Nov. 14, 2025
Make Believe Ballroom - 11/14/25 Edition
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The Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s.
On this week's program: a historic jam session, a listener's request results in a segment about records and artists rarely played on the Ballroom, a special feature playing songs from the Ralphie from Canarsie Record Club list- plus many more great records and stories to cherish and enjoy on this week's broadcast.
WEBVTT
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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 good cheer your way.
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It's make Believe ballroom time and free to everyone. It's
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no time to friend your Dalis said Bob.
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Yours.
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Close your eyes and visualize in your solitude.
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Your favorite bands.
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Are on the stands, and mister Miller, what you in
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the mood?
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It's make Believe ballroom time. We are a sweet romance
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as you make believe bottom.
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Come on jo the.
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Last dass last.
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Hello world, 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 program of classic big band hits from
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the nineteen thirties and forties. Please get ready as I
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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. And
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hi again, folks, thanks for joining me today in the
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Crystal studio. I was looking through and listening to some records.
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I think it was yes it was yesterday, and I
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came across one that I'm going to play for you now. Actually,
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I'm going to play both the A and B side.
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You know, I like records with great stories, and this
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record will not disappoint. So here is the A side.
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I think as there nothing that.
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Recorded on March the thirty first, nineteen thirty seven, at
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Victor's Studio two in New York City, the great Fats
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Waller tune Honeysuckle Rose, with the Victor label calling the
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record quote unquote, a jam session at Victor. And here
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is the back end story to how the recording came
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about and why it was called the jam Session at Victor.
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It was actually arranged somewhat spontaneously by Victor's recording director
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at the time, the notorious Eli Oberstein, who we've discussed
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on the program in the past. I call him notorious
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because he did many things that were very positive for
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the recording industry and also got involved in some shady
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dealings with minor labels along the way. But nevertheless, Eli
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realized that several of Victor's jazz artists that were under
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contract were all in New York City at the same time,
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so he decided to put together a recording session. Because
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there was little planning, if any in advance, there was
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no prepared charts, and due to other recording and performance
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schedules for the musicians, it was reported there was very
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little or no rehearsal at all. So the musicians, who
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I will name in a moment elected to play two standards,
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Honeysuckle Rose that we Just heard and the song titled Blues.
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The playing, as you heard was fully improvised, and I
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think that is why Victor decided to sell the record
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as a jam session at Victor for the title on
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the label, the guys we just heard jamming Honeysuckle Rose
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were and poetic justice. Here Fats Waller with the piano,
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Tommy Dorsey trombone, Bunny Berrigan the trumpet, Dick McDonough the guitar,
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and George Wettling playing the drums. A stellar cast of
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legends from the era. Now, when the record was released,
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this spontaneous session, created totally by chance as all these
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greats were in the Victor studio at the same time,
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became very, very successful, reaching number four on the charts.
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Let's listen now that you know who the musicians were.
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To the B side of that record, Station.
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A love.
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Of Fats Waller, Tommy Dorsey, Bunny Berrigan, Dick McDonough, and
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George wet Land, sides A and B from the Victor's
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seventy eight RPM record A Jam Session at Victor. This
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is by chance record I told you about actually went
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on to be considered a historic recording and was reissued
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many times over the decades. As a matter of fact,
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the Smithsonian's National Museum of American History has the original
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seventy eight rpm Shalac disc in its collection. I'm neither
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historic or have any place of prominence in the Smithsonian,
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but I am Jeff Presler and this is the Make
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Believe Ballroom. Let me now play for you another record
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that's also in the Smithsonians National Museum of American History
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seventy eight RPM collection. Then after the record a listener's email.
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Previous Dass singing, and then.
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Recorded for Victor Records on January the twenty eighth, nineteen
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thirty three, Swing You Cats Louis Armstrong and his orchestra
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Eli Oberstein. By the way, he was also involved in
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this one, and for whatever reason, he withheld Swing Your
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Cats initially, but then finally released the record one year
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later in February of nineteen thirty four on Victor there's
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a budget label Bluebird Records, but the recording it finally
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got it suggested sales wise and historically when it was
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re released by Bluebird again in nineteen thirty nine. I'm
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Jeff Bresler and you're listening to the one, the only,
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the original Make Believe Ballroom. And somebody else who has
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been listening is one Ben Chadwick, one of our across
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the Pond listeners who enjoys the program on Akasha Radio
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in Nottinghamshire in England. They a longstanding affiliate of the
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Make Believe Ballroom and so deeply appreciated that they play
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our program each week. So Ben wrote to me, Dear Jeff,
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I'm a longtime listener to your fine program. Can you
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play one of your sessions featuring artists rarely heard from?
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And that signed Ben? And yes, Ben, we can do
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that for you. I haven't just thinking no, I haven't
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presented a segment in a while of records featuring band
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leaders rarely heard not only on the Ballroom but in
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many cases on records in general. I always enjoy doing
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these segments and this should be fun. And since you
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are in the UK, I will throw in a British musician.
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So without further ado, Oh yes, but first before no
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further ado, if you'd like to reach me like bendtt,
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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. So now let's spend
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the first record to hear a band rarely heard on
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this program.
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Now, honey, heir of lady, I can't get a day.
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You give me the game.
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What's cooking?
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Now?
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Up till recently, we'd always agree, and don't mean what's cooking?
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What you're doing?
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Now you're sting?
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Now a big surprise, something's brewing.
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I can play.
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Let's see it in your rise? Is there someone new
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on your love?
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And you tell me, baby?
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Do what's cooking?
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Now?
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Un Here, ladies, I can't get a day cause you
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give me the game.
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Say what's cooking?
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Huh?
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Top up Up to recently, oh, we'd always agree, and
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now you've turned on me.
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What's cooking?
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Now?
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What you're doing?
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I just doing?
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Now I'm a big surprise, something's doing.
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I can play lest see it in your eyes? If
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there's some wonder on your love, Manuel, now tell me
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Betty do What's Cooking?
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That was Erskine Butterfield and his Blue Boys What's Cooking,
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recorded on Decca Records back in nineteen forty. Erskine Butterfield
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the talented pianist, singer, band leader, and composer. Erskine performed
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from the This was the early nineteen thirties into the fifties.
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Record we just heard was It was a light swing
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piano piece by Erskine. But he was also known for
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his boogie woogie.
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Oh the boogy beat will get you. If you don't
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watch the beat of the boogie, it's hitting the town.
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Try them little haunt you and beat you down, played
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by a heavy caddy as well.
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Ring down.
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The booky beat get you. If you don't watch out,
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I know of a new way to get your kicks.
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You sit by the sideline and dig hot next a
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talk walk and bass.
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Why the really sticks over the booky beat to get you.
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If you don't watch out, don't mind saying I like
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my music. Gate to the bar, keep bomb playing my
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kind of music.
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Gate to the bar.
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You may like a rumber and fox trot to you.
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All other dances you used to do, they may be okay,
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but I'm wanting you the Booky beat to get you.
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If you don't watch.
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Out, the beat of the Bookie is hitting the town
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its rhythm or haunt you and beat your down, played
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by a Hepicaine.
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Who's well in down all the bumpy bed to get
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your If you don't watch out, I know of a
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new way to get your kids.
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You sit behind the sideline and take hot necks a talk,
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walking bass vents of the ling stick.
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So the Booky bean and get your If you don't
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watch out, don't mind say and I like my music
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came to the bar.
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Keep on playing.
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And my kind of music came to the barn. You
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may like a rum bad fox. Try to all of
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the dances you used to do. They may be okay,
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But I'm wanting you the Bookie beat will get your
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if you don't watch out, the book get you. If
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you don't watch out the book you Beaty get you.
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If you don't watch out, the boogie beatle get you.
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Recorded on a World War two V disc in May
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of nineteen forty four, Erskine Butterfield and his orchestra, If
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you're just joining us some fulfilling a request that was
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made by Ben Chadwick, who lives in England and has
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requested a segment on records and in some cases artists
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never heard on the ballroom. So let's play another, this
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one by the great Coody Williams. Some of you may
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recognize that name. Coody was the longtime legendary trumpet soloist
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for Duke Ellington. Coody started with the Duke. I guess
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it was in the late nineteen twenties. He left Ellington.
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I think it was right around nineteen forty. I guess
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he briefly joined Benny Goodman, but then he formed his
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own band before returning to Duke Ellington much later in
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his career. So let's listen to one by Coody never
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played here on the ball.
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Row smiles and a sign, struts a long and never
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secluses A shoppee, the shoppest guy on the stripe, on
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his socks and the big red tie. I got nothing
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that is talking about it, wigling Tide. He's the shoppie,
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the shoppest guy in time. You'll see him every well,
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that's the girl inside every day, every night. And I'm
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here to say that you can bet your life. That's
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do and all right, if the girls will admire your
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soulders so broad when he's wilding all the pad not
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the tailor cool fort. He's a shoppie, the shoppest.
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Guy in time.
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Cody Williams and his Rug Cutters were a small group
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unit drawn from Duke Ellington's August and they were active
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mainly between nineteen thirty seven and thirty nine. Coody Williams
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and his Rugcutters with a song named Sharpie, recorded August
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the ninth, nineteen thirty eight for Victor Records in New
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York City. You're listening to Jeff Bresler and this is
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the make believe Ballroom. Let's play now a British group
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never heard on the ballroom for Ben Chadwick as well
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as all of our listeners across the pond we've here
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on the ballroom, played them all over the years, Noble Hilton, Ambrose,
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Loos Stone, Giraldo, of course Roy Fox. But I don't
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think in all these years I ever played nat Ganella.
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Mister Riverman, swing me a real tempo.
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Okay, that's consists the cost.
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Let you hear that music start to playing, let me
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see those people start. Just wait, Mistery the man swing
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their band. Let me walk my blues away. Let to
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hear those trumpets in the group. Let me steal my
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tips and starts to move.
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Mister rhythm man, swing their band.
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Let me walk my blues away, swinging along that Fi
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in my bones, shake my shoes, swinging up strong, making sure,
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make me mown and shout that's good news. Let me
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hear that jungle rhythm. Let me it is coming in myself.
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Mister rhythm man.
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Swing the fan. Yeah, mister man, just leave that man,
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we're gonna swing on it.
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Yeah, what did you.
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What did you do?
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Yeah?
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Nat Ganella and his Georgians mister rhythmman, trumpet and vocal
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by that recorded on Parlophone Records in London, England, on
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