Sorcery & Swing Comes to Melbourne 7 October


Sorcery and Swing comes to Melbourne, Friday 7 October. Book Now!

Join us for this Unique Roaring Twenties music and magic Dinner Show.

Bookings & Enquiries: https://www.kelvinclub.com/whats-on or (03) 9654 5711

6.30pm ARRIVAL for 7.00pm START at the Kelvin Club, Melbourne Place, Melbourne

FEATURING MAGIC and MUSIC – SORCERY and SWING
Vaudeville brought back to life as you dine in style in the sophisticated Kelvin Club

In singer, Greg Poppleton’s 1920s band, Melbourne’s finest trad musicians…

Ian Smith – sousaphone and cornet
Jason Downes – saxophone and clarinet
Peter Baylor – guitar

The Kelvin Club will be transforming into a “Roaring Twenties” speakeasy for this not-to-be-missed event!

“Moonshine” and canapés served on arrival – together with intimate close-up miracles from The Gentleman Magician.

◆ THE SORCERY… The engaging magic of Bruce Glen, The Gentleman Magician

◆ THE SWING… The superb 1920s-1930s music of Greg Poppleton and his band

ENJOY DINNER AND DANCING ACCOMPANIED BY THE MUSIC OF “TIN PAN ALLEY” – FEATURING…

Greg Poppleton – Australia’s only authentic 1920s-30s singer
Ian Smith – sousaphone and cornet
Peter Baylor – guitar
Jason Downes – clarinet and alto saxophone

  • Hear the captivating crooning of Greg Poppleton and his band
  • Unique storytelling magic by Bruce Glen, The Gentleman Magician
  • Fabulous 2-course dinner
  • Authentic speakeasy
  • A glass of authentic sparkling wine ‘Moonshine’ and canapes on arrival

The Great Gatsby never had it so good!

Greg Poppleton 1920s singer and The Gentleman Magician Bruce Glen - Sorcery & Magic Show
Greg Poppleton 1920s singer and The Gentleman Magician Bruce Glen – Sorcery & Magic Show

Venue: Kelvin Club, Melbourne Place, Melbourne 3000
Time: 6.30pm arrival for 7.00 pm start
Dress Code: 1920s Guys in ties, Girls in pearls
Single Tickets: $95 per person + booking fee
Inclusive of sparkling wine “moonshine” and canapés on arrival, 2-course dinner, entertainment, GST

Bookings & Enquiries: https://www.kelvinclub.com/whats-on or (03) 9654 5711

BRUCE GLEN BIO

Bruce Glen’s Magical Soirées are best described as ‘storytelling magic shows for adults – but not necessarily grown-ups’. They feature cutting-edge magic that seemingly defies the laws of physics – set amid intriguing stories that are guaranteed to leave you wondering. Bruce’s unique performance style has seen him invited to the famed Edinburgh Fringe; Adelaide Fringe and Fringe World Perth.

In 2015, he presented his ‘Imaginary Magic’ show in Sydney (ten sold-out shows) as part of the SMH Spectrum Now Festival. In addition, at sold-out Edinburgh International Magic Festival shows and at the famous London headquarters of The Magic Circle, Bruce left audiences gasping in disbelief – and also wondering if he had actually read their minds!

GREG POPPLETON BIO

Greg Poppleton is Australia’s only authentic 1920s-30s singer with band. Recent performance highlights: 2020 Sydney Festival, resident band Great Art Deco Ball, resident 1920s band Gin Mill Social.

Greg Poppleton brings the era to life with a dazzling Hollywood experience. Think vintage glamour, prohibition and speakeasies. He also appears in the movies Moulin Rouge! and Chronicles of Narnia Voyage of the Dawn Treader.

Ted Fio Rito Cocoanut Grove 1934 – Phantom Dancer 13 September 2022


Ted Fio Rito, band leader, composer and pianist, under the radio pseudonym ‘Vincent Valsanti’, is this week’s Phantom Dancer feature artist in a 1934 Cocoanut Grove radio transcription.

Since I’ve been playing radio transcriptions made in 1934 of ‘Valsanti’ from the Cocoanut Grove Los Angeles over the past three weeks, here’s a little about the Ted Fio Rito / Valsanti / Cocoanut Grove story along with videos from the era.

The Phantom Dancer – your non-stop mix of swing and jazz from live 1920s-60s radio and TV hosted by me, Greg Poppleton.

Enjoy a whole library of Phantom Dancer mixes online now at https://2ser.com/phantom-dancer/.

This show will be online after 2pm AEST, Tuesday 13 September at https://2ser.com/phantom-dancer/

 

COCOANUT GROVE

The Cocoanut Grove at Los Angeles’ Ambassador Hotel was a lavishly appointed club – part of the massive 23-acre Ambassador resort, which also included four restaurants, a bowling alley, a billiard room, a shopping plaza, and even a movie theater – decorated in Moroccan style and featured full-sized palm trees reportedly salvaged from Rudolph Valentino’s film “The Sheik.” In addition to the decor, which also offered a night sky filled with stars (thanks to about 1000 small light bulbs), an elevated stage, and both dining and dancing room for several hundred patrons, customers came for the smooth musical entertainment provided by a series of dance orchestras and popular vocalists – many of whom would later go on to star careers in radio, recordings, and the film industry.

In the 1980 book, “Are the Stars Out Tonight?”, former Ambassador PR Director, Margaret Tante Burk, recalls the Grove’s opening night:

“…on the night of April 21, 1921… the new club officially opened its Moroccan style, gold leaf and etched palm tree doors… The Cocoanut Grove was aptly named, guests agreed as they were escorted by the maître de and captains down the wide plush grand staircase… Overhead, soaring about the room were cocoanut trees of papier mache, cocoanuts and palm fronds which had been rescued from the sandy beaches of Oxnard where they had served as atmosphere of the 1921 classic, The Sheik. Swinging from their branches were stuffed monkeys blinking at the revelers with their electrified amber eyes. Stars twinkled in the blue ceiling sky, and on the southernmost wall hung a full Hawaiian moon presiding over a painted landscape and splashing waterfall.”

Ray West Orchestra in 1930…

Due to the foresight of Abe Frank, the manager of both the hotel and the Grove, in the mid-1920s the Ambassador had been equipped with a small radio studio, allowing the music of the various orchestras to be broadcast and enjoyed well outside the confines of the nightclub. From the late 1920s well into the 1960s, live “remote” programs broadcast from the Cocoanut Grove were a popular feature of nighttime radio, allowing millions of people to enjoy the music they would otherwise be unable to afford to hear in person. These broadcasts, aired live nightly for two full hours, only increased the reputation of the Grove as “the place to be” when it came to top notch West Coast entertainment.

From the beginning, the Cocoanut Grove’s glamorous atmosphere attracted the top names in Hollywood for dining, dancing, and mingling. This celebrity connection was always well-publicized by the Ambassador and for a very good reason, too: tourists coming to Los Angeles for a vacation wanted to see the stars and there was no place where the stars came out quite so regularly as the Ambassador Hotel. On an average evening, it was common to see such well-known celebrities as Joan Crawford, Jack Oakie, or Jean Harlow coming to see Bing Crosby or Russ Columbo sing with Gus Arnheim’s Orchestra or dance to Jimmie Grier’s band as they accompanied Loyce Whiteman, The Three Ambassadors (Martin Sperzel, Jack Smith, and Al Teeter), or popular tenor Donald Novis. Even though there was a nationwide depression, Hollywood stars and executives still needed to be entertained — and the Cocoanut Grove was often their first choice.

From 1930 to 1943, six Academy Awards ceremonies were hosted at the hotel. As many as seven U.S. presidents stayed at the Ambassador, from Hoover to Nixon, along with heads of state from around the world.

It was the place to be even in the 1960s…

In 1968, the Ambassador Hotel was the scene of the shooting of Bobby Kennedy.

Due to the decline of the hotel and the surrounding area, the Ambassador Hotel was closed to guests in 1989. In 2001, the Los Angeles Unified School District (LAUSD) purchased the property with the intent of constructing three new schools within the area. After subsequent litigations to preserve the hotel as a historic site, a settlement allowed the Ambassador Hotel to be demolished in 2005.

VALSANTI

Ted Fio Rito used the pseudonym ‘Valsanti’ for these Cocoanut Grove transcriptions because of an existing recording contract.

Fio Rito was a pianist, hammond organist and the composer of such classic tunes as, “I Never Knew,” “Toot, Toot, Tootsie, Goodbye,” “Laugh, Clown, Laugh,” “Roll Along, Prairie Moon” and “Alone at a Table for Two.”

He started his career as a pianist with a series of bands led by Harry Yerkes, then moved to Chicago in 1921 to join Dan Russo’s band. The following year, he joined with Russo to become the co-leader the Oriole Terrace Orchestra, which he eventually took over when Russo departed in 1928.

Before coming to the Cocoanut Grove in mid-1933, Fio Rito had spent a number of years touring the East Coast and Midwest, including many engagements in Chicago, St. Louis, Kansas City and Cincinnati. An early radio enthusiast, Fio Rito’s band was frequently heard on the air from various nightspots – preparing him well for the regular broadcasts scheduled to emanate from the Grove during his stay.

Musically, the orchestra that Fio Rito brought to the Grove was sweet, smooth and clever, playing highly danceable music accented with temple blocks, rapid triplets, and even an occasional solo on the Hammond organ by its talented leader.

Due to an existing recording contract, Theodore Salvatore Fiorito’s singers also adopted pseudonyms for these transcriptions. Muzzy Marcellino, Fio Rito’s guitarist and primary vocalist, sings as Jack Howard. Howard Phillips sings under the name of Bill Thomas, and Fio Rito’s vocal trio The Debutants appear as The Three Keys. 

Watch Ted Fio Rito from the Cocoanut Grove in this 1934 Paramount short ‘Star night atthe Cocoanut Grove’ also featuring Mary Pickford and Bing Crosby. You’ll hear the extreme high and low four octave voice of Jimmy Durante’s future comic foil Candy Candido in what is thought to be his earliest film performance….

 

 

13 SEPTEMBER PLAY LIST

Play List – The Phantom Dancer
107.3 2SER-FM Sydney

LISTEN ONLINE

 

Community Radio Network Show CRN #563

107.3 2SER Tuesday 13 September 2022
12:04 – 2:00pm (+10 hours GMT) and Saturdays 5 – 5:55pm
National Program
5GTR Mt Gambier Monday 2:30 – 3:30am
3MBR Murrayville Monday 3 – 4am
4NAG Keppel FM Monday 3 – 4am
2MIA Griffith Monday 3 – 4am
2BAR Edge FM Bega Monday 3 – 4am
2BRW Braidwood Monday 3 – 4am
2YYY Young Monday 3 – 4am
3VKV Alpine Radio Monday 6 – 7pm
7MID Oatlands Monday 6 -7pm
6GME Radio Goolarri Broome Tuesday 12am – 1am
2SEA Eden Tuesday 6 – 7pm
2MCE Bathurst Wednesday 9 – 10am
2RDJ Burwood Wednesday 12 – 1pm
1ART ArtsoundFM Canberra Friday 10 – 11am
2RRR Ryde Friday 11am -12 noon
2ARM Armidale Friday 12 – 1pm
5LCM Lofty FM Adelaide Friday 1 – 2pm
Denmark FM (West Australia) Saturdays 10 – 11am
Repeat: Wednesdays 10 – 11pm
7LTN Launceston Sunday 5 – 6am
3MGB Mallacoota Sunday 5 – 6am
3BBR West Gippsland Sunday 5 – 6pm

Set 1
Swing Bands One Night Stand Radio  
Theme + Song of the Wanderer
Buddy Morrow Orchestra
‘One Night Stand’
Roseland Ballroom NYC
AFRS Re-broadcast
1 Mar 1946
16:00 On The Clock
Shep Field and His New Music
‘One Night Stand’
Copacabana NYC
AFRS Re-broadcast
9 Aug 1944
Come Rain Come Shine + Close
Hal McIntyre Orchestra (voc) Frankie Lester
‘One Night Stand’
Century Room
Hotel Commodore NYC
AFRS Re-broadcast
15 May 1946
Set 2
1950s-60s Jazz Radio  
Jazz Connoisseur
Harry James Orchestra (dms) Buddy Rich
Moonbowl
Freedomland
WNEW NYC
1962
The Theme
Miles Davis Sextet
‘Treasury of Music’
Birdland
WRCA NBC NY
AFRTS Re-broadcast
25 Aug 1959
 
 
 
Set 3
Benny Goodman in Chicago  
Let’s Dance (theme) + Farewell Blues
Benny Goodman Orchestra
Joseph Urban Room
Congress Hotel
WMAQ NBC Red Chicago
20 Jan 1936
Soft Spring
Benny Goodman Orchestra (voc) Helen Forrest
Panther Room
Hotel Sherman
WMAQ NBC Chicago
10 Aug 1941
King Porter Stomp + Goodbye (theme)
Benny Goodman Orchestra
Joseph Urban Room
Congress Hotel
WMAQ NBC Red Chicago
3 Feb 1936
Set 4
Vincent Valsanti (Ted Fio Rito)  
Serenade of Love (theme) + Flirtation Walk
Vincent Valsanti Orchestra (voc) Jack Howard
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
When You’re in Love
Vincent Valsanti Orchestra
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
Two Cigarettes in the Dark
Vincent Valsanti Orchestra (voc) Phil Thomas
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
Were You Foolin’? + I’ll Take an Option on You + Serenade of Love (theme)
Vincent Valsanti Orchestra (voc) Jack Howard and The Three Blue Keys
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
Set 5
1930s German Swing  
Darf ich bitten?
Die Goldene Sieben
Comm Rec
Berlin
Sep 1936
Ja und nein
Die Goldene Sieben
Comm Rec
Berlin
Aug 1939
Aus lauter Liebe
Die Goldene Sieben (voc) Peter Igelhoff
Comm Rec
Berlin
Jul 1937
Oh! Aha!
Die Goldene Sieben (voc) Rudi Schuricke Terzett
Comm Rec
Berlin
Feb 1939
Set 6
Early Dorseys  
Theme + On The Beach at Bali Bali
Tommy Dorsey Orchestra
‘Ford V-8 Show’
Texas Centennial Exhibition
KRLD CBS Dallas Tx
11 Aug 1936
Sandman (theme) + Is That Religion?
Dorsey Brothers Orchestra (voc) Bob Crosby
Riviera
Fort Lee NJ
WEAF NBC Red NY
20 Sep 1934
Weary Blues
Eddy Howard Orchestra
‘Ford V-8 Show’
Texas Centennial Exhibition
KRLD CBS Dallas Tx
4 Aug 1936
Farewell Blues
Dorsey Brothers Orchestra
‘Chrysler Show’
Radio Transcription
1934
Set 7
Sweet Music  
Romance (theme) + We Just Couldn’t Say Goodbye
Ray Herbeck Music with Romance Orchestra (voc) Lorraine Benson
Trianon Ballroom
WGN Mutual Chicago
24 Nov 1947
For You
King Sisters
‘Jubilee’
AFRS Hollywood
Jun 1945
Sweet Lorraine
Frank Sinatra
‘Frank Sinatra Show’
AFRS Re-broadcast
26 Nov 1946
What is This Thing Called Love?
Paul Whiteman Orchestra (voc) Eugenie Baird
‘Forever Pops’
ABC Chicago
1947
Set 8
1930s Fats Waller  
Yacht Club Swing (theme) + Whatcha Know, Joe?
Fats Waller
Panther Room
Hotel Sherman
WMAQ NBC Red Chicago
3 Dec 1940
Pent Up in a Penthouse
Fats Waller
Yacht Club
WABC CBS NY
14 Oct 1938
Sto Beating ‘Round The Mulberry Bush
Fats Waller
WEAF NBC Red NY
16 Jul 1938
I Had To Do It
Fats Waller
Yacht Club
WABC CBS NY
18 Oct 1938

Ted Fio Rito Cocoanut Grove 1934 – Phantom Dancer 24 May 2021


Ted Fio Rito, band leader, composer and pianist, under the radio pseudonym ‘Vincent Valsanti’, is this week’s Phantom Dancer feature artist in a 1934 Cocoanut Grove radio transcription.

Since I’ve been playing radio transcriptions made in 1934 of ‘Valsanti’ from the Cocoanut Grove Los Angeles over the past three weeks, here’s a little about the Ted Fio Rito / Valsanti / Cocoanut Grove story along with videos from the era.

The Phantom Dancer – your non-stop mix of swing and jazz from live 1920s-60s radio and TV hosted by me, Greg Poppleton.

Enjoy a whole library of Phantom Dancer mixes online now at https://2ser.com/phantom-dancer/.

This show will be online after 2pm AEST, Tuesday 24 May at https://2ser.com/phantom-dancer/

 

COCOANUT GROVE

The Cocoanut Grove at Los Angeles’ Ambassador Hotel was a lavishly appointed club – part of the massive 23-acre Ambassador resort, which also included four restaurants, a bowling alley, a billiard room, a shopping plaza, and even a movie theater – decorated in Moroccan style and featured full-sized palm trees reportedly salvaged from Rudolph Valentino’s film “The Sheik.” In addition to the decor, which also offered a night sky filled with stars (thanks to about 1000 small light bulbs), an elevated stage, and both dining and dancing room for several hundred patrons, customers came for the smooth musical entertainment provided by a series of dance orchestras and popular vocalists – many of whom would later go on to star careers in radio, recordings, and the film industry.

In the 1980 book, “Are the Stars Out Tonight?”, former Ambassador PR Director, Margaret Tante Burk, recalls the Grove’s opening night:

“…on the night of April 21, 1921… the new club officially opened its Moroccan style, gold leaf and etched palm tree doors… The Cocoanut Grove was aptly named, guests agreed as they were escorted by the maître de and captains down the wide plush grand staircase… Overhead, soaring about the room were cocoanut trees of papier mache, cocoanuts and palm fronds which had been rescued from the sandy beaches of Oxnard where they had served as atmosphere of the 1921 classic, The Sheik. Swinging from their branches were stuffed monkeys blinking at the revelers with their electrified amber eyes. Stars twinkled in the blue ceiling sky, and on the southernmost wall hung a full Hawaiian moon presiding over a painted landscape and splashing waterfall.”

Ray West Orchestra in 1930…

Due to the foresight of Abe Frank, the manager of both the hotel and the Grove, in the mid-1920s the Ambassador had been equipped with a small radio studio, allowing the music of the various orchestras to be broadcast and enjoyed well outside the confines of the nightclub. From the late 1920s well into the 1960s, live “remote” programs broadcast from the Cocoanut Grove were a popular feature of nighttime radio, allowing millions of people to enjoy the music they would otherwise be unable to afford to hear in person. These broadcasts, aired live nightly for two full hours, only increased the reputation of the Grove as “the place to be” when it came to top notch West Coast entertainment.

From the beginning, the Cocoanut Grove’s glamorous atmosphere attracted the top names in Hollywood for dining, dancing, and mingling. This celebrity connection was always well-publicized by the Ambassador and for a very good reason, too: tourists coming to Los Angeles for a vacation wanted to see the stars and there was no place where the stars came out quite so regularly as the Ambassador Hotel. On an average evening, it was common to see such well-known celebrities as Joan Crawford, Jack Oakie, or Jean Harlow coming to see Bing Crosby or Russ Columbo sing with Gus Arnheim’s Orchestra or dance to Jimmie Grier’s band as they accompanied Loyce Whiteman, The Three Ambassadors (Martin Sperzel, Jack Smith, and Al Teeter), or popular tenor Donald Novis. Even though there was a nationwide depression, Hollywood stars and executives still needed to be entertained — and the Cocoanut Grove was often their first choice.

From 1930 to 1943, six Academy Awards ceremonies were hosted at the hotel. As many as seven U.S. presidents stayed at the Ambassador, from Hoover to Nixon, along with heads of state from around the world.

It was the place to be even in the 1960s…

In 1968, the Ambassador Hotel was the scene of the shooting of Bobby Kennedy.

Due to the decline of the hotel and the surrounding area, the Ambassador Hotel was closed to guests in 1989. In 2001, the Los Angeles Unified School District (LAUSD) purchased the property with the intent of constructing three new schools within the area. After subsequent litigations to preserve the hotel as a historic site, a settlement allowed the Ambassador Hotel to be demolished in 2005.

VALSANTI

Ted Fio Rito used the pseudonym ‘Valsanti’ for these Cocoanut Grove transcriptions because of an existing recording contract.

Fio Rito was a pianist, hammond organist and the composer of such classic tunes as, “I Never Knew,” “Toot, Toot, Tootsie, Goodbye,” “Laugh, Clown, Laugh,” “Roll Along, Prairie Moon” and “Alone at a Table for Two.”

He started his career as a pianist with a series of bands led by Harry Yerkes, then moved to Chicago in 1921 to join Dan Russo’s band. The following year, he joined with Russo to become the co-leader the Oriole Terrace Orchestra, which he eventually took over when Russo departed in 1928.

Before coming to the Cocoanut Grove in mid-1933, Fio Rito had spent a number of years touring the East Coast and Midwest, including many engagements in Chicago, St. Louis, Kansas City and Cincinnati. An early radio enthusiast, Fio Rito’s band was frequently heard on the air from various nightspots – preparing him well for the regular broadcasts scheduled to emanate from the Grove during his stay.

Musically, the orchestra that Fio Rito brought to the Grove was sweet, smooth and clever, playing highly danceable music accented with temple blocks, rapid triplets, and even an occasional solo on the Hammond organ by its talented leader.

Due to an existing recording contract, Theodore Salvatore Fiorito’s singers also adopted pseudonyms for these transcriptions. Muzzy Marcellino, Fio Rito’s guitarist and primary vocalist, sings as Jack Howard. Howard Phillips sings under the name of Bill Thomas, and Fio Rito’s vocal trio The Debutants appear as The Three Keys. 

Watch Ted Fio Rito from the Cocoanut Grove in this 1934 Paramount short ‘Star night atthe Cocoanut Grove’ also featuring Mary Pickford and Bing Crosby. You’ll hear the extreme high and low four octave voice of Jimmy Durante’s future comic foil Candy Candido in what is thought to be his earliest film performance….

 

 

24 MAY PLAY LIST

Play List – The Phantom Dancer
107.3 2SER-FM Sydney
LISTEN ONLINECommunity Radio Network Show CRN #546

107.3 2SER Tuesday 24 May 2022
12:04 – 2:00pm (+10 hours GMT) and Saturdays 5 – 5:55pm
National Program
5GTR Mt Gambier Monday 2:30 – 3:30am
3MBR Murrayville Monday 3 – 4am
4NAG Keppel FM Monday 3 – 4am
2MIA Griffith Monday 3 – 4am
2BAR Edge FM Bega Monday 3 – 4am
2BRW Braidwood Monday 3 – 4am
2YYY Young Monday 3 – 4am
3VKV Alpine Radio Monday 6 – 7pm
7MID Oatlands Monday 6 -7pm
6GME Radio Goolarri Broome Tuesday 12am – 1am
2SEA Eden Tuesday 6 – 7pm
2MCE Bathurst Wednesday 9 – 10am
1ART ArtsoundFM Canberra Friday 10 – 11am
2ARM Armidale Friday 12 – 1pm
5LCM Lofty FM Adelaide Friday 1 – 2pm
Denmark FM (West Australia) Saturdays 10 – 11am
Repeat: Wednesdays 10 – 11pm
7LTN Launceston Sunday 5 – 6am
3MGB Mallacoota Sunday 5 – 6am
3BBR West Gippsland Sunday 5 – 6pm

Set 1
Swing Bands One Night Stand Radio  
Theme + Song of the Wanderer
Buddy Morrow Orchestra
‘One Night Stand’
Roseland Ballroom NYC
AFRS Re-broadcast
1 Mar 1946
16:00 On The Clock
Shep Field and His New Music
‘One Night Stand’
Copacabana NYC
AFRS Re-broadcast
9 Aug 1944
Come Rain Come Shine + Close
Hal McIntyre Orchestra (voc) Frankie Lester
‘One Night Stand’
Century Room
Hotel Commodore NYC
AFRS Re-broadcast
15 May 1946
Set 2
1950s-60s Jazz Radio  
Jazz Connoisseur
Harry James Orchestra (dms) Buddy Rich
Moonbowl
Freedomland
WNEW NYC
1962
The Theme
Miles Davis Sextet
‘Treasury of Music’
Birdland
WRCA NBC NY
AFRTS Re-broadcast
25 Aug 1959
 
 
 
Set 3
Benny Goodman in Chicago  
Let’s Dance (theme) + Farewell Blues
Benny Goodman Orchestra
Joseph Urban Room
Congress Hotel
WMAQ NBC Red Chicago
20 Jan 1936
Soft Spring
Benny Goodman Orchestra (voc) Helen Forrest
Panther Room
Hotel Sherman
WMAQ NBC Chicago
10 Aug 1941
King Porter Stomp + Goodbye (theme)
Benny Goodman Orchestra
Joseph Urban Room
Congress Hotel
WMAQ NBC Red Chicago
3 Feb 1936
Set 4
Vincent Valsanti (Ted Fio Rito)  
Serenade of Love (theme) + Flirtation Walk
Vincent Valsanti Orchestra (voc) Jack Howard
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
When You’re in Love
Vincent Valsanti Orchestra
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
Two Cigarettes in the Dark
Vincent Valsanti Orchestra (voc) Phil Thomas
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
Were You Foolin’? + I’ll Take an Option on You + Serenade of Love (theme)
Vincent Valsanti Orchestra (voc) Jack Howard and The Three Blue Keys
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
Set 5
1930s German Swing  
Darf ich bitten?
Die Goldene Sieben
Comm Rec
Berlin
Sep 1936
Ja und nein
Die Goldene Sieben
Comm Rec
Berlin
Aug 1939
Aus lauter Liebe
Die Goldene Sieben (voc) Peter Igelhoff
Comm Rec
Berlin
Jul 1937
Oh! Aha!
Die Goldene Sieben (voc) Rudi Schuricke Terzett
Comm Rec
Berlin
Feb 1939
Set 6
Early Dorseys  
Theme + On The Beach at Bali Bali
Tommy Dorsey Orchestra
‘Ford V-8 Show’
Texas Centennial Exhibition
KRLD CBS Dallas Tx
11 Aug 1936
Sandman (theme) + Is That Religion?
Dorsey Brothers Orchestra (voc) Bob Crosby
Riviera
Fort Lee NJ
WEAF NBC Red NY
20 Sep 1934
Weary Blues
Eddy Howard Orchestra
‘Ford V-8 Show’
Texas Centennial Exhibition
KRLD CBS Dallas Tx
4 Aug 1936
Farewell Blues
Dorsey Brothers Orchestra
‘Chrysler Show’
Radio Transcription
1934
Set 7
Sweet Music  
Romance (theme) + We Just Couldn’t Say Goodbye
Ray Herbeck Music with Romance Orchestra (voc) Lorraine Benson
Trianon Ballroom
WGN Mutual Chicago
24 Nov 1947
For You
King Sisters
‘Jubilee’
AFRS Hollywood
Jun 1945
Sweet Lorraine
Frank Sinatra
‘Frank Sinatra Show’
AFRS Re-broadcast
26 Nov 1946
What is This Thing Called Love?
Paul Whiteman Orchestra (voc) Eugenie Baird
‘Forever Pops’
ABC Chicago
1947
Set 8
1930s Fats Waller  
Yacht Club Swing (theme) + Whatcha Know, Joe?
Fats Waller
Panther Room
Hotel Sherman
WMAQ NBC Red Chicago
3 Dec 1940
Pent Up in a Penthouse
Fats Waller
Yacht Club
WABC CBS NY
14 Oct 1938
Sto Beating ‘Round The Mulberry Bush
Fats Waller
WEAF NBC Red NY
16 Jul 1938
I Had To Do It
Fats Waller
Yacht Club
WABC CBS NY
18 Oct 1938

The Rivoli Show Photos – Oberon 9-10 April 2022


The Rivoli Show is a music and dance spectacle created by the Dance Makers Collective. The Greg Poppleton Trio (Greg Poppleton 1920s vocals, Grahame Conlon guitar and banjo, Cazzbo Johns sousaphone) introduces the hour show. The Rivoli Show was a sold-out hit of the 2020 Sydney Festival.

It played at the beautifully restored Art Deco Malachi Gilmore Hall in Oberon on Saturday night 9 April and a Sunday matinee on 10 April. Here are some photos…

Greg Poppleton 1920s singer at The Rivoli
Greg Poppleton, Australia’s only authentic 1920s-30s singer at The Rivoli show in front of his vintage microphone.

THE RIVOLI SHOW

A celebration of social life before social media, when to meet was to talk, laugh and move to music together.

The Rivoli is an immersive dance hall meets dance theatre performance, The Rivoli is a tribute to the iconic dance halls across Australia that were a celebration of social life before social media.

Getting photo taken as audience takes to dance floor The Rivoli
Dancemakers’ Collective dancer, Katina Olsen, taking a band photo as the audience take to the dance floor at The Rivoli

A hit at Sydney Festival 2020, this joyous production will celebrate the launch of the iconic Malachi Gilmore Hall in Oberon… after four decades of waiting for dancers to return to the dance floor.

The Rivoli features some of Australia’s best dancers and a stellar live band, The Greg Poppleton Trio. It is Dance Makers Collective’s most ambitious work yet, The Rivoli, an ode to a bygone dance era.

“a thoroughly entertaining and surprising work.”
“…energetic, lively and moving.”
Callum McLean

Cazzbo Johns Greg Poppleton Trio
Cazzbo Johns on sousaphone with Greg Poppleton’s 1920s-30s Trio

Grahame Conlon banjo in Greg Poppleton 1920s-30s Trio
Grahame Conlon, banjo, in Greg Poppleton 1920s-30s Trio

DANCE MAKERS COLLECTIVE

DMC emerged in 2012 when a group of ten driven independent dance makers in Sydney gathered to take charge by working together to create new work in an environment where local opportunities to do so were slim. Over a few pizzas and some wine, each of us pitched ideas for short works to each other, and conceived of a program called Big Dance in Small Chunks – ten artists, ten works, ten minutes each. This informal get-together was where DMC was born.

After that meeting, we met with our now long-time partner and friend FORM Dance Projects in Parramatta and asked them to present our work in their 2013 program, which they took on with great enthusiasm. We asked our now long-time friends Legs On The Wall, Bangarra and Sydney Dance Company if we could use their rehearsal spaces to develop the work, successfully undertook a TRIP Residency at Tasdance, ran a crowdfunding campaign and approached a small arts charity Ars Musica Australis for some financial support. We applied for funding to (then) Arts NSW and secured enough funding to start developing the work, which came as a welcome shock to us as a brand new collective of artists, many of us in our first year of practice. We applied in two successive rounds to the Australia Council, unsuccessful both times, but we pushed on anyway and presented the program of works by rehearsing part-time to develop it, and underpaying ourselves.

When Big Dance in Small Chunks premiered in 2013 at Riverside Theatres, it was triumphant. The season was the most highly attended dance show in FORM’s program that year and was awarded Most Significant Dance Event of 2013 in Dance Australia Magazine’s annual critics’ awards. Jill Sykes wrote of the show in the Sydney Morning Herald at the time:

“The first showing by the Dance Makers Collective has imagination, thoughtfulness, individuality, performing ability and commitment. Even a sense of humour. It is a promising start by a group of independent artists in NSW, and worth catching in what will hopefully be a beginning rather than a one-off.”

And it was just the beginning.

Following the success of Big Dance in Small Chunks, DMC secured funding and mentorship support through the Australia Council’s (now defunct) JUMP Mentorship program. This enabled us to launch our second project WEBISODES, a series of short dance films created by each of the ten members, our first foray into dance on film which has been viewed by more than 10,000 people since being published online in 2014. In that same year, we supported three of the ten works presented in Big Dance in Small Chunks to be pushed further into longer works, curated in a Triple Bill again presented by FORM Dance Projects at Riverside Theatres, this time in 2015.

In these works, we started working more collaboratively together than we had before. Up until this point, we supported each other by working for one another as performers, providing feedback to each other, but essentially each of us were individual makers with ideas for works we wanted to make, to steer alone, but with some help from our peers. Our working methodology began to evolve from this relatively common way of making to a much richer, collaborative making process, which shifted even further in our next show.

DADS, which premiered in 2016, was a turning point for us and our most ambitious project to date. In DADS, DMC co-choreographed one full-length show, where each member shared equal responsibility for the show’s development. The show was also our first foray into community-engaged practice, where we took up residence at Dance Integrated Australia in the Northern Rivers region of NSW and worked with a local men’s group the Dustyesky Russian Men’s Choir, interviewing them about their dance experiences and recording their rehearsal in the pub in Mullumbimby, which formed the soundtrack for our opening sequence. We collaborated with our fathers, asking them for their advice about the show, they built our set, gave us dance moves, curated the show’s music and provided interview content that threaded together the narrative arc of the work; oh, and they danced with us in the show too!

DADS was shortlisted for the Australian Dance Award for Outstanding Achievement in Independent Dance in 2017.

After the success of DADS, and proven successes before that with our other three projects, DMC decided to take the next step and transition to a more independent company. Until this point, we relied heavily on our partners because DMC was an unincorporated entity, a group of individual artists with a name to work under, but no formal legal structure. We were, and still are, committed to a democratic model of working where members share not only in the creative process in the studio and on stage, but in the strategic direction of the company. To maintain autonomy over this as a group of artists, DMC formed a partnership of its now 9 members; this enabled us to apply for our own funding and manage our own projects without relying on other incorporated bodies.

As a partnership, DMC secured two successive rounds of strategic funding through Create NSW, a project grant through Create NSW, and a project and career development grant through the Australia Council. The strategic funding rounds we secured, Making Spaces and Emerging Organisations, enabled us to form new partnerships with local councils and Western Sydney based arts companies and local government arts centres including PYT Fairfield, Urban Theatre Projects, Blacktown Arts and Casula Powerhouse Arts Centre.

With this strategic funding DMC piloted new programs that launched in 2019, these were:

1. Mobilise (dancer training intensive);

2. Future Makers (youth dance company);

3. Thrive (schools incursions) and;

4. Dance On (dance classes for seniors)

At the same time, DMC seeded a range of new short works with our Making Spaces funding, which allowed us to work in community centres across Western Sydney by giving each member in DMC residency time of 4 weeks across an 18 month period from 2018-2019. Several of these seeded works have had presentation outcomes, these include:

1. Marnie and Melanie Palomares’ work The Space Between, a site-specific duet performed at the National Portrait Gallery in Canberra as part of the BOLD Festival and at Articulate Project Space in Leichhardt as part of de Quincey co’s PLATFORM 2019;

2. Carl Sciberras’ work with collaborator’s Todd Fuller (visual/projection artist) and Mitchell Mollison (composer) Figure Out, a live drawing, live sound, live dance performance installation for children performed at the WOW Festival at Casula Powerhouse Arts Centre;

3. Rosslyn Wythes’ Converge/\Diverge, a series of collaborative projects with ceramicist Holly Macdonald which have been presented in Brussels;

4. And Rosslyn Wythes’ Eco 1000, a site-specific solo about the Bathurst 1000 performed as part of ArtState 2018

Making Spaces also seeded a new duet between DMC members Katina Olsen (Wakka Wakka and Kombumerri woman) and Anya McKee called Women’s Business, which will undergo further and final development in 2020 for presentation in 2021.

Whilst piloting these programs, and developing and presenting these short works, DMC also developed The Rivoli, which was an even more ambitious community-engaged project than DADS which had a sold-out premiere season at Sydney Festival in January 2020. With funding from Create NSW, Cumberland Council, City of Parramatta, the Australia Council and Sydney Festival, this large-scale site-specific work brought together members of the local community, DMC’s new youth company Future Makers, a live swing band and 8 DMC performers at Granville Town Hall.

Given the breadth and scope of our program and projects, DMC became an incorporated association in 2019 and established a volunteer board consisting of members of the company and skilled professionals working outside DMC.

Once establishing ourselves as a company, DMC successfully secured for the first time Annual Program Funding through Create NSW. This funding enables us to continue our programs in 2020 as resident company at PYT Fairfield. The General Manager and Engagement Officer, DMC members Carl Sciberras and Melanie Palomares, work side-by-side with the remaining collective members to design and create opportunities for artists and the public to engage in rich dance experiences. This flat organisational structure enables us to lead together and adapt the program based on the emergence of ideas from within the company, and in response to opportunities that arise externally that align with our values, aims and objectives.

DMC is an exceptionally nimble creative enterprise that provides opportunities for artists in Sydney to create work together, and for a range of other demographic groups to engage in dance in various ways. We are a leader in our area of practice and exist as a beacon for others not only in dance, but in the arts more broadly, seeking to change the status-quo and embrace new ways of operating.

ABOUT THE MALACHI

The recently restored Art Deco Malachi Gilmore Memorial Hall occupies a prominent position in the main street of Oberon. Its asymmetrical façade is a striking Inter-war Art Deco addition to the streetscape of Oberon Street and the town generally.

Facade Malachi Hall Oberon
Facade, Art Deco Malachi Gilmore Hall, Oberon NSW

On its opening in 1937, The Sydney Morning Herald wrote,

“The Malachi Gilmore Memorial Hall recently completed at Oberon has for its architectural basis the famous Pharos pylon of Alexandria. This historical pylon had a height of 460 feet. It was built by Sostratus of Cynidus. The architects of the Oberon Hall conceived the idea of making it a minor replica of the Pharos pylon. This design was accepted by the parish priest (Dr. A.J. Gummers) and the representatives of the late Malachi Gilmore, who was a native of Ireland. This was a startlingly bold design, but now that the hall has been completed it is a really beautiful building without being in the least incongruous. It is one of the architectural landmarks not merely of the town, but also of the whole district between the Blue Mountains and Lithgow. Tourists admire the bold outlines of the new building.

Alternative facade view Malachi Gilmore Hall Oberon
Alternative facade view, Malachi Gilmore Hall, Oberon NSW

Many, ignorant of the antiquity of the design (the Pharos tower was supposed to have been erected 283BC, and was favourably commented on by Pliny and Strabo, ancient historians), regard it as ultra modern in conception. An old hall adjoining emphasises the bold outlines of the new building. A striking feature of the front of the new building is the use of glass bricks supplied by the Australian Glass Company, Sydney. The remainder of the building is stoutly built in brick and concrete. The hall measures 110 feet by 40 feet. It is used mainly for Roman Catholic social functions. . . Mr H. A. Taylor, Sydney, was the builder of the hall.”

The façade is rendered concrete with a complex massing of curving and rectangular shapes presenting a stepped skyline to the street. The emphasis is generally horizontal except for a central portion with a vertical pier rising to a height of nearly 14 metres. The metal-framed windows create a grid-like pattern and are stepped in size and proportion to match the stepped façade. Glass bricks form a large curved wall. The building’s name is rendered in stylized lettering on the façade.

The interior of the façade section of the building is largely intact and contains a foyer with fireplace, gallery, cloak rooms, bio-box and rewinding rooms at the front. In the main hall the walls are decorated with plasterwork, with some original Morene Art stucco work. The flooring of the foyer and main hall is West Australian jarrah hardwood. Under the main hall is another floor with slab concrete flooring supporting “supper rooms” and opening at ground level onto the large parking area at the rear of the property. The foyer is approximately 65 square metres (700 sq ft) and the hall has 279 square metres (3000 sq ft) of dancing space. Curiously, the hall was built in reverse of the architect’s plans.

Foyer Malachi-Gilmore Hall Oberon
Foyer, Malachi-Gilmore Hall, Oberon NSW

Some major, although not structural changes were made during the 1980s, disconnecting the façade from the main hall section of the building. A stud wall now blocks the view that was formerly available from an upstairs viewing area onto the main hall (this vewing area has been converted in part to an office and in part left as open space). Similarly a stud wall blocks the view that was formerly available from the mezzanine level projection room into the main hall. At the time of renovation two new bathrooms were built in the façade section. A section of the stage in the main hall section was also cut out to make room for an elevator to convey goods from the rear parking area.

Glass Wall Malachi Gilmore Hall
Glass brick wall Malachi Gilmore Hall, Oberon NSW

Thorne, Tod and Cork point out that one of the building’s eccentricities is that “the auditorium does not match the façade in any way. The former is a rather plain country hall with a stage, proscenium, stalls and small gallery” (1996, 302). According to Scott Robinson of the NSW Art Deco Society, “The Malachi Gilmore Hall is a most unusual combination of a diminiative (sic) Modern “picture palace” front (with its vertical fin and roof) and Modern Movement rectiliniarity of the stepped massing of the building behind the front” (quoted in the Heritage Inventory nomination form submitted by the Friends of the Malachi Gilmore Hall, 2001). Ross Thorne’s 1983 “Theatres/Cinemas in NSW” states that the exterior of the hall is “unique in a kind of west-coast USA 1930s design style with a vague Frank Lloyd Wright influence produced by the feeling of horizontality (in parts). It also has a very strong vertical element at the front, and glass bricks in the manner of Depression Modern”. Thorne, Tod and Cork’s “Movie Theatre Heritage Register” states, “there is nothing quite like it elsewhere in New South Wales. Even by today’s standards, the building is unusual and futuristic” (1996, 302).

Cinemo projector from the days when the hall was also Oberon's picture theatre
Cinema projector from the days when the Malchi Gilmore Hall was also Oberon’s picture theatre

The architectural significance of the hall has been widely recognised and is reflected in the large number of heritage listings: Oberon Shire Council LEP, RAIA Register of Twentieth Century Buildings, the Register of the National Trust of Australia (NSW), the Register of the Art Deco Society, and Ross Thorne’s Movie Theatre Heritage Register.

Malachi Gilmore Hall
Sketch of hall in the Malachi Gilmore Hall foyer

TICKETS

Book now for Greg Poppleton’s newest show, SORCERY & SWING with Bruce Glen, The Gentleman Magician.

Saturday 21 May 2022, in the ornate 1920s Cellos of the Castlereagh Boutique Hotel, 169 Castlereagh St, Sydney, 6:30-10pm.

Canapes, three course dinner, beverage package, close-up magic and illusions, 1920s quartet and dance floor!

Dine NSW vouchers welcome. Book now. The last show sold out.

Dress code: guys in ties, girls in pearls.

Photos – Great Art Deco Ball 2022 – Greg Poppleton Band


The Great Art Deco Ball. Greg Poppleton returned by popular demand to the highlight of the Blue Mountains 1920s Festival – the Great Art Deco Ball – celebrating 12 years in 2022 at the wedding cake-like, Carrington Hotel in Katoomba.

Greg Poppleton 1920s-style singer and dancers…

Greg Poppleton 1920s Singer Great art Deco Ball

The Blue Mountains, just west of Sydney, is largely a national park with a string of towns through its centre along the western highway from Sydney known for their beauty and arts. Katoomba is the largest of these towns.

This year, because of Covid, the Carrington Hotel’s famous Great Art Deco Ball was moved from its traditional February date to Saturday 2nd April.

It was a dazzling Hollywood entertainment experience ‘1920’s style’ of dining and dancing. Stepping out in the fashion of a bygone era in the Grand Dining Room of the historic Carrington Hotel, Katoomba.

Full dance floor at the 2022 Great Art Deco Ball…

Dancers Greg Poppleton 1920s Band

Greg Poppleton, Australia’s only authentic 1920s – 1930s singer, brought the ‘twenties’ to life adding a little vintage glamour to the night!

Step out in the fashion of a bygone era and dance the night away, enjoy a sumptuous 3-course dinner, with prizes for best dressed.

In Greg’s band: Geoff Power cornet and sousaphone, Grahame Conlon banjo and guitar, and Richelle Booth clarinet and bass saxophone.

Richelle Booth on the bass sax…

Richelle Booth Greg Poppleton 1920s Band

CARRINGTON HOTEL

The Carrington Hotel is a heritage-listed former spa, hotel and power station and now hotel and public bar located at Katoomba Street, Katoomba in the City of Blue Mountains local government area of New South Wales, Australia. It was designed by John Kirkpatrick and Bosser in 1882; and by Edward H. Hogben with Goyder Brothers in 1911-13; and built from 1882 to 1913 by F. Drewett in 1882; and by Howie, Brown and Moffit in 1912-13. It is also known as Great Western Hotel. The property is privately owned. It was added to the New South Wales State Heritage Register on 2 April 1999.

Geoff Power on the mighty sousaphone…

Geoff Power sousaphone Greg Poppleton Band

The Carrington is the only 19th century grand resort hotel still in use in New South Wales. It also retains much of the fabric of its major phases of development and continues to occupy the commanding position in Katoomba that it has done since its construction. It was built in 1883 by Harry George Rowell, a large hotel owner from Sydney, and was owned by a series of prominent families over the next century. Today it is still operating as a high class hotel providing accommodation and restaurant services.

Grahame Conlon on banjo and guitar…

Grahame Conlon Greg Poppleton 1920s Band

THE GRAND DINING ROM

From 1885 Carrington began to make additions to the premises including an additional wing, dining hall, two drawing rooms and a music room, resulting in 119 bedrooms and seven suites of rooms, two tennis courts and flower and vegetable gardens.. He told a newspaper reporter in 1890 of the improvements he had made. The article read,

“Among the additions and improvements to the building are the following — a wing built (in 1886) of cut stone, and having a southerly aspect, consisting of 20 single rooms, and called ‘the bachelors’ wing.’ Early in 1888 Mr. Goyder, having taken advantage of his right, purchased the hotel, and, finding the accommodation insufficient, added 50 more rooms. This addition stands in the courtyard and is joined to the main building. It is higher than the remaining portions of the hotel and adds to the imposing appearance of the pile. A music-room has also been added to the drawing room, and is separated from it by large folding doors. The floor of the music room is of polished tallow-wood, and is partly covered with Austrian rugs, which are easily removed for dancing. The piano is a Brinsmead, and is considered one of the finest grands; its tone is full and soft. The dining hall is also new; it measures 60ft, by 40ft. The floor is carpeted, and everything conducive to comfort is present. The ceiling is lofty, the lighting good, and the table decorations and menu leave nothing to be desired. This hall is capable of seating 200 guests. There are now 135 rooms in the hotel, among which are seven suites of private apartments, most comfortably furnished and conveniently situated, including one of the prettiest bridal suites to be found in the colonies.”

Geoff Power soloing on trumpet…

Geoff Power Trumpet Greg Poppleton 1920s Band

The book Greg Poppleton’s 1920s-30s music for your event, email Tony Jex at OzManagement tony@ozmanagement.com

Zelda, Magazine of the Vintage Nouveau. 2022 Annual.


Zelda, Magazine of the Vintage Nouveau, is a glossy annual published by the multi-talented US actor, cinematographer and stills photographer, Don Spiro.

If you’re a fan of what matters in Nouveau Vintage in the USA, then this magazine is for you. Even the ads for newly tailored vintage suits and cravats are a great resource for those of us worldwide who look sharp.

zelda cover greg poppleton 1920s jazz

In this, the latest 2022 edition, the Zelda annual invites you to “enjoy a vintage cocktail, and listen to some old jazz while you page through the articles in this issue…”

WHAT’S IN THIS YEAR’S ZELDA

“We start with researcher and historian Garret Richard’s take on Trader Vic’s tropical tequila classic cocktail, El Diablo, followed by Eff’s Style Emporium’s review of the allure of that vintage summer fabric, Palm Beach Cloth.

We have interviews with Jazz-Age-style singer Greg Poppleton and New York burlesque star Dandy Dillinger.

We’ll catch up on the undertakings of Philadelphia bandleader, Drew Nugent and we’ll learn about the history of the Niles Essanay Silent Film Museum.”

zelda open pages greg poppleton 1920s singer

“We’ll learn from Queen Esther how influential accomplishments people of color have gone unacknowledged, and Mr. Burton will enlighten us about appreciating vintage style without vintage values.

We’ll introduce you to the sites of jazz age arts and culture in Atlanta, Georgia, and our Recipe Box feature about the U. S. Department Of Agriculture’s Circular 109 from 1918, “Cottage Cheese Dishes,” appropriately shows how to enjoy tasty recipes in hard times, and with social activities returning, we are thrilled to showcase various Jazz Age and Prohibition-era events that our readers have attended in On The Town.”

It’s an honour to be published in this year’s Zelda.

Get your copy of this sumptuous glossy now for only $US7.50 here

zelda open pages greg poppleton 1920s jazz singer

Get your copy of this sumptuous glossy now for only $US7.50 here

Rosemary Clooney Chain Smoking Singer – Phantom Dancer 1 March 2022


Rosemary Clooney was an American singer, actor and radio host. She’s this week’s Phantom Dancer feature artist where you’ll hear her in radio broadcasts from the 1950s-60s. She’s also actor, George Clooney’s, aunt.

The Phantom Dancer is your non-stop mix of swing and jazz from live 1920s-60s radio and TV hosted by me, Greg Poppleton. Hear past Phantom Dancer online now at https://2ser.com/phantom-dancer/.

This show will be online after 2pm AEST, Tuesday 1 March at https://2ser.com/phantom-dancer/.

ROSEMARY CLOONEY

It’s incredible that she had the beautiful voice that she had despite the heavy smoking that eventually made the end of her life painful before killing her.

From ‘More Than a Girl Singer’, American Association for Cancer Research,

“A long-time smoker, Clooney was hospitalized in 1996 with acute respiratory failure. At that time, her doctors advised her to quit smoking, but Clooney struggled with her addiction. “Mama called me from the hospital and asked me to bring her cigarettes,” Ferrer (one of her sons)  remembers. “It was so hard for her to stop, though she finally did.”

Toward the end of 2001, Clooney was on the road performing when she began to find it hard to breathe. By the time she arrived home in Beverly Hills a few days before Christmas, she was exhausted. “She could hardly get up the stairs,” says Ferrer. “After two steps, she would have to stop and rest.” Less than a month later, Clooney was diagnosed with stage IIIA non–small cell lung cancer. She died six months later, on June 29, 2002, at her home in Beverly Hills with her family beside her. She was 74.”

TALENT SPOTTED

In 1945, Rosemary Clooney’s father went out one night with friends to celebrate the end of World War II. He never came back.

Clooney, 17, and her sister, 14, found themselves in a dire situation. They collected soft drink bottles and used what little money they had to buy lunch at school. The rent was overdue, the phone disconnected and the utilities about to be turned off when their luck changed. The teenagers, who had grown up performing at political rallies for their grandfather, the mayor of Maysville, won a singing competition at WLW Cincinnati, a local radio station. The station hired them for a regular late-night spot, with each sister earning $20 a week (almost US$290 in 2021 money).

They sing with Tony Pastor’s Orchestra, broadcasting and recording with the band until 1949 (as you’ll hear on this week’s Phantom Dancer mix).

In 1950–51, she was a regular on the radio and television versions of Songs For Sale on CBS. In 1951, her record of “Come On-a My House”, produced by Mitch Miller, became a hit. It was her first of many singles to hit the charts—despite the fact that Clooney hated the song passionately. She recorded several duets with Marlene Dietrich and appeared in the early 1950s on Faye Emerson’s Wonderful Town series on CBS. Clooney also did several guest appearances on the Arthur Godfrey radio show.

HOLLYWOOD

In 1954, she starred with Bing Crosby, Danny Kaye and Vera-Ellen in the movie White Christmas…

Two years later she had her own half-hour syndicated television musical-variety show, The Rosemary Clooney Show. NBC re-launched the show in a prime time slot on 1957 as The Lux Show Starring Rosemary Clooney. It lasted one season. In the late 50s and early 1960s, Clooney often appeared with Bing Crosby on television and radio. You’ll hear an excerpt from a 20-minute CBS radio program they did Monday to Friday for years that aired before the midday news.

Clooney left Columbia Records in 1958, doing a number of recordings for MGM Records and then some for Coral Records. Finally, toward the end of 1958, she signed with RCA Victor Records, where she stayed until 1963. In 1964, she went to Reprise Records, and in 1965 to Dot Records.

1970s – 2000s

After a hiatus of 11 years due to pills, alcohol and depression, Clooney signed to United Artists Records in 1976 for two albums. From 1977, she recorded an album every year for the Concord Jazz record label until her death. She was also singing on other people’s albums in 70s and 80s

In 1995, Clooney guest-starred in the NBC television medical drama ER (starring her nephew, George Clooney); for her performance, she received a Primetime Emmy Award nomination for Outstanding Guest Actress in a Drama Series.

She received the Grammy Lifetime Achievement Award in 2002.

Here’s Rosemary Clooney on ‘What’s My Line’,

1 MARCH PLAY LIST

Play List – The Phantom Dancer
107.3 2SER-FM Sydney
LISTEN ONLINE
Community Radio Network Show CRN #534

107.3 2SER Tuesday 1 March 2022
12:04 – 2:00pm (+11 hours GMT) and Saturdays 5 – 5:55pm
National Program
5GTR Mt Gambier Monday 2:30 – 3:30am
3MBR Murrayville Monday 3 – 4am
4NAG Keppel FM Monday 3 – 4am
2MIA Griffith Monday 3 – 4am
2BAR Edge FM Bega Monday 3 – 4am
2BRW Braidwood Monday 3 – 4am
2YYY Young Monday 3 – 4am
3VKV Alpine Radio Monday 6 – 7pm
7MID Oatlands Monday 6 -7pm
6GME Radio Goolarri Broome Tuesday 12am – 1am
2SEA Eden Tuesday 6 – 7pm
2MCE Bathurst Wednesday 9 – 10am
1ART ArtsoundFM Canberra Friday 10 – 11am
2ARM Armidale Friday 12 – 1pm
5LCM Lofty FM Adelaide Friday 1 – 2pm
Denmark FM (West Australia) Saturdays 10 – 11am
Repeat: Wednesdays 10 – 11pm
7LTN Launceston Sunday 5 – 6am
3MGB Mallacoota Sunday 5 – 6am
3BBR West Gippsland Sunday 5 – 6pm

Set 1
A Date With The Duke
Take The A-Train (theme) + Can’t You Read Between The Lines?
Duke Ellington Orchestra
‘A Date With The Duke’
AFRS Re-broadcast
1945
Back Home Again in Indiana
Duke Ellington Orchestra
‘A Date With The Duke’
AFRS Re-broadcast
1945
The Wish I Wish
Duke Ellington Orchestra (voc) Joya Sherill
‘A Date With The Duke’
AFRS Re-broadcast
1945
Cottontail
Duke Ellington Orchestra
‘A Date With The Duke’
AFRS Re-broadcast
1945
Set 2
1950s Jazz Radio
Sugar Beat
Eliot Lawrence Orchestra
Meadowbrook Ballroom
Cedar Grove NJ
WOR Mutual NY
1951
At Sundown
Les Brown Orchestra
‘Treasury Bandstand’
Hershey Park Ballroom
WLAN ABC Lancaster PA
1957
Give Me The Simple Life
Thelma Carpenter
‘Jazz Arts Concert’
WNBC NBC NY
4 Oct 1952
Set 3
Trad Jazz Radio
Bugle Call Rag
Red Nichols
Radio Transcription
1952
Open + South Rampart Street Parade
Preacher Rollo
‘Dixieland Club’
AFRS Re-broadcast
30 Apr 1952
Mama’s Gone, Goodbye + St Louis Blues
Kid Ory
Club Hangover
KCBS San Francisco
5 Feb 1955
Set 4
Rosemany Clooney
‘S Wonderful
Rosemary & Betty Clooney (voc) Tony Pastor Orchestra
Aircheck
New York City
Sep 1948
Tenderly (theme) + You Make Me Feel So Young
Rosemary Clooney
‘The Rosemary Clooney Show’
KNX CBS LA
2 Nov 1954
Enchanted
Rosemary Clooney
‘Bing Crosby – Rosemary Clooney Show’
KNX CBS LA
20 Mar 1962
It’s a Most Unusual Day + Something to Remember You By
Rosemary Clooney and Bing Crosby
‘The Bing Crosby Show’
KNX CBS LA
22 Nov 1953
Set 5
1920s Comm Records
Sunday
Jean Goldkette Orchestra (voc) Keller Sisters
Comm Rec
Camden NJ
15 Oct 1926
Delirium
Red and Miff’s Stompers
Comm Rec
New York City
11 Feb 1927
Flamin’ Mamie
Coon-Sanders Nighthawks Orchestra (voc) Joe Sanders
Comm Rec
Camden NJ
21 Dec 1925
Blue Melody Blues
Tiny Praham and his Musicians
Comm Rec
Chicago
1 Feb 1929
Set 6
Henny Youngman
Love Thy Neighbour (film preview)
Henny Youngman, Jack Benny, Tommy Dorsey & more
Paramount Theatre
WOR Mutual NY
17 Dec 1940
Set 7
 Mid 1940s Swing Radio
Theme + Hamp’s Got a Duke
Lionel Hampton Orchestra
Casa Manana
Culver City Ca
KFI NBC LA
20 Jul 1947
Temptation
Harry James Orchestra (voc) Ginny Powell
Meadowbrook Gardens
KECA ABC LA
10 Feb 1946
Santa Catalina
Raymond Scott Orchestra (voc) Dorothy Collins
Palace Hotel
KQW CBS San Francisco
16 Sep 1947
Andy’s Blues
Count Basie Orchestra
Avadon Ballroom
Aircheck
Los Angeles
1946
Set 8
Women Radio Singers
Manhattan
Lee Wiley
‘Guest Star’
Radio Transcription
New York City
1950
Nobody Knows the Trouble I’ve Seen
Kay Starr (voc) Charlie Barnett Orchestra
‘For the Record’
WEAF NBC NY
11 Sep 1944
Robin Hood
Mildred Bailey
‘Music Till Midnight’
WABC CBS NY
12 Feb 1945
I Miss Your Kiss
Joya Sherill (voc) Duke Ellington Orchestra
‘A Date with the Duke’
WJZ ABC NY
12 May 1945

All Day Practice Makes Outstanding Trumpeter – Phantom Dancer 8 February 2022


Clifford Brown is this week’s Phantom Dancer feature. Clifford Brown was an outstanding jazz trumpeter who in a career spanning only a few years became a jazz sensation . He composed the jazz standards Sandu, Joy Spring (his nickname for his wife) and Daahoud.

The Phantom Dancer is your non-stop mix of swing and jazz from live 1920s-60s radio and TV hosted by me, Greg Poppleton. This week’s Phantom Dancer is a ‘classic’from March last year. I can’t go into the studio because I have caught COVID.

Hear past Phantom Dancer online now at https://2ser.com/phantom-dancer/.

This show will be online after 2pm AEST, Tuesday 8 February at https://2ser.com/phantom-dancer/

CLIFFORD

Brown came from a musical family. His father organized his four sons, including Clifford, into a vocal quartet. He started playing trumpet at school at ten and began private lessons at age thirteen.

He first went to university as a maths major, but music took over. He played in the fourteen-piece, jazz-oriented Maryland State Band. In June 1950, he was injured in a car accident after a performance. While in the hospital, he was visited by Dizzy Gillespie. Dizzy encouraged him to pursue a career in music. He got back into music despite his severe injuries by playing piano while recuperating.

BROWN

Brown was influenced and encouraged by trumpeter, Fats Navarro. He played for a week with Charlie Parker who was amazed by Brown’s trumpet ideas.

Clifford’s first recordings were with R&B bandleader Chris Powell. He worked with Art BlakeyTadd DameronLionel HamptonJ. J. Johnson.a

He formed a band with Max RoachSonny Rollins joined the band and remained a member of the group for the rest of its existence. You’ll hear the Max Roach-Clifford Brown Quintet with Sonny Rollins on live 1956 radio in this week’s Phantom Dancer.

Brown stayed away from drugs and didn’t like alcohol. Rollins, who was recovering from heroin addiction, said that “Clifford was a profound influence on my personal life. He showed me that it was possible to live a good, clean life and still be a good jazz musician.”

Brown also had the habit of practicing all day off-stage, starting from 6am on the band bus. This gave him phenomenal stamina, clarity and tone on the bandstand.

8 FEBRUARY PLAY LIST

Play List – The Phantom Dancer
107.3 2SER-FM Sydney
LISTEN ONLINE

Community Radio Network Show CRN #531

107.3 2SER Tuesday 8 February 2022
12:04 – 2:00pm (+11 hours GMT) and Saturdays 5 – 5:55pm
National Program
5GTR Mt Gambier Monday 2:30 – 3:30am
3MBR Murrayville Monday 3 – 4am
4NAG Keppel FM Monday 3 – 4am
2SEA Eden Monday 3 – 4am
2MIA Griffith Monday 3 – 4pm
2BAR Edge FM Bega Monday 3 – 4pm
3VKV Alpine Radio Monday 6 – 7pm
7MID Oatlands Tuesday 8 – 9pm
1ART ArtsoundFM Canberra Friday 10 – 11am
2ARM Armidale Friday 12 – 1pm
5LCM Lofty FM Adelaide Friday 1 – 2pm
4RPH Brisbane Sunday 3 – 4am
7LTN Launceston Sunday 5 – 6am
3MGB Mallacoota Sunday 5 – 6am
6GME Radio Goolarri Broome Sunday 5 – 6am
3BBR West Gippsland Sunday 5 – 6pm

Set 1
Big Bands on 1946 Radio  
Intro + There’s Good Blues Tonight
Hal McIntyre Orchestra (voc) Johnny Turnbull
‘One Night Stand’
Century Rook
Hotel Commodore NYC
AFRS Re-broadcast
15 May 1946
Without You
Leighton Noble Orchestra
‘One Night Stand’
Starlight Roof
Waldorf-Astoria Hotel NYC
AFRS Re-broadcast
21 Jun 1946
Smoke Gets In Your Eyes + Perdido (close)
Buddy Morrow Orchestra
‘One Night Stand’
Roseland Ballroom NYC
AFRS Re-broadcast
1 Mar 1946
Set 2
Phil Harris  
Music in the Moonlight (theme) + Just Friends
Jimmy Grier Orchestra (voc) Dick Webster
Cocoanut Grove
Ambassador Hotel
TRANSCO
Radio Transcription
1932
Save The Last Dance For Me
Jimmy Grier Orchestra (voc) Donald Novis
Cocoanut Grove
Ambassador Hotel
TRANSCO
Radio Transcription
1932
The More You Hurt Me The More You Make Me Care + Music in the Moonlight (theme)
Jimmy Grier Orchestra (voc) Margaret Lawrence
Cocoanut Grove
Ambassador Hotel
TRANSCO
Radio Transcription
1932
Set 3
West Coast Trad 1949-59 Radio  
I Cover The Waterfront (theme) + Struttin’ With Some BBQ
Estuary Jazz Band
Pier 23
KGO San Francisco
1959
Open + Mississippi Mud
Kid Ory’s Creole Jazz Band
Beverly Cavern Club
KGFJ Los Angeles
28 Jun 1949
March of the Bobcats + Honeysuckle Rose + I’ve Got a Right To Sing The Blues (theme)
Jack Teagarden
Club Hangover
KCBS San Francisco
24 Apr 1954
Set 4
Clifford Brown  
Sweet Georgia Brown + What’s New?
Clifford Brown – Max Roach Quintet
Basin Street
WCBS CBS NYC
6 May 1956
Interview
Clifford Brown interviewed by Willis Connover
‘Jazz Hour’
Voice of America
1956
I Remember Clifford
Oscar Pettiford
Birdland
WABC ABC NY
1957
Set 5
Extended Works by Duke Ellington  
Diminuendo in Blue
Duke Ellington Orchestra
Birdland
WNBC NBC NY
30 Jun 1951
Crescendo in Blue
Duke Ellington Orchestra
Birdland
WNBC NBC NY
30 Jun 1951
Black, Brown and Beige Work Song
Duke Ellington Orchestra
‘Date with the Duke’
400 Club
WJZ Blue NYC
28 Apr 1945
Black, Brown and Beige Spiritual
Duke Ellington Orchestra
‘Date with the Duke’
400 Club
WJZ Blue NYC
28 Apr 1945
Set 6
Harry James Radio Transcriptions  
Do Nothing Till You Hear From Me
Harry James Orchestra (voc) Helen Forrest
Radio Transcription
1943
Caxton Hall Swing
Harry James Orchestra
Radio Transcription
1954
Honeysuckle Rose
Harry James Orchestra (g) Allen Reuss
Radio Transcription
1943
In The Still of the Night
Harry James Orchestra (voc) Paula Gilbert
Radio Transcription
1954
Set 7
Dorsey Brothers Orchestra 1956  
Intro + Song of India
Dorsey Brothers’ Orchestra
Cafe Rouge
Hotel Statler
WRCA NBC NY
1956
Ridin’ Around in the Rain
Dorsey Brothers’ Orchestra (voc) Dolly Houston
Cafe Rouge
Hotel Statler
WRCA NBC NY
1956
Sunny Side of the Street
Dorsey Brothers’ Orchestra (voc) Lynn Roberts
Cafe Rouge
Hotel Statler
WRCA NBC NY
1956
Just For Taking Bows
Dorsey Brothers’ Orchestra
Cafe Rouge
Hotel Statler
WRCA NBC NY
1956
Set 8
Progressive Jazz Radio  
A Foggy Day
Carmen McRae
‘Timex All Star Jazz Show’
CBS TV
30 Dec 1957
They All Laughed
Carmen McRae
‘Timex All Star Jazz Show’
CBS TV
30 Dec 1957
Lester Leaps In
Lester Young
‘Symphony Sid Show’
Royal Roost
WMCA NY
27 Nov 1948
Moose The Mooche + Lullaby of Broadway
Charlie Parker
Birdland
WABC ABC NY
9 May 1953

Cocoanut Grove Radio 1934 – Phantom Dancer 4 January 2022


Ted Fio Rito, band leader, composer and pianist, under the radio pseudonym ‘Vincent Valsanti’, is this week’s Phantom Dancer feature artist in a 1934 Cocoanut Grove radio transcription.

As it’s the holiday season and I’m taking a day off, this is a repeat of The Phantom Dancer broadcast 11 May 2021

The Phantom Dancer – your non-stop mix of swing and jazz from live 1920s-60s radio and TV hosted by me, Greg Poppleton.

Enjoy a whole library of Phantom Dancer mixes online now at https://2ser.com/phantom-dancer/.

This show will be online after 2pm AEST, Tuesday 4 Jan 2022 at https://2ser.com/phantom-dancer/

 

COCOANUT GROVE

The Cocoanut Grove at Los Angeles’ Ambassador Hotel was a lavishly appointed club – part of the massive 23-acre Ambassador resort, which also included four restaurants, a bowling alley, a billiard room, a shopping plaza, and even a movie theater – decorated in Moroccan style and featured full-sized palm trees reportedly salvaged from Rudolph Valentino’s film “The Sheik.” In addition to the decor, which also offered a night sky filled with stars (thanks to about 1000 small light bulbs), an elevated stage, and both dining and dancing room for several hundred patrons, customers came for the smooth musical entertainment provided by a series of dance orchestras and popular vocalists – many of whom would later go on to star careers in radio, recordings, and the film industry.

In the 1980 book, “Are the Stars Out Tonight?”, former Ambassador PR Director, Margaret Tante Burk, recalls the Grove’s opening night:

“…on the night of April 21, 1921… the new club officially opened its Moroccan style, gold leaf and etched palm tree doors… The Cocoanut Grove was aptly named, guests agreed as they were escorted by the maître de and captains down the wide plush grand staircase… Overhead, soaring about the room were cocoanut trees of papier mache, cocoanuts and palm fronds which had been rescued from the sandy beaches of Oxnard where they had served as atmosphere of the 1921 classic, The Sheik. Swinging from their branches were stuffed monkeys blinking at the revelers with their electrified amber eyes. Stars twinkled in the blue ceiling sky, and on the southernmost wall hung a full Hawaiian moon presiding over a painted landscape and splashing waterfall.”

Ray West Orchestra in 1930…

Due to the foresight of Abe Frank, the manager of both the hotel and the Grove, in the mid-1920s the Ambassador had been equipped with a small radio studio, allowing the music of the various orchestras to be broadcast and enjoyed well outside the confines of the nightclub. From the late 1920s well into the 1960s, live “remote” programs broadcast from the Cocoanut Grove were a popular feature of nighttime radio, allowing millions of people to enjoy the music they would otherwise be unable to afford to hear in person. These broadcasts, aired live nightly for two full hours, only increased the reputation of the Grove as “the place to be” when it came to top notch West Coast entertainment.

From the beginning, the Cocoanut Grove’s glamorous atmosphere attracted the top names in Hollywood for dining, dancing, and mingling. This celebrity connection was always well-publicized by the Ambassador and for a very good reason, too: tourists coming to Los Angeles for a vacation wanted to see the stars and there was no place where the stars came out quite so regularly as the Ambassador Hotel. On an average evening, it was common to see such well-known celebrities as Joan Crawford, Jack Oakie, or Jean Harlow coming to see Bing Crosby or Russ Columbo sing with Gus Arnheim’s Orchestra or dance to Jimmie Grier’s band as they accompanied Loyce Whiteman, The Three Ambassadors (Martin Sperzel, Jack Smith, and Al Teeter), or popular tenor Donald Novis. Even though there was a nationwide depression, Hollywood stars and executives still needed to be entertained — and the Cocoanut Grove was often their first choice.

From 1930 to 1943, six Academy Awards ceremonies were hosted at the hotel. As many as seven U.S. presidents stayed at the Ambassador, from Hoover to Nixon, along with heads of state from around the world.

It was the place to be seen even in the 1960s…

In 1968, the Ambassador Hotel was the scene of the shooting of Bobby Kennedy.

Due to the decline of the hotel and the surrounding area, the Ambassador Hotel was closed to guests in 1989. In 2001, the Los Angeles Unified School District (LAUSD) purchased the property with the intent of constructing three new schools within the area. After subsequent litigations to preserve the hotel as a historic site, a settlement allowed the Ambassador Hotel to be demolished in 2005.

VALSANTI

Ted Fio Rito used the pseudonym ‘Valsanti’ for these Cocoanut Grove transcriptions because of an existing recording contract.

Fio Rito was a pianist, hammond organist and the composer of such classic tunes as, “I Never Knew,” “Toot, Toot, Tootsie, Goodbye,” “Laugh, Clown, Laugh,” “Roll Along, Prairie Moon” and “Alone at a Table for Two.”

He started his career as a pianist with a series of bands led by Harry Yerkes, then moved to Chicago in 1921 to join Dan Russo’s band. The following year, he joined with Russo to become the co-leader the Oriole Terrace Orchestra, which he eventually took over when Russo departed in 1928.

Before coming to the Cocoanut Grove in mid-1933, Fio Rito had spent a number of years touring the East Coast and Midwest, including many engagements in Chicago, St. Louis, Kansas City and Cincinnati. An early radio enthusiast, Fio Rito’s band was frequently heard on the air from various nightspots – preparing him well for the regular broadcasts scheduled to emanate from the Grove during his stay.

Musically, the orchestra that Fio Rito brought to the Grove was sweet, smooth and clever, playing highly danceable music accented with temple blocks, rapid triplets, and even an occasional solo on the Hammond organ by its talented leader.

Due to an existing recording contract, Theodore Salvatore Fiorito’s singers also adopted pseudonyms for these transcriptions. Muzzy Marcellino, Fio Rito’s guitarist and primary vocalist, sings as Jack Howard. Howard Phillips sings under the name of Bill Thomas, and Fio Rito’s vocal trio The Debutants appear as The Three Keys. 

Watch Ted Fio Rito from the Cocoanut Grove in this 1934 Paramount short ‘Star night atthe Cocoanut Grove’ also featuring Mary Pickford and Bing Crosby. You’ll hear the extreme high and low four octave voice of Jimmy Durante’s future comic foil Candy Candido in what is thought to be his earliest film performance….

 

 

4 JANUARY PLAY LIST

Play List – The Phantom Dancer
107.3 2SER-FM Sydney
LISTEN ONLINE

 

Community Radio Network Show CRN #525

107.3 2SER Tuesday 4 JANUARY 2022
12:04 – 2:00pm (+11 hours GMT) and Saturdays 5 – 5:55pm
National Program
5GTR Mt Gambier Monday 2:30 – 3:30am
3MBR Murrayville Monday 3 – 4am
4NAG Keppel FM Monday 3 – 4am
2SEA Eden Monday 3 – 4am
2MIA Griffith Monday 3 – 4am
2BAR Edge FM Bega Monday 3 – 4am
2BRW Braidwood Monday 3 – 4am
3VKV Alpine Radio Monday 6 – 7pm
7MID Oatlands Monday 6 -7pm
6GME Radio Goolarri Broome Tuesday 12am – 1am
2MCE Bathurst Wednesday 9 – 10am
1ART ArtsoundFM Canberra Friday 10 – 11am, Sunday 11 – 11:56pm
2ARM Armidale Friday 12 – 1pm
5LCM Lofty FM Adelaide Friday 1 – 2pm
Denmark FM (West Australia) Saturdays 10 – 11am, Wednesdays 10 – 11pm
7LTN Launceston Sunday 5 – 6am
3MGB Mallacoota Sunday 5 – 6am
3BBR West Gippsland Sunday 5 – 6pm

Set 1
Swing Bands One Night Stand Radio  
Theme + Song of the Wanderer
Buddy Morrow Orchestra
‘One Night Stand’
Roseland Ballroom NYC
AFRS Re-broadcast
1 Mar 1946
16:00 On The Clock
Shep Field and His New Music
‘One Night Stand’
Copacabana NYC
AFRS Re-broadcast
9 Aug 1944
Come Rain Come Shine + Close
Hal McIntyre Orchestra (voc) Frankie Lester
‘One Night Stand’
Century Room
Hotel Commodore NYC
AFRS Re-broadcast
15 May 1946
Set 2
1950s-60s Jazz Radio  
Jazz Connoisseur
Harry James Orchestra (dms) Buddy Rich
Moonbowl
Freedomland
WNEW NYC
1962
The Theme
Miles Davis Sextet
‘Treasury of Music’
Birdland
WRCA NBC NY
AFRTS Re-broadcast
25 Aug 1959
 
 
 
Set 3
Benny Goodman in Chicago  
Let’s Dance (theme) + Farewell Blues
Benny Goodman Orchestra
Joseph Urban Room
Congress Hotel
WMAQ NBC Red Chicago
20 Jan 1936
Soft Spring
Benny Goodman Orchestra (voc) Helen Forrest
Panther Room
Hotel Sherman
WMAQ NBC Chicago
10 Aug 1941
King Porter Stomp + Goodbye (theme)
Benny Goodman Orchestra
Joseph Urban Room
Congress Hotel
WMAQ NBC Red Chicago
3 Feb 1936
Set 4
Vincent Valsanti (Ted Fio Rito)  
Serenade of Love (theme) + Flirtation Walk
Vincent Valsanti Orchestra (voc) Jack Howard
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
When You’re in Love
Vincent Valsanti Orchestra
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
Two Cigarettes in the Dark
Vincent Valsanti Orchestra (voc) Phil Thomas
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
Were You Foolin’? + I’ll Take an Option on You + Serenade of Love (theme)
Vincent Valsanti Orchestra (voc) Jack Howard and The Three Blue Keys
Cocoanut Radio Transcription
TRANSCO
Los Angeles
1934
Set 5
1930s German Swing  
Darf ich bitten?
Die Goldene Sieben
Comm Rec
Berlin
Sep 1936
Ja und nein
Die Goldene Sieben
Comm Rec
Berlin
Aug 1939
Aus lauter Liebe
Die Goldene Sieben (voc) Peter Igelhoff
Comm Rec
Berlin
Jul 1937
Oh! Aha!
Die Goldene Sieben (voc) Rudi Schuricke Terzett
Comm Rec
Berlin
Feb 1939
Set 6
Early Dorseys  
Theme + On The Beach at Bali Bali
Tommy Dorsey Orchestra
‘Ford V-8 Show’
Texas Centennial Exhibition
KRLD CBS Dallas Tx
11 Aug 1936
Sandman (theme) + Is That Religion?
Dorsey Brothers Orchestra (voc) Bob Crosby
Riviera
Fort Lee NJ
WEAF NBC Red NY
20 Sep 1934
Weary Blues
Eddy Howard Orchestra
‘Ford V-8 Show’
Texas Centennial Exhibition
KRLD CBS Dallas Tx
4 Aug 1936
Farewell Blues
Dorsey Brothers Orchestra
‘Chrysler Show’
Radio Transcription
1934
Set 7
Sweet Music  
Romance (theme) + We Just Couldn’t Say Goodbye
Ray Herbeck Music with Romance Orchestra (voc) Lorraine Benson
Trianon Ballroom
WGN Mutual Chicago
24 Nov 1947
For You
King Sisters
‘Jubilee’
AFRS Hollywood
Jun 1945
Sweet Lorraine
Frank Sinatra
‘Frank Sinatra Show’
AFRS Re-broadcast
26 Nov 1946
What is This Thing Called Love?
Paul Whiteman Orchestra (voc) Eugenie Baird
‘Forever Pops’
ABC Chicago
1947
Set 8
1930s Fats Waller  
Yacht Club Swing (theme) + Whatcha Know, Joe?
Fats Waller
Panther Room
Hotel Sherman
WMAQ NBC Red Chicago
3 Dec 1940
Pent Up in a Penthouse
Fats Waller
Yacht Club
WABC CBS NY
14 Oct 1938
Sto Beating ‘Round The Mulberry Bush
Fats Waller
WEAF NBC Red NY
16 Jul 1938
I Had To Do It
Fats Waller
Yacht Club
WABC CBS NY
18 Oct 1938

1920s 1930s Jazz Swing Songs by Greg Poppleton – New Album Mix


1920s 1930s Jazz Swing Songs by Greg Poppleton. Enjoy this 53 minute YouTube mix of 1920s – 1930s jazz swing songs. It’s mixed from six albums by Australian 1920s-30s singer, Greg Poppleton.

Greg’s newest album, ’20s 30s Tin Pan Alley Vol. 2′ , is now on
APPLE MUSIC
AMAZON
BANDCAMP
SPOTIFY

1920s-30s Greg Poppleton bookings and Sorcery and Swing Speakeasy Show bookings: visit https://www.gregpoppletonmusic.com/booking-enquiries/

Please visit Greg’s website – https://www.gregpoppletonmusic.com
@Greg Poppleton

1920s – 1930s SONG MIX:
0:00 Tip Toe Through the Tulips
3:48 The Charleston (correct tempo, dancers!)
6:17 Sweet Sue
8:33 Carolina in the Morning
12:13 It’s Only a Paper Moon
14:34 My Gal Sal
17:39 San Antonio Rose
19:47 St James Infirmary
22:47 Singing the Bathtub
24:50 Love Me or Leave Me
28:50 Walkin’ My Baby Back Home
32:27 Exactly Like You
34:39 On The Sunny Side Of The Street
39:54 If I Could Be With You (One Hour Tonight)
42:43 Ain’t She Sweet (Grahame Conlon ukulele)
45:15 Cakewalkin’ Babies From Home
47:46 St Louis Blues

1920s 1930s Jazz Swing Songs by Greg Poppleton Band:
Greg Poppleton: 1920s – 1930s singer
Paul Furniss: soprano, alto, tenor saxes and clarinet
Al Davey: trumpet and trombone
Bob Henderson: trumpet
Matt Baker: piano
Peter Locke: piano
Grahame Conlon: guitar and banjo
Geoff Power: sousaphone
Rod Herbert: sousaphone
Darcy Wright: double bass
Mark Harris: double bass
Dieter Vogt: double bass
Lawrie Thompson: drums and washboard
Joel Davis: drums

Join the Socials:
Instagram: https://www.instagram.com/gregpoppleton/
Facebook: https://www.facebook.com/gregpoppleto…

Greg Poppleton actor credits:
IMDB: https://www.imdb.com/name/nm0973648/