Nov. 1, 2024
Make Believe Ballroom - 11/1/24 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 – a listener request for some more A and B side record stories,...
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 – a listener request for some more A and B side record stories, the first time recording of one of the big band era’s most treasured toons, a Louis Armstrong Broadway flop, Benny Goodman lends a hand to an ill vocalist - all this and many more great records to enjoy on this show!
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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.
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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 friend your Dalis said Bamba.
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Yours.
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Close your eyes and visual lie in your solitude.
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Your favorite bands are on list Dance and Mister Miller.
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But you're in the mood.
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It's make Believe ballroom time. We are of sweet romance
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as you make the bar. Come on, Joe Last.
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Dazz Last, Hi, folks, I'm Jeff Presler, turning on the
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lights of the Make Belief Ballroom and welcoming you into
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my crystal studio for another program of the greatest hits
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of the nineteen thirties and nineteen forties. I'm hosting the
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show to keep the music in traditions of past hosts
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Martin block Al, Jarvis William B. Williams, and the legendary
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Steve Allen alive. Whether you're one of my longtime listeners
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or perhaps a new listener on public broadcasting or community
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radio stations across the US as well as in the UK,
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I'm glad you're here to share some of the greatest
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swing in jazz music ever performed, Hello World, and welcome
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one and all into the Make Believe Ballroom, coming to
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you via great radio stations like Jazz ninety point one
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WGMC in Rochester, New York. The Make Belief Ballroom broadcast
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over the radio almost continuously since nineteen thirty five. And
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I am certainly delighted and honored to sit in the
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host seat here in the Crystal studio. So to get
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things started after a tune, to get us in the mood,
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a letter from a listener or in this case, listeners
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asking for a follow up to a segment we did
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a few weeks back.
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There's a sandy in the town, on a little plot
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of ground.
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Where the green grass growing all around, all around the roof.
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So worn, so badly torn added tumbles to the ground
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just to tumble down.
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Shack Cann's built quick back about twenty five feet from
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the railroad track. Fingers on my mind most all the time,
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beats calling me back to my little old shack.
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I'd be just a sassy as highly as a lassie
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if I work team wouldn't be nothing but boots on
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tall reading the writing on the wall, and it wouldn't
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mean a thing, not a dog on things, Queen waiting
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there raid.
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The rocking chair, just blowing her top.
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Bogaers be walking all around them, rocking on down because
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the getting back to Shandy.
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Don't in a shanty and old shanty town by Johnny
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Long and his Orchestra, recorded on Decca Records in nineteen
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forty six, So folks, and let me find it here.
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It is so folks. I received an email from a
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gentleman named Larry Dipper days ago, and Larry wrote, Hello, Jeff,
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I'm Larry Dipper and my wife is Laurie Dipper. We
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are known in these parts as the Big and Little Dipper. Cute.
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I like that.
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We've listened to the Make Believe Ballroom in Ashkosh for
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several years now. It's our favorite Saturday errand Drive show.
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A few weeks ago you told the story of how
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Glenn Miller's Chattanooga Chucca was actually on the B side
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of a record with PAULA Kelly vocal on the A side.
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Can you play another A and B side record that
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you enjoy well, Larry, I guess you are probably from
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process of elimination the Big Dipper And are you an
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A side or a B side. I'm sure Little Dipper
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Laurie is probably certainly the A side. So for you guys,
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I am going to play both sides a Unian B
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side of a record made by Coleman Hawkins back in
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nineteen thirty nine.
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And have loved.
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And lost.
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You don't know.
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O.
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We just heard Body and Soul by Coleman Hawkins and
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his orchestra. That was Coleman's landmark improvisational tenor sax treatment
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of the Johnny Green Melody, and it was recorded for
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Bluebird in late nineteen thirty nine but released in early
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nineteen forty. As a major hit, it has become Body
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and Soul has become one of the most one of
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the most recorded pop and jazz standards of all time.
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And as an interesting fact, it has been said that
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Body and Soul, which first went into jukeboxes and restaurants,
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bars and other venues in nineteen forty, it remained a
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jukebox favorite for at least ten years or more.
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And why not.
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You know, you go out on a long date or
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an evening with friends to perhaps dance and listen to
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big band swing live. Then you head for a diner
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at two in the morning and you wind down by
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putting a nickel in the jukebox and playing Body and Soul.
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So the point is the record was so popular it
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totally overshadowed the B side, which was an up tempo
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Hawkins tune that was Coleman Hawkins and his orchestra with
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Fine Dinner the B side to the huge Hawkins hit
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Body and Soul on the A side, and that B
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side kind of lost to history by the fate of
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having to serve as the stepchild to Body and Soul.
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I'm Jeff Bresler, and you're listening to the Make Believe Ballroom.
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You can write to me like the Dippers did at
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Jeff at Makebelie Ballroom Radio dot com. That's Jeff at
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MakeBelieve Ballroom Radio dot com with your requests and comments.
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And at Larry's request, we just listened to the A
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and B side of a Coleman Hawkins recording with a
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little history to it. And speaking of history, you know,
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on the Make Believe Ballroom I frequently play first time
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ever recordings of famous songs. Well, this first time ever
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recording was by Edgar Hayes and his orchestra. Let's take
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a listen. You should recognize the tune almost immediately.
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Any day.
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Any name may.
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Lay a man, anything, technical.
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Name, every name, nick name, really.
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Ethnic name.
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That was the original In the Mood by Edgar Hayes
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and his orchestra, recorded on Deco Records in New York
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City February the seventeenth, nineteen thirty eight, and the song,
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of course, featured the famous in the Mood riff, which
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actually had previously appeared in several different title instrumental recordings
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by various artists, but that Joe Garland arrangement was the
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first to be issued under the title in the Mood,
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and seventeen months after the Hayes recording, Glenn Miller would
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record his famous version, though without some of the melodic
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elements included in this earlier arrangement by Edgar Hayes and
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not to sound like a party pooper. I actually find
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the Hayes version to be, in my opinion, better than
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the Miller classic. While we're on the subject of Edgar Hayes,
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let's play one more by him and the orchestra.
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Gather round. There's the jew balley, gather round just for you.
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When we gathered round, there's a sendern Oh, go to town.
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It's a holiday. Go to town with a swing and swing.
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Go to town, swing it down with all your mind.
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Let's get together for the brand jam and party, barbecue
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the chicken and we'll all eat so hearty. Gather round,
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there's the jew Balley. Gather round just for you. When
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we gathered round, there's a sender Gona.
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That was jazz pianist and bandleader Edgar Hayes with Shindig
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recorded on Brunswick Records with a vocal by Bill Darnell.
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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 coming to you from the
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Crystal Studio in New York. And as I mentioned there
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early to reach me, I'm Jeff at MakeBelieve Ballroom Radio
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dot com. That's Jeff at MakeBelieve Ballroom Radio dot com.
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And speaking of studios, in just a few weeks we
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will be doing some shows from the Six Palms Recording
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Pavilion Studio in Florida with our beloved old producer Lenny
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from down the block. So for those of you who
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have been longtime listeners, yes, Lenny will be hanging out
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with us. As you know, Lenny spoke on only one
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broadcast of the Make Believe Ballroom, and that was it.
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He wasn't happy with his performance, and for after that
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has a hidden in the confines of the record room
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of the Ballroom. But his presence will be felt nevertheless,
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because Lenny transcends the microphone. For sure, Lenny from down
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the block in the record room once again in just
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a few weeks, but now here on the Make Believe Ballroom.
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A little boogie woogie.
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In Harlan, there's a little place where everyone goes to
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see the way a wash a woman washes her clothes.
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If you like boogie woogie rhythm, she's got a beat.
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Let the boogie woogie wash.
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A woman give you a treat. On every afternoon that
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one the sessions begin, and all the bush from all
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the pants come down and sit in. They sit around
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and knock each other out when they play it while
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the boogie woogie wash a woman washes all day. Roughly
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ub dub, that's just the way she rubs. Roughly ub dub,
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that's just the way she scrubs.
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Roughly up dub. She wears out all her touch. She
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rubs and rubs her knuckles right on down to the
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nubs roughly ub dub. That's how she kicks it off,
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roughly ub dub. She keeps it nice and soft, roughly
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ub dub.
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Because someone hollers, all scrub me Mama with the booget beat,
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and you really ought to visit there if you've never been.
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It doesn't cost a penny.
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Just come down and walk in. If you like boogie
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woogie rhythm, you'll get a tree he let the booget
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will get washed. A woman give you the.
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Beat, said the exploded re exploring.
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Le back to.
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Scrub Me Mama with a bugie beat by Will Bradley
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and his orchestra, vocal by Ray McKinley, recorded on Columbia
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Records in nineteen forty and number two Billboard hit. So
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that was a number two hit in nineteen forty, So
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why not play as I Look on the playlist? A
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number one Billboard hit from the same year, from nineteen forty.
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Darn that dreams my dream eats night.
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You say you love me and you hold me time,
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but when I awake.
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You're out of sighs.
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Oh, darn that dream, darn your lips and darn your eyes.
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They lift me high.
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Above the moonlit Skies.
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Then I told out of Paradise.
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Oh darn that dream, darn that one track mine of mine.
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You can understand that you don't care.
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Just to change the mood I'm in.
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I'd welcome a night so night may.
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Darn that dream and bless it too. Without that dream,
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I never would have you.
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But it haunts me and it come true.
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Darn that Dream by Benny Goodman and his Orchestra with
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a vocal by Mildred Bailey, a number one hit for
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Benny and Columbia Records in nineteen forty and there there
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are certainly, as they looked in the notes for that record,
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there are certainly some interesting dynamics behind Darn that Dream.
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The song originated in a poorly received Broadway musical titled
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Swinging That Dream, which starred Louis Armstrong and lasted for
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only thirteen performances. It was kind of a weird Broadway
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show where Louis portrayed the character Bottom in a modern
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day adaptation of A Midsummer's Night Dream.
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Well.
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Nevertheless, the musical supervisor for the play was not other
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than Benny Goodman, who actually also performed in the production
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with his sex stat So you had Louis Armstrong, Benny
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Goodman and a score by Jimmy Van Heusen, and the
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show flopped. The script must have been pretty bad to
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have that amount of talent on Broadway and last only
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thirteen performers. So Benny went on to record the song
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with Mildred Bailey, which is a story unto itself. The
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Great Mildred Bailey previously recorded with Benny Goodman in nineteen
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thirty four, but reunited for this record in nineteen forty.
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Mildred Bailey was a huge talent, a beloved talent in
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nineteen forty, and at that time she was performing with
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her husband who she later divorced, Read Norvo, and they
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were affectionately called mister and Missus Swing. Now, unfortunately, Mildred
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Bailey was not a healthy person and she had to
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leave Red and the band because she couldn't take the
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rigors of being on the road any longer. So her
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doctors suggested that she get off the road and stay
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home in New York City. Benny Goodman learned of this
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and at the time was between regular vocalists on his
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Camel Caravan radio show as well as record dates, so
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he encouraged Mildred not to have to leave New York
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and join him for a while, so that uplifted Heart
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Spirits and produced that number one hit as a result.
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Since I mentioned xylophonist Red Norvo, let me play one
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by Red and Mildred.
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It's very clear.
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Our love is here to stay, not by.
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Butever, and the day, the radio.
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