Make Believe Ballroom - 6/26/26 Edition

0:12 It's make Believe Ballom time. Put all your cares away. All the bands are here to bring good cheer your way. It's make belief Ballom time and free to everyone. It's no time to friend your Dalis said Bob. Yours, close your eyes and visual lie in your solitude. Your favorite bands are on this stance and mister Miller, but you in the wood. It's make Believe Ballom time. We are a sweet romance as you make it, Bob, Come on, Joe the last dass.

1:04 Last, Hello world, I'm Jeff Presler, turning on the lights of the make Fully Ballroom and welcoming you into my Crystal studio for another program of classic big band hits from the nineteen thirties and nineteen forties. Whether you're listening on the radio via great affiliates like Jazz ninety point one WGMC in Rochester, New York, or on a podcast, or maybe even on Internet radio in the United Kingdom, anyway you've gotten here. I am pleased, so get ready as I spend for you some amazing big band jazz, swing, blues and boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom broadcasting almost continuously since nineteen thirty five.

1:56 My folks, today's show is going to be a mix of well, a few stories, some listener emails, a little Leney from down the block, and other assorted stuff. And while I sort things out, how about a little early pearly May. Fifteen years and I'm still serving time, serving time with that. Good man of mine. I've been married fifteen years, I've shed fifteen million tiars fifteen years, and I'm still serving time.

2:39 Fifteen years. And I ain't got a dime, not a dime in those long fifteen years. Each night I drink fifteen ers to forget those fifteen years. Fifteen years with that good man of mine. Oh, there are as no bar. On the window, and raised no locks on the door, and there ranged no LODs in the courtyard. But I'm a prisoner forever more. Fifteen years and I'm still serving time, serving time with that good man of mine. When I left those church bells, time, tell me, what's that a crime?

3:24 Fifteen years? Then I'm still serving time. All my cooking goes to waste, spread. And waters all our tails. Fifteen years. Then I'm still serving time with this family on my tail can't save up no door for bail. Fifteen years and I'm still serving time. Oh, there raise no chains on my ankles, and there raised no ropes on my hands.

4:11 And there ain't no ain't nothing nowhere. But I'm a prisoner to that man. When his shirt hang on the line, how I wish that neck was mine. Fifteen years and I'm still serving time. Oh, there raised no dog on the window, and there raised no locks on the door, and there raised no dods in the court yard. But I'm a prisoner forever more. Fifteen years and I'm still serving time, serving time with that good man of mind.

5:02 I got the kids from one to nine, some of his and some of mine. Fifty and live in time, and I love every moment of it. Was beautiful love. Fifteen years and I'm still serving time. A Pearl Bailey vocal under the orchestra direction of Mitchell Ayres, recorded on Columbia Records, April of twenty fourth, nineteen forty five, and a great way to get this edition of The Make Belief Ballroom underway. So I was reading this article about the history of television game shows a few days ago.

5:47 In the article mentioned Chuck Barris, Chuck Barris's company and his hosting and producing of the very campy Gang Show, which some of you might remember on television in the nineteen seventies and eighties. Chuck Barris and his company produced that program, as well as The Dating Game, The Newlywed Game, and so many more. Now in conjunction with that. By coincidence, I was playing a few days ago a recording featuring the Rhythm Boys. I wasn't playing it on the air, I was playing it for my own personal enjoyment. And the boys were the great Bing Crosby al Rinker, who by the way, was Mildred Bailey's brother, and the third Rhythm Boy was Harry Barras. So when I read about Chuck Barris, I quickly did a little research to see if he Harry Barris was related to Chuck. I didn't expect much, but lo, hold there was a strong connection.

7:04 Let me play a real oldie featuring the Rhythm Boys. Then an amazing story of how Harry Barris joined the trio. This way.

8:44 Why then goes down and I goes down the dark, gather around down they all begin to show, Hey. I'll go down here to be on the missis. Why I do. Nod. How I am telling. You a fine up man any time? By time on their hands, John tab me out the town? You and Honic come, where's the doc to. Beat on the miss Lord holiday boy listen, told you don't all that music, says.

9:33 The doctor on my damn you they do money? How I'm telling you, Oh fine a man, thank you? Time I five of their hands just to tip me out of town to. You and Hona come, where's the docking bes? And beat all the MESSI.

10:24 Yami yana now June, wherema dog. Fa mem mud? We just heard Mississippi Mud composed by Harry Barris and featuring the legendary Paul Whiteman and his orchestra, with vocals by Irene Taylor, Bing Crosby, Harry Barris, Al Rinker, Jack Fulton, Austin Young and Charles gay Lord, recorded on Victor in New York City, February the eighteenth, nineteen twenty eight. Like a musical variety show that record was, and speaking of legendary Bix Beider becks Horn was featured on that best selling version of the Harry Barris hit song Mississippi Mud.

11:25 So friends, as the story goes, first, let me say I think I forgot to mention that Harry Baris was the uncle of the television game show genius Chuck Barris. Now, in nineteen twenty six, Harry Barris was playing the piano and occasionally providing vocals for the Paul ash Orchestra. Also in that same year, nineteen twenty six, Al Rinker and Bing Crosby became members of the Paul Whiteman Orchestra. Is a singing duo, and they were very well received in smaller venues. However, in February of nineteen twenty seven, Paul Whiteman was booked into the cavernous Paramount Theater in New York City. Now, in nineteen twenty seven, loudspeaker systems and adequate microphones for large theaters were just being perfected, and believe it or not, the Paramount at the time had absolutely no microphones, no speaker system, So while the orchestra of white men could be heard, the vocals provided by Bing Crosby and al Rinker were drowned out and just couldn't be heard by the audience. So Paul Whiteman was

12:56 brought into the theater manager's office and given the bad news that white men and his orchestra were being dropped from the bill. Now White Men had no problem attracting crowds to his band's performances and decided to look for a way to make sure that his vocalists could be heard in the future no matter where they were playing. Well. Paul Whiteman, band member who knew Harry Barris, suggested to Paul that they add him to make a trio, and the Rhythm Boys were formed in April of nineteen twenty seven, and their vocals got a boost and were heard better in the theaters where White Men appeared, and the Rhythm Boys became a fixture in Whiteman's band for a number of years. So an interesting story of how Harry Barris, the uncle of Chuck Barris, became a rhythm boy all the way back in nineteen twenty seven. I'm Jeff Bresler, and you're listening to the one, the only, the original Make Believe Ballroom to reach me. I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio dot com.

14:20 And some of the folks that did reach me will in turn reach out to you. When I read a few emails in just a little while. Let's now as I look at my show list, here, let's spin a record, And then from Tampa, Florida, the producer emeritus of the Make Believe Ballroom, the inimitable Lenny from down the Block with his record pick of the week. That was the

17:27 violinist extraordinary himself when Joven Nudi and his orchestra here today on Decca Records with the song entitled the Flop, recorded in New York City on January the twenty fifth, nineteen thirty nine. And now from his palatial condo in Tampa, Florida, the producer Emeritus of the Make Believe Ballroom, the Platter Prince, the virtue Woeso of the Virtual Turntable, the world renowned Miss their Excitement, himself, Lenny from down the Block with his record pick of the week.

18:08 Hi gang, Lenny from down the block, here with my record pick of the week. Whenever I do something wrong around the house, my wife Cookie calls me a nitwit. Just last week, I messed up the garbage disposal here in the condo, and the word nitwit reverberated throughout Unit Oney one hundred and twenty six. I decided to take a look and see if the word nitwit was ever used in a big band song. I was amazed to discover that Benny Goodman himself recorded a song called Knitwitz Serenade. It was the b side to his wildly popular version of Bugle Call Rag. The record was produced for Columbia on August sixteenth, nineteen thirty four.

21:38 Knit Wit Serenade Benny Goodman and his orchestraed. I don't think Lenny mentioned it, but that song was written by the great composer and bandleader Will Hudson and now folks. Eny mysel Aleta. And make believe the game from you. I'm gonna rain wors so sweet, They're gonna allow me all my be. A lot of kisses on the bottom.

22:22 I'll be glad I got home. I'm gonna smile and say I hope you're feeling better. Him close with love the way you do. I'm gonna send right down and write myself a letter. And made me believe game. From Yes, my friends, we do get letters, many of them in email form, each and every week. I would like to read a few for you. The first comes from one of our great listeners who we love to hear from. He knows his stuff when it comes to big bands, and it reads, Hi, Jeff, I thought i'd get in on the act and send you a few of my favorites. I had a hard time thinking of some that weren't standards and it wouldn't be likely to have been played, and I only came up with six.

23:30 As you can see, I like songs and vocalists, and he lists six songs which I will play for you in just a few moments. He goes on to write, I enjoy the show on podcast every week, and I especially enjoy your commentary and the historical background. By the way, what happened to Dylan? The snotty kids? List of big band musicians on the Hollywood would walk of fame? Cordially yours, Joel Eatman. Thanks Joel writing to us from deep in the heart of Texas by way of Dallas, a wonderful state that I lived in twice for extended periods of time, and where my daughter and son in law reside in Austin.

24:22 And I will, Joel at your request reprimand the snotty kid Dylan, who indeed did not follow through. How did I come to think of it? On continuing his research, on big band musicians and vocalists on the Hollywood Walk of Fame. I would dock him pay Joel, but since I don't pay him, I think I'll just relay your consternation and have him complete the assignment. I actually haven't seen him in the studio area today, but he should be around shortly. But more important to the music at hand.

25:04 From the Joel Eatman list, here is number one of sex.

26:34 Wooming flat, ring in my ears and blooms my fears. I'm in my flat in man pattern. My vapatient days are in the past. They went to past. Why couldn't they live? Jeeves? Monday in Manhattan, where it ends my holiday. I hate Monday in Manhattan when my heart is miles away. Streets of leaning power seem to be my only view. But I'll close my eyes for hours and I know that I'll see you.

27:21 Then the pavement changes into Hallwood, is glad beyond is. My arms again, and it all seems so real. Near the sky line of Steel shouts it's Monday in Manhattan, that away your dreams have low Jeez, it's Monday in Manhattan, and it means that I'm a lowe.

28:14 We just heard Monday in Manhattan Richard Himber and his Ritz Carlton Orchestra, recorded on Victor Records January the nineteenth, nineteen thirty five, with a Stewart Alan vocal, and Joel's comment on that record Monday in Manhattan is this is one of my favorites. I think it's a lovely song, and I don't have a recording of it. Let's now move on to Joel's second pick, where.

29:02 You say, just be friends. I thought I could let you go, never thought ID cried. I never knew I loved you, So I act gay, laugh and play. It's so that no one will know I've a broken hard. It's so hard to. Let you go.

29:45 When I still thrilled to your touch. Live for your glance, Find myself trembling when you ask me to dance. The scene is the same. It's summer again. My friends, to approach me away screen your name can't go on. I can't forget. I'm jealous and hurting side. When you said park, keep my darling, how you love?

31:05 When I still frail to your touch, Play for your glance. Find myself trembling when you. Ask me to dance. The seed is the same. It's summer again. My friend still reproach me for always string rny. Can go, I can for again? I'm jealous and pertain side.

31:45 When you said Park keeps my God. From Victor Records, Darling, how you lied? By Wayne King and his Orchestra. Vocal by Buddy Clark, recorded in Chicago, August the second, nineteen forty one and Joel An interesting side note about this recording, Buddy Clark was the regular vocalist on Wayne King's radio program, so on the original Victor label of this record, Buddy Clark was not listed as the vocalist, and this was due to the fact that he had an exclusive contract as a soloist with Okay Records. So little history behind the Buddy Clark Wayne King.

32:50 I guess you would call it a tear jerker, Darling, How you lied? Folks? This is Jeff Bressler here and you're listening to the weekly version of the Make Believe Ballroom to reach me like Joel Eatman did, Who's record list of favorites we are enjoying? I'm Jeff at Make Believe Ballroom Radio dot Com. That's Jeff at Make Believe Ballroom Radio dot Com.

34:19 Your but didn't care more than words can say. If I didn't care who the feels this way? If this isn't love, then maybe I'm lone. But why do I love way all night and dreams? Oh? They love but didn't care? Would it be the same? Would my every prayer begin on him was just your name? And would I be sure that this is love?

35:00 Young who knows this feature is not? Didn't a f.

35:59 That was an Joel Eatman favorite big band arrangement of the great nineteen thirty nine Ink Spots hit on Vocalian Records. We just heard If I Didn't Care? By Count Basie and his Orchestra with a vocal by Helen Humes, recorded in New York City on April fifth, nineteen thirty nine. How about another Joel Eatman music list fave. I also love this tune.

37:36 McPherson is rehearsing and the bagpipes. Are Repson for McPherson is rehearsing to swell. And from Merienburg to Dundee, every lad every LESSI no macpherson, is we hurtle to swee? I didn't I care, said Sandy. If the elders our approval, hither chickenwear Gland the dandy and. The men a mellow grooves. Now the bunny bunny lessie with the kilties on their chessis. Have forgotten all about the Highland flag. Young and no folks got to get to her in this truck.

38:20 And then the had the When McPherson is reversing two sways. I got did not get that, Sandy, give me how then roof, I'm a chick web Ben.

39:05 Andy and I'm min afella. Roof. Now the bunny bonny lessies with the guilties on their chessis have forgotten old fast, helvely. Younger. No folks get together, and they're struck in the header. When McPherson and rehearsal to. Swear, McPherson is rehearsing to swaying Chick Webb and his orchestra. Ella Fitzgerald vocal recorded on Decca Records in New York City back in nineteen thirty eight, and the next selection by Joel is a Benny Goodman Fred Astaire collabor dration.

40:01 This is the second and I, come to think of it, Benny Goodman tune we're playing on the ballroom today. But hey, you can never get enough of Benny Goodman?

41:12 Who cares? If the sky. Cares? Who all. In the scene? Who cares? What banks fay in Yon? Girls? Long as you. Got to kiss thy conquers? Why should I care? Life is one long? You believe. So mons eyes. Care for you and.

41:54 You care for me.

42:57 From the George and Ira Gershwin hit Music of nineteen thirty one of the I Sing on Columbia Records. Who Cares by Fred Astaire with Benny Goodman and his Orchestra, recorded in Hollywood, California, April the thirtieth, nineteen forty, and Joel tells me in his email that Fred Astaire was his favorite male vocalist. And now to round out the Joel Eatman list, here on the Make Believe Ballroom, it's.

43:46 Gonna rain in any minute. There is not a storm time things on my floor. I guess I'll close the shop and go to Joe. I know he would be glad to see me without a penny to the good. But I'm am not caring much what happened. I did the best time. He's just good for nothing, Joe, but all love himself. Guess that die good for nothing?

44:44 Joe ever tried to leave me? Flast Oh? Yes, I'm certain of that octane can't understand. Why I'm a time that man. Lord, he tends me like nobody cares a a woman just like that, I wouldn't mine do what I'm.

45:28 I beat these three till my feet with but when it flows and I go home to him instead of sympathy, he's just as mean as can. Do. There's nothing I can do because I love him soul. I'd be good formhing to. With a good for nothing Joe, sad be good for nothing, Do no with a good porn nothing Joe, Go.

46:42 Home to Joe, good for Nothing Joe by Charlie Barnett and his Orchestra with a Lena Horn vocal recorded on Bluebird Records in nineteen forty one. The song was a huge, huge hit for Lena Horn in the early nineteen forties. And thanks Joel Eatman for sharing your list of six favorite recordings featuring big band orchestras with vocalists. You can send me your own list by writing to me at Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom Radio dot com. You can also go to Make Believe Ballroom Podcast dot com. Make Believe Ballroom Podcast dot com and record a voicemail with your comments and requests.

47:40 Just go to the lower right hand corner of the page and press the microphone icon and record away to your heart's content. Radio is our main game here on the Ballroom, and we certainly cherish all of our station affiliates around the country. But a few years ago we sided to also place many of our programs as podcasts on all of the favorite podcast providing platforms, including Make Believe Ballroom Podcast dot com. And that is how Joel Eatman listens to the program. And there's a couple of hundred shows on podcasts for your enjoyment at MakeBelieve Ballroom Podcast dot com. Let's see what we have up next. Oh, I wanted to mention this before I play this record.

48:35 Did you folks know that currently? I think you all know currently in most states you can play the daily numbers game at any lottery dealer, any convenience store, you go into supermarket, so many stores have lottery terminals. But years ago, the numbers game, which was illegal and there's something you had to do through your favorite neighborhood bookie was one of the most popular forms of gambling Now, the numbers used to be related to the last numbers of the track handle for win, place and show at different racetracks. So, for example, if the total win handle was say one thousand and four dollars, the last number was four, and that was the first number for the three numbers you had to pick in the numbers game.

49:36 If place or the second place finishing total for the day was say five hundred and eighty three dollars, the second number was three, and the show the money for the horses that came in third. The total daily handle, say was two hundred and fifty seven dollars, the last number was seven, So those three nine numbers, four, three, and seven became the daily numbers. So a lot of folks try to win the daily numbers to make a few bucks back then, and there was actually a song written at the daily numbers game, a tip on.

50:18 The number from the slud Fox. You canna play it straight or in the box. On a Monday, it's to eighty four to hit that day. You're gonna play some more On a Tuesday, Take eight twenty five if that comes out, good Grace is alive. On Wednesday, play full eighty six if that fall I'll get you know, you've fixed on a Thursday you play three twenty eight. You better get on it before it's too late. Just write these numbers in your books and play them every day a newspaper and take a look and see what's out today. On on a Friday, it's sixty one. If that comes out, your funny just be gone.

51:13 On Saturday, play three sixty nine gates still all one jumping, I ain't lying. Well what you know that now? I don't know? I know, man? What's you know? It's oh? Everything is really groovy, really goovy. Well look at pops, how about that number of to day man? You're playing today? Well, I don't think I'm able to play. You know, you really kind of heavy on them. Kind of. I know, I've been uplaping my scull. You know, look at you got a couple of gas meters you can lay on me? You know, a gas meter? Gas meter? I gotta douce some flippers, I lay on lips. What I tell you, man, I need a couple of gas meterings.

51:55 Well look ain, I just got my check this morning. You know, Oh my me? Is that all root? That's that's all right? Look ahead, dyland man, I'm talking about that fine welfare check one. Now look at him. I'm gonna get down on the heaven today. You better catch that time right away, you know, lady.

52:42 Thanday thing. Then on a Friday, it's sixty one. If that comes out, just have your fun on the Saturday. Play three six nine, Get the Augumn Fall nine lines. A tip on the numbers that was an ode to the numbers game. Slim Gaillard and his Flat Foot Flugie Boys on Okay Records Vocals by the dynamic duo of Sam Gaillard and Slam Stewart, recorded March the eleventh, nineteen forty one. And I think we have time for one more email request from our friend Michael Fusco. He writes, high, Jeff, can you play The Night We Met in Hanamu by Larry Clinton and his orchestra with vocalist Peggy Man. Thanks Jeff, signed Michael Fusco for you, Michael.

55:28 More, Dipping down into the Sea, The night you gave your love to me, The night we met in Honomo. The Stores's like Norly Lennon song in Space. They shed their light on our embraes. The Night we met in honam. The Palm trees is for gentless way win breathe.

56:12 It's so to grown. For the moon and studer of forgetting, and I am left alone with reading. The night we met in Hanamu. Fairway to the palm tree, sway where to the winds gras. Sa the moon.

56:53 Along the distonto the s and you are far away from me and where we met at. Home the night we met in Hanamu on Bluebird Records, recorded in nineteen forty one, And thank you Michael Fusco for that request. Folks, we are out of time. I'm going out with the abe Lyman version of the I Sing recorded in nineteen thirty two from the Gershwin written musical of the same name we discussed earlier. To reach me, I'm Jeff at Make Believe Ballroom Radio dot com. That's Jeff at Make Believe Ballroom Radio dot Com. Until next week, this has been Jeff Bresler.

57:51 Maybe shining Star inspiration wordy Abu mighty Nations of the H