Oct. 24, 2025
Make Believe Ballroom - 10/24/25 Edition
The Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s.
On this week's program: Two Bandleaders are better than one, some bands that performed at the legendary Onyx Club, tracing a Glenn Miller song, plus many more great records and stories to cherish and enjoy on this week's broadcast.
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It's make Believe ballom time. Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make Belief ballroom time and free to everyone. It's
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no time to friend your Dalis said bombs. Close your
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eyes and visual lize in your solitude.
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Your favorite bands are on this stance, and mister Miller
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w you in the boot.
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It's make Believe Ballroom time.
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We are a sweet romance as you make.
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Come on, Jos dast.
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Hello world, I'm Jeff Presler, turning on the lights of
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the Make Believe Ballroom me and welcoming you into my
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Crystal studio for another program of classic big band hits
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from the nineteen thirties and forties. Please get ready as
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I play for you some amazing big band jazz, swing, blues,
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and boogie woogie favorites. Folks, you're listening to the Make
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Believe Ballroom, broadcasting almost continuously since nineteen thirty five. My friends,
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and thanks for joining me in the Crystal studio today
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for another show featuring seventy eight RPM recordings along with
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fascinating stories of legendary band leaders, musicians, composers, and vocalists.
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Well at least I think they're fascinating, but I'll leave
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that up to you. Why don't we start with one
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one of those fascinating stories? Why did I even say that?
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There was an interesting collaboration that took place between nineteen
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thirty five and thirty eight when an orchestra was formed
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by lyricist Eddie DeLange. Eddie started the band and then
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quickly realized he needed help with arranging, so he turned
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to composer and arranger Will Hudson. And what Eddie did
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was offer him a full partnership in the orchestra in
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return for his arrangement services. And that partnership and the
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way it was structured, resulted in great popularity for the duo.
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They recorded more than fifty records and they appeared at
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over two hundred ball dates in addition to hotel appearances.
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So let's play a couple of records from this dynamic
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swing duo that became known as the Hudson Delaang Orchestra
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on Brunswick Records. We just heard Magnolia by the Hudson
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Delang Orchestra, recorded in New York City, made the twenty seventh,
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nineteen thirty seven. So as you heard Hudson Delang. Well,
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they had what could be best described I guess you
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would describe them as a gentle swing band, very nice sound,
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two talented band leaders and songwriters, and Will as an arranger.
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So with that combination you would figure the band would
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have had greater longevity than the four years that they
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were in existence. Well, unfortunately, the partnership between Hudson and
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de Lang began to strain due to differences in personality
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and direction, so eventually, in early nineteen thirty eight, they
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dissolved the Hudson Delang Orchestra. There was a big blow
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to fans, but both guys, Will Hudson and Eddie Delang
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after the split, remained successful, equally successful both songwriters and bandleaders.
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Let me play one more from Will and Eddie sa
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via Brunswick Records. Midnight at the Onyx, written and arranged
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by Will Hudson, performed by the Hudson Delang Orchestra, recorded
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in New York City, November the twenty third, nineteen thirty six.
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So the title of the song I just played Midnight
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at the Onyx refers to Manhattan's famed a nineteen thirties
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and forties jazz spot, The Onyx Club, which was a
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former well, it was a former speakeasy, located a few
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different areas of Manhattan, but finally settling on West fifty
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second Street. Now, I discussed on past programs the history
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of fifty second Street, where both sides of the street
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were packed with jazz clubs. The street was nicknamed Swing
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Street as a matter of fact, come to think of it,
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if you were with us last week, I played a
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song by Dolly Dawn and her Dawn Patrol which was
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an homage to fifty second Street. Now, I can only
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assume but probably Will Hudson and Eddie DeLange while working
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in New York. They recorded in New York and often
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played at the Terrorist Room of the New York Or Hotel.
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Probably one night after a recording session or after a
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hotel gig, Will and Eddie might just have headed over
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to the Onyx Club to get something to eat, eaton,
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listen to some fine music. And that is why they
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paid homage to the Onyx Club with Midnight at the Onyx. Now,
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Larry Clinton and I told this story on a previous show,
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wrote his very popular song Dipsy Doodle on an Onyx
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club menu one night when he was at the club.
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The Onyx actually got its name due to its black
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onyx colored bar. The club, as I mentioned, began as
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a speakeasy during Prohibition, but it went legitimate in nineteen
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thirty four and became a jazz club, and unlike Ballroom's,
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performances at the Onyx were more small group, intimate, jazz oriented,
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and the club quickly became and remained a magnet for
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musicians hanging out in midtown after a big your band
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gigs like Hudson DeLange and Larry Clinton did frequent visitors
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to the Onyx Club. Why don't we take some time
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to listen to a few of the better known small
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jazz performers who graced the Onyx Club with their music.
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Why don't we start. Let me pull up my Onyx
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playlist here. Why don't we start with one of my favorites,
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stuph Smith.
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It ain't right to do what you do with me.
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It ain't right, so don't be a true me. It
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ain't right, So bad, mama, I'm talking. It ain't nothing
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that you handed out to me.
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It ain't not not don't start you shout to me.
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It ain't love so bad? Fi fair well, Oh goodbye?
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Now I go on, but what the news?
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You have killed my dole and goose from my amor
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mothers come to devil, do nothing for me.
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It ain't fined, bay tho, it ain't fight.
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No, no, Mama, don't do that.
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You know where they right there?
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Go for it.
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As we just heard, it ain't right one of a
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string of records that Stuff and his Onyx Club Band
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recorded for Vocalian Records Back in nineteen thirty six, when
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the Onyx Club became a jazz venue after Prohibition, Stup
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Smith became one of the featured headliners, and his group
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Stup Smith and his Onyx Club Boys that we just heard,
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served for a time as the official house band. I'm
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Jeff Presler and you're listening to the one, the only,
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the original Make Believe Ballroom, and I'm currently playing the
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seventy eight RPM records of some jazz greats of the
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thirties and forties who were regulars on the stage at
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the Onyx Club on fifty Second Street in Manhattan. Here
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now is a record from one one of the greatest
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jazz pianists of all time, and he found his first
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regular work at the old Onyx Club. Many art Tatum
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and his swingsters Body and Soul, recorded in Los Angeles
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back in nineteen thirty seven. Art Tatum during his early
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Onyx Club appearances. Believe it or not, Art Who, as
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I mentioned earlier, was to go on to be one
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of the greatest jazz pianists of all time back then,
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was only sometimes brought in as an intermission pianist and
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heat play between the sets of these Spirits of Rhythm,
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one of the club's early headliner groups. And why were
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they a headliner group because they had a lot of talent.
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And you can hear this talent on the record. I
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am about to play.
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I've got rhythm, You've got rhythm. I've got my gam
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who laughs.
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Plenty that on.
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I've got Daisy in green Pastor. I've got my.
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Gal who las.
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Old man fellow.
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I don't find him.
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You won't find him round my door. I've got dark lights,
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I've got sweet trees.
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I've got my gam who laugh at anything anything more.
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I don't let me try.
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I didn't mean not to dry.
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I don't never cry.
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Not that's not nothing.
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Letter h that's nothing, nothing better, something dr that's not
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not better, nothing that I nothing A little at not
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how do you go?
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How do I go?
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Get a guy I love not th I I let him,
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let him, let him better, let him, no, let let
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up the little let us, but let let that learn,
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not learn other letter.
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Perfect, I said I. I tut not loud. Why should
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I stud.
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Old man trouble?
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I don't mind him. You won't mind him, no, miele,
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I said I.
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On Parlophone Records recorded in New York City, October twenty fourth,
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nineteen thirty three, the Five Spirits of Rhythm with I
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Got Rhythm, and that was the first record ever recorded
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by the Five Spirits of Rhythm. And you heard Leo
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Watson as the lead vocalist and scat master on that one.
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I might not be a scat master or have great rhythm,
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but I am Jeff Bresler, and I have records to
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play due to the fact that I am the host
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of the Make Believe Ballroom, and that is what we
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do here each week, play the music of the legends
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of the Big Band. Arin. Thanks for joining me today
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in the Crystal studio where I am playing. Well, it's
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really turning into a little mini alumni reunion of sorts.
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I'm playing some wonderful small group jazz musicians who played
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frequently at the Onyx Club on fifty Second Street in
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New York City. Now, how about a little trumpet.
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Lazy y y me.
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On Decca Records, recorded in New York City on November
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the eleventh, nineteen forty. We just heard Hot Lips Page
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in his band with the song titled South Now. Hot
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Lips Page made his mark on the Onyx Club in
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the nineteen forties. Hot Lips loved all the clubs on
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fifty second Street, and he loved them so much, and
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he hung out on the street so frequently that musicians
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said you could almost pick a night any night and
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hear Hot Lips somewhere on the block playing his trumpet.
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The Onyx Club was one of his favorite bandstands, and
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Hot Lips had said during an interview was because of
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its reputation for showcasing quote unquote both hot soloists and vocalists.
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We just heard the great Hot Lips Page. I have
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a bunch more on the playlist of Onyx Club alumni,
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but let me play. Let's see, I'll play two more
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for you, find folks. I said that Hot Lips Page
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commented on how we liked the Onyx because of their
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hot soloists and vocalists. Now, one of the greatest vocalists
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of the era appeared at the club. I'm talking about
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Mildred Bally. Mildred loved the Onyx, and the Onyx loved her.
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Having Mildred Bally there gave the Onyx added prestige. She
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was one of the most popular female jazz singers of
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the nineteen thirties. Alongside Well, I would put her alongside
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Billie Holiday and Ivy Anderson. Mildred sang at the Onyx,
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often usually with the John Kirby group in the Well
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in the late nineteen thirties. Let me choose one by
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Mildred for you. Yeah, I like this one.
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You told me that you loved me true, and I
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believe in you.
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You broke your bowel.
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Now somehow things I'm always glue. But they'll come a
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day when you're far away.
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You sit alone and cried for me.
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You say some of days that have gone by, some
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days to read heart. You may be sorry all what
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you've done, you high poor heart.
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You may regret.
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The vowel you broke, and the things you did made
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us drift apart.
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You'll having now I cast be how the weary blue.
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Will ever come to you?
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What you know?
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How shall you reap? What you read will make you weep?
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Some days sweet.
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Are come they street hears.
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You may be sorry, but what you've done with Tom
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your horror.
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You may regrets.
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The ball you.
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Rogas have, the thing you did that maye.
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Us dripped apart.
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You're happy now and you can't see how the weary blue.
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You know?
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Oh yeah, you read.
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Mildred Bailey on Vocalion Records from nineteen thirty five with
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Someday Sweetheart. I said I would play two more for you.
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We just played Mildred Bailey. So how about one from
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a frequent visitor to the Onyx Club. He wasn't a
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recurring presence like a Hot Lips page, but he was
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another pianist, certainly on the same orbit and same level
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as our Tatum, and he played at the Onyx Club
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whenever he had a chance. I'm talking about the great
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Eddie Wilson. I'm from the Keystone Transcriptions Teddy Wilson on
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the piano with his rendition of Sunday recorded in nineteen
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thirty nine. Friends, it was my pleasure during this last
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segment to talk about and play some music from some
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of the great musicians who loved to play on fifty
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Second Street in Manhattan and more specifically at the Long
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Gone Onyx Club. I'm not long gone, at least I
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