinion,
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I think in the early days of swing was probably
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looked at by old fogies is kind of loud and abrasive.
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But a swing became more prominent on the radio, especially
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many old fogies I think started to embrace it. For
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the die hard swing and jitterbug haters, I think they
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ignored swing and listened to the sweet bands Sammy Kay,
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Chef Fields and his rippling rhythm, Jan Gar even Glenn Miller.
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To a certain extent, old fogies would have listened to
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Bing Crosby Altho many younger also liked his music Else
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Blue Barron. You know, bands that played a smooth, melody
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focused and romantic style of dance music appealed most to
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old fogies. And who George Well, in my mind is
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the definitive sweet band leader. Listen and tell me who
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it is.
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Way down on the levee in Old Alabami, there's Daddy
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and Mamie. There's Ephraim and Sammie on the moon Lie night,
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you can find them all waiting for the Robert E lead.
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Watch them shof along. You want to see them shuffle.
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Along, Go take your bed, scarce, read path, go down
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to the leve just head for the levy and you'll
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join that shuffle and thraw.
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Because when you hear that music and soul.
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It's simply gray.
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Waiting on the levee, waiting.
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For the robber de.
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Who was that?
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It was mister New Year's Eve himself, Guy Lombardo leading
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his orchestra the Royal Canadians on Decca Records, Waiting for
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the Robert E Lee Vocal by Kenny Garner recorded in
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New York City on December the thirtieth, nineteen forty one.
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Guy Lombardo achieved huge, well not just national, but international
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success with the definitive in my Mind Sweet Orchestra. As
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a matter of fact, Guy Lombardo's music was billed as
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the sweetest music this side of Heaven, and too many
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people it sure was. In a career spanning well nearly
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fifty years, the Lombardo family, Guy and his brother Carmen
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are believed to have sold between one hundred million and
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three hundred million records and of course a fixture for
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New Year's Eve for decades on the television. So thank
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you very much, George Well in Wisconsin for your email,
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and I hope that answers your question once again to
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reach me, I'm Jeff at MakeBelieve Ballroom Radio dot com.
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That's Jeff at make Believe Ballroom Radio dot com. H
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from nineteen thirty nine. A Frankie Carl Arrange tune shadows
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Jane Savat and his top hatters. I'm not wearing a
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top hat, but I tipped my hat to you, and
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thanks for spending some time with me today here in
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the Crystal studio for this edition of the Make Believe Ballroom,
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Let's Swing Again, then a story about a popular but
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hard luck singer. They even gave her that as a nickname,
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hard Luck.
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He don't love anything. I love him didn't from the first.
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Numbers Great Swing Jam there by Red Norvo and is
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aptly named Swing Octet and an all star group. It
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was with Red playing the xylophone. I think Red Norvo
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went full out playing the vibes. In the mid forties,
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long after this record was recorded, we had an addition
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to Red Norvo, Johnny Mintz clarinet, double bass, Ardie Bernstein
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on the drums, Gene Krupa the guitar, George Van Epps
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the piano, the Great Teddy Wilson tenor Sacks equally as
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great Leon chew Berry, the trombone Jack Jenny, and the
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trumpet was played by Bunny Berrigan. Recorded for Columbia Records
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in New York City, January the twenty fifth, nineteen thirty five.
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And before that record, I mentioned that I wanted to
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take a moment to talk about a female vocalist who
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was known in the industry as quote unquote hard luck.
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Amy let me play one of her records. Then see
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what the hard luck was all about?
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How do you like to love me? How do you
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like it?
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How do you like to give me?
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How's about it?
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Couldn't you kind of care that you learn about to
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have my way?
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How do you like to love me on the level?
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How the likeness means?
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Like the devil?
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Would you be.
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Defined to keep me on your.
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Mind all day? I told my Dodormne loryer to see
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what they see.
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The moment and there's all you where they take him?
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How do you like to love me?
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And no love?
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How do you like to drop this and sleep about?
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Could you have a care if you learn.
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About him my way?
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How do you like it?
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And for me?
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I'd like im by?
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Would you like the pap now in a little runtry
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towns way down fir down among the deals month where
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the friends or not for notting way down.
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Fir Could you promise to be true to love me?
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Would you say I ooh money.
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Me me?
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How do you like to love me?
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How do you like it? How do you like to contain?
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How about it?
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Good to come to him but to learn upon him
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a way?
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How do you like it?
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That's for me?
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I like.
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From a radio show called thirty minutes in Hollywood. We
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just heard songstress Amy Arnell sing How'd You Like to
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Love Me? From a broadcast that took place on maybe eighth,
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nineteen thirty eight. And now, folks, the hard Luck Amy Tail.
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Amy Arnell was born in Portsmouth, Virginia, and her first
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big break actually took place right there where a string
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of incidents over several years to come led to her nickname.
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As the story goes this, the Portsmouth incident was the
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first mishap that earned her the nickname hard Luck Amy.
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The Great band leader Tommy Tucker was playing in Portsmouth,
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Virginia and needed a vocalist for the gig where they
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were playing for just a brief one night's stand. So
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at the end of the evening, Tucker was so impressed
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with Amy, and he was sort of female vocalist, he
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offered her a permanent job. So Amy told her mom
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and dad and packed up her belongings and she followed
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the Tucker band to Miami a few days later. But
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when she arrived, she learned that she miscalculated the time
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and the orchestra had actually left for Detroit a few
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hours prior, so she grabbed the first train out to
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follow them. The trip to Detroit was extremely uncomfortable, especially
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after taking a train to Miami from Portsmouth, and she
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ended up performing her first show with Tucker with the
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severe back pains. The pain increased so much that on
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the second day they moved her dressing room so she
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wouldn't have to use the stairs. Well, not deterred and
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full of talent, she stayed with Tucker for many years,
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starting in the mid thirties right into the early forties,
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but it was in no way smooth sailing for hard
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luck Amy Arnell took a leave of absence from Tucker's
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van several times in the nineteen forties. An hour after
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a May nineteen forty two show, she had to be
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rushed to the hospital for an emergency appendectomy. A singer
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named bab Stewart we've played some of her music here
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replaced her in Tucker's band during her recovery, but just
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a few months later. After she recovered in September, she
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left the band for one week to travel to Hollywood
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for a screen test with MGM, and a train accident
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took place, not her train, but a train in front
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of her, and she made it just in time to
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Hollywood for the test. In May of nineteen forty three,
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she underwent a spinal operation in New York hospital, which
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was expected to put her out of the band for
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three months, so she traveled to the West Coast to recover.
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Tucker initially announced he wouldn't replace Arnell during her absence,
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and she made later return in early June, before ending
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up in the hospital once again at the end of
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the month, where she had to go to have another
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spinal surgery in July. But her biggest hard luck tail
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was probably Amy Arnell's most significant. During a nineteen forty
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one recording session, Arnell sang with a bad sore throat
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in the recording studio, and being the hard luck Amy
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she was. Neither she nor Tommy Tucker were happy with
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the results of the session, but Tucker decided to okay
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the B side of the record anyway. Why don't we
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listen to that B side and then the rest of
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the story.
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I don't want to set the world. I just want
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to start.
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Aflame in your heart. In my heart, I have but
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warm the that one is you. No lover will do.
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I've lost all ambition the world, Leo Craig, I just
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want to be the one you love, and with your
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admission that you feel the.
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Same, I'll have read.
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The goal and dreaming of.
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I don't want to set.
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The world fall by. I just want to start.
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The flaming your.
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Want to set the world on time?
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No no, I just want to start.
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Flame in your car.
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Never will come, is mind hard? I have but one
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is I, oh man, and that one is you. No
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other one, no one will.
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I have lost all ambition for world acclaim.
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I want to be the only one, the only one
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that you.
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Love, and with your admission that you feel the same.
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I will then reach the goal and dreaming want to
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set the world on five.
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No no, I just want to start claiming your bard mind,
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sweet one.
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I just.
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Start a number one song for four weeks on your
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hit parade. I don't want to set the World on Fire,
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performed by Tommy Tucker's band known as Tommy Tucker Time
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vocal by Amy Arnell and the Voices Three, recorded for
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Okay Records in nineteen forty one, and despite hard luck,
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Amy having a vicious sore throat, and despite both her
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and Tucker disliking the take that song, I don't want
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to set the World on Fire became the most successful
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recording for Tucker, selling over half a million copies and
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moving the band from being a five hundred dollars a
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night orchestra into the top earning bracket. As a matter
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of fact, Amy Arnell received a very generous rais and
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used the extra money to open a flower shop Flowers
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by Arnell on Sunset Boulevard in Hollywood. So the hard
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luck Amy Arnell's sore Throat led to one of the
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greatest recordings of the nineteen forties.
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Very Di then the name, later.
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Recorded in New York City on May the seventeenth, nineteen
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thirty seven for Bluebird Records. That was Teddy Hill and
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his NBC Radio Orchestra with Blue Rhythm, Fantasy and now
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here on the Make Believe Ballroom. Why don't we go
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to another listener's email and my good friend Max Catani
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in Italy. I got your two emails, but my ZIP
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extractors has gone south. But I will listen as soon
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as I take care of that. This email on the
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screen is from Larry lu Casey, one of our Austin,
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Texas listeners. Home of my daughter and son in law
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and passed home of me when I worked at the
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wonderful Saint Edward's University, and Larry writes, gentlemen, can you
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play something by Red Nichols? I never heard any of
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his music on your show. Keep the music Alive. And
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that's signed by Larry. Thanks Larry from Austin, Texas. And
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Red Nichols, the great carnetist and bandleader of the Five
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Pennies Nichols and Pennies, Red Nichols and the Five Pennies.
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Major music star of the twenties, thirties and beyond. Red
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Nichols was a prolific recording artist. It said that he
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went into the recording studio and made during his career
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over four thousand sides. So let's play a couple for you,
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Larry Luke Casey and I'll start with this.
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One by.
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An Old.
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Bay and the.
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S from Brunswick Records, Ida sweet as Apple Cider song
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made famous by Eddie Canter, but here by Red Nichols
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and his Five Pennies, recorded in New York City August fifteenth,
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believe it or not, back in nineteen twenty seven. Some
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wonderful bass sex work there by Adrian Rolini on that recording.
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Another one by Red Nichols for you and wait until
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you findt who his five Pennies were on this record
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Listen from Brunswick, Indiana by Red Nichols and his Five
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Pennies recorded in New York City April eighteenth, nineteen twenty nine.
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So it's nineteen twenty nine, a lot of young musicians
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looking to make it big and no exception here.
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So who is in this.
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Version of the five Pennies? He's playing back home in Indiana?
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How about Benny Goodman, Glenn Miller, Jack T. Garden, Gene
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Crooper and Manny Klein. Amazing? The number was also arranged
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by Glenn Miller, the Great Red Nichols and his Five
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Pennies here on the Make Believe Ballroom And thanks Larry
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from Austin, Texas for your email again to reach me.
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I'm Jeff at Make Believe Ballroom Radio dot com. That's
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Jeff at Make Believe Ballroom Radio dot com.
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You leave me alone. You don't even polls.
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You can't be as ab in the sky, but what goes.
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Up must come down.
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That babe you can find too high.
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It's all over town and you're chasing around. But I'm
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not gonna sit home and cry Remember what goes up
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must come and maybe you've been flying too high. You
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want to get your walking papers, but now it's too late,
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because I know you too well. When you're through cutting papers,
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you break down my game during my front door bell.
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So go have your planes and don't miss a tap.
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I'll see you down the world by and by. Remember
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what goes.
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Up must come down, and maybe you've been.
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Flying too high.
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Recorded in London on June the twenty eighth, nineteen thirty nine.
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That was Giraldo and his orchestra with what goes up
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Must Come Down via his master's voice. British Decca Records.
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Let's see if we could squeeze two more records, and
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I know we have time for at least one more.
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Anytime at all your heart desires, any time at all,
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anything at all your heart requires.
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I'll await your call, waiting patiently. Will be my one
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end evil. All the loving me belongs.
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To you forever, any time at all.
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It doesn't matter if my chance is small.
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You can have my heart upon a silver platter. I've
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built my dreams.
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Around you, and if you ever fall, I'll be there
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with open arms. Any kind of at.
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All From Decca records any Time I'm at All by
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Jimmy Dorsey and his orchestra vocal by Vi Meely, recorded
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in New York City, May the sixteenth, nineteen thirty eight.
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And folks, we are out of time. The big hand
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on the big bullovo'clock here in the Crystal studio is
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quickly approaching the top of the hour. So thanks so
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much for joining me today. To reach me, I'm Jeff
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at MakeBelieve Ballroomradio dot com. That's Jeff at MakeBelieve Ballroom
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00:56:33.159 --> 00:56:38.360
Radio dot com. For past shows or to record requests,
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00:56:38.679 --> 00:56:43.480
go to make Believe Ballroom dot com. That's MakeBelieve Ballroom
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00:56:43.599 --> 00:56:47.920
dot com. A big thanks to our syndicators and distributors
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00:56:48.639 --> 00:56:53.559
for offering the Make Believe Ballroom cost free to commercial, free, public,
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community and university radio stations in the United States. In
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the UK, they are the Public Radio Exchange PRX, the
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PACIFICA Network, and Global Community Radio. The program's flagship affiliate
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is Jazz ninety point one WGMC in Rochester, New York.
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The Ballroom also heard on your favorite podcast provider, so
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Friends until next week. This has been Jeff Bresler
