Oct. 25, 2024
Make Believe Ballroom - 10/25/24 Edition
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 - music you have heard all your life and never paid attention...
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 - music you have heard all your life and never paid attention to, a song salute to a new affiliate, what many say was the first ever jazz festival - all this and many, many more great records to enjoy on this show!
WEBVTT
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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 Believe ballroom time and free to everyone.
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It's no time to.
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Friend your Dalis.
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Said Bamba yours.
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Close your eyes and visualize in your solitude.
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Your favorite bands are on this dance and mister Miller,
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but you're in the wood.
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Its make believe ballroom time.
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We are of sweet romance.
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As you make it. Come on, jo last dance least.
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Hi, folks, I'm Jeff Presler, 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 the greatest hits of the
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nineteen thirties and nineteen forties. I'm hosting the show to
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keep the music and traditions of past hosts Martin block Al,
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Jarvis William B. Williams, and the legendary Steve Allen alive.
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Whether you're one of my longtime listeners or a new
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listener on public broadcasting or community radio stations across the
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US as well as in the United Kingdom, I'm so
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glad you're here to share some of the greatest swing
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in jazz music ever performed, Hello World, and welcome one
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and all into the Make Believe Ballroom, coming to you
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via great stations like Jazz ninety point one WGMC in Rochester,
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New York. Though won the only the original Make Believe Ballroom,
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which is broadcast over the radio almost continuously since nineteen
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thirty five. And I am delighted in honor to sit
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in the host seat as I have for several years,
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and to show you how rich the music of the
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era was. I do fifty two shows a year, and
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each year I really never play the same tune twice,
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just hundreds and hundreds of records to choose from for
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each broadcast. So case in point, how about this record.
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In later time?
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The time the time.
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Think that was exhibition swing Duke Ellington and his famous orchestra,
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recorded in New York City, July the twenty ninth, nineteen
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thirty six. And now a little Artie Shaw then a
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type of music you have heard your entire life, I guarantee,
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and probably never paid much attention to it. That after this.
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The rectory many presents many.
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Artishaw and his orchestra Old Lady be Good, recorded on
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Bluebird Records in nineteen thirty nine, one of Artishaw's greatest hits.
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I'm Jeff Bresler, and you are listening to the weekly
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broadcast of The Make Believe Ballroom, coming to you from
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the Crystal Studio in New York. I can be reached
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at Jeff at Makebeley Ballroom Radio dot com. That's Jeff
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at MakeBelieve Ballroom Radio dot com. I am in as
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I mentioned the Crystal Studio in New York, but the
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Make Believe Ballroom is heard on public and community radio
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affiliated stations across the US as well as in the
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United Kingdom, and I want to take this opportunity need
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to welcome our newest affiliate, a community radio station, and
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I'm delighted that we are in Philadelphia, Pennsylvania, coming to
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you each week over at Northeast Philadelphia Community Radio. I
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think I will play a song to honor that affiliation
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a little later on in the program now, though, I
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want to play a song that reflects a style of
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music you have heard, I'm sure your whole life and
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probably never paid much attention to the man on Columbia
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Records from nineteen forty one, we just heard Eddie Dutchin
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with the Cole Porter standard the way you look tonight Duchin.
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Eddie Dutchin, the father of musician Peter Dutchin, was a
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big band leader, but was really best known for his
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piano solos. So when you heard Eddie Dutchin play, what
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came to mind for you? For me, it was, well,
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it was sitting in a hotel lobby and listening to
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a piano player while perhaps waiting to meet someone for
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a drink or for dinner. Lounge piano players or hotel
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lobby pianists and popular for decades and decades, playing in
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essence background music hotels in Europe likely started the trend
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of lobby pianists tradition that was brought to the United States,
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it is said by wealthy business people and tourists who
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loved that musical atmosphere, something that was lacking in the US,
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And unlike many jazz musicians who came out of the
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speakeasy experience of the nineteen twenties, lounge players initially served
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one basic purpose, and that was to make hotel guests
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fall in love with where they were staying. The piano
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charmed guests into thinking they were at home, or at
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least someplace homie where the flair of the player was
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unconsciously engaging. In other words, you listened to the music
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without paying much attention while you were talking to others
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and enjoying the experience of being in that hotel. Hotel
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lounges and lobbies that employed pianists in the nineteen forties, well,
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they use the music as something of a llure to
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encourage guests into dining in the hotel's restaurant, or as
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a mood setting before seeing a headline artist or a
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big band at the in hotel club or rooftop ballroom.
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In essence, lounge players were well, they served as like
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a musical appetizer, if you will. Ultimately, lounge music was
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meant to coax those who stop by for a drink,
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to linger longer, and of course to benefit the hotel
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by ordering more drinks. So if a lounge pianist additionally
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could sing and banter smartly with the audience between songs,
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well that was considered added financial value for the hotel,
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especially if the songs were catchy and original. Unlike cabaret piano,
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which was raucous and often tied to Broadway material, lounge
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floated between jazz and cabaret not too wild, but not
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to should you say, well doll or cloying. The keyword
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with lounge was intimate. Eddie Dutchin is considered the father
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of lounge music. And by listening to the Way You
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Look Tonight, which I just played, you know why. So
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let's end this segment with Eddie Dutchin's actual challenger for
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the official father of lounge or hotel lobby music, and
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I'm talking about Carmen Cavallero. Carmen was known as the
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poet of the piano, also getting his start with big
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bands and leading his own orchestra. But when you think
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of Carmen Cavallero, you really think of music like.
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This and.
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Thinking about a.
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Talkat that was the Rogers and Hearts song that originated
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back in nineteen twenty five Manhattan, played by the great
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lounge musician Carmen Cavalero and Liberaci. Liberacci once said that
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he stole everything except the flashy rings that he wore
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from Carmen Cavalero. So a little history of lounge or
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lobby piano music that featured Carmen and Eddie Deuchin. A
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little while back, I acknowledged our newest affiliate Northeast Philadelphia
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Community Radio. So in honor of this our newest station, strike.
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Up the music.
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The band has begun, the Pennsylvania pocon Pick out your
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partner and join in the fund the Pennsylvania woll come
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it started, it'spredding, It's now number one.
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It's about to Entertainia.
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Everybody has a mania to do the book from Pensilvania.
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While they're dancing, everybody scars quickly gone sweet raw mancing.
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This stoons on and on until the dawn their sol
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cavery okay, well laughter happy as can be.
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They stop to have appeared. Then the crowd begins to cheer.
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They kiss, and then they start to dance against.
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Strike a run.
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The Pennsylvania be.
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Coming your larder and.
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Join out the.
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Pennsylvania posard ground.
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And Daniel.
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Everybody has a mania to do the poke up from Pennsylvania.
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Wil the hansay all along. Everybody's kiss up quickly gone
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sweet romancy.
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This goes on and on and on until the dawn
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gay with laughter, their happiest convenient.
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They stop to have a beer.
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Then the crowd begins to cheer.
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They kiss, and then they stop to kiss a gas.
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Dig your partner and join in the fun, and it's
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bound to entertaina everybody has a mania to do.
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The volka from Pennsylvania.
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On Decca Records from nineteen forty two The Andrews Sister
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Is Orchestra conducted by Vic Sean Pennsylvania Polka. You might
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be asking yourself somewhere I heard that song over and
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over again. Well, you actually did, because the song was
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featured repeatedly in the Bill Murray nineteen ninety three film
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Groundhog Day film Believe.
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It or not.
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By coincidence, I just watched the last week, a great
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classic film. I'm going to go off course here for
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a minute on the make Believe Ballroom because during the
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playing of Pennsylvania Polka, I thought of another great pianist
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who got his start playing in hotel lobbies, and that
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was Pat Flowers. Pat was a pianist based out of
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New York, where he initially collaborated frequently with Fats Waller
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at the Greenwich Village Inn. So after Fatt's death, Willer's
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manager Ed Kirkaby drafted Pat Flowers as a possible successor
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for Fats, and he booked him for extended residencies in
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New York city clubs, as well as for radio appearances
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and recordings. Very popular and somewhat unheard of due to
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the fact that he was played Taste in Fats Wilder Shadow.
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Let me play a band song that Flowers recorded back
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in nineteen forty four.
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Shuah wash shuah wa to ibata harba, weave to me
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some chime for a double Due a stiffen man, you get.
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To riven the knife the NiFe for night.
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Shuah was shuwah wa to ibata harba, weave to me
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some chive when you really get the Hammond baby, who
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you slamming?
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No give lord.
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Jib review can see good deed.
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Desired, confide no squeeze ha ha shuahua shuah wa to
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ibata harbou.
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We've to meet some child for.
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A double Due a stiffen old man, you get to
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riven the knife and n for night.
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The shula wah shuah wa to.
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We shaoh wah wah Pat Flowers and his rhythm written
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by Pat and his manager and past manager of Fats Waller,
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Ed kirkaby.
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H.
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We just heard Little Brown jug Glenn Miller and his
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orchestra and Bluebird Records, recorded in nineteen thirty five and
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in just a few moments. Well I talked about the
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father of lounge music. Well, I'm going to talk shortly
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about the father of all jazz festivals.
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Grab your corl and get your head.
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Leave your worries is on the doorste Just direct your
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feet into the sunny side of the street.
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Can't you hear that bit of pan?
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I'm that harabbit.
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You is your stand.
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Life can be.
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So sweeen on the sunny side of the street.
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I used to walk in the shade with those blues.
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Me but I.
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I'm not afraid.
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This robo.
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Rosst over.
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If I never have a scen Abby red Chez Rocket
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Fellow with gold Stant Murphy on the sunny side of
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the spring.
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I used to walk in ocean with a blues song rat.
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But I'm not a friend this rover cross over, and
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I never have a scene, I'll be ch jazz rockall.
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The same.
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Bobby on the sny Socy side of the street.
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From Tampitol on the Sunny side of the Street by
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Joe Stafford and the Pied Pipers Orchestra conducted by Paul Weston,
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recorded September the thirteenth, nineteen forty four. I'm Jeff Bresler,
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and you're listening to the Make Believe Ballroom To reach me,
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I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff
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at MakeBelieve Ballroom Radio dot com. And to hear past
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radio programs in this series, I put those shows into
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podcast form and you can hear them on your favorite
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podcast platform, whether that be Apple, Spotify, iHeartRadio. We're on
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all of them. And folks especial shout out to our
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podcast listeners for keeping The Ballroom as one of the
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top rated music history podcasts. Thank you for that. And
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before I forget, you can also go to make Believe
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Ballroom Podcast dot com. That's MakeBelieve Ballroom Podcast dot com.
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Two here past programs okay, And now to the Father
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of all jazz festivals, an event that was a huge
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in scope when it took place, but little remembered. On
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May the twenty ninth, nineteen thirty eight, an event called
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the Carnival of Swing, which was a benefit concert, was
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held at Randall's Island Stadium in New York City. Randalls
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Island really an island that is located between the Bronx
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and Manhattan that concert Carnival of Swing was mcd by
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Martin Block, who I mentioned earlier in the program in
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the introduction. Martin Block was the first host of the
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Make Bulle Ballroom in New York, going back to nineteen
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thirty five on WNW Radio, and the proceeds from the
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Carnival of Swing went to the New York Musician's Hospital Fund,
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sponsored by the local eighth two of the American Federation
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