Aug. 28, 2026

Make Believe Ballroom - 8/28/26 Edition

Show Notes
Transcript

On this week's show: Two hits of the same song recorded 30 years apart, the battle for the title of "First Lady of Radio," British Bandleaders, two great drummers, and much more on this week's program.

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

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

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It's make Belief ballroom time and free to everyone. It's

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no time to friend your Dalis said Bamba.

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Yours.

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Close your eyes and visualize in your solitude. Your favorite

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bands are on this dance and mister Miller, what you're

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in the mood. It's make Believe ballroom time. We are

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a sweet romance.

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Is make live.

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Come on, Jim, Last Dance.

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Last, Hello World. I'm Jeff Pressler, turning on the lights

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of the Make Believe Ballroom and welcoming you into my

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crystal studio for another program of classic big band music

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from the nineteen thirties and forties. Please get ready as

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

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

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broadcasting almost continuously since nineteen thirty five, and to welcome. Welcome,

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Welcome one and all, and thanks for joining me today.

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Let's start this week's musical journey at Caxton Hall in London,

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the old historic Marriage Registry Office.

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Now, how about one of your inimitable renditions.

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Okay, Jimmy, we'll do one which features Buddy Rich on drums,

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and it's called Caxton Hall Swings.

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Come Pa.

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That was Harry James and Buddy Rich with their version

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of Caxton Hall Swing from a radio program back in

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nineteen fifty three. And why was the song named Caxton

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Hall Swing? Well, it was composed and penned by the

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great drummer Louis Belson. Belson, if not, if I'm not mistaken,

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was the pioneer, the first one to use two bass drums.

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Belson was married for decades to the vocalist and actress

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Pearl Bally, and they got married at the Caxton Hall Registry,

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and Belson composed the Caxton Hall Swing in honor of

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that occasion. And now in honor of Louis Belson. Louis

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and Tommy Dorsey and his orchestra.

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Dit s I any s s s S S says.

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Hums Louis Belson with Tommy Dorsey and his Orchestra, recorded

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March the eleventh, nineteen forty nine Drumology from RCA victor

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of forty five RPM record. Now why don't I go

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to missus Belson? The late great Pearly.

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May no one nor why walkin ronin one lo there

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lowe that I'm not on suso for this reading life

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of love?

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No one, no.

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Whycle my, I'm a life that ride on good stream.

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He ron my riding high or no he.

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Borrowway from the usual draw.

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With the world of mind.

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Have my be.

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All bec.

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Ever list.

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You have placed.

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That be me?

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Ever dreams in my wildest dream that.

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I'd fall.

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Wife so on holidays. No, I don't love all that

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is cracked up to be love all black up to be.

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Pearl Bailey along with Coody Williams and his orchestra now

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I know, recorded on the Budget Hit label back in

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nineteen forty four. I'm Jeff Presler and you're listening to

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the weekly edition of the Make Believe Ballroom. Thanks for

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joining me in the Crystal studio today and listening to

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Pearl Bailey certainly brings back memories of one My beloved

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mother used to take me on theater excursions to Broadway,

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and one of my favorite shows was the all black

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cast revival of Hello Dolly that starred Pearl Bally, which

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was on Broadway. I guess I was in high school.

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It was probably around nineteen sixty seven or sixty eight

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and Pearl. In Hello Dolly played Dolly Gallagher, a role

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that was originally made famous by Carol Channing, another Broadway legend.

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Now Another fellow in that cast was the gentleman who

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played Horace van der Geller, a gentleman I really didn't

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know that much about at the time, but who eventually

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became one of my favorites of all time. And here

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he is.

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I love the thing. I'm out of moon oran a tune,

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Rana springer. I love to singer. I'm out a sky

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of blue and a teeth worn tua any single with

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the swinger rummer.

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I love you all.

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To say, gonna give.

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Me your sma.

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I'm out a sane gun that went and done a WRONGA,

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but keep it cleaner. My acada is smaller with the

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water balla and the saba trama to what blue birds

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call her. I was born a singing pulla Landida, Oh

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major boat is gonna spot me? Got through year with

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pulah Bullah, Landida Oh, microphones got me.

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I love to singer.

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I love the wingle with the tamba in my MoMA

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and wave a flagger with a cheer for Uncle Sammy

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and another form of Mammy. Un Swinging is im singing,

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is bell ringing, is long sing.

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It is Tut tut.

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On Brunswick Records. I Love to SINGA by Cab Callaway

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and his Orchestra Vocal by Cab recorded in Los Angeles, California,

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January the twenty seventh, nineteen thirty six, and Cab did

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indeed star alongside Pearl Balley in the first all black

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cast of a major Broadway musical, Hello Dolly. And of

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course if I Love to singa sounds familiar, it's because

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it was used in a Merry Melody's cartoon feature. Also

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that cartoon coming out the same year the song did

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nineteen thirty six. Another tune for your listening enjoyment. Then

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we'll go to a listener's email in.

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The distant.

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Seven agree an excreting statement.

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The st.

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Recorded in New York City, September the twenty fifth, nineteen

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thirty four. For dec Of Records. That was Fletcher Henderson

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and his orchestra with Hotter than Elle spelt elll here

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on the one the only the original Make Believe Ballroom,

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America's third longest running musical radio program, and folks to

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reach me Jeff at Make Believe Ballroom Radio dot com.

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That's Jeff at make Believe Ballroomradio dot com. And an

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email that did reach me came from Harry Easton of

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Northeast Philadelphia, and Harry writes, I am a fan of

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old time radio and appreciate you carrying on the Make

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Believe Ballroom, which I consider to have roots in old

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time radio. Indeed it does. I don't know if your

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listeners would have any interest in my question, but perhaps

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you do. Can you tell me anything you know about

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the feud between Von de Leith and Kate Smith. Sorry

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for the optuse question, and that's signed by Harry.

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Well.

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Thanks Harry. I find your question not to be either

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dull or obtruse, as you say, as the story is

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interesting more reasons than one, both of which I shall cover.

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So.

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Von de Leath, the vocalist, was a true pioneer of

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early radio back in the nineteen twenties, so much so

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that with her large fan base, she Vaughon de Leith

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decided to call herself the first Lady of Radio. She

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was one of the first female singers to broadcast successfully

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and certainly earn that title. Now the iconic Kate Smith.

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God bless America when the moon comes over the mountain

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at all, the beloved Kate Smith began to rise to

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a massive popularity. I guess it was in the early thirties,

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and the Kate also began billing herself with the same title,

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the First Lady of ra.

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Now.

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I don't know if Kate Smith ever met Von de Leith,

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if there was any personal animosity or other stuff going

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on between the two, but in nineteen thirty one, Von

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de Leith sued Kate Smith in a legal battle over

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the use of the title First Lady of Radio. In

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the end, the Leath won the lawsuit, forcing Kate Smith

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to stop using the title for a period of time.

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But you know, unfortunately for Vaughn, her fight against the

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much more popular Kate Smith left Vaughn's career fading despite

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her legal victory, which was probably a poor tact and

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made her look very petty to both her fans and

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Kate Smith's fans. Well, Kate Smith ultimately resumed using the

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First Lady of Radio title after Ravon d Lethe passed

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away in nineteen forty three. Why don't we take a

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moment to listen to a record by Kate Smith.

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Music not a dangerous revalve.

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It's something daring, mom all the way of dancing that's

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really open, very double love because it does what you

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wanted to do.

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It has a passions, the coon an invitation.

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To It's like the passion.

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Because you tell him your love while you dance.

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You'll absolute.

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Hurry long.

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Not anybody dween.

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And you were saying, just what you thinking of people dancing?

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It's the song of romans.

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And why are you dancing?

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It's not a memo.

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It's not a metal.

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You see why are you dancing?

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Your boy yell.

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And said the medal.

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You'll all be more dan if you're in love. God

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long with you. One nothing rhythm hard Beaudu dandran.

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From Brunswick Records. The Continental by Kate Smith and the

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Ambassador's Trio accompanied by her Swannye music recorded in New

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York City, October the thirty first, nineteen thirty four. Now

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on to Von the Leath. The soprano uh Vaughn considered

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herself to be an early crooner. Now the song by

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of Von de Leith, I Want to Play was recorded

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in nineteen twenty seven, but is still heard today and

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as the story goes, in April of nineteen sixty, after

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Elvis Presley's two year service in the United States Army,

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he recorded a song at the suggestion of his manager,

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Colonel Tom Parker. That song that he recorded was Parker's wife,

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Marie Mott's favorite song. Its release was delayed by RCA

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Victor executives who thought the song didn't fit Presley's new

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rock and roll style. Yet, when the song was released

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in November of nineteen sixty, it was an immediate success

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in the United States, topping Billboard's Pop Singles chart. One

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of the most well received early versions of the song

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was actually recorded by Von de Leith. I think it

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was the second record made of the song. Let's listen

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now to von de Leath and what her possible connection

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could be to Elvis Presley.

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Nighti'm down haarged for though we have haged, I love

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you and I always wave And while I'm so lonely,

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I'm writing youly if you care for me?

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Are you long time to night?

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Do you miss me tonight?

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Are you sorry we hit a poll?

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Does your memory stray to a ride?

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Arm day?

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When I kiss you can fall?

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You fall.

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To the chairs in.

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Your apoll seam empty and the bear. Do you gaze

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that you're a dark step hand?

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Pickture me? There is your heart with pain?

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Shall I come I again?

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Tell me?

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Are you Lord?

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So to night?

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I hold with affection upon the recollection a romance of

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days now gone by, and often I want the ref

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made of blunder by.

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Letting you bed me oo?

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Are you long.

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Tonight?

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Do you miss me tonight? Are you sorry?

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We do reacted? A?

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Does your memory space back to that bright summer day

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when I get you and pull you to me, to

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the chair, and your father seems empty and bare?

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So you gaze at your door staff plan the picture

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of me.

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Is your heart.

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With pain?

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Shall I come back again?

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Tell me.

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All you long?

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Issued on Edison record Are You Lonesome Tonight? By Von

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de Leith, Bill Regis at the Piano, Recorded in New

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York City, June thirteenth, nineteen twenty seven. So thanks Harry

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Easton for your email. Your question was not obtuse, because

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I certainly enjoyed telling our audience about the controversy between

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von de Leith and Kate Smith, playing some music by both,

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and telling the story of one of both, Elvis Presley's

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and von de Leitz's most popular recordings, albeit over thirty

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years between the two.

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And something backs Scream and black Man Repent Me Through

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This t.

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Recorded to New York on March seventeenth, nineteen thirty six

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for Decca Records. Adrian Rollini and his orchestra tap Room

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Swing and the tap Room certainly near and dear to

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Adrian Rolini. During the mid nineteen thirties era, the famous

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Adrian's tap Room was located inside the Hotel President on

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West forty eighth Street in New York City, and that

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a facility. That tap room was managed and led by

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the great sax player well multiple instrument player, Adrian Rollini,

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and the tap Room served as a popular venue for

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small swing bands and jazz sessions. Why don't listen to

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one more from Adrian Rollini and the tap Room Gang.

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If Honey been jealousy, want to see you out with me?

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Don't blame them good, that's no honey, Suckle rolls friend

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takes it from the desert seeing the Honey baby ballad. No,

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don't blame them good, that's no. Maybe Suckle, don't you

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have a bar grade of sugar? You don't have to

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touch my car. Don't you don't not suit my super

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And it's so sweet, Mama wing the story we the

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past by clous you beside don't know.

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The reason my head blames them good.

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That's no, maybe, honey.

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Adrian and his tap Room Gang, which consisted of a

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winging own the trumpet, Joe Marsala, clarinet, Nalto Sacks, Adrian

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Rolini BASAs and the vibes Putney Dandridge playing the box

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and also providing the vocal Carmen Masting the guitar, Sidweiss,

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string bass, Sam Weiss, the drums. Recorded in New York

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City for Victor Records, June the fourteenth, nineteen thirty five.

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Of course, that was Honeysuckle Rose and friends. Thanks so

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much for joining me today on the weekly edition of

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the Make Believe Ballroom. And now another email for you

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to hear, this one from a listener across the pond

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who hears the program on UK nineteen forties radio. No name,

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just an email that starts with Daisy fifty three, and

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I would assume Daisy is a woman or perhaps a florist.

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No need to speculate, though, it's the content that matters

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and Daisy writes, I have listened to your wonderful program

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for several years on UK nineteen forties radio. There were

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many brilliant Jewish bandleaders who came from London's East End. Ambrose, Giraldo,

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the Phillips Brothers, Harry Roy, lou Stone, Joe Loss and

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so many more. Can you play some of their records? Well,

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of course I can for you, Daisy. Why don't we

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start with Ambrose.

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Who've been col Jameson writings Guy today? They must have

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known just how I like it, cause everything's coming my way?

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Who's been teaching all the birds how to sing around

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the lady. They must have known just.

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How I like it, cause everything's coming my way.

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Yesterday everything look Danny, how when I met someone and

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a look at it now? Who's been polishing some rubbing

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out the clouds of gray. They must have known just

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how I like it, cause everything's coming my way.

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Ambrose and his orchestra, who's been polishing the sun featuring

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the Rhythm Sisters, recorded in London on October the twenty fifth,

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nineteen thirty four, for British Deca Records, as we pay

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tribute to Jewish banned leaders from London's East End. Let's

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listen now to Harry Roy.

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Hello, folks, here we are again all Roy and is

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tiger ragged ragged tiger who something like that?

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We're gonna play to you Medley a personal once.

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The What are we gonna play?

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There will always be a lamp in the window.

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I wondering, boy, Yeah, man, I.

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Think we're playing.

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Oh Glen, when you're done, you're reskill you? Who I

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shall have be lead when you're down?

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Gisty mommy?

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Anyway, that's Killey Way media really well.

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How to chat?

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Let you chat, dit you chat, Let you chat?

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Recorded on Parlophone Records, February the fifth, nineteenth thirty four.

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Harry Roy and his tiger Ragamuffins playing Farewell Blues You Rascal,

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you and Muddy Waters. And now let's spend another East

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End musical master.

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Can't you hear me?

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Call him? While your tears are folling where the river

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Volga flows, though your heart is filled with pain, my

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lovely Russia role. Now the skies are overcast, but we'll

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find peace at last and live in sweet reports. Then

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your tears this won't be in vain, my lovely Russian role.

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Soon the day will come.

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When you went on, we'll both be free to live.

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To live alove a love for I will come and

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find you, break the change that finds you. When the

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bugs peep through the snows, you will surely bloom again.

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My lovely Russian role.

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That was the beautiful Russian Rose Joe Loss and his

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Orchestra with a vocal by Sam Brown, recorded on Regal Xonophone,

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August the seventh, nineteen forty one. And now for you, Daisy,

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let's play a piece I love from low Stone. Yeah,

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Lou Stone and his band that the Cafe yang Lace

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in London, recorded November the third, nineteen thirty three for

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Decca Records, white Jazz, and how can we just play

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white jazz Daisy, when the color blue was also in

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Stone's repertoire.

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There yeah, or he's the name.

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Anything Anything.

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Bluestone in his band at the Cafe yng Lace in

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London with not white but Blue Jazz, also recorded via

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Decca on November third, nineteen thirty three. And I thank you,

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Daisy for your email and the chance to play three

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British band leaders with roots to London's East End and folks,

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we are out of time. Thanks so much for joining

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me today to reach me Jeff at make Believe Ballroom

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

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dot com. For past shows or recorded requests, Make Believe

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00:57:27.400 --> 00:57:31.639
ballroom dot com. Let's MakeBelieve ballroom dot com. Thanks to

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00:57:31.760 --> 00:57:35.800
our syndicators, Public Radio Exchange PRX, the Pacific Network in

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00:57:35.880 --> 00:57:40.719
Global Community Radio program's flagship affiliates Jazz ninety point one

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00:57:40.920 --> 00:57:45.000
WGMC in Rochester, New York. Ballroom's also heard on your

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00:57:45.079 --> 00:57:48.440
favorite podcast providers. So until next week, this has been

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Jeff Presler