"Too Good to Be True" is a popular song composed by dentist-songwriter Clay Boland and published in 1936. It has since been recorded by many jazz and swing musicians including Benny Goodman and Roy Eldridge.
Clay Boland, while studying dentistry at the University of Scranton and University of Pennsylvania, taught himself to play piano and worked in dance bands. In 1936 he started work as a writer/director for Penn's Mask and Wig show. One of his first compositions for the production Red Rumba was "Too Good to Be True", for which Boland wrote the lyrics and music. [1] The song, which became a favorite of the swing era, recalls the proverbial expression "it seems too good to be true," and alludes to the singer's presumed love interest. [2] Musician-author Warren Vaché called the song "a little gem" that was "promptly slated for immortality with an outstanding recording by the Benny Goodman Trio featuring Helen Ward on the vocal." This version, originally released on a Victor 78 rpm record in 1936, was later included on The Complete Benny Goodman, Vol. 2 (1935-1936) compilation album. [1] [3]
Trumpeter Roy Eldridge also released a version of the song in 1936. The recording features the Teddy Wilson Orchestra, which included a rhythm section consisting of Wilson (piano), Sid Catlett (drums), and Israel Crosby (bass). Musician-writer John Goldsby noted that "Too Good to Be True" is among the songs that exemplified Crosby's early playing. "You can hear the seeds of Israel's melodic style, especially in the eighth-note countermelodies he plays behind Chu Berry's saxophone solo." [4] Trumpeter-writer John Chilton described Berry's solo as "a ravishing interpretation of the 32-bar theme" and suggested it was reminiscent of Coleman Hawkins' saxophone playing on the 1933 song "The Day You Came Along". [5]
The song has been recorded many other times, and can be considered a standard. Among the recordings are versions by:
When My Baby Smiles at Me is the name of a popular song with music by Bill Munro and words by Andrew B. Sterling and Ted Lewis, that was published by Harry Von Tilzer Music Publishing in 1920. It was interpolated into the Broadway show The Greenwich Village Follies (1919) and was the first big hit for clarinettist, vocalist and comedian Ted Lewis (1892–1971). Ted Lewis's jazz band recording in 1920 for Columbia Records, became his signature tune, and spent 18 weeks on the charts. Ted Lewis re-recorded it several times over the years and his 1938 version for Decca also charted briefly. The tune was also covered by other artists of the time.
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