May 15, 2026

Make Believe Ballroom - 5/15/25 Edition

Show Notes
Transcript

On this week's edition of the Make Believe Ballroom hosted by Jeff Bressler, Count Basie’s ode to the draft, two first-time-ever-recorded hits for Fats Waller, the mother of boogie woogie, and more records and reminiscences from the big band and jazz era.

WEBVTT

1
00:00:12.119 --> 00:00:14.640
It's make Believe ballroom time.

2
00:00:15.439 --> 00:00:17.760
Put all your cares away.

3
00:00:19.679 --> 00:00:23.600
All the bands are here to bring good cheer your way.

4
00:00:25.519 --> 00:00:27.160
It's make Belief.

5
00:00:26.960 --> 00:00:34.000
Ballroom time and free to everyone. It's no time to

6
00:00:34.200 --> 00:00:43.039
friend your Dalis said bombs. Close your eyes and visualize

7
00:00:43.600 --> 00:00:49.439
in your solitude. Your favorite bands are on this dance

8
00:00:49.600 --> 00:00:51.960
and mister Miller, but you're in the wood.

9
00:00:52.039 --> 00:00:58.560
It's make Believe ballroom time. We are a sweet romance.

10
00:00:59.719 --> 00:01:00.759
Is make Believe.

11
00:01:01.759 --> 00:01:02.960
Come on, Joe.

12
00:01:03.000 --> 00:01:04.560
Last dance lest.

13
00:01:05.879 --> 00:01:09.680
Hello world, I'm Jeff Pressler, turning on the lights of

14
00:01:09.760 --> 00:01:13.560
the Make Belief Ballroom and welcoming you into my Crystal

15
00:01:13.680 --> 00:01:18.400
studio for another program of classic big band music from

16
00:01:18.439 --> 00:01:22.239
the nineteen thirties and forties. Please get ready as I

17
00:01:22.319 --> 00:01:25.959
play for you some amazing jazz, swing, blues, and boogie

18
00:01:26.000 --> 00:01:31.680
woogie favorites. Folks, you're listening to the Make Believe Ballroom,

19
00:01:31.840 --> 00:01:38.719
broadcasting almost continuously since nineteen hundred and thirty five. And welcome, Welcome, welcome,

20
00:01:38.719 --> 00:01:41.200
one and all into the Crystal Studio. And thanks so

21
00:01:41.319 --> 00:01:44.519
much for joining me today. How about a little Count

22
00:01:44.560 --> 00:02:13.280
Basie to start the hours?

23
00:02:15.560 --> 00:05:09.600
The stile.

24
00:03:48.280 --> 00:03:55.360
Who I thought that I.

25
00:04:37.879 --> 00:04:42.160
From Okay Records What's Your Number? Count Basie and his

26
00:04:42.319 --> 00:04:45.920
Orchestra recorded to New York City on October the thirtieth,

27
00:04:46.600 --> 00:04:51.600
nineteen forty, and the What's Your Number in the title

28
00:04:52.759 --> 00:04:57.560
that referred to draft registration as the US came closer

29
00:04:57.639 --> 00:05:02.480
to going to war in World WLD War two. Actually,

30
00:05:02.759 --> 00:05:08.399
draft registration started on September sixteenth of nineteen forty, with

31
00:05:08.519 --> 00:05:11.399
the first number being drawn as a draft e to

32
00:05:11.959 --> 00:05:16.879
number one five eight. Just a little interesting side note there,

33
00:05:16.920 --> 00:05:22.000
But equally as interesting is that the B side of

34
00:05:22.040 --> 00:05:27.120
that OK seventy eight RPM record was also draft centric.

35
00:06:02.639 --> 00:06:19.600
He now, if you've got a loving man, you better

36
00:06:19.720 --> 00:06:22.279
love him while you gave.

37
00:06:24.360 --> 00:06:27.319
Perhaps you'll have to do his share.

38
00:06:29.079 --> 00:06:35.399
To help defend this dear old line. They're drafting many.

39
00:06:35.279 --> 00:06:38.480
Men right now.

40
00:06:38.639 --> 00:06:45.040
To give democracy a hand. Before they call your man,

41
00:06:45.360 --> 00:06:54.000
I'll say these words. You are to understand when all

42
00:06:54.959 --> 00:07:06.160
concern calls out, ow man, don't die, don't rhyme.

43
00:07:07.920 --> 00:07:08.160
Called.

44
00:07:08.279 --> 00:07:10.839
You can't refuse.

45
00:07:12.160 --> 00:07:14.800
To hold him.

46
00:07:15.000 --> 00:07:20.199
Bad mind made him slid.

47
00:07:22.000 --> 00:07:25.199
Just say you gotta go.

48
00:07:26.439 --> 00:07:28.399
Draft Dan Blue.

49
00:07:54.240 --> 00:07:59.160
Camp Acy and his orchestra with drafting Blues, Jimmy Rushing

50
00:07:59.319 --> 00:08:02.399
vocal the B side to the A side. What's your

51
00:08:02.480 --> 00:08:07.800
number recorded in nineteen forty. I'm Jeff Bresler, and this

52
00:08:07.920 --> 00:08:11.360
is the make Believe ball room. Why don't we stick

53
00:08:11.439 --> 00:08:15.439
with Count Basie for a few minutes, the legendary piano

54
00:08:15.480 --> 00:08:20.480
player and band later the Count had one specific influence

55
00:08:20.759 --> 00:08:24.480
that led him to the piano at an early age.

56
00:08:24.959 --> 00:08:28.399
The main guy that really influenced me was Thomas as Sveetzwaller.

57
00:08:29.839 --> 00:08:35.320
That was the man that I really did analyzka. FETs

58
00:08:35.320 --> 00:08:38.759
taught me how to play what little bit of organ

59
00:08:38.840 --> 00:08:43.000
that I do know, and I used to watch him

60
00:08:43.360 --> 00:08:46.080
lay around him long enough to try to style a

61
00:08:46.080 --> 00:08:48.120
little piano after him, which was quite difficult.

62
00:08:48.600 --> 00:08:53.279
Mister Fats Waller with a song many do not realize

63
00:08:53.480 --> 00:08:54.879
was attributed to him.

64
00:09:02.399 --> 00:09:09.799
Mister Christopher Lumbus say, uh see without our comfort when

65
00:09:10.080 --> 00:09:11.279
his men began.

66
00:09:11.080 --> 00:09:18.159
A rumbers on Christopher Plumber sirs, fad lass time where

67
00:09:18.519 --> 00:09:22.120
until we get that we would not go wrong if

68
00:09:22.159 --> 00:09:24.879
we sing sing a song since the world is round,

69
00:09:24.919 --> 00:09:28.159
though we'll be saying, don't know till our gold is

70
00:09:28.240 --> 00:09:28.759
bound over.

71
00:09:28.919 --> 00:09:31.840
We'll just keep rhythm bound over. Since the crew was

72
00:09:32.000 --> 00:09:34.840
making Merry Marry got up and went home. They came

73
00:09:35.039 --> 00:09:37.039
up where Isabella, and they brought on the rum and

74
00:09:37.279 --> 00:09:40.960
Isabel no morem mutine need no What a time.

75
00:09:40.720 --> 00:09:42.600
It seem Wster Blomber.

76
00:09:42.639 --> 00:09:47.440
See, Christopher made history gas mister Christopher Lumbus.

77
00:09:47.759 --> 00:09:48.120
Uh huh.

78
00:09:48.759 --> 00:09:52.840
He used the rhythm as a compass gash gass music

79
00:09:53.039 --> 00:09:58.320
ended all the rubbers, guys, Why old Christopher Claus lat

80
00:09:58.399 --> 00:09:59.039
y'all Christoper?

81
00:09:59.080 --> 00:10:02.759
Yes, I change.

82
00:10:04.919 --> 00:11:28.600
No, no, no, well look at that.

83
00:11:29.480 --> 00:11:32.279
Christie's grandest man of marine and he's going back.

84
00:11:32.440 --> 00:11:35.679
Yeah that.

85
00:11:38.519 --> 00:11:42.039
In the year fourteen ninety two, Columbus e the Ocean

86
00:11:42.120 --> 00:11:43.559
Blue What I think?

87
00:11:44.960 --> 00:11:48.679
Fats Waller, in his rhythm recorded their hit version of

88
00:11:48.759 --> 00:11:54.120
Christopher Columbus on April the eighth, nineteen thirty six. The song,

89
00:11:54.200 --> 00:11:58.200
featuring lyrics by Andy Razoff and music by Chew Berry,

90
00:11:58.840 --> 00:12:03.360
recorded for the Bluebird label, quickly became a popular swing

91
00:12:03.480 --> 00:12:07.720
hit in thirty six. It was a wonderful version of

92
00:12:07.759 --> 00:12:11.600
the song as we just heard, but even though Fats

93
00:12:11.600 --> 00:12:16.240
introduced it, it was a tune more closely associated with

94
00:12:16.360 --> 00:12:21.720
the Fletcher Henderson and Benny Goodman. So great music and

95
00:12:21.799 --> 00:12:27.519
a huge amount of personality from Fats Waller, and a

96
00:12:27.600 --> 00:12:31.639
number of years ago his son Maurice Waller, I think

97
00:12:31.679 --> 00:12:35.240
it was in the late eighties, commented on his dad's music.

98
00:12:35.879 --> 00:12:40.200
They did consider him the the epitome of stride piano playing,

99
00:12:40.639 --> 00:12:42.000
and he was king.

100
00:12:41.919 --> 00:12:42.720
Of the stride.

101
00:12:43.279 --> 00:12:47.559
Now, a lot of people they don't realize that my

102
00:12:47.720 --> 00:12:52.200
father's biggest thing that made him a real professional that

103
00:12:52.279 --> 00:12:53.879
get paid him the money. It was not the fact

104
00:12:53.879 --> 00:12:56.600
that he could play stride piano, but it was the

105
00:12:56.639 --> 00:12:59.480
fact that he had a personality. So that when my

106
00:12:59.559 --> 00:13:03.240
father songs like I'm gonna sit right down and write

107
00:13:03.600 --> 00:13:07.440
myself a letter. I remember distinctly that Victor asked him

108
00:13:07.480 --> 00:13:10.000
to record that song. They went to everybody else and

109
00:13:10.039 --> 00:13:11.960
they turned it down, and my father said, okay.

110
00:13:11.759 --> 00:13:13.279
I'll record it, and he made a hit out of it.

111
00:13:13.559 --> 00:13:15.480
But it's the way that he sang the song that

112
00:13:15.559 --> 00:13:16.480
made the thing I hit.

113
00:14:29.720 --> 00:14:34.559
I'm going to say right down and raise myself a

114
00:14:34.639 --> 00:14:35.639
lot of love.

115
00:14:38.679 --> 00:14:42.840
And make me believe the game from you.

116
00:14:46.440 --> 00:14:50.639
I'm going to raise for her own so sweet that

117
00:14:50.879 --> 00:14:53.000
all allows me all my.

118
00:14:53.120 --> 00:14:59.320
Fead a lot of kisses on the bottom.

119
00:14:59.720 --> 00:15:02.080
HI gonna be glad I got home.

120
00:15:02.879 --> 00:15:07.240
I'm gonna smile and say, I hope you're.

121
00:15:06.840 --> 00:15:08.480
Feeling better.

122
00:15:11.440 --> 00:15:16.000
Him Cloes with long the way you do.

123
00:15:19.360 --> 00:15:24.480
I'm gonna sat right down and let myself, let her

124
00:15:27.799 --> 00:16:10.799
him made Believe it came from you, Gonna smile and say,

125
00:16:11.799 --> 00:16:18.320
I hope you're feeling better, and load and.

126
00:16:18.399 --> 00:16:19.799
Loud a way.

127
00:16:24.879 --> 00:16:25.840
I'm going look.

128
00:16:27.519 --> 00:16:34.559
And write them make.

129
00:16:36.120 --> 00:16:45.600
Mad Game from Victor Records. I'm gonna sit right down

130
00:16:45.759 --> 00:16:49.240
and write myself A letter by Fats Waller and his

131
00:16:49.440 --> 00:16:53.639
rhythm vocal by Fats recorded in New York City May

132
00:16:53.720 --> 00:16:58.360
the eighth, nineteen thirty five, So two recordings that were

133
00:16:58.600 --> 00:17:04.079
recorded for the first first time ever by Thomas Fats Waller.

134
00:17:05.039 --> 00:17:07.960
I'm Jeff Bresler, and you're listening to the one, the only,

135
00:17:08.240 --> 00:17:14.720
the original Make Believe Ballroom. During Fats, I was thinking

136
00:17:14.799 --> 00:17:21.480
about Christopher Columbus and Fletcher Henderson, So I picked a record,

137
00:17:21.880 --> 00:17:27.559
not Christopher Columbus, but another Fletcher Henderson that was sort

138
00:17:27.599 --> 00:17:32.119
of a novelty tune by him that I think might

139
00:17:32.240 --> 00:17:36.240
bring back childhood memories to many of you, because that

140
00:17:36.960 --> 00:17:41.039
novelty lasted for many, many years.

141
00:18:35.680 --> 00:18:36.559
Many.

142
00:18:37.839 --> 00:18:47.359
Many many thanks for you. See, she's letting you the

143
00:18:47.400 --> 00:18:52.720
word ever she go. If you know how plans of men,

144
00:18:53.319 --> 00:18:56.079
didn't you know how this is playing on your mind

145
00:18:56.240 --> 00:18:58.559
except go knock knock, knock knock.

146
00:18:58.640 --> 00:19:03.640
That'st abate you gotta Why must you get away? Now?

147
00:19:04.160 --> 00:19:04.720
High down?

148
00:19:06.279 --> 00:19:07.079
How am I doing?

149
00:19:07.400 --> 00:19:07.599
Hey?

150
00:19:07.799 --> 00:19:50.839
Hey, lets you.

151
00:19:52.720 --> 00:20:03.200
Let yourself go oh cofee hop man and do nothing.

152
00:20:06.119 --> 00:20:08.720
If you know how fun the man, then you know

153
00:20:08.920 --> 00:20:12.200
how business me and on your mock getting into goom

154
00:20:12.480 --> 00:20:15.480
knock knock knock, not to brid you got no mind

155
00:20:15.519 --> 00:20:22.480
out that, no bread, no no the red.

156
00:20:22.599 --> 00:20:23.440
An, no mon.

157
00:20:35.119 --> 00:20:38.920
I think many of us remember the knock knock Who's there? Jokes? Well,

158
00:20:39.119 --> 00:20:44.160
that novelty was at its peak back in nineteen thirty six,

159
00:20:44.480 --> 00:20:49.480
when Fletcher Henderson and his orchestra recorded a novelty version

160
00:20:49.559 --> 00:20:53.880
of Knock Knock, Who's There? For Victor Records? And if

161
00:20:53.920 --> 00:20:58.319
you knock knock, I'm there. I'm being me Jeff Bresler,

162
00:20:58.519 --> 00:21:01.160
and thanks for joining me today on this week's edition

163
00:21:01.759 --> 00:21:03.359
of The Make Believe Ballroom.

164
00:22:36.319 --> 00:23:23.119
Then and the mess Men and Name then.

165
00:24:04.759 --> 00:24:08.920
Recorded on the Commodore label. On November the thirtieth, nineteen

166
00:24:09.079 --> 00:24:12.720
thirty eight, we just heard the Bud Freeman Trio and

167
00:24:12.880 --> 00:24:17.640
their recording of the song three Little Words Bud Freeman

168
00:24:17.799 --> 00:24:22.440
Tenor Sachs, the Great Jess Stacey on the piano and

169
00:24:22.640 --> 00:24:28.359
George Wetling playing the drums. The standard Three Little Words

170
00:24:28.680 --> 00:24:32.039
was written by the legendary Harry Ruby with lyrics by

171
00:24:32.200 --> 00:24:34.920
Bert Kalmer. How about I offer you.

172
00:24:36.920 --> 00:24:37.079
Here?

173
00:24:37.160 --> 00:24:39.880
It is another Harry Ruby standard.

174
00:25:58.839 --> 00:26:00.359
Oh sorry now?

175
00:26:02.599 --> 00:26:04.960
Who's sorrynal.

176
00:26:06.359 --> 00:26:08.279
Whose heart is aching?

177
00:26:09.359 --> 00:26:12.079
Or preak ing each bom.

178
00:26:13.799 --> 00:26:15.759
Who's sad and blue.

179
00:26:17.960 --> 00:26:18.599
And crying?

180
00:26:18.880 --> 00:26:19.279
Dues?

181
00:26:21.440 --> 00:26:27.799
Just like I cried over you bought you off.

182
00:26:29.440 --> 00:26:30.519
Right to the end.

183
00:26:32.640 --> 00:26:40.240
Just like a friend, I tried to warn you somehow.

184
00:26:43.759 --> 00:26:45.359
You had your way.

185
00:26:47.480 --> 00:26:49.079
Now you must pay.

186
00:26:49.759 --> 00:26:54.759
That's why I'm glad that you're sorry now.

187
00:27:00.079 --> 00:27:47.480
Anything I.

188
00:28:07.920 --> 00:28:12.759
Who's Sorry Now? Harry James and his Orchestra recorded for

189
00:28:13.000 --> 00:28:18.480
Columbia Records on April twenty ninth, nineteen forty six. Vocal

190
00:28:18.559 --> 00:28:25.640
by Willie Smith, music composed by Harry Ruby. I'm Jeff Presler,

191
00:28:25.720 --> 00:28:29.000
and this is the weekly edition of the Make Believe Ballroom.

192
00:28:29.079 --> 00:28:33.359
To reach me, I'm Jeff at Makebelie Ballroomradio dot com.

193
00:28:34.079 --> 00:28:37.559
That's Jeff at Makebelie Ballroomradio dot com. And a listener

194
00:28:37.599 --> 00:28:40.839
who did just that. He reached out to us with

195
00:28:41.000 --> 00:28:45.400
a request, and we will have that said request played

196
00:28:45.960 --> 00:28:51.839
in just a few minutes a song now probably made

197
00:28:51.920 --> 00:28:56.240
more famous by the Benny Goodman Sextet, but an admirable

198
00:28:56.519 --> 00:29:02.240
version Rose Room Jimmy Lunsford and his Orchestra, recorded on

199
00:29:02.400 --> 00:29:07.279
September the fourth, nineteen thirty four four Decca Records.

200
00:30:05.960 --> 00:30:07.599
A floor.

201
00:30:09.359 --> 00:30:32.480
Flooring did.

202
00:30:54.400 --> 00:30:54.680
Look.

203
00:32:09.160 --> 00:32:13.559
So you may be asking why Rose Room as the title, Well,

204
00:32:13.640 --> 00:32:17.680
it takes us back to nineteen seventeen when the band

205
00:32:17.799 --> 00:32:22.160
leader Art Hickman was playing an extended stay at the

206
00:32:22.200 --> 00:32:26.400
Saint Francis Hotel in San Francisco, and there he penned

207
00:32:26.480 --> 00:32:29.400
that ode to the very room he and his band

208
00:32:29.599 --> 00:32:34.440
were performing in the Rose Room. And you know, strangely enough,

209
00:32:34.519 --> 00:32:39.200
Hickman died in nineteen thirty not in the Saint Francis Hotel,

210
00:32:39.359 --> 00:32:43.680
but eerily enough in Saint Francis Hospital in the city

211
00:32:44.359 --> 00:32:50.200
by the Bay Rose Room. And now I think, oh,

212
00:32:50.279 --> 00:32:54.440
wait a minute, I forgot earlier I was researching during

213
00:32:54.559 --> 00:33:00.920
records something I remembered but needed to confirm. Swaller had

214
00:33:00.960 --> 00:33:04.759
a radio program in New York City during the nineteen thirties.

215
00:33:05.960 --> 00:33:09.240
Fats was big on the radio, both in studio and

216
00:33:09.599 --> 00:33:14.200
also doing club radio remotes. He was replaced on one

217
00:33:14.240 --> 00:33:17.799
of his shows by a lady who was not only

218
00:33:17.839 --> 00:33:23.000
an outstanding vocalist but also a skilled jazz pianist. Let

219
00:33:23.079 --> 00:33:26.599
me play one of her records and then a little background.

220
00:33:44.400 --> 00:33:48.240
Random number of folks called boogie woogie. It's a funny

221
00:33:48.279 --> 00:33:51.200
little song. Now what I tell you to hold it?

222
00:33:52.000 --> 00:33:54.559
And I want you to move within? And what I

223
00:33:54.680 --> 00:33:58.000
tell you to get it? I want you to boogie woogie.

224
00:34:04.119 --> 00:34:08.920
Hold it now, Billy, we'll get it.

225
00:34:16.800 --> 00:34:19.079
When I tell you to hold it this time, I

226
00:34:19.119 --> 00:34:19.639
don't want you.

227
00:34:19.679 --> 00:34:20.400
To move a pang.

228
00:34:21.199 --> 00:34:23.719
And when I tell you to get it, I want

229
00:34:23.800 --> 00:34:34.920
you to mess around or stop stop now now mess around.

230
00:34:42.760 --> 00:34:45.400
I want that girl with a red dress on any

231
00:34:45.480 --> 00:34:48.840
kind of dress will do to come overhead stand by

232
00:34:48.920 --> 00:34:51.960
this skill. Now, what I tell you to hold it,

233
00:34:52.679 --> 00:34:55.199
I don't want you to move for myself. And when

234
00:34:55.239 --> 00:34:57.559
I tell you to get it, I want you.

235
00:34:57.719 --> 00:34:59.000
To shape that thing.

236
00:35:08.559 --> 00:35:08.760
Now.

237
00:35:51.559 --> 00:35:55.840
From the decal label Pine Top Boogie Woogie recorded on

238
00:35:56.000 --> 00:36:00.559
March the twelfth, nineteen thirty five, vocal by I and

239
00:36:00.960 --> 00:36:08.199
piano of Cleo Brown. Yes, Friends, boogie Woogie was indeed

240
00:36:08.280 --> 00:36:12.840
alive and well. Back in nineteen thirty five, many thinking

241
00:36:12.880 --> 00:36:16.800
boogie woogie was more of a nineteen forties and on phenomenon.

242
00:36:17.159 --> 00:36:20.239
In actuality, it goes all the way back to the

243
00:36:20.360 --> 00:36:25.239
late eighteen hundreds and Pine Top Boogie Woogie, one of

244
00:36:25.320 --> 00:36:30.159
the most famous boogie woogie songs of all time, was

245
00:36:30.480 --> 00:36:35.280
first released in nineteen twenty eight by Clarence Pinetop Smith.

246
00:36:36.239 --> 00:36:41.360
Now Cleo Brown is considered to be certainly the mother

247
00:36:41.719 --> 00:36:46.440
of female boogie woogie, one of the earliest innovators, and

248
00:36:46.920 --> 00:36:51.079
heard with her wonderful rendition of the song here on

249
00:36:51.159 --> 00:36:55.400
the make Believe Ballroom. Cleo was born with a great name,

250
00:36:55.559 --> 00:36:58.960
Cleopatra Brown. She could have had a very long and

251
00:36:59.079 --> 00:37:03.159
successful career in music, but she decided to go in

252
00:37:03.480 --> 00:37:10.760
a different direction. In nineteen fifty three, Cleo was a

253
00:37:11.760 --> 00:37:15.159
well She was a deeply religious woman, and she decided

254
00:37:15.239 --> 00:37:18.239
that she had another purpose other than music, So she

255
00:37:18.519 --> 00:37:21.920
went back to school and then spent the next twenty

256
00:37:22.079 --> 00:37:24.679
years of her life as a nurse. Why don't we

257
00:37:24.719 --> 00:37:27.400
play another one by Cleo Brown?

258
00:37:39.000 --> 00:37:42.440
Goodness, gracious me, I'm so excited.

259
00:37:43.320 --> 00:37:45.679
I'm so delighted. There's a reason.

260
00:37:45.840 --> 00:37:50.760
Won my heat have the holy heya tea goodness graciously

261
00:37:51.719 --> 00:37:55.239
Loki Loki, LOOKI here comes Cookie Walking down the street

262
00:37:56.119 --> 00:37:59.599
lokal LOOKI LOOKI I call them cookie calls he sweet

263
00:38:00.360 --> 00:38:01.239
looking Loki LOOKI.

264
00:38:01.480 --> 00:38:05.599
Here comes looking water lucky brain Loki Loki lookie.

265
00:38:05.719 --> 00:38:09.199
I call him cookie cause it takes a cake when

266
00:38:09.280 --> 00:38:11.800
he's near on My lips say, oh my heart says

267
00:38:11.840 --> 00:38:15.920
a try alive when he kisses old, it's t and

268
00:38:16.079 --> 00:38:20.320
deep to look a looky looky. Here comes Cookie water

269
00:38:20.519 --> 00:38:24.639
fix my tie. Just a little anger playing hockey from

270
00:38:24.679 --> 00:38:26.480
having on high on mine so.

271
00:38:26.599 --> 00:39:06.000
It is compable looking lucky.

272
00:39:06.119 --> 00:39:10.199
Here comes to me walking down the street, looking looking.

273
00:39:10.360 --> 00:39:14.639
I call him cookie House. He's oh looking lucky.

274
00:39:14.760 --> 00:39:19.880
Here comes Cooky waterlogging looking looky. I call him cooking

275
00:39:20.280 --> 00:39:23.840
cause he takes a cake when he's kneel My lips say,

276
00:39:23.960 --> 00:39:27.800
oh my heart says, our trial a lot when it kisses, Oh,

277
00:39:28.400 --> 00:39:32.480
it's d n D part too looky looky. Here comes

278
00:39:32.559 --> 00:39:34.519
down God afs my tongue.

279
00:39:35.239 --> 00:39:38.639
Just a little angel playing looking from heaven on high.

280
00:39:38.760 --> 00:39:40.119
Oh my sweet is.

281
00:39:40.119 --> 00:40:22.480
Talking Cleo Brown, Lucky, lucky Lucky. Here comes Cookie A

282
00:40:22.639 --> 00:40:27.039
great tune off Decca Records, Cleo on piano and vocal,

283
00:40:27.800 --> 00:40:33.000
Perry Botkin on guitar, Alreadie Bernstein on bass and gene

284
00:40:33.119 --> 00:40:37.519
Krupa with the drums, recorded in New York City, April

285
00:40:37.599 --> 00:41:35.760
of twelfth, nineteen thirty five, at.

286
00:41:45.519 --> 00:42:28.679
His Agar t.

287
00:42:30.280 --> 00:42:32.360
Everybody man came by a.

288
00:42:34.480 --> 00:42:37.000
Man meet me.

289
00:43:05.320 --> 00:43:07.159
There with.

290
00:44:01.800 --> 00:44:05.360
We just heard a test pressing of Charlie Spevac and

291
00:44:05.480 --> 00:44:10.639
his Orchestra with Hopskip and Jump recorded in nineteen forty one.

292
00:44:11.519 --> 00:44:15.960
Charlie Spevac, a sweet tone trumpet player, owned much of

293
00:44:16.039 --> 00:44:20.360
his success to one giant of the big band era.

294
00:44:20.679 --> 00:44:25.360
And here is that giant with Charlie Spevac on trumpet

295
00:44:25.920 --> 00:44:28.159
as well as Bunny Berrigan.

296
00:45:06.400 --> 00:45:07.519
The difference.

297
00:45:09.039 --> 00:45:09.400
Different.

298
00:45:22.760 --> 00:47:14.480
They recorded on April twenty fifth, nineteen thirty five, in

299
00:47:14.679 --> 00:47:19.519
New York City. It was released by Columbia Records. Glenn

300
00:47:19.599 --> 00:47:22.960
Miller and his Orchestra with solo hop, that being one

301
00:47:23.000 --> 00:47:27.159
of the earliest efforts by Glenn and his own orchestra,

302
00:47:27.440 --> 00:47:32.519
including the sweet trumpet of Charlie Spevac. So, as the

303
00:47:32.599 --> 00:47:38.199
story goes, Glenn and Charlie became quick friends and professional collaborators,

304
00:47:39.079 --> 00:47:43.800
Miller playing a pivotal role in launching Spevac's career as

305
00:47:43.840 --> 00:47:47.840
a band leader. Glenn not only encouraged Spevak to form

306
00:47:47.960 --> 00:47:51.320
his own band, but also provided financial backing in nineteen

307
00:47:51.519 --> 00:47:56.039
forty to start his own orchestra. It was Glenn that

308
00:47:56.159 --> 00:47:59.400
actually coined the nickname that Charlie would use for the

309
00:47:59.480 --> 00:48:03.360
rest of him his career. Glenn called him the man

310
00:48:03.440 --> 00:48:07.760
who played the sweetest trumpet in the world. We just

311
00:48:07.960 --> 00:48:11.559
played for you, some Charlie Spevak.

312
00:48:20.119 --> 00:48:26.320
If you ever changed your mind, I'll be around where

313
00:48:26.440 --> 00:48:31.679
I used to be, lonely heart and love, waiting for

314
00:48:31.920 --> 00:48:34.000
your cold if you.

315
00:48:34.199 --> 00:48:40.440
Ever changed your mind. Since you've been away at find

316
00:48:42.519 --> 00:48:47.760
nobody else means a thing to me, and I miss

317
00:48:47.880 --> 00:48:53.400
you so but you'll only know if you ever change

318
00:48:53.559 --> 00:48:59.039
your mind. A million times I've wondered how we could

319
00:48:59.159 --> 00:49:07.639
have said good goodbye. A million times I've wondered if

320
00:49:07.679 --> 00:49:11.760
you feel the same as I. I'm so long to

321
00:49:11.960 --> 00:49:18.920
my good cry though you left my love behind, I'd

322
00:49:19.079 --> 00:49:25.639
wait an endless ee turnuity makes no difference who once

323
00:49:25.760 --> 00:49:26.599
appeal to you.

324
00:49:27.719 --> 00:49:30.639
I'll be gentle, sweet and kind.

325
00:49:32.400 --> 00:50:23.440
If you ever change your mind. A million times I've

326
00:50:23.599 --> 00:50:32.239
wondered how we could have said goodbye. A million times

327
00:50:32.360 --> 00:50:37.519
I've wondered if you feel the same as I. I'm

328
00:50:37.679 --> 00:50:41.920
so long to myke could cry though you left my

329
00:50:42.199 --> 00:50:51.239
love behind, I'd waited unless e turning makes no difference

330
00:50:51.360 --> 00:50:53.480
who once appealed to you.

331
00:50:54.679 --> 00:50:57.599
I'll be gentle, sweet and kind, and.

332
00:50:59.360 --> 00:51:10.440
If ever change a mind, every ever change a.

333
00:51:10.639 --> 00:51:16.480
Mine from Decca Records, if you ever changed your mind

334
00:51:16.800 --> 00:51:20.880
with Ella Fitzgerald and her Savoy Eight, recorded back in

335
00:51:21.000 --> 00:51:26.079
nineteen thirty nine. Ella and the Savoy Eight a contingent

336
00:51:26.360 --> 00:51:29.920
of the Chick Web Band, through which, as many of

337
00:51:30.039 --> 00:51:33.360
us know, Ella became a star. And I think on

338
00:51:33.519 --> 00:51:39.199
that record the great Tommy Fulford was playing the piano,

339
00:51:39.360 --> 00:51:44.119
and what a wonderful piano sound that was. I'm Jeff Bresler,

340
00:51:44.360 --> 00:51:47.320
and we are believe it or not, winding down this

341
00:51:47.599 --> 00:51:50.920
edition of the Make Believe Ballroom, but still some business

342
00:51:51.000 --> 00:51:54.559
to attend to. That being an email request submitted by

343
00:51:55.639 --> 00:52:00.920
Walter Coleman from Philadelphia, Pennsylvania, and it reads, I am

344
00:52:01.000 --> 00:52:06.039
related many times removed to an old baritone singer named

345
00:52:06.159 --> 00:52:10.039
Stuart Allen who sang in the nineteen thirties on record

346
00:52:10.199 --> 00:52:14.280
and radio. Can you play something from him if you

347
00:52:14.440 --> 00:52:19.159
can find it, it would be much appreciated. And that's

348
00:52:19.239 --> 00:52:22.480
signed by Walter. And indeed, Walter, I did find the

349
00:52:22.599 --> 00:52:24.679
recording by Stuart Allen.

350
00:52:24.960 --> 00:52:25.440
Just for you.

351
00:53:24.840 --> 00:53:27.000
You hit the spot like.

352
00:53:27.079 --> 00:53:30.480
A bombie breeze on a night in May. You hit the.

353
00:53:30.559 --> 00:53:33.679
Spot like a koom in julip on a summer day,

354
00:53:34.360 --> 00:53:39.159
you hit a new high. In my estimation, I had

355
00:53:39.239 --> 00:53:42.880
you all because you've got so much on the ball.

356
00:53:43.360 --> 00:53:46.519
You hit the spot like the first embrace when the

357
00:53:46.639 --> 00:53:50.280
night is fine. You hit the spot like a pipe

358
00:53:50.320 --> 00:53:53.679
fast nimbers by a fireside. Matter of fact, ME don't

359
00:53:53.719 --> 00:53:56.239
know exactly what it is that you've got.

360
00:53:56.639 --> 00:53:58.199
But you.

361
00:54:48.760 --> 00:54:53.800
From Victor Records with Richard Himber and his Ritz Carlton Orchestra,

362
00:54:54.159 --> 00:54:57.880
we just heard the Stewart Allen vocal of you hit

363
00:54:57.960 --> 00:55:03.480
the Spot, recorded back in nineteen thirty six. In my estimation,

364
00:55:03.679 --> 00:55:09.519
an unusual recording in that the song was probably never

365
00:55:09.679 --> 00:55:15.800
played in the stodgy Ritz Carlton by Himber. And I

366
00:55:15.880 --> 00:55:18.639
think you can hear in the record that Walter Coleman's

367
00:55:18.719 --> 00:55:23.079
relatives Stuart Allen had the sound of a Ritz Carlton

368
00:55:24.159 --> 00:55:30.039
exclusive New York Hotel band type baritone voice. So thanks

369
00:55:30.119 --> 00:55:34.039
Walter Coleman for your request to hear and let our

370
00:55:34.199 --> 00:55:37.360
audience enjoy a vocalist. I don't think I ever played

371
00:55:37.400 --> 00:55:42.920
here in the Make Believe Ballroom. Stuart Allen and folks,

372
00:55:43.159 --> 00:55:46.840
Unfortunately we are out of time. The big hand on

373
00:55:47.000 --> 00:55:49.079
the big bull of a clock here in the Crystal

374
00:55:49.199 --> 00:55:52.320
studio is approaching the top of the hour. Thanks so

375
00:55:52.440 --> 00:55:55.760
much for joining me today to reach me, I'm Jeff

376
00:55:55.840 --> 00:55:59.559
at Make Believe Ballroom Radio dot com. That's Jeff at

377
00:55:59.599 --> 00:56:02.199
make bel Ballroom Radio dot com. I just want to

378
00:56:02.239 --> 00:56:07.280
take a moment to thank our syndicators and distributors for

379
00:56:07.480 --> 00:56:11.920
offering the Make Believe Ballroom cost free to commercial, free, public,

380
00:56:12.000 --> 00:56:16.679
community and university radio stations. They are the Public Radio

381
00:56:16.800 --> 00:56:22.920
Exchange PRX, the PACIFICA Network, and Global Community Radio. The

382
00:56:23.000 --> 00:56:28.559
program's flagship affiliate is Jazz ninety point one WGMC in Rochester,

383
00:56:28.719 --> 00:56:32.280
New York. The Ballroom is also heard on your favorite

384
00:56:32.320 --> 00:56:38.519
podcast provider or via make Believe Ballroom dot com. So

385
00:56:38.719 --> 00:56:42.639
until next week, this has been Jeff Bressler.

386
00:56:46.199 --> 00:56:48.760
With a small room you know.

387
00:56:48.960 --> 00:56:50.440
Make me leave All room

388
00:56:52.199 --> 00:57:59.280
Utpotition English