Dec. 26, 2025
Make Believe Ballroom - 12/26/25 Edition
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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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