Nov. 14, 2025

Make Believe Ballroom - 11/14/25 Edition

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Show Notes
Transcript

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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February the twenty seventh, nineteen thirty seven. Now, in his

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earlier days, Nat briefly worked with the aforementioned Roy Fox.

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Then he had a stint with low Stone. And there's

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a cool story about Nat. When he was with lou Stone,

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Nat Ganella had said idolized Louis Armstrong. Louis visited London

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in nineteen thirty two. Ganella wanted to meet Louie, but

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he had no introduction to him, or knew anyone that

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familiar with Louie or his uentourage that he Nat could

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arrange a meeting with him. He did, though, get a

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lead by someone that told Nat that he saw Louis

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00:30:50.960 --> 00:30:54.400
himself go to a music store to bring his trumpet

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in for a cleaning. So Nat quickly hustled over to

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that shop and asked one of the guy guys there

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if he could deliver the cleaned trumpet to Louis himself. Now,

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the guy in the store knew that well and told

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00:31:09.440 --> 00:31:11.720
him sure he could deliver it. It would just be

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one less thing he would have to do. So Nat

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brought the trumpet to Louie. I don't know if it

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was at his hotel or in a studio or a restaurant,

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but Louie appreciated NAT's willingness to help, and the two,

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for many many years to come, became quick friends. So

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much like Coody Williams and Duke Ellington, low Stone created

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a band within a band to do some recording and

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also play live during low Stone's big band performances, and

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Ganella through Stone recorded a song in nineteen thirty two

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that became a nice seller. So as NAT's reputation with

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low Stone grew. He decided to form his own band

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00:32:04.640 --> 00:32:08.240
and we just heard that band and as I mentioned,

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they were called the Georgians. But why the Georgians, Well

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that was because the record he made in nineteen thirty

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two for Stone was so well received by fans he

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named the band after it, and that recording was.

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Georgia. The sweet song.

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Georgia on my Mind.

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Lord you on a mama.

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A dodger, A song move.

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Comes as sweet and clean.

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As the moonlight.

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You find my.

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Love.

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Allow reach out to me, Allies, Smile tenderly.

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Stay bes for me.

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I see the modes back to you.

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Who Georgia George dog.

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No MESI.

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Old sweet song diep Georgia on my Mi.

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Recorded in London, May the fifteenth, nineteen thirty four on

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British Decca. Georgia on my Mind Nat Ganella and his orchestra,

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and that song gave not Ganella's band its identity and

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also served as NAT's signature tune. It was a pleasure

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listening to Nat Ganella. And thank you Ben Chadwick for

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your email suggestion for a segment on records and in

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00:36:16.440 --> 00:36:21.519
some cases artists never played before on the make Believe

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ballroom to reach me as Ben did. Jeff at make

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

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Radio dot com. And when we return one of our

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most popular segments today, at the request of a special person,

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said the General to.

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The captain, pops me the combo.

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Shut up early, mom, they are gone. The General jump

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jump the don the captain to the private man, we

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00:36:59.679 --> 00:37:03.000
go a flange of the chandle than earl them all

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day up bad.

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The General jump jumped the dog.

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Why I see you in the sky and for side

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dropping fop dropping dropping in her a barbecue in Berlin, he.

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Said the private to the General, Jack, my jeep is

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ready and steady.

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Then went early.

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Monday up the General jump jumped that dog. The General

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had a groovy crew, a million lads, and I'm telling

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you there were white men, black men on the beam,

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a real solid all American team. He had tall men,

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small men, fat and lean fighting his crew that you've

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ever seen, every creed and color and every molief from

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him an Eskimo to an Indian cheek. He had a

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00:37:55.599 --> 00:37:58.880
Sergeant Swinson, a Captain Kelly to call him the Rosen,

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and a cook Marilla Lieutenant Jackson on a private joke.

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Then the General said, let's hit them really jump, Remember

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what you gotta win the war. Sent the private to

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the General road jack Man jeevestein reading and steady.

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Upon the General.

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The General jump that down.

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00:38:26.440 --> 00:38:31.280
The General jump at dawn. The Golden Gate Quartet recorded

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on a SOUNDI back in nineteen forty four, So I

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didn't get an email, but rather a text from Nino Savoldi.

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Nino is the best friend of Angelo Carbone, and for

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longtime listeners, that name should immediately ring a bell. Angelo

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is the son of the late Ralph and Rose Carbone,

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who in the mid nineteen thirties start did a record

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00:39:00.880 --> 00:39:05.840
club in their home that met faithfully every other Saturday

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night right into the nineteen seventies, and what would happen

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00:39:10.800 --> 00:39:15.400
was friends and neighbors. They'd head to ninety fourth Street

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00:39:16.039 --> 00:39:20.960
between Avenues L and M in Canarsi, Brooklyn on those

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00:39:21.079 --> 00:39:26.519
Saturday nights to enjoy pot luck supper and then dance,

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00:39:26.679 --> 00:39:32.480
chat and listen to big band records. So this wonderful

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00:39:32.719 --> 00:39:37.000
club over the years decided to compile a list of

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their favorite big band tunes, all ranked in order of

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their likes, and that list, believe it or not, eventually

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00:39:47.320 --> 00:39:51.320
swelled to over eight hundred records, with revisions in the

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rankings constantly updated. So Angelo a number of years ago

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00:39:58.639 --> 00:40:01.960
gave Lenny from down the Block this document, which we

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officially call the Ralphie from Canarci Record Club List. So,

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Nino SAVOLDI told me that Angelo was a little under

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the weather and has been staying in his home in

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his condo in Naples, Florida, for the past couple of weeks.

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Nothing life threatening, just had a flu kind of bug.

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00:40:23.039 --> 00:40:26.639
And I guess he's well, I guess he's ninety three

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or ninety four, but he's just taking a little extra

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00:40:30.320 --> 00:40:33.639
time to get back on his feet. So a long

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00:40:33.760 --> 00:40:37.480
story short, I told Nino that I would do a

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00:40:37.599 --> 00:40:41.119
Ralphie segment on this show for Angelo to listen to.

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00:40:42.519 --> 00:40:44.800
And you know, geez, come to think of it, just

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00:40:44.880 --> 00:40:47.639
a few months ago, Angelo took a little spill by

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00:40:47.760 --> 00:40:51.960
his pool. I mentioned that on the program. He recovered

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00:40:52.039 --> 00:40:55.960
from that nicely, but boy, now this so the best

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00:40:56.039 --> 00:40:58.920
wish is to you, Angelo, to be up on your

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00:40:59.000 --> 00:41:02.280
feet shortly and going back into the clubhouse there in

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00:41:02.400 --> 00:41:07.599
Naples and playing a little pinuckle So getting back to

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00:41:07.679 --> 00:41:10.840
the Ralfie from Canarsi Record Club lists here how here,

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00:41:11.000 --> 00:41:13.679
this is how this works and what we will be

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00:41:13.800 --> 00:41:18.880
doing today. I'm going to spin a virtual wheel and

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00:41:19.119 --> 00:41:24.679
simultaneously press the inter button, utilizing my trust the random

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00:41:24.840 --> 00:41:29.760
Numbers app, where I have listed numbers one to eight sixteen,

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00:41:30.519 --> 00:41:32.960
and then I go to the playlist and play the

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00:41:33.559 --> 00:41:38.960
corresponding random number that I selected with that number found

365
00:41:39.239 --> 00:41:43.679
on the Ralphie from Canarsi Record Club list. So Lenny

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00:41:43.719 --> 00:41:46.440
from down the block he loaded and it took him,

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00:41:47.559 --> 00:41:50.679
oh Man, took him a long long time to load

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00:41:50.840 --> 00:41:54.239
all eight hundred and sixteen songs into a playlist. First,

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00:41:54.280 --> 00:41:57.880
only had to come up with the recordings of all

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00:41:57.960 --> 00:42:01.480
those records, which was it was anumental task. He did

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00:42:01.519 --> 00:42:04.519
this a number of years ago. But the whole process

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00:42:04.639 --> 00:42:07.280
is not that confusing, and I'll show you how it works.

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So I spin the wheel while pressing the random number

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app and I come up with number two forty three.

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I then go to the playlist computer right next to me,

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access to forty three and then play in this instance

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this record.

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I Love my Heart at the stage door Cante.

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This cute story of army life romance.

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Don Cornell.

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I left my heart the stage door, County. I left

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00:44:11.840 --> 00:44:16.400
it there with the girl nid Nally.

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I kept deserving donuts. Tell all she had were gone.

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00:44:28.880 --> 00:44:35.800
I sat there drunking donuts till she caught all. I

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must go back to the army Verty.

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And every doboy knows what that will me.

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A soldier boy with other heart has two strikes on him.

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Oh this and my host at the stage door County.

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I left my heart at the stage door Canteen written

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00:45:48.199 --> 00:45:53.199
by Irving Berlin, Swing and sway with Sammy Kay vocal

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00:45:53.360 --> 00:45:58.079
by Don Cornell, recorded on Victor Records in New York City,

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June the twelfth, nineteen forty two. And that is our

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first selection from the Ralphie from Canarsi Record Club list.

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Angelo and Nino, It's time for another spin, and we

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come up with number six forty seven. Six four seven

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Make Believe Ballroom - 11/14/25 Edition

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