Make Believe Ballroom - 8/14/26 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. Ballroom time and free to everyone. It's no time to friend your Dalis. Said bombs, close your eyes and visual lie in your solitude. Your favorite bands. Are on the stance and mister Miller w you in the boot. It's make Believe ballroom time.

0:55 We are a sweet romance. Did you make leave boll Come on Jole. Last dance, last, Hello World. I'm Jeff Bresler, turning on the lights of the Make Believe Ballroom and welcoming you into my Crystal studio for another program of classic big band music from the nineteen thirties and forties. Get ready as I play for you some amazing jazz, swing, blues, and boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And welcome, Welcome, Welcome one and all into the Crystal Studio, and thanks so much for joining me today. Let's start the turntable spinning for another week with some swing Kansas City style.

1:54 Bell slip into yo evening clothes, bet jam tonight in children, Let's go, I'm feeling high and happy. I reserve a ring sight see for two. Nothing but the best will do. Let's go. I'm feeling high and happy. I understand they start Johnny Long by twelve o'clock and they won't feel good until the neighborhood begins to roar. I just went my heart for everything when I do that, so we can swim. You know, I'm feeling high and happy.

3:07 To shop.

4:00 From Blueberg Records. We just heard Ron hot Lips Page and his orchestra with Feeling High and Happy vocal by Hot Lips and recorded in New York City back in nineteen thirty eight. A gentleman that spent a huge amount of time playing music in Kansas City, Arrin hot lips Page, let me play another Kansas City originating musician. And then I want to discuss for a minute why Kansas City, still a relatively small outpost in the nineteen thirties, was so well known for jazz.

5:10 Then Anything Me Sing, noting at Me Anything Sing.

6:07 Esa a.

7:11 Base on Decca Records with an ode to the old Roseland Ballroom in New York City. The Roseland Shuffle recorded in nineteen thirty eight. Great Count Basie, another musician with deep roots coming out of Kansas City. So I wanted to talk about Kansas City in the twenties and thirties and the man who really started it becoming a big jazz center. Now, he wasn't a bandleader. He certainly wasn't an empressario. He wasn't even close to being a jazz loving businessman. He was none of those. He was, though, one of the most corrupt politicians anywhere in America in the nineteen thirties, some say, for that matter, perhaps of all time. He was never elected, but led Kansas City.

8:14 He was a powerful political boss, and his name was Tom Pendergast. So the power wheeling Tom Pendergast commanded local authorities to completely ignore federal prohibition laws. Of course, prohibition made it illegal to possess alcohol in the United States, but due to Old Tom, alcohol flowed freely and nightlife thrived openly in clubs and bars, no speakeasies. So folks from far and wide came to well. They came to wait their whistles in Kansas City. Because clubs stayed open all night, they needed continuous entertainment, and this environment attracted at a work territorial bands from across the Midwest and Southwest looking for steady paychecks, as well as solo musicians from all over who wanted to latch on with the band. Also, a number of well known bands touring the United States would pass through Kansas City and also perform. In addition, I forgot to mention, Kansas City was an important railroad link, so many visitors made a short stop as they were

9:46 traveling in Kansas City, which I guess was sort of like Las Vegas of its era in the thirties. In the nineteen thirties, if you were walking around eighteenth and Vine in Kansas City, Missouri, you might have been enticed to enter the Reno Club. If from out on the street, the sweet sounds of this tenor sacks mixed into the Kansas City night air. The tenor sacks played by pres.

11:03 Well, that's that, that's not the well, that's what I do thet it don't. Have d. Not not not the the y six games l big school by.

11:57 Some that that's some times.

13:16 Count Basie in one of his small groups with the press himself, Lester Young on the tenor Sacks from Decca Records, recorded in nineteen thirty six. Shoeshine Boy. I'm Jeff Bresler, and you're listening to the Make Believe Ballroom, coming to you on public, community and university radio stations across the nation and across the Atlantic, each and every week, regaling you with some great stories and music like this.

14:25 I'm gonna. Do to. The Faa. Then an. Im. I'm the Sheik of Araby. Your love belongs to me at name. When ye're asleep into your tenth I'll creakkay, I'm creak the start, the shy gable, the laying all way s long.

15:30 You lad with me, gouse, I'm the shoot the ship, the sheep from Arabana, my love. That's when the Georgia all reckon mine went on, you know now? Then you drive between.

16:53 On Victor Records, recorded on April the twelfth, nineteen thirty eight, in New York City. That was Fats Waller with the Sheikh of Arabi. Fats Waller in his rhythm The Shekh of Arabi, composed in response to the popularity of the legendary Rudolph Valentino motion picture named The Sheic. It was a wildly popular song when it was first composed in nineteen twenty one. It was released just a few months after The Sheic was released as a silent film and sort of worked off the popularity of that movie, but became an institution in itself as a recording and a song with lyrics Chic of Arabi, Fats Waller, and well, speaking of Fats, let me play another one.

19:09 Oh, I've got the. Blue just because of the love songs. I wanna hear swing songs, just swing songs all the day long. Oh, I don't need the movie, I don't need a tune, Nay, just give me a swing song. I've hold tag and followed all the day long. Say there's love songs, Yes, love songs, Dan.

19:56 Romances and Fred Wave driving me to this small So I'm singing in wlue just because of those love songs. I want to hear swing songs, just swing songs all the day long.

21:02 That's Whiler and his Rhythm recorded the song I Want to Hear Swing Songs on June the twelfth, nineteen forty one, for Victor Records. And I was listening to that song in the car on the way to the Crystal studio today and I thought I would share that one with you, and while we are sharing, I want to share a listener's email in a moment, But why don't we jack up the swing A notch Go Harlem, recorded by Chick

23:50 Webb and his Orchestra on June the second, nineteen thirty six, in New York City. I'm Jeff Brestler, and you're listening to the One, the Old, the original Make Believe Ballroom, America's third longest running music radio program, and I am delighted to have you here in the Crystal studio with me today. To reach me, I'm Jeff at Make Believe Ballroomradio dot com. That's Jeff at Make Believe Ballroomradio dot com and reaching out Tommy from Ozone Park, New York. I think Ozone Park is in Queens, New York, and Tommy did not list the station. But Tommy writes, some time ago you told a story about a young man in England who met Louis Armstrong. Will you be playing more of his music? And that's a signed Tommy. It took me a while to rattle the old brain, Tommy, but I think you are talking about a show I did a few years ago where I played some mu music by nat Ganella, very talented British band. Later and I looked up the story you were talking about, which I did tell on that program, and it goes something like this. When Louis Armstrong visited London in nineteen thirty two,

25:21 nat Ganella met him by begging the staff at the Boozy and Hawks music shop to allow him that to deliver Louise's trumpet, which had been left at the shop for a cleaning. With the staff bogged down, they took nat Ganella's very generous offer, not understanding that he wasn't just delivering a trumpet, he was delivering it to Louis Armstrong. So nat went off to the hotel Louis was staying at, and Louis, after hearing the story of how Nat gained entry, I thought it was kind of cool and the two became friends who communicated very often after that. So that is the British band leader you referred to, Tommy, and that the Louis Armstrong story. And this is a tune by nat Ganella. Why don't we take a listen.

27:10 I'll go down to the left. You take a rocking chair. If the blues don't leave me, I will walk away from here? Tell me how long have I got away? Can I get you now? Or must I hesitate? I tried to get my girl on the telephone. The operator told me that she wasn't home. Tell me how long have I got to wait? I'll give me six two, nine eight one? Or must I hesitate? Say? The sawtown is a meanal place. The mental plener and the girls book based home. Hold on, Have I got a way?

28:09 Can I get that number now? Or must I hesitate? Skiboard had. Not babies only on the Regal. How recorded in London on July the fifteenth, nineteen thirty five, and that Ganella and his Georgians with Hesitation Blues on Parlophone records, And I guess the record also in some

29:45 ways a tribute to Louis Armstrong with not doing an admirable job of scatting on that one. And as I listened, I do now recall that Ganella took the name the Georgians from his time with the legendary loose Stone, who had a hit with Georgia on my Mind, the great Hogy Carmichael tune, And why don't I play Ganella's version of that song.

30:43 Georgia Georgia. The whole song Keith Georgia on My. Georgia, or the Mamma Mia Georgia. Georgia for a song of you. Comes as sweet and cliff at the moonlight through the pine, that is, as. Other arms reach out to me.

31:28 Otherwise her smile knderly, as the peaceful teams I see of holds back to you, holds back. To you. Georgia and George. George No peace side my just an old. Sweet song kids, Georgia on my Mind. From this.

32:44 The nat Ganella with Georgia on My Mind beautiful trumpet solo by mister Ganella. So thanks Tommy for your email and the opportunity to play two songs by nat Ganella and tell a quick tale about Ganella's meeting Louis Armstrong for the first time. I'm Jeff Bressler, and this is the weekly edition of the Make Believe Ballroom. Georgia on My Mind by Hogy Carmichael. Start a quick memory of something that happened to me a few weeks back. And as soon as I get that record which I want to play in regard to this incident, I will be talking about. I will keep you entertained with this. I

34:16 played Bing Crosby a few weeks back, and Louis Armstrong on that same program. Why don't I play one where they both appeared together. Dear gentlefolk of Newport, Oh, maybe I should say hats and cats. I want you to lend a near because well, I want you to hear some really shimmering sharps and flams for this cozy virtuosi, just about the greatest in the trade are fixing to show you now precisely how.

34:57 Approximately. Yeah, his music is made a where to take some skins, chezz big and you take a base. Man. Now we'll get to some place. Take a box boling rocks. Take a blue new ball, it's ball. Ah. You take a string with a liquor, take a bone, hold the phone, take a spot of cool and hot.

35:48 Now you have jazz jazz, Ja jazz jazz. Little too doll so. Oh that's positively. Parapetic. Now you have jazz jazz. Messrs Hall and Young. That said all. And Truma. Now you has.

36:28 Messrs Kyle and Shaw. That's Billy Kyle Marble Shop. Now you has mister Baronde's. Listen to well you know who.

37:12 Say hey, Bob's you want to grab a little watch left here, yeah, there. Here we go. If you sail, sail it sailing over the sea, I will you wait for me? Take my tip their own moti hip Italy. Well, I will do chairs for friends. Although you live big there, believe it or not, I do believe I do. Indeed the Frenchman's called people what they call le chans ud. Take a plane, go to science in Bangkok to day around the clock over the old like the chair, Indian Zong, the Amazon.

37:56 Beat one bar and all of them from the Wada. Up to depart and body wing and a about a singer and rock rock rock, round. Rock and roll from the east to the from the coast to the co ho. Jazz is kings. Jazz is the ding of folks. Dig that's jazz. Now you has jazz?

38:46 A song written by Cole Porter for the nineteen fifty six film High Society, in which it was introduced by Bing Crosby and Louis Armstrong. And and let me introduce myself again. I'm Jeff Bresler. This is the Make Believe Ballroom. And to hear hundreds of past shows in the series, why don't you go to MakeBelieve? Ballroom dot com. That's MakeBelieve ballroom dot com. So before Louis and Bang, I wanted to tell you a story. You know, when I was a kid and in school at friends houses who had pianos, on school pianos anyway, there was a piano you very frequently heard a song played as a simple duet.

39:37 The song was Heart and Soul, and Heart and Soul was a very popular piano duet, frequently played over and over again by two kids sitting on a piano stool together, mostly girls. I don't think I ever heard a male duet play it. Kind of strange. This song was very easy to learn, was certainly highly catchy, and the built for two people to share a single piano bench and have some fun. It was written in nineteen thirty eight by Hogi Carmichael and Frank Lesser, and the simple repeating chord pattern, I guess, became a musical rite of passage, passed down from kid to kid. So I was in a mall a few weeks back, and there was a piano there in Lo and Behold, two little girls shared the piano bench and maybe had their first big concert, I guess, entertaining the mall patrons with the same melody over and over and over again. I guess the girls were around seven years old, very cute, and it brought back memories, And this first time ever recording of Heart and Song might bring back memories to you, Hard and Soul.

41:25 I've fell in love with you Hard and Soul, so way a fool would do madly because you help me. It's high and stole a kissing the night Hard and Soul. I beg to be adored, lost control and tumbled over for gladly. That magic night weekess there in the moon List. But your lips was really. Much too really, Never before were my soul strangely willing, But now I see what one embraced can do.

42:22 Look at me. It's got me loving you madly. That little kiss you store yelled of my heart and soul. Oh, but your lips were drilling, was too thrilling.

43:29 Never before were my soul strange lease willing, But now I see what one embrace can do. Look at me. It's got me loving you madly. That little kiss your store held on my heart and the soul. On Victor Records, Heart and Soul by Larry Clinton and his Orchestra vocal by b Wayne, recorded in New York City, September the one, nineteen thirty eight, and that was the first time that classic was ever recorded.

45:00 Don't waver word instructing the.

47:20 Trombonus. Dickie Wells best known for his work with camp Basie, but here with his own group Dickie Wells and his Orchestra with Japanese Sandman, recorded in Paris, France on Victor Records, July the seventh, nineteen thirty seven. And you know when we listened to nat Ganella earlier in the program, I got, for whatever reason, a little taste of Louis Prima in his style. You might also have had that premonition. So let me pull up a Louie Prima song to play for you, and let's look at the playlist. I played the first time ever recording of Hart and Saul just a few seconds ago. How many of you know that this song by Louis Primo was the first time ever it was recorded.

49:03 Now that you've discovered that the music goes round and run, you forgot to remember you've got to swing in this man's town. So sing, sing, Sing, Sing, Everybody start to sing. La la whoa. Now you're singing with a swing. Sing sing sing sing. Everybody start to sing. La, laa fool. Now you're singing with a swing. When the music. Goes around, everybody goes down. But here's something you should know for a baby, oh sing sing sing sing. Everybody start to sing, La, la who Now you're singing with a swing.

49:49 Sing sing sing sing. Everybody start to sing. N nah whoa. Now you're singing with a swing. Sing sing sing sing. Everybody start to sing. Now you're singing with a swing. When the music goes around, everybody goes to town. But here's something you should know already old sing sing sing sing. Everybody start to sing. Now you're singing with the swing. Swing na way when.

50:50 Baby say, everybody's I say. That is how Louis Prima's swing classic composition sounded the very first time around, and it was just over. Well. Sixteen months later that Benny Goodman recorded his famous eight and a half minute crooper rhythm version for Victor Records, and of course a main component at Betty Goodman's Carnegie Hall concert. But we just heard on Brunswick Records. Sing Sing Sing, written by Louis Prima and performed by Louis Prima and his New Orleans Gang vocal by Louis recorded February the twenty eighth, nineteen thirty six. And if you are indeed a Louis Prima fan, you will know this one well, even if you're not.

51:54 Jellalona speaking me up putam past. Cinna shawlada vanadan, see chiam on this sere balada. Think, ma'm my dear, come over here and see who's looking in my window.

52:39 It's the baker. And look he's got a canoli in his hand. If you marry the baker eye, he will come and he will go. He will always mix the flower in the pan. If you marry the baker oil have the canole in his hand. Oh, Mama. La oh la la la, Mama, dear, come over here and see was looking in the window. Is the musician, and he's got the instruments in his hand, ingramrida musician. He will come and he will go, and he will always be playing in the man every marredim musician.

53:35 He'll have the trumpet in his hand. Mama la la la la la la. La la la la la. Jela lula Sama, mamma, get me maayada, taking me. At ja La Luna Louis Prima.

54:31 Tell me that she loves me. Only you say that you feelings so down. But I know you're lying, and that's why I'm dying. I don't try your job. Won't if you asked me a vote your questions and then make all cousins forges. If you only missed it up, wouldn't resent it it? Don't die a jam. All day? You hang all around? Can you see me? You bring me? I know that you think your simples you'll never make me surrender. In fact you don't read. And I'm telling you gain that. Don't try your jub on me to

56:32 speaks T know that thank you senda that you'll never make in fact you don't read it. I'm telling you day now, don't try. Love Oa make Carlile. Don't try to jive on me from back in nineteen thirty eight. And I won't jive you because well I have no time to. We're done for another edition of To Make Believe Ballroom. To reach me, I'm Jeff at Make Believe Ballroom Radio dot com. That's Jeff at Make Believe Ballroom Radio dot com. For past shows, go to Make Belief Ballroom dot com let's MakeBelieve ballroom dot com, so folks until next week. This has been Jeff Bresler