May 15, 2026
Make Believe Ballroom - 5/15/25 Edition
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.
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It's make Believe ballroom 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. It's no time to
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friend your Dalis said bombs. Close your eyes and visualize
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in your solitude. Your favorite bands are on this dance
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and mister Miller, but you're in the wood.
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It's make Believe ballroom time. We are a sweet romance.
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Is make Believe.
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Come on, Joe.
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Last dance lest.
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Hello world, I'm Jeff Pressler, turning on the lights of
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the Make Belief Ballroom and welcoming you into my Crystal
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studio for another program of classic big band music from
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the nineteen thirties and forties. Please get ready as I
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play for you some amazing jazz, swing, blues, and boogie
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woogie favorites. Folks, you're listening to the Make Believe Ballroom,
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broadcasting almost continuously since nineteen hundred and thirty five. And welcome, Welcome, welcome,
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one and all into the Crystal Studio. And thanks so
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much for joining me today. How about a little Count
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Basie to start the hours?
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The stile.
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Who I thought that I.
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From Okay Records What's Your Number? Count Basie and his
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Orchestra recorded to New York City on October the thirtieth,
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nineteen forty, and the What's Your Number in the title
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that referred to draft registration as the US came closer
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to going to war in World WLD War two. Actually,
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draft registration started on September sixteenth of nineteen forty, with
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the first number being drawn as a draft e to
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number one five eight. Just a little interesting side note there,
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But equally as interesting is that the B side of
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that OK seventy eight RPM record was also draft centric.
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He now, if you've got a loving man, you better
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love him while you gave.
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Perhaps you'll have to do his share.
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To help defend this dear old line. They're drafting many.
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Men right now.
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To give democracy a hand. Before they call your man,
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I'll say these words. You are to understand when all
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concern calls out, ow man, don't die, don't rhyme.
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Called.
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You can't refuse.
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To hold him.
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Bad mind made him slid.
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Just say you gotta go.
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Draft Dan Blue.
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Camp Acy and his orchestra with drafting Blues, Jimmy Rushing
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vocal the B side to the A side. What's your
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number recorded in nineteen forty. I'm Jeff Bresler, and this
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is the make Believe ball room. Why don't we stick
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with Count Basie for a few minutes, the legendary piano
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player and band later the Count had one specific influence
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that led him to the piano at an early age.
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The main guy that really influenced me was Thomas as Sveetzwaller.
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That was the man that I really did analyzka. FETs
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taught me how to play what little bit of organ
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that I do know, and I used to watch him
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lay around him long enough to try to style a
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little piano after him, which was quite difficult.
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Mister Fats Waller with a song many do not realize
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was attributed to him.
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Mister Christopher Lumbus say, uh see without our comfort when
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his men began.
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A rumbers on Christopher Plumber sirs, fad lass time where
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until we get that we would not go wrong if
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we sing sing a song since the world is round,
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though we'll be saying, don't know till our gold is
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bound over.
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We'll just keep rhythm bound over. Since the crew was
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making Merry Marry got up and went home. They came
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up where Isabella, and they brought on the rum and
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Isabel no morem mutine need no What a time.
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It seem Wster Blomber.
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See, Christopher made history gas mister Christopher Lumbus.
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Uh huh.
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He used the rhythm as a compass gash gass music
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ended all the rubbers, guys, Why old Christopher Claus lat
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y'all Christoper?
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Yes, I change.
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No, no, no, well look at that.
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Christie's grandest man of marine and he's going back.
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Yeah that.
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In the year fourteen ninety two, Columbus e the Ocean
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Blue What I think?
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Fats Waller, in his rhythm recorded their hit version of
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Christopher Columbus on April the eighth, nineteen thirty six. The song,
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featuring lyrics by Andy Razoff and music by Chew Berry,
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recorded for the Bluebird label, quickly became a popular swing
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hit in thirty six. It was a wonderful version of
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the song as we just heard, but even though Fats
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introduced it, it was a tune more closely associated with
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the Fletcher Henderson and Benny Goodman. So great music and
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a huge amount of personality from Fats Waller, and a
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number of years ago his son Maurice Waller, I think
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it was in the late eighties, commented on his dad's music.
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They did consider him the the epitome of stride piano playing,
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and he was king.
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Of the stride.
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Now, a lot of people they don't realize that my
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father's biggest thing that made him a real professional that
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get paid him the money. It was not the fact
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that he could play stride piano, but it was the
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fact that he had a personality. So that when my
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father songs like I'm gonna sit right down and write
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myself a letter. I remember distinctly that Victor asked him
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to record that song. They went to everybody else and
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they turned it down, and my father said, okay.
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I'll record it, and he made a hit out of it.
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But it's the way that he sang the song that
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made the thing I hit.
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I'm going to say right down and raise myself a
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lot of love.
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And make me believe the game from you.
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I'm going to raise for her own so sweet that
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all allows me all my.
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Fead a lot of kisses on the bottom.
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HI gonna be glad I got home.
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I'm gonna smile and say, I hope you're.
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Feeling better.
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Him Cloes with long the way you do.
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I'm gonna sat right down and let myself, let her
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him made Believe it came from you, Gonna smile and say,
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I hope you're feeling better, and load and.
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Loud a way.
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I'm going look.
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And write them make.
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Mad Game from Victor Records. I'm gonna sit right down
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and write myself A letter by Fats Waller and his
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rhythm vocal by Fats recorded in New York City May
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the eighth, nineteen thirty five, So two recordings that were
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recorded for the first first time ever by Thomas Fats Waller.
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I'm Jeff Bresler, and you're listening to the one, the only,
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the original Make Believe Ballroom. During Fats, I was thinking
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about Christopher Columbus and Fletcher Henderson, So I picked a record,
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not Christopher Columbus, but another Fletcher Henderson that was sort
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of a novelty tune by him that I think might
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bring back childhood memories to many of you, because that
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novelty lasted for many, many years.
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Many.
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Many many thanks for you. See, she's letting you the
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word ever she go. If you know how plans of men,
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didn't you know how this is playing on your mind
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except go knock knock, knock knock.
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That'st abate you gotta Why must you get away? Now?
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High down?
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How am I doing?
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Hey?
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Hey, lets you.
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Let yourself go oh cofee hop man and do nothing.
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If you know how fun the man, then you know
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how business me and on your mock getting into goom
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knock knock knock, not to brid you got no mind
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out that, no bread, no no the red.
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An, no mon.
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I think many of us remember the knock knock Who's there? Jokes? Well,
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that novelty was at its peak back in nineteen thirty six,
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when Fletcher Henderson and his orchestra recorded a novelty version
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of Knock Knock, Who's There? For Victor Records? And if
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you knock knock, I'm there. I'm being me Jeff Bresler,
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and thanks for joining me today on this week's edition
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of The Make Believe Ballroom.
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Then and the mess Men and Name then.
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Recorded on the Commodore label. On November the thirtieth, nineteen
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thirty eight, we just heard the Bud Freeman Trio and
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their recording of the song three Little Words Bud Freeman
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Tenor Sachs, the Great Jess Stacey on the piano and
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George Wetling playing the drums. The standard Three Little Words
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was written by the legendary Harry Ruby with lyrics by
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Bert Kalmer. How about I offer you.
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Here?
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It is another Harry Ruby standard.
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Oh sorry now?
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Who's sorrynal.
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Whose heart is aching?
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Or preak ing each bom.
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Who's sad and blue.
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And crying?
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Dues?
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Just like I cried over you bought you off.
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Right to the end.
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Just like a friend, I tried to warn you somehow.
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You had your way.
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Now you must pay.
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That's why I'm glad that you're sorry now.
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Anything I.
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Who's Sorry Now? Harry James and his Orchestra recorded for
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Columbia Records on April twenty ninth, nineteen forty six. Vocal
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by Willie Smith, music composed by Harry Ruby. I'm Jeff Presler,
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and this is the weekly edition of the Make Believe Ballroom.
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To reach me, I'm Jeff at Makebelie Ballroomradio dot com.
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That's Jeff at Makebelie Ballroomradio dot com. And a listener
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who did just that. He reached out to us with
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a request, and we will have that said request played
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in just a few minutes a song now probably made
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more famous by the Benny Goodman Sextet, but an admirable
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version Rose Room Jimmy Lunsford and his Orchestra, recorded on
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September the fourth, nineteen thirty four four Decca Records.
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A floor.
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Flooring did.
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Look.
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So you may be asking why Rose Room as the title, Well,
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it takes us back to nineteen seventeen when the band
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leader Art Hickman was playing an extended stay at the
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Saint Francis Hotel in San Francisco, and there he penned
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that ode to the very room he and his band
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were performing in the Rose Room. And you know, strangely enough,
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Hickman died in nineteen thirty not in the Saint Francis Hotel,
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but eerily enough in Saint Francis Hospital in the city
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by the Bay Rose Room. And now I think, oh,
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wait a minute, I forgot earlier I was researching during
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records something I remembered but needed to confirm. Swaller had
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a radio program in New York City during the nineteen thirties.
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Fats was big on the radio, both in studio and
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also doing club radio remotes. He was replaced on one
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of his shows by a lady who was not only
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an outstanding vocalist but also a skilled jazz pianist. Let
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me play one of her records and then a little background.
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Random number of folks called boogie woogie. It's a funny
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little song. Now what I tell you to hold it?
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And I want you to move within? And what I
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tell you to get it? I want you to boogie woogie.
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Hold it now, Billy, we'll get it.
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When I tell you to hold it this time, I
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don't want you.
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To move a pang.
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And when I tell you to get it, I want
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you to mess around or stop stop now now mess around.
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I want that girl with a red dress on any
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kind of dress will do to come overhead stand by
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this skill. Now, what I tell you to hold it,
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I don't want you to move for myself. And when
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I tell you to get it, I want you.
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To shape that thing.
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Now.
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From the decal label Pine Top Boogie Woogie recorded on
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March the twelfth, nineteen thirty five, vocal by I and
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