Make Believe Ballroom - 8/7/26 Edition

0:12 It's make believe ballroom time. Put all your cares away. All the bands are here to bring good cheer your way. It's make believe. Ballroom time and free to everyone. It's no time to friend your Dalis said bombs. Close your eyes and visualize in your solitude. Your favorite bands are on this dance and. Mister Miller, but you're in the wood. It's make believe ballroom time.

0:55 We are a sweet romance. Here's your mother. Come on, Joleen Last das Last, Hello world. I'm Jeff Presler, turning on the lights of the Make Belief Ballroom and welcoming you into my Crystal studio for another program of classic big band music from the nineteen thirties and forties. Please 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 one and all into the Crystal Studio. And thanks so much for joining me today. How about a little rag to get things going day? We say that that

4:38 was eccentric rag buster Bailey and his orchestra, And what an orchestra. It was you had Charlie Shavers playing the trumpet, Buster Bailey himself the clarinet. Benny caught her very strange. On the record label he is listed as Bill Kyle playing the piano. Of course, Benny best known for the alto, sax and trumpet, but also a fine pianist. John Kirby, the Bass, Zudi Singleton the Drums, recorded in New York City June of nineteen forty. Buster Bailey and his Orchestra.

5:20 Why don't I take a moment to zero win on the bass player on that record, John Kirby, who led a wonderful sex tet in the nineteen forties.

6:09 The Lady Ny the Badger.

8:19 On Okay Records. The John Kirby Sextent Jumping in the Pump Room, recorded also in nineteen forty. I'm Jeff Bresler, and thanks for taking the time today to listen in on some of the finest music of a bygun eron. I'm happy to keep that era alive here each and every week on the Make Believe Ballroom. In just a moment, three men who many other men well, quite frankly, sometimes went to jealous rages over. But first my Friends, A Little Benny Goodman.

9:00 The Y, the The The.

10:27 Taking, the. Law An.

11:56 Benny Goodman and his Orchestra was Undecided, recorded on December fifteenth, nineteen thirty eight, in New York City for Victor Records. I'm Jeff Prester, and you're listening to the weekly edition of the Make Believe Ballroom Bing. Crosby, Russ Colombo, and Rudy Valley were the three biggest crooners in the early nineteen thirties. Their popularity soared on records but also on the radio. These three young crooners were the equivalent of movie matinee idols, and many younger women had crushes on them. Now, this created jealousy among their bows, so much so that they were considered all in fun quote unquote public enemies of the young men who had to tolerate their dreamy eyed girlfriends. Waxing poetically about the trio. The dilemma, so to speak, was so well documented that a song was written about it, and I play that for you now.

13:17 I hoe everybody. There's lots of public enemies, but I know only three. Crosbie, Colombo and Valley. They've made a million married women wish that they were free Rosy. Colombo and Valley. Those crooning vagabonds are stealing all our blonde. Now I know what has become of Sally. And every time you. Kiss your girl, who is she thinking of? Crosby, Colombo and Valley. Listen on, you bachelors, all you married men, we must stick together once again. There's too many crooners, too many saxophone break up our happy home.

14:03 Who are we? Sings about a couple of weeks the stars above crosbe Glumbone. Valley, And though I call it nonsense, they insist that it is love. Crosbeak, Alumbon and Valley. Before the radio, a married man could throw any gigglo out in the alley. But now who comes into your home and you. Can't say a word Crosbeaklumbone Valley.

15:01 Each time I go out, all I hear him and talk about is the Saprosby, the Colombo and the Valley. You know, I buy the banana from the Greek and all the time I hear him speak about the Prosby Colombo and the Valley. I buy the radio and I put him a soft bin alow and I hear him singing. I like him too, By Galley. Everything will be okay if they sing pagliats. These grows Bey Colombo and the Valley. Our children think. America was first discovered by Crosby, Colombo and Valley. The women only laugh at me, but who can make them cry? Crosby, Colombo and Valleys. A girl can close her eyes and listen to those.

15:48 Guys and do what you will be did to old Sven Galley. My baby can't say poppy yet, but he can play me say crows be Cologne. Bo and Balley. On Perfect Records, released on December nineteenth, nineteen thirty one. Crosby, Colombo and Valley with the vocal provided by Dick Robertson, and that song and the whole mystique surrounding bing Crosby, Russ Colombo and Rudy Valley actually led to Warner Brothers creating a cartoon feature, a Merry Melodies feature that appeared in theaters in nineteen thirty two and for decades thereafter when television came into vogue for many many years. You know, it's interesting that while Crosby, Colombo and Valley were America's favorite crooners and stealing all the musical headlines. The vocalist who sang that song, Dick Robertson, was toiling away in the record studios record awarding hundreds of sides over his career.

17:06 Robertson did not have a contract or loyalty to one band. In particular, he was best described, I guess as a vocal freelancer, working as a studio singer, most notably from Millowtone Perfect Banner, Oriole Romeo, Crown and Bluebird Records. Dick, who has provided the vocals for many a record, spun here on the make the Lae Ballroom, was joined by Chick Bullock, Let's see put Scrappy Lambert in that class, Irvin Kaufman, Elmer, Ruffeldcamp, and a whole bunch more is the core of the freelance studio vocalists, especially the nineteen thirties, and among them responsible in totality for literally thousands of sides coming out of the record studio. Why Don't I Play One? By Chick Bullock?

18:15 I got the world on a string, sitting on the rainbow, got the string around my pain? What a world? What a life? I'm in love? I got a song that I sing. I can make the rainbow anytime I move. My pain now gave me? Can't you see I'm in love? I'm is a beautiful pain as long as I hold a string. I do you still the towel? If I should ever let go? I got the world on the string, spitting on the rainbow, got the string around mat Why the bird?

19:08 What a life? Time? In love? Life is a beautiful pain. As long as I hold the string, I'd be a Silney Somn's gold if I should have to let go. I got the

20:42 world on a string, pitting on the rainbow, got the string around my pair, Watch the world? What the life? Fim in life? On Oreo Records, I've Got the World on a String Chick Bullock and his Levy Loungers, recorded on February the ninth, nineteen thirty three. Folks, you're listening to the one, the only, the original Make Believe Ballroom broadcasting since nineteen thirty five, and in the Record Books says the third longest running music radio program. I'm Jeff Wrestler, and we do two things here on the Ballroom. We tell stories like the Crosby Colombo and Valley Tale, and play some great music that I know you love music like this, I'm pols.

22:28 The leaders, make them green again. Shake out the trees, change the scene again, sprink cleaning, getting ready for love. I'll sweep out the nook down in lover's lane, turn. On the book, making a run again, sprink cleaning and getting ready for love. Our dust does win. Three flowers watched them out with their brill showers. Cover them with fragrant flowers. Sign up the silvery move. Consume you and I am under the sky like we used to do, and sprink leading, getting ready for lawns, swing out balls, Consume you and I am.

23:59 I'm the guy like we have to do. Ring cleaning, Get a readyble Love. Recorded on March the twelfth, nineteen thirty seven, Bob Howard and his Orchestra. Vocal by Bob with a pleasant swinger titled Spring Cleaning, from Decca Records. Let's listen now to a record by drummer Joe Daniels, then an occupation that was partially responsible for moving Black Americans into the middle class. A music ode to that profession in just a few moments.

25:01 Tell me.

25:50 Very Much.

26:51 For Recorded in London, June the thirtieth, nineteen thirty eight, Joe Daniels and his hot shot in Dromnastics with ultra modern sway. You know you've seen them in old movies, read about them, maybe actually had an encounter with one of the members of this uh, well affable and friendly lot.

28:02 The first red cap was worn by a black railroad porter on Labor Day of eighteen ninety to stand out from the crowds at Grand Central Terminal in New York City. His name was James Williams, and he wore a red cap to distinguish himself from railroad personnel like conductors who wore blue caps. Red caps, as many of you know, carried luggage to trains and attended to passengers other needs before they boarded. It is said that with limited job opportunities for Blacks at the turn of the century, that the whole red cap profession, which was pretty much an all African American enterprise, was responsible due to stability, good salary and tips. Was responsible because it became a major factor in Black Americans being elevated into the middle class.

29:09 Louis Armstrong performed a song about red caps, both informational for the general public and need I say, a morale booster for the red caps themselves. Let's enjoy that record. Now, Red Cap Cap every day's working it for you, so don't rig you got to hustle now the age fiue d. Red that's what you keep shouting to the throne. It's no.

29:57 And yet you have to tote that baggage all day long. When have folks go on. Vacation, you at the railroad station, ready to lend them a hand. What some of them don't understand that a nickel or two lack a dollar to you. So read Cavil save the tips you get. Well if you do the caravel, oh travel, perhaps some day you will be calling Red. Captain from Decca. Louis Armstrong and his Orchestra with Red Cap,

32:30 recorded July the second, nineteen thirty seven in New York City, attributes to Red Caps and working hard every single day. And I really don't have to work very hard to flip that Armstrong record over to the other side. New kind of. Enemy on Newsay's course of the melody when it comes your way, saw the sneaks right up up on you kind of puts the finger on you. So look out for public melody number one. It should be your luck and it needs you face to face, in your feet at chucking all around the place. No use to call on who was g men? Why they're just a lot of head fmn when it comes to Public Melody number one, Oh Frankenstein, fun love, John Jesse, James Tachers, bet me gott con only your time combat the notes shot from hot con Net. So get on the cover, you rhythm rascals, and run, who you dog? I ain't no use hiding.

34:01 I'm gonna take you line. Look out the public medine number one.

35:47 All right, then, no, I don't know. Louis Armstrong and his orchestra with the flip side of red cap. We just heard Public Melody number one. You know, if you think that the legendary Bob Wills and his Texas Playboys were all about strictly Texas swing, well think again.

36:29 This is. Won't you Come along with me? Come along with me to the Mississippi. Through the Mississippi.

37:10 We'll take a board to the land of dreams, steaming down the river down. To oldly O. The Bend's gonna meet. Us, all our old friends to greet us old friends agreed. That's where the dog and the light bulb meet. Heaven owners they. Call it Basin Street. Basin Street Street is the street we're all of dark? Can lightfoot me down? Yes? Lands of Dreams. You'll never know how nice the series are, Just how much it really mere? Glad yel Surrey Houn't Joe, Welcome Street?

38:01 Did you do me? Where I can? What about the news boy on my bass and street blues? Come in little turn him with that old saxophone. Yes, ram fluent, I've laid his member down and picked up a beautiful golden spo. I was playing for it. Yes, Yes, it's just. Like old time.

38:47 I'm in norm that is going bar still guitar. Old Basion Street. Yeah, here's the street We're all of dark.

39:28 Can the light boote me new Olean? Land of dream You'll never know how nice it s? Just how much you really means? I know to be hooray? Yeah, I read Welcome Street? Here's you mean? Where I can? Blue? My m's a street Blue. I'm conning. Recorded September twenty nineth, nineteenth thirty six Bob Wills and his Texas Playboys with Basin Street Blues via Vocalion Records.

40:11 You know we just heard a couple from Louis Armstrong, Red Cap and Public melody number one. How about one now from his ex wife, Lil Harden Armstrong, You're.

41:19 Gonna read what you saw in the sweet sweet bye and bye. When the fire all my love shall cease. To burn, you will call me in. Vain and hang your head and cry. But I'll be far away. I'll not return. Now many times when you're blue, you will miss my hug yankies when. Your new love quips and turns to going. If you make your own that. Harm, don't you call on the Lord, because he's promised you shall reap just what you saw.

42:22 Verything, very bay. Showing from Decca Records in nineteen thirty eight, Lil Hardened Armstrong with you shall reap what you sew here on the weekly edition of the Make Believe Ballroom. Men, Now it's time to listen to a record by his Honor, the Mayor of Harlem, New York.

43:44 You got no boy, got ready to do the rigmarole? Well I'm going round, don't because everything is look God, now you can go watch it. Whatever thing never.

44:35 Happen, scuse me.

45:35 Saying, recorded in New York City on May the eighth, nineteen thirty five. Rigamarole via Victor Records, Willie Bryant and his orchestra, And I said Willie was the Mayor of Harlem, and although not an elected position, it was an honored title.

46:37 In March of nineteen fifty two, the prestigious black newspaper, The Amsterdam News, decided to elect a new quote unquote mayor of Harlem, filling the vacancy created when the longtime title holder, dancer Bill Bojangles Robinson died in forty nine. Ten prominent citizens of business, the arts and civic life were placed on a ballot, and Willie Bryant won, and after Willie's death there was never another Willie Bryant. Now, Willie was also skilled DJ, one of the first black entertainers to appear on TV. Many achievements for that talented musician.

47:32 And by the way, he was the first to ever record this song, You've got to give.

48:32 Little, take a little, Let your poor heartbreak a little. That's the story of That's the glory of love. Oh then you've got lamp, little fine a little before the clouds drawn by a little that's the story of. That's the glory of love. As long as. There's the do 'em. Uh, we've got the world and all its charm. And when the world it's you with us, we've got each other arm. You've got the wind, little, lose little, and always have to lose the little. That's the story of That's the Glory of Love.

50:00 An from Bluebird Records. The Glory of Love by Willie Bryant and His Orchestra vocal by Willie Bryant, recorded in New York City, April the ninth, nineteen thirty six, the first time that standard was ever recorded. I think we have time for one, possibly two more tunes.

53:34 A trans still.

54:36 On Victor Records, Sugarfoot Stomp by Connie's Inn Orchestra aka Fletcher Henderson and His Orchestra, recorded in Camden, New Jersey, April of twenty ninth, nineteen thirty one, and let Me squeeze in one more.

55:48 The pilot and the Barbadier were ready for a Tripps. The navigator checked his course and climbed aboard the. Ship, but there was someone missing, so. They all began to call for the very very very most important one of all. The support to me. Who has written them and the things he left. He's a part of a team, and that the bas for you when you. Sign the Man with.

56:29 Everyone, the. Gun Sizavid There Squid, Captain Glenn Miller and the Army Air Force Training Command Orchestra Guns in the Sky vocals by Johnny Desmond and the crouch Es, recorded in nineteen forty four, and folks, we are out of time. Thanks so much for joining me today. To reach me, I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom Radio dot com. For past shows or recorded requests, go to MakeBelieve Ballroom dot com. Let's MakeBelieve Ballroom dot com.

57:23 Big thanks to our syndicators and distributors for offering the Make Believe Ballroom cost free to commercial, free, public, community and university radio stations. They are the Public Radio Exchange PRX, the PACIFICA Network, and Global Community Radio. The program's flagship affiliate is Jazz ninety point one WGMC in Rochester, New York. The Ballroom is also heard on your favorite podcast provider, So, folks, until next week, this has been Jeff Bresler.