Nov. 28, 2025
Make Believe Ballroom - 11/28/25 Edition
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On this week's edition of the Make Believe Ballroom hosted by Jeff Bressler: the story behind a Count Basie song title, the economic impact of big bands, were Cole Porter and Frank Sinatra friends, plus many more great records and stories to cherish and enjoy on this week's broadcast.
The Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s.
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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 Belief.
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Ballroom time and free to everyone. It's no time to
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friend your Dalis said Bamba.
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Yours.
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Close your eyes and visual lize in your solitude.
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Your favorite bands are on this dance and mister Miller,
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what you're in the mood.
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It's make believe ballroom time. We are a sweet romance
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is to make the boy come on jo, last dash.
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Last, Hello world. I'm Jeff Presler, turning on the lights
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of the Make Believe Ballroom and welcoming you into my
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Crystal studio for another program of classic big band jazz
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from the nineteen thirties and forties. Please get ready as
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I play for you some amazing jazz, swing, blues, and
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boogie woogie favorite smokes. You're listening to the Make Believe Ballroom,
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broadcasting almost continuously since nineteen thirty five. I again, folks,
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and thanks for joining me today in the Crystal Studio.
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Why don't we immediately get things underway, and we'll do
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that by hailing a cab. A cab not of the
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callaway kind, though, h.
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Yeah, I do the.
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H from your father from dis one, the foller were propable,
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wet this sy.
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Ya, We just enjoyed.
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Taxi War Dance Count Basie and his orchestra featuring Lester
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Young's tenor sacks, recorded on the Decca Record label in
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New York City, March the nineteenth, nineteen thirty nine. So
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why did the Basic Crew name the tune we just
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heard Taxi War Dance. Well, it said that at the
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time nineteen thirty nine, taxi companies in New York City
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were known for their well, I guess you would call
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it theircutthroat rivalries, the yellow calves, you know what I'm
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talking about, drivers racing around and cutting each other off
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to grab fares. This war among taxis was, well, it
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was kind of an urban battle of speed, rhythm, and
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of course near collisions on many occasions. But that was
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not just indicative of the nineteen thirties when the Count
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Basie wrote that song. Cabbies certainly continued to push for fares.
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Actually until just recently with all the different apps like
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Uber and stuff, making things a little more civil in
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terms of obtaining a ride using a driver. You know,
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nobody was nobody was better than our producer Emeritis, the
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producer Emeritus of the Make Believe Ballroom Money from down
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the Block at standing. I'll use an example because he
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did this once in the middle of the theater district
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in New York City with his piercing two finger whistle
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and waving his arms back and forth to secure a cab,
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to the great embarrassment of his wife Cookie. But he
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was always the first to get a cab after a
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Broadway show. But you know, to me, Lester Young's solo
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on that record felt like he was actually weaving through
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I'll call it musical traffic to pick up someone like
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Lenny Taxi war dance to get things underway on this
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week's Make Believe Ballroom, I'm not going to play a
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tune that has a somewhat mysterious background.
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Nothing problem.
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Is that you didn't.
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I just shared with you on Brunswick Records Kansas City Kitty,
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recorded in New York City by the Cotton Pickers on
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November twelfth, nineteen twenty nine. Now, this record, Kansas City
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Kitty has been under scrutiny for many years for number
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of reasons. I have very recently discussed on the Ballroom
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the use of synonyms and aliases for bands who performed
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on different record labels using different names. Just a few
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weeks ago, I mentioned the King of the Aliases, one
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Ben Selvin, who in the Guinness Book of World Records
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it is said cut over twelve thousand record sides in
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his career using a variety of band leader and band names.
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So if Ben Selvin was the King of the Aliases,
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another Ben Ben Pollock, certainly had to serve as the
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Prince of the Aliases. In the late nineteen twenties into
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the early thirties, Pollock, like Selvin, also recorded under different names,
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and many historians subscribed to the fact that Pollock or
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several members of Pollock's band comprise the Cotton Pickers that
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we just heard. One thing is for certain, though, and
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that is that Glenn Miller was playing the trombone and
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also arranged Kansas City Kitty, while either one or both
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of the Dorseys, Tommy and Jimmy were also in the band.
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And it's also just about certain that Jimmy was playing
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the clarinet on that record. So another one of those
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very cool mysteries surrounding alias bands that quite frankly, we
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will never have the definitive answer too, but a great
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record and certainly a definitive example of proto swing, which
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was the transitional style of jazz that emerged roughly between well.
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I guess was right around nineteen twenty eight to nineteen
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thirty four, that being before the swinger officially took off
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in thirty five with Benny Goodman's legendary Palomar Ballroom performance.
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And speaking now of great performances from Fletcher Henderson and
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his orchestra wrapping it Up, recorded in New York City
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on December the ninth, nineteen thirty four. Fletcher Henderson, one
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of the forefathers a big band swing folks from New
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York's legendary Crystal Studio, reliving the Gold Age of swing.
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You're listening to the weekly edition of The Make Believe Ballroom,
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and I am Jeff Bresler, your host. Let's see in
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my notes here, Okay, Yeah, I was recently flying from
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Fort Lauderdale to New York and I was reading an
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old Billboard magazine article on the plane about the sheer
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number of musicians working during the big band era. And
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I'll share some of those bullet points with you in
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just a few moments.
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All shoes.
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New shoes do read shoes.
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Poor shoes do it all made star shoes do it
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at the shoe shop. Ohay, down at the shoemakers, right
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next to the bakers. The shoes are all having fun today.
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They're having a dancing. The shoes are rob Francon for
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it's the shoemakers holiday. A then France slipper just got
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a new zipper, and when an old sports shoe passed
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her away, she looks a bewitching that he's the instanching
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h it's a shoemaker's holiday. Upon dance slippers spend their
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time michigging. The brokes keep kicking out of marriage jang.
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The straight lady boots just keep their tongue the wagon
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gasping about the shameful shoe shindy. A riding boot who
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was old morning let his soul go dancing weather Hell,
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the gators started getting very horny. They just did a
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funny Old Virginia real so riche's had four shoes and
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Homie and start shoes are having their party. While they
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may by my so they're storrow. They know the two
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my row will lend the shoemaker's holiday.
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News. Shoes do it man shoes. POUH made sore shoes.
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Do it Ah, they're at the shoes shot.
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On Decca Records. I just spun a nice little novelty number,
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The Shoemaker's Holiday Paul Whiteman and his orchestra vocals by
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the Modern Airs before they were with Glenn Miller, recorded
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in New York City, made the fifteenth, nineteen thirty nine.
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It was a record from later in Paul Whiteman's career.
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Paul Whiteman was, without a doubt the number one band
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leader in the United States from I guess right around
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the mid twenties into the early thirties. But he was
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always able to conform with the time times during the
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swing era, and he remained extremely popular Paul Whiteman. So
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before mister Whiteman, I mentioned how during a flight I
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was on, I took the time to read an old
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article about the business of swing and the large number
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of musicians actually involved in the industry.
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So here is my.
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Encapsulated version of that article. Back in nineteen thirty eight,
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big bands were part of a hundred million dollar industry,
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and you can imagine what that would convert to today,
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probably several billion dollars. At its peak. Some thirty to
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forty thousand musicians were employed during the big band era
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from nineteen thirty five to roughly nineteen forty five now
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in the back offices and I mean manager's book agents, etc.
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In addition to what we would call today rhodies that
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probably accounted for another eight to ten thousand plus workers.
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It's said that thousands of traveling dance and swing bands
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of varying types of talent, night after night, packed the ballrooms,
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literally hundreds and hundreds of them all across the country.
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Of course, records like we play here on the Make
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Believe Ballroom were also cut by hundreds of bands, additionally
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employing thousands of producers, engineers, publicity people, back office workers, etc.
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So also when we look at the big band era,
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we have to look to Hollywood, where swing bands made
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both motion pictures and soundies. Where in Hollywood hundreds of
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more people were employed to feed that need. So you
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could see that big bands were indeed big business. And
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if we didn't have a depression during many of those
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years and the economy was booming, the numbers would have
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been even greater. So a little quick look at the
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big numbers of people involved in fueling the big band industry,
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and many of those working in the big band industry,
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especially in the back offices, worked from nine to five.
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The five of block whistless on the plane. The whistle
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won't blow? And what do you think my papa is
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still in the factory because you don't know what time
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it happens to be the five of cock whistle?
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Who didn't blow?
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The whistle is bloken?
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And what do you know?
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If somebody don't find out what's wrong.
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My papa will be working all night long.
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Oh bo's gone the pick stone?
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Where won't somebody the stone?
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Where? Oh?
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Who's gone?
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The fake stone? Where?
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So my pullol?
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Which time for him to start?
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You walk to him?
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What my mommy said? Papa came home and sneaked into
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bed and told her he worke to have passed to
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because the five o'clock whistle never blew.
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Recorded on Bluebird Records. Five o'clock Whistle Glenn Miller and
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his orchestra with a Marion Hutton vocal recorded in New
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York City on September the twelfth, nineteen forty and that
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song was written by Brooklyn born Kim Gannon, who also
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wrote the hit tune Moonlight Cocktail for Glenn Miller. I'm
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going to play another if I can find it here.
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Hold on, yeah, I got it. I'm gonna play another
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Gannon song used by Glenn Miller. Then I'm gonna let
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you know the most famous song that Kim Gannon composed
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that has remained beloved throughout the years, right up until today.
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He's real a man blas Jappie.
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He's renowned for hisself. Of a glance from him makes
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the girls happy, and his smile has them walking on air.
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As he strolls down the avenue daily, all the feminine
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heart start to thrill.
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But somehow do they I'm sorry to say it's the
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gentle woman's charm is nil. The gentleman's clothes and smart
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gentleman's all the rain he said.
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For love from had to love. But the gentleman needs
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a shame.
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This gentleman health technique, the gentleman's quieten name. He's mighty
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smooth than in the groom, But the gentleman needs a shame.
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It may be none of my business, but here's the
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point to the song. You just can't start to break
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up home with whispers be lovely If the gentleman wants
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the love the gentleman seems to crave. He'd better hop
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to the barber shop, cause the gentleman needs a shame.
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Handle that Texas, what you say?
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What you said?
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How come you're looking so uh brought down today?
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Well, my romance is headed straight for the grid. Couse,
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my guy won't kiss me until I shave.
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She says.
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Brickley bears her pick for pickles. There ain't no peach,
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picks up bandit preckles.
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Well, man, you're due for him. What's over life?
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We'll get out the barbershop.
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There ain't none insane shave, no shave. I want to
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hear you too, all right. I don't mind that beer
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on you.
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It looks cute, all right, So long it gets under
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my feet.
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Well, climb out of that hell often let's get on
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the beach.
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From a nineteen forty radio remote, The Gentleman needs a shave.
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Glenn Miller and his Orchestra with vocals by Marion Hutton
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and TeX's Beneckey, written by kim Gannon. So what was
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the beloved song? I mentioned that kim Gannon wrote the
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lyrics for Well, it was I'll be Home for Christmas?
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Written in nineteen forty three, with the lyrics by Gannon
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and the music by Walter Kent. Of course, that song
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was first recorded by Bing Crosby with the John Scott
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Trotter Orchestra, and it became one of the most beloved
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