May 29, 2026

Make Believe Ballroom - 5/29/26 Edition

Show Notes
Transcript

On this week's edition of the Make Believe Ballroom hosted by Jeff Bressler, a look at a world record-breaking Bing Crosby Hawaiian tune, two Artie Shaw classic radio remotes, two interesting Benny Goodman tunes, and more records and reminiscences from the big band and jazz era.

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It's make Believe ballroom time. Put all your cares away.

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All the bands are here to bring.

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Good 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 to friend your Dalisan bombs, close your eyes

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and visu lize in your solitude.

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Your favorite bands are on this.

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Dance and mister Miller, but you're in the wood.

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It's make Believe ballroom time. We are a sweet romance.

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As you make me.

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Come on Jo the last dass last.

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Hello world, I'm Jeff Presler, turning on the lights of

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the Make Belie Ballroom and welcoming you into my Crystal

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studio for ENDO, the program of classic big band music

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from the nineteen thirties and forties. Please get ready as

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I play for you some amazing jazz, swing, blues, and

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boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,

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broadcasting almost continuously since nineteen thirty five. And welcome, Welcome,

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Welcome one and all into the Crystal studio. And thanks

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so much for joining me today. Why don't we get

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the program underway with the two Radio standard transcriptions, The

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first by the wonderful trombonist Jack T.

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Garden The Birds, the Clover.

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Rumping' and stomping Jack T. Garden his trombone and orchestra

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on a Standard Radio transmission sixteen inch disc recorded in

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Los Angeles, California, August the twenty second, nineteen forty four.

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And as I've discussed on this program many times in

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the past, like Standard and a Thesaurus, there were a

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number of companies that released transcribed discs to radio stations

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across the country to be used as syndicated programming. And

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that indeed number by Jack Teagarden went to stations all

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over the country. Let's play one more, this time by

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the Pied Pipers.

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Get down to Tampy call. Tampy call on the golf

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of Man.

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He called a Tampy call. Tampy Call. That's place for

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you to go.

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Tampy call, Tampy call where the big fat boats talk.

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Called Tampy car. Tampy call down a mex call. If

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you are planning a trip, come down Tampa away. Those

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lovely trump to see will make you wanna stay.

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Hey, Tampy call, Tampy.

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Call on the golf up Man, he called Tampy call,

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Tampy call.

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That's place to guard.

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The temperature is very high.

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So when I caught the mad, don't try to get

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to romantic and.

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One hundred and ten.

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That's raining.

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Hey, Tampy call, Tampy call on the golf of Man,

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called tampy call, Tampy call.

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That's place to God.

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We used to work for t D he said, I sing.

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It was choice, but he paid off in the dark.

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Now we're with the voice.

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Hey, tampy call, tampy call on the gulf of Man.

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He called a tampy call, tampy call. That's a place

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to God.

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You go down better, relax well, to get away from

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the giant.

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A native greet you and see give me fire. Hey,

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tampy call, Tampy call on the gulf of Man called

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Tampy call, Tampy call. That's a place to go. We're

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getting singing this song. You must be needless to say.

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It's the repetitious.

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Mom to sing much more today.

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Hey, tampy call on tampy call on the bank.

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Look up, but with them many called tampee call. Say

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do you know cat?

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This song really got it.

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Gone Tampico the Pied Piper's Orchestra under the direction of

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Skippy Martin on a standard transcription disc from back in

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nineteen forty five. I'm Jeff Wrestler, and you're listening to

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the weekly edition of the Make Believe Ballroom coming to

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you from the Crystal Studio. Let's play another record. Then

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Benny Goodman rejects and is also rejected. What am I

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talking about? Well, I don't even know, but I'll figure

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it out. During the playing of this record, we.

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Had the Jim Jam Jim Man began in the truck

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and then the black Bottom two Jim Jim jump is the.

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Top of her town. But the he be geev is

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gonna more.

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I'm down.

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He bit geis rock rock.

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E b g bes flowing my top.

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Now, cut off my legs and call me shorty. She

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my head and called me both.

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Let's start something.

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Who you hunting ball?

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Oh?

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He be Jeeves is rocking her town.

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He bitch ge biz rock rock.

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He bit gebis flowing my top.

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Called my gaal on the phone, laying the lady said

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she wasn't home. Look out gate. I think I'm late.

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But the he beach gbis is rocking her town. Run

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he beat jee he beat gee business.

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Rocking the town.

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Now he beg, gee rock rock Now he bet g

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I'm still blowing my town.

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Boy.

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I bought myself sacks of phone. I tried to make

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that babe moan, but I found out Joe I couldn't

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blow because he be gee busiess rocking the town.

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The hebgb's are rocking the town A Lionel Hampton and

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his orchestra vocal bi Lionel recorded on Victor Records in

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October of nineteen thirty nine. So I mentioned before Hampton

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that Benny Goodman rejected, and he certainly did do that

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many times. Let me explain when Benny Goodman recorded. When

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he went into the studio, if you've read about Benny,

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he was, in no uncertain terms, a perfectionist and well

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he was a demanding band leader who set the highest

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standards for both himself and his musicians, and that led

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to many rejected takes in the recording studios, both Victor

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Records and Columbia, which were his two primary record companies

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during his career. Now, a number of those rejected takes survived,

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and I have one keyed up and they're ready to

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drop the needle on right now. We just heard a

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rejected Columbia record won that Benny himself rejected during a

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playing of Ramona. He recorded that take on February the fifth,

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nineteen forty two. It eventually got pressed and distributed. The

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final version of the record was never a hit or

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a top seller for Benny. Let me now play a

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recording that was actually rejected, not by Benny, but by

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the record company itself.

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I was born in Texas, raised in Tenny. Allah born

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in Texas, raised in Tenny.

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But A talk another man to me, he could fool

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lot of me.

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Not this man that I love pauses mean as he can.

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This is man that I love, hes and mean as

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he can.

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I never knew that a man could be to me

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for me. I'm gonna get me a.

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Shot gun just as long as I am talk get

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me a junk, not long as I am.

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I'm gonna shure that man to see him.

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Jump fall.

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Now with Manny Fay asked you who way.

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You said? The girl you know that she does.

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So it looks like Columbia rejected this recording that Benny

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Goodman made on vocal. Was the great Louise Tobin, married

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at one time to Harry James. So Tobin left Benny

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in nineteen thirty nine. That was the same year that

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Goodman switched from Victor to Colombia. I don't know if that,

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for whatever reason, had any bearing the Columbia decision. If

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you know, send me an email to Jeff at MakeBelieve

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Ballroom Radio dot com. That's Jeff at Make Believe Ballroom

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Radio dot com. Now, the record that I had just

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played was never named, and it was never released. I'm

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Jeff Presler, and the show is named. It's the one,

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the only, the original Make Believe Ballroom. And you know,

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when I listened to Tobin singing the Blues, she reminds

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me of Teddygrace. Maybe Columbia had thought that Louise her

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rendition of the Blues sounded too much like Teddy Grace.

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I don't know.

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You decide all along the floor and around and cry, yes,

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I want the floor and around.

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My hands and cry.

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I had it down hearted blues, and I couldn't be said,

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it's fine, gee, but it's hard to love someone when

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I someone don't love you. I'm so disgusting love and

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hearted too.

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I got the down hearted.

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Glue once I was crazy about a man.

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He mistreating me all the time.

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The next man I get, he's got to promise to

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be mine more.

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Man.

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Oh, he mistreated me and he.

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Drove from his door.

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Yes, he mistreated me and he drove me from his door.

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But the good birth says you read just well you so.

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I never love the three men in my life.

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Never loved me my life, love my father, my brother,

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and a man who raised my life.

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What the world? Job destobel and job stop.

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I'm on a hold.

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Let him till you commander my command.

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From Deco Records, Teddy Grace's Down Hearted Blues, recorded on

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August fifteenth, nineteen thirty eight. Let me now play a

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record from Roy Eldridge and his Orchestra, then a listener's

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email and on Varsity Records, High Society roy Eldridge and

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his Orchestra, recorded back in December of nineteen thirty nine.

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This is Jeff Bresler. This is the Make Believe Ballroom,

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and this is also the place you can send me

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an email if you'd like to comment or make a request.

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Jeff at MakeBelieve Ballroom Radio dot com, Jeff at Macbelie

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Ballroom Radio dot com. And I received an email this

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week from Len Busby, who resides in Georgetown, Texas. That's

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outside of Austin. Lenny has reached out to the ballroom

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in the past. He wrote, Howdy partner, enjoyed that you

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played some Texas swing with my all time favorite Bob

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Wills on a recent show. You were lamenting over whether

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to play Texas swing on the make Believe Ballroom. Perhaps

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not big band jazz centric as your audience might have

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a taste for. Did you know that the first time

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Deep in the Heart of Texas was recorded? It was

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by someone who probably never saw the state, Alvino Ray.

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Since Ray recorded it, can you play it? And that's

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signed by Lend Busby And yes, I will be happy

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to play that request forgetting myself that that ode, the

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unofficial Texas National Anthem was indeed recorded by Alvino Ray

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and spent five weeks atop the Your Hit Parade radio

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countdown night.

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A big and broad in the.

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Prairie sky is wide and high in the sage in

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bloom is like perfume in the reminds me of the

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one my love in the Texas.

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The kild's wail along the trail jus, the rabbits rush

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around the brush, the cowboys cry yeh Beyond the Doggies,

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ball and ball and.

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Ball mersage in bloom is like perfume.

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Reminds me of one my love.

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From Bluebird Records Deep in the Heart of Texas by

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Alvino rayan orchestra vocal by Bill Shallon, Skeets Herford and

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his band also joining in. Recorded in Hollywood, California, November

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the twenty first, nineteen forty one. So thanks Len Buzzby

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for your email. We love to hear from listeners once again.

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Jeff at MakeBelieve Ballroomradio dot com. Jeff at MakeBelieve Ballroom

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Radio dot com. Why don't they play another first time

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ever recorded song.

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The stars shining right above you night praises seem to whisper.

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I love you.

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Birds singing in the sycamore tree. Dream a little dreamer,

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say nighty night and kiss me, Just hold me tight

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and tell me you'll miss me while I'm alone and

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the blue as can be. Dream A little dream of.

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Me, stars fading, but I linger on, dear, still craving

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your kids. I'm longing to linger till dawn, Dear, just

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saying this. Sweet dreams till sunbeams fine you, sweet dreams

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that leave all are ease behind you. But in your dreams,

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whatever they be, dream a little dream of me, Dream

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a little dream of me.

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Sweet dream till sunbeams find you. Sweet dreams that leave

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all wares behind you. What in your dreams, whatever they be,

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Dream a little dream.

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A Brunswick Records dream a Little Dream of Me by

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Ozzie Nelson and his orchestra vocal by Ozzie Nelson, recorded

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in New York City February sixteenth, nineteen thirty one, and

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that was the first time ever this standard was recorded.

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I received another email that I had it here before.

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I can't seem to find at the moment that I

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wanted to read well. In essence, the email asked about

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why Hawaiian music, which we played here on the ballroom

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a few weeks back, was introduced to the big band sound.

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Why don't I play a Hawaiian theme song? Then I'll

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answer that question.

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It's always think home is under lou.

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In under lou Loud.

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It's always finer made is.

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A home man, It's hoss from men.

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It's always swings in Honolulu, Oh Island, the things from Gooday,

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Oh Island, their.

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Own lovers place Oh Island, the swings with the swings,

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the wacky wacky wo and a lower ika poa, those beauty,

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the sands, snowy Wi. Those natives are love living right

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and those babies and love loving right need the.

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Younger moon is smellowed like a shallow.

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From Brunswick Records, Duke Ellington and his famous orchestra with

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an Ivy Andersen vocal with the swinging Swing Time in Honolulu,

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recorded back in nineteen thirty eight. And the question I

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posed before is that was in the email, is why

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was Hawaiian m so popular during the big band era? Well, first,

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I think a lot of that era took place during

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the depression, and it was pure escapism. Hawaii certainly was

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not a state at the time. It was just considered

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a tropical paradise and most people knew they would never

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have the opportunity to go there. So actually Hawaiian music

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became a craze. Folks were captivated by Hawaii's exotic, romantic

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imagery and that was easily adapted into big band arrangements.

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And it also allowed some big bands a little creative

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room to add the ukulele and steal guitars to numbers. Now,

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probably the strangest of all Hawaiian songs on records came

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from Bing Crosby in what I consider a mess of

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a song because of how it was deuced, not because

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of the song itself, but it also is a song

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that will live in music history.

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Let me play it, sweetlay Loney, Heavenly Loma.

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Nag fashion ros excuse with.

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Loney and she plays name in above.

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It was the star, sweetlay Loney, heavenly love.

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Me and eyes for you, Loy, You are my paraized

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complete love me Lo.

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You are my dream come Sweetly long, heavenly f.

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Tropic scars are jealous as they shone my sweet Clay lonely.

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I think they're jealous of.

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Your blue ear, lovely lonely, jealous because your.

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Sweet lay lod.

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Heavenly f.

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Wi dream of paradise.

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Hold, my sweet lay Love.

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You are my paradise comeleader. Lovely lay Love, you are

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my dream come true.

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You arema paradise leader.

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Lovely Leilani, you are my dream.

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Ca from Decca Records. Sweet Leilani by Bing Crosby with

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Lannie McIntyre and his Hawaiians, recorded in Los Angeles, February

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the twenty third, nineteen thirty seven. So I think not

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the tune, but the record was a mess. The tune

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itself was an Oscar winning ballad for the Bing Crosby

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film Wakaki Wedding with the vocal and instrumental assistance, so

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as the song goes, Bing loved the melody and insisted

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it to be in the movie that he was starring in.

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As I mentioned Waka Kei Wedding. Now, when the Paramount

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Pictures producers refused to add the song Sweetlilani, Bing, in

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his usual style, walked off the set and went golfing

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for two days until the producers relented. So the movie

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ended up being a big success. And let me tell

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you now why the record I think was a little

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messed up. Deco Records president at the time, Jack Capp

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was strongly against being recording and releasing the track, predicting

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that it was going to fail, but Crosby, being the

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big star he was, won the argument a low. He

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had a compromise with Cap and Havelannie McIntyre and his

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Hawaiians sing first, probably to shield Bang from what Deca

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thought would be a flop record. But in the end,

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Sweet Lailani holds a distinction one that I think may

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never be broken. Now. Due to Ban's enormous popularity and

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his talent for singing on winning records, a lot of

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folks went out and bought the sheet music to different

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songs that he recorded. So Sweet Lalani became, to this

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very day, at fifty four million copies, the number one

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selling piece of sheet music of all time.

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Then it.

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Give me bad.

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A nothing.

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00:47:16.000 --> 00:47:21.079
Artie Shaw and his orchestra man from Mars from the

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Cafe Rouge at the Pennsylvania Hotel in New York City

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back in nineteen thirty nine. And I think those radio

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remote appearances by Artie were some of his finest still

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work as a band leader. Let's play another from the

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Cafe Rouge in nineteen thirty nine via the NBC Radio Network.

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And now I heard Tom's the one you've all been

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waiting for, the kilodella that's going to knock the place,

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probably the roof right over, we hope not that it's

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a long way to the ground.

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Like Carrioka, the Moons, he.

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00:48:54.960 --> 00:49:19.280
Fa beat the s.

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What are my all time favorites? Karaoka are? Do you sean?

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His orchestra on an NBC radio remote from August of

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nineteen thirty nine, and I think we have time for

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a request. Let me just take a look at the

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00:52:14.480 --> 00:52:19.559
clock here. We certainly do. This is from John Mnana,

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who listens in New Orleans, probably on WXDR and John

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00:52:27.000 --> 00:52:32.000
asks for well, he actually says, make believe ballroom? Can

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you play Bob Crosby's between eighteenth and nineteenth on Chestnut Street.

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I'm an old Philly guy and that is signed John

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00:52:41.239 --> 00:52:44.599
and John. Try this with your next cheese steak.

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00:54:02.320 --> 00:54:04.679
Have you heard about a place in town?

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00:54:05.280 --> 00:54:07.519
I need plays, drink and plays of great.

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Renown food town food to.

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I know a rip where the folks all meet meat

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every morning for the drinking.

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00:54:21.559 --> 00:54:24.559
It's not for hoclass, but it can't be be Between.

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00:54:24.320 --> 00:54:27.000
Hate Sea then nineteen on Chestnut Streams.

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00:54:27.880 --> 00:54:30.159
You have Pianna played by Stacey Trends.

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00:54:31.079 --> 00:54:32.800
He is a famous boogie woogie.

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00:54:33.039 --> 00:54:35.239
Gents, you want to stop there.

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If your pleasure been between Hate Sea, then nineteen on

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00:54:38.760 --> 00:54:41.679
Chestnut Streams come along from that.

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If you're feeling right, well a.

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Cloud for a hat.

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You'll have a reservation will some day breaks incervacions.

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That's well.

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00:54:54.360 --> 00:54:59.320
The hearty toy needs the horriblelarm.

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And that.

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00:55:02.960 --> 00:55:05.320
His girlfriend and Brussor wether a rhymestone gown.

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I's on the south, not on the edge of town.

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The eighteenth nineteen Street.

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On Decca Records between eighteenth and nineteenth on Chestnut Street,

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written by will Osborne, Bob Crosby and his orchestra, vocals

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by Eddie Miller and Napia Lamar, recorded in New York City,

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December the sixth, nineteenth thirty nine. And thanks John Manana

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for requesting that one. Actually I never listened to that record,

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and I did enjoy it very much. And folks, we

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are out of time. The big hand on the big

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bull of a clock here in the crystal studio is

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approaching the top of the hour. Thanks so much for

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joining me today to reach me. I'm Jeff at MakeBelieve

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Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio dot com.

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Want to take a minute to thank our syndicators and

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distributors for offering the Make Believe Ballroom cost free to commercial, free, public,

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university and community radio stations. They are the Public Radio

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Exchange PRX, the PACIFICA Network, and Global Community Radio. The

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program's flagship affiliate is Jazz ninety point one WGMC in Rochester,

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New York. The Ballroom is also heard on your favorite

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podcast provider, We're going to make Believe Ballroom Day dot com.

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So until next week, this has been Jeff Bresler

Make Believe Ballroom - 5/29/26 Edition

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