Rhythm and Blues Revue (1955) - full transcript
Extravaganza with lots of music legends from the 50s.
[MUSIC PLAYING]
ANNOUNCER: And now,
here is the fellow
to tell you all about
our show, Harlem's singer
and favorite son, that crowned
prince of mirth, Willie Bryant.
[APPLAUSE]
-Willie Bryant, that's me.
Thank you.
Ah, you're a wonderful audience.
Thank you very, very much,
ladies and gentlemen.
Well, we're glad to be back.
Got another great
show for you too--
-Say, Willie, come here.
I want to see you.
-Well, now, no,
no Freddy, Freddy,
Freddy-- wait a
minute-- the people.
We have a show, you know?
Go on, go.
-Oh yes, but Willie I
got to see you right now.
I got to see you--
-Freddy, not now.
---right now.
-I'm busy.
I'm going to put a show on.
You can't bust in like this.
-But it won't take you
but a minute, Willie.
-What do you?
What do you want?
-I want a job.
You promised to give
me a job, Willie.
-Oh, no.
Oh, Freddie, look, I've
got-- what can I do with you?
I got Faye Adams in the show.
I've got Amos Milburn in the.
Show I've got The
Larks in the show.
I got-- oh, I got so
many people in the show.
I can't put you in the show now.
-Yeah, yeah, put
Freddie in the show.
-Well, I'm not
ready for Freddie.
-I know, but Willie--
-Well, I tell you what.
I just thought of something.
Will you take another
job for the time being?
-Oh, yeah yeah, yeah.
-Well, you see, they
want a receptionist down
at the library.
They want a man.
-Willie, I'm a man.
[LAUGHTER]
-I didn't mean that,
but I tell you--
-What?
---Now this is a funny
job, because you meet
a lot of peculiar
people down there.
They have-- you
know, some people
are very sensitive
about certain things.
-Yeah, yeah, yeah.
-And one woman in particular--
-One?
---Yeah.
She goes down there
every day-- this
is the most amazing woman
that you've ever seen.
You know why?
She can actually read
what you're thinking.
-Oh, no, I don't-- she
going to read my mind.
-She can read anybody's mind.
She passes here every day.
Funny thing, here she comes now.
Hello, Flo.
-Oh, hello, Mr. Bryant.
-How are you?
-Hello, Freddie.
-How are you?
-I'm not kidding you--
she can read what you're--
-She can read?
I don't--
-You heard her call you Freddie.
You never met her.
-But I don't believe it.
-You don't believe it?
-I don't believe in them things.
-Outta my way.
Outta my way, skeptic.
-You going over there?
-Yeah, I'm going to show you.
I'm not going to open my mouth.
Now watch me.
-Thank you, Mr. Bryant.
-Hm?
-All right, thank
you, Mr. Bryant.
Thank you, Mr. Bryant.
-See, what'd I tell you?
-Look here.
-Uh-huh.
-You didn't say a word.
-Amazing, isn't it?
-She knew what you
was thinking about?
-Everything I was saying.
-I believe her saying,
"Thank you, Mr. Bryant."
-You know why?
-Thank you.
-You know why?
The first time I said, what
pretty skin and eyes you have.
That's when she said,
thank you, Mr. Bryant.
-Yeah.
-Second time, I said, gee,
that's a pretty dress.
I was thinking that.
She said thank you.
Then I really
topped it off when I
said, what a beautiful
wife you make for some man.
-Oh, boy.
[INAUDIBLE]
-And she read
everything you was--
-She can read your mind.
I don't care what
you're thinking.
-I'm going over there.
-No, you're not.
No.
-Let me--
-Freddy, Freddy, wait a minute.
Now wait a minute.
Remember she can read
what you're thinking.
-That's all right.
I'm going over there.
-You're going over there?
-I still don't believe,
but I'll try it and see.
-Go ahead.
Go ahead.
-Go ahead.
Go ahead.
Go ahead.
Go ahead.
Go ahead.
Go ahead.
-I'm going.
-Go ahead.
I'll watch you.
I'll see.
-All right.
-Go ahead.
-Thank you, Freddie.
-Freddie, now what did you do?
-I swear.
-I knew you was going
to do something.
-I didn't open my mouth.
You seen me standing there.
-It wasn't what you said.
What were you thinking?
-I was just thinking
how much did
she pay for them false teeth?
-Get out of here.
Oh, that Freddie.
Well, ladies and
gentlemen, we're
about ready now to
start the show rolling
with some good music--
one of the greatest
musical aggregations in the
country, the entire world.
They top everything,
and they're going
to have a good
old-fashioned jam session.
You ready for a jam session?
All right, let's get back now.
Get ready to clap your
feet and your hands,
because here is Lionel
Hampton and the band.
[MUSIC - LIONEL HAMPTON AND HIS
BAND]
[APPLAUSE]
-Thank you very much.
And now, ladies
and gentlemen, it
gives me great pleasure
to present to you one
of the country's biggest
and most outstanding
record artists.
A young lady whose records have
created quite a sensation all
over this old country of ours.
She's here with us tonight.
Here she is, Miss Faye Adams.
How are you, Faye?
Nice to have you here, dear.
What are you going to
sing for us tonight.
-Well, I guess it's "Every Day."
-"Every Day."
Nice work if you can get
it. "Every Day," Faye Adams.
[MUSIC - FAYE ADAMS, "EVERY
DAY"]
-(SINGING) Every day a
heart somewhere is broken.
I'm sorry that this
time it's mine.
I'm so in love
with you every day.
I know our love's dying.
Oh, darling can't
you hear me crying?
I'm so in love with you.
Now don't you believe
me when I tell you
that I've got all
my trust in you?
Yes, you knew it from
the start, so darling
please don't break my heart.
Every day must I
wait here by myself?
Oh darling, there's nobody else.
I'm so in love with you.
Now, don't you believe
me when I tell you
that I've got all
my trust in you?
Yes, you knew it from
the start, so darling,
please don't break my heart.
Every day must I
wait here by myself?
Oh darling, there's nobody else.
I'm so in love with you.
Until you come back to stay,
I'll be waiting every day.
[APPLAUSE]
-And now, ladies
and gentlemen, I'd
like to introduce to you at this
time one of the finest dances
that you've ever seen.
Now to stand here and make a
long, long speech about him
would really be keeping you
away from a great treat.
What with his many Broadway
appearances, nightclubs,
and theaters
throughout the country,
I bet you've seen him before.
If you haven't you're in
great treat right now.
Freddie, open the curtains,
and let's bring on Bill Bailey.
[APPLAUSE]
[MUSIC PLAYING]
-A little bit of Bojangles.
Now [INAUDIBLE] Do that, buddy.
Here's what Bojangles calls
"skipping down Main Street."
Used to love this one.
That's one of my [INAUDIBLE]
that he would do.
[INAUDIBLE] step.
Ain't it boys?
Bring me on home!
-I'm especially happy to
present the next artist to you,
because I've known him
for many, many years.
I've watched his rise to
stardom and many various stages
of his life.
He started out as
a nightclub singer
in the theaters way
back many years ago,
when he first went on
an amateur contest.
Today he's one of the big
names in the business.
So here he is, Herb Jeffries.
[MUSIC - HERB JEFFRIES, "IN MY
HEART (THERE'S A SONG)"]
-(SINGING) In my
heart there's a song,
and it all belongs to you.
In my heart there's a thing
and a dream that you made true.
Now I know I must confess to
you in this life I'll never find
one who has such
loveliness as you.
In this world, in this mind,
in my heart there's a song,
and it speaks of your love,
of your lips, of your arms,
of a love I've never known.
Then it sings to
me like a symphony.
Then it ends and
begins in my heart.
In my heart there's a voice
and it speaks of your love,
of your lips, of your arms,
of a love I've never known.
Then it sings to
me like a symphony.
Then it ends and
begins in my heart.
[APPLAUSE]
-Just a minute.
Wait a minute, honey.
I want--
-(SCREAMING) No!
What is this?
What is this?
-Now, you don't go
hollering, what is this?
What is this?
What does it look like?
This is me.
That's what it is.
-Well.
-This ain't the flying saucer.
This is the sailing
dishpan, honey.
-Well, sail on, honey.
-Oh, I'm me, and I'm
just sailing all around,
all over the
place-- here, there.
I'm sailing all over.
-What's all this sailing about?
-Well, you see I was in to
see my doctor this morning.
-Oh yeah?
-Yeah.
He looked me over,
examined me real good.
-Uh-huh.
-Then he put me out the office.
He says, man, go ahead
get out right quick.
Go ahead, pick up and enjoy
yourself while you've got time.
-Uh-huh.
-So I'm just sailing
'round and picking up here,
there, and every--
-Wait a minute, fella.
Cool down.
What did you pick
up in California?
-Well they wasn't putting
down nothing in California.
-You're telling me.
-Yeah, but I picked up and
left from there in a hurry.
-I know all about it.
-Ah, but wasn't I glad to get
back to good, old New York.
-Well, who wouldn't be?
-Yeah, good, old New York.
No sooner than I
stepped off the plane
there-- right in the station.
There was a man standing
right in the station selling
five dollar bills
for fifty cents.
-How about that?
-Yeah.
-Well how could
that fella do that?
-How could he do it?
They can do anything in
New York to make a living.
-Oh, they can?
-They don't ask
you how you got it.
-No?
-All they want to know
is have you got it?
[LAUGHTER]
-And they waiting for you.
You better bring it with
you when you come here, too.
-There must have been something
phony about those bills.
-Oh no, I wouldn't
say they was phony?
-No?
-No, they was just
seconds, that's all.
-Seconds?
-Yeah, well you see they
made a misprint on the bill.
-Uh-huh.
-Yeah, you see
they had Lincoln's
head printed upside
down on there.
-So what?
-His mustache was where
his eyebrows should be.
-No kidding?
-He looks just like John
L. Lewis from the factory.
-Oh, what?
-Yeah, but I'm going to get me
a whole basket of full of them
bills, and I'm going
on back out West,
and I'm going to do like the
Doctor said-- pick up and have
a good time while I got time.
Well, what's wrong
with you, Freddie?
-I can't keep up with those
nice, beautiful girls like I
used to.
You know-- doing that
mambo and all that.
-Oh, Freddy, I'm surprised at
you worrying about the girls.
-Well, I don't see nothing
else in the world be learning.
Yeah, I'm--
-Well, I'm here.
-Yeah, I see you.
There's nothing wrong with me.
-I should say not.
I should say not.
You are-- oh my!
-Don't you remember
that old saying?
-What old saying?
-You know.
They say a woman is
like a street car.
You miss one here, another
one along any minute.
-Oh, just like street cars.
Just like-- yeah, but I'm
scared by the time I get there,
they'll all be going back
to the car barn for repairs.
-Oh, no.
-Oh yeah.
-Well, don't let that worry you.
-No, I won't I mean, after all,
you know-- you're all right.
-Well, I hope I am.
-Yes, indeed.
I'm telling you.
I'm honest as I can be--
-Well, what about your doctor?
What did he tell you to do?
-Well, he told me to go
head on and enjoy myself,
but I can't get back there.
-Oh, you can't?
-No.
Well, you poor fellow.
I really feel sorry for you.
-Yeah, don't worry about
nothing no more, huh?
-I should say not.
-Yeah.
-Well, why don't you
try doing the mambo?
[MUSIC PLAYING]
-Yeah.
-See how easy it is?
-Si, si, senorita.
Look at that.
-Just, uh, follow me.
-Oh, yes.
That's real nice.
Oh, I'm into it.
-You got it all right, Mac?
-I don't know.
I think I am.
-Don't I send you?
-You send me all right, honey.
But I'm scared I'm too
week to take a trip.
[APPLAUSE]
Ladies and gentlemen,
the next artist
is one of the great names in
the blues and rhythm field,
although the tune he's going to
play now is a real bouncy one.
But it carries a very
important message.
And I want to listen to it.
Here he is-- Amos Milburn.
[APPLAUSE]
[MUSIC - AMOS MILBURN, "BAD, BAD
WHISKEY"]
(SINGING) Bad, bad whiskey--
bad, bad whiskey-- bad,
bad whiskey made me
lose my happy home.
When I left my
home this morning I
promised I would think to
stay real straight and sober.
I swore I wouldn't drink.
Bad, bad whiskey--
bad, bad whiskey-- bad,
bad whiskey made me
lose my happy home.
I passed up all the pool
halls gave the boys the slip.
Before the night
was over, I started
into sip bad, bad whiskey.
Bad, bad whiskey--
bad, bad whiskey
made me lose my happy home.
My buddy had a party.
The cats were on the loose.
I started out with soda
and ended up all juiced.
Bad, bad whiskey--
bad, bad whiskey-- bad,
bad whiskey made me
lose my happy home.
My baby's gone and left me.
Man, I feel so sad.
Now the blues have got me.
And I sure got them bad.
Bad, bad whiskey-- bad, bad
whiskey-- bad, bad whiskey
made me lose my
happy home-- made
me lose my happy
home-- made me lose
my happy home-- made
me lose my happy home.
[APPLAUSE]
-Friends, did you ever pass
a theater or a nightclub
when someone was coming out, and
you'd hear expression used, say
didn't she sing like a lark?
Well, if that
expression holds true,
you're in for some good
singing, because I take pleasure
in presenting to you
at this time The Larks.
Here they are.
[APPLAUSE]
[MUSIC - THE LARKS, "WAITING FOR
THE SUNRISE"]
ALL: (SINGING)All world is
waiting for the sunrise.
Every rose is covered with dew.
The thrush on high, his
sleepy mate is calling,
and my heart is calling you.
-(SINGING)Dear one, the world
is waiting for the sunrise.
Every rose is covered with dew.
The thrush on high, his
sleepy mate is calling,
and my heart is calling you.
ALL: (SINGING)Dear
one, the world
is waiting for the sunrise.
Every rose is
covered And with dew.
The thrush on high, his
sleepy mate is calling,
and my heart is calling you.
The stars may be shining
in the sky of blue,
but we will still
be calling you.
Yes, you.
-(SINGING) Yes, you.
ALL: (SINGING)We're calling
Mr. Sunlight-- Sunlight!
[APPLAUSE]
-Thank you, boys.
Thank you.
Well, I can say one thing,
ladies and gentleman--
that song was quite
contrary to their voices,
because The Larks are
never without a song.
I'd like to introduce a
couple of our cast to you
right now, because I want to
know them like I know them.
Flo?
FLO: Yes, Willie?
-Come here.
Freddie?
Come here.
[APPLAUSE]
-How are you both?
-Oh, fine Willie.
-You know, you kids
were running in
and out of the show spatting.
And I bet that a lot of people
in the audience hate you.
-No, wait.
Me?
-And maybe some people hate you.
-Oh.
-But in true life they're
really wonderful people,
and they are married.
-Oh yes.
-Yeah, how about
the marriage, huh?
-Well, you know
how love life is.
-How?
-It starts off when
you sink in his arms.
-Yes.
-And winds up with
your arms in the sink.
-What do you say, fella?
-Oh, Willie, I'll
tell you the truth.
You know-- marriage, like-- it's
too many rings in it for me.
-Too many rings?
-Yes.
-What do mean?
-Well, first there's
the engagement ring.
-Right.
-And then the wedding ring.
-Right.
-And then the suffering.
-But he's great
though, isn't he?
-Oh, yes he is, Willie.
-I don't know.
I still think I got tricked
into my marriage still, Willie.
-Hey, that brings
something back to my mind.
I heard a fantastic story.
I wish you would
enlighten me on it.
-What's that?
-Is it true that your little
brother, when Freddie was
courting you, slipped the
minister down to the house,
and he got down behind the sofa?
-That's right.
-Then the little brother
came through the living room
with his baseball
suit on and a bat.
-That's right.
-And he said who
likes the Dodgers?
-I said, I do.
-Then little boy said,
who likes the Giants?
-I said, I do.
-And is it true that
the minister jumped up
from behind the sofa and said, I
now pronounce you man and wife?
-That's right.
-Wonderful life, huh?
-I'll always remember that.
And another thing-- it
hits me all the time--
is that what is this saying
about the English language,
or something.
-Oh, you mean the
English language
being the mother tongue?
-Yeah, yeah, that's it.
It must be right.
-Why?
-Because father never
gets the chance to use it.
[LAUGHTER]
-Good luck to you.
Thank you.
[INAUDIBLE] Thank you.
Now here he is, ladies
and gentlemen, once again,
that sensational man
of rhythm to play
another great number for
you-- Lionel Hampton.
[APPLAUSE]
[MUSIC - LIONEL HAMPTON AND HIS
BAND]
[LAUGHTER]
-One, two!
[APPLAUSE]
[LAUGHTER]
[APPLAUSE]
[APPLAUSE]
[APPLAUSE]
-Come on, boy.
You can do it.
Come on, ain't nothing to it.
He ain't got nothing on
the ball, Jackie-Boy.
Hit the ball.
The bases are loaded.
Clean them, Jackie.
He ain't got nothing but a
slow, fast, inside, outside ball
of curves.
Hit it, Jackie!
There he goes!
A home run.
I knew I knew it.
Everybody's running.
Everybody's running.
Help yourself.
Everybody-- get the next man up.
Next man up-- who is he?
What?
Ball one?
Who?
Who's up?
Who's at bat.
Tell me, man.
Who's at the bat?
Get it.
Hit it.
Hit it, Roy-Boy.
Hit it, Roy-Boy!.
Hit that ball, Roy-Boy.
You're going to win
this game for me today.
-Hello.
-Boy, you hit that ball, Roy.
-Hey!
Hey, fella!
I see you are quite
a baseball fan.
-Oh, this is today's game.
Today's game is game
of all games, you know.
-Fine.
I agree with you.
But give me a pack
of cigarettes.
I've got to go.
-Yeah, you know
anything about baseball?
-Oh, me I'm an
old baseball fan--
-Great game Here you
are Help yourself.
There you are.
Go ahead.
There you are.
Go ahead.
Go ahead.
Hit that ball!
Go ahead.
Hit that ball!
-I want cigarettes.
-Oh, excuse me.
[LAUGHTER]
-You know, Ira--
-There you go.
-How do you know this
is the kind I wanted?
-That's the kind you got.
Whatever kind you
want, you got it.
Hit the ball.
-You really are a fan
of baseball, aren't you?
-Don't interrupt me.
-I remember, uh--
give me my change now,
if you're so interested.
I gotta go.
-Say what?
-I said give me my
change for my $10 bill.
-What change?
[LAUGHTER]
-The $10 bill I just gave you.
-You gave who $10?
-You.
[LAUGHTER]
[INAUDIBLE]
-Look, I only got
four tens in here.
-Now look, fella, don't tell
me I didn't give you $10.
Now look in that box,
my $10's in there.
-Wait a minute.
Hit the ball!
-Wait a minute.
I'm not kidding with you.
I want my change.
-Your change?
-Well, look in there.
-I got four ten dollar bills.
Is your name on
even one of them?
-Yup, there it is, right there.
That one.
Yup.
Yup.
-Maybe you're right.
I don't think I remember
this one this morning.
I'm going to give your change.
-Thank you.
-Here's six, seven, eight--
-Yeah, well, you know,
one thing you asked me
if I know anything
about baseball?
-Yeah, this is a great game.
Oh, well--
-Wait a minute.
Wait a minute.
Wait a minute.
-Now, wait a minute.
[INAUDIBLE]
-All right All right.
Hey, hey, hey.
Come on let me slide out.
Now give me my change.
-What change?
[LAUGHTER]
-The change for my $10.
Now--
-I just handed you
the-- the change.
-Listen mister, you are
so wrapped up in baseball,
you don't know what's
happening in here.
-You think I'm a
little forgetful.
-All right, give me
my change. $9.75.
-What did you give me?
-$10.
-$10?
-Yeah, $9.75.
-Here's $5.
-Right.
-$6--
-Yeah.
---$7, $8.
-Yeah, you talking
about Gil Hodges.
Now that Gil Hodges is
quite a baseball player--
-Wait a minute.
He's at bat.
-Wait a minute.
He's at bat.
He's at bat.
He's at bat.
He's at bat.
He's at bat.
-He's at bat again?
-Strike one.
Strike one.
Strike one.
-Is he on?
-He's on.
Two men on base.
Wait a minute.
-I'm sorry.
-Don't interrupt me.
-I've gotta go.
-Yeah, go ahead.
[INTERPOSING VOICES]
-No, no, give me my change.
-I just gave you your change.
-Now listen, mister, give
me my change, please.
I know you're a baseball
fan, and you're all enthused,
but I want my change.
I'm a businessman.
-Baseball or no baseball, I just
gave you your change for $10.
You walked in.
You asked me for a cigar.
-I'm not playing
with you, fella.
Give me my change, now. $9.75!
-Who do you think
you're hollering at?
Don't holler at me.
This is my money.
-Well, give me my change.
-Well, you take your
change, and don't ask me
for not more, because
I'm running out of money.
$5, $6--
-Yes.
---$7 $8-- now, that's all.
Here's your 75 cents-- here.
$0.50-- here, give me a quarter.
Just give me a quarter
back and take the dollar.
Now go ahead, will you, please?
Thank you very much.
Please don't bother me.
This is the game of games.
-Listen, you've got
a very bad attitude.
-Yeah, you've got
a bad attitude.
-Truthfully, if you've got
that kind of an attitude,
and you're in business, I
don't watch your cigarettes.
Give me my $10 back.
-I don't want your business.
-Give me my $10 back.
-What?
-Give me my $10 back.
I gave you your cigarettes now.
Yeah, you gave them to me.
Here, I'm glad to
get rid of you.
There's your $10.
There's the cigarettes.
There's your $10.
There's the cigarettes.
Now get out.
I don't need your business here.
Now get out.
I don't need your business here.
-Thank you very much.
-Goodbye.
You imagine him-- thanks he
can make a fool out of me.
[APPLAUSE]
-And now, ladies
and gentlemen, I'd
like to introduce at
this time a young lady
whose career has
been a fabulous one.
One who's known
throughout the world
affectionately by the
profession as Little Miss Sassy,
and she is-- Sarah Vaughan.
[MUSIC - SARAH VAUGHAN,
"PERDIDO"]
-(SINGING) Perdido--
I look for my heart.
It's perdido.
I lost it way down in Torido
while chancing a dance fiesta.
Bolero-- he glanced as
I danced the bolero.
He said, taking
off his sombrero,
"Let's meet for a sweet fiesta."
High, high, high was the sun
when we first came close.
Low, low, low was the
moon when we said adios.
Perdido-- since then has
my heart been perdido.
I know I must go to Torido--
that yearning to lose perdido.
I looked for my heart.
It's perdido.
I lost it way down in Torido.
He glanced as I
danced the bolero.
He smiled as he
tipped his sombrero.
High was the sun when
we first came close.
Low was the moon
when we said adios.
Woo!
Since then has my
heart been perdido.
I must go to Torido--
that yearning to lose.
Perdido, ooh, perdido, ooh,
perdido-- the day the fiesta
started.
Perdido, ooh,
perdido, ooh, perdido,
that's when my heart departed.
Perdido-- [SINGING SCAT]
it's perdido.
[APPLAUSE]
-Thank you, Sarah.
[APPLAUSE]
-It's me.
Thank you.
Thank you.
Oh, gee, you're wonderful.
Thank you.
Thank you.
Thank you.
Thank you.
Oh, cut it out.
Now stop.
Stop.
Stop.
Oh, oh, you're wonderful.
I love you.
I love you.
I-- oh, wait a minute.
Wait a minute.
Come on over here.
How you doing, Willie?
-Hey, Nipsey.
-Aw, it's good to see you.
-It's good to see you, too.
-Say, I didn't see
you since we tried
to make a date with those
two beautiful girls.
Yeah, you remember that?
-Yeah how'd you make out?
-Solid, Jackson-- solid.
Hey, how'd you make out?
-Stonewall Jackson-- stonewall.
-You know, Nipsey--
-What's that?
-It really must be wonderful to
stand up here and make people
laugh, to be a great
comedian like that.
Gee, I wish I had
that knack, you know?
-Nothing to it, Uncle Willie.
You could do it.
-Oh no, not me.
-We could-- we could do it.
-You and I?
-We can be a comedy team, and
we don't even need to rehearse.
-Oh no, this I won't believe.
-I'll show you.
-Not with me.
-Yeah, with you.
-All right.
-Right here.
We can make them laugh.
-Prove it to me.
-All right, now all you gotta
say is, "that's good,"--
-That's good.
---or, "that's bad."
-You mean to say we can
make them laugh just
saying "that's good"
or "that's bad."
-That's all you got to say.
Whichever comes to you,
you just say "that's good"
or "that's bad."
-And we'll make 'em laugh?
-We'll make 'em laugh.
Wanna try?
-I'm ready.
-Here we go.
-All right.
-All right?
-Yeah.
-Uncle Willie?
-Yeah?
-I just got married.
-That's good.
-No, that's not good.
I married an ugly, old hag.
-Oh, that's bad.
-No, it's not so bad,
'cause she is rich.
-That's good.
-No, it's not so good, because
she's rich and she's mean.
She won't give any of the money.
-Oh, that's bad.
-Well.
It's no so bad, 'cause she
bought me a beautiful house.
-Yeah?
That's good.
-No, it's not so good.
The house burned down.
-Oh, that's bad.
-No, that's good,
'cause she was in it.
Now she's gone, and
I get all the money.
[APPLAUSE]
-Oh, gee, you know what?
I can tell right now
that you're going
to be a wonderful audience,
and with a great warm reception
like this we just can't miss.
Well, ladies and
gentleman, are you ready?
Ready for a good show?
I'm ready to present it to you.
Presenting at this
time a gentleman
of royalty in the
musical world with
a great musical aggregation.
So let's get together, and
you'll say "that's good,"
as we present you Count
Basie and the Orchestra
[APPLAUSE]
[MUSIC - COUNT BASIE
AND HIS ORCHESTRA,
"HE PLAYS BASS IN
THE BASIE BAND"]
-(SINGING) He plays
bass in the Basie band.
-Yeah.
-(SINGING) Oh, he plays bass.
BAND MEMBER: Go!
[APPLAUSE]
BAND MEMBER: Walk, Daniel.
[APPLAUSE]
[APPLAUSE]
BAND MEMBER: Talk to him.
[LAUGHTER]
[LAUGHTER]
[APPLAUSE]
[APPLAUSE]
-I think it's time now
to sort of slow the tempo
down-- introduce you to
some real solid groove--
music that's sound as a rock.
In fact, I'd like to present to
you a man who wizened the world
up about what the
blues is all about.
They call him Big Joe Turner,
the daddy of the blues.
Now I like to set a tempo
sort of like this for him
to bring him on, so I
can give him to you.
Hey, Joe!
Hey, Big Joe Turner!
[APPLAUSE]
-Come on in.
[MUSIC - BIG JOE TURNER, "SHAKE,
RATTLE, AND ROLL"]
-Real nervous-like--
get crazy, no?
Sound off, boys.
Let 'em rock a while-- crazy.
(SINGING) Get outta
that kitchen, baby.
Wash your face and hands.
Get outta that kitchen, baby.
Wash your face and hands.
Where's your big mouth supper,
'cause I'm such a hungry man?
The way you wear
your hair, babe,
you look so mellow and fine.
The way you wear your hair,
you look so mellow and fine.
Can't believe my eyes.
All that jive is mine.
I believe to my soul you're
a devil with nylon hose.
I believe to my soul you're
a devil with nylon hose.
Well, the harder I work, babe,
the faster my money goes.
I said shake, rattle, and roll.
Shake, rattle, and roll.
Shake, rattle and roll.
Shake, rattle, and roll.
If you won't do
right, I don't know.
Shake, rattle, and roll.
Crazy.
[INAUDIBLE]
Well, all right.
Yeah, give it, boys.
Yeah, zop, zop, zop.
[APPLAUSE]
I'm like a one-eyed cat
peeping in a seafood store.
I'm like a one-eyed cat
peeping in a seafood store.
I can look at you, baby, tell
you ain't no child no more.
Well, lordy, lord,
way down underneath.
Well, lordy, lord
way down underneath.
You make me roll my eyes.
Baby, make me grit my teeth.
I said shake, rattle, and roll.
Shake, rattle, and roll.
Shake, rattle, and roll.
Shake, rattle, and roll.
Well, hurry up, baby,
before I get too old.
[APPLAUSE]
-I might as well get
out of this mood,
though, right now
and sort of get
into what they call
a "jumping mood."
You know what I mean
by "jumping mood"?
Well, that's sort of a
slang for getting with it
and let's boot it.
And I got four boys here who
can really boot it for you.
Are you ready for them?
So let's boot it up.
The Delta Rhythm Boys.
[APPLAUSE]
-(SINGING) Dem dry, dem
dry, dem dry bones--
Ezekiel cried dem dry bones.
Ezekiel cried dem dry bones.
Now hear the word of the Lord.
Ezekiel connected
them dry bones.
Ezekiel connected
them dry bones.
Ezekiel connected
them dry bones.
Now hear the word of the Lord.
Well, your toe bone
connected to your foot bone.
The foot bone connected
to your heel bone.
Your heel bone connected
to your ankle bone.
The ankle bone connected
to your leg bone.
The leg bone connected
to your knee bone.
The knee bone connected
to your thigh bone.
The thigh bone connected
to your hip bone.
Your hip bone connected
to your backbone.
The backbone connected
to your shoulder bone.
The shoulder bone connected
to your neck bone.
Your neck bone connected
to your head bone.
Now hear the word of the Lord.
Dem bones, dem bones
gonna walk around.
Dem bones, dem bones
gonna walk around.
Dem bones, dem bones
gonna walk around.
Now hear the word of the Lord.
Disconnect dem
bones, dem dry bones.
Disconnect dem
bones, dem dry bones.
Disconnect dem
bones, dem dry bones.
Now hear the word of the Lord.
Well, your head bone
connected from your neck bone.
Your neck bone connected
from your shoulder bone.
Your shoulder bone connected
from your backbone.
Your backbone connected
from your hip bone.
Your hip bone connected
from your thigh bone.
Your thigh bone connected
from your knee bone.
The knee bone connected
from your leg bone.
Your leg bone connected
from your ankle bone.
The ankle bone connected
from your heel bone.
The heel bone connected
from your foot bone.
The foot bone connected
from your toe bone.
Now hear the word of the Lord.
Oh, well, dem bones, dem
bones, dem dry bones.
Dem bones, dem
bones, dem dry bones.
Dem bones, dem
bones, dem dry bones.
Now hear the world of the Lord.
Dem bones, dem
bones, dem dry bones.
Dem bones, dem
bones, dem dry bones.
Dem bones, dem
bones, dem dry bones.
Now the hear the
word of the Lord.
[APPLAUSE]
-At this time it's
indeed a pleasure
to present to you an artist that
I've greatly admired since I
first had the pleasure of seeing
and hearing her on our show.
And we're mighty glad to
have her back with us again,
and I'm sure that you're
going to enjoy her
just as much as you
did the last time.
And here she is-- Martha
Davis and her spouse.
[APPLAUSE]
[MUSIC - MARTHA AND HER SPOUSE,
"GOODBYE, HONEY, GOODBYE"]
-(SINGING) Well, Mister,
you've had your last chance,
of this sister's through
with your romance.
There's no need to even ask why?
I've just one thing to
say, and that's goodbye.
[LAUGHTER]
-(SINGING) Read all
about your trip away,
all the columns say
you just love to play.
Just one thing to say, and
that is, honey child, ha ha,
goodbye.
I don't want to hear from you.
I don't want to know
where you're at.
I don't want to meet
you, you bum, you,
Gonna hit you with
a baseball bat.
Now will you please get out?
And when I say
"out," I mean "away."
Let the doorknob hit you
where the boogeyman bit you.
All I got to say
is honey, goodbye.
[PIANO PLAYING]
-Goodbye.
-(SINGING) Oh!
Ah!
Well I'm going to gets
me a staying home man,
and maybe he'll serve
me breakfast in bed.
Yeah, I'm going to get
a great lover who'll
charms will discover-- look out.
P.S. to you, honey-- drop dead.
Going to find me
a nice young gent.
Who'll he really think my
frame is gold embossed, yeah.
He'll be of nutrition like
the Hollywood tradition.
Look out, honey.
Get lost.
I was behind you
when you went up,
but I ain't going to be
behind you when you go down.
So wire me S.O.S., because
I ain't in that mess,
and my address?
Forget it.
Go on back where you been.
Keep loving and living in sin.
'Til we meet you
once more, I think
I'm going to do just a
little ol' living myself.
And [INAUDIBLE] the back door.
Goodbye forever.
I'll see you never.
Auf wiedersehen.
Adios.
Au revoir.
And goodbye.
[APPLAUSE]
-Thank you, Martha Davis.
Thank you.
That was wonderful.
And now for a fast change up.
You know when a pitcher gets
a 3-2 count on a batter?
You know what he
does, don't you?
He comes in with that fast ball.
Well, on deck out here
we got a little slugger
who refuses to be pitched out.
And I'm sure that you
will agree with me when
I say that he is
one of the greatest.
And here he is, Little Buck.
[APPLAUSE]
[MUSIC PLAYING]
[APPLAUSE]
-Thank you, Little Buck.
Come on back here.
Come on.
Thank you very much, little one.
Good night.
Ah, there's a little rascal
who refuses to be struck out.
He's a hard-hitter.
And speaking of
hits, well, there's
a guy standing on the
on-deck circle right now.
I would say that his batting
average is about 1,000.
I'm sure that you'll
agree with me too.
Here he is, ladies
and gentlemen,
that home run hitter of
songs-- Nat King Cole.
[APPLAUSE]
[MUSIC - NAT KING COLE, "CALYPSO
BLUES"]
(SINGING SCAT)
-(SINGING) Sitting by the ocean,
me heart, she feel so sad.
Sitting by the ocean, me
heart, she feel so sad.
Don't got the money to
take me back to Trinidad.
Fine calypso woman-- she
cooked me shrimp and rice.
Fine calypso woman she
cook me shrimp and rice.
These Yankee hot dogs don't
treat me stomach very nice.
In Trinidad one dollar buy
papaya juice, banana pie,
six coconut, one female
goat, and plenty fish
to fill the boat, one bushel
bread, one barrel wine,
and all the town,
she comes to dine.
But here is bad.
One dollar buy cup
of coffee ham on rye.
Me throat she sick from necktie.
Me feet she hurt from shoes.
Me pocket full of empty.
I got calypso blues.
These Yankee girls
give me big scare.
Is black the root.
Is blonde the hair.
Her eyelash false.
Her face is paint.
And pads are where
the girl she ain't.
She jitterbug when
she should waltz.
I even think her name is false.
But calypso girl is good a lot.
Is what you see.
Is what she got.
Sitting by the ocean, me
heart she feels so sad.
Don't got the money to
take me back to Trinidad.
(SINGING SCAT)
[APPLAUSE]
-Mr. Chan?
Mr. Chan?
-Mantan Moreland.
-Hey, Nipsey Russell.
-Where have you been?
-What do you want to
know-- wha- wha- wha--
-Where have you been?
-What do you want to
know where I've been for?
-Well, I was at home,
lying in my bed,
thinking about the
money that I owe you,
and I just couldn't sleep.
-Couldn't sleep?
-No, I had to get up out of my
bed to come over and fine you
and tell you that
I can't pay you.
-Now you fixed it
so I can't sleep.
How come you can't pay me?
-The races-- a low-down hound.
-Hound?
What kind of races do you play?
-Horse races.
-What track you play at?
-I play over here--
-That track's crooked.
Why don't you play
over here around--
-That's where I lost my money.
-Mm-hm.
How much did you lose?
-I lost about--
-You didn't have that much.
-No?
-No, all you had was--
-I had more than that.
I bet on a horse, and that
rascal didn't come in--
-Was he that far behind?
-Yeah.
-Who was the jockey riding him?
-A jockey by the name of--
-He can't ride.
Now I thought he went
out there to ride for --
-He did.
But they bought him.
He came on back.
-Oh, yeah?
-Yeah, and do you
know what he did?
-What?
-Let me tell you.
Boy--
-You should have
had him arrested.
Now the horse you should
have bet on was number--
-He was scratched.
-Yeah?
-Yeah.
Man down-- you
don't look so good.
-No, I don't feel
so good, either.
-Well, why don't you go away,
take a little trip for you
health.
-Yeah, I think I'll
go out here to, uh--
-Don't go out there.
They filled up.
I would suggest that
you go over to--
-And get ten years?
-If you went, how would you go?
-Driving.
-Driving what?
-A 19--
-You'll never make it.
-Say, looky here.
Now what time is it?
-Well, the hour's almost--
-Is it that late?
-Yes.
-I've got to go
over here and see--
-She's not at home.
-Then where is she?
-I think she went down--
-I'll see her then.
You take it easy.
-All right.
-Au revoir.
-Farewell.
That's why I like
to talk to a man.
We always understand each other.
But let me tell you, I
did go to the race track.
Went to the racetrack,
I had a roll
big enough to choke a horse.
That's what I should
have done was choke
that rascal instead
of betting on him.
I bet $15 on a
horse's nose, found
after the race I could
have bought him for $10.
I didn't mind him getting
left at the polls.
That could happen to any horse.
But when he stops in
front of the grandstand
and asked me, which way did
they go, that's when I gave up.
And I thought I
had a good horse.
He left the post twenty to one.
Came in at quarter after five.
The horse ran so slow that the
jockey actually felt guilty.
He felt guilty.
When he got in his dress, the
jockey started giving the whip,
you know?
The horse stopped, looked
back at the jockey,
said, man, what are
you hitting me for,
there's nobody behind us.
I left and walked
around to a little place
where they were serving drinks.
All of a sudden a guy
walks into the bar
he had his handkerchief
up to his next like this.
He raps on the bar.
The bartender comes over,
says, what can I do for you?
The guy says-- Bartender
says, do you want a drink?
Bartender said,
don't I know you?
So where you been,
over to the racetrack?
So you-- did you win?
You bet?
You lose?
How much you lose?
Bartender says, $2?
The bartender said, $2,000?
Bartender said, gee whiz, if
I lost $2,000 on the races
my wife would cut my throat.
[LAUGHTER]
[APPLAUSE]
And now it's a pleasure to
present you Cab Calloway.
[APPLAUSE]
[MUSIC - CAB CALLOWAY
AND HIS ORCHESTRA,
"MINNIE THE MOOCHER"]
-(SINGING) Hey folks, here's a
story about Minnie the Moocher.
She was a red-hot
hootchie cootcher.
She was the roughest,
toughest frail,
but Minnie had a heart
as big as a whale.
Hi dee hi dee hi dee hi.
ALL: (SINGING) Hi
dee hi dee hi dee hi.
-Ho dee ho dee ho dee ho.
ALL: (SINGING) Ho
dee ho dee ho dee ho.
-He dee he dee he dee he.
ALL: (SINGING) He
dee he dee he dee he.
-Whoa.
ALL: (SINGING) Whoa.
-She had a dream about
the king of Sweden.
He gave her things
that she was needing.
He gave her a home
built of gold and steel,
a diamond car slipped
with platinum wheels.
Hi dee hi dee hi dee hi dee
hi dee hi dee hi dee hi.
ALL: (SINGING) Hi
dee hi dee hi dee
hi dee hi dee hi dee hi dee hi.
-Ho dee ho dee ho dee
ho dee ho dee ho dee ho.
-Ho dee ho dee ho dee
ho dee ho dee ho dee ho.
-(SINGING SCAT)
ALL: (SINGING SCAT)
-(SINGING SCAT)
ALL: (SINGING SCAT)
-He gave her his townhouse
and his racing horses.
Each meal she ate
was a dozen courses.
She had a million dollars'
worth of nickels and dimes.
She sat around and counted
them all a million times.
-Hi dee hi dee hi dee hi.
ALL: (SINGING) Hi
dee hi dee hi dee hi.
-Whoa.
ALL: (SINGING) Whoa.
-He dee he dee he dee he.
ALL: (SINGING) He
dee he dee he dee he.
-Hi dee hi dee hi dee ho.
-Hi dee hi dee hi dee ho.
-Poor Min.
Poor Min.
Poor Min.
[APPLAUSE]
-I'd like to present to you
at this time a young lady, who
just a few months ago
was tabbed the Mama Girl.
And had she cried, Papa!
I would have been there.
Oh, she's so gorgeous.
She's so beautiful.
She's so sweet.
She's so wonder-- Hello, Ruthie.
-You know what, Willie?
-What?
-You say the sweetest things.
-Yeah?
-You know, I kind
of like you too.
-Go on.
-You're clever.
You're dynamic.
-Go on.
-You're terrific.
-Go on.
-And most of all,
you're so "hamsome."
-"Hamsome"?
You mean handsome.
-Oh, forgive me, Willie.
I really couldn't remember
everything you told me to say.
-Oh girl, go on and sing.
-That I will.
[MUSIC - RUTH BROWN, "TEARDROPS
FROM MY EYES"]
-(SINGING) Every time
it rains I think of you.
And every time I feel so blue.
When the rain starts to falling
my love comes tumbling down.
And it's raining
teardrops from my eyes.
Well, if you see clouds, here
in my eyes, it just because you
said goodbye.
Although the sun is shining,
there's no summer sky.
And it's raining
teardrops from my eyes.
Remember the night you told
me our love would always be?
I wouldn't be blue and lonely,
well, if you'd come back to me.
Every single cloud
would disappear.
I'd wear a smile
if you were here.
So, baby, won't you hurry,
because I miss you so?
And it's raining
teardrops from my eyes.
-SINGING) Well,
remember the night
you told me our love
would always be?
I wouldn't be blue and lonely,
well, if you'd come back to me.
Every single cloud
would disappear.
I'd wear a smile
if you were here.
Yeah, baby, won't you
hurry, 'cause I miss you so?
And it's raining
teardrops from my eyes.
[APPLAUSE]
-Again, it's Basie rhythm
time, as we present
the great Count Basie
and his orchestra.
Basie!
[APPLAUSE]
[MUSIC - COUNT BASIE AND HIS
ORCHESTRA, "ONE O'CLOCK JUMP"]
[APPLAUSE]
ANNOUNCER: And now,
here is the fellow
to tell you all about
our show, Harlem's singer
and favorite son, that crowned
prince of mirth, Willie Bryant.
[APPLAUSE]
-Willie Bryant, that's me.
Thank you.
Ah, you're a wonderful audience.
Thank you very, very much,
ladies and gentlemen.
Well, we're glad to be back.
Got another great
show for you too--
-Say, Willie, come here.
I want to see you.
-Well, now, no,
no Freddy, Freddy,
Freddy-- wait a
minute-- the people.
We have a show, you know?
Go on, go.
-Oh yes, but Willie I
got to see you right now.
I got to see you--
-Freddy, not now.
---right now.
-I'm busy.
I'm going to put a show on.
You can't bust in like this.
-But it won't take you
but a minute, Willie.
-What do you?
What do you want?
-I want a job.
You promised to give
me a job, Willie.
-Oh, no.
Oh, Freddie, look, I've
got-- what can I do with you?
I got Faye Adams in the show.
I've got Amos Milburn in the.
Show I've got The
Larks in the show.
I got-- oh, I got so
many people in the show.
I can't put you in the show now.
-Yeah, yeah, put
Freddie in the show.
-Well, I'm not
ready for Freddie.
-I know, but Willie--
-Well, I tell you what.
I just thought of something.
Will you take another
job for the time being?
-Oh, yeah yeah, yeah.
-Well, you see, they
want a receptionist down
at the library.
They want a man.
-Willie, I'm a man.
[LAUGHTER]
-I didn't mean that,
but I tell you--
-What?
---Now this is a funny
job, because you meet
a lot of peculiar
people down there.
They have-- you
know, some people
are very sensitive
about certain things.
-Yeah, yeah, yeah.
-And one woman in particular--
-One?
---Yeah.
She goes down there
every day-- this
is the most amazing woman
that you've ever seen.
You know why?
She can actually read
what you're thinking.
-Oh, no, I don't-- she
going to read my mind.
-She can read anybody's mind.
She passes here every day.
Funny thing, here she comes now.
Hello, Flo.
-Oh, hello, Mr. Bryant.
-How are you?
-Hello, Freddie.
-How are you?
-I'm not kidding you--
she can read what you're--
-She can read?
I don't--
-You heard her call you Freddie.
You never met her.
-But I don't believe it.
-You don't believe it?
-I don't believe in them things.
-Outta my way.
Outta my way, skeptic.
-You going over there?
-Yeah, I'm going to show you.
I'm not going to open my mouth.
Now watch me.
-Thank you, Mr. Bryant.
-Hm?
-All right, thank
you, Mr. Bryant.
Thank you, Mr. Bryant.
-See, what'd I tell you?
-Look here.
-Uh-huh.
-You didn't say a word.
-Amazing, isn't it?
-She knew what you
was thinking about?
-Everything I was saying.
-I believe her saying,
"Thank you, Mr. Bryant."
-You know why?
-Thank you.
-You know why?
The first time I said, what
pretty skin and eyes you have.
That's when she said,
thank you, Mr. Bryant.
-Yeah.
-Second time, I said, gee,
that's a pretty dress.
I was thinking that.
She said thank you.
Then I really
topped it off when I
said, what a beautiful
wife you make for some man.
-Oh, boy.
[INAUDIBLE]
-And she read
everything you was--
-She can read your mind.
I don't care what
you're thinking.
-I'm going over there.
-No, you're not.
No.
-Let me--
-Freddy, Freddy, wait a minute.
Now wait a minute.
Remember she can read
what you're thinking.
-That's all right.
I'm going over there.
-You're going over there?
-I still don't believe,
but I'll try it and see.
-Go ahead.
Go ahead.
-Go ahead.
Go ahead.
Go ahead.
Go ahead.
Go ahead.
Go ahead.
-I'm going.
-Go ahead.
I'll watch you.
I'll see.
-All right.
-Go ahead.
-Thank you, Freddie.
-Freddie, now what did you do?
-I swear.
-I knew you was going
to do something.
-I didn't open my mouth.
You seen me standing there.
-It wasn't what you said.
What were you thinking?
-I was just thinking
how much did
she pay for them false teeth?
-Get out of here.
Oh, that Freddie.
Well, ladies and
gentlemen, we're
about ready now to
start the show rolling
with some good music--
one of the greatest
musical aggregations in the
country, the entire world.
They top everything,
and they're going
to have a good
old-fashioned jam session.
You ready for a jam session?
All right, let's get back now.
Get ready to clap your
feet and your hands,
because here is Lionel
Hampton and the band.
[MUSIC - LIONEL HAMPTON AND HIS
BAND]
[APPLAUSE]
-Thank you very much.
And now, ladies
and gentlemen, it
gives me great pleasure
to present to you one
of the country's biggest
and most outstanding
record artists.
A young lady whose records have
created quite a sensation all
over this old country of ours.
She's here with us tonight.
Here she is, Miss Faye Adams.
How are you, Faye?
Nice to have you here, dear.
What are you going to
sing for us tonight.
-Well, I guess it's "Every Day."
-"Every Day."
Nice work if you can get
it. "Every Day," Faye Adams.
[MUSIC - FAYE ADAMS, "EVERY
DAY"]
-(SINGING) Every day a
heart somewhere is broken.
I'm sorry that this
time it's mine.
I'm so in love
with you every day.
I know our love's dying.
Oh, darling can't
you hear me crying?
I'm so in love with you.
Now don't you believe
me when I tell you
that I've got all
my trust in you?
Yes, you knew it from
the start, so darling
please don't break my heart.
Every day must I
wait here by myself?
Oh darling, there's nobody else.
I'm so in love with you.
Now, don't you believe
me when I tell you
that I've got all
my trust in you?
Yes, you knew it from
the start, so darling,
please don't break my heart.
Every day must I
wait here by myself?
Oh darling, there's nobody else.
I'm so in love with you.
Until you come back to stay,
I'll be waiting every day.
[APPLAUSE]
-And now, ladies
and gentlemen, I'd
like to introduce to you at this
time one of the finest dances
that you've ever seen.
Now to stand here and make a
long, long speech about him
would really be keeping you
away from a great treat.
What with his many Broadway
appearances, nightclubs,
and theaters
throughout the country,
I bet you've seen him before.
If you haven't you're in
great treat right now.
Freddie, open the curtains,
and let's bring on Bill Bailey.
[APPLAUSE]
[MUSIC PLAYING]
-A little bit of Bojangles.
Now [INAUDIBLE] Do that, buddy.
Here's what Bojangles calls
"skipping down Main Street."
Used to love this one.
That's one of my [INAUDIBLE]
that he would do.
[INAUDIBLE] step.
Ain't it boys?
Bring me on home!
-I'm especially happy to
present the next artist to you,
because I've known him
for many, many years.
I've watched his rise to
stardom and many various stages
of his life.
He started out as
a nightclub singer
in the theaters way
back many years ago,
when he first went on
an amateur contest.
Today he's one of the big
names in the business.
So here he is, Herb Jeffries.
[MUSIC - HERB JEFFRIES, "IN MY
HEART (THERE'S A SONG)"]
-(SINGING) In my
heart there's a song,
and it all belongs to you.
In my heart there's a thing
and a dream that you made true.
Now I know I must confess to
you in this life I'll never find
one who has such
loveliness as you.
In this world, in this mind,
in my heart there's a song,
and it speaks of your love,
of your lips, of your arms,
of a love I've never known.
Then it sings to
me like a symphony.
Then it ends and
begins in my heart.
In my heart there's a voice
and it speaks of your love,
of your lips, of your arms,
of a love I've never known.
Then it sings to
me like a symphony.
Then it ends and
begins in my heart.
[APPLAUSE]
-Just a minute.
Wait a minute, honey.
I want--
-(SCREAMING) No!
What is this?
What is this?
-Now, you don't go
hollering, what is this?
What is this?
What does it look like?
This is me.
That's what it is.
-Well.
-This ain't the flying saucer.
This is the sailing
dishpan, honey.
-Well, sail on, honey.
-Oh, I'm me, and I'm
just sailing all around,
all over the
place-- here, there.
I'm sailing all over.
-What's all this sailing about?
-Well, you see I was in to
see my doctor this morning.
-Oh yeah?
-Yeah.
He looked me over,
examined me real good.
-Uh-huh.
-Then he put me out the office.
He says, man, go ahead
get out right quick.
Go ahead, pick up and enjoy
yourself while you've got time.
-Uh-huh.
-So I'm just sailing
'round and picking up here,
there, and every--
-Wait a minute, fella.
Cool down.
What did you pick
up in California?
-Well they wasn't putting
down nothing in California.
-You're telling me.
-Yeah, but I picked up and
left from there in a hurry.
-I know all about it.
-Ah, but wasn't I glad to get
back to good, old New York.
-Well, who wouldn't be?
-Yeah, good, old New York.
No sooner than I
stepped off the plane
there-- right in the station.
There was a man standing
right in the station selling
five dollar bills
for fifty cents.
-How about that?
-Yeah.
-Well how could
that fella do that?
-How could he do it?
They can do anything in
New York to make a living.
-Oh, they can?
-They don't ask
you how you got it.
-No?
-All they want to know
is have you got it?
[LAUGHTER]
-And they waiting for you.
You better bring it with
you when you come here, too.
-There must have been something
phony about those bills.
-Oh no, I wouldn't
say they was phony?
-No?
-No, they was just
seconds, that's all.
-Seconds?
-Yeah, well you see they
made a misprint on the bill.
-Uh-huh.
-Yeah, you see
they had Lincoln's
head printed upside
down on there.
-So what?
-His mustache was where
his eyebrows should be.
-No kidding?
-He looks just like John
L. Lewis from the factory.
-Oh, what?
-Yeah, but I'm going to get me
a whole basket of full of them
bills, and I'm going
on back out West,
and I'm going to do like the
Doctor said-- pick up and have
a good time while I got time.
Well, what's wrong
with you, Freddie?
-I can't keep up with those
nice, beautiful girls like I
used to.
You know-- doing that
mambo and all that.
-Oh, Freddy, I'm surprised at
you worrying about the girls.
-Well, I don't see nothing
else in the world be learning.
Yeah, I'm--
-Well, I'm here.
-Yeah, I see you.
There's nothing wrong with me.
-I should say not.
I should say not.
You are-- oh my!
-Don't you remember
that old saying?
-What old saying?
-You know.
They say a woman is
like a street car.
You miss one here, another
one along any minute.
-Oh, just like street cars.
Just like-- yeah, but I'm
scared by the time I get there,
they'll all be going back
to the car barn for repairs.
-Oh, no.
-Oh yeah.
-Well, don't let that worry you.
-No, I won't I mean, after all,
you know-- you're all right.
-Well, I hope I am.
-Yes, indeed.
I'm telling you.
I'm honest as I can be--
-Well, what about your doctor?
What did he tell you to do?
-Well, he told me to go
head on and enjoy myself,
but I can't get back there.
-Oh, you can't?
-No.
Well, you poor fellow.
I really feel sorry for you.
-Yeah, don't worry about
nothing no more, huh?
-I should say not.
-Yeah.
-Well, why don't you
try doing the mambo?
[MUSIC PLAYING]
-Yeah.
-See how easy it is?
-Si, si, senorita.
Look at that.
-Just, uh, follow me.
-Oh, yes.
That's real nice.
Oh, I'm into it.
-You got it all right, Mac?
-I don't know.
I think I am.
-Don't I send you?
-You send me all right, honey.
But I'm scared I'm too
week to take a trip.
[APPLAUSE]
Ladies and gentlemen,
the next artist
is one of the great names in
the blues and rhythm field,
although the tune he's going to
play now is a real bouncy one.
But it carries a very
important message.
And I want to listen to it.
Here he is-- Amos Milburn.
[APPLAUSE]
[MUSIC - AMOS MILBURN, "BAD, BAD
WHISKEY"]
(SINGING) Bad, bad whiskey--
bad, bad whiskey-- bad,
bad whiskey made me
lose my happy home.
When I left my
home this morning I
promised I would think to
stay real straight and sober.
I swore I wouldn't drink.
Bad, bad whiskey--
bad, bad whiskey-- bad,
bad whiskey made me
lose my happy home.
I passed up all the pool
halls gave the boys the slip.
Before the night
was over, I started
into sip bad, bad whiskey.
Bad, bad whiskey--
bad, bad whiskey
made me lose my happy home.
My buddy had a party.
The cats were on the loose.
I started out with soda
and ended up all juiced.
Bad, bad whiskey--
bad, bad whiskey-- bad,
bad whiskey made me
lose my happy home.
My baby's gone and left me.
Man, I feel so sad.
Now the blues have got me.
And I sure got them bad.
Bad, bad whiskey-- bad, bad
whiskey-- bad, bad whiskey
made me lose my
happy home-- made
me lose my happy
home-- made me lose
my happy home-- made
me lose my happy home.
[APPLAUSE]
-Friends, did you ever pass
a theater or a nightclub
when someone was coming out, and
you'd hear expression used, say
didn't she sing like a lark?
Well, if that
expression holds true,
you're in for some good
singing, because I take pleasure
in presenting to you
at this time The Larks.
Here they are.
[APPLAUSE]
[MUSIC - THE LARKS, "WAITING FOR
THE SUNRISE"]
ALL: (SINGING)All world is
waiting for the sunrise.
Every rose is covered with dew.
The thrush on high, his
sleepy mate is calling,
and my heart is calling you.
-(SINGING)Dear one, the world
is waiting for the sunrise.
Every rose is covered with dew.
The thrush on high, his
sleepy mate is calling,
and my heart is calling you.
ALL: (SINGING)Dear
one, the world
is waiting for the sunrise.
Every rose is
covered And with dew.
The thrush on high, his
sleepy mate is calling,
and my heart is calling you.
The stars may be shining
in the sky of blue,
but we will still
be calling you.
Yes, you.
-(SINGING) Yes, you.
ALL: (SINGING)We're calling
Mr. Sunlight-- Sunlight!
[APPLAUSE]
-Thank you, boys.
Thank you.
Well, I can say one thing,
ladies and gentleman--
that song was quite
contrary to their voices,
because The Larks are
never without a song.
I'd like to introduce a
couple of our cast to you
right now, because I want to
know them like I know them.
Flo?
FLO: Yes, Willie?
-Come here.
Freddie?
Come here.
[APPLAUSE]
-How are you both?
-Oh, fine Willie.
-You know, you kids
were running in
and out of the show spatting.
And I bet that a lot of people
in the audience hate you.
-No, wait.
Me?
-And maybe some people hate you.
-Oh.
-But in true life they're
really wonderful people,
and they are married.
-Oh yes.
-Yeah, how about
the marriage, huh?
-Well, you know
how love life is.
-How?
-It starts off when
you sink in his arms.
-Yes.
-And winds up with
your arms in the sink.
-What do you say, fella?
-Oh, Willie, I'll
tell you the truth.
You know-- marriage, like-- it's
too many rings in it for me.
-Too many rings?
-Yes.
-What do mean?
-Well, first there's
the engagement ring.
-Right.
-And then the wedding ring.
-Right.
-And then the suffering.
-But he's great
though, isn't he?
-Oh, yes he is, Willie.
-I don't know.
I still think I got tricked
into my marriage still, Willie.
-Hey, that brings
something back to my mind.
I heard a fantastic story.
I wish you would
enlighten me on it.
-What's that?
-Is it true that your little
brother, when Freddie was
courting you, slipped the
minister down to the house,
and he got down behind the sofa?
-That's right.
-Then the little brother
came through the living room
with his baseball
suit on and a bat.
-That's right.
-And he said who
likes the Dodgers?
-I said, I do.
-Then little boy said,
who likes the Giants?
-I said, I do.
-And is it true that
the minister jumped up
from behind the sofa and said, I
now pronounce you man and wife?
-That's right.
-Wonderful life, huh?
-I'll always remember that.
And another thing-- it
hits me all the time--
is that what is this saying
about the English language,
or something.
-Oh, you mean the
English language
being the mother tongue?
-Yeah, yeah, that's it.
It must be right.
-Why?
-Because father never
gets the chance to use it.
[LAUGHTER]
-Good luck to you.
Thank you.
[INAUDIBLE] Thank you.
Now here he is, ladies
and gentlemen, once again,
that sensational man
of rhythm to play
another great number for
you-- Lionel Hampton.
[APPLAUSE]
[MUSIC - LIONEL HAMPTON AND HIS
BAND]
[LAUGHTER]
-One, two!
[APPLAUSE]
[LAUGHTER]
[APPLAUSE]
[APPLAUSE]
[APPLAUSE]
-Come on, boy.
You can do it.
Come on, ain't nothing to it.
He ain't got nothing on
the ball, Jackie-Boy.
Hit the ball.
The bases are loaded.
Clean them, Jackie.
He ain't got nothing but a
slow, fast, inside, outside ball
of curves.
Hit it, Jackie!
There he goes!
A home run.
I knew I knew it.
Everybody's running.
Everybody's running.
Help yourself.
Everybody-- get the next man up.
Next man up-- who is he?
What?
Ball one?
Who?
Who's up?
Who's at bat.
Tell me, man.
Who's at the bat?
Get it.
Hit it.
Hit it, Roy-Boy.
Hit it, Roy-Boy!.
Hit that ball, Roy-Boy.
You're going to win
this game for me today.
-Hello.
-Boy, you hit that ball, Roy.
-Hey!
Hey, fella!
I see you are quite
a baseball fan.
-Oh, this is today's game.
Today's game is game
of all games, you know.
-Fine.
I agree with you.
But give me a pack
of cigarettes.
I've got to go.
-Yeah, you know
anything about baseball?
-Oh, me I'm an
old baseball fan--
-Great game Here you
are Help yourself.
There you are.
Go ahead.
There you are.
Go ahead.
Go ahead.
Hit that ball!
Go ahead.
Hit that ball!
-I want cigarettes.
-Oh, excuse me.
[LAUGHTER]
-You know, Ira--
-There you go.
-How do you know this
is the kind I wanted?
-That's the kind you got.
Whatever kind you
want, you got it.
Hit the ball.
-You really are a fan
of baseball, aren't you?
-Don't interrupt me.
-I remember, uh--
give me my change now,
if you're so interested.
I gotta go.
-Say what?
-I said give me my
change for my $10 bill.
-What change?
[LAUGHTER]
-The $10 bill I just gave you.
-You gave who $10?
-You.
[LAUGHTER]
[INAUDIBLE]
-Look, I only got
four tens in here.
-Now look, fella, don't tell
me I didn't give you $10.
Now look in that box,
my $10's in there.
-Wait a minute.
Hit the ball!
-Wait a minute.
I'm not kidding with you.
I want my change.
-Your change?
-Well, look in there.
-I got four ten dollar bills.
Is your name on
even one of them?
-Yup, there it is, right there.
That one.
Yup.
Yup.
-Maybe you're right.
I don't think I remember
this one this morning.
I'm going to give your change.
-Thank you.
-Here's six, seven, eight--
-Yeah, well, you know,
one thing you asked me
if I know anything
about baseball?
-Yeah, this is a great game.
Oh, well--
-Wait a minute.
Wait a minute.
Wait a minute.
-Now, wait a minute.
[INAUDIBLE]
-All right All right.
Hey, hey, hey.
Come on let me slide out.
Now give me my change.
-What change?
[LAUGHTER]
-The change for my $10.
Now--
-I just handed you
the-- the change.
-Listen mister, you are
so wrapped up in baseball,
you don't know what's
happening in here.
-You think I'm a
little forgetful.
-All right, give me
my change. $9.75.
-What did you give me?
-$10.
-$10?
-Yeah, $9.75.
-Here's $5.
-Right.
-$6--
-Yeah.
---$7, $8.
-Yeah, you talking
about Gil Hodges.
Now that Gil Hodges is
quite a baseball player--
-Wait a minute.
He's at bat.
-Wait a minute.
He's at bat.
He's at bat.
He's at bat.
He's at bat.
He's at bat.
-He's at bat again?
-Strike one.
Strike one.
Strike one.
-Is he on?
-He's on.
Two men on base.
Wait a minute.
-I'm sorry.
-Don't interrupt me.
-I've gotta go.
-Yeah, go ahead.
[INTERPOSING VOICES]
-No, no, give me my change.
-I just gave you your change.
-Now listen, mister, give
me my change, please.
I know you're a baseball
fan, and you're all enthused,
but I want my change.
I'm a businessman.
-Baseball or no baseball, I just
gave you your change for $10.
You walked in.
You asked me for a cigar.
-I'm not playing
with you, fella.
Give me my change, now. $9.75!
-Who do you think
you're hollering at?
Don't holler at me.
This is my money.
-Well, give me my change.
-Well, you take your
change, and don't ask me
for not more, because
I'm running out of money.
$5, $6--
-Yes.
---$7 $8-- now, that's all.
Here's your 75 cents-- here.
$0.50-- here, give me a quarter.
Just give me a quarter
back and take the dollar.
Now go ahead, will you, please?
Thank you very much.
Please don't bother me.
This is the game of games.
-Listen, you've got
a very bad attitude.
-Yeah, you've got
a bad attitude.
-Truthfully, if you've got
that kind of an attitude,
and you're in business, I
don't watch your cigarettes.
Give me my $10 back.
-I don't want your business.
-Give me my $10 back.
-What?
-Give me my $10 back.
I gave you your cigarettes now.
Yeah, you gave them to me.
Here, I'm glad to
get rid of you.
There's your $10.
There's the cigarettes.
There's your $10.
There's the cigarettes.
Now get out.
I don't need your business here.
Now get out.
I don't need your business here.
-Thank you very much.
-Goodbye.
You imagine him-- thanks he
can make a fool out of me.
[APPLAUSE]
-And now, ladies
and gentlemen, I'd
like to introduce at
this time a young lady
whose career has
been a fabulous one.
One who's known
throughout the world
affectionately by the
profession as Little Miss Sassy,
and she is-- Sarah Vaughan.
[MUSIC - SARAH VAUGHAN,
"PERDIDO"]
-(SINGING) Perdido--
I look for my heart.
It's perdido.
I lost it way down in Torido
while chancing a dance fiesta.
Bolero-- he glanced as
I danced the bolero.
He said, taking
off his sombrero,
"Let's meet for a sweet fiesta."
High, high, high was the sun
when we first came close.
Low, low, low was the
moon when we said adios.
Perdido-- since then has
my heart been perdido.
I know I must go to Torido--
that yearning to lose perdido.
I looked for my heart.
It's perdido.
I lost it way down in Torido.
He glanced as I
danced the bolero.
He smiled as he
tipped his sombrero.
High was the sun when
we first came close.
Low was the moon
when we said adios.
Woo!
Since then has my
heart been perdido.
I must go to Torido--
that yearning to lose.
Perdido, ooh, perdido, ooh,
perdido-- the day the fiesta
started.
Perdido, ooh,
perdido, ooh, perdido,
that's when my heart departed.
Perdido-- [SINGING SCAT]
it's perdido.
[APPLAUSE]
-Thank you, Sarah.
[APPLAUSE]
-It's me.
Thank you.
Thank you.
Oh, gee, you're wonderful.
Thank you.
Thank you.
Thank you.
Thank you.
Oh, cut it out.
Now stop.
Stop.
Stop.
Oh, oh, you're wonderful.
I love you.
I love you.
I-- oh, wait a minute.
Wait a minute.
Come on over here.
How you doing, Willie?
-Hey, Nipsey.
-Aw, it's good to see you.
-It's good to see you, too.
-Say, I didn't see
you since we tried
to make a date with those
two beautiful girls.
Yeah, you remember that?
-Yeah how'd you make out?
-Solid, Jackson-- solid.
Hey, how'd you make out?
-Stonewall Jackson-- stonewall.
-You know, Nipsey--
-What's that?
-It really must be wonderful to
stand up here and make people
laugh, to be a great
comedian like that.
Gee, I wish I had
that knack, you know?
-Nothing to it, Uncle Willie.
You could do it.
-Oh no, not me.
-We could-- we could do it.
-You and I?
-We can be a comedy team, and
we don't even need to rehearse.
-Oh no, this I won't believe.
-I'll show you.
-Not with me.
-Yeah, with you.
-All right.
-Right here.
We can make them laugh.
-Prove it to me.
-All right, now all you gotta
say is, "that's good,"--
-That's good.
---or, "that's bad."
-You mean to say we can
make them laugh just
saying "that's good"
or "that's bad."
-That's all you got to say.
Whichever comes to you,
you just say "that's good"
or "that's bad."
-And we'll make 'em laugh?
-We'll make 'em laugh.
Wanna try?
-I'm ready.
-Here we go.
-All right.
-All right?
-Yeah.
-Uncle Willie?
-Yeah?
-I just got married.
-That's good.
-No, that's not good.
I married an ugly, old hag.
-Oh, that's bad.
-No, it's not so bad,
'cause she is rich.
-That's good.
-No, it's not so good, because
she's rich and she's mean.
She won't give any of the money.
-Oh, that's bad.
-Well.
It's no so bad, 'cause she
bought me a beautiful house.
-Yeah?
That's good.
-No, it's not so good.
The house burned down.
-Oh, that's bad.
-No, that's good,
'cause she was in it.
Now she's gone, and
I get all the money.
[APPLAUSE]
-Oh, gee, you know what?
I can tell right now
that you're going
to be a wonderful audience,
and with a great warm reception
like this we just can't miss.
Well, ladies and
gentleman, are you ready?
Ready for a good show?
I'm ready to present it to you.
Presenting at this
time a gentleman
of royalty in the
musical world with
a great musical aggregation.
So let's get together, and
you'll say "that's good,"
as we present you Count
Basie and the Orchestra
[APPLAUSE]
[MUSIC - COUNT BASIE
AND HIS ORCHESTRA,
"HE PLAYS BASS IN
THE BASIE BAND"]
-(SINGING) He plays
bass in the Basie band.
-Yeah.
-(SINGING) Oh, he plays bass.
BAND MEMBER: Go!
[APPLAUSE]
BAND MEMBER: Walk, Daniel.
[APPLAUSE]
[APPLAUSE]
BAND MEMBER: Talk to him.
[LAUGHTER]
[LAUGHTER]
[APPLAUSE]
[APPLAUSE]
-I think it's time now
to sort of slow the tempo
down-- introduce you to
some real solid groove--
music that's sound as a rock.
In fact, I'd like to present to
you a man who wizened the world
up about what the
blues is all about.
They call him Big Joe Turner,
the daddy of the blues.
Now I like to set a tempo
sort of like this for him
to bring him on, so I
can give him to you.
Hey, Joe!
Hey, Big Joe Turner!
[APPLAUSE]
-Come on in.
[MUSIC - BIG JOE TURNER, "SHAKE,
RATTLE, AND ROLL"]
-Real nervous-like--
get crazy, no?
Sound off, boys.
Let 'em rock a while-- crazy.
(SINGING) Get outta
that kitchen, baby.
Wash your face and hands.
Get outta that kitchen, baby.
Wash your face and hands.
Where's your big mouth supper,
'cause I'm such a hungry man?
The way you wear
your hair, babe,
you look so mellow and fine.
The way you wear your hair,
you look so mellow and fine.
Can't believe my eyes.
All that jive is mine.
I believe to my soul you're
a devil with nylon hose.
I believe to my soul you're
a devil with nylon hose.
Well, the harder I work, babe,
the faster my money goes.
I said shake, rattle, and roll.
Shake, rattle, and roll.
Shake, rattle and roll.
Shake, rattle, and roll.
If you won't do
right, I don't know.
Shake, rattle, and roll.
Crazy.
[INAUDIBLE]
Well, all right.
Yeah, give it, boys.
Yeah, zop, zop, zop.
[APPLAUSE]
I'm like a one-eyed cat
peeping in a seafood store.
I'm like a one-eyed cat
peeping in a seafood store.
I can look at you, baby, tell
you ain't no child no more.
Well, lordy, lord,
way down underneath.
Well, lordy, lord
way down underneath.
You make me roll my eyes.
Baby, make me grit my teeth.
I said shake, rattle, and roll.
Shake, rattle, and roll.
Shake, rattle, and roll.
Shake, rattle, and roll.
Well, hurry up, baby,
before I get too old.
[APPLAUSE]
-I might as well get
out of this mood,
though, right now
and sort of get
into what they call
a "jumping mood."
You know what I mean
by "jumping mood"?
Well, that's sort of a
slang for getting with it
and let's boot it.
And I got four boys here who
can really boot it for you.
Are you ready for them?
So let's boot it up.
The Delta Rhythm Boys.
[APPLAUSE]
-(SINGING) Dem dry, dem
dry, dem dry bones--
Ezekiel cried dem dry bones.
Ezekiel cried dem dry bones.
Now hear the word of the Lord.
Ezekiel connected
them dry bones.
Ezekiel connected
them dry bones.
Ezekiel connected
them dry bones.
Now hear the word of the Lord.
Well, your toe bone
connected to your foot bone.
The foot bone connected
to your heel bone.
Your heel bone connected
to your ankle bone.
The ankle bone connected
to your leg bone.
The leg bone connected
to your knee bone.
The knee bone connected
to your thigh bone.
The thigh bone connected
to your hip bone.
Your hip bone connected
to your backbone.
The backbone connected
to your shoulder bone.
The shoulder bone connected
to your neck bone.
Your neck bone connected
to your head bone.
Now hear the word of the Lord.
Dem bones, dem bones
gonna walk around.
Dem bones, dem bones
gonna walk around.
Dem bones, dem bones
gonna walk around.
Now hear the word of the Lord.
Disconnect dem
bones, dem dry bones.
Disconnect dem
bones, dem dry bones.
Disconnect dem
bones, dem dry bones.
Now hear the word of the Lord.
Well, your head bone
connected from your neck bone.
Your neck bone connected
from your shoulder bone.
Your shoulder bone connected
from your backbone.
Your backbone connected
from your hip bone.
Your hip bone connected
from your thigh bone.
Your thigh bone connected
from your knee bone.
The knee bone connected
from your leg bone.
Your leg bone connected
from your ankle bone.
The ankle bone connected
from your heel bone.
The heel bone connected
from your foot bone.
The foot bone connected
from your toe bone.
Now hear the word of the Lord.
Oh, well, dem bones, dem
bones, dem dry bones.
Dem bones, dem
bones, dem dry bones.
Dem bones, dem
bones, dem dry bones.
Now hear the world of the Lord.
Dem bones, dem
bones, dem dry bones.
Dem bones, dem
bones, dem dry bones.
Dem bones, dem
bones, dem dry bones.
Now the hear the
word of the Lord.
[APPLAUSE]
-At this time it's
indeed a pleasure
to present to you an artist that
I've greatly admired since I
first had the pleasure of seeing
and hearing her on our show.
And we're mighty glad to
have her back with us again,
and I'm sure that you're
going to enjoy her
just as much as you
did the last time.
And here she is-- Martha
Davis and her spouse.
[APPLAUSE]
[MUSIC - MARTHA AND HER SPOUSE,
"GOODBYE, HONEY, GOODBYE"]
-(SINGING) Well, Mister,
you've had your last chance,
of this sister's through
with your romance.
There's no need to even ask why?
I've just one thing to
say, and that's goodbye.
[LAUGHTER]
-(SINGING) Read all
about your trip away,
all the columns say
you just love to play.
Just one thing to say, and
that is, honey child, ha ha,
goodbye.
I don't want to hear from you.
I don't want to know
where you're at.
I don't want to meet
you, you bum, you,
Gonna hit you with
a baseball bat.
Now will you please get out?
And when I say
"out," I mean "away."
Let the doorknob hit you
where the boogeyman bit you.
All I got to say
is honey, goodbye.
[PIANO PLAYING]
-Goodbye.
-(SINGING) Oh!
Ah!
Well I'm going to gets
me a staying home man,
and maybe he'll serve
me breakfast in bed.
Yeah, I'm going to get
a great lover who'll
charms will discover-- look out.
P.S. to you, honey-- drop dead.
Going to find me
a nice young gent.
Who'll he really think my
frame is gold embossed, yeah.
He'll be of nutrition like
the Hollywood tradition.
Look out, honey.
Get lost.
I was behind you
when you went up,
but I ain't going to be
behind you when you go down.
So wire me S.O.S., because
I ain't in that mess,
and my address?
Forget it.
Go on back where you been.
Keep loving and living in sin.
'Til we meet you
once more, I think
I'm going to do just a
little ol' living myself.
And [INAUDIBLE] the back door.
Goodbye forever.
I'll see you never.
Auf wiedersehen.
Adios.
Au revoir.
And goodbye.
[APPLAUSE]
-Thank you, Martha Davis.
Thank you.
That was wonderful.
And now for a fast change up.
You know when a pitcher gets
a 3-2 count on a batter?
You know what he
does, don't you?
He comes in with that fast ball.
Well, on deck out here
we got a little slugger
who refuses to be pitched out.
And I'm sure that you
will agree with me when
I say that he is
one of the greatest.
And here he is, Little Buck.
[APPLAUSE]
[MUSIC PLAYING]
[APPLAUSE]
-Thank you, Little Buck.
Come on back here.
Come on.
Thank you very much, little one.
Good night.
Ah, there's a little rascal
who refuses to be struck out.
He's a hard-hitter.
And speaking of
hits, well, there's
a guy standing on the
on-deck circle right now.
I would say that his batting
average is about 1,000.
I'm sure that you'll
agree with me too.
Here he is, ladies
and gentlemen,
that home run hitter of
songs-- Nat King Cole.
[APPLAUSE]
[MUSIC - NAT KING COLE, "CALYPSO
BLUES"]
(SINGING SCAT)
-(SINGING) Sitting by the ocean,
me heart, she feel so sad.
Sitting by the ocean, me
heart, she feel so sad.
Don't got the money to
take me back to Trinidad.
Fine calypso woman-- she
cooked me shrimp and rice.
Fine calypso woman she
cook me shrimp and rice.
These Yankee hot dogs don't
treat me stomach very nice.
In Trinidad one dollar buy
papaya juice, banana pie,
six coconut, one female
goat, and plenty fish
to fill the boat, one bushel
bread, one barrel wine,
and all the town,
she comes to dine.
But here is bad.
One dollar buy cup
of coffee ham on rye.
Me throat she sick from necktie.
Me feet she hurt from shoes.
Me pocket full of empty.
I got calypso blues.
These Yankee girls
give me big scare.
Is black the root.
Is blonde the hair.
Her eyelash false.
Her face is paint.
And pads are where
the girl she ain't.
She jitterbug when
she should waltz.
I even think her name is false.
But calypso girl is good a lot.
Is what you see.
Is what she got.
Sitting by the ocean, me
heart she feels so sad.
Don't got the money to
take me back to Trinidad.
(SINGING SCAT)
[APPLAUSE]
-Mr. Chan?
Mr. Chan?
-Mantan Moreland.
-Hey, Nipsey Russell.
-Where have you been?
-What do you want to
know-- wha- wha- wha--
-Where have you been?
-What do you want to
know where I've been for?
-Well, I was at home,
lying in my bed,
thinking about the
money that I owe you,
and I just couldn't sleep.
-Couldn't sleep?
-No, I had to get up out of my
bed to come over and fine you
and tell you that
I can't pay you.
-Now you fixed it
so I can't sleep.
How come you can't pay me?
-The races-- a low-down hound.
-Hound?
What kind of races do you play?
-Horse races.
-What track you play at?
-I play over here--
-That track's crooked.
Why don't you play
over here around--
-That's where I lost my money.
-Mm-hm.
How much did you lose?
-I lost about--
-You didn't have that much.
-No?
-No, all you had was--
-I had more than that.
I bet on a horse, and that
rascal didn't come in--
-Was he that far behind?
-Yeah.
-Who was the jockey riding him?
-A jockey by the name of--
-He can't ride.
Now I thought he went
out there to ride for --
-He did.
But they bought him.
He came on back.
-Oh, yeah?
-Yeah, and do you
know what he did?
-What?
-Let me tell you.
Boy--
-You should have
had him arrested.
Now the horse you should
have bet on was number--
-He was scratched.
-Yeah?
-Yeah.
Man down-- you
don't look so good.
-No, I don't feel
so good, either.
-Well, why don't you go away,
take a little trip for you
health.
-Yeah, I think I'll
go out here to, uh--
-Don't go out there.
They filled up.
I would suggest that
you go over to--
-And get ten years?
-If you went, how would you go?
-Driving.
-Driving what?
-A 19--
-You'll never make it.
-Say, looky here.
Now what time is it?
-Well, the hour's almost--
-Is it that late?
-Yes.
-I've got to go
over here and see--
-She's not at home.
-Then where is she?
-I think she went down--
-I'll see her then.
You take it easy.
-All right.
-Au revoir.
-Farewell.
That's why I like
to talk to a man.
We always understand each other.
But let me tell you, I
did go to the race track.
Went to the racetrack,
I had a roll
big enough to choke a horse.
That's what I should
have done was choke
that rascal instead
of betting on him.
I bet $15 on a
horse's nose, found
after the race I could
have bought him for $10.
I didn't mind him getting
left at the polls.
That could happen to any horse.
But when he stops in
front of the grandstand
and asked me, which way did
they go, that's when I gave up.
And I thought I
had a good horse.
He left the post twenty to one.
Came in at quarter after five.
The horse ran so slow that the
jockey actually felt guilty.
He felt guilty.
When he got in his dress, the
jockey started giving the whip,
you know?
The horse stopped, looked
back at the jockey,
said, man, what are
you hitting me for,
there's nobody behind us.
I left and walked
around to a little place
where they were serving drinks.
All of a sudden a guy
walks into the bar
he had his handkerchief
up to his next like this.
He raps on the bar.
The bartender comes over,
says, what can I do for you?
The guy says-- Bartender
says, do you want a drink?
Bartender said,
don't I know you?
So where you been,
over to the racetrack?
So you-- did you win?
You bet?
You lose?
How much you lose?
Bartender says, $2?
The bartender said, $2,000?
Bartender said, gee whiz, if
I lost $2,000 on the races
my wife would cut my throat.
[LAUGHTER]
[APPLAUSE]
And now it's a pleasure to
present you Cab Calloway.
[APPLAUSE]
[MUSIC - CAB CALLOWAY
AND HIS ORCHESTRA,
"MINNIE THE MOOCHER"]
-(SINGING) Hey folks, here's a
story about Minnie the Moocher.
She was a red-hot
hootchie cootcher.
She was the roughest,
toughest frail,
but Minnie had a heart
as big as a whale.
Hi dee hi dee hi dee hi.
ALL: (SINGING) Hi
dee hi dee hi dee hi.
-Ho dee ho dee ho dee ho.
ALL: (SINGING) Ho
dee ho dee ho dee ho.
-He dee he dee he dee he.
ALL: (SINGING) He
dee he dee he dee he.
-Whoa.
ALL: (SINGING) Whoa.
-She had a dream about
the king of Sweden.
He gave her things
that she was needing.
He gave her a home
built of gold and steel,
a diamond car slipped
with platinum wheels.
Hi dee hi dee hi dee hi dee
hi dee hi dee hi dee hi.
ALL: (SINGING) Hi
dee hi dee hi dee
hi dee hi dee hi dee hi dee hi.
-Ho dee ho dee ho dee
ho dee ho dee ho dee ho.
-Ho dee ho dee ho dee
ho dee ho dee ho dee ho.
-(SINGING SCAT)
ALL: (SINGING SCAT)
-(SINGING SCAT)
ALL: (SINGING SCAT)
-He gave her his townhouse
and his racing horses.
Each meal she ate
was a dozen courses.
She had a million dollars'
worth of nickels and dimes.
She sat around and counted
them all a million times.
-Hi dee hi dee hi dee hi.
ALL: (SINGING) Hi
dee hi dee hi dee hi.
-Whoa.
ALL: (SINGING) Whoa.
-He dee he dee he dee he.
ALL: (SINGING) He
dee he dee he dee he.
-Hi dee hi dee hi dee ho.
-Hi dee hi dee hi dee ho.
-Poor Min.
Poor Min.
Poor Min.
[APPLAUSE]
-I'd like to present to you
at this time a young lady, who
just a few months ago
was tabbed the Mama Girl.
And had she cried, Papa!
I would have been there.
Oh, she's so gorgeous.
She's so beautiful.
She's so sweet.
She's so wonder-- Hello, Ruthie.
-You know what, Willie?
-What?
-You say the sweetest things.
-Yeah?
-You know, I kind
of like you too.
-Go on.
-You're clever.
You're dynamic.
-Go on.
-You're terrific.
-Go on.
-And most of all,
you're so "hamsome."
-"Hamsome"?
You mean handsome.
-Oh, forgive me, Willie.
I really couldn't remember
everything you told me to say.
-Oh girl, go on and sing.
-That I will.
[MUSIC - RUTH BROWN, "TEARDROPS
FROM MY EYES"]
-(SINGING) Every time
it rains I think of you.
And every time I feel so blue.
When the rain starts to falling
my love comes tumbling down.
And it's raining
teardrops from my eyes.
Well, if you see clouds, here
in my eyes, it just because you
said goodbye.
Although the sun is shining,
there's no summer sky.
And it's raining
teardrops from my eyes.
Remember the night you told
me our love would always be?
I wouldn't be blue and lonely,
well, if you'd come back to me.
Every single cloud
would disappear.
I'd wear a smile
if you were here.
So, baby, won't you hurry,
because I miss you so?
And it's raining
teardrops from my eyes.
-SINGING) Well,
remember the night
you told me our love
would always be?
I wouldn't be blue and lonely,
well, if you'd come back to me.
Every single cloud
would disappear.
I'd wear a smile
if you were here.
Yeah, baby, won't you
hurry, 'cause I miss you so?
And it's raining
teardrops from my eyes.
[APPLAUSE]
-Again, it's Basie rhythm
time, as we present
the great Count Basie
and his orchestra.
Basie!
[APPLAUSE]
[MUSIC - COUNT BASIE AND HIS
ORCHESTRA, "ONE O'CLOCK JUMP"]
[APPLAUSE]