Make Believe Ballroom - 1/23/26 Edition

0:12 It's make believe ballom time. Put all your cares away. All the bands are here to bring. Good cheer your way. It's make belief ballroom time and free to everyone. It's no time to friend your Dalis. Said bombs, close your eyes and visual lie in your solitude. Your favorite bands. Are on this stance. And mister Miller, what you in the wood? It's make believe ballroom time.

0:55 We are a sweet romance. Did you make me? Come on? Gentle last das last, Hello World, I'm Jeff Presler, turning on the lights so the Make Believe Ballroom and welcoming you into my Crystal studio for another program of classic big band jazz from the nineteen thirties and forties. Please get ready as I play for you some amazing swing, jazz, blues and boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five.

1:40 Welcome one and all into the Crystal Studio today, and thanks for joining me to get things started. Let's dip into the old record Pin for One by Benny Goodman and Helen Ward. To work all three.

3:37 Here by caw Far. Dreaming us. You say. Here by ca f. Hoving than you made me. You are heels of flo.

4:25 I've been up with you with small Tree. Here by my. Screaming, your glow. So close beside me. Is s O stream moll Tree.

5:10 We just heard Smoke Dreams by Benny Goodman and his Orchestra with the vocal by Helen Ward, recorded on Victor Records, December the ninth, nineteen thirty six. And you know, in all the years I have played Benny Goodman records featuring Helen Ward as the vocalist, I don't think I ever mentioned that Benny was dating and in a relationship with Helen Ward for a couple of years. But that relationship broke up both career wise and as a couple by year's end of nineteen thirty six. And this record I think was the last the two made together, Benny Goodman and Helen Ward. To start things off today in the make Believe ballroom, let me play one more as we take the swing factor up a notch, and then a female vocalist I never ever played here on the make Believe Ballroom.

7:59 The neighbor. Set study. Them, and I'm not.

9:29 From Victor Records. We just enjoyed Tommy Dorsey and his orchestra playing Little White Lies, recorded in New York City on December sixth, nineteen thirty seven. I'm Jeff Presler, and you're listening to the one, the only, the original Make Believe ballroom broadcasting almost continuously since nineteen thirty five. And you know, folks, I'm going to go off agenda here for a moment. I will get to the female vocalist. I have never played here on the ballroom shortly, but I thought it would be fun, and I've done this in the past. Tommy Dorsey recorded Little White Lies on December sixth, nineteen thirty seven, for Victor Records. So what else was recorded on that same day? Well over at Victor Records, who were located at one fifty five East twenty fourth Street in New York City. Tommy Dorsey recorded six sides on that day, December sixth, nineteen thirty seven.

10:40 And let's take a look over at Decca Records at fifty West fifty seventh Street in New York City. Busy Day. They recorded forty sides that day, and amongst those forty were two sides by the famous day dancing duo The Nicholas Brothers. Now, the Nicholas Brothers were the pre eminent dancing duo during the era, and we are, and I've mentioned this many times on the last few shows. We are so fortunate to have YouTube because you can see the brothers, the Nicholas Brothers dancing during Jumpin' Jive with Cab Callaway and his orchestra that was featured in the nineteen forty three movie Stormy Weather. And I think, in my humble opinion, it was the greatest dance routine ever to be filmed, and I encourage you to take a look.

11:47 But the Nicholas Brothers also made a few records with the vocal provided by Harold Nicholas and the tapping by brother Faired. So let's go to Decca Records to their studios on December the sixth, nineteen thirty seven. And hear this. If you're feeling low down cause the sky's a grat just wrap your cares in rhythm and down and Sha cares away. If Old Gloom the show down, he'll be on his way.

12:34 Just wrap your cares in rhythm and dwn. Oohsha cares away. Now I'm here to teach you all how to make your life of a song. Just you keep deathing on wood ready by, and you can't go wrong. Next time you're in trouble, you'll come out. Okay, Just wrap your. Cares in rhythm and I'm gonna give you one more chance. Just rabord, chirs and rhythm. Mad can's you see down?

14:11 Does? This guy's free from rasp, the canting rhythm. And down. Bumping the diceboll glue, the show down doors. He's beyond his way. Rap your casting rhythm and down. Excuse yeah, now I'm here. See you want how to make your life us home? Just you keep tapping on wood. A week of heat and you can't go wrong. Next time you rip, you come out of kids here, Rap your casting rhythm and down.

14:59 I'm gone. I give you one more jameraikas and rhythm. He read this rhythm, d. Wrap your cares and rhythm and dance the Nicholas Brothers, the legendary Bobby Hackett playing the trumpet on that recording. I now want to talk to you about the vocalist Carlotta Dale, who I never played here on the ballroom. She was well known as a radio songstress, and through radio she met Jan Savat the band leader, and she began singing for him. She spent a while with Jan before joining Will Bradley and his orchestra. So why don't I play? Two by Carlotta Dale, the first with Jan Savat and then one with Will Bradley.

17:06 Day. They are. The same old ud follows me about the same old counting in my heart whenever. I think of you, and Darling, I think of you day in and day. Day day. I needn't tell you how my days begin.

17:52 When I awake, I awakened, when the tank goes one personbility in you, that personility of babies. See you Gray, come shine, I'm need you and to me the days. Far then I can still, and the pounding becomes. The oceans roar.

18:34 On holes and drawn. Can't you see it's law? Can there be any dime? When there it is? Stay day?

19:30 Can't you see it's Can there be any doe? When there it is. Day? Day, day in and day out? Sung by Carlotta Day, recorded by Jan Savat and his top hatters, live from a broadcast from the Blue Room of Hotel Lincoln in New York City on August fifteenth, nineteen thirty nine, over the NBC Blue Radio Network day in and day out. Let me now play one of Carlotta Dale's vocals when she was with the a newly formed Will Bradley Orchestra, and then Carlotta Dale was involved when with Jan Savat in one of the strangest radio band publicity stunts of all time.

20:54 Mean to me, why must you be me? You mean. Gee fey see to me? You like to see me crying. I don't know why I stay home. Each night when you sing bone. You don't and I'm left alone singing the blues and cloud. You drink me. Coldly each day and day you are waste. When they ever sun body is me, it must be.

21:57 Very fun to be met to me? The honey Wag? Can you see what you mean to Me?

23:47 BA? Recorded by Will Bradley and his Orchestra for Vocalian Records on October the twenty sixth, nineteen thirty nine, in New York City. Mean to Me, Carlotta Dale vocal here on the Make Believe Ballroom. And as I told you before that record, I was going to tell you the story, a story that is not often told of what I consider to be one of the greatest radio public relations stunts ever achieved. It's actually kind of said funny and uplifting all at the same time. Had it involved Jan Savat and Carlotta Dale. And as the story goes, when Carlotta was working with the Jan Savat Orchestra in Philadelphia, her career actually almost came to an abrupt halt. She was in a car driven by Jan Savat when she

25:20 and I'm not sure how it happened, but she fell out of the car and unfortunately suffered a serious compound skull fracture. That happened on June the twenty fifth, nineteen thirty six. Now, while she was recovering in the hospital, and it was a long recovery, it was planned that she would sing on the radio from her hospital bed and get this accompanied by Jan Savat and his top hatters who would be flying over the hospital and the city of Philadelphia in an airplane. As it was set and with the limited technology of the era, Jan and his musicians could not hear her, but she wore earphones to hear their music, which was transmitted from the aircraft via shortwave radio. The broadcast was also on the NBC Red network and it had a huge audience with people knowing in advance about the stunt. Some music and a rarely heard story here on the Make Believe Ballroom involving Carlotta dal The recorded by Fletcher Henderson and his orchestra

29:37 for Decca Records on September the eleventh, nineteen thirty four, the well known down South Camp meeting one of the fathers of swing, the legendary Fletcher Henderson. I'm Jeff Bresler, and you're listening to the Make Believe Ballroom. I can be reached at Jeff at Make Believe ball Ballroom Radio dot com. That's Jeff at Make Believe Ballroom Radio dot com. And I'm going to read a listener's email to you in just a moment. But first, another record n recorded

32:50 on Vocalion back in nineteen thirty four, Earl Hines and his orchestra with Madhouse. And you know, oh, I think it was Jimmy Monday who played the sacks for Earl Hines who wrote Jimmy wrote an arranged Mad House for Earl and thinking about it before I played Mad House, we heard down South Camp meeting by Fletcher Henderson and his orchestra, and there is a connection between Henderson and Monday in that they both went on to become primary arrangers for Benny Goodman Henderson. Fletcher Henderson more well known in that particular vein than Monday. But I might be wrong, but I think it was actually Jimmy Monday who first sold an arrangement to Benny Goodman and not Fletcher Henderson.

33:58 Not one hundred percent were there. But and I'll go to the listener's email in just a moment that I promised I'm looking for a record a song that was composed and arranged by Monday for Benny Goodman. I know we played Benny earlier in the program with Helen Ward, but twice is fine for me. And as I look for the record in question, give me a moment. Here it is stand by Many Goodman Jam session on RCA

37:26 Victor Records, recorded November fifth, nineteen thirty six, composed and arranged by Jimmy Monday, and now on the Make Believe Ballroom. My dear friends, onto that email I promised you earlier and it comes from a long time Las Vegas listener. He's written into the show many many times over the years. Who I call Charlie Tona because he's a fish When it comes to gambling in Las Vegas, a fish is a term used for poker players, usually ones who lose money.

38:09 And I think that fits Charlie Tuna very well. But if you have as much money as Charlie Tuona, I guess it's just a drop in the ocean. Nevertheless, hope all as well, Charlie Durgins, retired drummer extraordinaire and permanent Las Vegas restaurant restaurant resident, and Charlie writs, hope all is good with you, Jeff and Lenny from down the block wherever he is. I heard a story about Martin Block. I want you to hear. This is me talking now. Martin Block, of course, was the host that started it all, the original host of the Make Believe Ballroom, New York version on WNEW Radio, back in February of nineteen thirty five, February third, nineteen thirty five, to be precise. But back to Charlie's email, and he continues, Jeff, with all the talk of these weight reducing pills today, it might just have been Martin Block who started the trend. He wanted to do the Ballroom but lacked sponsors back at its inception.

39:27 The problem was the sales staff told him no sponsor would buy time for a program of pre recorded record disc thirty eight rpm music and not a live orchestra. So Block went out and found his own sponsor, the makers of Retardo Pills, a harmless if useless, weight loss gimmick that sold for a dollar a box to retard ladies. Block would say into the microphone, be fair to your husband by taking the reducing pill. Little sexist, but we must preface that with saying it was back in nineteen thirty five. A week later, though, Block in WNW this is Charlie writing again claimed Retardo had received thirty seven hundred and fifty responses, and soon enough there was little doubt the show Make Believe Ballroom was a hit. A little tidbit you might want to share with your listeners, can you play drum Boogie by Gene Krupa and that is assigned by Charlie Durgins and Charlie, I will pay you back for your Martin Block story with this Krupa recording that you personally requested.

41:28 You hear the rhythm romping, you see the drumas damping. Drum boogy, drum boogy. It really is a killer drum boog drum boog, the drum boogie woogie. You hear the rhythm romping, You see the drummers damping bumboom drum boomg. It really is a jill rumbo drum boom is the drunk boogy boom?

42:18 Let do anything anything, miss extentsts, miss name specs, sac stss almost sis.

44:06 Drum Buggie by Gene Crooper and his orchestra vocal by Irene Day, recorded on OK Records back in nineteen forty one. And you know it's interesting. Gene Croupa also performed drum Boogie on screen that was in the nineteen I think it was nineteen forty one Gary Cooper Barbara Stanwick comedy Ball of Fire. Now, Barbara Stanwick was a great actress, but she couldn't sing, so the song was lip synced and dubbed in the film, not using Irene Day's voice, but that of the great Martha Tilton. Now Day recorded over sixty sides with Gene Crooper. She left the band time in nineteen forty one, and I have no idea if this was before or after Martha did the movie vocal or related to it. Nevertheless, thanks to Charlie Durgens from Las Vegas aka Charlie Tuona for your Martin Block story and the Krupa requests that also included that interesting piece on whether Irene Day left before or after the making of the movie, if that had any direct impact

45:36 on her leaving due to the fact that Martha Tilton got the part. Friends, you're listening to the Make Believe ball. Room then.

47:05 Acting you're taking.

47:57 Pen on Deco Records, we just heard steppin pretty. Andy Kirk and his Orchestra recorded New York City back in nineteen thirty six, the wonderful Mary Lou Williams playing the piano on that recording, and Mary Lou Williams, like Jimmy Monday in Fletcher Henderson, was also a legendary arranger. So why don't we play another Andy kirktoon which Mary Lou Williams plays the piano again and also arranged.

50:00 Thinks suspenses.

50:52 Be walking and swinging Handy Kirk and his twelve Clouds of Joy recorded on Decca Records March the second, nineteen thirty six. And now, folks, let's see, well, you know, we played a double dose of Bennie Goodman today so how about one now from his fellow clarinet playing rival.

53:41 The same. Blame explain es we did said he played by hes any any any.

54:48 O, recorded by Artie Shaw and his orchestra on August one, nineteen thirty nine, in Hollywood, California, from an NBC Melody and Madness radio show. We just heard Pyramid and if folks, that's all the time we have for now has the big hand on the big Bullivar clock here in the Crystal studio approaches the top of the hour. So I am going to say thanks so much for joining me today and to reach me like Charlie Toona did earlier in the program. Jeff at MakeBelieve Ballroom Radio dot com.

55:42 That's Jeff at MakeBelieve Ballroom Radio dot com. Thanks to our syndicators and distributors for offering the Make Believe Ballroom cost free to commercial, free, public, community and university radio stations, the Public Radio Exchange PRX, the PACIFICA Network, and Global Community Radio. The program's flagship affiliate is Jazz ninety point one WGMC in Rochester, New York. The Ballroom is also heard each week on your favorite podcast provider, So Friends until next week. This has been Jeff Bresler.

56:28 I can see it. Your glances room. For while, weslaying and the man is playing music Tamy Show, if you. Broad tender, sweet leave, surrender you my willing up, let. Go. It's only a small room, you. Know, Make me leave, ball room. Let's orbis

57:58 English