June 26, 2026

Make Believe Ballroom - 6/26/26 Edition

Show Notes
Transcript

This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - a game show host's famous uncle, a longtime listener's special playlist, a gambling song, Lenny from Down the Block with his Record Pick of the Week—this and many more great songs and stories to cherish and enjoy on the program.

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

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All the bands are here to bring good cheer your way.

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It's make belief Ballom time and free to everyone.

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It's no time to friend your Dalis said Bob.

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Yours, close your eyes and visual lie in your solitude.

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Your favorite bands are on this stance and mister Miller,

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but you in the wood.

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

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as you make it, Bob, Come on, Joe the last dass.

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

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of the make Fully Ballroom and welcoming you into my

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Crystal studio for another program of classic big band hits

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from the nineteen thirties and nineteen forties. Whether you're listening

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on the radio via great affiliates like Jazz ninety point

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one WGMC in Rochester, New York, or on a podcast,

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or maybe even on Internet radio in the United Kingdom,

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anyway you've gotten here. I am pleased, so get ready

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as I spend for you some amazing big band jazz, swing,

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blues and boogie woogie favorites. Folks, you're listening to the

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Make Believe Ballroom broadcasting almost continuously since nineteen thirty five.

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My folks, today's show is going to be a mix

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of well, a few stories, some listener emails, a little

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Leney from down the block, and other assorted stuff. And

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while I sort things out, how about a little early

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pearly May.

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Fifteen years and I'm still serving time, serving time with that.

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Good man of mine.

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I've been married fifteen years, I've shed fifteen million tiars

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fifteen years, and I'm still serving time.

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Fifteen years.

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And I ain't got a dime, not a dime in

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those long fifteen years. Each night I drink fifteen ers

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to forget those fifteen years.

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Fifteen years with that good man of mine. Oh, there

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are as no bar.

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On the window, and raised no locks on the door,

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and there ranged no LODs in the courtyard.

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But I'm a prisoner forever more.

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Fifteen years and I'm still serving time, serving time with

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that good man of mine. When I left those church bells, time,

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tell me, what's that a crime?

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Fifteen years? Then I'm still serving time.

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All my cooking goes to waste, spread.

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And waters all our tails. Fifteen years.

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Then I'm still serving time with this family on my

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tail can't save up no door for bail. Fifteen years

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and I'm still serving time. Oh, there raise no chains

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on my ankles, and there raised no ropes on my hands.

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And there ain't no ain't nothing nowhere. But I'm a

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prisoner to that man. When his shirt hang on the line,

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how I wish that neck was mine.

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Fifteen years and I'm still serving time.

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Oh, there raised no dog on the window, and there

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raised no locks on the door, and there raised no

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dods in the court yard.

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But I'm a prisoner forever more. Fifteen years and I'm

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still serving time, serving time with that good man of mind.

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I got the kids from one to nine, some of

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his and some of mine. Fifty and live in time,

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and I love every moment of it. Was beautiful love.

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Fifteen years and I'm still serving time. A Pearl Bailey

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vocal under the orchestra direction of Mitchell Ayres, recorded on

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Columbia Records, April of twenty fourth, nineteen forty five, and

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a great way to get this edition of The Make

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Belief Ballroom underway. So I was reading this article about

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the history of television game shows a few days ago.

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In the article mentioned Chuck Barris, Chuck Barris's company and

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his hosting and producing of the very campy Gang Show,

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which some of you might remember on television in the

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nineteen seventies and eighties. Chuck Barris and his company produced

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that program, as well as The Dating Game, The Newlywed Game,

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and so many more. Now in conjunction with that. By coincidence,

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I was playing a few days ago a recording featuring

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the Rhythm Boys. I wasn't playing it on the air,

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I was playing it for my own personal enjoyment. And

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the boys were the great Bing Crosby al Rinker, who

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by the way, was Mildred Bailey's brother, and the third

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Rhythm Boy was Harry Barras. So when I read about

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Chuck Barris, I quickly did a little research to see

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if he Harry Barris was related to Chuck. I didn't

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expect much, but lo, hold there was a strong connection.

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Let me play a real oldie featuring the Rhythm Boys.

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Then an amazing story of how Harry Barris joined the trio.

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This way.

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Why then goes down and I goes down the dark,

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gather around down they all begin to show, Hey.

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I'll go down here to be on the missis.

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Why I do.

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Nod. How I am telling.

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You a fine up man any time?

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By time on their hands, John tab me out the town?

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You and Honic come, where's the doc to.

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Beat on the miss Lord holiday boy listen, told you

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don't all that music, says.

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The doctor on my damn you they do money?

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How I'm telling you, Oh fine a man, thank you?

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Time I five of their hands just to tip me

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out of town to.

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You and Hona come, where's the docking bes?

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And beat all the MESSI.

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Yami yana now June, wherema dog.

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Fa mem mud?

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We just heard Mississippi Mud composed by Harry Barris and

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featuring the legendary Paul Whiteman and his orchestra, with vocals

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by Irene Taylor, Bing Crosby, Harry Barris, Al Rinker, Jack Fulton,

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Austin Young and Charles gay Lord, recorded on Victor in

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New York City, February the eighteenth, nineteen twenty eight. Like

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a musical variety show that record was, and speaking of

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legendary Bix Beider becks Horn was featured on that best

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selling version of the Harry Barris hit song Mississippi Mud.

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So friends, as the story goes, first, let me say

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I think I forgot to mention that Harry Baris was

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the uncle of the television game show genius Chuck Barris. Now,

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in nineteen twenty six, Harry Barris was playing the piano

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and occasionally providing vocals for the Paul ash Orchestra. Also

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in that same year, nineteen twenty six, Al Rinker and

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Bing Crosby became members of the Paul Whiteman Orchestra. Is

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a singing duo, and they were very well received in

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smaller venues. However, in February of nineteen twenty seven, Paul

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Whiteman was booked into the cavernous Paramount Theater in New

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York City. Now, in nineteen twenty seven, loudspeaker systems and

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adequate microphones for large theaters were just being perfected, and

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believe it or not, the Paramount at the time had

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absolutely no microphones, no speaker system, So while the orchestra

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of white men could be heard, the vocals provided by

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Bing Crosby and al Rinker were drowned out and just

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couldn't be heard by the audience. So Paul Whiteman was

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brought into the theater manager's office and given the bad

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news that white men and his orchestra were being dropped

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from the bill. Now White Men had no problem attracting

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crowds to his band's performances and decided to look for

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a way to make sure that his vocalists could be

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heard in the future no matter where they were playing.

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Well.

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Paul Whiteman, band member who knew Harry Barris, suggested to

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Paul that they add him to make a trio, and

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the Rhythm Boys were formed in April of nineteen twenty seven,

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and their vocals got a boost and were heard better

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in the theaters where White Men appeared, and the Rhythm

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Boys became a fixture in Whiteman's band for a number

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of years. So an interesting story of how Harry Barris,

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the uncle of Chuck Barris, became a rhythm boy all

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the way back in nineteen twenty seven. I'm Jeff Bresler,

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and you're listening to the one, the only, the original

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Make Believe Ballroom 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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And some of the folks that did reach me will

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in turn reach out to you. When I read a

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few emails in just a little while. Let's now as

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I look at my show list, here, let's spin a record,

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And then from Tampa, Florida, the producer emeritus of the

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Make Believe Ballroom, the inimitable Lenny from down the Block

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with his record pick of the week. That was the

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violinist extraordinary himself when Joven Nudi and his orchestra here

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today on Decca Records with the song entitled the Flop,

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recorded in New York City on January the twenty fifth,

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nineteen thirty nine. And now from his palatial condo in Tampa, Florida,

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the producer Emeritus of the Make Believe Ballroom, the Platter Prince,

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the virtue Woeso of the Virtual Turntable, the world renowned

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Miss their Excitement, himself, Lenny from down the Block with

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his record pick of the week.

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Hi gang, Lenny from down the block, here with my

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record pick of the week. Whenever I do something wrong

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around the house, my wife Cookie calls me a nitwit.

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Just last week, I messed up the garbage disposal here

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in the condo, and the word nitwit reverberated throughout Unit

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Oney one hundred and twenty six. I decided to take

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a look and see if the word nitwit was ever

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used in a big band song. I was amazed to

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discover that Benny Goodman himself recorded a song called Knitwitz Serenade.

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It was the b side to his wildly popular version

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of Bugle Call Rag. The record was produced for Columbia

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on August sixteenth, nineteen thirty four.

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Knit Wit Serenade Benny Goodman and his orchestraed. I don't

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think Lenny mentioned it, but that song was written by

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the great composer and bandleader Will Hudson and now folks.

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Eny mysel Aleta.

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And make believe the game from you.

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I'm gonna rain wors so sweet, They're gonna allow me

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all my be.

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A lot of kisses on the bottom.

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I'll be glad I got home.

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I'm gonna smile and say I hope you're feeling better.

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Him close with love the way you do.

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I'm gonna send right down and write myself a letter.

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And made me believe game.

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From Yes, my friends, we do get letters, many of

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them in email form, each and every week. I would

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like to read a few for you. The first comes

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from one of our great listeners who we love to

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hear from. He knows his stuff when it comes to

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big bands, and it reads, Hi, Jeff, I thought i'd

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get in on the act and send you a few

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of my favorites. I had a hard time thinking of

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some that weren't standards and it wouldn't be likely to

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have been played, and I only came up with six.

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As you can see, I like songs and vocalists, and

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he lists six songs which I will play for you

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in just a few moments. He goes on to write,

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I enjoy the show on podcast every week, and I

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especially enjoy your commentary and the historical background. By the way,

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what happened to Dylan? The snotty kids? List of big

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band musicians on the Hollywood would walk of fame? Cordially yours,

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Joel Eatman. Thanks Joel writing to us from deep in

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the heart of Texas by way of Dallas, a wonderful

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state that I lived in twice for extended periods of time,

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and where my daughter and son in law reside in Austin.

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And I will, Joel at your request reprimand the snotty

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kid Dylan, who indeed did not follow through. How did

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I come to think of it? On continuing his research,

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on big band musicians and vocalists on the Hollywood Walk

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of Fame. I would dock him pay Joel, but since

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I don't pay him, I think I'll just relay your

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consternation and have him complete the assignment. I actually haven't

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seen him in the studio area today, but he should

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be around shortly. But more important to the music at hand.

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From the Joel Eatman list, here is number one of sex.

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Wooming flat, ring in my ears and blooms my fears.

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I'm in my flat in man pattern. My vapatient days

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are in the past.

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They went to past.

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Why couldn't they live?

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Jeeves?

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Monday in Manhattan, where it ends my holiday.

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I hate Monday in Manhattan when my heart is miles away.

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Streets of leaning power seem to be my only view.

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But I'll close my eyes for hours and I know

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that I'll see you.

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Then the pavement changes into Hallwood, is glad beyond is.

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My arms again, and it all seems so real.

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Near the sky line of Steel shouts it's Monday in Manhattan,

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that away your dreams have low Jeez, it's Monday in Manhattan,

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and it means that I'm a lowe.

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We just heard Monday in Manhattan Richard Himber and his

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Ritz Carlton Orchestra, recorded on Victor Records January the nineteenth,

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nineteen thirty five, with a Stewart Alan vocal, and Joel's

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comment on that record Monday in Manhattan is this is

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one of my favorites. I think it's a lovely song,

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and I don't have a recording of it. Let's now

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move on to Joel's second pick, where.

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You say, just be friends.

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I thought I could let you go, never thought ID cried.

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I never knew I loved you, So I act gay,

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laugh and play.

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It's so that no one will know I've a broken hard.

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It's so hard to.

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Let you go.

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When I still thrilled to your touch.

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Live for your glance, Find myself trembling when you ask

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me to dance.

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The scene is the same. It's summer again.

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My friends, to approach me away screen your name can't

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go on.

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I can't forget. I'm jealous and hurting side.

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When you said park, keep my darling, how you love?

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When I still frail to your touch, Play for your glance.

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Find myself trembling when you.

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Ask me to dance. The seed is the same. It's

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summer again.

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My friend still reproach me for always string rny.

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Can go, I can for again? I'm jealous and pertain side.

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When you said Park keeps my God.

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From Victor Records, Darling, how you lied? By Wayne King

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and his Orchestra. Vocal by Buddy Clark, recorded in Chicago,

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August the second, nineteen forty one and Joel An interesting

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side note about this recording, Buddy Clark was the regular

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vocalist on Wayne King's radio program, so on the original

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Victor label of this record, Buddy Clark was not listed

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as the vocalist, and this was due to the fact

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that he had an exclusive contract as a soloist with

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Okay Records. So little history behind the Buddy Clark Wayne King.

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I guess you would call it a tear jerker, Darling,

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How you lied? Folks? This is Jeff Bressler here and

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you're listening to the weekly version of the Make Believe

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Ballroom to reach me like Joel Eatman did, Who's record

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list of favorites we are enjoying? I'm Jeff at Make

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

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Ballroom Radio dot Com.

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Your but didn't care more than words can say.

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If I didn't care who the feels this way?

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If this isn't love, then maybe I'm lone. But why

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do I love way all night and dreams?

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Oh?

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They love but didn't care? Would it be the same?

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Would my every prayer begin on him was just your name?

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And would I be sure that this is love?

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Young who knows this feature is not? Didn't a f.

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That was an Joel Eatman favorite big band arrangement of

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the great nineteen thirty nine Ink Spots hit on Vocalian Records.

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We just heard If I Didn't Care? By Count Basie

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and his Orchestra with a vocal by Helen Humes, recorded

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in New York City on April fifth, nineteen thirty nine.

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How about another Joel Eatman music list fave. I also

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love this tune.

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McPherson is rehearsing and the bagpipes.

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Are Repson for McPherson is rehearsing to swell.

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And from Merienburg to Dundee, every lad every LESSI no macpherson,

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is we hurtle to swee?

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I didn't I care, said Sandy.

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If the elders our approval, hither chickenwear Gland the dandy and.

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The men a mellow grooves.

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Now the bunny bunny lessie with the kilties on their chessis.

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Have forgotten all about the Highland flag. Young and no

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folks got to get to her in this truck.

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And then the had the When McPherson is reversing two sways.

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I got did not get that, Sandy, give me how

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then roof, I'm a chick web Ben.

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Andy and I'm min afella.

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Roof.

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Now the bunny bonny lessies with the guilties on their

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chessis have forgotten old fast, helvely.

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Younger.

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No folks get together, and they're struck in the header.

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When McPherson and rehearsal to.

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Swear, McPherson is rehearsing to swaying Chick Webb and his orchestra.

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Ella Fitzgerald vocal recorded on Decca Records in New York

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City back in nineteen thirty eight, and the next selection

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by Joel is a Benny Goodman Fred Astaire collabor dration.

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This is the second and I, come to think of it,

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Benny Goodman tune we're playing on the ballroom today. But hey,

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you can never get enough of Benny Goodman?

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Who cares?

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If the sky.

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Cares?

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Who all.

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In the scene? Who cares?

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What banks fay in Yon? Girls?

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Long as you.

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Got to kiss thy conquers? Why should I care?

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Life is one long?

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You believe.

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So mons eyes.

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Care for you and.

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You care for me.

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From the George and Ira Gershwin hit Music of nineteen

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thirty one of the I Sing on Columbia Records. Who

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Cares by Fred Astaire with Benny Goodman and his Orchestra,

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recorded in Hollywood, California, April the thirtieth, nineteen forty, and

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Joel tells me in his email that Fred Astaire was

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his favorite male vocalist. And now to round out the

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Joel Eatman list, here on the Make Believe Ballroom, it's.

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Gonna rain in any minute. There is not a storm

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time things on my floor.

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I guess I'll close the shop and go to Joe.

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I know he would be glad to see me without

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a penny to the good. But I'm am not caring

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much what happened.

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I did the best time. He's just good for nothing, Joe,

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but all love himself. Guess that die good for nothing?

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Joe ever tried to leave me?

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Flast Oh?

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Yes, I'm certain of that octane can't understand.

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Why I'm a time that man.

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Lord, he tends me like nobody cares a a woman

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just like that, I wouldn't mine do what I'm.

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I beat these three till my feet with but when

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it flows and I go home to him instead of sympathy,

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he's just as mean as can.

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Do.

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There's nothing I can do because I love him soul.

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I'd be good formhing to.

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With a good for nothing Joe, sad be good for nothing,

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Do no with a good porn nothing Joe, Go.

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Home to Joe, good for Nothing Joe by Charlie Barnett

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and his Orchestra with a Lena Horn vocal recorded on

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Bluebird Records in nineteen forty one. The song was a huge,

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huge hit for Lena Horn in the early nineteen forties.

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And thanks Joel Eatman for sharing your list of six

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favorite recordings featuring big band orchestras with vocalists. You can

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send me your own list by writing to me at

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

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MakeBelieve Ballroom Radio dot com. You can also go to

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Make Believe Ballroom Podcast dot com. Make Believe Ballroom Podcast

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00:47:34.440 --> 00:47:39.440
dot com and record a voicemail with your comments and requests.

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00:47:40.159 --> 00:47:42.639
Just go to the lower right hand corner of the

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00:47:42.760 --> 00:47:47.320
page and press the microphone icon and record away to

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00:47:47.480 --> 00:47:52.440
your heart's content. Radio is our main game here on

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the Ballroom, and we certainly cherish all of our station

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00:47:56.000 --> 00:47:59.360
affiliates around the country. But a few years ago we

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sided to also place many of our programs as podcasts

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on all of the favorite podcast providing platforms, including Make

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Believe Ballroom Podcast dot com. And that is how Joel

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Eatman listens to the program. And there's a couple of

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hundred shows on podcasts for your enjoyment at MakeBelieve Ballroom

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Podcast dot com. Let's see what we have up next. Oh,

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I wanted to mention this before I play this record.

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Did you folks know that currently? I think you all

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know currently in most states you can play the daily

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00:48:42.519 --> 00:48:48.320
numbers game at any lottery dealer, any convenience store, you

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00:48:48.480 --> 00:48:55.119
go into supermarket, so many stores have lottery terminals. But

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00:48:55.360 --> 00:49:00.719
years ago, the numbers game, which was illegal and there's

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00:49:00.760 --> 00:49:05.400
something you had to do through your favorite neighborhood bookie

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00:49:05.719 --> 00:49:10.679
was one of the most popular forms of gambling Now,

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00:49:10.800 --> 00:49:14.599
the numbers used to be related to the last numbers

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of the track handle for win, place and show at

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00:49:18.719 --> 00:49:24.119