Dec. 27, 2024
Make Believe Ballroom - 12/27/24 Edition
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 – some great big band music that was used in contemporary movies...
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 – some great big band music that was used in contemporary movies directed by a film making legend - 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 good cheer your way.
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It's make believe balling time and free to everyone.
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It's no time to fret.
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Your Dalis said, baby.
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Yours, close your eyes and visual lie in your solitude.
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Your favorite bands.
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Are on this dance and mister Miller, what you mean
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make the laev ball time.
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Are a sweet moments you make lae ba. Come on, gentle,
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last dance, last.
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Hi, folks, I'm Jeff Presler, turning on the lights of
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the Make Belief Ballroom and welcoming you went to my
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Crystal studio for another program of the great big band
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hits of the nineteen thirties and nineteen forties, Whether one
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of my longtime listeners or a new listener on public,
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community or university radio stations across the US as well
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as in the United Kingdom, grab your dance ticket. It's
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free and let's listen to some wonderful big band jazz, swing,
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blues and boogie woogie. Hello world, and from coast to
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coast on stations like Jazz ninety point one, WGMC in Rochester,
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New York, and other fine radio affiliates. Welcome to the
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Make Believe Ballroom, the one, the only, the original Make
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Belief Ballroom, broadcasting almost continuously since nineteen hundred and thirty five.
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And let's see if I can pick a winner to
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get things underway on this edition of The Make Believe Ballroom.
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Morning Hands on Me nine the summer resides.
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Guys, work, if you.
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Can get it and you get it, you try strolling
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with a one boy sighing, sigh up.
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The side, nuice work.
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If you can get.
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It and you get it, you've tried.
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Just imagine someone wedding of cottage.
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What one come.
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On client, spread it more, loving.
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One who loves you, and then.
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Taking that ball Night's work.
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If you can get it, and if you get it,
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hold watch.
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Tell me I'm holding hands at midnight me for strawberries. Guy,
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Oh my, my my, I've fished on perfect do goes.
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I'm thinking of the one on the I don't know
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and I don't care. I'll feel as though floating on air,
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go through sounds of podkos, thinking of the.
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One that I love.
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Just imagine someone waiting at the cards. Don't eat today today.
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Holding handcap midnight, need to stop Retie.
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That's work.
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If you can get it, then you can get it.
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If you try strolling with.
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The one barny sort.
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To side to stand, that's good work.
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If you try.
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You need to just imagine someone waiting at Honis Doll
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went on, come on, we'll press for anything.
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More, loving one who loves you and taking a bar.
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That's cot work.
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That's cool, that's work if you can get it.
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Ripe, that's nice work from Decca Records, and certainly a winner.
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Nice work if you can get it. Composed by George
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and Ira Gershwin, sung by the andrew Sisters Orchestra, conducted
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by Vic Schoen, recorded November the twenty fourth, nineteen thirty seven.
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And I think.
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I'm almost sure that might have been the andrew sisters
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first record after they signed a big contract with Decca Records,
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their first major recording contract, And I'm gonna have to
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look that up. But nevertheless, you can still tell. I
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think when you heard the andrew Sisters singing, how much
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of an influence the Boswell Sisters had in the andrew
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Sisters style back in nineteen thirty seven. Why don't I
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play a Boswell recording for comparison?
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Him m in Heaven.
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My hearty soul that I can hardly spe.
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And I seem too fine for having as I see
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when we round together dance cheek.
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Him yme in heaven, book here a home around me
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through the.
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Weed see you vanish life, gambler's lucky street. When we
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round together dance cheek.
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Or cim mountain and to reach a high usbie body
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doesn't thrill me half astbuch jazz dancing cheek ducchi or
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dance with me.
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I want my arm about you, got charm about you,
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will come.
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Im through to heaven. I'm in heaven.
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My heartbeat soul that I can hardly spe and I
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seem too fine for happiness.
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I see.
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When we rout together dance cheek chie oh dom and
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I'm gonna have went along with you. I'm gonna have
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win to dance with you.
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A heartbeat so that I can't speak when we're out
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together dancing geekuchee go honey, I'm him when you buy
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my side when we're out together right side, that's fine.
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You just appear like a gambler speak when we're out
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together dancing geeju jeez, I'd love to climb a mountain.
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And reads the peak it doesn't dream me like dancing
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cheep him.
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Mommy and him.
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My hearty.
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So the Latin Hardley speak, I seem too fine the
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happiness I see.
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When we rout together dance cheek.
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That was the Biswell Sister's Cheek to Cheek on Deco
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Records in nineteen thirty five, and I think you definitely
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could hear how the Boswells did indeed have an influence
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over the early singing style of the Andrews Sisters. Now,
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the song that the Boswell's just sang, Cheek to Cheek,
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was written by Irving Berlin, specifically for Fred Astaire, who
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was the star of his new movie musical Top Hat.
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That film was produced by RKO Pictures, and it was
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a huge hit. It opened at Radio City Music Hall
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in New York on August the twenty ninth, nineteen thirty five,
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and it's set a house record with the gross of
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one hundred and thirty four eight hundred dollars in its
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first week. And as you know, I enjoy calculating money
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from back in the thirties and forties into today's coin,
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and one hundred and thirty four thous eight hundred would
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have translated right around to a million dollars today, so
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you could see what an impact this movie had impact. Indeed,
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because the Radio City opening was so successful that it
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was reported twenty five New York City policemen had to
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be deployed to control the crowds at Radio City in
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its three weeks at the Music Hall. At gross three
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hundred and fifty thousand dollars overall, the film earned Theodore
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rentals of one million, seven hundred and eighty two thousand
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dollars in the US and Canada and one million, four
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hundred and twenty thousand dollars elsewhere in the world. RKO
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made a profit of one million, three hundred and twenty
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five thousand dollars, a huge amount at that time, making
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it the studio's most profitable film of all the nineteen thirties.
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Let's give some credit here to the star Fred Astaire
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with another tremendously successful song from the picture Top Hat.
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I just got an invitation through the mails.
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Your President's requested to see me.
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It's warmer, the top hat, white tails, nothing.
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I could take the wind out of my tails tighter
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and step on and see me in the top hat,
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white tie and tails.
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Oh, putting on the top hat, tying up the white tie, brushing.
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Off my tails.
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I'm building up the shirt front, putting in the shirt studs,
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polishing my nails. I'm stepping out my dear to breathe
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an atmosphere that's empty weeks with glass, and I trust
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you excuse my dust when I step on the.
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Gas before, I'll be there, putting.
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Down the top hat, musting up the white tie, dancing
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in my tail, Putting down the top happened, Marten by
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time that in mytoes, putting down the top happens. Time
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that my toes putting down.
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The top happen.
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Time on Brunswick Records, we just heard top Hat, White Tie,
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and Tails, written by Irving Berlin, Fred Astare with the
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vocal Orchestra, conducted by Johnny Green, recorded in New York City,
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June the twenty seventh, nineteen thirty five. And now, friends,
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why don't we move on to a listener's email? And
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I always find it interesting when if someone tells me
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when they first started enjoying big band music. This email
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comes from Lance Sensor, who listens on KPOV in Oregon,
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our affiliate station. Out there, Lance writes, and let me
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go to this section of the email that pertains to
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when he first realized how great big band music is.
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He said, I first started investigating big band music after
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I saw Woody Allen's movie Radio Days, which was set
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in the nineteen forties. The story revolved around the radio
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and the music and personalities of the time. As such,
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it had some wonderful jazz songs that touched me, including
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from Memory. There were many more, but I liked. What
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I liked was Duke Ellington's Never No Lament and Benny
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Goodman's Goodbye, both brilliant big band jazz songs. Can you
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play those records on the Make Believe Ballroom? Thanks Lance,
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and if you want to email me like Lance that
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I'm Jeffimcbeleye Ballroom Radio dot com. Jeffimacbelie Ballroom Radio dot Com.
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So Lance. I looked over the playlist from the film,
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which I also enjoyed watching. The movie for the uninitiated
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took a took a nostalgic look at the golden age
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of radio during the nineteen thirties and forties. The film
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focused on a working class family living in Rockaway Beach
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in the Queens section of New York, and the film
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featured featured various vignettes, and those vignettes blended the lives
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of the family members with the radio programs they listened
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to daily. Now Lance, I looked over the soundtrack, and
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Benny Goodman's Goodbye was certainly used in the film, But
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I can't find any record of Duke Ellington's never No
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Lament being used in the movie. I'll still play that
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one in a while, since you're fond of the song.
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But why don't I play Benny Goodman and perhaps some
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of the other songs in the film on Victor Records.
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Goodbye a somber tune by Benny Goodman and his orchestra,
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recorded in Hollywood September twenty seventh, nineteen thirty five, and
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used in the Woody Allen movie Radio Days, and Woody
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Allen himself was, or perhaps still is, a talented Clarinetis
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that I'm trying to remember the group he used to
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play with. They appeared at a club in New York
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City once a week for many years. I'm gonna look
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that one up as I play another one from Radio Days.
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Come on along and listen to the Lullaby of Broadway,
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The Heidi Home and Boober doo the Lullaby of Broadway.
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The man begins to go in town and everyone goes crazy.
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You rock a bye your baby round till everything gets
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hazy up shabby by. You listen that you hear a
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daddy say, and baby goes home to her flaps to
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sleep all day. Good night, bye baby, Oh nice milkman
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go his way.
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Plea pie, bye baby, plea pie.
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Let's call me on night. Belonga Rah.
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That was Richard Himber's version of Lullaby of Broadway, recorded
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on June the twenty eighth, nineteen thirty eight, and used
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in the movie Radio Days. The vocal and that that
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one was from Joey Nash so during the record I
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looked up where Woody Allen played the clarinet Once a
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week on Mondays. He would play in New York City.
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First he played at Michael's Pub, then he moved on
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to the Cafe Carlisle and a Carlisle Hotel, and wood
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he played with his friends in a group called a
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New Orleans Jazz Band. Woody is probably pushing ninety now,
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so I assume he doesn't do that anymore. But for
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a long stretch of time, two things in New York
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City were consistent. Woody would play the clarinet once a week,
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and he'd also never never miss a nick game at
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Madison Square Garden. But back to radio days the movie,
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And let me select another song that was featured in
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the film.
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I know when any none he has a brute game,
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goofy as a girl and Sidney as a loon.
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Some called it pretty, I'm just call it crazy.
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But they all sing this tune, And.
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Maggie, don't lampsy diving.
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Againly ivy do wouldn't do, Maggie, don't.
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Lampsy divy Againly divy do? Wouldn't you?
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Did the words sound play and Bonnie do your a
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little bit jumble and givy sing mercy oats and nosey
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oatstand then a lambsy ivy all Maggie and lampsy divy.
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Againly ivy do wouldn't do Againly divy.
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Do, wouldn't do.
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Nat lamsy diving divey d wouldn't you.
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Lazy lamsy divy divey.
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Wouldn't you If the word son were body, do your
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heir a little bit mumble and double the.
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Dam the divy sing mercy oats dosy oats little lambs heat, Ivy.
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Nazzy bamsy divy divy.
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