Jan. 24, 2025
Make Believe Ballroom - 1/24/25 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 –Jeff Bressler tries to break his record-record in his attempt to...
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 –Jeff Bressler tries to break his record-record in his attempt to play the most recordings ever on one edition of the Ballroom - 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.
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Good cheer your way.
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It's make believe ballom time and free to everyone. It's
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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 visualize in your solitude. Your favorite
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bands are on this dance and mister Miller, but you're
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in the wood. It's make believe ballom time.
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We are of sweet romance.
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As you make it.
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Come on, Jim last dance.
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Last, Hi, folks, I'm Jeff Pressler, turning on the lights
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of the make Belief Ballroom and welcoming you into 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 are new lists, They're 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. Please grab your dance ticket.
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It's free and let's listen to some wonderful big band jazz, swing,
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blues and boogie woogie classics. Hello World, and from coast
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to coast on stations like Jazz ninety point one WGMC
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in Rochester, New York and other fine radio affiliates. I
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welcome you all to the Make Believe Ballroom, the one,
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the only, the original Make Belief Ballroom, broadcasting almost continuously
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since nineteen hundred and thirty five. You know, I was
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reviewing the music playlists from the Ballroom for the last
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year or so. I do this often because I try
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not to repeat songs too frequently. Well, I looked at
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a show from right around a year ago and found,
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to my amazement, that I played fourteen records. Now that's
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a lot considering. I like to give you some history
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of the bands who played the music and some notes
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on the records. I usually play around i'd say a
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dozen records per show, So just for you, my audience,
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I went to the gym to work out extra hard
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this past week to be able to keep up with
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the frantic pace today of trying to break that fourteen
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record barrier while still giving you some notes on each recording.
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If you're ready for this hopefully record breaking show, so
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am I Let's count down three, two, one move on
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Parlophone records. That was Balloonacy, recorded in New York on
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October the fifteenth, nineteen thirty six. Lucky Millinder and the
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Mills Blue Rhythm Band and the first record on Today's
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Make Believe Ballroom as I attempt to surpass the fourteen
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record record of most songs ever played on the program.
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By lot.
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Bad lie let many.
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It is lies.
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Load e fool, But that is.
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May that.
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Don't look for said by that lie to lady. I
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don't blame.
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Them.
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That was Teddy Foster and his Kings of Swinging with
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a tune titled Harlem, recorded on British Decca in nineteen
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thirty six. Teddy Foster, the great British trumpeter, vocalist and bandleader,
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and that record was number two in my march to
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reach or exceed fourteen records played on Today's edition of
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the Make Believe Ballroom.
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But then.
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Remember anything.
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Very story.
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On couples in relay they diss.
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On Parlophone records. The Ray McKinley Quartet with T for
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two recorded in New York City on January the twenty first,
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nineteen forty one, and a little different take in that
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record on the Vincent Yeomen's composed with lyrics by Irving Caesar.
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Classic T for two was introduced in May of nineteen
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twenty four in the beloved musical No No Nenette, and
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I had the opportunity to see one of the revivals
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of No No Nenette on Broadway, and that was a
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song three. As I continued to attempt to break the
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make Believe ballroom record of fourteen records, the most ever
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played on one show. So I now four jen wards
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to number four.
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We're the Swinger's combination.
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We can give you information.
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Listen carefully. If we'll explain how this little man made
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his fame. We can swing most standing number from the
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classics to the rumber bun two, three, four, five, six
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men six little swingers sounds like ten. We can bast
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all the good old good ones. We can tell opportune
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that's due. Kill the bugle and the drum. Did you
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hear all they took that dude? Oh, we don't mind
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if Jonah oxist. We don't care if Colleen oxist. This
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than everyone high alone. Meet the swingers.
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Here we go.
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In addition to playing piano, George's leader of this little man.
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So I'll ask him to play in his own swinging
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words a few bars off his own special brand. Harry
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Owen blows the trumpet, play top C and he will trumpet.
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Step up, Harry, hit him Hi, show the baby.
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That's no lie.
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Freddy Gardner is the sax man. He can charm the
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income tax man. Step up, Freddy, make it hot. You
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have have the public old you got. Jock Jacobson, he's
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the next man. What a drummer and the facts man.
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Step up, Jock Gee, what fun? Show the Bible how
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it's done. Joe Young is the plectrum waiver, never known
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to missic waiver.
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Step up, Joe, let it go.
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Give the public old you know.
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Now.
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John Fleming, nicknamed Snider, plays trombone and what a glider.
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Step up, Slider, give us tone that with your old trumbone.
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Then Dick has got plays the base note, slaps an
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odd one, flocks the gte note. Step up, Dick, swing
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that base, meet the babel pays to pace. That's George
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Harry read joke, Joe lived.
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Dick on Columbia records. Meet the Boys Scott Wood and
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his Six Swingers, recorded in London, June the second, nineteen
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thirty six. Our fourth tune as we head to fourteen
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and beyond, and I just want to mention, as with
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Teddy Foster, who we heard earlier I'm trying to mix
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in some British big bands on today's Make Bully Ballroom.
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I'm also trying to select some records you might have
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never heard on this program. And I know that record
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was the first George scott Wood record I ever played.
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That was tune five of fourteen or more.
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Sagon Kill Lee can c.
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American American.
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We just heard on Victor Records, Sold American. Glenn Miller
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and his orchestra recorded me the twenty third, nineteen thirty eight,
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and the song Sold American in its own way was
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actually an advertisement. The title was based on an American
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tobacco company radio ed jingle that was played frequently on
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different radio programs in the nineteen thirties for Lucky Strike cigarettes,
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and it featured a tobacco auctioneer's chant that was delivered
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by North Carolina tobacco auctioneer Lee Aubrey speed Rigs, and
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his pattern is auction Pattern ended with the fray Sold American,
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stressing I guess that American only purchased the highest quality
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tobacco for its cigarettes. I'm going to lose some ground
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here on the race to fourteen songs, but I used
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to be an auctioneer, and I have to play auctioneer
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Lee Aubrey speed rigs for you.
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The Jack Benny program.
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Quality of product is essential to continuing success of five
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sold American Lucky Strike means fine tobacco, so round, so firm,
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so fully packed, so free and easy on the draw.
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And now back to the turntable for number seven.
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It's somebody Old River, but I'm going to tumble in.
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It's some money old River.
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But I'm going to tomball.
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And when you lose your heart, that's when the blue begins.
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Oh so long, Oh.
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Geez, does.
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Done me wrong?
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When the good man.
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Loves why does the bad man win?
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Bup on Columbia Records, one of my all time favorites,
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Jack T. Garden, the outstanding trombonist, vocalist and bandleader with
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his orchestra Muddy River Blues, recorded in New York City,
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October sixth, nineteen thirty nine. And that was number seven.
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We've come halfway in my attempt to play fourteen or
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more records. On today's edition of the Make Believe Ballroom.
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Happening, she did.
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The Benny Goodman Sex Tet with the Wang Blues, recorded
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on Columbia in New York March the Tenth, nineteen forty two,
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The nineteen forty two version of Benny's Sex Tet, featuring
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Benny on the clarinet, Lou mcgarretty to trombone, Mel Powell
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a piano, Tom Morgan on the guitar, Sidwei string bass,
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and Ralph Collier the drums. I'm just looking at the
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big bull of a clock on the wall here in
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the Crystal studio, and I think we're within range of
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actually meeting or exceeding the fourteen songs. Let's see how
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we continue to do with number nine of fourteen.
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Way down south.
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In Birmingham, I mean soul in all of bams and
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old places where people go to dance the night of way.
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They all drive, all walk for miles to get giants,
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that Southern style slow giant that makes you want to
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dance till break of days. It's a junction where the
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townfolks meets at each function. In their tongue, they a
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wee you come on down, forget your care come on down.
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You'll find me there. So long time I'm heading for
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Tuxedo Junction. Now, it's a junction where the townfolks at
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each function in that times they are you. Come on down,
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forget your care come on down you find me there,
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So longtown, I'm heading for Tuxedo Junction Now.
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A wonderful take on a song that Glenn Miller made famous,
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Tuxedo Junction. This version featured pianist, singer, bandleader and composer
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Erskine Butterfield and his Blue Boys, recorded in New York
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on February the twenty first, nineteen forty and that was
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number nine of fourteen. Let's keep on trucking with number ten,
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look at it my list, Audit Time. Audit Time actually
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made an error. That was a song number eight of fourteen.
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I can't stand the pressure. Now on to number nine.
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The numbers.
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That was the unmistakable duo of the Django Reinhardt playing
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the guitar, Stefan Grippelli the violin, along with the Hot
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Club of Paris with swing guitars, recorded in Paris on
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Victor Records, October fifteenth, nineteen thirty six. Definitely number nine
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in our galactic battle to reach fourteen or more songs
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on today's edition of the Make Believe Ballroom to reach me,
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I'm Jeff at Make Believe Ballroom Radio dot Com. That's
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Jeff at make Believe Ballroom Radio dot com. Folks, we
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just listened to Bob Crosby and his orchestra on the
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radio back in nineteen thirty eight with Wolverine Blues, and
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if you're just joining me, I am attempting to break
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the record for most tunes ever played on one program
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of the ballroom record is at fourteen. To tie that record,
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we need five more to break it, six more recordings.
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Yes, there are no more light tonight.
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So who wants the moonlight one as you and me
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in love?
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Yes?
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No birds are singing tonight, so what who wants the
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bird is one as you and be in love?
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Yes?
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There ain't no privacy in a fatheror your mother's around,
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Your father's around, your sisters around, your brother's around, the
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dogs around, the cats around, but that don't bother us. No, Yes,
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there rain no moonlight tonight, so what who wants the
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moonlight one as you and me in love? Yes? No
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cats me owling tonight, So what who wants me owing when.
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As you and me in love?
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Yes, there ain't no privacy on the bandstand.
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Maya's around, ranks around, Shaman's around, God is around, Raymond's around.
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But that don't bother us?
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No, yes, the rate no moonlight tonight? So what?
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Who wants the life?
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One as you and me in love?
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The unmistakable voice of one Louis Prima with yes, there
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ain't no moonlight, So what? Louis along with his gang,
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recorded in New York on January seventeenth, nineteen thirty eight,
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number eleven in our countdown to tie the record of
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most songs played on the ballroom ever in one hour,
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that record being fourteen.
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Miss Billy, you should a rat, I'm my wait chick wait,
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go ahead uptown?
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Yes?
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What the lowdown?
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Where do we get that music that puts the swing
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so hot enough? Whereas life never dull hum drum, a
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monotonous hopper subway hopper cabs shoot ride up to holem
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where the population found a new sensation screen, celebs and stage, satellite,
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social depths and high hatllites, masses classes do in the
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uptown loadown where they spend their simpoleon just to watch
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those three poleons skipping hipping do in the uptown loadown?
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You fine laughter after.
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