Oct. 9, 2026
Make Believe Ballroom - 10/9/26 Edition
On this week's show: Three guys named Chick, Count Basie's favorite time of the day, Abbott and Costello music hits, a record with a historic title. All this and much more on today's edition of the program.
Transcript
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It's make-believe ballroom time.
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Put all your cares away.
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All the fans are here to bring good.
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Cheer your way.
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It's Make believe ballroom time And free to everyone It's
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no time.
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To fret Your dial is set.
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For one Just close your eyes.
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And visualize In your solitude Your favorite bands are on the.
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Stands And Mr.
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Miller puts you in the mood.
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It's make believe ballroom time They are a sweet romance.
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Here's your make-believe ballroom.
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Come on, children, let's dance, let's dance.
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Good morning on Wednesday the 13th, and welcome to the
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original make-believe ballroom here at WNEW. With Bob Jones and
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with America's greatest music for America's greatest city. What we
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like to call and what in fact is America's classical music.
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We swing.
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Here's a Gershwin song.
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We'll start right at the top.
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That was Bob Jones. I'm Jeff Bressler, and this is
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the weekly edition of the Make Believe Ballroom. And you
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may be asking why that opening. Well, it comes as
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the result of an email I received from Grace Morrow
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in Corham, New York. And Grace let me know that
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her first remembrance of the ballroom on WNEW in New
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York was when the aforementioned Bob Jones hosted the program.
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That opening of the show goes back to August of 1986.
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Bob Jones also hosted another long-running, popular program on the station.
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That was the overnight Milkman's Matinee, which I listened to
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frequently as a youth. If I couldn't sleep, I would
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take my little transistor radio. Put it under my pillow,
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tune in to WNEW, and listen to The Milkman's Matinee.
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So thanks, Grace, for sharing your first memories of the
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Make-Believe Ballroom. And for you, Grace, we start the show
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by going back to the original theme song of the
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Make-Believe Ballroom, featuring British bandleader Joe Loss and his orchestra,
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with a vocal by Chick Henderson.
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© transcript Emily Beynon.
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Let's dance.
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Any mansion or hall room is a make-believe ballroom.
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Let's dance. Romance at the tip.
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Of your fingers while the melody lingers.
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Let's dance, dance, dance. Stop been swaying while your loss
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is playing. This music is worth your while. Let this
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station give you dance impatient. Simply turn the dial and
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keep on dancing. Though you've only a small room, make
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it your ballroom.
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Let's dance.
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Just keep on dancing, though you've only a small room.
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Make it your ballroom.
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That was Joe Loss and his orchestra with the song
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originally recorded by Charlie Barnett is the very first theme
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song for the Make Believe Ballroom on WNEW radio in
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New York City. The pleasant vocal was delivered by Chick Henderson,
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who was a soaring favorite among radio listeners in Great
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Britain in the late 1930s, but tragically his thriving career
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was cut short by World War II. While serving in
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the Royal Navy Volunteer Reserve, Chick actually survived two separate
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torpedo attacks on his ships, only to sustain fatal wounds
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from flying a bomb shrapnel on June the 24th, 1944.
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He was just 31 years old. Though his life was brief,
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his voice remains timeless, and that is what we do
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here at the Make-Believe Ballroom, play timeless tunes that keep
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the jazz and big band era of the 30s and
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40s alive. And while I was playing Chick Henderson, you know,
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I thought it might be fun to play a few
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other chicks. So I quickly lined up two more from
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the playlist, and here's the first.
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© transcript Emily Beynon.
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That was Chick Webb and his orchestra with Lonesome Moments,
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a fantastic Edgar Simpson written tune recorded for Vocalion Records
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back in October of 1935. So we've had the smooth
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vocals of Chick Anderson, followed by the great drum master himself,
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Chick Webb, and now let me reach into the stacks
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for a third Chick to keep this set rolling. Here's
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Chick Bullock.
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For there's a change in the weather, there's a change
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in the sea. So from now on, there'll be a
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change in me. My walk will be different, my talk
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and my name. Nothing about me is going to be
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the same. I'm gonna change my way of living And
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if that ain't enough Then I'll change the way that
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I strut my stuff Cause nobody wants you when you're
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old and gray There'll be some changes made today There'll
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be some changes made ©.
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Transcript Emily.
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Beynon Oh, there's a change in the weather.
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There's a change in the sea.
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And from now on there'll be a change in me
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My walk will be different by talking my name Nothing
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about me is gonna be the same I'm gonna change
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my way of living And if that ain't enough Then
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I'll change the way that I strut my stuff Cause
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nobody wants you when you're old and gray. There'll be
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some changes made today. There'll be some changes made.
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That was Chick Bullock and his all-stars with The Standard.
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There'll be some changes made. Recorded for OK Records back
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in 1941. And that, friends, completes our triple Chick set. Now,
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Chick Bullock is one of the most fascinating figures of
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the era. While you might not recognize his face, you've
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almost certainly heard his voice because he stands as one
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of the most recorded vocalists in music history. laying down
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over 500 session dates, and that resulted in thousands of
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sides throughout the 30s and early 40s. Unlike most frontmen
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of the big band era, Chick almost never performed in
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public or went on tour due to a severe facial issue.
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making him strictly a studio recording artist. But behind closed
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studio doors, he sang alongside the absolute royalty of jazz,
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including Bunny Berrigan, Tommy and Jimmy Dorsey, Jack Teagarden, and
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Duke Ellington. So from Chick Henderson to Chick Webb, and
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finishing up with Chick Bullock, that's our trio of chicks
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for today's show. I'm Jeff Bressler and you're listening to
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the one, the only, the original Make Believe Ballroom and
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now let's go to the ballpark and at the conclusion
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of the game I will reveal right here on the
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Make Believe Ballroom, Count Basie's favorite time of the day.
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Music Yeah!
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Yeah!
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In the tree, Jackie Robinson hit that ball.
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It went zooming across the left field wall.
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Yeah, boy.
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Yes, yes, Jackie hit that ball.
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And when he swung his bat, The crowd went wild
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because he knocked that ball a solid mile.
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Yeah, boy. Yes, yes, Jackie hit that ball. Satchel Paige
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is mellow, so is Caponella. Newcomer at Dobe, too.
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But it's a natural fact when Jackie comes to bat,
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the other team is through. Did you see Jackie Robinson
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hit that ball?
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Did he hit it?
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Yes!
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And that ain't all.
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He stole the whole!
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Yes, yes, Jackie's real calm. You see Jackie Robinson hit
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that ball.
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Lady hit it.
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Yes! And that ain't all.
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He's no home. Yes, yes. Jackie's real gone.
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Oh, so Jackie is a real gone guy.
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Oh, so Jackie is a real gone guy.
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That was Count Basie and his orchestra featuring Taps Miller
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on vocal with Did You See Jackie Robinson Hit That Ball,
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recorded for RCA Victor on July the 13th, 1949. And
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speaking of Count Basie, there's a wonderful story from his
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early days that reveals how he settled on his absolute
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favorite of the day, a time that was played at
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the start of every Count Basie live performance for decades
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to come. And as it's told, back on a January
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night in 1936, the then 25-year-old John Hammond, the famed
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talent scout, was sitting in his car after listening to
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Benny Goodman perform at the Congress Hotel in Chicago on
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his radio. Hammond had a 12-tube Motorola radio in his car,
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and he put it there specifically so he could pick
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up music from other cities as he traveled around. Not
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sure where to go next, he turned on the receiver.
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It was one o'clock in the morning, Hammond later wrote.
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The local stations had all gone off the air, and
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the only music I could find was at the top
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of the dial. 1550 kilocycles, where I picked up W9XBY,
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the nightly broadcast by the Count Basie Band from the
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Reno Club was just beginning, and I couldn't believe my eyes.
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Ears.
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W9XBY was one of only four experimental high-fidelity stations that
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at the time were licensed in the United States, running 1,000
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watts from a tower on the southern edge of of
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Kansas City, and carrying the Reno Club very late, well,
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really early in the morning, six nights a week. Now,
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what struck Hammond wasn't flashy virtuosity, but just the exact opposite.
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Basie's extraordinarily economic style, where he used perfect timed punctuation,
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a single chord, or even a single note to lift
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a horn player higher than he had ever been. Basie
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had discovered how effective, well, how effective simplicity could be.
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The author Leonard Feather later called it the most monumentous
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chance audition in jazz history. So Hammond, In his car,
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drove straight to Kansas City, called Benny Goodman, told him
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to tune in on a portable radio, and set about
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getting that band to New York. And that 1 a.m.
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broadcast gave birth to the Basie band's theme tune for
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the next 48 years, The Immortal, One O'Clock Jump.
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That was Cap Basie and his orchestra with their immortal theme,
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One O'Clock Jump, recorded....
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Four Decca Records on July the 7th, 1937. We're going
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to spin another classic side in just a moment. But first,
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a quick reminder to join me on Facebook. Head over
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to the Make Believe Ballroom Radio Facebook page. It's a
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wonderful spot to connect with fellow big band enthusiasts. Check
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out historic photos. And send in your song requests for
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upcoming shows. I've ignored Facebook for way too long. And, well,
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I want to see it continue to grow. It's been
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stagnant for so many years. Search for Make-Believe Ballroom Radio.
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And if you look carefully at the posts... You will
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see my face and hear my voice. A face, I
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must say, made for radio only. Now let's set the
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needle down on another great record.
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Rock and roll, roll and rock away.
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Down, round, and round we'll sway with each swell in
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the spell of the rollin' rockin' rhythm of the sea.
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Rockin' roll, rollin' rock along.
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Life is sweet and greeted with a song while we dance.
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There's romance in the rollin' rockin' rhythm of the sea.
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Tonight the moon hangs low All tide or overboard will
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go Rock and.
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Roll like a rocking chair Laugh and.
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Smile while we drown.
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Each care In the tide as we.
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Glide To the rolling rocking rhythm of the sea Rock
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and roll, rolling rock away.
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Up, down.
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Round and round we'll be swellin' in a spell All the.
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Rollin', rockin', rollin' rockin' rhythm of the sea That blows
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ruzz and ruzz along like a sweet greeted with a
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song While we dance there's romance in the.
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Rollin' rockin' rhythm of the.
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Sea Tonight the moon hangs low Hold.
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Tight or overboard.
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We'll go Rock and roll like a rocking chair Laugh
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and smile while we drown each care In the tide
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as we.
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Glide To the rolling rocking rhythm of the sea Rock
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and roll like.
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A rocking chair.
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Laugh and smile.
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While we drown each care. In the tide as we fly.
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The rolling tide.
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That was the Boswell Sisters with Jimmy Greer and his
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orchestra performing rock and roll recorded for Brunswick Records on
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October the 4th, 1934. And that song came out of
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a 1934 film called Transatlantic Merry-Go-Round and became actually a
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landmark side because it's widely considered the first commercial recording
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to feature the phrase rock and roll right in its title,
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referring back then, of course, to the gentle rocking and
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rolling motion of an ocean liner at sea and not
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a specific ocean. genre of music. And speaking of setting
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sail and rocking and rolling, we set sail for you
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each week here on the Make-Believe Ballroom, broadcasting on public, community,
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and university radio stations across the U.S., as well as
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in the United Kingdom, and coming your way every week
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via your favorite podcast provider, Cherished. Jazz, swing, blues, and
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boogie-woogie music broadcast to thousands of enthusiasts each week via
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both So, rock and roll was the first time that
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