Oct. 18, 2024

Make Believe Ballroom - 10/18/24 Edition

Show Notes
Transcript

On this week's Make Believe Ballroom broadcast on member supported Jazz 90.1 in Rochester, NY, and on other fine radio affiliates across the United States as well as in the United Kingdom - possibly the big band era radio's most listened to orchestra, an RCA Victor major mess, musicians strike of 1942-44 workarounds - all this and many, many more great records to enjoy on this show!

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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.

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Good cheer your way.

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It's make believe ballom time and free to everyone. It's

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no time to friend your Dalis.

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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.

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And mister Miller, but you're in the wood.

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It's make believe ballom time.

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We are of sweet romance.

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As you make it.

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Come on, Jim last dance, lastes.

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Hi, folks, I'm Jeff Presler, turning on the lights of

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the Make Believe Ballroom and welcoming you into my Crystal

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studio for another hour of the greatest swing, jazz and

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big band hits of the nineteen thirties and nineteen forties.

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I'm hosting the show to keep the music and traditions

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of past hosts Martin block Al, Jarvis William B. Williams,

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and the legendary Steve Allen alive. Whether one of my

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longtime listeners or maybe today tuning in for the first time,

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I invite you to join me for some of the

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greatest jazz and swing hits from the big band era.

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Hello World and a Welcome, Welcome, welcome, one and all

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into the Make Believe Ballroom, coming to you coast to

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coast and across the Atlantic Ocean on stations like members

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supported Jazz ninety point one WGMC in Rochester, New York

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and on a fine affiliates across the United States as

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well as in the United Kingdom. And I am going

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to open today's show with a band leader. Well, he

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was a bandleader who didn't record records, but in actuality

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he led a radio orchestra. And you might be surprised

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by this, but that radio orchestra was probably heard by

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more people across the United States than any other big

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band of the era. That was the Billy Mills version

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of Ding Dong The Witch Is Dead, recorded from the

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Fiber McGhee and Molly Radio Show on November fourteenth, nineteen

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thirty nine. And I mentioned before the song that Billy

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Mills orchestra was probably heard by more people than any

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other band leader of the big band era. Billy was

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a very talented orchestra leader and arranger, and he had

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the good fortune of working on the NBC Radio Network Fiber,

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McGhee and Molly Radio show from nineteen thirty eight until

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his last broadcast as band leader, which was in June

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of nineteen fifty three. Now, while all the top band

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leaders of the era did radio via radio remotes from

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various hotels and ballrooms, none, and I mean absolutely none,

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And you know I'm talking about Ben Goodman, Artie Shaw,

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Glenn Miller, Tommy Dorsey, Jimmy Dorsey. I mean, I could

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go on and on, but none had the listenership of

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Billy Mills. And why was that? Well, it was because

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the hotel and ballroom radio remotes were usually presented later

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at night, after prime time, and those radio remotes appealed

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mostly to younger folks who enjoyed the jazz and swing.

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Fibber McGee and Molly for the uninitiated, was a comedy

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program that had mainstream appeal and for many many years

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was one of radio's most listened to programs. So when

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I just played Ding Dong the Witches Dead from that

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November fourteenth, nineteen thirty nine broadcast, which took place at

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nine to thirty PM during prime time, there were probably

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over thirty five million, thirty five million Americans tuning in.

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So that is why one Billy Mills had the same

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popularity as many of the big bands of the era.

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Let's play one more from Billy Now.

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His Office Journey.

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The game is Blandman.

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All the cats join in.

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Up in the old gilap Man head or the market

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shop Man, Love cast Joiny.

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Down those molaster bit comes up one banana.

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Split off the cast journey, drop your jacket the old

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juke box. Play your favorite this when you dance with

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the body socks you don't set your own restaurant rapping.

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Everybody swing and swing till the raptors ring and Bob cast.

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Joiney Billy Mills with all the cats join in, and

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this cat is glad that you joined in today. For

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this edition of the Make Believe Ballroom, coming to you

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from the Crystal Studio in New York, I'm going to

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play another record, and then after that we will listen

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to a record that was beautiful, but a record that

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was also not so beautiful because it was beset with

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the ugly problems when it was first released in nineteen

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thirty seven. First though, this record.

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Don't sit under the Apple tree with anyone else but me,

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anyone else but me, anyone else but me.

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No, no, no, don't sit.

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Under the apple tree with.

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Anyone else but me until I come marchin home.

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Don't go walking down Lovers Lane with anyone else but me,

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anyone else.

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But me, anyone else but me. No, no, no, don't

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go walking.

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Down Lovers Lane with anyone else but me until.

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I come marchin home.

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I just got word from a guy who I heard

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from the.

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Guy next door to me.

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The girl he met just loves to and it.

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Fits you dirty.

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So don't sit under the apple tree with anyone else

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but me till I come.

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My jan on.

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Don't give up with those slips of yours to anyone

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else but me, anyone else but me, anyone else but me. No, no, no,

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Watch the girls on the foreign shores. You have to

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report to me when you come marching home. Don't hold

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anyone on your knee.

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You better be true to me. You better be true

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to me.

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You better be.

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True to me. Don't hold anyone on your knee.

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You get nothing third degree. When you come marching home, you're.

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On your own.

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Weather is no phone, and I can't keep tab on.

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You be fed for me. I'll guarantee you this is

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one thing that I'll do. I won't sit under the

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apple tree with anyone else but you till you come

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marching home.

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Don't sit under the apple tree with anyone else.

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For me, I know the apple tree is deserved.

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By you and me me to you come marchin.

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That was don't sit under the apple tree on Bluebird Records,

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recorded February the eighteenth, nineteen forty two, Glenn Miller and

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his orchestra with vocals by Tex Benecket, Marion Hutton and

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the Modernaires, and now here on the Make Believe Ballroom.

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The song I referred to a little while ago that

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created a huge scandal.

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Bod night, my lord, you die your omnes, sending you

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night my love, my mon man, when you know in.

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It but no heavenly.

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Holding you both to me, it will be Heaven. Leave

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to hold you again, little dream the though.

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A boat.

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Have promised to meet us to marble Till then, my lord,

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how do we read the new dayvil.

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Sing so ball the present? We will have to fall, please,

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my love? Good not.

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My lord, remember that you ma.

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That was the dynamic combination of Benny Goodman and Ella

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Fitzgerald with Goodnight my Love, recorded on Victor Records in

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New York City, November the fifth, nineteen thirty six. The

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song may have been recorded by Victor Records in thirty six,

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but believe it or not, it was not released until

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the early nineteen sixties. So let me take a few

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moments to explain to you this musical mess. So, when

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Victor first recorded the song, it was accredited to Benny

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Goodman and his orchestra with the title of a quote

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unquote unknown vocalist on the record label. And the reason

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Ella was not credited is because she was under contract

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to Decca Records at the time and de Benny had

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his long standing contract with Victor. So with Ella signed

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to Decca, obviously she wasn't supposed to be recording for Victor.

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But Fitzgerald had such a distinctive voice as we all know,

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that when the record was released, the Decca executives immediately

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recognized that Ella had made the recording. It's kind of

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hard to believe that Victor, for whatever reason, thought that

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Ella's voice could pass as a neutral sounding, quote unquote

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unknown vocalist, but I guess they did. And so as

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a result, Decca did what many other corporations would do.

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They decided to sue Victor. So, with that threat looming

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over them, Victor wisely withdrew the record and re recorded

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it using Francis Hunt as the vocalist, and strangely enough, they,

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for whatever reason also listed her on the record label

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as quote unquote an unknown artist, or they had an

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overabundance of record labels sitting around that they never had

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the opportunity to place on the Fitzgerald Goodman recording. But

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in the end, the Francis Hunt recording of A good

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Night My Love with Benny Goodman scored as a huge hit.

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As a matter of fact, that hit number one on

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the Hit Parade, and the Ella Fitzgerald version, which I

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just played, remained in the Victor Volts for over twenty years,

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finally being re released in the early nineteen sixties. So

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a pretty amazing song of the back office? How shall

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I describe at the back office shenanigans and problems that

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were created by such a beloved tune. And as I

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say so often, every record has a story behind it,

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whether that be about the orchestra, it's a leader, the composers,

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the record label, or its vocalist. Let's listen to one

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more non scandal written record from Benny Goodman s on

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Victor Records. Walk, Jenny Walk, Benny Goodman and his Orchestra,

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recorded in Chicago, April of nineteen thirty six. I'm Jeff

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Presler and you're listening to the one, the only, the

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original Make Believe Ballroom heard on the radio almost continuously

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since February of nineteen thirty five. And I can be

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reached for your comments and requests at Jeff Make Believe

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

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Radio dot com. And to friends, I think you will

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enjoy this next record. No here you was God, I'm

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gonna starts the giant.

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You're gonna answer me. I'm gonna hit him high.

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I'm gonna hit him blow, So look out barns.

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Then we go.

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That was Carl Barto and his orchestra. A Sultan Goes

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to Harlem, recorded on British Decca in London the twenty

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third of February nineteen forty four, with a Carl Barito

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vocal You know it's intra thing, at least to me,

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that the clarinetist, vocalist and bandleader Carl Barratou played a

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song about Harlem, because to my knowledge, he never visited

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there or for that matter. I don't think he ever

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visited the United States period. Carl Barrato was born in Trinidad,

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and he was one of the few West Indian band

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leaders to enjoy a successful career of swing and jazz music.

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Carl spent most of the era in Trinidad. He eventually

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resettled in London, and he signed a recording contract with

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Decca in the nineteen forties, and although kind of obscure

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on American shores, the British magazine Melody Makers named him

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Carl barrattou the best clarinetist for seven consecutive year years.

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Let's listen to one more by Carl and the Orchestra.

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I'll get back.

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As as long as I.

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Oh they be rained.

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Darkness, I do.

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Complain, I see it through.

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Oh you may.

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Be far away, Say what care.

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As long as I.

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Carl Barrito and his orchestra, I'll get by, as long

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as I have you recorded in Lion, May the eighth,

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nineteen forty four, and on that record was a May

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Cooper vocal. So a little about bandleader Carl Barito and

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the Carl played and recorded in London. So why not

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one more for all of our affiliates? In the United

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Kingdom from another UK bandleader.

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Woe is Me?

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I have set you freezing.

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Now I'm sorry, I can be Ain't you got no sympathy?

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Whoas you were right and I was wrong.

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I keep singing the Holiday Long and the Horble by

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the key.

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Whoa every night, this guy every day in this new day.

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Every time I hear is less please again and let

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me live again?

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Woe is Me?

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And now I know now what's crazy to let you go?

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Love?

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You got the ya between Whoa.

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Everything ever.

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On Rex Records. That was British band leader Sid Phillips

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and his rhythm with Woe is Me, recorded in London

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on the seventh of February nineteen thirty six. On that

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one a Jack Cooper vocal, I'm going to go back

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to back with records. Then I'm going to tell you

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a story of how Frank Sinatra slipped one.

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By ye.

246
00:35:29.800 --> 00:35:34.880
Count Basie and his orchestra Pannessee Stomp, recorded on Brunswick

247
00:35:34.960 --> 00:35:38.360
Records in New York City back in nineteen thirty eight,

248
00:35:39.039 --> 00:35:41.559
and I mentioned that I wanted to talk about how

249
00:35:41.679 --> 00:35:47.639
Sinatra snuck one in so to speak, during the devastating

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00:35:48.000 --> 00:35:53.440
musician strike of nineteen forty two to forty four. Many

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00:35:53.519 --> 00:35:56.320
say the strike was not the main cause, but was

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00:35:56.639 --> 00:36:00.400
one of the key events that led to the demise

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00:36:00.719 --> 00:36:04.960
of the big band era. And we've gone over that

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00:36:05.000 --> 00:36:08.920
strike many, many times, but I'll give you a quick review.

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00:36:09.960 --> 00:36:14.280
In nineteen forty two, the American Federation of Musicians, at

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00:36:14.280 --> 00:36:20.480
the instigation of their union president James Petrillo, began to

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00:36:20.559 --> 00:36:25.480
strike against the major American record companies because of disagreements

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00:36:26.159 --> 00:36:31.280
over royalty payments. Beginning at midnight on July the thirty

259
00:36:31.320 --> 00:36:36.480
first of nineteen forty two, no union musician was allowed

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00:36:36.519 --> 00:36:42.239
to make commercial recordings for any commercial record company. So

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00:36:42.320 --> 00:36:47.559
that meant that a union musician was allowed to participate

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00:36:47.639 --> 00:36:52.400
on radio programs and other kinds of musical entertainment, but

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00:36:52.920 --> 00:36:58.239
not in a recording session. So Sinatra, through his radio

264
00:36:58.360 --> 00:37:04.079
and theater performances nineteen forty two, was becoming a total megastar.

265
00:37:05.360 --> 00:37:09.239
You'll Never Know was the first solo hit of Frank's

266
00:37:09.280 --> 00:37:13.039
new Columbia Records contract, and it peaked at number two

267
00:37:13.719 --> 00:37:18.360
in nineteen forty three. And since he couldn't record the

268
00:37:18.519 --> 00:37:23.239
song using a studio orchestra, the record was made totally

269
00:37:23.840 --> 00:37:54.320
a cappella and credited to a Frank Sinatra vocal with chorus.

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00:37:44.039 --> 00:37:47.360
You never know, just how.

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00:37:57.599 --> 00:37:59.199
You never know?

272
00:38:00.239 --> 00:38:04.679
Just tomm ah care.

273
00:38:10.800 --> 00:38:16.800
And if I tried, I still couldn't hide.

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00:38:17.480 --> 00:38:18.199
My Lord.

275
00:38:20.800 --> 00:38:30.239
You ought to know, as haven't I told you so?

276
00:38:33.079 --> 00:38:34.800
A million or.

277
00:38:35.159 --> 00:38:46.000
More tis you went away and my heart went with you.

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00:38:51.599 --> 00:38:55.000
I speak your name in my air.

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00:38:57.599 --> 00:38:58.000
Prayers.

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00:39:02.360 --> 00:39:08.920
If there is someother way to prove.

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00:39:09.119 --> 00:39:12.480
That I know you, I swear.

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00:39:13.000 --> 00:39:15.119
I don't know.

283
00:39:18.440 --> 00:39:20.000
You never know.

284
00:39:21.480 --> 00:39:34.199
If you don't, you know, you will away?

285
00:39:35.679 --> 00:39:47.440
Must you? I see going?

286
00:39:57.079 --> 00:40:02.960
Its very so other way too.

287
00:40:06.239 --> 00:40:14.840
I swear you never know.

288
00:40:16.559 --> 00:40:32.079
If you don't, no, no, you'll never know. The Musicians

289
00:40:32.079 --> 00:40:36.360
Strike release on Columbia Records in nineteen forty three, all

290
00:40:36.559 --> 00:40:41.559
a cappella, Frank Sinatra and chorus, that chorus being the

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00:40:41.880 --> 00:40:50.519
Bobby Tucker singers. You know, folks, I wasn't going to

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00:40:50.679 --> 00:40:55.119
continue to talk about the record strike beyond Sinatra, but

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00:40:55.239 --> 00:40:58.480
let me throw myself a curveball. I was going to

294
00:40:58.559 --> 00:41:01.239
go on to reading some of you your emails, but

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00:41:01.320 --> 00:41:04.280
we could hold that off for a little while, I

296
00:41:04.400 --> 00:41:08.519
think because there were so many interesting components to the

297
00:41:09.519 --> 00:41:13.480
musicians Strike in terms of how records were still distributed

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00:41:13.920 --> 00:41:18.360
even after the strike began, and I think it warrants

299
00:41:18.880 --> 00:41:24.559
some time talking off the top of my head, and

300
00:41:24.679 --> 00:41:27.920
there ain't much top to my head anymore, but bear

301
00:41:28.039 --> 00:41:34.000
with me. In early July of nineteen forty two, at

302
00:41:34.039 --> 00:41:37.000
that time, it was becoming painfully apparent that the band,

303
00:41:38.320 --> 00:41:41.400
even though in negotiations were going on, but that the

304
00:41:41.480 --> 00:41:46.800
band would indeed take place. So America's big three record

305
00:41:46.880 --> 00:41:51.519
companies at the time, which were RCA, Victor Columbia, and Decca,

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00:41:52.599 --> 00:41:56.760
well they began to stockpile new recordings of their most

307
00:41:56.960 --> 00:42:02.239
popular artists, so they still had records to be released,

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00:42:02.360 --> 00:42:06.239
new material to be released, even if the strike took place.

309
00:42:07.039 --> 00:42:11.000
So it was, in essence, a recording frenzy in July

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00:42:11.199 --> 00:42:15.199
of nineteen forty two like the industry had never seen.

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I think in the first couple of weeks of July,

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00:42:20.840 --> 00:42:24.559
new material was introduced by all the big name bands,

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00:42:24.599 --> 00:42:27.719
and throughout the month of July, I mean you're talking

314
00:42:27.719 --> 00:42:32.360
about everybody, Tommy Dorsey, Jimmy Dorsey, Charlie Barnett, Glenn Miller,

315
00:42:32.480 --> 00:42:39.000
Count Basie, Benny Goodman, Kay Kaiser, all of Duke Ellington,

316
00:42:39.119 --> 00:42:41.840
count Basie, all the big names at the time, were

317
00:42:41.920 --> 00:42:47.079
recording in July of nineteen forty two. So as I speak,

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00:42:47.280 --> 00:42:53.719
I am going to the playlist computer to let's see here.

319
00:42:53.840 --> 00:42:56.800
Let me fire this up to look up what was

320
00:42:56.920 --> 00:43:00.840
recorded in July of nineteen four two to give you

321
00:43:00.920 --> 00:43:07.079
a flavor of that frenzy. Let's see, here's one by

322
00:43:07.199 --> 00:46:24.840
Harry James that just just made the deadline, and the

323
00:46:24.920 --> 00:46:29.800
original seventy eight was issued on Columbia Jump Town. Harry

324
00:46:29.920 --> 00:46:33.320
James and his orchestra recorded in Hollywood July the twenty third,

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00:46:33.480 --> 00:46:36.559
nineteen forty two, and that was just about ten days

326
00:46:37.159 --> 00:46:40.679
before the Strength began. And while I was playing that one,

327
00:46:40.760 --> 00:46:41.840
I found another.

328
00:46:41.639 --> 00:48:04.679
One Nationals.

329
00:49:43.280 --> 00:49:47.400
That was Refect by Freddie Slack and his orchestra, recorded

330
00:49:47.480 --> 00:49:52.199
during the July nineteen forty two flurry of pre musicians

331
00:49:52.280 --> 00:49:57.239
strike activities, and that record was eventually released in early

332
00:49:57.320 --> 00:50:02.000
of nineteen forty three. And let me find one more.

333
00:50:02.679 --> 00:50:08.000
During the recording frenzy, of course, I think after this,

334
00:50:08.199 --> 00:50:10.199
I want to get back on track with some of

335
00:50:10.280 --> 00:50:15.159
the other things we had planned on this program. Let's see,

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00:50:15.159 --> 00:50:18.159
I'm doing this live obviously and off the cuff, so

337
00:50:18.280 --> 00:50:19.199
let me play this one.

338
00:50:31.400 --> 00:50:36.599
I left my Babies of the Rockies, north of the

339
00:50:36.760 --> 00:50:39.960
Rio Brand, west of the Sippy.

340
00:50:41.400 --> 00:50:43.440
Shout love to go to Lane.

341
00:50:44.320 --> 00:50:49.920
When you hit Texas, take route thirty three, turn right

342
00:50:50.000 --> 00:50:53.239
a Dreamy Valley left the lovers Alli sant A eat

343
00:50:53.320 --> 00:50:57.400
the Apple dream I bo shoving off Fan. I'm sailing

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00:50:58.880 --> 00:51:03.719
but sure, I know and I remember.

345
00:51:04.880 --> 00:51:06.440
Just where I have to go.

346
00:51:07.599 --> 00:51:13.400
He's of the Rockies, north of Brial Grains, west of

347
00:51:13.480 --> 00:51:17.480
the Sippy, south of Dakota, and justin of Texas through

348
00:51:17.639 --> 00:51:21.559
thirty three Dreamy Valley Lovers, Alice Dapas the apple tree,

349
00:51:21.880 --> 00:51:23.880
Habama Baby waiting.

350
00:51:23.760 --> 00:51:24.559
There for me.

351
00:51:26.800 --> 00:51:33.159
Ha ha ha ha ha ha ha.

352
00:52:01.679 --> 00:52:03.559
My boat shoving off Fan.

353
00:52:04.000 --> 00:52:06.360
I'm sailing away away and.

354
00:52:06.599 --> 00:52:12.280
I will return. I know, and I remember just where

355
00:52:12.440 --> 00:52:13.920
it is that I have to go.

356
00:52:14.239 --> 00:52:17.920
I have to go east off the Rockies and north

357
00:52:18.000 --> 00:52:19.480
of the reheel Brain.

358
00:52:20.119 --> 00:52:23.480
Go west of the city, south of Dakota Land.

359
00:52:23.719 --> 00:52:28.000
Just think of Texas fo thirty three Dreamy Valley Lovers, Allie,

360
00:52:28.000 --> 00:52:31.719
stop and see the apple tree, Habama Baby waiting far

361
00:52:32.079 --> 00:52:32.440
for me.

362
00:52:34.480 --> 00:52:36.119
My boat shoving off band.

363
00:52:36.559 --> 00:52:40.079
I'm sailing far away, long away, and I'll return.

364
00:52:40.199 --> 00:52:45.280
I know, and I'll remember just where it is that

365
00:52:45.400 --> 00:52:46.320
I will have to go.

366
00:52:46.679 --> 00:52:50.159
I have to go East off the Rockies and not

367
00:52:50.400 --> 00:52:56.320
of the l brands were of the Sippi and South

368
00:52:56.679 --> 00:53:02.079
of the Cortland, Jumping up Texas through thirty three Dreamy

369
00:53:02.159 --> 00:53:06.679
Ballle Love As, Alicetops, The Apple Tree, Pabama, Baby White.

370
00:53:06.719 --> 00:53:07.920
Laugh, Bamy.

371
00:53:14.519 --> 00:53:17.960
On Decca Records. East of the Rockies by the Andrew

372
00:53:18.079 --> 00:53:22.400
Sisters Orchestra conducted by Vic Schoen, recorded in New York City,

373
00:53:23.079 --> 00:53:28.639
July the twenty second, nineteen forty two. And I have

374
00:53:28.840 --> 00:53:31.679
found a few more. Maybe I could play one as

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00:53:31.760 --> 00:53:34.880
we go out because we're running out of time. But first,

376
00:53:34.920 --> 00:53:36.880
a few weeks back, when I did a segment on

377
00:53:37.039 --> 00:53:40.440
the nineteen thirty seven Savoy Ballroom Battle of the Bands

378
00:53:40.519 --> 00:53:45.440
between Benny Goodman and Chick Webb, I asked you at

379
00:53:45.519 --> 00:53:49.400
the end to vote on who you thought won. Webb

380
00:53:49.679 --> 00:53:53.920
was declared the winner in nineteen thirty seven, but according

381
00:53:53.960 --> 00:53:58.800
to our unscientific poll, you, my wonderful listeners, said it

382
00:53:58.880 --> 00:54:02.440
was at Goodman who actually won. But to put it

383
00:54:02.519 --> 00:54:06.679
in perspective, IRV Landers who listens to us to make

384
00:54:06.760 --> 00:54:10.679
believe ballroom in Wisconsin, we've heard from IRV in the past, Well,

385
00:54:10.719 --> 00:54:14.599
he's sort of let me have it by saying, since

386
00:54:14.639 --> 00:54:18.199
we weren't there, we had no idea of how the

387
00:54:18.280 --> 00:54:22.719
showmanship of Goodman and Web figured in. From purely a

388
00:54:22.840 --> 00:54:26.920
musical standpoint and listening to the songs you played on

389
00:54:27.119 --> 00:54:31.400
the air, it sounded like Goodman had the edge, but

390
00:54:31.679 --> 00:54:36.639
Web must have outshine Goodman by playing more of what

391
00:54:36.840 --> 00:54:41.440
the audience wanted to hear. From a dancing standpoint. It

392
00:54:41.800 --> 00:54:47.599
was the savoy Ballroom after all, with the three exclamation points. Well,

393
00:54:48.039 --> 00:54:51.440
thank you for that email, IRV, and you were probably right,

394
00:54:52.320 --> 00:54:55.320
and I'm right now by telling you we are at

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00:54:55.400 --> 00:54:58.400
the end of the program for another week. I can

396
00:54:58.480 --> 00:55:02.719

Make Believe Ballroom - 10/18/24 Edition

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