Aug. 14, 2026

Make Believe Ballroom - 8/14/26 Edition

Show Notes
Transcript

On this week’s show: why Kansas City was a jazz hub, a song that brings a memory back to Jeff Bressler—this and many more great songs and tales to cherish and enjoy on the program.

WEBVTT

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It's make Believe ballom time.

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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.

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Ballroom time and free to everyone.

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It's no time to friend your Dalis.

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Said bombs, close your eyes and visual lie in your solitude.

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Your favorite bands.

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Are on the stance and mister Miller w you in

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the boot. It's make Believe ballroom time.

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We are a sweet romance.

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Did you make leave boll Come on Jole.

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Last dance, last, Hello World. I'm Jeff Bresler, turning on

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the lights of the Make Believe Ballroom and welcoming you

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into my Crystal studio for another program of classic big

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band music from the nineteen thirties and forties. Get ready

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

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

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Believe Ballroom, 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. Let's start the turntable

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spinning for another week with some swing Kansas City style.

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Bell slip into yo evening clothes, bet jam tonight in children,

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Let's go, I'm feeling high and happy. I reserve a

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ring sight see for two. Nothing but the best will do.

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Let's go.

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I'm feeling high and happy.

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I understand they start Johnny Long by twelve o'clock and

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they won't feel good until the neighborhood begins to roar.

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I just went my heart for everything when I do that,

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so we can swim. You know, I'm feeling high and happy.

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To shop.

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From Blueberg Records. We just heard Ron hot Lips Page

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and his orchestra with Feeling High and Happy vocal by

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Hot Lips and recorded in New York City back in

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nineteen thirty eight. A gentleman that spent a huge amount

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of time playing music in Kansas City, Arrin hot lips Page,

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let me play another Kansas City originating musician. And then

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I want to discuss for a minute why Kansas City,

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still a relatively small outpost in the nineteen thirties, was

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so well known for jazz.

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Then Anything Me Sing, noting at Me Anything Sing.

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Esa a.

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Base on Decca Records with an ode to the old

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Roseland Ballroom in New York City. The Roseland Shuffle recorded

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in nineteen thirty eight. Great Count Basie, another musician with

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deep roots coming out of Kansas City. So I wanted

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to talk about Kansas City in the twenties and thirties

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and the man who really started it becoming a big

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jazz center. Now, he wasn't a bandleader. He certainly wasn't

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an empressario. He wasn't even close to being a jazz

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loving businessman. He was none of those. He was, though,

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one of the most corrupt politicians anywhere in America in

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the nineteen thirties, some say, for that matter, perhaps of

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all time. He was never elected, but led Kansas City.

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He was a powerful political boss, and his name was

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Tom Pendergast. So the power wheeling Tom Pendergast commanded local

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authorities to completely ignore federal prohibition laws. Of course, prohibition

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made it illegal to possess alcohol in the United States,

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but due to Old Tom, alcohol flowed freely and nightlife

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thrived openly in clubs and bars, no speakeasies. So folks

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from far and wide came to well. They came to

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wait their whistles in Kansas City. Because clubs stayed open

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all night, they needed continuous entertainment, and this environment attracted

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at a work territorial bands from across the Midwest and

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Southwest looking for steady paychecks, as well as solo musicians

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from all over who wanted to latch on with the band. Also,

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a number of well known bands touring the United States

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would pass through Kansas City and also perform. In addition,

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I forgot to mention, Kansas City was an important railroad link,

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so many visitors made a short stop as they were

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traveling in Kansas City, which I guess was sort of

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like Las Vegas of its era in the thirties. In

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the nineteen thirties, if you were walking around eighteenth and

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Vine in Kansas City, Missouri, you might have been enticed

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to enter the Reno Club. If from out on the street,

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the sweet sounds of this tenor sacks mixed into the

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Kansas City night air. The tenor sacks played by pres.

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Well, that's that, that's not the well, that's what I

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do thet it don't.

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Have d.

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Not not not the the y six games l big

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school by.

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Some that that's some times.

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Count Basie in one of his small groups with the

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press himself, Lester Young on the tenor Sacks from Decca Records,

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recorded in nineteen thirty six. Shoeshine Boy. I'm Jeff Bresler,

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and you're listening to the Make Believe Ballroom, coming to

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you on public, community and university radio stations across the

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nation and across the Atlantic, each and every week, regaling

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you with some great stories and music like this.

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I'm gonna.

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Do to.

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The Faa.

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Then an.

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Im. I'm the Sheik of Araby. Your love belongs to

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me at name. When ye're asleep into your tenth I'll creakkay,

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I'm creak the start, the shy gable, the laying all

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way s long.

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You lad with me, gouse, I'm the shoot the ship,

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the sheep from Arabana, my love.

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That's when the Georgia all reckon mine went on, you

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know now? Then you drive between.

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On Victor Records, recorded on April the twelfth, nineteen thirty eight,

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in New York City. That was Fats Waller with the

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Sheikh of Arabi. Fats Waller in his rhythm The Shekh

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of Arabi, composed in response to the popularity of the

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legendary Rudolph Valentino motion picture named The Sheic. It was

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a wildly popular song when it was first composed in

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nineteen twenty one. It was released just a few months

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after The Sheic was released as a silent film and

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sort of worked off the popularity of that movie, but

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became an institution in itself as a recording and a

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song with lyrics Chic of Arabi, Fats Waller, and well,

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speaking of Fats, let me play another one.

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Oh, I've got the.

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Blue just because of the love songs.

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I wanna hear swing songs, just swing songs all the

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day long. Oh, I don't need the movie, I don't

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need a tune, Nay, just give me a swing song.

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I've hold tag and followed all the day long. Say

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there's love songs, Yes, love songs, Dan.

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Romances and Fred Wave driving me to this small So

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I'm singing in wlue just because of those love songs.

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I want to hear swing songs, just swing songs all

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the day long.

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That's Whiler and his Rhythm recorded the song I Want

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to Hear Swing Songs on June the twelfth, nineteen forty one,

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for Victor Records. And I was listening to that song

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in the car on the way to the Crystal studio

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today and I thought I would share that one with you,

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and while we are sharing, I want to share a

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listener's email in a moment, But why don't we jack

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up the swing A notch Go Harlem, recorded by Chick

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Webb and his Orchestra on June the second, nineteen thirty six,

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in New York City. I'm Jeff Brestler, and you're listening

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to the One, the Old, the original Make Believe Ballroom,

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America's third longest running music radio program, and I am

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delighted to have you here in the Crystal studio with

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me today. To reach me, I'm Jeff at Make Believe

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Ballroomradio dot com. That's Jeff at Make Believe Ballroomradio dot

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com and reaching out Tommy from Ozone Park, New York.

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I think Ozone Park is in Queens, New York, and

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Tommy did not list the station. But Tommy writes, some

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time ago you told a story about a young man

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in England who met Louis Armstrong. Will you be playing

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more of his music? And that's a signed Tommy. It

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took me a while to rattle the old brain, Tommy,

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but I think you are talking about a show I

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did a few years ago where I played some mu

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music by nat Ganella, very talented British band. Later and

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I looked up the story you were talking about, which

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I did tell on that program, and it goes something

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like this. When Louis Armstrong visited London in nineteen thirty two,

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nat Ganella met him by begging the staff at the

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Boozy and Hawks music shop to allow him that to

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deliver Louise's trumpet, which had been left at the shop

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for a cleaning. With the staff bogged down, they took

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nat Ganella's very generous offer, not understanding that he wasn't

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just delivering a trumpet, he was delivering it to Louis Armstrong.

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So nat went off to the hotel Louis was staying at,

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and Louis, after hearing the story of how Nat gained entry,

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I thought it was kind of cool and the two

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became friends who communicated very often after that. So that

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is the British band leader you referred to, Tommy, and

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that the Louis Armstrong story. And this is a tune

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by nat Ganella. Why don't we take a listen.

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I'll go down to the left. You take a rocking chair.

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If the blues don't leave me, I will walk away

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from here?

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Tell me how long have I got away? Can I

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get you now?

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Or must I hesitate? I tried to get my girl

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on the telephone. The operator told me that she wasn't home.

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Tell me how long have I got to wait?

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I'll give me six two, nine eight one? Or must

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I hesitate? Say? The sawtown is a meanal place. The

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mental plener and the girls book based home. Hold on,

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Have I got a way?

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Can I get that number now? Or must I hesitate?

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Skiboard had.

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Not babies only on the Regal.

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How recorded in London on July the fifteenth, nineteen thirty five,

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and that Ganella and his Georgians with Hesitation Blues on

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Parlophone records, And I guess the record also in some

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ways a tribute to Louis Armstrong with not doing an

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admirable job of scatting on that one. And as I listened,

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I do now recall that Ganella took the name the

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Georgians from his time with the legendary loose Stone, who

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had a hit with Georgia on my Mind, the great

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Hogy Carmichael tune, And why don't I play Ganella's version

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of that song.

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Georgia Georgia. The whole song Keith Georgia on My.

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Georgia, or the Mamma Mia Georgia.

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Georgia for a song of you.

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Comes as sweet and cliff at the moonlight through the pine,

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that is, as.

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Other arms reach out to me.

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Otherwise her smile knderly, as the peaceful teams I see

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of holds back to you, holds back.

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To you.

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Georgia and George.

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George No peace side my just an old.

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Sweet song kids, Georgia on my Mind.

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From this.

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The nat Ganella with Georgia on My Mind beautiful trumpet

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solo by mister Ganella. So thanks Tommy for your email

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and the opportunity to play two songs by nat Ganella

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and tell a quick tale about Ganella's meeting Louis Armstrong

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for the first time. I'm Jeff Bressler, and this is

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the weekly edition of the Make Believe Ballroom. Georgia on

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My Mind by Hogy Carmichael. Start a quick memory of

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something that happened to me a few weeks back. And

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as soon as I get that record which I want

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to play in regard to this incident, I will be

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talking about. I will keep you entertained with this. I

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played Bing Crosby a few weeks back, and Louis Armstrong

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on that same program. Why don't I play one where

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they both appeared together.

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Dear gentlefolk of Newport, Oh, maybe I should say hats

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and cats. I want you to lend a near because well,

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I want you to hear some really shimmering sharps and

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flams for this cozy virtuosi, just about the greatest in

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the trade are fixing to show you now precisely how.

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Approximately. Yeah, his music is made a where to take

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some skins, chezz big and you take a base.

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Man.

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Now we'll get to some place. Take a box boling rocks.

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Take a blue new ball, it's ball.

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Ah.

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You take a string with a liquor, take a bone,

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hold the phone, take a spot of cool and hot.

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Now you have jazz jazz, Ja jazz jazz.

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Little too doll so.

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Oh that's positively.

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Parapetic.

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Now you have jazz jazz.

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Messrs Hall and Young.

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That said all.

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And Truma.

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Now you has.

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Messrs Kyle and Shaw.

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That's Billy Kyle Marble Shop.

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Now you has mister Baronde's.

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Listen to well you know who.

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Say hey, Bob's you want to grab a little watch

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left here, yeah, there.

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Here we go.

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If you sail, sail it sailing over the sea, I

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will you wait for me? Take my tip their own

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moti hip Italy.

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Well, I will do chairs for friends.

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Although you live big there, believe it or not, I

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do believe I do.

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Indeed the Frenchman's called people what they call le chans ud.

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Take a plane, go to science in Bangkok to day

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around the clock over the old like the chair, Indian Zong,

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the Amazon.

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Beat one bar and all of them from the Wada.

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Up to depart and body wing and a about a

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singer and rock rock rock, round.

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Rock and roll from the east to the from the

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coast to the co ho. Jazz is kings. Jazz is

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the ding of folks. Dig that's jazz. Now you has jazz?

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A song written by Cole Porter for the nineteen fifty

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six film High Society, in which it was introduced by

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Bing Crosby and Louis Armstrong. And and let me introduce

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myself again. I'm Jeff Bresler. This is the Make Believe Ballroom.

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And to hear hundreds of past shows in the series,

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why don't you go to MakeBelieve? Ballroom dot com. That's

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MakeBelieve ballroom dot com. So before Louis and Bang, I

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wanted to tell you a story. You know, when I

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was a kid and in school at friends houses who

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had pianos, on school pianos anyway, there was a piano

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you very frequently heard a song played as a simple duet.

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The song was Heart and Soul, and Heart and Soul

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was a very popular piano duet, frequently played over and

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over again by two kids sitting on a piano stool together,

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mostly girls. I don't think I ever heard a male

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duet play it. Kind of strange. This song was very

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easy to learn, was certainly highly catchy, and the built

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for two people to share a single piano bench and

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have some fun. It was written in nineteen thirty eight

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by Hogi Carmichael and Frank Lesser, and the simple repeating

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chord pattern, I guess, became a musical rite of passage,

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passed down from kid to kid. So I was in

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a mall a few weeks back, and there was a

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piano there in Lo and Behold, two little girls shared

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the piano bench and maybe had their first big concert,

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I guess, entertaining the mall patrons with the same melody

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over and over and over again. I guess the girls

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were around seven years old, very cute, and it brought

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back memories, And this first time ever recording of Heart

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and Song might bring back memories to you, Hard and Soul.

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I've fell in love with you Hard and Soul, so

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way a fool would do madly because you help me.

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It's high and stole a kissing the night Hard and Soul.

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I beg to be adored, lost control and tumbled over

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for gladly.

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That magic night weekess there in the moon List. But

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your lips was really.

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Much too really, Never before were my soul strangely willing,

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But now I see what one embraced can do.

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Look at me. It's got me loving you madly. That

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little kiss you store yelled of my heart and soul.

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Oh, but your lips were drilling, was too thrilling.

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Never before were my soul strange lease willing, But now

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I see what one embrace can do.

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Look at me.

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It's got me loving you madly. That little kiss your

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store held on my heart and the soul.

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On Victor Records, Heart and Soul by Larry Clinton and

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his Orchestra vocal by b Wayne, recorded in New York City,

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September the one, nineteen thirty eight, and that was the

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first time that classic was ever recorded.

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Don't waver word instructing the.

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Trombonus. Dickie Wells best known for his work with camp Basie,

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but here with his own group Dickie Wells and his

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Orchestra with Japanese Sandman, recorded in Paris, France on Victor Records,

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July the seventh, nineteen thirty seven. And you know when

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we listened to nat Ganella earlier in the program, I got,

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for whatever reason, a little taste of Louis Prima in

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his style. You might also have had that premonition. So

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let me pull up a Louie Prima song to play

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for you, and let's look at the playlist. I played

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the first time ever recording of Hart and Saul just

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a few seconds ago. How many of you know that

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this song by Louis Primo was the first time ever

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it was recorded.

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Now that you've discovered that the music goes round and run,

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you forgot to remember you've got to swing in this

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man's town.

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So sing, sing, Sing, Sing, Everybody start to sing.

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La la whoa.

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Now you're singing with a swing. Sing sing sing sing.

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Everybody start to sing.

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La, laa fool.

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Now you're singing with a swing.

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When the music.

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Goes around, everybody goes down. But here's something you should

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know for a baby, oh sing sing sing sing. Everybody

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start to sing, La, la who Now you're singing with

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a swing.

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Sing sing sing sing. Everybody start to sing.

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N nah whoa.

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Now you're singing with a swing. Sing sing sing sing.

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Everybody start to sing. Now you're singing with a swing.

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When the music goes around, everybody goes to town.

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But here's something you should know already old sing sing

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sing sing. Everybody start to sing. Now you're singing with

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the swing.

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Swing na way when.

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Baby say, everybody's I say.

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That is how Louis Prima's swing classic composition sounded the

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very first time around, and it was just over.

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Well.

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Sixteen months later that Benny Goodman recorded his famous eight

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and a half minute crooper rhythm version for Victor Records,

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and of course a main component at Betty Goodman's Carnegie

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Hall concert. But we just heard on Brunswick Records. Sing

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Sing Sing, written by Louis Prima and performed by Louis

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Prima and his New Orleans Gang vocal by Louis recorded

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February the twenty eighth, nineteen thirty six. And if you

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are indeed a Louis Prima fan, you will know this

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one well, even if you're not.

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Jellalona speaking me up putam past.

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Cinna shawlada vanadan, see chiam on this sere balada. Think,

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ma'm my dear, come over here and see who's looking

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in my window.

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It's the baker. And look he's got a canoli in

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his hand. If you marry the baker eye, he will

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come and he will go. He will always mix the

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flower in the pan.

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If you marry the baker oil have the canole in

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his hand.

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Oh, Mama.

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La oh la la la, Mama, dear, come over here

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and see was looking in the window.

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Is the musician, and he's got the instruments in his hand,

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ingramrida musician. He will come and he will go, and

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he will always be playing in the man every marredim musician.

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He'll have the trumpet in his hand.

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Mama la la la la la la.

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La la la la la.

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Jela lula Sama, mamma, get me maayada, taking me.

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At ja La Luna Louis Prima.

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Tell me that she loves me.

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00:54:33.079 --> 00:54:37.159
Only you say that you feelings so down. But I

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00:54:37.320 --> 00:54:39.760
know you're lying, and that's why I'm dying. I don't

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00:54:39.840 --> 00:54:40.440
try your job.

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00:54:40.559 --> 00:54:44.679
Won't if you asked me a vote your questions and

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00:54:44.800 --> 00:54:46.639
then make all cousins forges.

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If you only missed it up, wouldn't resent it it?

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Don't die a jam.

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All day?

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