Nov. 15, 2024
Make Believe Ballroom - 11/15/24 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 legendary female singer was also a talented composer,Johnny...
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 legendary female singer was also a talented composer,Johnny Guarnieri played an instrument that put him in the recording record books, a British selection and story - 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 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. 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. Its make believe ballroom time.
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We are of sweet romance as you make it bottom.
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Come on Joe the last dance lets.
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Hi, folks, 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 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 in 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 one of my longtime listeners, or perhaps today a
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new listener on public broadcasting or community radio stations across
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the US or in the UK, grab your dance ticket.
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It's free and let's listen to some wonderful big band
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era music. Hello world, and from coast to coast on public,
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university and community radio stations, Welcome, Welcome, Welcome, one and
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all to the Make Believe Ballroom, and thanks for joining
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me this sour as I share some wonderful swing, jazz
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and big band music and many of the stories behind
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the records and the personalities who recorded them. I hope
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you're all having a great week. Let's start today's program
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with a well known big band tune. Then a beloved
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female vocalist who you may not realize was also quite
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a composer.
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When I was a kid, about half past three, my
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daddy said, son, come here to me. Says, things may
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come and things may go, but this is one thing
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you want to know.
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It's the way how did you do it? It's the
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way how did you do it? It's the way how
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did you do it?
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My ma mama.
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It's the time that you do it. It's the time
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that you do it. It's the time that you.
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Do That's what.
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Don mean nothing, e cree sake.
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Then you to wait.
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It's the place that you do it. It's the place
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that you do it. It's the place that you deal
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with That's what.
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Tain't what you do It's the Way that You do
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It by Jimmy Lunceford and his Orchestra vocal by James Young.
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That record recorded in New York City, January the third,
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nineteen thirty nine. And I said before that Lunceford recording
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that I would spend some time talking about a popular
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vocalist who had an amazing career. It spanned seven decades,
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from her beginnings as a vocalist on local radio to
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singing with Benny Goodman's Big band. She created. What's the
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best way to describe this, I guess you would call
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it a sophisticated persona. But for those that were affixed
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on Peggy Lee's singing abilities, many you didn't realize that
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she composed tunes, tunes like this.
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Yes, it's a good day for singing a song, and
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it's a good day for moving along.
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Yes, it's a good day.
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How could anything be wrong? A good day from morning
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until nine. And it's a good day for shining your shoes.
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And it's a good.
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Day for losing.
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The blue leves everything again and nothing the losers. A
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good day from morning until nine. I said to the sun,
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good morning, sun rise, and shine today. You know you
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gotta get gone if you gotta make a show once
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and you gotta ride away, because it's a good day
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for playing your bills, and it's a good day for
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curing your ills.
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So take a deep breath.
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And throw away the bills, for it's a good day
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from morning till night. Good morning, Sun, good morning son,
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Rise and shine today.
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You know you gotta get going if you've gotta make.
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A shower and you got the ride away it was.
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It's a good day forgiving your eels, and it's a
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good day for paying your bills.
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So take a deep bread and throw all the pill
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because it's.
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A good day from morning till night. Because it's a
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good day for until.
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A good day.
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It's a good day. By Peggy Lee Orchestra, conducted by
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Dave Barber on Capitol Records, recorded in nineteen forty seven.
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So today, as we know, it's almost the norm for
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singers to write their own songs or have them ghost written.
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But in the nineteen forties, when there was a proliferation
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of music coming out of Tinpan Alley, Broadway and Hollywood,
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that was not the case, at least not until Peggy Lee,
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who was truly the first famous singer songwriter. She began
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writing songs in earnest with her husband, guitarist Dave Barber,
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And that's an interesting story if I recall the details.
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When Peggy was singing for Benny Goodman, he had a
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policy that female vocalists and bad members could not date
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or even fraternize. After a gig or a rehearsal well.
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With Peggy and Dave, it was sort of love at
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first sight and they both decided to leave the band.
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Benny did, though, encourage Peggy to work.
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With him again.
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It's a good day that I just played and the
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record I Don't Know Enough about You were her first
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two hits. But in nineteen forty eight, she wrote a
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song that topped the charts for nine weeks and was
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Capitol Record's biggest hit single by a singer songwriter until
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a certain group broke that record over twenty years later.
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I'll play that record and let you guess, well you're
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listening which singer song writers broke Peggy Lee's record.
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The Bossa.
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She is dripping and the fence's falling down. My pocket
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needs some money, so I can't go in the town.
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My brother isn't working, and my sister.
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Doesn't care the car.
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She needs the motor, so I can't go anywhere, Banana.
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My mother's always working, She's working very hard, but every
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time she looks for me, I'm sleeping in the yard.
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My mother thinks I'm lazy, and maybe she is right.
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I'll go to work, Maniana, but I gotta sleep to night.
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Oh.
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Once I had some money, but I gave it to
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my friend. He said it baby double. It was only
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for a land. But he said a little later that
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the horse he was so slow. Why he gave the
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horse my money is something I don't know. My brother
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took a suitcase and he went away to school. My
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father said he only learned to be a silly fool.
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My father said that I should learn to me good chili.
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But but then I burned the house down.
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The chili was too hot.
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The window she is broken, and the rain is coming
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in if some one doesn't.
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Eat it out was talking to my skin.
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But if we wait a day or two, the rain
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man go away, and we don't need a window.
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It such a sunny day.
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That was Manyana, written and sung by Peggy Lee and
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just heard here on Capital Records with her husband Dave
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Barber's Orchestra and recorded in nineteen forty eight. So Peggy
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wrote Manyana, which topped the charts, as I mentioned, for
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nine weeks and was Capitol Record's biggest hit single by
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a singer songwriter until and I asked you to try
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to guess until the Beatles came along, and then it
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took four men to rest the title away from one woman.
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That was the great mini tribute to Peggy Lee.
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And the need to.
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Bet that the.
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Bag from a Savoy Records set entitled Hot Piano We
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just heard New Exercise in Swing with the Johnny Grenieri
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Trio Johnny Guarneri on the piano, Sam Stewart playing the bass,
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and Sammy Weiss on the drums, Recorded in New York
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on September the twentieth, nineteen forty four. The great Johnny
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Yuarnieri who accomplished everything a musician would really want to
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accomplish in a successful career. He played piano for the
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likes of Benny Goodman and Artie Shaw, and he served
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as a sideman for so many greats of the era,
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as well as leading his own groups. One fact that
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places Johnny though in the jazz history books, was this
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record by Artie Shaw's Gramercy five. In it, Gwaneri played
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an instrument that was heard for the first time ever
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on a jazz recording.
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I like to.
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The recorded in Hollywood, California on September third, nineteen forty.
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That was the popular special delivery stomp already Shaw's Grammercy five,
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already of course on the clarinet, Billy Butterfield on the trumpet,
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Al hendrickson the guitar, Judge Denot the bass, and Nick
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Fittoul on the drums with Johnny Guanieri. And I asked
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you what instrument he was playing, Well, it was Johnny
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Gwaneri on the harpsichord, and his solos for the Grammars
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were the first examples of jazz recorded four records using
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the harpsichord. How about now a little pearly may then
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a listener's request.
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Tie.
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All the life I lead, Tie all the blues I breathe,
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tie cotton things I need gonna.
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Cut out, widen that's the truth to get a brand
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new guy. While of God my youth.
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Tie.
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Other clues, eyeway, tie iron, all the patches, lead tire
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of the crows, eyes, scale.
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On the truck downtown and spin my mood gets some
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short bamped shoes and a new guy too. Why shout
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I a topping, cleaning and a scrubbing shawl leaves my
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glamor with a scar, a mending and a mopping, a
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starting and a shopping. Don't make me look like no
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heady long mar.
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Tie all the tears, high shade, tire of living in
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the red tying all the same old big gonna leave
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the life of Cindy Lou going to do the things
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that I know she do cause I I'm tired, mighty tide.
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I guess by now, brother, you have the young idea.
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I am tired. There's no need of me kidding myself.
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Maybe you all right, but I'm just tired. I think
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I'll go to a psychiatrist. It's one of them rich
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people doctors, you know, And I guess he'll tell me
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a lot of big words.
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All about the psychiatrics and.
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Metaphysics and a whole lot of stuff I don't understand.
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Why not much He's charge me for them. Whatever you charge,
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he'll probably end up saying, the same thing, Bro, You're
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just tied. I guess I better go to a plane
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doctor so he can tell me what I need in fact,
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I know what I need. I need a little change
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so I can lead the life of Sindelu and do
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the things that I know she do.
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Goes on Die Mighty time of You.
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Pearl Bailey with the Mitchell Airs Orchestra a little blues
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number titled Tired, recorded on April twenty fourth, nineteen forty five,
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and Pearl Bailey, of course performed for decades as a
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singer in theater, on records, heard on the radio, and
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scene on television. And one of the great performances I
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saw as a youth on Broadway was when Pearl Bailey
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starred in the All African American version of Hello Dolly
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as the character Dolly Gallagher Levy and believe it or not,
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right next to her as co star playing the role
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of what was his name in the show, Horace van
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der Gelder, that was the legendary Cab Calloway. It was
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a memorable show for me, but maybe not as memorable
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as it should have been at that time, because I
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really didn't fully understand the contributions of Pearl Bailey and
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Cab Calloway to swing in jazz, and I probably didn't
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appreciate it as much as I should have. So there
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you have it. A Jeff Bresler lament. I told you
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I was going to read a listener's email, and I will.
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But first, how can I not mention Cab Callaway without
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playing one of his songs? And for that, at this
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improvisational moment in the broadcast, I must roll my chair
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a little closer to the other side of the console
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while staying in range of the microphone. I'm going to
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the playlist computer here in the Crystal studio so I
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can select a Cab Callaway piece. And let's see, I
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think this one should fill the bill nicely.
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Have a banana, Hannah, Travis, Salami, Tommy, you without the gravy, Davy.
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Everyban begins. When to come to my house, try on
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to me to plead too. Here's catch a turret, all right,
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Teas de Bologna, eat Tony, everybody eats Swhen to come
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to my house. I fix your favorite dishes, hoping this
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good food fills you. Work my hands in the bone
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in the kitchen alone. You better eat a bit kilchin.
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Hass me a pancake man, Drake having a.
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