Dec. 20, 2024

Make Believe Ballroom - 12/20/24 Edition

Show Notes
Transcript

On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom – a few great stories about how songs got their titles, how fate played a hand in a trumpeters success and a special announcement - this and many more great records to enjoy on the show!

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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.

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Good cheer your way.

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It's make believe ballom time and free to everyone. It's

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no time to friend your Dalis.

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Said Bamba yours.

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Close your eyes and visual lize in your solitude. Your

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favorite bands are on this dance and.

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Mister Miller, but you make the mood its.

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Make believe ballroom time. We are a sweet romance as

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you make it bottom.

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Come on jo last dance less.

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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 big band hits

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of the nineteen thirties and nineteen forties. Whether one of

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my longtime listeners or maybe a new listener on public

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broadcasting or community radio stations across the United States as

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well as in the United Kingdom, please 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

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stations like Jazz ninety point one, WGMC in Rochester, New York,

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and other fine radio affiliates. So welcome to the Make

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Believe Ballroom. And I've spoken enough with introductions. Now how

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about some music to get this week's ballroom underway.

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To get don.

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Stanton step dott.

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That was a sweet sue performed by the Benny Goodman

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Quartet comprised of Benny on the clarinet playing the piano,

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Teddy Wilson, drums by Gene Krooper, and the vibraphone of

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Lionel Hampton, recorded in nineteen thirty six for Victor Records.

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If you've been listening to the Make Believe Ballroom in

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the past, you know that I love to talk about

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how songs got their names. A few months ago, I

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guess it was a few months ago, I explained how

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the Jan Sabbat Orchestra tune seven twenty in the books

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got its name. And my explanation was that when a

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song didn't have a title, or it was too loud

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in a ballroom for the band to hear the actual title.

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In the case of the Sabbat Orchestra, he referred to

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it by its number in the orchestra playbook, which was

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the story with this tune, hence its title just seven

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twenty in the books, So why don't we go to

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another song now with numbers? This one was called the

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nine to twenty Special, and it was composed by Count

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Bassie's lead alto saxophonist Earl Warren. The song was known

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in the Basy band as Earl's Tune and justifiabolice, so

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since Earl Warren wrote it, the song was arranged by

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the great Buster Harding. First time that I heard the

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song nine twenty Special, it gave me an imaginary image

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of one of those old fancy bullet looking Art Deco

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trains like the twentieth Century, speeding across the country to

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make its arrival on time at exactly nine to twenty

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at Union Station in Chicago. What imagery do you have

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in mind when you hear the Bassy Orchestra playing the

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nine to twenty special, Ways.

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To las rays words.

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And as hard as sting proponent, any any scams.

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Can att.

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The fall?

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We just heard the nine to twenty Special, recorded for

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Columbia Records on April tenth, nineteen forty one. Well, folks,

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what did you imagine? Why do you think the song

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was named the nine twenty Special? Well, there's been various

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explanations given over the years about exactly where the title

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nine twenty Special came from. Here's the one that most

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historians find the most plausible and the one that I

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think is the true story. As it goes. Count Basie's

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band had come to the recording studio after a long

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night's work at a ballroom in Chicago. Well, they all

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settled into the Columbia studio and started recording, and they

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did so throughout the night. And by the time they

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finished this number, it was exactly nine to twenty a m.

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Hence the nine to twenty Special. A great story there,

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But how about an even better one. There is another

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legendary bass song dealing with its name, and I'm talking

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about one o'clock Jump, which actually began just as a

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side note as a riff arranged by Count Basie and

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alto sax player Buster Smith. It was based on the

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Fats Waller tune six or seven Times.

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Now.

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Basie's band at the time of one o'clock Jump was

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called Basie's Barons of Swing, and they were playing at

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the Reno Club in Kansas City. Now, the shows from

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the Reno Club were simulcast as radio remotes to a

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local Kansas City station. So the staff announcer at the

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club before the broadcast asked Basie the names of the

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songs he would be playing. One of the tunes was

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titled blue Balls. Now in the mid thirties and perhaps

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even today, that name was rather unacceptable for radio play

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due to the images it might evoke, so the announcer

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told Bassie he would not be using that exact title

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over the air. So when it came time for that

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number to come up, the announcer looked at the clock

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and called a song spontaneously, one o'clock jump. Now, you

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might I think Basi got upset by this, but he

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went on to use the title from there forward. Basi

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used one o'clock Jump as his theme song and recorded

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it on his first session with Decker Records on January

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the twenty first, nineteen thirty seven. He also ended every

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performance with this song for the following fifty plus years.

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So let's go back to that original Decker recording with

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the basic theme one o'clock jump.

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Its sap father, what about.

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They they had.

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Under the rod the.

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Bottom boat, one o'clock jump.

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I'm Jeff Bresler, and you are listening to the one

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the only the original make Believe Ballroom broadcasting almost continuously

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since nineteen thirty five, and today coming to you on public,

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community and university radio stations, as well as in podcast form.

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To reach me with your comments and requests, I'm Jeff

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at Make Believe ball Room Radio dot com. That's Jeff

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at make Believe Ballroom Radio dot com. And after this

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next tune, my friend's a story of fate.

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Good fly a kite and tie your troubles to the tag.

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They'll be blown away, my American. Good fly a kite

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and tash.

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Your worries to the wind, and they won't come back.

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They'll be to sgrin.

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Go on, make friends with the sky, have a time

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with the sun. It's a bride where to live.

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Give you pardon the pan. Good clya kind and.

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You imagine you're a king because you've got your world

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on a piece of strange.

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Half.

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A nice driving rendition of Go Fly a Kite from

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Al Donahue's Orchestra with a swell vocal air from Paula Kelly,

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recorded in nineteen thirty nine. I really like a lot

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of Al Donahue's upbeat swingtoon, So if you give me permission,

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I would like to play one more.

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Then, mister move.

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It's only afternoon.

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Romances don't begin.

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To they's group and well there's done, good Mont.

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You do the bather do like a the pathway who

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loves rendezvous your most enoble. Two, you're shining must too

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soon and wasting on your silver upper ball. Go home, man,

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gets some rests so you can look your bells tonight

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when you shine ball.

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From Okay Records. Hi there, mister Moon by Al Donahue

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and his orchestra, vocal by d Keating, recorded in New

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York City, April fourth, nineteen forty one. And I said,

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prior to the Donahue two for one here that I

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was going to tell you a story about fate. And

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who did that story of fate involve? It involved this

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very trumpeter and bandleader.

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Are the stars out to night?

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I don't know whether it's cloudy or blind, because I

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only have eyes for you, dear the moon, maybe bride,

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but I can't see a thing in the sky, for.

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I only have I.

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For you.

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I don't know if we're in a go OURRONA crowd

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is a and you.

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You are you so in mind?

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Maybe millions of people go buy, but they all disappear.

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Round you now have bus.

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Or you.

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And I only have esbefore you.

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I only have eyes for you. Billy Butterfield on the

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trumpet with his orchestra vocal by Pat O'Connor and record

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ordered in nineteen forty six. Now, Billy Butterfield was one

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of the most brilliant and versatile trumpeters to emerge from

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the Swing Era. Starting in the mid thirties and for

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the next five plus decades, Billy Butterfield was a welcome

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addition to any band he chose to play in. Now.

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I've spoken on previous shows about some of the greats

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of the Swing era who went on to have very

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long careers, and Billy Butterfield certainly fits that criteria. So

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before the song, I asked you if you believed in fate,

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and here's why. As fate would have it. A band

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leader of Bob Crosby and his bassist and ranger Bob Haggard,

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they were passing through Lexington, Kentucky, in early nineteen thirty

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six when the car they were driving down while they

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were having repairs done. Crosby and Haggart were getting extremely

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antsy sitting around, and they asked the mechanic if there

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was a nice spot to listen to some music near

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his shop, and they were directed by the mechanic to

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the Joyland Park Ballroom just outside of Lexington, and the

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two Bobs decided to see what was going on there. Well,

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it was a local regional band playing at Joyland and

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they were not really very good. Young Billy Butterfield's trumpet

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playing was several levels higher than the playing of the

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rest of the band, So during a break, Crosby and

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Haggart went up to the bandstand and introduced themselves and

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asked Billy if he'd like to join the Bob Crosby Band.

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He said he'd be delighted he knew who Crosby and

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Haggart were, and they said they'd get back to him

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soon after they exchanged phone numbers. Now, unfortunately, months passed

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by and Billy heard nothing, so he moved from that

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local band to the Cleveland based Austin Wiley Orchestra, which

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was a big step up at the time for Billy Butterfield.

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That at some point in mid nineteen thirty seven, the

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ever alert Haggart, while on a tour with the Crosby Band,

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this time near Pittsburgh, heard the ringing sounds of Billy

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Butterfield's trumpet on a remote radio broadcast of the Wiley

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Band from Pittsburgh, and eventually, in the late summer of

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nineteen thirty seven, Billy finally joined Crosby and the rest

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is history, as Billy went on to play with the

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Artie Shaw and then have his own successful orchestra. So

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did that, in your mind fulfill the definition of fate? Well,

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I certainly think so. As we leave Fate and Billy Butterfield,

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Bob Haggard composed and arranged an original tune as a

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showcase for Billy's trumpet when he joined the band, titled

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What's New also known as I'm Free. Here's Bob Crosby

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and his Orchestra featuring trumpeter Billy Butterfield, recorded on Decca

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Records in Chicago on October nineteenth, nineteen thirty eight.

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Then he.

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Billy Butterfield, now Bob Crosby, as many of you know,

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was Bing Crosby's brother. Bob had a great orchestra, but

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he was probably best known for his group the Bobcats,

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which formed around nineteen thirty five. And the Bobcats were

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New Orleans Dixie Land style Jazz octet. So why don't

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we play a little Bobcats here on the make Believe Ballroom.

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Sister s.

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S s.

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On Decca Records, South Rampart Street Parade by Bob Crosby

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and his Orchestra, recorded in Los Angeles, November sixteenth, nineteen

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thirty seven. And now, my friends, for your listening pleasure,

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the song Joelton Joe DiMaggio. The song itself not only

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pays tribute to the Yankee Clipper Joe DiMaggio, but it

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specifically talks about his uh well it holy LEGENDARYUS fifty

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six game hitting streak for the New York Yankees during

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the nineteen forty one season.

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Hello Joel, what do you know?

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We need a hit?

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So here I go?

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Oh whoa?

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Oh?

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Like what.

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Right?

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Okay?

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So wheaties.

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He started Baseball's famous street. That's got us all a

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clothe He's just a man and not a free joltin

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Joel the Maggio.

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Joe Joe the Maggio.

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He tod the market forty four July, the first you know.

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Since then he's hit a good twelve more children, Joe

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the Maggio.

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Joe Joe the Maggio.

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Corom coast to coast. That's all you'll hear of Joe

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the One man Show.

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He is glorified.

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The horse hats far joltin, Joe the Maggio, Jo, Joe,

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you live in Baseball's Hall of Fame. He got their

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blow by blow. Our kids will tell their kids his name,

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joked and Joe the Maggio. Joe, we want you on

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our side. And now they speaking whispers of how they

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stopped our Joe one night in Cleveland. Oh oh, oh

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good back Street, the Maggio.

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Less Brown, Jolt and Joe the Maggio with the vocal

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by Betty Bonnie, who was at the time replacing Doris

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Day during her leave from the Less Brown Orchestra to

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get married, Joelton Joe DiMaggio. And don't blame me, friends,

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if that tone sticks in your head and you keep

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on repeating singing the words Joelton Joe DiMaggio, let me

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play another tune. And then ladies and gentlemen and important announcement.

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A little man.

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Walked up and down.

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I found an eating place.

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He looked the menu through and through to see what

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fifteen cents could do?

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Want meatball?

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Want meatball?

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He could have fallen but wan me ball.

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He told the waiter near at hand the simple dinner

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he a plan. The folks were startled, one on all

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to hear that wad and love God, yvam want meadbar,

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Hey is here?

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Jan wants one ball.

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The little man felt hillies and said some Britzer if

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he leads. The waiter's voice.

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Rode down on. He gets no bread with one meatball,

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one meatbob, one meatball. He gets no bread with wine meatball.

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The little man felt very bad, but one meatball was

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all he had now him his dreams.

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He hears that car, you get no bread with one meatball,

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one meatball, one meatball. You gets no bread with wine

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mead balls, one mead ball, one mead bomb, one mead Bam.

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You get no bread read one ball.

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I think the Andrew sisters also had some success with

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this novelty tune from Victor Records. We just heard one

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Meatball by Tony Pastor and his orchestra vocal by Tony,

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recorded November seventeenth, nineteen forty four. And I said before

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that song that I had a special announcement to make,

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So I will introduce that announcement first with this song.

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When the world should all be sleeping, and the melody

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comes creeping till you want to swing.

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It's a milk pans Madden name. If you hear a

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man the swinging.

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And you hear somebody singing, it's no cavalry, it's a

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milk pans Madden name.

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That's the time.

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The same that hasn't got a chance.

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Paulo babiously.

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Stupid wakes and looks.

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Around for your Roman's.

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While the milk man single pay.

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Down the milky.

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Ways morning, can't you get? Wait till dawn and everything's

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great at.

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The milk masnat name down the milky wage morning danswer

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hands away til Donna.

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Everything great.

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The modern Aires are singing and Less Pom swinging at.

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The milk pad the milk pounds Man.

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Milk Man's Matinee by Less Brown and his band of

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Renowns vocal by the Modernaires. Yes, the same Less Brown

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we just heard on Joelton Joe. So why did I

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play Milkman's Matinee? Well, A number of Make Believe Ballroom

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affiliate stations for some time have been asking me if

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I could do some after midnight music, and I kicked

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the idea around and decided to do a three hour

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program once a week call the Milkman's Matinee, and much

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like the Make Believe Ballroom, the Milkman's Matinee has a

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long and storied history behind it. The Milkman's Matinee began

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on WNW Radio in New York City in nineteen thirty five,

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and that's the same year as the start of the

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Make Bully Ballroom on the same station. Hosted by Martin Block.

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The WEEW show was notable for being, at least in

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its era, the longest daily program on radio at five hours,

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and also for making WWEEW the first radio station in

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the world to broadcast twenty four hours a day.

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Now.

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Legendary newspaper columnist Walter Winchell requested such a program Bernice Judas,

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who was the general manager of WNW, which in itself

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was an amazing feat for a woman. Back in nineteen

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thirty five. She once wrote, when an authoritative columnists like

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Walter Winchell wishes for a radio station that would keep

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Metropolitan New York's all night workforce company during the wee hours,

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I introduced the Milkman's Matinee. Now, when stand Shaw, the

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first DJ, began going on the air at two am

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Eastern time. He fulfilled Walter Winchell's wish by offering free

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entertainment to make it available to more than four hundred

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thousand night shift workers in the New York metropolitan area. Now,

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Shaw played an average of eighty records per program with

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the help of an assistant, and in those days, again

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nothing was computerized. That assistant was called a record picker

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and had to go into a room where there were

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all these milk rates filled with the records and counter

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referenced in all different kinds of ways. In addition to

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tele printer machines brought in an average of one hundred

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and thirty five requests per program, so many that they

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needed the help of an employee from the Postal Telegraph

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Company to handle the incoming messages, and as requests continued

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to arrive, the station had to increase the program's record

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library from its original ten thousand to twenty four thousand.

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Just six years later, and along with the music, Shaw

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mixed in weather reports, market news, and what was described

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as a fresh stream of a homie chatter. Shaw used

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ants and weeks recording My Very Good Friend the Milkman

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is his opening and closing theme for each broadcast, and

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later in the mid forties, staying Shaw began to use

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the song Milkman's Many, which became the theme. So I'm

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now hosting the Milkman's Matinee. If your station doesn't carry

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the program, you can hear it in podcast form once

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00:51:08.920 --> 00:51:11.880
it clears the first play by affiliates, you can go

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to your favorite podcast platform, whether it be Apple, Spotify,

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IR Radio, and like here on make Believe Ballroom. We

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00:51:20.320 --> 00:51:23.079
are on all of them. Just type in the search

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00:51:23.239 --> 00:51:27.760
make Believe Ballroom and look at the playlist and you

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00:51:27.840 --> 00:51:32.119
will find the current episodes of the Overnight Milkman's Matinee,

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00:51:32.360 --> 00:51:38.719
America's original overnight program. And in addition to all your

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favorite tunes of the big band era, I also play

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an assortment of nineteen thirties to nineteen fifties. As I

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mentioned big bands added to blues, bluegrass, country, western swing, Texas,

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swing rock, and do op again all circa nineteen thirty

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to the nineteen fifties. Milkman's Matinee.

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And in honor of the matinee, no man keep board

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bottles quiet?

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Can you use that jive on my milk diet?

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So Milkman and keep board bottle quiet, and jumping on

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the swingship all day, turning out my quarter. All right now,

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00:52:41.320 --> 00:52:45.280
I'm beating right down to the side. Gotta catch myself

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00:52:45.400 --> 00:52:53.599
some righteous nods. So milkman, keep loos bottles quiet. Milk man,

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00:52:54.199 --> 00:53:00.679
stop bad bread at right. God On, if you can't

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00:53:00.920 --> 00:53:07.519
love old, buy it. Oh, milkman, keep though bottles quiet,

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00:53:09.760 --> 00:53:13.519
then knocking out a fat tank all day working on

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00:53:13.639 --> 00:53:17.719
a bottle. Okay, boy, you blast my wig with those planks,

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00:53:18.360 --> 00:53:22.159
and a guy who catch my fort anyway, So milk man,

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00:53:23.039 --> 00:53:31.599
keep thought, bottles quiet, cat noise off the river to

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00:53:31.679 --> 00:53:33.840
a right, go on, mind it, cause the man with

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00:53:34.000 --> 00:53:36.639
the whiskers has a light behind it. But I can't

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00:53:36.760 --> 00:53:39.679
keep punching with the victory crew when you're making me

387
00:53:39.960 --> 00:53:42.840
punch you with that bottle. Hoo, I wanna give my

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00:53:43.000 --> 00:53:45.320
all of them. Go on to give it, butter God,

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I get my shut out if I'm going on a ribbit,

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00:53:47.760 --> 00:53:50.960
So bill I thought without a milk barage go to

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00:53:51.039 --> 00:54:12.239
than patriotic gets a bugle touch and knocking out a

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00:54:12.360 --> 00:54:17.400
fat tank. Aldy working on a bottle. Wookie, boy, you

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00:54:17.519 --> 00:54:20.880
bless my wig with us clinking, And I got to

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00:54:21.119 --> 00:54:22.800
catch my boy a week.

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So milkman, keep those bottles quiet, Ooh milkman, keep food

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00:54:31.559 --> 00:54:38.400