Feb. 6, 2026

Make Believe Ballroom - 2/6/26 Edition

Show Notes
Transcript

On this week's edition of the Make Believe Ballroom hosted by Jeff Bressler, a look at how smaller radio markets got their musical programming, two somewhat forgotten big band era stars, two infamous musicians with checkered pasts, and also more records and reminiscences from the golden age of the American songbook.

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It's make Believe ballom time.

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Put all your cares away. All the bands are here

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to bring.

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Good cheer your way.

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It's make Belief ballroom time and free to everyone. It's

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no time to friend your Dalis said bombs.

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Close your eyes and visual lize in your solitude. Your

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favorite bands are on this stance, and mister Miller, what

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you in the wood? It's make Believe ballroom time. We

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are a sweet romance as you make believe ballroom. Come on, gentle,

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last dance, last, Hello world.

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I'm Jeff Wrestler, turning on the lights of the Make

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Believe Ballroom and welcoming you into my Crystal studio for

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another program of classic big band jazz from the nineteen

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thirties and forties. Get ready as I play for you

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some amazing swing, blues, jazz and boogie woogie favorites. Folks,

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you're listening to the Make Believe Ballroom, broadcasting almost continuously

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since nineteen thirty five. Welcome one and all into the

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Crystal Studio and thanks for joining me today. The turntable

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is spinning. It just needs a seventy eight RPM disc

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played on it, and the one I am positioning sounds

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just like this.

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Love.

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We just heard Don Allen's orchestra with a nice swinging

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version of Lady Be Good. That song on a standard

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record transcription disc recorded back in nineteen forty one. Let's

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play another record and something a nice instrumental swinger from

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the George Hall Orchestra. We're used normally to Hall's music

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being accompanied by vocals from Dolly Dawn, but not on

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this one George Hall and his Orchestra Broadway Jamboree, recorded

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on eighth Thesaurus radio transcription disc back in nineteen thirty seven.

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I'm Jeff Presler, and you're listening to the weekly edition

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of The Make Believe Ballroom. And you may be asking,

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since I played two bank to back radio transcriptions, exactly

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what that means.

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Well.

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As more and more radio stations started to sprout up

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across the United States in the nineteen thirties, good programming

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was needed now in cities like New York, Chicago, Los Angeles,

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radio stations had big budgets and prime advertisers, so most

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major market stations had their own programming within studio bands

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and original shows emanating from those stations. That, of course,

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in addition to the syndicated programming from NBCCBS, Mutual Radio, etc.

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But smaller stations with smaller budgets couldn't afford to have

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elaborate a local programming or in house orchestras, so to

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keep within budget, many stations has subscribed to and paid

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for radio transcription services like Standard and Thesaurus, which produced

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the two bands and songs I just played Now. NBC

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launched their Thesaurus program service back in nineteen thirty five.

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It was the third such service in the United States,

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after World Broadcasting and Standard Radio.

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Now.

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Each transcription disc featured different types of programs like music, news,

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human interest, variety, comedy. So in the instance, say of

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George Hall and his orchestra, fifteen minutes of music might

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have been played on the disc, with the smaller stations

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then able to provide the introductions and closing like it

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was actually a program produced by the station. Pretty interesting.

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Just a little brief history of radio transcription services.

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Do you.

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That blame?

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Do you know?

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Lame well?

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Gabrio Gabriel playing Gabriel Gabriel saying will you be ready to.

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Go when I blow.

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My Oh, Gavri blow, go on and blow, Gabri blow.

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I've been a sinner and I've been a scam, but.

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Now I'm willing to trim my lad flow Gabril blow.

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I was long.

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Gabrial lor.

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Mighty long Gayrial low. But now that I have seen

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the light, I'm good bye day and I'm good bye night.

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Blow Gabriel blow.

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Once I was headed for a bad place.

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Once I wore was headed for a bad place.

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But when I got to Satan's door, I've heard you

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blowing on your heart once more.

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So I just say, Satan, farewell.

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And now I'm already to fly, yes, to fly higher,

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higher and higher, because I've gone through the primpstone, and

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I've been through the fire, and I've purged my heart

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and my soul to climb up the mountain top inside.

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To blow gap.

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Brn and long.

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Okay, real blow.

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I want to join you a happy band, slay all

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day in the promised LANCEO Blow Gabriel l blow no

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sun some some no no.

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Blow, mister Gabril Blow.

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From World War Two v disk Blow Gabriel Blow, the

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legendary b Wayne with the vocal recorded back in nineteen

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forty two. Let me play another record then A band

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and vocalist, unfortunately long forgotten.

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H did did even need the needle didn't say you didn't.

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Recorded in New York City on October the thirty first,

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nineteen thirty eight, Tin Roof Blues Tommy Dorsey and his Orchestra,

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distributed by Victor Records. This is Jeff Bresler, and you're

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listening to The Make Believe Ballroom from the Crystal Studio,

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broadcast to non commercial, public, community and university radio stations

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across the United States as well as in the United Kingdom.

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And I want to play a record that I didn't

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get a chance to play last week when I did

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a segment on the Hickory House, a jazz club in

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Eatery that was on fifty second Street in Manhattan, a

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street that went on for several blocks and housed a

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few dozen jazz clubs predominantly in the nineteen thirties to

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the fifties and all beyond that. Now, a musician who

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jammed at the Hickory House, among many of the other

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clubs on fifty second Street, was one Pete Brown, talented

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sax player who in his career played for some phenomenal

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bands as well as leading his own. So let me

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spend one from Pete Brown that I didn't have time

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to play on last week's show.

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I was born on Friday, married on Friday.

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Why I was born on Friday, married on Friday?

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Why I didn't believe in Jason till the day is

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that I met you.

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I know one love my love.

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I rather be alone.

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I don't want know my love. It rather be a.

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Long with heady coming along.

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I can call my lovey mon.

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Love is just the cambles, just like you didn't die.

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It's just my bad loss that I got.

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Me am an old loppy woman.

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Your lover more on that way.

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And really war and trancing me if they.

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Can move ready, I don't wonder.

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It, don't.

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I don't want no dat.

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I don't want your baby.

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If you want a lovet mallow love, I have less,

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never learned.

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Not your love will love love man me?

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Do I know you Love?

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Recorded in New York City on February the ninth, nineteen

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forty two, Pete Brown and his band with Unlucky Woman

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on Brunswick Records. We heard Dizzy Gillespie on the trumpet

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in that one, and Helen Humes with that beautiful blues vocal.

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Now Helen Humes who provided the vocal in that recording

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is an interesting study, and I'll play one from her

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time with Count Basie in just a moment. Helen came

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from a refined family out of Louisville, Kentucky. Her father

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was one of the first black attorneys to ever practice

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in Louisville, and her mother was a school teacher now humes.

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She once recalled her parents singing to each other around

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the house and in a church choir, and that peaud

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her interest in music. Worked worked with Camp Basie for

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several years, starting in nineteen thirty nine, not so much

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blues but ballards. The blues and the Basy band was

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left to the legendary Jimmy Rushing. But life on the road,

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especially for an all black band, was problematic and difficult,

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to say the least. Helen, being a good person, let

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boys be boys and offered some comfort to them away

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from home. And I have something here that Helen had

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once said. She said, I used to pretend I was

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asleep on the Basy bus so the boys wouldn't think

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I was hearing their rough talk. I'd sew buttons on

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and cook for them too. In places where it was

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difficult to get anything to eat down South, I wasn't

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interested in drinking and keeping late hours, But Mike the

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kidneys couldn't stand the punishment of those long bus rides.

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Then too, I got tired of singing the same songs.

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And singing the same songs is one of the reasons

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attributed to Helen leaving Bassy in nineteen forty two. Why

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didn't I play one with Helen Humes when she was

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with the Count Basy Orchestra.

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I don't want you bother had to lose you, you

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who set me in between the deplity Brusie. And forgive

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you because the boss get you, You who set me

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in between the busie a reproach you want my li

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got men, you some laughing at my dog. It seemed

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to be my honest wisdom, my run backbone more. And

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I just hate you, but forget love you, you who

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sent me a bit tween de blucy You had the

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gtt the love you that me between.

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Blue Count Basie and his orchestra. Between the Devil and

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the Deep Blue Sea vocal by Helen Humes on Columbia

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Records back in nineteen forty The legendary Helen Humes, He's

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a man.

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That smokes that jump.

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That job will take you for brendan once these still

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the fact when you smoke that killing jack, it would

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make you very told. It seems that if you've got

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to found now just about back, I mean that killing job.

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You think you've don't your top for him, you start

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leaving and you came down.

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Then you don't give them up because you said man,

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not man. Everything will seem so funny, dark as days

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will seem so sunday, just bed.

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Will those times when you smoke that killing job.

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Yeah, yes, he.

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Does smoke that killing job. That yes, she smokes that

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killing job.

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That that that you met it in, you reating in

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you reated, you read, you read and you read it.

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You read it and you met it die.

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Not that dona na d lada, not down lota starting

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lo the lot of.

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That not they lota that They be said man not

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everything will seem so funny talky. Days will seem so sunny. Yes,

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then will look black when you smoke that killing h

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everything will seem so funny, talks will see so sunny.

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Yes, then we'll look.

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Right when you're high man, the man you're in the

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sky man he had a man. Man, you be so malone, just.

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Like a jelone.

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When some Killing.

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Recorded in Chicago, Illinois, June the twenty seventh, nineteen thirty nine,

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for Bluebird Records, we heard Ernie Price, Chuck Barksdale, Herbie Mills,

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and Austin Powers, better known as the Cats and the

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Fiddle with killing jive and speaking of the Cats in

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the Fiddle some more harmony now via the earlier ink spots.

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Yeah, oh baby, what I couldn't do with Benny of

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Monny and you inspite of the waveb than Monday nighbing

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just on fifty Luca Bolado and I can take you

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due places good life to go, but outside of them,

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no use Bardo's Novoli bon The life would be Sunday

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with plenty of money.

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And yes, yeah, all brown skinned babies, what I could do.

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With them?

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I get full of money me yet you ya in

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spite of the worthy money raise jack, just the little

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fifty lucre buys.

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Whole lot of things.

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I take you to places that you would like to go.

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Outside of that brown skin, I've got no use for door.

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It's the roots of all evil, of strife and up evil.

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But I'm certain brown skin I've got you under my skin.

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We'll put the bucket full of money and you don't

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love that jolly? Yeah, yes, yes, pick it balling, yes, yes,

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not quarter a while? Well, cush what it did?

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Yes?

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Or maybe what I couldn't do.

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We'll play your money and you in spite of the

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world read that money he brings just un there if

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the loca buys a lot of things.

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And I go take you do plays we like you know,

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but I I have.

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No use for It's a root of all evil.

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Evil.

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But I'm certain, honey, the line would be Sonny, honey,

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money and.

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You with plenty of money and you the ink spots

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on Decca Records, recorded in New York City, February the fifth,

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nineteen thirty seven. Let's see where we are on the

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sheet here. Oh yeah, after this record, I'm going to

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play a record by an artist. Well, I'm probably about

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ninety nine percent sure that you never heard of.

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Very well, Land of Cotton, Cotton, Liles, Aurom Styve, Honey child,

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Jump for joy?

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Don't you grieve, little Lea?

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All the hounds I do believe have been killed, an'k

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you thrilled?

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Jump for joy?

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Have you seen past sures?

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Guvy?

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All green pastures was just a technic color movie.

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When you stop up to Heaven, ender me old safe

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bet tell.

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That boy to jump for joy. Step bread in you,

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beat some skin and jump for joy.

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We just heard Jump for Joy. Duke Ellington and his

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famous orchestra recorded for Victor Records in Hollywood, California, June

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the second, nineteen forty one. I'm Jeff Bresler, and you're

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listening to the one, the only, the original Make Believe

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ballroom broadcasting almost continuously since nineteen thirty five. So I

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told you I was going to tell you about a vocalist.

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I'm pretty sure, actually almost one hundred percent positive, you

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00:35:01.880 --> 00:35:06.039
never heard of. So this gentleman was a singer and

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an entertainer, And for those of our listeners in the

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Midwest who can remember back a while, he was a

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prominent Chicago radio and television personality for three decades. He

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started that career in the forties and it ran into

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the sixties. He gained some national exposure through his recordings

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for Mercury Records and his Mutual Broadcasting System radio show.

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He was also a big success in early TV and

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did a variety in children's show. His name was Richard Baker,

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better known as two Ton Baker a big man he was.

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If you remember two Ton Baker dropping me a line

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at Jeff at Makebuley Ballroom Radio dot com. That's Jeff

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f at Make Believe Ballroom Radio dot com. So let's

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listen to two Ton on a record that's a bit staticy.

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It's an old Mercury record to the best I could

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clean it up.

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No, don't say Red's bag of town. Right, everyone's excited.

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Something's in the air. People so delighted. Going to be

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a big affair. I can't keep a secret, so I'm

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telling you there's a guy in town. Who's the cause

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of this. Uh dude, Why they got that big brass band?

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The banner's hand refeing stand? Why is the gang all feeling?

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Grand D's back in town? Why did the sun come

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out to stay? Why is it such a lovely day?

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Why are the folks all feeling gay? Rad's back in town.

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We know that he was king when he was.

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Here before, but from the rumors, we're expecting even more ray.

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Why are the flags off lying high and verty droppings

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from the sky. It's a great day. I'll tell you why.

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Rad's back in town. You read him?

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Everybody shout he's a dean, Red back in town.

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Uh huh, we know that he was Kinglan. He was

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speaking more.

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About from the roomers. We'd expecting even more. Hey, why

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are the flag off flying high and ferry dropping from

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the sky. It's a great day.

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I'll tell you why. Red back in town? Well, who's Red?

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A well a, where's Red? Well, here's Red. Red is

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back in.

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Time Dick two Ton Baker with Frank Worth's Orchestra. Red's

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Back in Town, Recorded on Mercury Records back in nineteen

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forty eight, two Ton Baker and now Bob Zurkey.

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To have half happy day to the little little lane

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for you, win me, for us, and we all the

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clouds have rolled away. It's the half half happy day

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to the little little Lane.

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The sun shines bright in the world's all right. It's

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the half half happy day. Four and twenty sunbeam has

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are dancing around my face. Four sore and twenty more

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are dancing every place. It's the half half happy day

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to the little little Lane.

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You can't go wrong if you sing a song.

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It's a half half happy Day.

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From Victor Records. It's a half half Happy Day by

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Bob Zerk and his Delta Rhythm Band vocal by Claire Martin,

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recorded in Chicago, September the twenty sixth, nineteen thirty nine.

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And what film I'm just thinking, what film did that

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come out of? Perhaps a Disney film? Did Jimminy Cricket

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sing that?

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Oh boy?

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Just racking my brain? Here it was from It's from

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Gulliver's Travels. Gulliver's Travels. Yes, indeed, Bob Zerk, the hugely

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talented but I must say ill fated and troubled band leader,

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major talent on the piano, but not everyone's cup of tea.

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In daily life, Zerk proved to be well. He was

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a number of things. He was unreliable, unpredictable, and somewhat

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as many band members have reported or had it reported, volatile,

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only lasting in that capacity with his own band for

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a couple of years. In addition to his volatility, he

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also had to fold the band due to his alcohol

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dependency and alleged drug use. Zerki served a jail sentence

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in Detroit for failing to pay his alimony to his

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first wife he had divorced in the late nineteen thirties.

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So not a half half happy life for Zerke.

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You know.

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Come to think of it, maybe subliminally I was associating

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half half Happy Day with Jimminy Cricket. Jimmy Cricket was

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played by Cliff Edwards, who was also known as ukulele Ike.

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I guess his most famous song in that persona ukulele

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00:43:45.280 --> 00:43:49.639
Ike was singing in the rain. Let me see if

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I could find that record hang on. Of course he

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cliff Edwards introduced the standard when you wish upon a

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Star Are when he played Jimminy Cricket in Pinocchio. He

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sang that song I found singing in the Rain by

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ukulele Ike aka Cliff Edwards. While I play that, If

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you think Zerky was bad, I'm gonna look for Cliff

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Edwards rap sheet.

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I'm singing in the rain, just singing in the rain.

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What a glorious feeling.

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I'm happy again.

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I'm laughing at flaws so dark up above. The sun's

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in my heart and I'm ready for a low lad

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the stormy clouds chase everyone from the place. Come on

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with your rain. I've got a smile on my face.

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I'll walk down the lane with a hippy refrain, just

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and we're.

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Singing in the rain.

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Why am I smiling? Why do I sing? Why does

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December seem sunny? I spring? Why do I get up

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each morning to start people happy.

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And aired up?

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With joy in my heart?

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Why is each new task a trifle to do? Because

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I am living a life.

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All of you.

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Get and Mama hit the doll and the don't hurt.

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The doll he.

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Need.

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Hey, I'm singing in the rain, Just singing in the rain.

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What a glorious feeling. I'm happy again. I'm laughy at clouds.

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So dark above the songs.

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In my heart, and I'm ready for law like the

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stormy clouds, change everyone from the place. Come on again, rain,

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I've got a smile on my face. I'll walk down

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the lane with a happy refrain, just singing, singing in

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the rain.

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That record was recorded twenty three years before MGM would

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release their classic nineteen fifty two films Singing in the Rain.

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Now many people think Singing in the Rain came from

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that film, but in actuality, the fad song had rained

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as one of the last major hit tunes of the

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Roaring twenties. Cliff Edwards made it famous with the record

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We Just Heard and by introducing it on screen in

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the early musical one of the earlier talkie musicals, The

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Hollywood Review of nineteen twenty nine. But here we just

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heard it on Columbia Records. Singing in the Rain. Ukulele

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Make Believe Ballroom - 2/6/26 Edition

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