In March 1933, nine
men met in the offices of the J. Walter Thompson Company. Their objective was to fashion a show to
introduce a new product called ‘Miracle Whip’ for the Kraft Cheese Company. This
was at that time when advertising agencies wrote and produced radio shows for
their clients and those present at the meeting were, John U. Reber, Vice-President in
charge of radio for the Thompson Company; Carroll Carroll,
writer for the Burns and Allen/Guy Lombardo Show; H. Calvin Kuhl
and Robert T Colwell, two more of the Company’s top producers; Abbott K.
Spencer, producer of Eddie Cantor’s highly popular radio series for Chase &
Sanborn; George Faulkner and Gordon Thompson who, together, created the
Fleischmann Yeast Hour for Rudy Vallee; Robert A Simon, at that time, music
critic for ‘The New Yorker’ and musical adviser to the Thompson Corporation and
Sam Moore, another successful writer of radio shows.
In order to
incorporate the brand name of the product and to establish an identifiable
locale for the listeners, they decided to christen the yet ‘unborn baby’, ‘The
Kraft Music Revue’. The other prime decision made at the meeting was that the
host should be Paul Whiteman whose orchestra and entourage contained sufficient
talent and variety to sustain the show.
There was the up
and coming young songwriter and comedy singer, Johnny Mercer; Ken Darby and The King’s Men (Jon Dobson, Bud Lynn and Rad
Robinson), a quartet so-called because they appeared with Whiteman -
‘The King Of Jazz’; Johnny House, a ballad singer and Ramona (Davies) the
popular pianist/vocalist. In addition,
the orchestra featured some of the best musicians of the day, in the shape of
Joe Venuti, Oscar Levant, Tommy Dorsey, Frankie Trumbauer,
Roy Bargy, Mike Pingatore and
Jack Teagarden. To inaugurate the series and to ensure a ‘smash’ send-off, a two-hour show, from the New
Amsterdam Roof, starring Al Jolson, was planned for
26th June 1933. Typically, the
egocentric Jolson was still going strong at the scheduled close of the
programme, obliging the Thompson Company to hurriedly negotiate for a further
fifteen minutes of air time. The series, featuring Whiteman together with
special guest stars, ran successfully for two years from New York with the name
being changed to ‘The Kraft Music Hall’ in 1934. Bing made a guest appearance
on 15th August 1935. Later in 1935, it
was decided that the Kraft Music Hall would move to Hollywood, following the
more popular radio stars who were heading 
West to fulfil screen contracts.
The new host was named as Whiteman’s former ‘Rhythm
Boy’, Bing Crosby and on 2nd January 1936, the Kraft Music Hall was
presented from Hollywood. The show was
produced by Calvin Kuhl and written by Sam Moore
until the spring of 1936, when Moore left and Carroll Carroll
took up the writing chores. Carroll Carroll publicly claimed on many occasions to have been
responsible for the development of the personality, which the world would recognise as Bing Crosby.
The much maligned but nevertheless, informative book, ‘The Hollow Man’
by Don Shepherd and Robert F. Slatzer, recounts the
familiar story of ‘Bing’s reluctance to talk’ and of how, ‘Guests were given
‘wild’ lines that were not in the script, thereby forcing Crosby to respond’.
Bing’s ‘character’
has always been a matter of some contention, particularly since his death. In the 1940’s, there were those who were
unkind enough so say that he never played anyone but the character that
appeared in his first Mack Sennett short - a theory that time proved to
be palpably untrue. Further quotes from
the same book, however, offer some sharp contrasts to Carroll’s claims. For example, referring to the period when
Bing was Master of Ceremonies at the Paramount Theatre in 1931, it notes, ‘his
relaxed manner, together with his natural wit and humor
were so popular that Paramount Publix extended his engagement for a further ten
weeks and on his Chesterfield Show (‘Music That Satisfies’), Bing began establishing a format that he
would perfect later on the Kraft Music Hall, (pleasant banter, both written and
ad-libbed - Bing was very sharp at ad-libbing) that would
eventually make him one of the most popular radio personalities of all time.’
The musical
accompaniment for the re-located Kraft programme was supplied by the
recently formed Jimmy Dorsey Orchestra and to counter-balance Bing’s role
as the worldly, hyper-articulate host, the perfect foil was available in
the hillbilly humour of Bob Burns - ‘The
Arkansas Philosopher’. Burns has
achieved a claim to immortality by appearing in both Webster’s and the Oxford
dictionaries as the originator of the ‘bazooka’, a curious instrument, composed
of a few lengths of piping, from which he extracted tones, more amusing, than
musical and which later gave its name to an anti-tank weapon, first used
in the Western Desert during World War II.
For a short period,
Don Wilson announced the programme and there is also a mention of Roger Krupp
but there is now, little doubt, that Ken Carpenter began performing this duty,
much earlier than had been previously supposed.
Carpenter’s contribution to the ‘Hall’s’ popularity should not be under-estimated. In addition to his announcing duties, he was,
on occasions, encouraged to sing (never too seriously), played a wide range of
characters in sketches and for the commercials, became a student at ‘Doctor’
Crosby’s imaginary, KMH University which had been created by Carroll Carroll. The
college’s colours were pomegranate and puce and the
school poet, Edna St. Vitus Mitnick. Football games were contested with rival
universities, rejoicing in such names as Tich Tach Tech and Pulse Normal.
The school song, ‘Hail, KMH’, written by Carroll Carroll
and John Scott Trotter, survived for many years as the closing theme of the
show and could still be detected in the later series, hosted by Al Jolson.
It was on 8th. July 1937 that John Scott Trotter became the Musical Director for
KMH and conflicting reasons are given for the departure of the Dorsey outfit. Dorsey’s own version is that he felt that he
was losing his identity and a weekly radio show was not providing sufficient
exposure for the band. However, this may
have been inspired to offset the implied slur in the other reason given, that
the sponsors considered the orchestra inadequate when handling the mandatory
classical ‘spots’ in the programme.
Among the
criticisms that have been levelled at Trotter’s
arrangements is that he was repetitive and possibly, there is some evidence
which may support this. Students of Bing
Crosby’s recordings may well be surprised when listening to the existing Kraft
material, for the first time, to hear arrangements to which they had become
familiar, as the opening bars in the recordings of ‘East Side Of Heaven’, ‘And
The Angels Sing’ and ‘You Lucky People You’ respectively, serving as
introductions for, ‘I Get Along Without You Very Well’ (March 2, 1939), ‘Hurry
Home’ (December 8, 1938) and ‘My Mind’s On You’ (March 20, 1941) and there are
other examples. Others have denounced
his work as ‘unimaginative’ and it is true that one can detect slight
acknowledgments to ‘Rustle Of Spring’ in ‘Sweet Little You’ (October 21, 1937)
and more overtly, ‘The Entry Of The Gladiators’ in ‘Marie’ (October 28, 1937)
but it would be naive to suppose that John Scott really intended to deceive
with these tongue in cheek ‘plagiarism’s’.
A few, unable to express their disapprobation more coherently, merely labelled his accompaniments, ‘hackneyed’ or ‘corny’ but his
prodigious workload for the Kraft Music Hall series cannot be denied, including
not only arrangements for Bing but also for the Music Maids’ backgrounds, the
various female singers’ vocals and at times, some of the guests.
Perhaps it would be
as well to leave the last words on this subject to the person who was in the
best position to judge. Bing maintained an association with Trotter which
endured for twenty years of broadcasting and recording without, it is said, any
formal contract. At the commencement of
this comfortable alliance, he is quoted as saying, ‘I just know he is very good
and he has marvellous taste’ - and towards the
end, that opinion had not changed when he described John’s orchestrations as,
‘....never obtrusive...always in good taste’.
To add a little
romantic interest to the proceedings, a regular place was found for an
attractive ‘chanteuse’ who, on occasions, dueted with
Bing, in addition to having her own solo spot.
Among those engaged to fill this role were Connie Boswell (her adoption
of the name ‘Connee’ coincided with her departure from the Hall), Mary Martin,
Janet Blair, Marilyn Maxwell, Eugenie Baird and Trudy Erwin.
During his radio
career, Bing Crosby seems to have found somewhat more affinity with a ‘backing
group’ than some other solo performers.
He would probably have said, ‘I like somebody to share the blame!’ but
it is a personal belief that Bing enjoyed this dueting,
relishing the competition and at times, taking the opportunity to indulge in
musical ‘ad-libs’ and asides, thus enhancing the ‘laid back’ quality of
the performance, to the benefit of the listener. Appertaining to this, the previously
mentioned Trudy (Virginia) Erwin had graduated from ‘The Music Maids’, a
quintet which joined the programme in February 1939, replacing the Paul Taylor
Choristers who had been providing vocal support for Bing until that time. Apart
from Trudy, the other four members were June Clifford, Dorothy Messmer, Alice Ludes and Denny
Wilson. Inevitably, the personnel
altered over the years and the group was eventually reduced to a quartet, later
still to become, variously, ‘The Music Maids & (Hal) (Phil) (Lee)
(Men)’. Other combinations who filled
this role were, The Charioteers, a coloured group,
composed of Wilfred ‘Billy’ Williams, Eddie Jackson, Ira Williams, Howard ‘Doug’
Daniel and James Sherman (Piano) who were, ultimately, to be carried forward by
Bing to his Philco Radio Time series and The Kraft Choral Club (Society)
(Group), originally composed of 90 employees from Kraft’s home office in the
East, who, invariably made featured contributions at Christmas and Easter.
Sometime,
scriptwriter and ‘warm-up’ man for the Hall, Leo ‘Ukie’
Sherin found some measure of permanence, for a couple
of seasons, playing a buffoon whose general ‘dumbness’ was only exceeded by his
ambitions to be the star of the show.
One of KMH’s outstanding discoveries was Victor Borge who came for a
week and stayed for more than a year! On
occasions, he hosted the programme, eventually progressing to his own,
internationally acclaimed, one-man show.
Two other popular
comics emerged from the ranks of the Trotter orchestra. Jerry Colonna, a trombonist, described by
Bing as, ‘the only singer who started on his high note and then went up’ went
on to became an invaluable member of the Bob Hope ‘troupe’ and appeared in
several movies including two ‘Road’ pictures.
There was also Spike Jones who, together with John Scott and Perry
Botkin, created the inimitable musical style of Spike Jones and his City
Slickers, originally intended to accompany Bob Burns’ efforts on the ‘bazooka’.
While not
necessarily being regarded as the supreme accolade, it was considered a
reasonably prestigious compliment to make a guest appearance on the Kraft Music
Hall and indeed, some stars actually asked to appear, even though the
remuneration was some way below that by other shows of similar standing. There were, however benefits in the form of
minimal time spent on tiring rehearsals and a bumper hamper of Kraft products
from the sponsors. A perusal of the
relevant index reveals that the guest list was nothing short of
breathtaking. Stars from Hollywood and the
concert hall, top sporting personalities, as well as literary figures and even
politicians dropped in. There appeared
to be a tacit rivalry between the Fleischmann show and KMH as to who could come
up with the biggest and the best. While
Rudy Vallee rubbed shoulders with Gertrude Lawrence, Noel Coward, Eddie Cantor
and Tyrone Power, Crosby chatted to Leopold Stokowski, Amelia Earhart, Spencer
Tracy and John McCormack.
In the beginning,
the show was to have no audience, due, it is said, to Bing’s reluctance to
‘dress up’ and to wear his toupee but a compromise was reached when it was
decided that an audience was needed to provide the essential laughter for
timing ‘gags’. Members of the show were
permitted to bring along friends who were allowed to laugh but not
applaud. Very soon, On Thursday nights,
these ‘friends’ were forming extensive queues outside the NBC studios until, in
the end, it became so difficult to prevent the audience from breaking into
spontaneous applause that the rules had to be abandoned.
After Pearl Harbour and to some degree, even before, KMH became a
typical wartime radio programme. Members
of the armed forces and officials from government agencies were featured and in
line with other leading radio shows, ‘allocations’ were received from the
Office of War Information. These
allocations were in the form of broadcast appeals to the public to join in the
war effort of the nation. The
effectiveness of these propaganda ‘plugs’ can be judged by the erroneous
announcement (read by Bing), of a minimum age requirement which resulted in a
flood of under-age volunteers having to be turned away on the very next
day. The musical content of the shows
altered, quite dramatically. To some
extent, the more mawkishly sentimental songs were eschewed in favour of the rousing marching songs of the various
branches of the armed services and the patriotic products of Tin Pan Alley,
such as, ‘Comin’ In On A Wing And A Prayer’; ‘Praise
The Lord And Pass The Ammunition’,; ‘Vict’ry Polka’;
‘The Bombardier Song’; ‘A Hot Time In The Town Of Berlin’; ‘Ridin’
Herd On A Cloud' etc., and musical invocations stressing the need to invest in
War Bonds, as in ‘The Road To Victory’ and ‘Any Bonds Today?’.
Possibly, the most
poignant story connected with the show occurred very soon after the beginning
of the war with Japan, when General Douglas MacArthur and his troops were
beleaguered by the Japanese invaders in the Philippines and a weary corporal in
the Signal Corps, felt lonesome for the voice of Bing Crosby. He sent a coded message requesting a short
wave broadcast to the Philippines, ‘in order to divert our thoughts from the
pressure of battle’. The request was
transmitted by MacArthur to Washington, which resulted in a personal telegram
being sent to Bing, saying, ‘General MacArthur is specifically asking you to
broadcast to the men in the Philippines on Bataan Peninsula’ and thus on the
29th January 1942, the complete programme was dedicated to the fighting men in
that far-off Theatre of Operations. The end of the war roughly coincided
with the commencement of hostilities which presaged Bing’s departure from the
Kraft Music Hall but by this time, the programme was assured of its rightful
place in ‘The Golden Age Of Radio’ and this, surely, was also the Golden Age
for Bing Crosby, when he was at the peak of his career, commanding a listening
audience measured in excess of an astonishing fifty million!
Compiler’s Notes
From a personal viewpoint, the Kraft Music Hall
radio programme has been always been the Holy Grail of Crosbyana, covering ten years, during which
an emergent crooner, with an agreeable personality, rose to be a Twentieth
Century icon. Unlike the later, Philco, Chesterfield or General Electric series
of which, complete copies exist, providing a perfect continuity and means of
verification, the Kraft series (with the exception of some of the later shows)
has no such continuity and relies on hearsay and (notoriously flawed) newspaper
columns. Without being too critical of ‘hearsay’ on which, a great deal of the
World’s history is based, it is an accepted fact that a great proportion of the
programmes do not survive in complete form, making it impossible for anyone to
be certain of their exact content.
It would seem that even regular participants in the shows
are not immune to confusion. A quote by Trudy Erwin appears in the sleeve
notes for the LP issue Spokane 23 ‘Bing & Trudy’, thus, ‘one of the songs
Bing and I sang together was ‘Stay As
Sweet As You Are’. Strange as it seems, when I was a senior in
high school, I had harmonised
that very same song with a record of Bing, in a little recording booth at the
World’s Fair’.
Discographers would be as delighted to find this record, as I would to
find a place for the duet in this Directory! Or, is Trudy remembering, ‘The Way You Look
Tonight’ which qualifies on both counts and has some vague lyrical
resemblance.
Fifteen years ago, I produced a very limited edition of
twenty-five copies of a Directory for this series. At that time, I
bemoaned the fact that I still had a list of guest stars who were supposed to
have appeared and songs that were alleged to have been sung for which I could
find no place.
Further research, has resolved many of these queries but some remain and
I have little doubt that there are copies of shows in existence that I have not
had the benefit of hearing. For example, there is evidence that a copy of the
programme of the 18th April 1940 endures, featuring a Crosby duet of ‘Alice Blue
Gown’ with Anna Neagle. (Come on, own up.
Who’s got it?).
I am equally sure that there are those whose knowledge is greater than
mine who could add more detail to this Directory. In spite of these pitfalls, a strenuous
effort has been made to avoid assumption and I have resisted including the names
of even the most regular of the personnel, unless there is a modicum of evidence
to support their inclusion.
There is no doubt that excerpts from the Kraft Music Hall
were used in programmes generated by the Armed Forces Radio Service. The
transcribed AFRS Music Hall series which was short-waved at noon on Sundays
provides glimpses of shows which may no longer be available in their original
form. Here,
the hazard to the researcher is that although they may have been based on an
original Kraft programme, ‘wild’ songs have been inserted, by Bing or others,
from other shows, in order to produce a full hour/half hour, without
commercials.
It is also an accepted fact that Kraft provided the source for many of
the V-Discs that were issued during World War II. There is a school of thought
which suggests that Bing performed the show twice, explaining the difference,
between the broadcast version of a song and that issued on V-Disc but it has
been established that many of these ‘alternates’ were recorded from same day
rehearsals for the programmes. I would further suggest that these
‘rehearsals’ were somewhat more formal than usual as it has been noted that, at
a rehearsal, Bing might ‘la, la, la’ his part, saving the lyric (and his voice)
for the actual broadcast. Please note that I have chosen to link these V-Disc
issues with either the original programme or its rehearsal, on occasions,
pointing out the salient differences.
As with other sections of this Directory, the 385 separate
programmes, which comprise the Kraft Music Hall series, have been divided into
‘seasons’.
Special mention is made because although the ‘seasons’ may still,
roughly, coincide with Bing’s annual vacations, compared with other series, they
were, perhaps, slightly more unpredictable. It should be pointed out, however, that the
Kraft Music Hall was a year-round programme and during Bing’s absences, ‘The
Hall’ was hosted by other personalities, including, Bob Burns, Mary Martin, Bob
Crosby, Victor Borge, George Murphy, Frank Morgan etc.
It has not been deemed practicable to show details of commercials, comedy routines or sketches but when known, musical items by other artistes have been included. Please note that some titles may not be shown in the original order of their presentation.
2023
Update
When
Lionel prepared his
magnificent listing of these Kraft shows, the only details available to
him for
the first few seasons were the titles of Bing’s solos and the names of
the
guests. All the scripts for the Kraft shows are held in the J. Walter
Thompson
archives at Duke University in North Carolina however and we have
subsequently employed
a researcher to copy the scripts for us. This has enabled us to provide
more comprehensive
information of the shows and it’s fascinating to discover that Bing
sang duets
with top opera stars on occasion. We are particularly grateful to David
Currington for his work on deciphering the Program Director's notes. A sample of one of the scripts can be seen here.
Programmes Nos. one to four were hosted by Paul Whiteman, in New
York and each show included two cut-ins from Hollywood, featuring Bing
Crosby. He was
accompanied by the Jimmy Dorsey Orchestra although there are contra indications
that Tommy Dorsey accompanied Bing for the last two shows and Jimmy Dorsey for
the first two.
The rift between the Dorsey brothers occurred in May 1935 when Tommy
Dorsey left the band.
Bing Crosby regarded both of them as friends and they were persuaded to
make one final appearance as the Dorsey Brothers to record Bing’s songs from
“Two For Tonight” and “The Big Broadcast Of 1936” on August 14th. The following is an
extract from “Variety” dated 18th September 1935, reviewing a Kraft Music Hall
programme, then still under the aegis of Paul Whiteman, “Bobby Burns, a funny,
(though) not convulsively so, man who sought laughs by gentle, homey, Will Rogeresque methods and reveals a
delivery which has warmth and sincerity was vastly superior to his own
material. This
formula will be employed until December 1st when Whiteman takes his crew off the
show and Bing Crosby and the Dorsey’s enter. Crosby should walk
into an audience riding at peak size, for the present day set-up makes for
edification.
Whiteman’s own announcing is no small measure of the pleasure dished out
by the show”.
From the same journal, there are further references in December showing personnel listings for the relevant programmes, which identify the brothers separately. By this time, Tommy Dorsey had his own orchestra, having taken over the Joe Haymes band, virtually intact. Is it possible that they both had a crack at the job?
(UPDATE: It has now been confirmed that Tommy Dorsey was not involved. He was busy in New York establishing his own band.)
No. 1 5th December 1935
With Ford Bond, Paul Whiteman Orchestra, Jack Teagarden, Durelle Alexander, Ramona and The King's Men.
No Other One
Durelle Alexander
Mississippi Mud
Paul Whiteman Orchestra
Medley:
(a)
accompanied by Jimmy Dorsey Orchestra
*Please
*Learn To Croon
*June In January
*From The Top Of Your Head (To The Tip Of Your Toes)
Blow Gabriel, Blow Ramona and The King's Men
*Red Sails In The Sunset (a) accompanied by Jimmy Dorsey Orchestra
*On Treasure Island (a)
Note:
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“As star of the Kraft Music Hall series on
NBC/KFI at 7 pm, Paul Whiteman will introduce his buddy with a fanfare of tunes
made famous by Crosby. Whiteman opens the program in New York City
and then Bing will take over the microphone in Hollywood. Crosby will sing,
‘June In January’, ‘Learn To Croon’, ‘From The Top Of Your Head’, ‘Red Sails In
The Sunset’ and ‘Without A Word Of Warning’”.
(“Los Angeles Times” 5th December 1935)
“Crosby air-fanatics may rejoice, for the
maestro of croondom inaugurates
his new series of weekly broadcasts, tonight. His Majesty, the King of Song joins His
Majesty, the King Of Jazz, for one month, in a series of programs originating
in New York with at least two cut-ins from the Hollywood, during each broadcast.
At the end of that time, Crosby himself, will take over the entire Music Hall
series, bringing the cast to the Pacific Coast. Perhaps, the most noteworthy and
incidentally, most recent addition is bazooka tootin’ Bob Burns. Burns, at the present time has a 26 week
contract with the sponsors. However, it is quite possible that he will
launch a cinema career on arrival in Hollywood.”
(“San Francisco Chronicle” 5th December 1935)
Cal
Kuhl, J. Walter Thompson Program Director, commented: "Band still nervous at playing with Bing. It'll wear off shortly."
No. 2 12th December 1935
With Ford Bond, Paul Whiteman Orchestra, Jack Teagarden, Durelle Alexander, Ramona and The King's Men.
Dance My Darlings The King's Men, Paul Whiteman Orchestra
Somebody Ought To Be Told The King's Men, Paul Whiteman Orchestra
Medley: (a) accompanied by Jimmy Dorsey Orchestra
*Thanks
*Temptation
*Love In Bloom
*I Wish I Were Aladdin
Waiting For The Robert E. Lee Paul Whiteman Orchestra
If You Were Mine The King's Men, Paul Whiteman Orchestra
Impromptu In F Sharp Major Ramona (piano solo)
Don't Put Your Daughter On The Stage, Mrs. Worthington Ramona
Three Little Words Jack Teagarden, Paul Whiteman Orchestra
Bass Drum Dan Paul Whiteman Orchestra
I Dream Too Much Paul Whiteman Orchestra
I've Got A Feeling You're Fooling
Durelle Alexander
*Here’s
To Romance
(a)
*After
You’ve
Gone
(a)
*Take Me Back To My Boots And Saddle (a)
Introduction To A Waltz Paul Whiteman Orchestra
Drums In My Heart Paul Whiteman Orchestra
Note:
Paul Whiteman
will salute a fellow radio star in the Music Hall program tonight when he plays
a medley from Sigmund Romberg’s new musical play, “May Wine.” Aside from Romberg
himself, Whiteman
will be the first to play the music on the air. Bing Crosby will again broadcast
his portion
of the Music Hall Show from Hollywood with Whiteman and his entertainers in New
York during the program over WEAF from 10:00 to 11:00.
Bing,
accompanied by Jimmy Dorsey’s orchestra, will sing several numbers which he first
popularized. Among them “Thanks,” “Temptation,” “Love in Bloom" and “I Wish I Were Aladdin.”
Unusual
features to be provided by the Whiteman troupe include a banjo novelty played by
Mike Pingatore, one of the best-known banjoists in the country and a member of
the Whiteman band. With the orchestra Pingatore
will play “Waiting for the Robert E. Lee.” On the classical side, Ramona presents
a piano solo, Chopin’s “Impromptu in C Sharp Minor.” In sharp contrast she will
sing a novelty number called “Mrs. Worthington.”
(Brooklyn Times Union, December 12, 1935)
Cal Kuhl, J. Walter Thompson Program Director, commented: "TECHNICAL:
O.K Balance and pick-up definitely
superior to last week because (a) New studio and equipment better. (b) Band
played softer, music stand between Bing and the mike kept him from coming in
too close. ENTERTAINMENT: Excellent"
No. 3 19th December 1935
With Ford Bond, Paul Whiteman Orchestra, Anna Hamlin, Jack Teagarden, Durelle Alexander, Ramona and The King's Men.
Just One Of Those Things Paul Whiteman Orchestra
Begin The Beguine Ramona
Me And Marie The King's Men
Medley:
(a)
accompanied by Jimmy Dorsey Orchestra
*I Kiss Your Hand, Madame
*I’m Yours
*I Surrender Dear
*From Monday On
Spring Song Anna Hamlin
A Kiss In The Dark
Anna Hamlin
Jail House Blues The King's Men
Southern Holiday Roy Bargy, Paul Whiteman Orchestra
St. Louis Blues Jack Teagarden, Paul Whiteman Orchestra
On The Nodaway Road Ramona
*Alone
(a)
*Dinah
(a)
*Red Sails In The Sunset (a)
Rhythm In My Nursery Rhymes Durelle Alexander
Blue Danube Waltz Paul Whiteman Orchestra
Note:
“Paul Whiteman and Bing Crosby will, again be
3000 miles apart for their current Music Hall program over NBC and KFI at 7
pm. Maestro
Whiteman will present Anna Hamlin, popular American soprano, on his portion of
the bill while Crosby will contribute tune hits of the past and present,
including ‘Alone’, ‘Dinah’, ‘I Surrender Dear’ and ‘You Are My Lucky Star’”.
(“Los Angeles Times” 19th December 1935)
“Anna Hamlin, popular American soprano, will be
the guest of Paul Whiteman during the Whiteman Music Hall on NBC-WSMB at 9
pm. Bing
Crosby and his Orchestra (sic), Ramona and the King’s Men also will be
heard.”
(“New Orleans Times-Picayune” 19th December 1935)
No. 4 26th December 1935
With Ford Bond, Paul Whiteman Orchestra, Bob Burns, Anna Hamlin, Ramona and The King's Men.
Rhapsody In Blue (Gershwin)
Opening Theme
I Feel A Song Comin’ On
Ramona and The King's Men
Anything Goes Medley: (a) accompanied by Jimmy Dorsey Orchestra
*Sailor
Beware
I Get A Kick Out Of You Kay Weber
Anything Goes Dorsey Trio
*Moonburn
*My Heart And I
Farewell Blues
Paul Whiteman Orchestra
When Hearts Are Singing Anna Hamlin
I Dream Too Much Anna Hamlin and The King's Men
Little Jackie Horner The King's Men
Caprice Viennois (Kreisler)
Paul Whiteman Orchestra
*Thanks
A
Million
(a)
Jingle Bells Bob Burns (bazooka)
*You Are My Lucky Star (a)
You Took Advantage Of Me Ramona
When Day Is Done
Paul Whiteman Orchestra
Rhapsody In Blue (Gershwin) Closing Theme
Note:
It's
always difficult to say goodbye to an old friend—but that's what it'll be
tonight when Paul Whiteman and orchestra come to the Music Hall microphone at 10:00
p.m. over NBC-WIOD. Paul and his troupe of entertainers will be making their last
appearance on this show. But there are two facts that make it easier for us, who
listen. One is that Paul and his troupe will undoubtedly be back on the air before
long—after they've had a bit of a vacation. The other is that the show has an
able star to carry on.
That
star is Bing Crosby who has been featured on the Music Hall program for the past
few weeks. And in addition, Bob Burns, the Arkansas Traveler, has been signed
up for a 26-week contract to appear as regular star. Bob will make his initial appearance
on next week’s broadcast.
(The
Miami News, December 26, 1935)
1936 Season with the Jimmy Dorsey
Orchestra
The Hooper rating for the season was 14.8, which
put the show in 17th. position for evening programs. The top program with a
rating of 45.2 was the Major Bowes Amateur Hour that was broadcast every Sunday
evening. Rudy Vallee’s show had a
rating of 28.2.
No. 5 2nd January 1936
With Don Wilson, Bob Burns, Ruggiero Ricci,
Eleanore Whitney, Bobby Wilson, Bobby Grayson, Kay Weber, The Four Blackbirds,
Paddy Patterson and Cecil B. De Mille.
*Eeny-Meeny-Miney-Mo
(a)
Bobby Wilson and Bobby Grayson spot
Old Man Harlem Jimmy Dorsey and His Orchestra
Night Winds The Four Blackbirds
The Lonesome Road Bob Burns (bazooka)
The Gentleman Doesn't Believe In Making Love Kay Weber
Tchaikovsky Melody Ruggiero Ricci
Moto Perpetuo Ruggiero Ricci
*I’ll
See You In My Dreams
(a)
Music for dance routine Eleanore Whitney
Double Trouble Jimmy Dorsey and His Orchestra
Cecil B. De Mille spot
Banjo Solo Paddy Patterson
*Take Me Back To My Boots And Saddle (a)
Note:
It was from this point onwards that Bing became
resident host of the show, which was produced in Hollywood. His first shot at
hosting the Kraft Music Hall was not too enthusiastically received:
“About the only thing missing from the
conglomeration of entertainment that served to debut Bing Crosby as the master
of this Thursday evening spot was a pair of Australian woodchoppers. (The) program was
not only, badly routined and
paced but talked itself into a state of painful boredom. Even allowing for
the fact that the producers equipped him with a lollapalooza of a script, Crosby
must have been largely to blame for the fog he walked himself into. There may be
many moments in the session when hosts of listeners must have wished that the
guy would quit blabbering and go into one of his songs. Introductory stanza as
fashioned and run-off did little to bring Jimmy Dorsey’s outfit into favourable relief. Sparse were the
passages permitted this aggregation, while the selections, with one exception,
that which gave Dorsey free swing of his clarinet, made this up and coming
outfit seem pretty thin. (The) bill mixed boy violin prodigy, Ruggiero
Ricci with the innocuous patter of the gridiron berserkers, Bobby Wilson and
Bobby Grayson, the swift and finely clipped tap-dancing of Kay Weber
(i) with Cecil B. De Mille’s reminiscences of is struggles
and early success as a producer. Crosby had to talk it over, at length, with
each act before they could go into their routine but the top piece of awkwardly
contrived self-characterisation
came when the baritone assumed the pose of a little schoolboy, asking questions
of the Dean of Hollywood producers. It was a self-effacing attempt that had
phoniness written all over it. Nevertheless, Crosby did a version of ‘Boots
And Saddle’ that was cooked to the queen’s taste.”
(“Variety” January 8th 1936)
"The
new Kraft cheese show continues in the vein similar to the one over which Paul
Whiteman presided. A guest star program, with Bing Crosby now as the star. In
addition to Crosby the steady acts will be the Jimmy Dorsey Orchestra and Bobby
Burns. Hillbilly humourist. These three insure a good show by themselves, and
with a heavy budget for guest stars, as the sponsor affords, it’s difficult to
see how the show can go wrong. Agency on the show is the J. Walter Thompson Company
and the style is similar to its pet formula, as evidenced in the Fleischmann
Yeast and Shell Oil programs.
Principal
trouble with the first program was that there was a plethora of talent. It
seemed like a benefit—the acts came with seemingly no cessation. This caused too
slow a pace. The acts exclusive at the three named, included Ruggierio Ricci,
15-year-old concert violinist; Cecil B. DeMille; Bobby Wilson and Bobby Grayson,
football stars: Eleanor Whitney, Paddy Patterson, the Four Blackbirds, the
Dorsey Trio and Kay Weber. Last two are integral parts of the Dorsey outfit. Ricci’s
playing was the program high spot. While DeMille spoke entertainingly on the
early days of pictures. Patterson gave a pip of a banjo solo and Miss Whitney
did some tap dancing. She’s a good dancer, but tapping still remains rather
meaningless over the air.
Crosby,
as expected, did his usual crooning. He remains radio’s stylist in his line,
which he created and of which he is the best exponent. Burns could have done
more than his one shot. His humor is productive of steady laughs. Dorsey’s
Orchestra plays in the style previously used by the Dorsey Brothers’ outfit.
Commercials
plugged the English cheddar product of the sponsor. They were handled by Don
Wilson, a headliner in his field."
(Billboard, January 11, 1936)
Note (i) Along with juggling, tap-dancing could hardly be called ‘the greatest act on radio’. Kay Weber, who was featured in subsequent programmes is later described as a ‘singer’ and indeed, she vocalised with several bands, including those of Smith Ballew and Bob Crosby but more significantly, in this context, with the Jimmy Dorsey Orchestra. In truth, the reviewer has become confused. EleanoreWhitney is the tap-dancer of the assembly. A piece of sheet music for “Go Fly A Kite”, published in 1939 by the Famous Music Corporation, New York, carries a biographical note on Tommy Dorsey and offers the following, “the Dorseys sometimes made recordings together with radio studio musicians rounding out the band. The success of these records led them to forming their own band and in the spring of 1934 they were playing at the Sands Point Beach Club, with Bing (sic) Crosby and Kay Weber as the vocalists”. (A case in point - A genuine error or has history been twisted for dramatic effect? The male vocalist would have been brother Bob)
Cal Kuhl, J. Walter Thompson Program Director, commented:
"TECHNICAL:
Trouble with Crosby keeping into the mike too closely.
ENTERTAINMENT:
Good show – with De Mille interview a highlight. Ricci, only fair, as fiddler.
GENERAL:
Show may need a bit of working over to find correct formula for fit to Crosby
style and personality."
No. 6 9th January 1936
With Don Wilson, Bob Burns, Joe Venuti, Rupert
Hughes, The Clark Sisters, Mischa Levitzki, Kay Weber and The Radio Rogues.
*A
Little Bit
Independent
(b)
Pardon Me, Pretty Baby Joe Venuti (Violin)
Rupert Hughes interview
*Some Of These Days
(a) (b) (c)
Ida (Sweet As Apple Cider)
Bob Burns (Bazooka)
Rock And Roll
The Clark Sisters
When I Grow Up
The Clark Sisters
*I Found A Dream (b)
La Campanella (Paganini) Mischa Levitzki (Piano)
Waltz In A-Major (Levitzki) Mischa Levitzki (Piano)
The Dorsey Dervish (Dorsey)
Jimmy Dorsey Orchestra
When The Moon Comes Over The Mountain /
Where The Blue Of The Night / Thanks A Million
(d) The Radio Rogues
*With All My Heart
(a) & (b)
Notes:
(a) JSP1076 - “Bing
Crosby In The Thirties - Volume One”
Spokane 14 - “Bing In The Thirties - Volume Two”
CD - JSP 934A – “Bing Crosby – The Vintage Years 1932-1937”
(b) CD - JSP6701 - “Bing Crosby - Kraft Music Hall - Lost Radio Recordings”
(c) CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
(d)
Brief imitations by The Radio Rogues of Kate
Smith, Bing Crosby and Dick Powell as part of their act.
(“San Francisco Chronicle” 9th January 1936)
“Crosby again, will be Master of Ceremonies in
gruff manner.
Alas for him, he apparently, will have to run out his contract in this
role so unfitted to him. Everybody makes mistakes and Crosby certainly
chalked up an error when he agreed to an m.c. part. His singing will have to be awfully good to
offset it”
(“Los Angeles Illustrated Daily News” 9th January 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented:
“TECHNICAL:
Well engineered – Crosby now keeping away from mike.
ENTERTAINMENT:
Excellent show – fast moving and distinguished by performance of Levitzki and
Hughes.
GENERAL:
Crosby in fine fettle – show changed from opening program and now is more in
the Crosby style – which is distinctive and different.”
In his program report for the first show, Kuhl complained about Bing’s stubborn hugging of the
mike and worried, “Show may need a bit of working over to find correct formula
to the Crosby style and personality. Improvement was immediate. Following the
second installment, Kuhl exulted,
“Crosby in fine fettle. Show changed from opening program and now is more in
the Crosby style, which is distinctive and different.”
He found it well engineered and fast moving, especially praising
contributions by classical pianist Mischa Levitski and commentator Rupert Hughes. Bing even held
back on the mike. The jazz and humor quotient
were raised by old friend Joe Venuti, whose
impertinent, monosyllabic wit invariably made Bing laugh and who, in the argot
of musicians, could swing you into bad health. On the next few shows,
guests included John Barrymore (who arrived in his cups yet, steadied by Bing,
flawlessly rendered Hamlet’s soliloquy), Percy Grainger, Joe E. Brown,
Leopold Stokowski, and Marina Schubert, a minor
actress whose singing made her an early KMH favorite.
(Gary
Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940,
pages 399-400)
(Some confusion has been caused, according to which source is consulted regarding a singing group which makes the first of four appearances on this programme. The Clark Sisters are also referred to as The Clarke Sisters, The Park Sisters and The Park/Clark Kids. It might be reasoned that they were the singing group who appeared with Blue Barron and his Orchestra in the Thirties, on the other hand they could be three entirely different acts! There may be those who will be more impressed by the fact that Rupert Hughes was also Howard Hughes’ uncle.
UPDATE: The Clark Sisters at that time comprised Jean (12), Ann (10) and Peggy (8). The Park Sisters were their cousins)
No. 7 16th January 1936
With Don Wilson, Bob Burns, Kay Weber, Raphael, Nina Koshetz, Marina Schubert, The
Roberts Brothers, and John Barrymore.
*Someone Stole Gabriel’s Horn
Top Hat, White Tie And Tails Jimmy Dorsey Orchestra
Where The Blue Of The Night Bob Burns (Bazooka)
You Gotta Have Rhythm The Roberts Brothers
The Stuff Is Here The Roberts Brothers
Soliloquy from Hamlet John Barrymore
*Please Believe Me
Zigeunerweisen Raphael (concertina)
Dinner For One Please, James Kay Weber
*My Blue Heaven
Dorsey Stomp Jimmy Dorsey Orchestra
Margeurite's Song Marina Schubert
*The Music Goes ‘Round And ‘Round
*One Night In Monte Carlo
(a)
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“John Barrymore and Nina Koshetz, famous operetta star of the Imperial
Russian Opera during the Tsarist regime will headline today’s Music Hall
show.
Barrymore will be heard in the first dramatic presentation of the new
series and Mme. Koshetz will be
heard as featured soloist. Barrymore inaugurates a new policy which will
present stage and screen stars on future Music Hall broadcasts. Mme. Koshetz was born in Kiev and studied at
the Moscow Conservatory; she made her concert debut at the age of seventeen and
later became a famous personality of the Imperial Opera. During the
Revolution she was forced to flee with other Tsarist supporters, her flight
eventually taking her to America. Her first appearance was in Detroit, since
then she’s been soloist with the leading Symphonies and a star of the Chicago
Civic Opera Company.
Bing Crosby as master of ceremonies will introduce the stars at his
weekly party and will sing some of the songs he has popularised during his movie and radio career, in
addition to several new numbers”.
(“San Francisco Chronicle” 16th January 1936) (NOTE: Nina Koshetz is interviewed on the show but says she is unable to sing so her daughter Marina Schubert takes her place)
In January, Bing
Crosby began his tenure of the Kraft Music Hall with the help of Jimmy Dorsey
and his band. In the same month, the band played the Los Angeles Palomar, the
most important ballroom spot for bands on the west coast. And, in the same
month, Cork O‘Keefe returned east to see if his New York office was still
there. For Jimmy and the band, Hollywood was home base for the next year and a
half. Landing the band spot in the Kraft Music Hall with Bing Crosby was a good
break for Jimmy. With that Thursday night exposure on the network, nobody had
to wonder what had happened to him. Most variety shows used a studio orchestra.
Jimmy gave them a swing band, but a versatile swing band, adaptable and
musically tasteful. It was right for Bing, and it worked well with the guests.
Jimmy and the band enjoyed the show, with its wide-ranging variety of guests.
Yehudi Menuhin, then a child prodigy on the violin, made his first radio
appearance with Bing. Jim Crowley, the Fordham coach, was in town on a scouting
trip when he was invited to drop in for a visit on the show. His conversation
with Bing on the air made an entertaining spot, with a script tailored for
Bing’s delivery. Some who were in the band at that time still remember the
night John Barrymore was scheduled for the “Hamlet” Soliloquy. The problem that
night was that Barrymore had reached for the bottle too many times. It didn't
appear that he would deliver the Soliloquy in the usual Barrymore manner. But
when the moment came, he straightened up and delivered it flawlessly. This was
a feat for Barrymore and a credit to Bing for his expert handling of the
preceding talk. When he finished the Soliloquy, Barrymore retreated to the
comfort of his previous state.
(Herb Sanford, writing in Tommy and Jimmy: The Dorsey Years)
Cal
Kuhl, J. Walter Thompson Program Director commented: "Entertainment -
Very good show. Barrymore excellent and Marina Schubert making big hit.
Raphael the weak spot but routined so as to cover this fault. Koshetz introduction of her daughter excellently done and affectionately."
No. 8 23rd January 1936
With Bob Burns, Kay Weber, The Sons of the Pioneers,
Bee Ho Gray, Percy Grainger and Joe E. Brown.
*You Hit The Spot
Learn To Croon Joe E, Brown
Eeny-Meeny-Miney-Mo Jimmy Dorsey Orchestra
Toccata (Debussy)
Percy Grainger (piano)
Shepherd's Hey Percy Grainger (piano)
Country Gardens Percy Grainger (piano)
*A Beautiful Lady In Blue
Sweet Sue Bob Burns (Bazooka)
*Margie
Way Out There Sons of the Pioneers
Lights Out Kay Weber
Tap Dancer's Nightmare Jimmy Dorsey Orchestra
Sweet Birds
Bee Ho Gray and his singing coyote
"Chink".
*Roll Along Prairie Moon
(a)
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
Universal CD B0027588-02 "Among My Souvenirs - More Treasures from the Crosby Archive"
“Continuing with what seems to be a policy of
presenting distinct opposites of the entertainment field on his program, Bing
Crosby presents comedian, Joe E. Brown and pianist, Percy Grainger as guest
artists on tonight’s broadcast. A comedy sketch will provide Brown with the
opportunity to display his unique humour and Grainger will offer several piano solos,
some of his own composition. Bing will croon currently popular songs to
accompaniment by Jimmy Dorsey’s Orchestra.”
(“San Francisco Chronicle” 23rd January
1936)
“Joe E. Brown, screen comedian, and Percy Grainger, pianist
and composer, have the guest spots on this evening's Music Hall (KFI, 7o’clock).
The singing master of ceremonies, Bing Crosby, will present Brown in a comedy
sketch, while Grainger offers several of his own compositions at the keyboard.
KFWB’s pride, “Sons of the Pioneers,” also will take part in the show.”
(“Los Angeles Examiner” 23rd January 1936)
Cal
Kuhl, J. Walter Thompson Program Director commented: "Technical comments
- OK. Exception Bing refusing to stay on mike during coyote set.
Entertainment - Excellent show. Grainger made hit as did Joe. E. Brown.
Show off the air for six or eight minutes during hour. NBC equipment
failure."
No. 9 30th January 1936
With Bob Burns, Kay Weber, Dixie Dunbar,
Charles Bourne, Val and Ernie Stanton, Nina Koshetz and Leopold
Stokowski.
*Stay On The Right Side Of The Road
Dinah Charles Bourne (piano)
We're On Our Way To The Poor House Val and Ernie Stanton
Georgian Melody Nina Koshetz
*I’m Gonna Sit Right Down And Write Myself A Letter
Leopold Stokowski spot
St. Louis Blues Jimmy Dorsey Orchestra
Etude In E-major (Chopin) Nina Koshetz
*I Never Knew
I've Got My Fingers Crossed Dixie Dunbar
*With All My Heart (a)
Note:
(a) CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“Leopold Stokowski steps down from the podium to
chat informally with Bing Crosby on tonight’s Music Hall program. The world famous
conductor will take part in one of the interviews, which have become a regular
feature of the Crosby air show. From the sublime to the ridiculous, Bob Burns
will toot an accompaniment for a new supply of his Ozark anecdotes on the
bazooka.”
(“San Francisco Chronicle” 30th January 1936)
Shakespeare at
Minsky’s…Beethoven on a hurdy-gurdy…and Leopold Stokowski with Bing Crosby. It’s
the latter we had last night (WEAF—10 to 11). The most altitudinous browed of
conductors was the guest of the king crooner … and it was a swell show!
(Ben
Gross, Daily News, January 31, 1936)
Cal Kuhl, J.Walter Thompson Program Director comments
very indistinct but appear to say: “Entertainment, good show. Crosby is much
improved in his whole performance. Koshetz was very bad. Her voice had not
recovered from recent attack of laryngitis. Comedy act needed audience reaction
as paced to (sic) fast without laughs to slow it down.”
No. 10 6th February 1936
With Bob Burns, Kay Weber, Cleo Brown, Josef
Lhevinne, Cleo Brown, Marina Schubert and
Walter Huston.
*I’m Shooting High
Boogie Woogie Cleo Brown
When Hollywood Goes Black And Tan Cleo Brown
Passage from "Othello" Walter Huston
The Gettysburg Address Walter Huston
Soda Jerker Kay Weber
St. Louis Blues Bob Burns (bazooka)
Chopin Preludes numbers 17 and 16
Josef
Lhevinne (piano)
Spring Night
Josef Lhevinne (piano)
Why Speak Of It Walter Huston
*I’m Sorry Dear
The Soldiers Dream
Marina Schubert
Parade Of The Milk Bottle Caps Jimmy Dorsey Orchestra
*Moon Over Miami
(a)
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“It’s a field day for film stars on the air
lanes and of probably of most interest to the San Francisco dialler, is the air appearance tonight of Walter
Huston who completed a local engagement, last week. Huston’s role for
tonight is not known as yet but in few of his recent stage role here it is
possible that he will do an excerpt from ‘Dodsworth’. Joseph Lhevinne, a protege of the great Anton Rubenstein, in Russia and
one of the foremost classical pianists of the generation will offer a group of
classic compositions.
Nina Koshetz who was
Bing’s guest, last week has sent along her daughter, Marina Schubert, whose
soprano voice will be lifted in operatic aria. Miss Schubert recently sang in place of her
mother when the famous individual was taken ill, just before ‘going on’
time”
(“San Francisco Chronicle” 6th February
1936)
“There will be much to do this evening when
Music Hall takes the air through KFI at 7 o’clock. For various
reasons, Bob Burns and Bing Crosby will be in exceptionally good humour and entertaining mood. Earlier this week,
Crosby was named the nation’s outstanding male vocalist of popular songs. Burns was chosen
the outstanding new radio star. Since both appear on the same program,
felicitations are expected to fly back and forth”
(“Los Angeles Examiner” 6th February 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented:
“TECHNICAL: Program not as
smoothly maintained as usual. ENTERTAINMENT: In studio seemed an excellent show
– well paced and extremely interesting. GENERAL: Huston scored in song – poor
in his dramatic readings but strong personality helped ?
deficiency. Schubert in excellent
voice and ? heavily. Lhevinne beginning to show his age - the mike
is cruel."
The February 6 show was memorable. Walter Huston’s dramatic
reading fell flat, but he enchanted listeners by reminiscing about his years in
vaudeville and movingly croaking a song—in effect, a prelude to his triumph in
the 1938 musical Knickerbocker Holiday and his renowned recording of the
score’s only hit, “September Song .” Elusive Russian pianist Josef Lhevinne,
however, showed a slackening in his fabled technique; “the mike is
cruel,” Kuhl wrote. Most important, that
night marked the KMH debut of
Bing’s new announcer, Ken Carpenter.
Don Wilson
was well known as Jack Benny’s corpulent foil, and KMH wanted a fresh personality to serve as Bing’s man. Ken
Carpenter was made to order. Mildly stentorian and quick on his feet, he was a
sincere, gentle, and never unctuous pitchman. Like Benny’s Wilson, Carpenter
became an essential part of the show, an agile straight man who relished every
opportunity for clowning. Bing called him “a genuine professional radioman. He
made me look good every time. He could do a lot of things with that big voice
of his. He’d kinda surprise you. He could
break you up putting on some kind of character - a rube or something like that.”
(Gary Giddins, Bing Crosby, A Pocketful of Dreams, The Early Years, 1903-1940,
pages 399-400)
No. 11 13th February 1936
With Ken Carpenter, Bob Burns, Andres
Segovia, Marina Schubert, Alice Faye and Spencer Tracy.
*I Feel Like A Feather In The Breeze
I’m Shooting High
Alice Faye
Dorsey Dervish Jimmy Dorsey Orchestra
Gavotte (Bach)
Andres
Segovia (guitar)
Etude (Tarrega) Andres Segovia (guitar)
(Back Home Again In) Indiana Bob Burns (bazooka)
*Please Believe Me
Yankee Doodle Never Went To Town Jimmy Dorsey Orchestra
Medley of Poems Spencer Tracy
*A Beautiful Lady In Blue
By Heck Jimmy Dorsey Orchestra
Connais-tu le pays Marina Schubert
*If I Should Lose You
(a)
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“Spencer Tracy and Alice Faye are Bing Crosby’s
guests in the Music Hall, tonight. Crosby and Tracy will reminisce a bit while
Alice Faye is slated to sing a bit. Andres Segovia, guitar virtuoso, will perform
difficult feats on his guitar. Bob Burns, homely philosopher from Van Buren,
Arkansas, Jimmy Dorsey and his Orchestra, songs by Kay Weber and swinging tempos
in the Crosby rhythm will complete the broadcast over KPO
tonight”
(“San Francisco Chronicle” 13th February 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented:
“ENTERTAINMENT:
This show had the spirit that we have been striving for. Unlike its predecessors it was impromptu but
planned and orderly impromptu.
GENERAL:
The Spencer Tracy interview was excellent due to a fine script and the expert
team play of Crosby & Tracy. Marina
Schubert suffered from a case of extreme nervousness and inexperience. This was the best treatment Segovia ? and helped to save a poor radio act at best."
With Ken Carpenter, Bob Burns, Kay Weber, Alfred G. Vanderbilt, Johnny Bejshak, J. R. Budstoller, Dorothy Wade, Leonard Pennario and Charles Ruggles.
*I’m Gonna Sit Right Down And Write Myself A Letter
The Music Goes ‘Round And ‘Round Bob Burns (bazooka)
If I Had Rhythm In My Nursery Rhymes Kay Weber
Zigeunerweisen Dorothy Wade (violin)
Discussion about horse racing Alfred G. Vanderbilt, Johnny Bejshak, J. R. Budstoller
*Dinner For One Please, James
(Lookie, Lookie, Lookie) Here Comes Cookie
Charles Ruggles.
*Dear Old Girl
Fantasie-Impromptu
Leonard Pennario (piano)
You Hit The Spot
Leonard Pennario (piano)
Parade Of The Milk Bottle Caps
Jimmy Dorsey Orchestra
*I’m Building Up To An Awful Let-Down
(a)
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“The ‘Sport Of Kings’ will be the main topic of
conversation on Bing Crosby’s show, tonight. Crosby, who freely mentions that he has one
of the finest stables, will have as his guests on the broadcast, none other than
the millionaire turf man, Alfred Gwynne Vanderbilt. With Vanderbilt
will be his jockey, Bejshak and
trainer, J.R. Budstoller who will
indulge in the four way conversation to be broadcast on a coast to coast NBC
network.
Charles Ruggles, screen
comedian, will be featured in an original sketch written especially for the
program.
Musical highlights will be reflected by two prodigies, Leonard Pennario, 11 year-old pianist and
Dorothy Wade, 10 year-old violinist who will offer solos. Comedy by the
Arkansas humorist, Bob Burns and popular music by Jimmy Dorsey’s Orchestra with
Kay Weber, vocalist will round out the evening’s entertainment from the Music
Hall”
(“San Francisco Chronicle” 20th February 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented:
“ENTERTAINMENT:
One of the duller shows. With Crosby
developing a Jolson complex and killing many of Ruggles’ laughs deliberately.
GENERAL:
The violinist, Dorothy Wade, played with style and talked interestingly. Pennario ruined his first ? ? ? ? “you ? ? ? .
Ruggles excellent. Crosby in excellent
voice."
No. 13 27th February 1936
With Ken Carpenter, Bob Burns, William A. Brady, Lotte Lehmann
and Ann Sothern.
*Saddle Your Blues To A Wild Mustang
But Where Are You? Ann Sothern
Dorsey Stomp Jimmy Dorsey Orchestra
*Lights Out
My Gal Sal
Bob Burns (bazooka)
Medley:
*Moon Over Miami
*I Found A Dream
*Here’s To Romance
Interview with William A. Brady
*You’re Driving Me Crazy
Ungeduld (Schumann) Lotte Lehmann
Canto Di Primavera (Cimarosa) Lotte Lehmann
Do Not Chide Me (Ralogh)
Lotte Lehmann
Serenade To Nobody Jimmy Dorsey Orchestra
*Happy Birthday To You
(a) with Lotte Lehmann, Ann
Sothern & Bob Burns (bazooka)
*West Wind
(b)
Notes:
(a) Sung as brief tribute to Lotte Lehmann and to Jimmy Dorsey whose birthday was
29th February.
(b) Limited Edition Club JGB1011 - “Music Hall” (Date shewn as 23.2.36)
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
…Mme. Lehmann, on
her birthday, will sing a number written especially for her by her accompanist,
Erno Balogh. It is called “Do Not Chide Me” and was a birthday present two
years ago. She also sings “Ungeduid” (sic) by Schumann and “Can di Primovera”
by Cimara (sic). Bing Crosby will introduce her for a short interview of the
human interest type which he has popularized on the Music Hall.
(Pittsburgh Sun-Telegraph, February 27, 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented: “ENTERTAINMENT:
This show one of the best of the present series.
GENERAL:
Lehmann stole the show with her singing and her buoyant personality. Crosby and
Sothern ? ? so
much that audience had no opportunity to enjoy their work. A case of F.I.S. Crosby in good voice. Bravo ? . “Audience”
a bit too large”
No. 14 5th March
1936
With Ken Carpenter, Bob Burns, Marina Schubert,
Wini Shaw, Alexander Brailowsky and Jack Oakie.
*Goody, Goody
I'm Putting All My Eggs In One Basket
Let's Face The Music And Dance
Let Yourself Go
Alexander's Ragtime Band Jimmy Dorsey Orchestra
Medley:
*With All My Heart
*Please Believe Me
*If I Should Lose You
C-Sharp Minor Waltz (Chopin)
Alexander Brailowsky (piano)
Scherzo (Mendelssohn) Alexander Brailowsky (piano)
The Old Oaken Bucket Bob Burns (bazooka)
*Deep Night with The Paul Taylor Choristers
You Hit The Spot Jack Oakie
T'ain't No Use Jimmy Dorsey Orchestra
Forever And Ever Marina Schubert
*The Touch Of Your Lips
“Music Hall introduces the first actor to be a
radio stooge and heckler and ranking Number One figure in heckledom is Jack Oakie, who has been hired to heckle Bing Crosby on
the Thursday night series. Jack would probably heckle even if he wasn’t
paid for it - he loves to heckle and it’s ‘jake’ and ‘okay’ with Bing to be heckled by Jack
Oakie (gag). Actually, the idea
grew from a good-natured feud between the two screen stars that has been carried
on for years.
Oakie has interrupted
Crosby’s public appearances all over the cinema capital. This is the first
time he’s been paid for it, however. Bing’s guest from the world of art is
Alexander Brailowsky, who is a
Russian pianist of note and he will offer a group of concert numbers. Wini Shaw will sing popular songs and Marina
Schubert will appear for the third time as a guest on the show. The regular cast of
Burns, Jimmy Dorsey’s Orchestra and Kay Weber will be led by maestro,
Bing.”
(“San Francisco Chronicle” 5th March 1936)
Cal
Kuhl, J. Walter Thompson Program Director, commented: "Technical comments
- great deal of whistling but not fault of engineer. Entertainment -
show seemed slow and laboured until Oakie spot which had the
true virtue of spontaneity. Oakie’s mugging deplorable – was most discourteous during Brailowsky spot and ruined second
commercial. Show got good reaction but seemed
forced. Wini Shaw was only fair. Marina
Schubert sang beautifully and with a tremolo."
No. 15 12th March
1936
With Ken Carpenter, Bob Burns, Marina
Schubert, Owen Davis, Bronislaw Huberman and
Patsy Kelly.
*Sing An Old-Fashioned Song (To A Young Sophisticated Lady)
Give Me Your Hand For Luck, My Love
Marina
Schubert
I'm Gonna Clap My Hands Jimmy Dorsey Orchestra
Owen Davis Interview
Medley:
*I’m Shooting High
*Lights Out
*A Beautiful Lady In Blue
Some Of These Days Bob Burns (bazooka)
*’Way Down Yonder In New Orleans
Patsy Kelly Interview
Stop, Look And Listen Jimmy Dorsey Orchestra
Sonata (Franck) Bronislaw Huberman (violin)
Waltzes, Op.70 (Chopin) Bronislaw Huberman (violin)
*But Where Are You?
(a)
Note:
(a) Limited Edition Club JGB1011 - “Music Hall” (Shown as ‘Where Are You?’)
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
"Owen Davis, one of
the most prolific writers of the American theatre, is to face the microphone on
Bing Crosby’s KFI broadcast at 7 p.m. when the song star will query him about
his experiences in the theatrical world. Patsy Kelly, screen comedienne, also
is scheduled to appear."
(Los Angeles Times, March 12, 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented:
“ENTERTAINMENT:
Good show. Schubert and Kelly high
spotting the bill.
GENERAL:
Mr Huberman after taking his time to tune up didn’t quite perform up to his
tuning – Marina Schubert sang with feeling for the text and spirit of the
music. The trio with ? sang in the best Russian tradition. The Owen Davis interview very good. Kelly’s best laughs were ad libs.”
No. 16 19th March
1936
With Ken Carpenter, Bob Burns, Lyda Roberti, Emanuel
Feuermann, Fred Stone, Dorothy
Stone and Paula Stone.
*It’s Been So Long
Sweet And Hot
Lyda Roberti
Medley:
*I Wish I Were Aladdin
*West Wind
*The Touch Of Your Lips
You Made Me What I Am Today Bob Burns (bazooka)
*In A Little Spanish Town
Let Yourself Go (a) Paula Stone
*Goody, Goody
Sonata in A-minor Emanuel Feuermann (cello)
The Spinning Song Emanuel Feuermann (cello)
Stop, Look And Listen Jimmy Dorsey Orchestra
*Everything’s In Rhythm With My Heart
(b)
Note:
(a)
Dorothy Stone taps dances while Paula sings. Bing,
Fred Stone and Bob Burns join in briefly at the end.
(b) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
Fred,
Dorothy and Paula Stone, representing two generations of the American musical
comedy stage’s most famous family, will be Bing Crosby’s guests on the Kraft
Music Hall tonight. Bing will interview all three on their careers and adventures
in the theatre. Other guest stars heard in the show will include Lyda Roberti, vivacious
stage and screen comedienne, and Emmanuel Feuermann, famous cellist.
Comedy
will be provided by Miss Roberti, and the concert part of the program by Herr Feuermann,
who in his early 30s, is regarded as one of the world’s greatest cellists.
(The
Miami News, March 19, 1936)
(Fred Stone, better known as a vaudeville and musical comedy performer (he played The Scarecrow in the original Broadway production of “The Wizard Of Oz”) had character parts in movies for most of the major companies. He appears here with two of his three daughters, all of whom aspired, without any notable success, to film careers)
Cal Kuhl, J. Walter Thompson Program Director, commented:
“ENTERTAINMENT:
Excellent show – One of the best.
Orchestra good - Feuermann superb and nice personality. Roberti gave the best interview yet given on
the show.
GENERAL:
This should be an archived show – even with Bing’s break which he covered
beautifully. The Stones were a distinct
disappointment.”
No. 17 26th March
1936
With Ken Carpenter, Bob Burns, The
Paul Taylor Choristers, Grete Stueckgold, Jean Hersholt and Virginia Bruce.
*From The Top Of Your Head (To The Tip Of Your Toes)
Virginia Bruce interview
*Just One More Chance
Wah Hoo Jimmy Dorsey Orchestra
*Say The Word And It’s Yours (a)
Margie Bob Burns (bazooka)
Voces de Primavera Grete Stueckgold
More Than You Know Grete Stueckgold
*A Melody From The Sky
Jean Hersholt interview
Weary Blues Jimmy Dorsey Orchestra
*Let’s Face The Music And Dance
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
"A
behind-the-scenes story of the Dionne quintuplets as motion-picture stars is to
be presented to dialers today on the Bing Crosby show over KFI at 7 p.m. by
Jean Hersholt, who played the title role in “The Country Doctor.” Other guest
artists on the bill are Grete Stueckgold, opera and concert soprano, and
Virginia Bruce, motion-picture actress."
(Los Angeles Times, March 26, 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented:
“TECHNICAL:
O.K. Bing was particularly bad about
moving into the mike. I recommend
building a guard rail.
ENTERTAINMENT:
Very good show. Bruce spot ? ? but not meaty.
Seemed ? and only for its informality –
There was no falling over each other.
GENERAL: Hersholt spot a fine joy. Stueckgold
fine personality. Her
choice of opening number bad and her voice had not been warmed up completely
until her second number. She did not sing well. Burns’ material
beginning to wear thin. This needs watching."
No. 18 2nd April
1936
With Ken Carpenter, Bob Burns, The
Paul Taylor Choristers, Albert Spalding, Edward Everett Horton, and
Binnie Barnes.
*What’s The Name Of That Song?
Tap Dancers Nightmare Jimmy Dorsey Orchestra
Medley:
*It’s Been So Long
*Sing An Old-Fashioned Song (To A Young Sophisticated
Lady)
*Everything’s In Rhythm With My Heart
The Trail Of The Lonesome Pine Bob Burns (bazooka)
*A Pretty Girl Is Like A Melody
History
Edward Everett
Horton
Adagio from B Minor Sonata (Brahms)
Albert Spalding (violin)
The Dragon Fly Albert Spalding (violin)
Beebe Jimmy Dorsey Orchestra
*Twilight On The Trail (a)
Note:
(a) CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“Albert Spalding, renowned violinist, Edward
Everett Horton, screen comedian and Binnie Barnes, cinemactress, are headliners on Bing Crosby’s current
Music Hall broadcast over KFI at 7 pm”
(“Los Angeles Times” 2nd April 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented:
“TECHNICAL:
O.K. Bing better at mike this week.
ENTERTAINMENT:
Excellent show except for Barnes spot.
GENERAL:
Spaulding superb – the best concert artist of series excepting ?. Horton very amusing. Burns improved. Barnes was out of breath - the ? that gets much
?
in the movies can’t get into a mike.”
No. 19 9th April
1936
With Ken Carpenter, Bob Burns, The
Paul Taylor Choristers, Rudolph Ganz, Florence Gill and Joan Crawford.
*Robins And Roses
Sextet from Lucia di Lammermoor Florence Gill
Stop, Look And Listen Jimmy Dorsey Orchestra
Crosby medley
*What’s The Name Of That Song?
*So This Is Heaven
*But Where Are You?
Little Dutch Mill Bob Burns (bazooka)
*Alexander’s Ragtime Band
Maiden's Wish Rudolph Ganz (piano)
Fireworks Rudolph Ganz (piano)
Liebestraum Rudolph Ganz (piano)
Traumerie Rudolph Ganz (piano)
Dorsey Stomp Jimmy Dorsey Orchestra
Joan Crawford interview
*Lovely Lady
*Lost
(a) with
The Paul Taylor Choristers
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“Celebrities in a variety of fields will be
presented on Bing Crosby’s show at 7 pm. Joan Crawford, in an interview with Bing,
will tell about some of her experiences in pictures and some behind-the-scenes
stories of Hollywood.
In keeping with the season Madame Schuman-Heinck will sing several, familiar Easter
songs. Rudolf
Ganz, concert pianist, will play
and Florence Gill, ‘Queen Of
Cackle’, will offer animal imitations”
(“Los Angeles Times” 9th April 1936)
“Crosby has taken a leaf out of the Vallee
book. It
wasn’t long ago that Bing, fresh from Gonzaga, was just a singer with Gus
Arnheim.
Tonight, my friends, he is the Master of Ceremonies who will introduce
the grand old Ernestine Schuman-Heinck, pianist Rudolph Ganz, cinemactress Joan Crawford and Van Buren’s own, Bob
Burns.”
(“San Francisco Chronicle” 9th April 1936)
NOTE: Mme. Schuman-Heinck, a mezzo soprano of German/Bohemian birth, was 75 years old and at the last minute she was not well enough to appear on the show. She died on November 17, 1936.
Cal Kuhl, J. Walter Thompson Program Director, commented: “ENTERTAINMENT: Good show. A bit languished and a trifle too high-brow GENERAL: Gill was very funny & Ganz was excellent but there was a little too much of him for the overall balance of the show. Crawford spoke well and intelligently but I fear that customers were terribly disappointed. Such pranks as Burns encore belong elsewhere."
When
Joan Crawford made her first radio appearance with Bing, she was so nervous she
nearly fainted. In her first book, she wrote how I physically held her up at the
microphone while the show went on.
(Carroll
Carroll, writing in The Old-Time Radio
Book)
No. 20 16th April 1936
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers, Zasu Pitts, Efrem Zimbalist and Maxine Lewis.
*I’m Putting All My Eggs In One Basket
Zasu Pitts interview
*Blue (And Broken-Hearted)
T'Aint No Use Jimmy Dorsey Orchestra
My Melancholy Baby Bob Burns (bazooka)
*Would You? (Freed/Brown) with The Paul Taylor Choristers
Malaprop Mixture Jimmy Dorsey Orchestra
Nocturne in G-major (Chopin) Efrem Zimbalist (violin)
Chopin waltz Efrem Zimbalist (violin)
Let Yourself Go
Maxine Lewis
Medley:
*A Melody From The Sky
*Lovely Lady
*Let’s Face The Music And Dance
*Desire
(a)
with
The Paul Taylor Choristers
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
The inimitable
comedienne, Zasu Pitts, Efrem Zimbalist, outstanding concert violinist, and
Maxine Lewis, popular singer, will share guest star honors on the Music Hall
program tonight…Miss Pitts, who is well now for her comical characterizations
in a score or more motion pictures, will tell Bing the story of her career and
how she got into the movies. Among her most recent film successes are “The
Affair of Susan,” “Ruggles of Red Gap” and “Dames.”
(Fort Worth Star-Telegram, April 16, 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented:
No. 21 23rd April
1936
With Bob Burns, The Paul Taylor Choristers, Fritz Leiber, Fred Keating and Grete Stueckgold.
*It’s No Fun
Fred Keating interview and song
Weary Blues Jimmy Dorsey Orchestra
Exactly Like You Bob Burns (bazooka)
*Swanee River (The Old Folks At Home) with The Paul Taylor Choristers
Il Bacio Grete Stueckgold
*With All My Heart with Grete Stueckgold & Chorus
Fritz Leiber interview
*Come Again Sweet Love
Serenade To Nobody Jimmy Dorsey Orchestra
*We'll Rest At The End Of The Trail
(“Los Angeles Times” 23rd April 1936)
Note: Although he appeared in musicals for most of the big Hollywood production companies in the Thirties, one might be excused for overlooking Fred Keating were it not for his appearance as the ‘baddie’ in “Doctor Rhythm” where he almost ran off with Mary Carlisle. One newspaper of the time describes him as ‘magician’- another ‘natural’ for a radio spot!
Cal Kuhl, J. Walter Thompson Program Director, commented: “TECHNICAL:
Crosby kept crawling into mike. ENTERTAINMENT: Good – snappy – varied &
interesting show. GENERAL: Stueckgold in much better voice than ? ? ?. Duet
with Crosby great. She can sell a ? song with the best. Keating refreshing in manner and ?. - worked a little too hard. Leiber excellent ? ? good. Crosby good
in Shakespearian ballad. Dorsey band at
its best.”
No. 22 30th April
1936
With Bob Burns, The Paul Taylor Choristers,
Una Merkel, Leopold Stokowski,
The Philadelphia Orchestra and Louis Prima and his Jam Band.
Siciliana (Bach)
Philadelphia Orchestra
Moment Musical (Schubert) Philadelphia Orchestra
Prelude 3rd Act Lohengrin Philadelphia Orchestra
Afternoon Of A Faun (Debussy) Philadelphia Orchestra
*Yearning (Just For You)
Dinah Louis Prima and his Jam Band
(In My) Solitude Louis Prima and his Jam Band
Crosby Medley
*Robins And Roses
*Would You
*Lost
Cal Kuhl, J. Walter Thompson Program Director, commented: “ENTERTAINMENT:
Good – Definitely worth doing. GENERAL: If we had had an hour more – i.e. if
the show had begun at 7.00 instead of 6.00, we’d have had time to do just
enough more discovering with Stokowski (who came as early as his itinerary
permitted) in that the script (which was all ad lib as far as Stokowski was
concerned) would have been perfect. This
would have made show ? more affective. ? ? ? "
“Leopold Stokowski dominated practically all of the Kraft program on Thursday
night, with the first half solid for the Philadelphia Orchestra together with
certain stanzas in the last portion, taken up by the guest conductor. Bing Crosby in top
singing and MC position, handled
the crossfire banter but it was flat. Louis Prima’s crew was in the last ten
minutes and while a marked contrast to the Wagner and Debussy fare by
Stokowski’s contingent, did not
create any excitement - the regular Dorsey Band was better. Kraft has been
delivering some sock entertainment of late. This program seemed overboard on
guests but the J. Walter Thompson office, smoothed it out quite expertly. (The) idea of
allotting the Symphony first place was OK and a quartet of classic examples were distinguished for
ether listeners.
Especially, the Debussy composition which took up nearly 16 minutes -
first commercial came at 10.35, showing the free rein permitted the conductor
for this appearance. Crosby managed to bring the program around for the Prima
flash while tracing certain milestones in US musical and front page
history.
‘Dinah’ was Prima’s offering with typical variations running riot and
most attention centred on
extended trumpet blasting. Bob Burns and program’s chorus were pushed into the background
for this broadcast.
Singer’s chores were also clipped. Closing conversation between Crosby and
Stokowski took in the currently RCA sponsored tour of the Philly
Orchestra.”
(“Variety” 6th May 1936)
“Bing Crosby has his heart set upon startling
the listening American, tonight and from this angle it appears that he will do
that little thing.
Mr. Crosby is to sing with the Philadelphia Orchestra while famed Leopold
Stokowski conducts.
In itself a novelty, the idea suggests that the eminent Stokowski is no
chump in getting publicity. From an artistic point of view, there is no
excuse for Mr. Crosby singing with the Philadelphia Orchestra, many will
argue. In the
meantime the program will have a tremendous audience. Astute Crosby goes
a step further, or two, or three; he adds to Mr. Stokowski and the Philadelphia
Orchestra, two other instrumental groups, Louis Prima’s Hotcha Band and Jimmy Dorsey’s swinging combination
then throws in Bob Burns and Una
Merkel for good measure. The hour will remind of the all-star shows of
Dodge Brothers and other days. The time is 6 to 7 pm over KPO and it is sad
that it isn’t at least an hour later”
(“San Francisco Chronicle” 30th April 1936)
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers, Toscha Seidel, Una Merkel and George Raft.
*Let Yourself Go
Pardon My Southern Accent Una Merkel
Nocturne Disillusion Jimmy Dorsey Orchestra
*I’ll Stand By with The Paul Taylor Choristers
M.O.T.H.E.R. (A Word That Means The World To Me) Bob Burns (bazooka)
*June Night
George Raft interview
Medley:
*Desire
*Twilight On The Trail
*I’m Putting All My Eggs In One Basket
Symphonie Espagnole Op 21 - II. Scherzando
Allegro molto
Toscha Seidel (violin)
Schoen
Rosemarin
Toscha Seidel (violin)
Coolin' Off
Jimmy Dorsey
Orchestra
“Then there is the matter of Bing of the
Crosby’s who comes to the ladies and gentlemen of the radio audience with
another humdinger of a program. With the eminent violinist Toscha Seidel, heading a bill which includes Bob
Burns, Una Merkel, George Raft and Mr. James Dorsey.”
(“San Francisco Chronicle” 7th May 1936)
Cal Kuhl, J. Walter Thompson Program Director, commented:
“TECHNICAL:
O.K. Bing in too close on mike as usual,
an elephant never forgets and a Crosby never remembers.
ENTERTAINMENT:
Show suffered from Spring fever – lacked usual ?
, pace and vibrancy. Crosby was
disrespectful of Seidel a la Jolson.
GENERAL:
Seidel good but not exciting. Merkel
topped the show but should learn to play comedy. Raft had no material. Burns was good. Crosby had trouble finding ? ? ? ? ? ? . ? ? ? ?”
No. 24 14th May
1936
With Ken Carpenter, Bob Burns, Mayor Tom English, Murdo McKenzie, Ted
Dante, and Jean Stoddart.
*Goody Goody
Tom English interview
St. Louis Blues Jimmy Dorsey Orchestra
Let's Face The Music And Dance Jean Stoddart
*You (Gee! But You’re Wonderful)
School Days Bob Burns (bazooka)
*Sleepy Time Gal
Mutiny In The Brass Section
Jimmy Dorsey Orchestra (Toots Camarata on trumpet)
*You Started Me Dreaming with The Paul Taylor Choristers
Oh Marie Ted Dante
T'Ain't No Use Jimmy Dorsey Orchestra
*All My Life
“Bob Burns will have as his guest on the Music
Hall program over NBC-WSMB at 8 pm, Mayor Tom English of Van Buren, Arkansas,
scene of the bazooka playing comedian’s fantastic stories. Bing Crosby, as
singing star and Master of Ceremonies will be heard with Jimmy Dorsey’s
Orchestra”
(“New Orleans Times-Picayune” 14th May 1936)
"Bing
Crosby will introduce various members of the group that assist in his
broadcasts but are never heard at 6 p.m. today over KHQ. Murdo McKenzie, sound technician;
Tex McKinley and Pat McCarthy, Jimmy Dorsey’s arrangers; Bonnie Lake, who wrote
Dorsey’s theme, and Jean Stoddard, telephone operator and hostess; are a few
that will appear."
(Spokane Chronicle, May 14, 1936)
Cal
Kuhl, J. Walter Thompson Program Director, commented, inter alia: "This
show did not materialize in actuality as well as it did theatrically
due to the inexpertness of the guests. Crosby tried
to carry on but Burns, not adept at ad libbing, was not a good foil or
aide."
No. 25 21st May
1936
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers, The Avalon Boys, Mischa
Levitzki and Frank Morgan.
*Wake Up And Sing
*Home On The Range
with Frank Morgan
Honeysuckle Rose Jimmy Dorsey Orchestra
*Alpha Delta Pi Sweetheart with The Paul Taylor Choristers
You Started Me Dreaming Bob Burns (bazooka)
Rockin' Chair The Avalon Boys
No! No! A Thousand Times No! The Avalon Boys
*Do You Ever Think Of Me
Andante and Rondo Capriccioso (Mendelssohn) Mischa Levitzki (Piano)
King Porter Stomp Jimmy Dorsey Orchestra
*Moonrise On The Lowlands
(a)
with The
Paul Taylor Choristers
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“Diversified entertainment is the theory in Bing
Crosby’s 6 pm KFI show with Frank Morgan, screen actor, The Avalon Boys and
Mischa Levitzki, concert pianist, as the headliners. Bing and Bob Burns,
the Arkansas philosopher are to be rushed to Hollywood, by a special car from
Lone Pine where they are in the midst of filming ‘Rhythm On The Range’”
(“Los Angeles Times” 21st May 1936)
Cal
Kuhl, J. Walter Thompson Program Director, commented, inter alia:
"Drastic cutting late in the game, hurt show - but not as much as if
Bing, with typical Quixotic gallantry, hadn't insisted Avalon Boys do
two numbers at expense of his own medley which we cut."
No. 26 28th May
1936
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers, John Erskine, Rose Bampton, Harmon O. Nelson and Bette
Davis.
*You Can’t Pull The Wool Over My Eyes
Bette Davis interview
All My Life
Harmon O. Nelson
Swing Band
Jimmy Dorsey Orchestra
Medley:
*The Touch Of Your Lips
*I’m Putting All My Eggs In One Basket
*We’ll Rest At The End Of The Trail
Yes, We Have No Bananas
Bob Burns
(bazooka)
*Remember
Pace Pace Mio Dio! Rose Bampton
*I'll Stand By with Rose Bampton and The Paul Taylor Choristers
American Polonaise
John Erskine (piano)
*Robins And Roses
*You (Gee! But You’re Wonderful) (a) with The Paul Taylor Choristers
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“Bette Davis is to be interviewed by Bing Crosby
on his 6 pm KFI broadcast and she will present her husband, Harmon O. Nelson
(conductor and singer). Other celebrities on the bill, include Rose
Bampton, Metropolitan star and
John Erskine, writer”.
(“Los Angeles Times” 28th May 1936)
“Two young fellows who, today, might have been just a couple of
other singers in a dance band, occupy prominence with an ‘earring’ nation, this
afternoon and tonight. They are Rudy Vallee and Bing of the Crosby’s
who did pretty well with a megaphone in days gone by but really went with ‘Mr.
Deeds’ after some smart inventor moulded a microphone. Today, they are American institutions, having
sung their way into the hearts of millions, although vocal teachers will insist
that they defy every musical law and violate a flock of musical traditions. They both are to be admired for the manner in which they
have megaphoned and microphoned themselves to fortune and
fame and today, they are smart enough to surround themselves with the best
talent available and are not afraid of the competition in their hours. Crosby, who had
already taken on Stokowski, Stueckgold and others will have Metropolitan’s,
coloratura, Rose Bampton in his
show, tonight, along with Bette Davis and her husband, Harmon Nelson. John Erskine, the
writer and Bob Burns and Jimmy Dorsey, after making a flock of friends here and
in Oakland will be another drawing card. They’ll all be on KPO at 6”
(“San Francisco Chronicle” 28th May 1936”)
The cinema
favorite, Bette Davis, was interviewed by Bing Crosby on his Music Hall program
last night. It sounded like one of those impromptu affairs and kept your interest.
Topping it off Harmon Nelson, Bette’s husband, sang a song. He was formerly a
member of the Jimmy Dorsey band which supplies the music for the program. It was
like a family reunion with the boys and Bette indulged in a lot of the kidding.
(Tim
Marks, Brooklyn Times Union, May 29,
1936)
No. 27 4th June 1936
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers,
Jackie Searl, Edith Fellows, Feodor Chaliapin, Norma Talmadge and George Jessel.
*The Glory Of Love
Norma Talmadge and George Jessel interview
*The Last Of My Past
with The Paul Taylor Choristers
I Like Bananas Jimmy Dorsey Orchestra
Jackie Searl, Edith Fellows interview
Only A Rose Edith Fellows
*Ja-Da
What's The Reason I'm Not Pleasing
You
Bob Burns (bazooka)
La Calumnia Feodor Chaliapin
The Song Of The Flea Feodor Chaliapin
Swing On Down To Memphis Jimmy Dorsey Orchestra
*There’s A Small Hotel
*All My Life
(a)
Note:
(a) Limited Edition Club JGB1011 - “Music Hall”
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“Feodor Chaliapine, famous Russian basso will make what is
said to be his only American appearance, in 1936, on the Bing Crosby hour from
KFI at 6 pm.
Mr. Crosby’s other guests will be George Jessel (comedian) and his wife, Norma Talmadge; Edith Fellows, 12 year-old
screen player and Jackie Searle, 14 years, also of the motion picture world.”
(“Hollywood Citizen News” 4th June 1936)
“First time on the air for Norma Talmadge and George Jessel (Mr.
& Mrs.), as a team, was an auspicious one. They were presented
with an ingratiating routine, indulging in three-way ribbing that put them right
with the listening audience. The stunt started as something of an
interview with Miss Talmadge by
Crosby, bringing out the fact that she’s retired from the screen and is now,
just, Mrs. Jessel, with plenty of
work in just phoning Jessel’s
relatives.
Then Jessel broke in and
from thereon it was a ribbing session that even included Bob Burns. One of the elements
of their bit was the Crosby and the Choral Group singing, ‘The Last Of My Past’, lyrics of which were
written by Jessel, title by Miss
Talmadge and music by Paul
Oakland. Jessel’s material was strong on the
humorous side.
His take-off on himself, speaking to his relatives in Bob Burns’ Arkansas twang, being especially
neat. Coupled
with his wife Madge as the ideal American pair, Jessel and his frau were a natural for the Kraft
Phoenix product and they fit perfectly into the underlying ‘June Bride’ theme of
the Crosby broadcast.”
(“Variety” 10th June 1936)
“Bing presents Norma Talmadge and her husband, George Jessel plus 12 year-old Edith Fellows who was in
‘She Married Her Boss’, 14 year-old Jackie Searle of ‘Little Lord Fauntleroy’,
Bazooka Bob Burns and Jimmy Dorsey.”
(“San Francisco Chronicle” 4th June 1936)
I’ll never forget
Chaliapin, the giant blond Russian with the steely blue eyes and lusty good
humor. I suppose he was greatest basso who ever lived. When he zeroed in on one
of those rich, low notes, the diapason he developed must have jiggled the
needle on the Pasadena seismograph. Merely being in the same room with this man
was a thrill.
(Call Me Lucky, page 151)
Cal
Kuhl, J. Walter Thompson Program Director, commented, inter alia:
"Entertainment - OK, not up to last week. Cutting necessitated by Burns
spread and Chaliapin ad lib ?? (illegible)."
11th June 1936 - No program due to Republican Convention although some
newspapers stated that a show hosted by Bing with guests Ernest Hutcheson,
Virginia Bruce, and Bert Wheeler was to take place.
It was a toss-up again last night as to which programs
would be forced from the air by the doings at Cleveland. The political show had
originally been scheduled for 8 but at the last minute was postponed to 9 o’clock.
This eliminated such features as the “Showboat” and the Bing Crosby period.
(Daily News (New
York), June 12, 1936)
No. 28 18th June 1936
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers, Virginia Bruce, Pat O’Brien and Josephine Tumminia.
*You Can’t Pull The Wool Over My Eyes
Pat O'Brien interview
*A
Pretty Maid Milking Her Cow
with Pat
O'Brien
Sugar Foot Stomp Jimmy Dorsey Orchestra
*These Foolish Things
*What's The Name Of That Song? with Virginia Bruce & The Paul Taylor Choristers,
Sing An Old-Fashioned Song (To A Young Sophisticated Lady)
Bob Burns (bazooka)
*All Alone
Pracht's Variations
Josephine Tumminia
Sing, Sing, Sing Jimmy Dorsey Orchestra
*We’ll Rest At The End Of The Trail
“The big fight will be on KPO tonight, starting
at 6 o’clock.
Joe Louis is to tangle with a chap called Schmeling who comes from a small town in
Germany. The
broadcast will be short-waved to Germany. An hour of airtime will be reserved for the
scrap but if it starts at 6 o’clock we should be in for some Hollywood musical
entertainment at about 6.20 (according to the boxing experts). But boxing experts
are often confounded as those who heard the Braddock/Baer waltz will
remember. Mr.
Vallee will be in at 4 o’clock, Amos ‘N’ Andy at 7. The mentioned
Hollywood entertainment will include Bing Crosby singing and discussing the
fight with Pat O’Brien. San Francisco’s Josephine Tuminia will be with Crosby, if time permits - all
these are from KPO.
Crosby’s program on this
particular day, was scheduled to start at 6.45”
(“San Francisco Chronicle 18th June 1936)
(The promised, ‘Hollywood musical entertainment’ did not occur. Not on this particular evening, anyway - The contest, scheduled for the Yankee Stadium in New York, was postponed until the following night, due to heavy rain and the ‘boxing experts’ were confounded! Although the fight lasted twelve rounds, Joe Louis suffered the only defeat in his career until he retired in 1949)
Cal
Kuhl, J. Walter Thompson Program Director, commented, inter alia: "The
fight - scheduled to take at least a part of our time, probably 30
minutes, was cancelled at 11 a.m. necessitating some scurrying for
talent."
…Crosby swapped wordage with Pat O’Brien, movie
favorite and introduced Virginia Bruce, another Hollywood personality who sang “What’s
the Name of That Song?” Bob Burns pleased as usual with his dry humor and Tommy
Dorsey’s (sic) band did right well with the swing business, Bing offered the
biggest kick, though, with his interpretation of “These Foolish Things,” one of
the better tunes and made to order for him.
(Tim Marks,
Brooklyn Times Union, June 19, 1936)
25th June 1936 - No programme due to Democrat Convention although it had
been planned that Bing would host a show with guests Bert Wheeler and Jean
Arthur.
“Do you know what they’re saying about Bing
Crosby?
They’re saying he’s more interested now in winning new fame as a showman
than fortifying his reputation as a crooner. They are further saying, that he sees the
handwriting on the ‘ether walls’, realises he can’t get along forever on his touchy
vocal chords and is hoping for the same solution that saved Rudy Vallee from the
discard. This
slow transformation is apparent in his Thursday night, Music Hall shows. They slid down the
ways as ‘Bing Crosby and guest artists’, now they are, ‘Guest artists presented
by Bing Crosby’.
Tonight’s line-up shows the trend. He offers Toscha Seidel, world-famous violinist, Jean Arthur
and Bert Wheeler, two of filmland’s more personable folk. Yes, Bing will sing
a few songs accompanied by Jimmy Dorsey’s band and Bob Burns, bazooka and all
will be on hand.
There’s a rumour that
Burns will attempt a piano solo, tonight. Dial KPO at 6 o’clock and find out. The Crosby
extravaganza just misses being pushed off the air by the Democratic
Convention”
(“San Francisco Chronicle” 25th June 1936)
Note: The last sentence provides another enigma. There are no
songs or show for this date. However, Jean Arthur and Bert Wheeler turn up
on Programme No. 30 of the 9th July.
‘Bing Crosby is set on a string of options for a
3-year contract with Kraft. The deal calls for an increase each
year. At the
same time, he has agreed to remain on the current series for another six weeks
before he takes his vacation’
(“Variety” 24th June 1936)
No. 29 2nd July
1936
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers, Toscha Seidel, Frank Morgan, Frances Farmer and
Martha Raye.
*The House That Jack Built For Jill
*Why Don't They Play With Me with Frank Morgan
There's No Substitute Jimmy Dorsey Orchestra
You’ll Have To Swing It (Mr. Paganini) Martha Raye
Martha Raye, Norman Taurog, Frances Farmer, Bob Burns interview
*I’m An Old Cowhand (From The Rio Grande)
with Martha Raye, Frances Farmer and Bob Burns
Brahms Hungarian Dance No. 2
Toscha Seidel (violin)
Polichinelle
Toscha Seidel (violin)
Funiculi Funiculà
Jimmy Dorsey Orchestra
*I Can’t Escape From You
*Empty Saddles with The Paul Taylor Choristers
“Radio previews of motion pictures are fast
becoming the rule, rather than the exception. In fact Hollywood’s producers apparently
believe a new show is not completely ready for the market until it has been
once-overed via the air and they
aren’t letting the fore-doomed mediocrity of twenty minute condensations daunt
them either.
Each week ‘Hollywood Hotel’ does its little bit, along this line and
today, Bing Crosby’s Music Hall joins the parade. You’ll hear Bing, Bob Burns, Frances Farmer
and Martha Raye skip through
scenes from ‘Rhythm Of (sic) The Range’, the forthcoming Crosby vehicle in which
Burns, the Van Buren bazooka player, makes his screen debut. Also on the sixty
minute show are, Toscha Seidel, famed violinist, Frank
Morgan, hesitant character star and Jimmy Dorsey’s Band.”
(“San Francisco Chronicle” 2nd July 1936)
At four
o’clock on broadcast day we stood in line at the NBC studios in Hollywood. Then
the usher told us to take our seats silently, and my friend and I sat
approximately in the fourth row. The rehearsal was in progress and Bing was
singing a song that turned out to be “Empty Saddles”. Bing was surrounded by the
Paul Taylor Choristers. We noticed that two young women with bright red hair
were also standing in the back. They were the guests of the evening, Frances
Farmer and Martha Raye. Their
strange hair color I understood, was designed to be more
photogenic for the film Rhythm On the Range which they had just completed.
In the middle of the stage sat Jimmy Dorsey and his orchestra.
Just
before air time, Bob Burns, known as the “Arkansas Traveler”, addressed the audience and said, “My name
is Bob Burns and this musical instrument is a bazooka. And that fella back there in the corner is Bing
Crosby.” Bing tipped his cap, and continuing, Bob Burns added “Our guests
tonight are Frances Farmer and Martha Raye, who are starring in the new Bing Crosby movie
Rhythm On the
Range opening in Paramount theaters around the country.” Bob Burns continued,
“The Kraft people welcome you all here and ask you not to applaud, but if you
find something funny, feel free to laugh. Now, when that green light turns to
red, we will be on the air. And then, when the red light goes off and the green
light comes on again, if you feel like applauding, please do.”
When the
broadcast began, Bing opened with “I’m An Old Cowhand (From the Rio Grande)”,
and later he sang “Empty Saddles.” Bing interviewed Frances Farmer, and Martha Raye sang “You’ll Have To Swing It (Mr. Paganini)”. This was the first time
that Martha Raye was heard on
national radio. Bing seemed to always open the KMH with a peppy song in those
days. Bob Eberly, the vocalist
with the Jimmy Dorsey band, was not allowed to sing on the KMH broadcast and
just sat in a chair during the program. This was because the Kraft people who
paid good money believed this was Bing’s show and Bob Eberly wasn’t needed. Helen O’Connell had not yet
joined Jimmy Dorsey at that time.
Upon
leaving the Kraft Music Hall broadcast, we passed by the Fred Astaire radio
program. Fred was dancing on a small platform with the microphone close to the
floor. Outside, a large crowd was standing as Bing drove away in a convertible
with a driver, waving to them.
(George McCabe, writing in BING magazine, Spring, 1999)
Cal Kuhl, J. Walter Thompson Program Director, in his report complains about Bing making an unfortunate ad lib but his writing is so bad that it is not clear what it was all about.
No. 30 9th July
1936
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers, Jean Arthur, Henri Deering and Bert
Wheeler.
*Wake Up And Sing
Say It Isn't So
Bert
Wheeler
T'ain't No Use Jimmy Dorsey Orchestra
*Waiting For The Robert E. Lee
Stormy Weather
Bob Burns (bazooka)
*I Can’t Escape From You with The Paul Taylor Choristers
Swanee River (The Old Folks At Home)
Jean Arthur
Polichinelle
Henri Deering (piano)
Tango Henri Deering (piano)
Beebe Jimmy Dorsey Orchestra
*There’s A Small Hotel
Station House Blues
Bob Burns (piano)
*Take My Heart (And Do With It What You Please) with The Paul Taylor Choristers
“Dempsey versus Willard? - Not bad. Dempsey versus Firpo? - Fair enough. Louis versus Schmeling? - Pretty good. But - Crosby versus
Vallee - There, fans, is really a tussle and it’s a weekly brawl, too. Each Thursday Bing
and Rudy take the ring, not to toss fists but to throw glittering guest line-ups
about the ether and hope for your shouts of approval. Today, the odds are
about even - In the Vallee corner, repose Josephine Hutchinson and June
Knight.
Reclining on Crosby’s side are Jean Arthur and Bert Wheeler who have been
trying, vainly to get on the air. On his first billing he was shoved off by the
Republicans, next time the Democrats elbowed him out, so, he’ll probably vote
Socialist. Bob
Burns and Jimmy Dorsey’s Orchestra round out Bing’s contingent”
(“San Francisco Chronicle” 9th July 1936)
“Many radioites are nursing
grudges against politicos for hogging all that network time but not Bert
Wheeler. Comic was cancelled twice on the Kraft show before he went on Thursday
but drew triple pay”.
(Variety, July 15, 1936)
Cal
Kuhl, J. Walter Thompson Program Director, in his report commented:
"Entertainment OK, good show. Crosby had severe cold in the head."
No. 31 16th July
1936
With Bob Burns, The Paul Taylor Choristers, Marjorie Gateson, Rose Bampton and Robert Taylor.
*The Glory Of Love
Robert Taylor interview
*Polly
Wolly Doodle
with Robert Taylor
Ah-woo! Ah-woo! To You Jimmy Dorsey Orchestra
*Great Day
If You Knew Susie
Bob Burns (bazooka)
One Fine Day Rose Bampton
*My Romance with Rose Bampton
Hollywood Pastime Jimmy Dorsey Orchestra
*I'm
An Old Cowhand
with Marjorie Gateson, Rose Bampton and Robert Taylor
*These Foolish Things
*A Rendezvous With A Dream with The Paul Taylor Choristers
“In case you have been sprouting grey hairs and
developing wrinkles trying to figure out the reason for Robert Taylor’s meteoric
film rise, you will be relieved to know that your worries are at an end. This
burning question, certainly one of the utmost importance, will be answered tonight when Bing
Crosby interviews the handsome youth on KPO at 6 pm. Taylor is
definitely pretty and the mere sight of him on the screen causes the gallery
gals to either swoon on their escorts shoulder or stagger blindly into the
sunlight, to be revived by the corner cop, then they are ready for another sight of him. Tonight’s dialogue
should run like this - Crosby: ‘Well, Bob, uh, how come you’ve gotten so high,
so soon?’ Taylor: ‘Well, Bing, uh, I dunno really, guess I just got the breaks. Well, g’night Bing’- And so another of life’s
major problems will be settled. Other guests tonight, include Rose Bampton, Metropolitan Opera contralto,
Marjorie Gateson, prominent
character actress and of course, Bob Burns and of course, Jimmy Dorsey. Crosby,
incidentally can claim a technical victory in the battle of crooners inasmuch as
Rudy Vallee’s guest talent hasn’t
been announced but Rudy probably doesn’t know himself!”
(“San Francisco Chronicle’16th July 1936)
Cal Kuhl, J. Walter Thompson Program Director, in his report commented: "Bampton lost the melody in the duet. Taylor surprisingly good."
“Lucille Friml, daughter of composer Rudolf
Friml, is a member of the Paul Taylor Choristers.”
(“Variety” 29th July 1936)
No. 32 30th July
1936
With Bob Burns, The Paul Taylor Choristers, Albert Spalding, Dolores
Costello Barrymore and Vera Van.
*On The Beach At Bali Bali
Dolores Costello Barrymore interview
*Honest And Truly
Don't Look Now Jimmy Dorsey Orchestra
The Lonesome Road Bob Burns
*Take My Heart (And Do With It What You
Please)
(a) with
The Paul Taylor Choristers
Fare Thee Well To Harlem Vera Van
Until Today Vera Van and The Paul Taylor Choristers
Boston Tea Party Jimmy Dorsey Orchestra
Romance
Albert Spalding (violin)
Jota
Albert Spalding (violin)
*Would You (Freed/Brown)
*Long Ago And Far Away (Rainger/Robin)
(a)
with The
Paul Taylor Choristers
Note:
(a) Limited Edition Club JGB1011 - “Music Hall” (Dates shewn as 9th July 1936)
CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“Bing Crosby also bids heavily for attention on
today’s radio market.
His guests include Dolores Castle Barrymore in one of her infrequent air
appearances, Albert Spalding, renowned violinist and Vera Van who sang in San
Francisco with Ted Fio Rito’s orchestra, not so long ago."
(“San Francisco
Chronicle” 30th July 1936)
“For once nothing interferes with Bing Crosby
and his Music Hall program, unless some unforeseen emergency bobs up at the
last minute.
Today, he presents as featured soloist the eminent Albert Spalding, who
does as many tricks with the violin as Thurston does with cards. Crosby will also have blonde, Vera Van on for this one
show.
Miss Van is a sister of Jimmy Grier’s, Dick Webster and does some right
smart torch singing, in her own right. Bob ‘Movie Actor’ Burns contributes a solo or
two on his famed bazooka, father of all the little bazookas which are now making
their appearance”
(“Los Angeles Times” 30th July 1936)
Cal
Kuhl, J. Walter Thompson Program Director, in his report commented:
"Entertainment good. Burns not up to standard. Burns took 2 and a half
minutes more than scheduled and unfortunately not because of laughs,
necessitating cutting and bringing Crosby's closing over chorus in
middle of last number."
No. 33 6th August
1936
With Ken Carpenter, The Paul Taylor Choristers, Ernest Hutcheson, Robert
Young and Ann Sothern.
*It Ain’t Right
Robert Young interview
Chicken Reel Jimmy Dorsey Orchestra
*Jealous
John L. Kraft speech re third anniversary of Miracle Whip Salad Dressing
*Robins And Roses
Where’s The Boy? Here’s The Girl! Ann Sothern
Stompin' At The Savoy Jimmy Dorsey Orchestra
Fantasy Impromptu
Ernest Hutcheson (piano)
The Spinning Song
Ernest Hutcheson (piano)
*Did I Remember?
*Empty Saddles
with The Paul Taylor
Choristers
“The radio world joins with Bob Burns in
mourning the death of his wife. Some Eastern theatres, incidentally, are
giving Burns preference over Bing Crosby in advertising, ‘Rhythm On The Range’ not that Crosby would
care, anyway - he’s that kind”
(“San Francisco Chronicle” 6th August 1936)
“Ann Sothern, RKO film player made a guest appearance on
Bing Crosby’s, Kraft Music Hall Hour on Thursday evening the 6th, with a George
Gershwin song. While being no knockout in giving out with
the number on the air-waves, Miss Sothern’s vocal efforts compensated greatly
for the meaningless chatter, she indulged in, ahead of it, with Crosby. The talk intended
to give the impression (that) Miss Sothern was hungry. This opened the
opportunity for a Kraft ‘plug’- J.L. Kraft, head of the commercials sponsoring
Crosby’s program was on the air that night and offered to send Miss Sothern a
basket of his products. That’s apt to be a businessman’s idea of
showmanship.
Miss Sothern also said something about her tennis playing. However, with
adequate material, listening to her would be more of a pleasure. If any complaints,
at all, the film industry has a squawk coming against radio for the dumb
material afforded players - it makes them seem like amateurs.”
(“Variety” 12th August 1936)
“Bob Burns and his bazooka will be absent from
the Music Hall at 6 over KFI but they will return to the series with next week’s
program.”
(“Hollywood Citizen News” 6th August 1936)
No. 34 13th August
1936
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers, Josephine Tumminia, Anita Louise, Alison Skipworth and Louis Armstrong.
*I’m An Old Cowhand (From The Rio Grande)
Anita Louise interview
*Until The Real Thing Comes Along
Shoe Shine Boy Louis Armstrong
Swing That Music Louis Armstrong
Sweet Sue Bob Burns (bazooka)
*No Regrets
Alison Skipworth interview
*Sometimes I’m Happy
Dippermouth Blues Louis Armstrong, Jimmy Dorsey Orchestra
Voices Of Spring Josephine Tumminia
*Rendezvous With A Dream with The Paul Taylor Choristers
“A pot pourri of entertaining offerings is to be found on
Bing Crosby’s Kraft Music Hall over KFI at 6 pm today. Anita Louise and
Alison Skipworth, ingenue and comedienne, respectively,
are to represent the motion
pictures.
Josephine Tuminia (sic) of the
San Francisco Opera is to represent the cultural field and Louis Armstrong,
‘world’s hottest trumpeter’, dispenses the jazz”
(“Los Angeles Times” 13th August 1936)
“....there’s the Crosby show with Anita Louise,
Alison Skipworth, Josephine Tuminia and Louis ‘Satchelmouth’ Armstrong, as guests. No introductions
are needed to the above, at least,
none should be needed. Miss Louise and Miss Skipworth will stage a short skit. Miss Tuminia, San Francisco coloratura,
featured so successfully by Sigmund Romberg will sing a song or two and
Armstrong will demonstrate his distinctive ‘hot’ trumpet playing.”
“San Francisco Chronicle” 13th August 1936)
Cal
Kuhl, J. Walter Thompson Program Director, in his report commented:
"Skipworth couldn't use script - part was entirely ad lib. Burns
excellent. Show very short due to Skipworth being short 2 minutes."
No. 35 20th August
1936
With Ken Carpenter, Bob Burns, The Paul Taylor Choristers, Harold Bauer, Dorothy Lamour and Joan
Bennett.
*You Can’t Pull The Wool Over My Eyes
*There's
A Small Hotel
with Joan
Bennett
It Ain't Right Jimmy Dorsey Orchestra
*I Can’t Escape From You
I Can't Give You Anything But Love
Bob Burns (bazooka)
*These Foolish Thing
Take My Heart (And Do With It What You Please) Dorothy Lamour
*Just One Word Of Consolation
Impromptu
in A-flat
Harold Bauer (piano)
Butterfly Etude Harold Bauer (piano)
Boston Tea Party Jimmy Dorsey Orchestra
*South
Sea Island Magic
(a)
with The Paul Taylor Choristers
Note:
(a) CD "Bing Crosby and the Kraft Music Hall - Rare Original Survivors" (International Club Crosby 75th Anniversary Issue)
“....then the Bing Crosby/Rudy Vallee guest star
battle rages on with all the fervour of a Spanish revolt. Crooner Crosby
offers, concert pianist Harold Bauer, Joan Bennett, film favourite and Dorothy Lamour, a singer who really
deserves the adjective, ‘glamorous’.”
(“San Francisco Chronicle” 20th August
1936)
After this programme Bing took his customary
break, which included a vacation in Hawaii while Bob Burns, The Paul Taylor
Choristers and The Jimmy Dorsey Orchestra “held the fort”, during his
absence. Bing
was away for seven programmes. During this time guests included, Jose Iturbi,
Joel McCrea, Alice Faye, Olivia de Havilland, Jack Oakie, Glenda Farrell, Beverly Roberts, Billie
Burke, Douglas Fairbanks, Rudolph Ganz, Frederick Jagel and Madeleine Carroll.
Go to 1936-37 season