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...

Show Notes
Transcript

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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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Due, wouldn't you.

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Kitty divy dode, wouldn't do last?

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Ivy Dude?

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Okay, Okay.

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Again, Okay, I.

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Wondude.

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The merry Max Mayors doats recorded on Decca Records in

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nineteen forty four and used in the film Radio Days.

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And I deeply thank Lance Sensor from Oregon, who listens

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to the Ballroom on kpo V, for sending the email

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that talks about his love of big band music star

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when he saw the Woody Allen film Radio Days. Let's

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play another. I didn't really expect to play this many

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songs from the movie, but I'm enjoying it. I hope

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you are too.

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I double their youth to sit over here. I double

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their you to let me your ears, take off your

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high hatch, handless yet friendly, don't be a scarecat, say

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what your care cats?

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Take us there.

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I doubled their youth to kiss me and them. I

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doubled their youth to kiss me again.

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And if that look in.

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Your eyes means what I'm thinking of, I double their

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you to'll fall in love with me.

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I double there you.

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S on Victor Records. I just played I Doubled Dare

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You by Larry Clinton in his orchestra vocal by b Wayne,

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recorded in New York City, December seventeenth, nineteen thirty seven. Man,

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let's play a couple more of the songs Woody Allen

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used in Radio Days Nassas on Victor Records, Tommy Dorsey's

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Opus Number one, recorded in nineteen forty five. There were

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over forty songs used in the film Radio Days. Obviously,

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I can't play all forty, so let me choose one more,

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trying to find one here that I haven't played on

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the ballroom in a while. I've played this vocal group

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quite frequently, but I haven't played this song in quite

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some time.

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China Down, China Down, when lies One, It's the fart

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No No One, their last Dream, the China Town and the.

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All My Dogs and the Brown and the Party.

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Dream, and China and.

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Ming and.

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And then and and and and and and.

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China Town where.

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Pain CROs from Profounded.

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Nobody by Farber Hombodied Nobody.

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Did Nothing, Let Lo Modo.

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Lom modom Birday mid Loo number.

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About Nothing, then Tom Bid Don't.

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Know, China Down, China Down, China down Wing Wong.

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I was Chinatown from the Mills Brothers on Parlophone Records

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in nineteen forty five. I must say, I really, as

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I said before, enjoyed bringing you those tunes from Radio Days,

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the Woody Allen film from nineteen eighty seven. Now, when

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I read Lance Censor's email, he had thought that Duke

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Ellington's never No Lament was used in the film. I

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couldn't find any record of that. Dukes take the A

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Train was in the movie. But I said earlier Lance

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that I would play that record for you, So here

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it is.

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Let me sending happens.

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Ver Never Know Lament Duke Ellington and his famous orchestra

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recorded on Bluebird Records back in nineteen forty Thanks Lance,

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fore r email that led to a rather long and

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music filled segment. To write to me like Lance, did

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it simple? Just email Jeff at MakeBelieve Ballroomradio dot com.

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That's Jeff at MakeBelieve Ballroomradio dot com. And now, dear friends,

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I just want to mention for a moment the other

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radio program I do each week, and that show is

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the Milkman's Matinee. And since the old fashioned Milkman delivered

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his bottles in the wee hours of the morning. The

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Milkman's Matinee has heard in the wee hours also on

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a number of affiliate radio stations. It's a once a week,

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three hour program that features not only big band hits,

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but certainly an eglectic mixture of records from the thirties, forties,

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and fifties, which features big bands, blues, bluegrass, rock and roll,

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doo wop, Western swing, Texas swing, folk, jazz, all different

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types of music restricted of course to the thirties, forties,

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and fifties. And the good news is if the radio

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station you're listening to does not carry The Milkman's Matinee, well,

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first you can ask them to do so, but if

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that's not doable, you can hear the program in podcast form,

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either by going to make Bully Ballroom on your favorite

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podcast platform or owing to Milkman's Matinee. The shows are

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on both The Milkman's Matinee. I hope you will join me,

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a little different from the Make Believe Ballroom, but also

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very similar in many ways. Please join me.

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The fust.

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Also was.

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A hot one from Eddie Delange's post Hudson Delang band.

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Eddie Delang and his orchestra Copenhagen on Bluebird Records, recorded

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in nineteen thirty eight. So, folks, while I was playing

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a number of the songs from Woody Allen's Radio Day,

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one of the Make Believe Ballroom groupies here in the

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Crystal Studio was thinking that he remembered other big band

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hits that appeared in other Woody Allen films, and he

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was working for a while and he handed me a list. Yes, folks,

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you may know him the member of the Peanut Gallery

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here in the Crystal Studio as Norton. Don't call me

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Ed Norton. My first name is Norton, and he is

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back from Parts unknown and came down to the show today.

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As you know, he was the only member of the

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studio audience when Lenny from down the block was the

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producer that used to come every week to watch the show. Norton,

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you know, I had some other things to play and

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discuss in the remaining time, but I'm so impressed with

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the list and how quickly you compiled it, that I'll

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play a few more songs. This is what I love

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about the Make Believe Ballroom. Who would have ever thought

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we was gonna have an hour devoted to big band

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songs that were played in Woody Allen films. But that

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looks like the way this hour is evolving, and that's

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certainly fine with me, because we're playing some great music.

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This one, the first one comes from Woody Allen's great

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I mean it was a great film, the nineteen eighty

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three movie Zelig and de Wou Norton a song from

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the nineteen twenties that appeared in zeleg A little out

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of our comfort zone, but for you, I'll play.

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It all all there. I do.

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Not love.

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Wall Lumer book Wall Walk.

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Long I'll get by Ben Bernie and his orchestra, you know, Norton.

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That was a beautiful rendition of the song by Ben Bernie,

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released on June the third, nineteen hundred and twenty eight.

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The vocal in that one by Eddie Thomas. And next

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here on Norton's list from the Woody Allen film The

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Curse of the Jade Scorpion. Not familiar with that Woody

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Allen movie, but I'm certainly you know this song.

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A bailing bail.

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I don't know any don't.

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Fame fame.

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My o.

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On Columbia Records, flat Bush Flannagan by Harry James and

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his orchestra, recorded in New York City January eighth, nineteen

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forty one, and that song appeared in the Woody Allen

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film Curse of the Jade Scorpion. Norton, I think I

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can play one more as we are going up against

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the clock. This song from the Woody Allen film Sweet

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and Low Down.

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Go different impact Betty any.

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At a distinct had.

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Even pay.

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It a day, it.

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Would step down empty better.

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Like that.

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Bunny Ver Again Caravan from nineteen thirty seven, originally a

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Duke Ellington song. Norton, we are out of time. I

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wish we could do a few more on the list

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you created, but the clock has certainly beat us.

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Folks.

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Thanks so much for joining me today. For your comments

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00:57:31.400 --> 00:57:34.960
or requests, please email me at Jeff at MakeBelieve Ballroomradio

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