Make Believe Ballroom - 11/6/26 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. 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 program of classic big band music from the beautiful 30s and 40s. Please get ready. I've got an amazing lineup of jazz, swing, blues, and boogie-woogie favorites coming your way. Folks, 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 with the J1 Studios right here in, well, I guess you'd call it Palm Tree Laden, Fort Lauderdale, Florida for today's show. Let's kick off today's festivities with George Wettling's Chicago Rhythm Kings and their version of Bugle Call Rag. Behind the drums is George, George Wettling himself. one of the definitive founding fathers of the Chicago style. True legend of the swing and Dixieland eras, George was the ultimate small group accompanist, driving the beat for everyone from Eddie Condon to Artie Shaw. On this

2:33 classic side, he's joined by an all-star roster, featuring Jess Stacy on piano, Joe Marsala on the tenor sax, and Charlie Teagarden playing the trumpet. So sit back, turn it up, and let's get the ballroom rolling. ¦ Thank you.

5:03 Thank you.

5:49 Recorded on January the 16th, 1940, in New York City on the Brunswick label, we just heard George Wettling's Chicago Rhythm Kings with Bugle Call Rag. Let me play another record, then a popular song about an equally as popular U.S. president. ¶ ¶. Thank you. Thank you. Thank you.

7:59 Thank you. Recorded in New York City on March the 22nd, 1937 for Vocalion Records.

8:48 A pleasant swing arrangement of Back in Your Own Backyard, written by the one and only Al Jolson, along with Billy Rose and David Dreyer. I haven't composed any music like Al Jolson did, but I do compose this broadcast every week. I'm Jeff Fressler, and this is the Make-Believe Ballroom. Friends, I wanted to talk for a moment and play a song. that reflects a widespread phenomenon of the 1930s and 40s. The tune I'm about to play tells the, well, it's a whimsical story of a baby boy who was born on Inauguration Day in Washington, D.C., named in honor of the president at the time, Franklin Delano Roosevelt. In real life, naming children Black children after Franklin Roosevelt, FDR, was a regular occurrence in black households. And there's a reason. That's because President Roosevelt... was viewed by many African Americans as a beacon of hope and a champion of working families during the hardships of the Great Depression. making FDR a proud and popular moniker for a generation of newborns. And

10:21 not only in black families, but within all families, the name Franklin was one of the most popular boys' names back in the 1930s. But instead of me droning on about this, let's let Ella Fitzgerald explain.

11:19 I hear tell there's a stranger in the Jones household. Yes, sirree, yes, sirree. That's what I'm told. I hear tell there's a new arrival six days old. Yes, sirree, yes, sirree. Worth his weight in gold, come right. In and meet the sun. Christening's done, time to have some fun. Yes siree, yes siree, yes siree. Yes siree, yes siree. It's a big holiday everywhere, for the Jones family has a brand new heir. He's a joy heaven sent, and they proudly present Mr. Franklin D.

12:16 Roosevelt Jones. When he grows up he never. Will stray. With a name like the one that he's got today As he walks down the street Folks will say, please to meet Mr. Franklin D. Roosevelt Jones What a smile and how he shows it He'll keep happy all day long. What a name, I'll bet he knows it. With that handle, how can he go wrong? And the folks in the town all agree He'll be famous, as famous as he can be How can he be a dud or a stick in the mud When he's Franklin D. Roosevelt Jones Yes sirree, yes sirree, yes sirree Cause he's Franklin D.

13:24 Roosevelt Jones. That was the undisputed king of swing drums, Chick Webb himself and Ella Fitzgerald absolutely lighting up the bandstand with FDR Jones, recorded in New York City on May the 3rd, 1938 for Decca Records. This toe-tapper was written by the legendary Broadway songwriter Harold Rome for the 1938 review, Sing Out the News. FDR Jones. And speaking about FDR, President Roosevelt, playing FDR Jones always gets me thinking about one of the most astonishing nationwide phenomena of the mid-20th century beyond naming babies after the president, FDR. And that was the president's birthday ball. Each year around January 30th, literally thousands of communities across America threw massive glittering galas all to celebrate FDR's birthday while raising funds to fight infantile paralysis.

14:46 A crew say that Roosevelt, who had polio himself, started with the help of Eddie Cantor that eventually grew into the March of Dimes. So from small-town community centers to, well, grand ballrooms in Washington, it wasn't just a party. It was an absolute national movement that literally involved the entire country to support the president and the March of Dimes. And naturally, an event that big deserved its own theme song, Enter the Master of American Melody himself, Irving Berlin, in 1942, Berlin penned the swinging tune, The President's Birthday Ball.

15:36 ¦ Bands are playing Let's go swaying At the President's birthday ball They'll be welcoming one and all Happy birthday Best on Earth Day to the President FDR From Americans near and far.

16:59 Look forward to much happier times. Look forward as we join in the grand march, the march of dimes. Check your sorrow till tomorrow. For the heavens will soon be bright. And we're going to have fun tonight. We'll be rhythm and mirth at the president's birthday ball. Look forward to much happier times. Look forward as we join in the grand march, the March of Dimes. Check your sorrow till tomorrow, for the heavens will soon be bright.

18:31 And we're gonna have fun tonight. There'll be rhythm and there'll be mirth at the President's Birthday Bar. That was Glenn Miller and his orchestra playing the Irving Berlin Tribute. at the President's Birthday Ball featuring vocals from Marion Hutton and the Modernaires, recorded on January 5, 1942, for Bluebird Records. So, a couple of discs honoring Franklin Delano Roosevelt, FDR, the 32nd President of the United States.

19:18 I'm Jeff Bressler, and thanks for joining me today on the one, the only, the original Make-Believe Ballroom, broadcasting since February of 1935 and holding the distinction of being America's third longest running musical radio program. I didn't expect to do that little segment on the president's birthday ball. I was just going to play Ella and Chick's version of FDR Jones. On this show, I did have a Glenn Miller record in the rotation, though, so the only thing better than playing a Glenn Miller recording on the ballroom is playing two.

20:10 Thank you. Thank you. Thank you.

20:52 Just around the corner, there's a rainbow in the sky. So let's have another cup of coffee and let's have another piece of pie. Trouble's just a bubble and the clouds will soon roll by. So let's have another cup of coffee. Let's have another piece of pie Let a smile be your umbrella For it's just a nickel shower. Go and see a fortune teller And. We'll predict a silver lining Soon we'll turn. The corner With our banners.

21:33 Flying high So let's have another cup of coffee. And let's have another piece of pie Let's have another piece of pie. What's that cheering all about? Why do all the people shout? He's the one we're waiting for. Our goodwill ambassador. Our goodwill ambassador. Cielo y las estrellas son como ojos del baque. Pues vamos a beber un cafecito.

22:17 Oh, let's have another piece of pie. Hip, hip, hooray, hooray, hooray. Hip, hip, hooray, hooray, hooray. Soon we'll turn the corner with our banners flying high. Let's have another cup of coffee. And let's have another piece of pie.

23:06 Glenn Miller and his orchestra with vocals by Marion Hutton, Ernie Caceres in both Spanish and English, and the Modernaires. Let's Have Another Cup of Coffee, recorded January the 5th, 1942, for Bluebird Records in New York City, and also written by Irving Berlin as, well, the prior Miller tune we played at the President's Birthday Ball and, uh, Really no surprise there, folks, in an extraordinary career spanning, well, I guess it's probably about 60 years, Irving Berlin wrote close to 1,500 songs. And along with those hundreds of popular tunes, standards, and so many patriotic anthems, Irving also composed the complete score for probably around 20 Broadway shows and Nearly the same number of Hollywood movie musicals. Let's have another cup of coffee. And now here on the Make-Believe Ballroom, let's literally have another cup of coffee.

24:18 I've got a mission. It's just a simple thing. I've one ambition to have the right to bring you your coffee in the morning. Two kisses in a night. It's my desire to do as I'm told. To have what you require and never have it cold. Your coffee in the morning.

24:59 And kisses in the night The wedding bells sound out dirty The wedding ties may spoil the fun Without the helping hand of clergy Oh, I'm afraid it can't be done It isn't formal, but. With a wedding ring It's natural and normal to give you everything, dear. From coffee in the morning to kisses in the night. I've got a mission, just a simple thing.

25:52 I've one ambition. To have the right to bring you coffee in the morning and kisses in the night. It's my desire to do as I'm told. To have what you require and never have it cold. Coffee in the morning and kisses in the night. The wedding bells sound out and dirty. The wedding ties may spoil the fun. Without the help and hand of clergy, oh, I'm afraid, I'm afraid it can't be done.

26:39 It isn't warm, but with a wedding. Ring, it's natural and normal. She'll give you everything, dear, from Corby in the morning. Two kisses in the night. Oh, darling, I really want you to take me in your arms and hold me tight. Now, honey, I'm warning you'll get coffee in the morning. Two kisses in the night. Coffee in the Morning and Kisses in the Night by the Boswell Sisters and the Dorsey Brothers Orchestra. recorded on Brunswick Records, November the 14th, 1933, in New York City. Folks, please head over to makebelieveballroom.com, your ultimate online destination for the Make-Believe Ballroom. We've got over 260 past episodes waiting for you right now, with brand new shows added all the time. That's over 260 hours of incredible big band jazz, swing, blues, boogie woogie, and Dixieland music available 24-7 on makebelieveballroom.com. And now, my ballroom students, let's head into the classroom, where in a bygone era, children learned their numbers from a single

28:10 old London nursery book that was published way back in 1805. Originally titled One to Buckle My Shoe, though your grandfather, grandmother, mother, or father probably remembered it with a button instead, this centuries-old rhythmic counting game I am about to play was the, well, with different lyrics, was the ultimate low-tech way to get little ones dressed, counting, and through their daily chores. From buckling shoes to fattening hens, who knew that basic arithmetic ever had such rhythm? And who better to teach us than Professor Holiday?

28:57 Come on, fellas. One, two. Well, what are you trying to do? Get on back to them drums. I'll start this band. One, two. One, two. Button your shoe. Put on your coat and hat. I play a game like that while I'm waiting for you. Three, four, open the door. Hurry for heaven's sake. I count each step you take while I'm waiting for you. Five, six, my heart just shakes as I picture all your charms. Seven, eight, you're at the gate and you walk into my arms Nine, ten, kiss me again Tell me you'll get a thrill Just as I hope you will While I'm waiting for.

29:48 You Thank you.

31:19 Five, six, my heart does tricks as I picture all your jokes. Seven, eight, you're at the gate and you walk into my arms. Nine, ten, kiss me again, tell. Me you'll get a thrill. Just as I hope you will while I'm waiting for you. One, Two, Button Your Shoes, recorded by Billie Holiday and her orchestra. On September 29, 1936, via Vocalion Records in New York City, her orchestra, a shadow orchestra, always led by her good friend, the pianist Teddy Wilson. Quick reminder for all of our listeners, make sure you head over and subscribe to the Make Believe Ballroom Radio Facebook page.

32:10 Catch daily record plays, historical video features, and some added programming you don't hear on the radio show. Subscribe. A location you visit daily.

33:14 I feel like a feather in the breeze Riding on high, high in the sky Honey and I walking on air Since the moment that you told me that you cared I feel like a feather in the breeze Floating through space in your embrace Dancing on clouds way up above Since the second that you beckoned to my love I'm happy, so happy when you're near My troubles just disappear As soon as you're by my side I'm satisfied I feel like a feather in the breeze Having my fun, kissing the sun, and it's because you are the one. So I'm singing like the birdies in the tree, and feeling.

34:04 Like a feather in the breeze. ¶ ¶.

35:00 I feel like a feather in the breeze. Art Carl and his boys recorded January the 13th, 1936 on Vocalion Records with a vocal by Chick Bullock. I'm Jeff Bressler and from the Crystal Studio in the J1 Studios in Fort Lauderdale, Florida. You're listening to the weekly edition of The Make-Believe Ballroom. Long before Jack Teagarden arrived on the scene, Miff Mole was already defining the voice of the jazz trombone.

35:42 Born in 1898, Mole completely shaped the early language of the instrument. Yet, unfortunately, today he is pretty much forgotten by history. He was an absolute powerhouse on New York's jazz scene in the 1920s. He recorded extensively with the greatest names of the era, including guitarist Eddie Lang, saxophonist Jimmy Dorsey, and trumpet legends Red Nichols and Bix Beiderbecke. As a brilliant band leader in his own right, he fronted Miff Mole and his Little Molers, and even accompanied at one point the iconic Sophie Tucker on several of her classic OK! recordings. So it's high time we remember the true pioneer who laid the groundwork for the jazz trombone, Miff Mole. So let's honor him here on the ballroom today with a couple of selections.

36:52 So Thank you.

38:15 So so so so.

39:51 Crazy Rhythm by Miff Mole and his Little Molers recorded April the 20th, 1928 on OK Records in New York City. And on this OK recording was one of Miff Mole's finest studio pickup bands. As I mentioned, he called them his Little Molers. A session we just heard featured an absolute powerhouse lineup of late 1920s jazz royalty, featuring Miff on trombone, Red Nichols on cornet, Jimmy Dorsey playing the clarinet and alto sax, Arthur Schutt on piano, Eddie Lang playing the guitar, and Vic Burton on drums. One more as we pay tribute to the great trombone legend, Miff Mole.

40:45 © transcript Emily Beynon. Now won't you listen, honey, while I say, how could you tell me that you're going away? Don't say that we must part. Don't break my aching heart. You know I loved you truly for many years. I loved you night and day. How can you leave me? Can't you see my tears? Listen while I say After you've gone And left me crying After you've gone There's no denying You'll feel blue You'll feel sad You'll miss the bestest pal You've ever had There'll come a time Now don't forget it There'll come a time When you'll regret it Some day when you grow lonely, your heart will break like mine and you'll want me only after you've gone, after you've gone away.

42:28 So so. I said after you've. Gone and left me crying After you've gone, there's no denying You'll feel blue, you'll feel sad You'll miss the bestest pal you've ever had There'll come a time, now don't forget it.

43:13 There'll come a time when. You'll regret it Oh, babe, think what you're doing. You know my love for you will drive me to ruin. After you've gone, after you've gone away. After You're Gone, featuring the formidable last of the Red Hot Mamas, Sophie Tucker herself, backed by Miff Mole and his molars. Recorded April the 11th, 1927 on OK Records in New York City. And on this one, add to the musicians comprising Miff Mole and his little molars, Ted Shapiro.

43:57 He played the piano and was Sophie Tucker's longtime, for decades, accompanist and musical director. So a little journey back into the 1920s as we pay tribute to to the great trombonist Miff Mole. Let me now offer for you another trombonist, certainly in the class of Mole and Teagarden. His name was Benny Morton. ¦ © BF-WATCH TV 2021.

45:30 Going back where I can lead the right life, fare thee well to Harlem. Things is tight in Harlem, and I know how to fix it. Step aside, I'm going to Mason Dixit, fare thee well to Harlem. Lately here my soul is reaching for the Bible's kindly teaching. Wants to hear the reverend preaching, love each other. Wants to hear the organ playing, wants to hear the folks a-praying. There's a voice within me saying, he's our brother, so fare thee well to Harlem. All this sin is righteous. Going back where everybody's righteous. Fare thee well to Harlem. Fare thee well. ¶ ¶.

46:30 Thank you. THE END.

47:15 Fare thee well to Harlem, recorded August the 26th, 1935, for Columbia Records in New York City. That song written by Johnny Mercer.

49:28 I saw the harbor lights They only told me we were parting The same. Old harbor lights. That once brought you to me I watched the horrible lives How could I help if tears were starting Goodbye to tender nights Beside the silvery sea I long to hold you near And kiss you just once more But you were on the ship And I was on the shore Now I know lonely nights.

50:25 For all the while my heart. Is whispering Some other harbor lights Will steal. Your love. We just heard the very first recording of Harbor Lights made in London on January the 29th, 1937 by Roy Fox and his orchestra with a vocal refrain by Barry Gray and that record on his Master's Voice label. A song recorded... I'm talking about Harba Lights a multitude of times, but actually made popular again during the rock and roll era when the Platters made Harba Lights a hit in 1960.

51:16 We have some time left in the show, so let me play one more from the 30s as I look for it on my playlist that also succeeded as a rock and roll success. And I have found it. Here it is. ¶ ¶ Blue moon, you saw me standing alone Without a dream in my heart Without a love of my own.

52:50 Blue moon, you knew just what I was there for You heard me saying a prayer for Someone I really could care for And then there suddenly appeared before me The only one my arms will ever hold I heard somebody whisper, please adore me And when I looked, the moon had turned. To gold © BF-WATCH TV 2021.

54:42 First time ever recording of Blue Moon on the Brunswick label by Ted Fiorito and his orchestra. Vocal by Muzzy Marcelino. Recorded in Los Angeles, October 19th, 1934. And of course, folks, doo-wop and early rock and roll group the Marcells completely overhauled that song. adding a bouncy, up-tempo, bass-driven doo-wop beat in the bump-bump-bump intro. Their radical rock and roll makeover shot straight to number one on the charts back in 1961.

55:29 Blue Moon. And I am blue because, folks, we are out of time. As I go out with the big spider back classic, I'm coming Virginia. 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, 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.

56:13 Thanks to our syndicators and distributors who each week offer 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 friends, until next week, this has been Jeff Bressler. © transcript Emily Beynon