Make Believe Ballroom - 11/13/26 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 one. 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. We are of sweet romance. Here's your make-believe ballroom.

1:01 Come on, children, let's dance, let's dance. 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 hour of classic big band music from the 1930s and 40s. Please get ready. I've got an incredible lineup of jazz, swing, blues, and boogie-woogie favorites lined up just for you. You're listening to the Make-Believe Ballroom, broadcasting almost continuously since 1935 and proudly holding its title as America's third longest-running musical radio program and a warm, wonderful welcome, welcome, welcome Into the Crystal Studio with the J1 Studios right here next to the White Sands and Turquoise Waters of Fort Lauderdale, Florida. Let's get the turntable spinning immediately with Teddy Wilson and his orchestra and their swing and rendition of Christopher Columbus.

2:12 The End The End.

4:51 That was Teddy Wilson and his orchestra on the Brunswick label with Christopher Columbus recorded on March the 31st, 1936 in New York City. The great pianist Teddy Wilson with the song written by jazz legend, saxophonist Chew Berry, along with Leon Brown and lyrics added by Andy Razoff. You've probably heard the original Christopher Columbus, which became famous as a Fletcher Henderson arrangement before Fats Waller, Teddy Wilson, and Benny Goodman turned it into a massive swing era standard.

5:33 Christopher Columbus. Why don't I stick here with Chewberry and feature a tune he wrote that, brilliantly showcases both his premier composing skills and his peerless prowess on the tenor saxophone. © BF-WATCH TV 2021 © BF-WATCH TV 2021.

8:12 We just heard Chewberry and his Stompy Stompers with Chewberry Jam recorded for the Variety label on August the 23rd, 1937 in New York City. And many of you might be wondering what Variety Records was. Well, it was a short-lived but musically stellar subsidiary label launched by ARC in 1937. And Variety was specifically designed to capture the cream of the crop of swing-era small groups and some of the bigger bands, among those under contract to ARC. including Chewberry, where Cab Calloway and his orchestra, the Mills Blue Rhythm Band, Ben Pollack and his orchestra, Billy Kyle's Swing Club Band, Midge Williams and her jazz jesters, and Red McKenzie and his orchestra. Speaking of Red McKenzie, and I'm looking at the playlist as we speak, why don't I play one?

9:26 from Red, an artist I don't think I've ever featured here on The Ballroom before. Red was a fixture on New York City's Jazz Row on 52nd Street. Red was a singer, bandleader, and talent scout, and produced records such as this.

10:38 I work so hard. To make some money But you step out and think it's funny That's what you think You'll come home some night about eleven When you know we dine at seven And home sweet home will be a perfect heaven That's what you think I've acted blind too long now, baby. I'm fixing to change my plan. How can I do all the things you want to do, but you. Don't seem to understand? So if away from home you're driven, I will be the first forgiven. Well, come on home, dear. All is forgiven. That's what you think.

11:20 So so. I've acted blind too long now baby i'm fixing to change my plan. How can i do all the things you want to do but you don't seem to understand.

12:26 We just enjoyed Red McKenzie and his Rhythm Kings swinging their way through That's What You Think, recorded on August the 5th. 1935 in New York City and released on Decca Records. I'm Jeff Bressler and thank you so much for joining me today on this weekly edition of the Make Believe Ballroom. We've got another hand-picked selection coming your way right now, followed by a little Jeopardy-style poser. He played the clarinet but could also sing. Think you know who it is? Well, I'll give you the answer right after this.

13:07 © BF-WATCH TV 2021.

16:56 That was Joe Marsala and his orchestra swinging through JoJo Jump. Recorded on April 29, 1946, at the RCA Studios in New York City. Marsala playing the clarinet for that one. We've also, in the past, heard Joe on both alto and tenor sax. Now, what makes that record all the more interesting to me is the use of the harp, as you heard. And what makes that even more unique is that the harp, In that selection was played by his wife, jazz harp pioneer Adele Girard. I'm Jeff Ressler, and you're listening to the one, the only, the original Make-Believe Ballroom, broadcasting over the airwaves since 1935, which makes us America's third-longest-running musical radio program, and thanks to modern technology, one of the podcasting world's top programs in the music history category. And speaking of history, I left you with a little Jeopardy-style teaser right before we spun that Joe

18:31 Marsala track. He played the clarinet but could also sing. Now, instead of just handing you the answer on a silver platter, I figured I'd make it sporting by playing a track that actually features a rare vocal by the man himself. Let's see if you can guess who he is before the song is through. ¶ ¶ If you ain't.

19:45 Wrong you're right. If it ain't day, it's night. If you ain't sure, you might. It's gotta be this or that. If it ain't dry, it's wet. If you ain't got, you get wet. If it ain't gross, it's net. It's got to be this or that. If it ain't sis, you can't miss. It's got to be your brother. Can't you see it's got to be one way or the other? If it ain't full, it's blank. If you don't spend, you bank. If it ain't being, it's frank. It's got to be this or that.

20:36 Thank you.

21:27 Thank you.

22:18 So that Jeopardy teaser was he played the clarinet but could also sing. And the correct answer is... Who was Benny Goodman? Yes, the King of Swing. actually stepped up to the microphone on occasion, though it was rare since he usually left vocal duties to powerhouses like Helen Ward, Martha Tilton, Helen Forrest, and Peggy Lee. His most famous and successful vocal outing came right back in 1945 with the hit record we just heard, Gotta Be This or That, recorded on the Columbia record label. Yes, that's really Benny's voice and not half bad either. And that now brings us to a listener's email I received last week pertaining to Mr.

23:14 Goodman. You could always drop me a line at jeff at makebelieveballroomradio.com. That's jeff at makebelieveballroomradio.com. And this correspondence came all the way from Duncan Altwerger. who listens to The Ballroom up in Toronto, Canada. And Duncan wrote, Jeff, loved the show, the music, and the stories. You mentioned a few shows ago how Benny Goodman called everyone pops. Is it true that this irritated songstress Helen Forrest so much that she packed her bags, left Benny, and joined Harry James and his orchestra? Please end my sleepless nights wondering. And that's signed Duncan Altwerger. Well, Duncan, thanks so much for the note.

24:07 And let me give you the lowdown. There is a fun, unconfirmed legend floating around that she, Helen Forrest, lightheartedly joked she left Benny for Harry James simply because Goodman called everyone pops. But the real reason for her departure was a bit more serious. Helen actually hung up her mic with the orchestra in August 1941, and that was primarily due to pure exhaustion and the notoriously high-stress environment of working with the perfectionist band leader, famously noting that she quit to avoid having a nervous breakdown. And we've discussed many times in the past how Benny Goodman could create nervous breakdowns for some of his singers and musicians. Let's face it, working with Benny was no walk in the park, as we have discussed many times on this program. Helen later shared how difficult he could be, mentioning that he rarely gave her custom arrangements. treating her more like an instrumental afterthought than a star vocalist. And he used to drive her completely bonkers by noodling on his clarinet right behind her while she was trying to sing a ballad.

25:40 When she finally made the jump to the Harry James Orchestra, it proved to be a masterstroke because Harry gave her a lush, gorgeous settings, tailored specifically for a singer, and she blossomed, as we all know, into one of the definitive voices of the entire era. So perhaps not quite the lighthearted punchline you were hoping for, Duncan, but the true story behind Helen's trials and tribulations with the King of Swains. So thank you again, Duncan, for tuning in and writing us. Remember, you can reach the show at Jeff at MakeBelieveBallroomRadio.com. That's Jeff at MakeBelieveBallroomRadio.com. And you know what, Duncan?

26:29 You'd never guess a single ounce of backstage tension or inner conflict existed when you hear these two great musical giants. © BF-WATCH TV 2021.

27:55 Somewhere there's music How faint the tune Somewhere there's heaven How high the moon There is no moon above When love is far away too. That you love. Me as I love you Somewhere there's music It's where you are Somewhere there's heaven How near, how far The darkest night would shine if you would come to me soon.

28:52 Until you will, I'll still my heart, I'll hide the moon. That was How High the Moon, Benny Goodman and his orchestra.

29:35 That was How High the Moon, Benny Goodman and his orchestra, featuring a beautiful vocal by Helen Forrest. And for those tracking the details, it was recorded on February the 7th, 1940 in New York City and issued on Columbia Records. Spring fever gets someone every day. Spring fever chases the blues away. Spring's got me in spring, tis true, but spring's not the reason, the reason is you. You're my fever, you're my spring. You're the reason my heart sings. You're my life, my everything.

30:16 You're my fever. You're my fever in every way. When I'm near and when I'm away. On my mind each night and day. You're My fever, sweeter than all others, don't you see? I can't do without you. Please will you discover what you mean to me? Let me see if I can be your fever too. You're my fever, dream of love. I'm a griever for your love. You could bring me peace of mind. Make the blues so hard to find. If you'd say that, you'd be mine. You're my fever.

30:57 Thank you. You're my fever, you're my spring. You're the reason my heart sings. You're my life, my everything. You're my fever. You're my fever in every way. When I'm near and when I'm away. On my mind each night and day.

31:42 You're my fever Sweeter than all others, don't you see? I can't do without you Please won't you discover what you mean to me? Let me see if I can be a fever too You're my fever, my dream of love I'm a griever for your love You could bring me peace of mind Make the blues so hard to find If you'd say that you'd be mine You're my fever. You're my fever. Thank you.

32:43 Folks, a number of you requested more Cleo Brown ever since I first spun one of her records a month or so back. Here's a fun fact. The young Fats Domino, the great rock and roller, was a huge fan of Cleo in his formative years, and I'm sure he probably wore out his own copy of her singing, You're My Fever, that we just heard, recorded on November the 20th, 1935 in Los Angeles. for the DECA label. And before we go completely bananas over a song about bananas today, I want to go bananas with a huge heartfelt thank you over the last few weeks in my quest to boost our once-dormant Facebook page, Make Believe Ballroom Radio. by adding fresh content to attract new listeners. You, my radio listeners, really came through. A massive thank you if you were one of the more than 700 new subscribers who joined us since I first put out the call. I certainly hope the page hasn't disappointed with all the new goodies we've been posting, including rare videos and exclusive recordings that you just don't hear. on the regular broadcast of The Ballroom.

34:13 So if you haven't yet, head over to Make Believe Ballroom Radio on Facebook. You won't be disappointed. And now, ladies and gentlemen, let's peel the banana back. I don't. Like your peaches. They are full of stones. They are. But I love bananas. You do? Because they have no bones. Well, well. Don't you give me no tomatoes. Why? I can't stand ice cream cones. Get away. But I love bananas. Why? Because they contain not any bones. You know, no matter where I go, whether Susie Mae or Anna, I want the world to know I'm from Savannah. I love bananas, cabbages, and onions, and sconions. They hurt my singing tone. They do.

35:06 But I love bananas. Why? Because they have many bones. We don't like to whistle. We blow saxophones. We like bananas. Why? Because they have no bones. Yeah. Something like grand piano. Uh-huh. We don't like its tones. Why? We love bananas. Because? Because they have no bones. Don't care what they cost. A dollar or a nickel. We won't be double-crossed. Don't you give me a pickle. Save your nectarones. I love bananas because they have no bones.

37:13 That was Willie Bryant and his orchestra with I Like Bananas Because They Have No Bones, recorded on June the 3rd, 1936 in New York City and released on the Bluebird record label. And now, folks, for possibly the most famous song ever written about bananas, a tune that actually quelled sectarian tension across the pond. many years ago. We got meat, we got coffee, we got cigarettes, even toffee. We got sugar, got honey, got shoes, we got gas, even money. We got cars, we got nylons, we got neutrons, even cyclones.

38:03 We got most everything, even a new song to sing. But you know what? We ain't got. Yes! We have no bananas, we have no bananas today. Wheat, string beans, and onions, cabachas, and scallions, and all kinds of. Fruit and say. We have an old-fashioned tomato A fat Long Island potato But yes, we have no bananas We have no bananas today That cute fruit Don't know why, where from but

39:45 I Can't keep a-goin' this way Hey, we've got houses Made of plastic. An imitation elastic But we ain't got, yes, we have no banana. I'd give a big Havana. I'd even trade a. Date with Lana for just one banana today. That was the Pied Pipers with their wonderful 1948 rendition of Yes, We Have No Bananas, recorded on July the 29th, 1948 in Hollywood, California, and released on Capitol Records. And that song carries one of the most wonderfully contrasting stories in music history. On one side, you have pure unadulterated comedy.

40:55 Back in 1923, songwriters Frank Silver and Irving Cohn were playing a hotel gig out in Linbrook, Long Island. That's in Nassau County. And to and from the job, they kept stopping at a local fruit stand run by a Greek immigrant merchant named who answered every single customer inquiry with an enthusiastic yes, even when cheerfully explaining that he was completely out of stock of an item. So as the story goes, Frank Silver walked up to the stand and asked for bananas, and the fruit guy answered, yes, we have no bananas. He needed clarification, Frank did, so he asked him again, do you have bananas? And he answered again, yes, we have no bananas. Frustrating, but hearing that hilarious absurdity had Silver mention it to Irving Cohn and a novelty hit was born. Yet as lighthearted as its creation was, The tune later found a remarkably, well, poignant role across the ocean. During the intensely bitter sectarian divisions between Catholics and Protestant citizens in Northern Ireland, a

42:31 truce of sorts was arranged during the turbulent Belfast Outdoor Relief Strike of 1932. where both sides joined forces to fight for greater welfare and ration rights in the United Kingdom, and in a climate where deep political and religious hostility threatened to boil over at any moment, neither side knew the other's partisan anthems or how to find common ground. So needing to break the ice and diffuse the rising tensions, someone struck up the familiar absurd chorus of, yes, we have no bananas, because it was a completely silly, universally shared piece of nonsense that belonged to no faction. And believe it or not, the hostility melted away, smiles broke out, and the crowds managed to bridge the divide and march together on behalf of their rights. Who knew that a fruit vendor's broken English catchphrase on Long Island could accidentally help bridge troubled waters across the sea? Yes, we have no bananas. And yes, we have an email from our friend and super-listener in Italy, one Max Catani. and I'll

44:06 read his email after this. ¶ ¶.

44:55 I'm gonna get a moonburn well i'm with you tonight so very soon i'll moonburn when you hold me tight oh i'll ask the glowing stars up above me what your lips will impart. And when they flash the word that you love me, it will warm my heart. I'll get a brand new moonburn with every kiss from you. And if I have my way, if I can have my say, you'll get a moonburn too.

46:39 That was Bob Terry and his orchestra with Moonburn, featuring a trumpet solo by the one and only Bunny Berrigan and a vocal by Wayne Gregg. It was recorded in New York City on January the 15th, 1936, and released on Champion Records. I'm Jeff Bressler. This is the weekly edition of the Make-Believe Ballroom, and now I release to you an email by the one, the only, Max Catani in Italy, who writes, Hi Jeff, I just transferred to you something very interesting that I just discovered.

47:35 It is a jam session which presents Nat King Cole at the piano with an all-star group, and that session is here reproduced with all the takes recorded, giving us the feeling of being in the recording studio where it took place. This recording session date is June the 9th, 1945, and the personnel is the following. Charlie Shavers on the trumpet. Herbie Hamer, Tenor Sax, Nat King Cole. It's a piano. John Simmons Bass, Buddy Rich, the drums, and Red Calendar on bass. And thanks, Max, for sending me the zip.

48:22 I listen to all the music. It's just wonderful. And a little research gave me some additional facts. This is called Anatomy of a Jam Session. It was recorded in Hollywood. for producer Eddie Laguna, and they laid down fantastic tracks like Black Market Stuff, Laguna Leap, Swinging on the Central, and Kicks, complete with multiple alternate takes that let you hear how the sessions came together. So let me play for you first the final session for Swinging on Central.

50:19 Thank you.

51:16 Thank you.

52:08 That was the final take of Swingin' on Central from that legendary 1945 session, Anatomy of a Jam Session. And now for one of Max Catani's absolute favorites. Here is Take 3 of Black Market Stuff featuring Nat King Cole on piano and Buddy Rich driving the rhythm on drums. Okay, begin. Okay.

52:58 Thank you. Thank you. Thank you.

56:14 What key? E flat. Ten seconds. Ten seconds. Ten seconds. And thanks again, Max Catani, for sending over that zip file containing the various alternate takes from Anatomy of a Jam session. And I'm now going to go out, as we are out of time, with Laguna Leap Session 2 from the Anatomy of a Jam session. To reach me anytime, I'm Jeff at makebelieveballroomradio.com. That's Jeff at makebelieveballroomradio.com. For past shows or recorded requests, head over to makebelieveballroom.com. And please join us on the Make-Believe Ballroom radio Facebook page for new recordings and features added daily that complement the radio show.

57:26 Heartfelt thanks to our syndicators and distributors for offering the Make-Believe Ballroom cost-free and commercial-free to public community and university radio stations. They are the Public Radio Exchange, PRX, the Pacific Network and Global Community Radio. The program's flagship affiliate is Jazz 90.1 WGMC in Rochester, New York. Ballroom is also heard on your favorite podcast provider. So until next week, this has been Jeff Bressler.