Feb. 28, 2025
Make Believe Ballroom - 2/28/25 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 –Artie Shaw and Cole Porter, some of the most covered songs in...
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 –Artie Shaw and Cole Porter, some of the most covered songs in history, Lenny from Down the Blocks Record Pick of the Week, listeners emails - this and many more great records to enjoy on the show.
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 bring good cheer your way.
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It's make believe ballroom time and free to everyone. It's
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no time to friend your Dalis 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 mood. It's make believe ballroom time. We are
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a sweet romance.
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As you make believe boom.
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Come on, Jill the last dast last.
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Hello world, I'm Jeff Presler, turning on the lights of
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the make Believe Ballroom and welcoming you into my crystal
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studio for another program of the great big band hits
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of the nineteen thirties and nineteen forties. Whether you're listening
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on the radio by a great affiliates like Jazz ninety
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point one WGMC in Rochester, New York, or on podcast,
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or perhaps on internet radio across the United Kingdom, anyway
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you've come here, I'm delighted to bring you an hour
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of some wonderful big band jazz, swing, blues and boogie
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woogie classics. Folks, you're listening to the make Believe Ballroom
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broadcast almost continuously since nineteen thirty five, and over the
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last few weeks on the Ballroom, I've played Artie Shaw
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and his Orchestra, as well as a few cold Porter tunes,
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including a Porter himself singing anything Goes a few weeks back.
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So to get things started on today's edition of The
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Make Believe Ballroom, why don't I combine Artie Shaw and
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Cole Porter together? Rea Artie Shaw's hugely popular recording of
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Colporter's song from the stage musical Jubilee Begin to Beginning,
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recorded on Bluebird Records back in nineteen thirty nine. How
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about one more with the clarinet of Artie Shaw and
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his Orchestra and the music of Cole Porter.
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To some.
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Bes some.
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On Victor Records. That was Night and Day, recorded in
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April of nineteen thirty seven Artie Shaw and his Orchestra,
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music by Carl Porter from the nineteen thirty two musical
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Gay Divorcee and Night and Day is perhaps Colporter's most
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popular contribution to the Great American Songbook. The tune was
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actually so popular when it first appeared in Gay Divorce that,
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within three months of the show's opening, more than thirty
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artists had recorded the song, and over a lifetime, night
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and Day has been covered close to eight hundred times.
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Just amazing. And so folks, Artie Shaw plays too by
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Cole Porter to open this week's edition of The Make
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Believe Ballroom, and I'm just thinking, let me play a
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record for you, and then I will divert from my
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show's outline, as I often do, to seek out one
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or two of the most covered songs that came out
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of the big Bandira.
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Messer Less Western Less Less Less.
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We just heard Opus one Tommy Dorsey and his Orchestra.
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The song was recorded in nineteen forty four and remastered
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on the RCA Victor album Tommy Dorsey's Greatest Hits, which
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was released in nineteen ninety one. And while you folks
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were enjoying that record, I was frantically searching my playlists
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for a couple of songs that were popular in the
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big band era that ended up being covered hundreds of
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times over the years. And why don't I start with
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a song that was first actually recorded by Ben Bernie
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and his Hotel Roosevelt Orchestra way back in nineteen twenty five.
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It was recorded many times in the thirties, forties and beyond,
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and it's on many lists as the fifteenth most recorded
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song of all time, over seven hundred and ninety versions
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as of last count. The song needs no other introduction.
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You can recognize it immediately. The Benny Goodman Quartet back
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in nineteen thirty eight on Victor Records clarinet, Benny Goodman, piano,
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Teddy Wilson, drums, Gene Krupa vibraphone, O Lionel Hampton, Sweet
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Georgia Brown, also the easily recognizable theme song of the
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Harlem Globetrotters. Let's go to another of the most popular
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recorded tunes of all time that saw great popularity in
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the thirties and forties. Some people say this next song
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is the most covered song of all time. I'm gonna
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play the version that is said to be the one
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that made it a standard.
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So much time and living is see.
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Me shot jumping and the contin is.
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High all your dad is rich.
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And your mon is.
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Good look ing.
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So hash little man, do't you cry?
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Warn of these mornings You're going to rise up?
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See then you spread your wings and you take this
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god more till that morning there nothing can all you
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we bad and mmy.
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Name.
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By one of these.
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Morning you're going to ride of scene.
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Then you spread Joey and you Jicksky but Jill that
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morning the nothing can all with Maian Mammy day.
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Bye.
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With almost twenty two hundred recorded versions, Summertime is said
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by many folks to be the most covered song ever.
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It was written by the Gershwin brothers, George and Ira
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and first performed by a vulte named Abby Mitchell in
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the opera Porgy and Bess, which was on stage back
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in nineteen thirty five, and it was recorded that same
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year on record, also by Abby Mitchell, with George Gershwin
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himself as the pianist and band later, but the Billy
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Holliday version I just played as I said earlier is
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considered to be the version that made this classic into
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a standard. So I'm glad I was able to pull
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off the playlist two songs that were covered hundreds of
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times over the years and continue to be covered. I'm
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Jeff Bresler, and you're listening to the one, the only,
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the original Make Believe Ballroom. In a little while, I'm
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going to dust off the virtual wheel and spin to
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uncover a couple of the over seven hundred records on
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the Ralfie from Canarsi Record Club Less That always a
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popular feature here on the Ballroom. Also later I'm going
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to dust off Leney from down the Block, the producer
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emeritus of the Make Believe Ballroom, as he offers us
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his Leney from down the Block record pick of the week.
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But first let me pick a record myself. Then some
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listener's emails.
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Nothing nothing at a.
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That was the Mills Blue Rhythm band Dancing Dogs, recorded
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December fifth, nineteen thirty four.
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And now.
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Letters, good letters.
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Ah, yes we do get letters, but these letters we
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receive are an email form and they are not sent
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to a physical address, but to a box. My box
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being Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff
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at Make Believe Ballroomradio dot com. And our first email
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today is from our old friend Michael Fusco, who writes, Hi, Jeff,
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once again thanks for the great music week after week.
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Although I've been collecting and studying about them music for
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over forty years, I always learned something new when you
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play obscure bands or present obscure facts about the bands.
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Can you play on Green Dolphin Street by Jimmy Dorsey
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and his Orchestra played Tommy Dorsey just a few minutes ago.
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He goes on to say, thanks Michael Fusco, and of
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course I could play that for you, Michael. On Green
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Dolphin Street was an MGM movie released in nineteen forty seven,
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and that movie was very well received at the time,
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but certainly as little remembered today. It was intended to
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be a period piece from the eighteen forties, set to
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rival Gone with the Wind, but it has never matched
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that lofty status, and after a few years it was
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literally gone with the Wind. But this Jimmy Dorsey record
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indeed lives on.
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To about.
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Love one lovely day longca planning to stand Green Dolphin Streams,
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supply the sety.
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The study.
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For not.
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Beyond Bogetty only Moments upon memory live in my home
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one I recall the.
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Love I've found on.
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Like brond.
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Breendo we just heard on Green Dolphin Street Jimmy Dorsey
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and his Orchestra, recorded on MGM Records in nineteen forty seven,
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and thanks, thank you Michael Fusco for that request. Our
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next email is from another great listener of the Make
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Believe Ballroom, who lives down under the email reads Gooday Jeff,
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hope that this finds you and family. Well, just a
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note of thanks for last week's wonderful show. Was great
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to hear a couple of Eddie Kanter songs for Across
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the Pond. You might consider a Bud Flanagan number of
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best wishes. Troy Workman from Sydney, Australia. Thanks Troy, same
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to you and your family and as many of you know,
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I do try to commit to playing at least one
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record from a bandleader that originated from Great Britain. Across
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the Pond. As Troy said, Bud Flanagan, along with his
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partner Chesney Allen, were not band leaders, but they were
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two of the greatest British music hall performers of all time,
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fittingly not known as Flanagan and Allen. Underneath the Arches
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was one of the most famous songs of the duo,
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and it was written by Bud Flanagan. Underneath the Arches
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in my estimation and I Love the tune was a
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quintessential British music hall number. You want, Bud Flanagan, Troy, well,
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here he is.
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The Rits wave never side for savoys, nay can keep
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There's only one place that we know, and that.
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Is where we sleep underneath the archest. We dream my
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dreams a bum bum but dodo I'm uneath the umbumbdy
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double on karma stones me long number ball, bubble.
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Back about the money, my ball, my body, doll tired
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at ball or dom forbody, don sorry when the daylight come,
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screeping rolding alone, sleeping when it's fried, and sleeping when
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it's fine.
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Train traveling by.
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Arma mode dobb double payment is uppy alone, where.
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Thout the sheep will lay underneath the archest.
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We dream our dreams a while.
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Love that tune underneath the Arches, performed by the great
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British musical comedy team of Flanagan and Alan. Let me
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read one more email, this from Joel Eatman, who has
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written in the past, and he says, Dear Jeff, in
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view of the high cost of eggs and the loss
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of hens the bird flow, I thought it might be
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appropriate to hear a jazzy version of the Noel Gay
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song Hey Little Hen. It's not exactly jazz standard on
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either side of the pond, but I'm sure you can
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find a bouncy big band rendition somewhere cordially yours Joel
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and Joel. As we all know, eggs are indeed currently
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very expensive, but to play a version of the song
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is totally free to all of our ballroom listeners.
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I had a lot of chickens, a large chicken run,
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but owing to conditions, I'm now don't you want me?
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I give her all the tippits, the dear little thing,
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and just to keep her up to scratch, I go
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to her and sing, Hey, little hen, when, when when
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will you lay me yan egg for my teeth?
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Hey little hen?
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When?
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When when will you try to supply one for me?
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Get into your nest? Do your little vest, get it
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off your chest.
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I can do the rest, Hey little man, when when
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when will you lay me your egg for my teeth?
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Hey? When?
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When when will you lave me r egg.
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For my.
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When?
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Where when will you try to subpry one warm on me?
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Get into your neck? Do your little man get it
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off your chest? Then I can't do the red.
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He a when a wall a? When will you lay.
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Me an egg or mine?
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I'm British Victor Joe Loss and his Orchestra wartime tune
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recorded in nineteen forty one, Hey little hen, thanks Michael Fusco,
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Troy Workman, and Joel Eatman for your emails. I have
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more in the pile this week, and perhaps if we
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have time at the end of the show, I can
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read another. I'd also love to read yours in the future.
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Jeff at MakeBelieve Ballroomradio dot com. That's Jeff at MakeBelieve
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Ballroom Radio dot com for your comments, suggestions, and requests.
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Lenny from Down the Blocks record pick of the week
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coming up. But first this.
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First you say you do, and then you don't, and
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then you say you will, and then you won't. You
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undecided now, so where are you gone?
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No?
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Due now you wanna play, and then it's no. And
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when you say you stay, that's when you go. You're
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undecided now, So why are you gone?
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Dude?
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I've been sitting on a fence and it doesn't make
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much sense because you keep me in suspense and you
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