Dec. 26, 2025

Make Believe Ballroom - 12/26/25 Edition

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Show Notes
Transcript

Happy Holiday's! A repeat broadcast as the Make Believe Ballroom crew celebrates. This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - a big band leader who had to change his name. This popular bandleader had a second career as an MC and DJ, plus many more great songs and stories to cherish and enjoy on this week's program.

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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 belief ballroom time and free to everyone.

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It's no time to friend your Dalis.

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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.

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And mister Miller, but 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 believe.

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Bob, come on till the last dass last.

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Hello world, I'm Jeff Bresler, 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 nineteen forties. Whether you're listening on

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the radio via great affiliates like Jazz ninety point one

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WGMC in Rochester, New York, or on a podcast, or

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perhaps on internet radio in the United Kingdom, anyway you

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have arrived. I'm delighted, so please get ready as I

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spend 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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hello once again, folks, welcome to the show. Let's start

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the victrola spinning right away with one by Dean Hudson

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and his orchestra.

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Than the the Border.

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On Okay Records, Holly Hop by Dean Hudson and his Orchestra,

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recorded in New York City on August the nineteen forty one. Now,

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Dean Hudson was actually born with the name Marion Ellsworth Brown.

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So how did he become Dean Hudson. Well, that amazing

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story after another by the Hudson Orchestra.

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The man.

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Then alive.

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A hot swinger from Dean Hudson Parker Lund on that

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wonderful drum solo Dean Hudson and his orchestra blitz Creek,

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recorded on ok Records back in nineteen forty one. So friends,

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before that record, I said that I would, well that

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I would tell you the story of how one Marion

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Ellsworth Brown became better known as Dean Hudson. And it's

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a great story. So as the tale goes, the band

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that Hudson led was originally formed back at the University

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of Florida in the mid nineteen thirties. It was a

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college band and they performed as the Clubmen. The first

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leader of that band was a student at the University

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of Florida named Eli Katz, and he used the name

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Dean Hudson as his stage name.

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Well.

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When Katz graduated, another band leader needed to be chosen,

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but under the conditions that were set forth by Katz,

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one of those being that the new leader would have

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to assume the Dean Hudson fictitious name. In nineteen thirty six,

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the Clubmen, as a group chose Marion Brown to become

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the new Dean Hudson, and the band recorded their first

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records as Dean Hudson and the Florida Clubmen. Marion Brown,

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who played trumpet and was a pretty good singer, he

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retained the alias Dean Hudson for the rest of his career.

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So one of the more interesting tales, Ladies and Gentlemen,

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of how an individual in this case, Marion Brown came

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up with his stage name.

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Of everything.

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At All.

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Nothing, We just heard the smooth sounding Villia. Artie Shaw

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and his orchestra recorded this one for Bluebird Records back

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on January the seventeenth, nineteen thirty nine, in New York City.

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So let's see here, Well, I played two by Dean Hudson,

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So why not extend the same privilege and courtesy to

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Artie Shaw for one more? Then when I return after

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Artie a look at a multifaceted musician and entertainer.

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Bastide to the sating.

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Making everything is jumping, And it certainly was a rousing

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performance by Artie Shaw and Company, broadcast on the radio

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from the Cafe Rouge of the Hotel Pennsylvania, New York

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City on October the twentieth, nineteen thirty nine, that one

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featuring Buddy Rich on the drums. Friends, I'm Jeff Presler,

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and you're listening to the one, the only, the original

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Make Believe Ballroom broadcasting almost continuously since nineteen thirty five.

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And you can reach me at Jeff at MakeBelieve Ballroom

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

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And well, maybe a little later on in the program

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we can get to some of the emails that I

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have received over the past week. Now, I mentioned prior

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to that Artie Shaw double dip that I wanted to

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tell you about a multifaceted musician, vocalist, bandleader and entertainer

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who was beloved during the big band And his name

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was Willie Bryant. And Willie was a trumpeter, big band leader,

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He was a vocalist, a composer, and disc Jackie. Like

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I said, the Chicago born Willy Bryant was indeed multifaceted.

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WILLI formed his first band in nineteen thirty four, and

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it took off right away, getting to the Lofty Heights

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that year of Willy and Crue being booked into the

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Savoy Ballroom, amongst other places. He quickly signed a record contract,

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first with Victor and later with Decca Records. He scored

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two big hits, Moonrise on the Lowlands and is it

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true what they say about Dixie? What a wonderful tune

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that is? I want to play both those for you

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and then tell you about how Willy branched out after

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he left the bandstand.

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Is it true what they.

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Say about Dixie? Does the sun really shine all the time?

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Do the sweet Magnonius blossom at everybody's door?

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Do books keep on eating bosom.

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That they can't eat no more?

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Is it true what they say about Swanna?

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Is it dream by the stream so sublime?

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Do they laugh? Do they love?

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Like they say in every song?

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If it's true, that's where.

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I be all.

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Yeah, mean yeah?

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Is it true what they say about Dixie? Willie Bryant

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and his Orchestra vocal by Willie himself, recorded on Bluebird Records,

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April the ninth, nineteen thirty six. One More by Willie Bryant.

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When it's moved on the Lowland. You hear laughter from

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eat Kevin Doll.

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When it's moon rise on the Lowland. The zufolks are

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happy once more.

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What a nightfall we like?

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They gone.

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After picking cotton all day.

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Just listen to that congregation, just singing their cares all

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the way.

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Up and down the delta underneath the shelter.

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Of a friendly guy.

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You see those nixy dandies dancing with their mandies.

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They got rhythm and religion and they're feeling kind of hide.

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When it's moon rise on the Lowland.

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H you'd be heaven lighting.

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Up the shore.

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When there's more light on the low line. Them's thus folks.

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I have that once more, Yeah, yeah, they'll have it,

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Yeah yeah.

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Willie Bryant and his Orchestra with his hit Moonrise on

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the Lowlands. Will he also performing the vocal on this

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one recorded by Bluebird Records April ninth, nineteen thirty six,

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and that song was recorded at the same session in

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which is It True what They Say about Dixie was

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also recorded. So due to economic circumstances as we move

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along through the nineteen thirties, Willie Bryant had to eventually

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disband his band in nineteen thirty eight. At that time,

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he decided to continue singing, but he also decided to

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use his talent, of his gift for gab and his

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great personality to become a rather popular radio disc jockey. Now,

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Willie was also an early pioneer in television and maybe

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I'm not sure, but I think he was the first

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ever host of an all black program. In nineteen forty nine,

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he hosted the weekly show Weekly show entitled Uptown Jubilee,

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which was on the fledgling CBS television network at the time.

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And after that, Willie went on to work at the

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Apollo Theater as a long time beloved EMC there at

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that Harlem venue. Now, many of you out there might

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remember a TV show that was called Showtime at the

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Apollo and it was hosted by a few folks, but

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the most famous MC for that program, I guess you

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would have to say it was Steve Harvey. The program

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first aired in nineteen eighty seven, and then a revival

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took place in twenty eighteen. And I call watching the

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show in New York on NBC when it came on

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after came on after Saturday Night Live. The program was

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filmed at the Apollo Theater in Harlem, and if you remember,

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if you remember the show, it featured live performances from

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both professionals and up and coming artists, and also featured

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an amateur night competition. Now, that was a highly regarded series,

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but it's forefather, the original Showtime at the Apollo, aired

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in nineteen fifty five with Willie Bryant as the host.

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And what better host than Willie since he lived and

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breathed the live performances at the Apollo directly from that

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historic stage as an MC which I just mentioned a

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few moments ago. Now, many of you TV history buffs

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or some of you as viewers might actually remember singing

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the nineteen fifty five version of the show, and it

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gave that show. The fifty five version gave a real

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taste of what a performance at the Apollo must have

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been like with the vocalists, comedians, bands, dancers and singing groups.

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So why don't we take a little while to play

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some records of guests who were featured on the nineteen

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fifty five Willie Bryant version of Showtime at the Apollo.

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Let's start with this one, and it's not too hard

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to guess who this frequent guest on the show was.

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I don't want fredge potatoes, red rabbe tomatoes. I'm never satisfied.

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I want the frim Fram sauce with the aw.

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Soun feed with Shill Fifa on the side.

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I don't want pork chops and baggon that water waken

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my apple tide inside. I want the friend fram sauce

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with the aw.

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Sun feed with Shill Fifa on the side. A fella

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really got to eat and a fella shoot he rid five.

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We'll get you ten. I'm gonna feed myself right tonight.

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I don't want fish cakes and rib red You heard

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what I said.

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Wait to please serve my.

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Fried I want the frem Fram sauce with the aws.

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And feet with Shafifa on the side.

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A fella really got to eat.

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And a fella shoesy ride.

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Five will get you ten. I'm gonna feed.

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Myself right tonight. I don't want fish cakes and rye bread.

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You heard what I said.

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Wait to please serve my fried I want fram frown

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sauce with thee or sunfish with chif.

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Fifa on the side.

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Now, if you don't have it, just bring me a

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check for the water.

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From Capitol Records. The frim fram Sauce by the King

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Cole Trio vocal by Nat king Cole, recorded October the eleventh,

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nineteen forty five and Nat king Cole appeared on four

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episodes of the original TV version of Showtime at the

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Apollo back in nineteen fifty five. So, folks, the fifty

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five Showtime at the Apollo, as I mentioned, was a

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variety show. The Great Hoofer, the legendary tap dancer Bill Baily,

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appeared on four episodes. Bill Bailey was the older brother

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of the great songstress and comedian Broadway stage actress Pearl Bally,

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and he Bill Bailey. He was a great friend of

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Bill Bojangles Robinson, and he used to pack his act

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with moves he learned from the great One. Now Bailey

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appeared in the groundbreaking all black cast nineteen forty three

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movie Cabin in the Sky. He did a dance move

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in that film that became legendary and it really cemented

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his fame as a tap dance star. Here's the song

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from the movie, sung by Ethel Waters that Bill Bailey danced.

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His famous move still used today.

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Rye goal again, I'm hearing trump. It's snow again.

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All alow again, taking a chance.

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On noe, ry slide again, about to take that ride again,

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star ride again, taking a chance on love.

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I thought that cards were a frame up.

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That I never would try.

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But now I'm taking the game up, and the ace

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of hearts is high.

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Things are mending now. I see a rainbow lending. Now

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we'll have our happy ending. Now, taking a chance.

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On low.

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He I slip bugin.

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I'm gonna take that tip begin God.

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My grip bugin. Taking a chance.

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On no.

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No. I poove again that I can lake life move

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again in the groove again, taking a chance on love.

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I'm walking around with a horseshoe and in.

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Clover eye line.

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Why, mister rabbit, of course you better kiss your foot goodbye.

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On the ball again, I'm riding more a fall again.

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I'm gonna give me again, taking.

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A chance on line.

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00:37:51.639 --> 00:37:54.000
Here I sink again.

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I'm getting in the pink again, all the brink again,

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taking a chance on love this game, I'm.

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Taking a cracket.

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00:38:09.760 --> 00:38:15.440
Sean needs good luck with me, and so I'm taking

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00:38:15.559 --> 00:38:16.480
a whacket.

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Any blackcat that.

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I see.

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00:38:22.239 --> 00:38:28.400
Why M booked again. I'm in the swim and hooked again.

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00:38:29.639 --> 00:38:32.239
This goose of mine is cooked again.

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Taking a chance one.

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Taking a chance on love. Ethel Waters vocal dance performed

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00:38:44.039 --> 00:38:48.599
by Bill Bailey also in the scene and also cutting

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00:38:48.639 --> 00:38:53.639
a rug won Eddie Rochester Anderson of Jack Benny fame,

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00:38:54.440 --> 00:38:58.760
and that scene can be viewed on YouTube. And in

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00:38:58.960 --> 00:39:02.199
that scene if you watch it for the first time ever,

261
00:39:02.960 --> 00:39:08.360
Bill Baily did a dance move that affectionately became called

262
00:39:09.719 --> 00:39:15.800
the moonwalk. The inventor of the moonwalk Bill Bailey, also

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00:39:15.960 --> 00:39:21.119
who frequently appeared on the nineteen fifty five edition of

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00:39:21.320 --> 00:39:26.199
Showtime at the Apollo and now I want to disc

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00:39:26.400 --> 00:39:29.000
well before I do that, come to think of it,

266
00:39:29.199 --> 00:39:33.079
I'm just thinking about this. How interesting Bill Bailey did

267
00:39:33.159 --> 00:39:38.119
the moonwalk on the stage of the Apollo Theater while

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astronauts walked on the Moon via the Apollo spacecraft. What

269
00:39:43.400 --> 00:39:47.920
an interesting coincidence. Friends who also appeared on the Willie

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Bryant hosted Showtime at the Apollo. Well, let's have a listen.

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The Father.

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00:41:00.599 --> 00:41:58.559
Didn't Kill Me.

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00:42:34.760 --> 00:42:38.760
Lionel Hampton and his orchestra with the Benny Carter composed

274
00:42:39.039 --> 00:42:43.280
I'm in the mood for Swing, recorded July the twenty first,

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nineteen thirty eight on the Victor label. And Lionel Hampton

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00:42:48.039 --> 00:42:51.519
appeared on the nineteen fifty five version of Showtime at

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00:42:51.559 --> 00:42:55.079
the Apollo on six different episodes.

278
00:42:56.280 --> 00:42:57.000
And now.

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00:42:58.320 --> 00:43:02.719
Just looking at the list. Here for a comedy relief

280
00:43:03.480 --> 00:43:07.239
during Showtime at the Apollo, A blast from the past.

281
00:43:08.440 --> 00:43:13.199
Nipsey Russell was on seven episodes. Some of you might

282
00:43:13.400 --> 00:43:19.639
remember Mantan Morland. He did his comedy stick on five episodes.

283
00:43:20.960 --> 00:43:24.719
Sarah Vaughan sung on five shows in the series. And

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00:43:25.360 --> 00:43:30.239
this guy and his orchestra grace the TV cameras on

285
00:43:30.559 --> 00:43:32.440
four different appearances.

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00:44:29.840 --> 00:44:36.039
Way down in Charleston lives Old Chi Joe.

287
00:44:41.079 --> 00:44:47.239
I'm going down to Charleston to digle Gichi Joe.

288
00:44:52.119 --> 00:44:54.280
Got a good old Gitchie urge.

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00:44:55.400 --> 00:44:57.119
Can't do nothing.

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00:44:56.880 --> 00:44:58.440
Else but go.

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00:45:03.719 --> 00:45:20.039
Got misery misery again I got misery, mystery, nothing.

292
00:45:19.920 --> 00:45:20.920
But man.

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00:45:26.000 --> 00:45:32.920
Gonna diggleich itch you to foodoo the Jimpson Blue.

294
00:45:37.599 --> 00:45:41.960
I gotta get back to Charleston. If I walk down

295
00:45:42.079 --> 00:45:49.320
to Thrill road tracks, gonna.

296
00:45:49.159 --> 00:46:00.440
Rub my hand on a loadstone blue with Flo.

297
00:46:00.599 --> 00:46:06.480
You did, Joel came, get it Artifa will come in back.

298
00:46:30.320 --> 00:46:30.960
Coming home?

299
00:46:31.800 --> 00:46:33.360
You did? Joe come.

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00:46:35.840 --> 00:46:42.840
From nineteen forty three the movie Stormy Weather on Okay Records, Geechee,

301
00:46:43.079 --> 00:46:49.440
Joe Cab Callaway and his orchestra. I'm Jeff Bressler, and

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00:46:49.719 --> 00:46:54.599
we've been perusing the list of talented entertainers who appeared

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00:46:54.760 --> 00:46:58.920
on the original TV version of Showtime at the Apollo,

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00:46:59.519 --> 00:47:04.880
hosted by Willie Bryant. These great guys, the Delta Rhythm

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00:47:05.000 --> 00:47:09.440
Boys made three appearances on Showtime at the Apollo.

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What's the good of having money when you haven't got

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00:47:17.559 --> 00:47:22.920
your honey? I don't go out and walking. I ain't

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00:47:23.000 --> 00:47:28.079
for no talking. My baby done left me.

309
00:47:31.079 --> 00:47:32.400
And Rogin.

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Now if I had been scheming instead of just dreaming,

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00:47:41.679 --> 00:47:49.880
she never have left me. Justice and the Rogain now

312
00:47:50.239 --> 00:47:56.760
said noaday without holding my baby. I'm such a lonely papa.

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00:47:58.639 --> 00:48:00.679
I don't hurry.

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00:48:00.800 --> 00:48:01.519
I'm come back.

315
00:48:01.800 --> 00:48:07.039
I'm a sage to blue my pop. If I don't

316
00:48:07.159 --> 00:48:14.960
find me, I hope you remind that I'm staking where

317
00:48:15.079 --> 00:48:25.320
she left mea and rockin all day. Never go walk again,

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00:48:26.159 --> 00:48:32.280
you never hear me talk again, And I guess I

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00:48:32.480 --> 00:48:39.800
never be the same baby Ji return, please act, ride

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00:48:39.960 --> 00:48:41.559
and give me a call.

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00:48:42.800 --> 00:48:47.400
And I'm not we will have a fall you wi

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00:48:48.320 --> 00:48:49.400
wmen falled me?

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00:48:49.840 --> 00:48:50.920
So baby?

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00:48:51.039 --> 00:48:52.679
Won't you please come home?

325
00:49:10.679 --> 00:49:11.039
Steel?

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00:49:11.119 --> 00:49:14.079
It's all blue now fails all blue?

327
00:49:14.199 --> 00:49:14.320
Now?

328
00:49:14.719 --> 00:49:15.880
What shall do?

329
00:49:16.239 --> 00:49:16.400
Now?

330
00:49:17.360 --> 00:49:17.920
Want to do?

331
00:49:18.159 --> 00:49:18.320
Now?

332
00:49:18.679 --> 00:49:24.719
My baby done left me, just us in and a rocking.

333
00:49:26.800 --> 00:49:27.079
Worry.

334
00:49:27.119 --> 00:49:32.239
If I don't find her, what, I hope you remind

335
00:49:32.400 --> 00:49:37.000
her that I am stagging where she left me to

336
00:49:37.199 --> 00:49:43.239
rock justice in land, rock all day, I said, And

337
00:49:43.400 --> 00:49:47.719
rock and rocky and rock and rock in.

338
00:49:48.400 --> 00:49:49.400
The Rocking.

339
00:49:56.360 --> 00:49:59.800
One deck of records, Just a Sitting and a Rocking

340
00:50:00.119 --> 00:50:05.039
by the Delta Rhythm Boys, recorded July the ninth, nineteen

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00:50:05.239 --> 00:50:11.199
forty five. And I think we have time, perhaps for

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00:50:11.360 --> 00:50:14.480
one more of the great talents that appeared on the

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00:50:14.599 --> 00:50:19.000
nineteen fifty five Showtime at the Apollo. Let me look

344
00:50:19.079 --> 00:50:25.039
at the list here. What about the great Dinah Washington

345
00:50:25.280 --> 00:50:31.000
who got her start in nightclubs in the nineteen forties.

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00:50:31.039 --> 00:50:33.840
I think she worked a little with Lionel Hampton, who

347
00:50:33.920 --> 00:50:38.320
we played just a little while back. Dinah played several

348
00:50:38.440 --> 00:50:42.599
times over her career at the Apollo Theater in Harlem,

349
00:50:44.039 --> 00:50:47.280
and she was on the nineteen fifty five Showtime at

350
00:50:47.320 --> 00:50:52.599
the Apollo TV show four times that year. And I'm thinking,

351
00:50:52.679 --> 00:50:54.519
you know, it would be fun if I can find

352
00:50:54.599 --> 00:50:58.960
a song that Dinah Washington perhaps recorded in fifty five,

353
00:50:59.159 --> 00:51:03.360
which could possibly mean that she actually performed it on

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00:51:03.519 --> 00:51:08.199
the Willie Bryant hosted Showtime at the Apollo. Let me

355
00:51:08.280 --> 00:51:12.480
go to this computer screen, look at Dinah Washington and

356
00:51:12.599 --> 00:51:16.840
what she did in nineteen fifty five, and see if

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00:51:16.880 --> 00:51:21.559
I can grab a tune. Here's an album titled for

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00:51:21.679 --> 00:51:25.400
Those in Love that was released in nineteen fifty five.

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00:51:26.920 --> 00:51:30.000
I'm looking at the songs on that record. Let's see

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00:51:30.000 --> 00:51:32.599
if I could cleanly do this. I'm shooting for Dinah

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00:51:32.800 --> 00:51:35.679
Washington singing I get a kick out of You, the

362
00:51:35.800 --> 00:51:39.880
Cold Porter standard from his wonderful nineteen thirty four show

363
00:51:40.039 --> 00:51:44.039
Anything Goes Hang On. Let me give it a try.

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00:51:54.880 --> 00:51:58.639
I get no kick from Champagne.

365
00:52:01.920 --> 00:52:02.199
Mera.

366
00:52:02.280 --> 00:52:10.599
Alcohol doesn't three me at all. So tell me, why

367
00:52:11.000 --> 00:52:17.400
should it be true that I should get a kick

368
00:52:18.480 --> 00:52:30.639
out of you. Some get a kick from Champagne. I'm

369
00:52:30.920 --> 00:52:33.400
sure that if I took.

370
00:52:33.320 --> 00:52:43.960
Even one sip, that would bore me terrifically too. Yet

371
00:52:44.239 --> 00:52:47.679
I get a kick out of you.

372
00:52:51.400 --> 00:52:58.840
I get a kick every time I see you standing

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00:53:00.280 --> 00:53:02.800
there before.

374
00:53:03.519 --> 00:53:07.280
Me, I get a kick.

375
00:53:08.559 --> 00:53:17.159
No, it's clear to me you obviously don't adore me.

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00:53:19.480 --> 00:53:28.119
I get no kick in a plane flying too high

377
00:53:29.000 --> 00:53:34.679
with some guy in the sky is my idea of

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00:53:35.119 --> 00:53:43.800
nothing to do. Yet I get a kick out of you.

379
00:54:00.039 --> 00:54:30.920
At about something.

380
00:54:38.440 --> 00:55:15.840
A well that worked out well Dinah Washington, I get

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00:55:15.880 --> 00:55:19.000
a kick out of you from a nineteen fifty five album,

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00:55:19.599 --> 00:55:22.400
which leads me to believe that perhaps she also sang

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00:55:22.480 --> 00:55:25.679
the tune on the nineteen fifty five version of Showtime

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00:55:25.920 --> 00:55:29.440
at the Apollo, And Folks, because I went through that

385
00:55:30.000 --> 00:55:34.960
exercise with Dinah Washington, I let things get away from me.

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Because I decided to add her, I will not have

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time to play the segment that many of you really enjoy,

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00:55:46.679 --> 00:55:49.519
that being Lenny from Down the Blocks record pick of

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00:55:49.679 --> 00:55:53.119
the week. So perhaps I could double down on Lenny's

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00:55:53.159 --> 00:55:57.960
fine segments next week. Folks that is all the time

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we have for this program. Really hope you enjoyed it.

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To reach me, I'm Jeff at Makebelie Ballroom Radio dot com.

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That's Jeff at MakeBelieve Ballroom Radio dot com. We put

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00:56:10.079 --> 00:56:13.960
all of our past radio programs into podcast form after

395
00:56:14.079 --> 00:56:16.960
they are broadcast, and to hear past shows, go to

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00:56:17.079 --> 00:56:21.280

Make Believe Ballroom - 12/26/25 Edition

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