Make Believe Ballroom - 10/23/26 Edition

0:12 It's make-believe ballroom time Put all your cares away All the bands are here To bring good cheer your way It's make-believe ballroom time And free to everyone. It's no time to fret, your dial. Is set for fun. Just close your eyes and visualize in your solitude. Your favorite bands are on the stands and Mr. Miller puts you in the mood. It's make-believe ballroom time.

1:05 Hello world, I'm Jeff Bressler, turning on the lights of the Make-Believe Ballroom and welcoming you into my crystal studio for another jam-packed program of classic big band music from the beautiful 1930s and 40s. Please get ready. I've got an amazing lineup of jazz, swing, blues, and boogie-woogie favorites coming your way. Friends, you're listening to the Make-Believe Ballroom, broadcasting almost continuously since 1935, and proud to be America's third-longest-running musical radio program. And a big, warm welcome, welcome, welcome into the Crystal Studio. at the J1 Studios right here in balmy Fort Lauderdale, Florida for today's show. And what a show it's going to be. We have a female vocalist in her own words giving us recollections of one of the big band era's greatest hits that, well, quite frankly, she thought would be a flop. Another female vocal legend who we will hear turned an era into a classic recording. and still another female songbird whose voice and appearance made her look and sound, well, in my opinion, more like a 1960s Woodstock performer than a popular 1920s, 30s, and 40s star, plus a listener's email about one of

2:36 the band leader feuds we featured on last week's show, and much, much more on today's program. And with that, let's get things underway. starting off with this classic 78 RPM recording. ¶ ¶ ¶ ¶ That was the Casa

5:19 Loma Orchestra cutting loose on Royal Garden Blues, recorded for Brunswick back on June the 10th, 1936 in New York City. And what a fascinating piece of music history that orchestra was. I've told the story of the Casa Loma in the past, but always worth repeating because it was so unique. Because while every other major band of the swing era operated under a pretty, I guess you would call it back then, ruthless corporate boss model, where usually a charismatic front man, like a Dorsey or a, Benny Goodman and Artie Shaw, well, they hired and fired sidemen at will and took the lion's share of the profits. The Casa Loma boys, though, did something radically different. They actually rebelled. They originally spun out of Gene Goldkeith's Detroit territory bands, the core group, of former band members to Gene decided to incorporate as a true cooperative. They had no single leader at all.

6:45 Every member held equal shares in the corporation and voted collectively on everything from tour dates and salaries to the intricate arrangements of crafted by longtime Casa Loma arranger Gene Gifford. Sure, they used saxophonist Glenn Gray as a front-facing figurehead to deal with booking agents and ballroom managers, but musically, it was an absolute democracy. It gave the band a rare internal brotherhood and stability that kept their powerhouse alive. sound and tact years before they finally voted to actually make Gray their official leader back in 1937. The ultimate musician-owned swing syndicate, the Casa Loma Orchestra, getting things underway today on the Make Believe Ballroom. I'd like to play one more tune for you, then feature a singer who... Like in a science fiction movie, seem to actually go back in time.

8:03 Music Thank you. Now let's go walking, out in the park. I'm not responsible for what I do after dark. Now let's go walking. Out in the park. I'm not responsible for what.

8:45 I do after dark. But if we miss, how much is this? You can't resist, if you. Feel like this. Cause I can't dance, I. Gotta answer my pain. I can't dance. I can't dance.

9:32 Now let's get a penthouse and go to town. I want some penthouse. That'll bring me down. Now let's get. A penthouse and go to town. I want some penthouse, that'll bring me down. I can't dance, I can't dance. I can't dance, I can't dance. I can't dance. I can't dance. Gotta answer my pants. Gotta answer my pants. Now I can't dance. Gotta answer my pants. Gotta answer my pants. Now let's go ride. Let's go ride. Ain't gonna carry you far. Where you gonna take me? Now you fix the blowout. I fix the blowout. And I'll drive the car. You drive the car. Let's go ride. Where you going? Ain't gonna carry you far.

10:12 You gonna take me somewhere. Now you fix the blowout. I fix the blowout. And I'll drive the car. And you drive the car. What you got there? I can't dance. You can't dance. I can't dance. You can't dance. I can't dance.

11:02 Now, that was folks. I can't dance. I got ants in my pants, which I'm sure we have all experienced at one time or another in our lives or not. But nevertheless, that record was cut for the Vocalion label in New York City on March the 23rd, 1934 by Clarence Williams and his orchestra. And, well, what a character Clarence Williams actually was. Long before laying down this track, he wasn't just a powerhouse pianist and composer. He happened to be one of the most successful African-American music publishers in the entire country during the 1920s and 30s, working closely with legends like the great Bessie Smith, written alongside lyricist Lee Gaines in the depths of the Great Depression.

12:07 This tune, as you heard, leans hard into the classic, shall we say, vaudeville novelty tradition. Instead of leaning into gloom, Williams' studio bands specialized in injecting infectious humor. As you heard, high-spirited stride piano and loose, bouncing rhythms that gave everyday folks during the Depression a much-needed escape valve through pure danceability and absurdity. Salute to Clarence, I'm Jeff Bressler, and you're listening to the weekly edition of the Make Believe Ballroom coming to you across the airwaves via our wonderful syndicated network of public community and university radio stations as well as via podcast. You know, I might be crazy, but I think this vocalist that I'm about to play went back in time from the 1960s to the 1920s and 30s. Let me play one of her records. Then I'm going to tell you why I think that.

13:28 See that sun in the morning Peeking over the hill I'll bet you're sure it always has I'm sure it always. Will That's how I feel about. Someone Somebody feels about me We're sure we love each other And that's the way we'll always be Oh, we ain't got a barrel of money.

14:08 Maybe we're ragged and. Funny, but we'll travel alone, singing a song side by side. Don't know what's coming tomorrow. Maybe it's trouble. And sorrow, but we'll travel alone. Singing a song side by side Through all kinds of weather. What if the sky should fall.

14:50 As long as we're together It doesn't matter at. All And when they've all had. Their quarrels and parted We'll be the same as we started Just traveling along Singing. A song Side by side Oh. We ain't got a barrel of money Maybe we're ragged and. Funny But we'll travel along Singing a song side by side.

15:34 Don't know what's coming tomorrow. Maybe it's trouble and sorrow. But we'll travel the road, sharing our load. Side by side To. All kinds of valleys But if this guy should fall As long. As we're together. It doesn't matter. At all And if he goes and takes him on an ocean.

16:15 To jump and drown in the ocean. It's sink or it's swim or. It's to me and it's him. Side by side. That was the peerless Lee Morse working her magic on Side by Side, recorded in New York City for the Columbia label back on March the 16th, 1927. You know, I might be a little crazy. I might have ants in my pants. But every time I spin her records, Lee Morse, I get this uncanny feeling that Lee Morse somehow hopped the time machine. Look at her portrait or watch her footage on YouTube And she doesn't quite look like a typical 1920s starlet with that sharp, as you will see, modern-edge bob, her intense, expressive dark eyes, and a raw, how do I describe it, an indie folk aesthetic.

17:37 She actually looks to me like she stepped straight out of a late 1960s Woodstock singer-songwriter gathering, appearing right after Janis Joplin, more likely before Janis Joplin, or maybe performing at an intimate coffeehouse folk sing decades ahead of her time. And then you listen and you hear that voice. Long before modern microphones or studio trickery, she, Lee Morse, possessed a really startling, throaty contralto range loaded with a deeply expressive blues, I guess you would call it growl, and you heard also those jazzy yodels. It's... Soulful, earthy, and totally unpolished in the best possible way. She wasn't just singing pop tunes of the Roaring Twenties. She sang with an organic, rootsy grit that, to me, sounded completely contemporary.

18:51 A true musical time traveler bridging the gap between the jazz age and the modern folk spirit. One more. By Lee Morse. Dancing may do this and that And help you take off lots of fat But I'm no friend of dancing when it's hot So if you are a dancing fool Who loves. To dance but can't keep cool Bear in mind.

19:32 The idea that I've got. When it gets too hot for comfort and you can't get ice cream cones. Ain't no sin to take off your skin and dance around in your bones. When the lazy. Single patient of the music softly moans. Ain't no sin to take off your skin and dance around in your bones. The polar bears aren't green up in Greenland. They've got the right idea. They think it's great to refrigerate. While we all. Cremate down here Just be like those bamboo babies In the South Sea tropic zones Take no sin.

20:17 To take off your skin And. Dance around in your bones When you're calling up your sweetie In those hothouse telephones Take no sin to take off your skin and dance around in your bones. When you're on a crowded dance floor near those red hot saxophones. Oh, take no sin to take off your skin and dance around. In your bones. Take a look at the girls when they're dancing. Notice the way they're dressed. They wear silken clothes without any hose. And nobody knows the rest. No more singing. In the bathtub with those television phones. It ain't no sin to take off your skin and dance around in your bones.

21:04 Oh, I don't... Oh, I don't... Now we are gathered by the river. Listen to your deacon.

21:54 Jones. Take no sin to take off your skin and dance. Around in your bones. You must all go in that water. Let me hear your sinful groans. Take no sin to take off your skin and dance around in your bones. Do what I say right away, wicked sinners, cause this is your judgment day. Come, Mandy Lee, in the river with me. Wash your sins away. Throw away your gin and razor. Throw away your gambling bones. Oh, take my sims. Take my skin. Dance around your bones.

22:35 That was the inimitable Lee Morse and her Bluegrass Boys. Sounds very country, but the Bluegrass Boys actually included, back in 1930, both the Dorsey Brothers and the likes of Adrienne Rollini, we heard them tear through Taint No Sin to Dance Around in Your Bones. First we were dancing with ants in our pants and now dancing around in our bones. That record recorded in New York City for the Columbia label back on February the 27th, 1930, using their brand new at the time electrical vivatonal recording process.

23:20 So do you think that Lee Morse sort of had some 60s vibe to her. If you do or you don't, drop me a line and let me know your take at jeff at makebelieveballroomradio.com. That's jeff at makebelieveballroomradio.com. Now, my ballroom family, I have a ballad lined up for you, followed by a listener's email about a segment from last week's show.

24:56 Hypnotized One look at you and I was hypnotized In a flash I felt a thrill I never knew A feeling that was too divine hypnotized you never saw a person so surprised all at once i knew that life would hold no charm till you were in these arms. Of mine i couldn't wait till the dancing had ended it seemed as though it never would be true I felt that my whole life depended Depended on meeting you.

25:45 Here we are Two hearts and love and how sincere we are I've discovered what I never realized It's heaven to be hypnotized. ¶ ¶.

26:38 That was the beautiful ballad Hypnotized, cut for the Bluebird record label back on January the 6th, 1936 in New York City, featuring the California Ramblers with the smooth vocal by Ted Wallace. If you're wondering about the California Ramblers or haven't heard of them, well, they weren't your typical touring band. They were formed back in the early 1920s out in Pelham Bay, New York, at a club called the California Inn and were driven by mastermind Ed Kirkaby, who I'll talk a little more about in just a moment. Now, the Ramblers operated as the ultimate studio syndicate, meaning, well, They were a revolving door for top-tier jazz talent, recording under dozens of names. And on the record, you heard that smooth vocal. Ted Wallace was actually Ed Kirkaby himself stepping up to the mic to handle the refrains on that record. And what did the talented Ed Kirkaby say?

28:01 do in his spare time? Well, actually, he had another full-time job. He was the manager of the one and only Mr. Fats Waller. Gorgeous slice of mid-30s studio magic here on the Make Believe Ballroom. Listener's email coming your way in just a moment, but first, folks, I encourage you to head over to makebelieveballroom.com, makebelieveballroom.com, where you will find your ultimate online destination for the Make-Believe Ballroom. We've got over 260 past episodes waiting for you right now with brand new and older shows added all the time.

28:48 That's over 260 hours of incredible big band jazz, swing, blues, boogie-woogie, and Dixieland music available 24-7, so keep the music playing. Bookmark makebelieveballroom.com today and dive into the ultimate library of classic American swing through past episodes of our program, The Make-Believe Ballroom. And speaking of past programs, I received an email this past week from Chris Ward saying, who related to me that he was a 10-year-old listener down in Sarasota, Florida.

29:32 Chris also wrote, let me pull this up. Jeff Tenley, hold on. on, here it is, Jeff, 10-year listener of your amazing Make-Believe Ballroom. Last week you spoke about a band leader feud between Artie Shaw and Buddy Rich. You briefly mentioned that when Buddy went to work for Tommy Dorsey, he had another feud with Sinatra. But you didn't elaborate. Can you do so now? Well, Chris, you hit the nail on the head. So let's let Buddy Rich himself tell you the story straight from the horse's mouth.

30:15 Both had a reputation then, at least, for being slightly aggressive or at least difficult to get on with. We still are. We're great friends. As a matter of fact, I'm doing a tour with Sinatra on July 2nd of this year. But in those days when you see, we're just about the same age and we were both striving for a certain amount of attention. We're both striving to be successful. And when you figure that one man is a singer and he's down front in personal contact with the audience and some nuts back way in the back playing drums and he wants to also be successful. you have a mixture of temperament and a mixture of personalities. And Frank's personality is not unlike mine, or I should say my personality is not unlike Frank's.

31:02 And so there was a slight conflict. But in 1945, I got out of the Marine Corps in 1945, and I was tentatively set to go back with Dorsey's band. And Frank had already left Dorsey's band. It was a huge success in New York City. And he gave me $ 50, 000 to organize my own band. So we couldn't have. Been too opposite to each other's personalities because he backed my very first big band. And while it wasn't as successful as we both hoped it would be, because in 1945 and 46, we saw the decline of the big band days. And I organized at the wrong time. But still, it was a great band. It's just that the formula at that time wasn't what the people wanted. It was going into small groups, jazz groups, not big bands. Economically, it was wrong, too.

31:57 So, from the horse's mouth, so to speak, Buddy Rich explaining his feud, or shall we say differences with Frank Sinatra when they were both with the Tommy Dorsey Orchestra. If you'd like to reach me like Chris Ward did, And thank you, Chris Ward, for your email. Drop me a line at jeff at makebelieveballroomradio.com. That's jeff at makebelieveballroomradio.com. And now, here on the Make Believe Ballroom, America's third longest-running musical radio program, we go back to the audiotapes and a major revelation by the amazingly talented vocalist Martha Tilton.

32:45 about a specific time when she sang for Benny Goodman. Does it frustrate you that you are primarily known for Andy Angel's singing? No, not at all. In fact, it really helped my career a great deal to have something that was a big hit. like that record was. It made people know who I was, you know, for a long, long time. And it's still popular. People still like to hear it. It's a great song. Yeah, it surely was. Did you know at the.

33:25 Time while you were recording it that it was going to take off like it did? Oh, no. In fact, I didn't think it was going to be a hit at all. Oh, really? I remember when we went into the studio to do it. It was in the wintertime. It wasn't in New York City. It was in Camden, New Jersey. That's where we recorded for Victor. And it was cold and snowy. And we went in the studio to do this record date. And Johnny Mercer, you know, who wrote the lyrics to Angel Sing, he hadn't completed the lyrics yet. So he hurried up and wrote something down and And we said, all right, we'll make a take. So we took a first take.

34:10 And so when we finished it, Johnny said, well, I don't particularly like that line. Let's do it over. I want to change it. So he changed the line. So we did it again. Well, that went on for I don't know how many takes. And poor Ziggy Allman's lip was giving out. And I was getting horrors from thinking it. So we finally got it right. Johnny liked the words and everything was fine. And I remember on the way out, I was going out with Harry James, and as we were walking out the door, I said, gosh, you know, after all that work, Harry, I don't even think that's going to be a hit. And I was dead wrong.

34:54 It was a big hit. It was a smash. We meet. And the angels sing. The angels sing the sweetest song. I ever heard. You speak and the angels sing. Or am I reading music into every word?

35:37 Suddenly the setting is strange. I can see water and moonlight beaming. Silver waves that break on some undiscovered shore. Then suddenly. I see it all change Long winter nights with the candles gleaming Through it all your face that I adore You smile and the angels sing And though it's just a gentle murmur.

36:20 At the start. We kiss, and the angels sing, and leave their music. Ringing in my heart.

37:55 We just enjoyed And the Angels Sing, Benny Goodman and his orchestra featuring Martha Tilton's unforgettable vocal and a smoking. Klezmer trumpet solo by Ziggy Ellman recorded for Victor, as Martha mentioned, in Camden, New Jersey. on February the 1st, 1939. Friends, you know, over on the Make Believe Ballroom Radio Facebook page, we are going to be rolling out something entirely brand new, the Metronome Magazine Monthly Top 5. And here is how it is going to work. We will be diving into a completely different Random month from the golden age of the big band era, random month and year. No guessing, no modern nostalgia involved. We will be pulling the raw actual broadcast logs from the historic big band era account reporting service in New York. They were responsible for collecting that type of data in the 30s and 40s. And they basically tracked every major live network and major affiliates

39:31 and remote performances from across the country. So we're going to take those figures, then reanalyze and aggregate that real data into our exclusive Metronome Gemini survey to reveal the true top five hits of the month. based on record plays on each network. So from Jimmy Dorsey and Louis Armstrong to, let's say, Bing Crosby and Guy Lombardo, you'll hear the songs that actually dominated the airwaves nearly a century ago. So head over to the Make-Believe Ballroom Radio Facebook page to check out. Coming up at the start of next month, Our monthly countdown, which is and will be posted as audio with recordings on the first of each month. Let's see now. What records are sitting in the queue? Before I tell you the story of an unforgettable night that turned, well, it was really... It started out as a forgettable night that turned into a monumental success for one of the greatest jazz vocalists who ever graced a microphone. Why don't we listen to a little blues from Bob Crosby and his orchestra via Decker Records,

41:02 recorded in New York City on April 7, 1938. ¶ ¶ Thank you. Thank you. Louise is the sweetest

42:45 gal I know. Louise, Louise is the sweetest gal I know. ¶ She made me walk from Chicago. To the Gulf of Mexico ¶ ¶ Now look at Louise, what you're trying to do ¶ ¶ You're trying to give some man my lovin' and me too now ¶ ¶ You know.

43:29 Louise, baby, that will never do ¶ Now you know you can love me And love some other man too.

44:19 Bob Crosby and his orchestra, Louise Louise. I'm Jeff Bressler, and this is the Make Believe Ballroom coming to you from the Crystal Studio. housed in the J1 Studios in Fort Lauderdale, Florida. So Bob Crosby just provided us with some blues, but an incredible songstress also had a, well, she had a temporary case of the blues, and let me explain that to you. I think we've all had those moments where our minds completely draw a blank under pressure.

45:00 Mine actually does several times during this very broadcast as I stumble and fumble my way through things. But imagine doing it live on stage in front of thousands of people, immortalized on film and audio forever. That's exactly what happened to the first lady of song herself, Miss Ella Fitzgerald, during her legendary 1960 concert, in Berlin, Germany. As the story goes, Ella was right in the middle of performing her swinging rendition of Kurt Weill's Mack the Knife. Everything was rolling along beautifully until suddenly she, believe it or not, completely forgot the lyrics. So instead of panicking or walking off the stage, Ella decided to just roll with it Right there in front of the packed German crowd, she started, well, actually joyfully improvising new lyrics on the spot to that old favorite, calling out the band members, and even weaving the story of her memory slip directly into the song.

46:22 What could have been a mortifying blunder turned into absolute magic. That quick-witted recovery not only saved the performance, but it also earned her a Grammy Award and became one of the most famous, beloved live jazz recordings of all time. Proof positive, I guess, that even the greatest musical legends are human after all. Thank you. We'd like to do something for you now. We haven't heard a. Girl sing it. And since it's so popular, we'd like to try and do it for you. We hope we remember all the words.

47:07 Oh, the shark has pearly teeth, dear. And he shows them. Curly white. Just a jackknife as McHeath did. And he keeps it out of sight. Oh, the shark bites with his teeth, dear. Scarlet billows start.

47:49 To spread Fancy gloves though, where's McHeath dear? So there's not, not a trace of. Red Ah, Sunday, Sunday morning Eyes of the body oozing light someone sneaking round the corner. Tell me could it be could it be could it be my good night oh what's the next chorus to this song now this is the one now.

48:41 I don't know. But it was a swinging tune, and. It's a hit tune. So we tried to do Mac and I. Ah, Louis Miller. Ah, something about cash. Yeah, Miller, he was spinning at trash. And McHeath, dear, he spins like a sailor. Tell me, tell me, tell me Could that boy do something rash? Oh, Bobby Derrick and Louis Armstrong.

49:34 They made a record. Oh, but they did. And now L.O.L. And her fellas, we're making a wreck. What a wreck of back to night. Oh, it's the guitar day. La, la, la, la, la, la, la, la. So you heard it. Yes, we swung it.

50:29 We tried to Yes, we sung it You won't recognize it. It's a surprise hit This tune Come back tonight And. So we leave you In Burlintown Yes, we've swung old Mack. We've swung old Mackie down. For the Darren fans. And for the Louis Armstrong fans too. We told you, look out, look out, look out.

51:14 Old Mackie's back in town. That was the first lady of swing herself, the phenomenal Ella Fitzgerald, working absolute miracles on stage with her legendary improvised masterclass on Mack the Knife, captured live for the Verve record label in West Berlin, Germany, on February the 13th, 1960.

51:57 Let me play a little Ella 30s style. Then, as a result of Mack the Knife being sung by Ella, I just decided I want to talk a little bit about the origins of that tune. ¶ ¶. Give me a song that's robust Feeling the way I am Any old band will go bust If it ain't got that jam When the body meets the body On the ballroom floor When the body asks the body What's a swing band for Oh baby, I don't want you to cry Soft and mellow. Let me warn you in advance.

52:53 Sing me a swing song and let me dance. Oh baby, I don't want any moon. Bright and yellow. You can have your sweet romance. Sing me a swing song and let me dance. Mr. Trombone, play some corn. I ain't caring what notes. Mr. Trumpet, grab a horn. Brother, give me hot notes. Oh, baby, I don't want any tune on a cello. Give the rhythm man a chance Sing me a swing song and let me dance. Let me warn you in advance Sing me a swing song and let me dance.

54:01 You can have your sweet romance, just sing me a swing song and let me dance. Mr. Trombone, play some corn, I ain't caring what no. Mr. Trumpet, grab a horn, brother, give me hot nose. Oh, baby, I. Don't want any to eat on a cello. Give the rhythm man a chance. Sing me a swing song and let me dance. Old Chick Webb is beating it out. Makes me feel like I want to shout. All the boys are ready to prance. So sing me a swing song and let me dance.

54:43 We just listened to Sing Me a Swing Song and Let Me Dance from Decca Records, recorded on June 2, 1936. in New York City featuring Chick Webb and his orchestra with a vocal by Ella Fitzgerald. And, well, gee, folks, I mentioned that I wanted to do a little more discussion about the dark past of the song Mack the Knife, but I see outside the windows here at the Crystal Studio that the sun is quickly setting behind the palms here in South Florida. Yeah. Which indicates to me that, unfortunately, we are out of time.

55:26 Thanks so much for joining me today as we go out with Frankie Trumbauer and his orchestra, stepping lively with Breaking in a Pair of Shoes, cut in New York City for the Bluebird label back on April the 21st, 1936. Friends, to reach me, I'm Jeff at makebelieveballroomradio.com. That's jeff at makebelieveballroomradio.com. For past shows or recorded requests, go to makebelieveballroom.com. That's makebelieveballroom.com. And please join me on the Make-Believe Ballroom Radio Facebook page for new recordings and features daily that augment the radio version of the show. Quick thanks to our syndicators and distributors... For offering the Make Believe Ballroom, cost-free to commercial-free, public, community, and university radio stations, they are the Public Radio Exchange, PRX, the Pacifica Network, and Global Community Radio. The program's flagship affiliate is Jazz 90.1, WGMC in Rochester, New York. The Ballroom is also heard on your favorite podcast provider. So folks, until next week, this has been Jeff Bressler.

57:47 Thank you.