Jan. 9, 2026
Make Believe Ballroom - 1/9/26 Edition
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On this week's edition of the Make Believe Ballroom - the evolution of a riff into a best-selling tune, a look at two hugely popular All-Star bands of the 1930s and 40s, in addition to many more songs and reminisces.
WEBVTT
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It's make Believe ballroom time.
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Put all your cares away.
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All the bands are here to.
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Bring good cheer your way.
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It's make Belief Ballroom time and free to everyone.
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It's no time to friend your Dalis.
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Said Bamba.
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Yours.
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Close your eyes and visual lize in your solitude.
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Your favorite bands are on this dance.
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And mister Miller, what you're in the mood. It's make
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Believe ballroom time. We are a sweet romance is to
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make Bob come on last das last.
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Hello World, I'm Jeff Bresler, turning on the lights of
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the Make Belief Ballroom and welcoming you into my Crystal
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Studio for another program of classic big band jazz from
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the nineteen thirties and forties. Please get ready as I
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played for you some amazing jazz, swing, blues, and boogie
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woogie favorites. Folks, you're listening to the Make Believe Ballroom,
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broadcasting almost continuously since nineteen thirty five. And welcome one
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in all into the Crystal Studio and thanks for joining
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me today. Let's start on an upbeat note with Don
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Redman and his orchestra.
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I'm staying single, conscience has.
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I'm free to mingle.
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I do what I please.
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When I'm out late nights.
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No one has my chee.
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Yeah, I keep my deed nights doing what I please.
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You know, I don't have no star orders because they
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keep you on the shelf, and I ain't taking orders.
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So I just go along and join myself.
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Should I go sailing across seven seas.
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No one can stop me doing what I please. You know,
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I have romances just like a dog as bees. You
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know I'm taken all the dances. That's because I do
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what I please. I blow into these parties just like
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a reckless breeze. I'm smart all these other smarties because
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I do that's what I please. You know, when there's
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no action, you will find that there's bruze about. And
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I get my satisfaction only when I'm stepping out and
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whenever I get tipsy out of one of these jamborees.
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No one can stop me because.
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I do what I be.
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Recorded in New York City on October the sixth, nineteen
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thirty two, via Brunswick Records, doing as I Please Don
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Redman and his Orchestra with the vocal also.
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By Don.
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Let Me play one more from Don Redman in the Gang.
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Then a listener's remembrance from a segment we did a
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few weeks ago.
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She sho.
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Didn't Jack, Why do that?
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Ide?
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Why they did?
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Did? Did it? Isn't done? Uh?
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Do you better?
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Did you?
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Monny?
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Don't know?
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Don't be it?
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None of these by types of soup.
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Soup recorded in New York City on June the thirtieth,
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nineteen thirty two, from Brunswick Records, Hot and Anxious Don
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Redman and his orchestra, and you might be saying the wait, Jeff.
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The beginning of that song sounded a lot like in
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the mood. Am I imagining things?
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No, you're not.
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I repeat, you are not delusional. The Don Redman song
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Hot and Anxious sounds like in the mood because well,
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both songs used the same core musical riff, which was
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a common pre existing melody in the jazz world at
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that time. But we could go back even further to
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the first song that ever used that.
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Riff add.
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Bass.
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That was the class tar paper Stomp, recorded by Wingy
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Manoni in nineteen thirty on the Champion label. Champion I
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think No, I'm sure it was an early Decca record brand,
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and that song was the first time ever, the in
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the Mood riff was used. Just a great record, a
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classic record, and as legend has it, when that record
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was released back in nineteen thirty it sold only I
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think it was on to sixty five copies, something like
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sixty four copies. Just amazing. So we had Tar Paper
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Stomp first and then Hot and Anxious, which used the
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in the Mood riff. So I suspect you will think
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that I am next going to play the most famous
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in the Mood, that being the Glenn Miller version, the
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full version of in the Mood. Well, no I'm not,
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because there was a big step in between.
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Sec everything became a eicame thing.
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From Decca Records. In the Mood by Edgar Hayes and
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his orchestra, recorded in New York City February seventeenth, nineteen
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thirty eight, and that was the first time ever recorded
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version of a riff that became a song named in
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the Mood and recorded some two years later, was, of course,
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in nineteen forty the number one most popular version of
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the song recorded of course by Glenn Miller and his orchestra.
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So in nineteen thirties, riff ten years later becomes one
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of the most beloved tunes of the Big Band era.
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I might not be beloved like in the mood, but
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I am Jeff Bresler and you're listening to the weekly
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edition of The Make Believe Ballroom emanating from the Crystal Studio.
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A few weeks ago, I did a segment on Cab
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Callaway and his Hepster Dictionary, a dictionary he first published
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in nineteen thirty eight. It was a sort of both
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practical and tongue in cheek publication that translated Harlem, jive
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and hipster expressions into mainstream English for those squares around.
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It is, though, in all seriousness, the first time an
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African American wrote and published a dictionary, and a gentleman
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named Neil McNevin wrote in regard to that segment, Cab
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Calloway's Dictionary for Hipsters was often called Hepster's. Back then,
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Cab gave the little booklets out at his stage performances.
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I got mine when I was fourteen years old at
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the Keith Memorial Theater in Boston, Massachusetts. That was back
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in the mid forties. Somewhere over the years it was lost.
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Sure wish I still had it. Cab was a terrific
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much beloved musical superstar. And that's from Neil McNevin. And
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I never knew that the dictionary was distributed at Callaway performances.
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And I want to thank you one Neil McNevin, who,
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as a result of your email, brought this special publication
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into new light for me. So thank you for that remembrance.
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Let's play one by Cab then a listener's email about
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two special bands.
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I'm di drink done, mind to drink, nothing else but
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that night bone banging into second and we go Dagon
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that back in, turn up creams, hot dogs and turn
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up creams.
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Old sangs, old wagon, boot down, get mamas, Oh Sam,
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you get your mama's and get your mama's old scoots,
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gotske dispands, has it actingo bos nice books.
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I'll take you to word the price you want to
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go down bank a second? I don't cat's a buggin
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excuse you go by jo sag my woody wool or
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spell whether scooting any better? Ord smell it's one s
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or sagon Oh swing it, swing it too, dull. Come
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on now.
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You mum and sich your mom get away from here.
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These well he was he house.
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On Brunswick Records, recorded July the second, nineteen thirty five
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Cab Callaway and his Orchestra with Nagasaki. I'm Jeff Bresler,
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and you're listening to the weekly version of the one,
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the only, the original Make Believe Ballroom. And to reach
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me here at the console in the Crystal studio, I'm
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Jeff at Make Believe Ballroomradio dot com. That's Jeff at
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Make Believe Ballroomradio dot com. And I was indeed reached
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by Ann Howland from sunny southern California via email, who
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wrote to me, what happened here? It is Jeff. I
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was brought up on the William B. Williams, Steve Allen,
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Julius Lorosa Make Believe ball Show on w NEW in
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New York. I forgot that the great singer Julius Lorosa
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also hosted this program for quite some time. She goes
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on to write a request can you talk about the
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all star bands that were popular in the thirties and forties.
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She concludes by saying, your version of the Ballroom is
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also wonderful and its signed Anne Howland and thanks Anna Howland.
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Thanks Anna appreciated, and you are if I am not
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mistaken referring to the Metronome All Stars and the Esquire
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All Stars, which were two bands of the best of
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the best that were voted on. Why don't I talk
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about both and play some music from the respective bands.
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Let's start with Metronome. Metronome magazine was for decades a
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very popular mainstream music magazine. It covered records, radio, and
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live performances. It started with just live performances in the
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late eighteen hundreds, and the magazine stayed around until nineteen
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sixty one. So Metronome Magazine conducted an annual poll during
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the years nineteen thirty nine to sixty one to choose
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the musicians whom their readers considered as the top jazz
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instrumentalists from that year, playing each of their respective instruments.
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Now often the Metronome organization recorded the All Stars on
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a regular basis, but since it was difficult to get
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all this talent in one place at one time, and
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since most musicians this caliber were virtually booked year round,
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only two songs were recorded, although that did change a
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little at times. In many cases, the All Star group
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recorded two songs with short solo performances from nearly all
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of the participants. So why don't we start with the
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Metronome All Star nine from nineteen forty with their All
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Star Strut.
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And on the record you will.
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Hear Harry James, Jack Tguard and Benny Goodman, Benny Carter,
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Eddie Miller, Jess Stacy, Charlie Christian, Bob Haggard, and Gene.
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Krupa students.
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Study Students about Mother.
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I didn't.
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I a bus?
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I recorded in New York City on February the seventh,
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nineteen forty, the Metronome All Stars with All Stars Strut
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on Columbia Records. Let's go with another one from that
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nineteen forties group, the.
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Three Stormy Storm Stom.
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The Metronome All Stars back in nineteen forty King Porter Stomp.
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It was the same personnel that was on the All
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Stars Strut, but added in Charlie Spievac, Jack, Jenny Tutzmondello
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and Charlie Barnett. That record also recorded on Columbia that
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same session, February the seventh, nineteen forty, The Kingporter Stomp.
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I'm Jeff Bresler, and you're listening to the Make Believe
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Ballroom as I play some selections from both the Metronome
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magazine All Stars as well as the Esquire magazine All
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Stars both polled favorites to be in the bands. The
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Metronome All Stars, who we are now concentrating on, were
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selected from Metronome Magazine's annual reader's poll, and the readership
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of Metronome really leaned more heavily towards musicians and serious
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jays fans. But the voting itself was done by readers,
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not critics, not a panel of critics or industry insiders.
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So what you're listening to is what was chosen by
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magazine subscribers and new stand purchasers. Now let's go to
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when we go back to nineteen thirty nine, the nineteen
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thirty nine Metronome All Star Band. On this recording of Blueloo,
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we are going to hear Bunny Barrigan, Charlie spevac Sonny Dunham,
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Harry James, Tommy Dorsey, Jack T. Garden, Benny Goodman, Heimi Scherzer,
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Eddie Miller, Art Rolini, Carmine Carmen Master, and Bob Haggard,
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Bob Zerk and Ray Boudock.
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You never had.
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D. S. M.
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Building Recorded on Columbia, January the twelfth nineteen thirty nine.
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That was Blue Blue, And now let's scoot over to
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the Esquire All Stars, which was also a reader poll
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conducted at the time by the highly regarded men's magazine Esquire,
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and much like Metronome, the ESQ poll was conducted by
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readers of the magazine, but the two magazines really reflected
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different jazz audiences. Esquire had a broader mainstream cultural readership,
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and I think that was due to the nature of
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the magazine. It wasn't a music magazine. It was a
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magazine that covered many male topics. The Metronome really appealed
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to more serious jazz fans and working musicians, and this
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effected who tended to win and why there wasn't at
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times a lot of overlap year in and year out
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between the Esquire selections and the Metronome selections. Now, while
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the Metronome All Stars recorded seventy eight's for Columbia Records
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for sale, the Esquire All Stars were mostly documented through
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their own sponsored concerts, radio broadcasts, and v discs which
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went overseas to members of the military. I think the
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definitive example of the Esquire All Stars were a couple
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of concerts sponsored by Esquire Magazine, Believe It or Not,
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the Metropolitan Opera House. So let's play a number from
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the nineteen forty four Metropolitan Opera House Esquire All Stars
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