Feb. 7, 2025

Make Believe Ballroom - 2/7/25 Edition

Show Notes
Transcript

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 –some well-known sibling musicians from the big band era, listeners emails lead us to a treasured female singer and a group never played on the program - this and many more great records to enjoy on the show!

WEBVTT

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Time.

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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 Dallisa Bamba yours, close your

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eyes and visual lie in your solitude. Your favorite bands

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are on List Dance and Mister Miller.

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But you're in the mood.

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It's make believe ballroom time.

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We are of sweet romance as you make it.

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Come on Joe Lass Dance Last.

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Hi, folks, I'm Jeff Bresler, 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 with the great big band hits

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of the nineteen thirties and nineteen forties. Whether one of

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my longtime listeners or a new listener on public, community

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or university radio stations across the US as well as

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in the UK, grab your dance ticket. It's free and

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let's listen to some wonderful big band jazz, swing, blues

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and boogie woogie classics. Hello World, and from coast to coast,

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don stations like Jazz ninety point one WGMC in Rochester,

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New York and other fine radio affiliates. I welcome you

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all to the Make Believe Ballroom, the one, the only,

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the original Make Pulle Ballroom, broadcasting almost continuously since nineteen

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hundred and thirty five, and folks, let me immediately go

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to the playlist computer and pick a good one to

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start the proceedings of this week's Make Believe ball Room.

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With That was Glenn Miller and his orchestra with Jersey Bounce,

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recorded on June the second, nineteen forty four, during a

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Chesterfield Cigarette radio broadcast emanating from Rockford, Illinois. And this

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broadcast was on the radio just weeks before Glenn had

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volunteered to join the war effort by enlisting in the military,

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which has many of us now unfortunately led to his

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declared death on December sixteenth, nineteen forty five, at the

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age of forty one. You know, I've been receiving a

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few emails from listeners who enjoy the increase in radio

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remote big band performances that I've been playing here on

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the Ballroom over the last several weeks, and I will

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continue to do that. I also want to acknowledge some

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of our UK listeners who have thanked the ballroom for

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playing more British recorded big band music music just like

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this an we just heard British band leader Freddie Gardner

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and his swing orchestra with you Can't Stop Me from Dreaming,

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recorded in London, December of nineteen thirty seven. Friends, let

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me play one more. Then I'm gonna go into a

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series of records from siblings whose music was popular during

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the big band era.

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I've got you under my skin? Won't you please let

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me in? I've got you.

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So deep in the heart of me, so deep in

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my heart. You really hard lady, I've got you, got

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you on the my sallow mallo.

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All.

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I'm trying so hard not to kid.

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Then, I've got you under my skin.

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I said to myself, this fair never vote goes so well?

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What I won't tell?

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Why should I try to resist.

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When darling I know so well?

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Tell tell.

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I've got you.

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Under my skin. Won't you please let me out?

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I sacrifice said it.

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Come what might be for the sake of heaven.

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You mirror in spite of the warning parts comes in

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the night.

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And repeat and repeat.

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Don't you know that food that you never can't win?

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Take off your sk you your mentality wake up to

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as the tea.

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But each time I do, just a thought of.

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You makes me sound loop. I've got.

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And I've got you, I've got you Musk.

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That was a great violinist. And also on this record

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providing the vocal, Stuff Smith, I've Got You under My Skin,

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recorded March of nineteen forty. I'm Jeff Wrestler, and thanks

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for joining me today on this edition of the Make

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Believe Ballroom and Folks. As I just promised before, Stuff Smith,

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some music now by siblings who were popular during the

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big band era, And why don't I start with the

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Henderson brothers. I'm talking about Fletcher and Horace. Let me

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now play a recording from the younger brother of Fletcher, pianist, organist,

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the ranger and band leader Horace Henderson.

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I Don't Know Love.

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And follow.

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That was Horace Henderson and his orchestra Rhythm Crazy, recorded

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October the third, nineteen thirty three on Parlophone Records. Now,

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why don't we play one by the more well known

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older brother to Horace, the legendary pianist, bandleader, arranger and

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composer Fletcher Henderson.

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The series of Uncle Fellow Jesus Ching couple Man, No

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Time Me.

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Sing, a popular tune of the era, Blue Loo Fletcher

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Henderson and his Orchestra with Ray Eldridge and chw Berry,

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recorded on Vocalion Records in nineteen thirty six. And the

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name that's synonymous with Fletcher Henderson that being Benny Goodman.

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So many of Benny's hits can be attributed to the

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arranging of Fletcher Henderson. Now a name synonymous with Benny

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Goodman has to be Harry Goodman. You might say, I've

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heard of Benny, but who was Harry Well? Harry Goodman

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was a bassist and sometimes tuba player. He was in

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Benny's orchestra for many years. As a matter of fact,

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two of Benny's older brothers, Irvin Goodman and Freddie Goodman,

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were also great musicians in their own right. Let me

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now play a Benny Goodman record where Harry Goodman was

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playing bass in his orchestra.

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See but you're, sir.

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When I say well, I'm.

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Even your lovely as well. When I say love I

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mean for really, I'm mad about you. You're about the

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grandest thing that I ever knew. You got just want

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to say, and I admit I get a look as pray.

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And I'm we love before.

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What else could.

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It be when a boy like you love me?

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I mean, honestly, but your.

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Well recorded on Victor Records, December the ninth, nineteen thirty six,

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Gee but your swell vote Helen Ward and based by

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Benny Goodman's brother Harry. That was a lightly played Goodman

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tune and I enjoyed bringing it to you here today

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on the Make Bullyeve Ballroom. I'm Jeff Bresler, and I

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want to thank you in advance for perhaps spending the

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entire hour with me, or even part of the hour

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in the Crystal studio to reach me. I'm Jeff at

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makebullye Ballroomradio dot com. That's Jeff at Makebully Ballroom Radio

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dot com. And in just a little while some of

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your emails will be read for all the world to hear.

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But for now, I am playing for you music from

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famous siblings of the big band era, and in my

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humble opinion, the most famous of siblings had to be

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the Dorsey brothers, Jimmy and Tommy, who started their careers

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in the late twenties with the Dorsey Brothers Orchestra, only

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to see them eventually split in nineteen thirty five their

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separate ways, Both of course, had amazing careers with their

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own orchestras. The two brothers eventually reunited in the forties

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with their combined bands, and many considered their relationship volatile,

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and it was when musical differences were exposed, but they

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remained close brothers throughout their careers. You know, I'm just

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thinking our producer Emeritis Lenny from down the block, who

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many of you remember. He once came into the Crystal

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studio with I think it was a mid nineteen nineties.

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A US post Office issued commemorative postage stamp excuse me

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in honor of Jimmy Dorsey and Tommy Dorsey. Remember it

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was in a very nice little plexiglass case. I don't

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have that stamp, but I can serve certainly honor the

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dorse through two records. I am going to play for you.

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I could learn my A, B C, bring Homide and setna.

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See in my mind, Dad, I see if I had

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rhythm in my nursery, rhyme in the corner on a stool,

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I said, because.

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I broke a room.

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But I show them that I know fool.

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If I had rhythm in my nursery rhyme, La La

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lahlah won't get me far. Lately I've been thinking, if

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I had a little bit of rhythm, I could be

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a Washington or On Lincoln, Simple Simon at the Fair

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Medal Simon, who was there about those two guys?

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I don't care.

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I need rhythm in my nursery rhyme, Oh Mary lad.

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Lad, But I need rhythm in my nursery.

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Rhymes my mind.

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That was Tommy Dorsey and is clam Bake seven. And

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you know, over the last couple of weeks I love

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the clam Bake seven. We played a few of their records.

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But here today with the B side of a Victor

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record by Tommy Dorsey and the clam Bag seven Rhythm

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in My Nursery rhyme vocal by Edith Wright, recorded on

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December the ninth, nineteen thirty five. I just covered Tommy.

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Now on to brother, Jimmy.

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Says the se a.

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Hand from Decca Records. That was Parade of the Milk

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Bottle Caps by Jimmy Dorsey and his Orchestra, recorded in

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Los Angeles, July the seventh, nineteen thirty six. Jimmy Dorsey

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also the composer of that tune. I'm Jeff Presler, and

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we've just listened to a series of records featuring a

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number of different Big Band siblings. Plenty more where that

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came from, and maybe we can do a few more

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before the end of the program. But I now want

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to draw your attention to a few emails I received

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this past week.

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Letters, good letters, dog so ah.

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Yes, friends, we do get letters, actually emails, and I

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want to read a few to you. Now, I guess

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people don't really write letters anymore, but if you want

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to send an email, Jeff at Make Belie Ballroomradio dot com,

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Jeff at make Bully Ballroomradio dot com, and I'm always

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eager to read your comments and fulfill your requests. The

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first email today is from Alan Harper, who listens in Ashkosh, Wisconsin,

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probably through our syndicator, Global Community Radio. He writes. Alan

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Harper writes, Jeff, I was recently at a youth hockey game.

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They played instead of the national anthem, Kate Smith singing

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God Bless America? Did Kate Smith ever record with the

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Big Band or sing sing? And that signed Alan Harper.

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Thanks so much for the email. Alan. Kate Smith was

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of course an American icon. She didn't sing with any

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big bands, but she did do a number of successful

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featured solo recordings. But probably more important than her recordings

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was what Kate's main occupation was as a vocalist, that

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being on the radio. As a matter of fact, she

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was known as the first Lady of Radio. She was

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certainly beloved right throughout her career until a time of death,

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and she was a huge radio star for so many years.

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She began singing on the radio in nineteen thirty one

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and through a series of different shows, she stayed on

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the radio until the early nineteen sixties. As a matter

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of fact, I recall it was probably in the nineteen seventies,

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perhaps the early eighties, not sure of the exact date,

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but I know what. Kate Smith also did a TV

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talk show. She was undoubtedly the most famous female soloist

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during World War Two and a major patriot. And to

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follow up on her patriotic tendencies, I found this little

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piece of information that I'd like to read for you.

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Let me just pull this up. Here we are through

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her personal and radio appearances to promote the sale of

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war bonds, Kate Smith contributed to the purchase of over

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six hundred million bonds, which today would be the equivalent

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of several billion dollars of war bonds. She raised this

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money during a series of marathon radio broadcasts. No other

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show Busy Business Star came near her as a revenue

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producer of war bonds to finance the United States war effort. Now,

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Alan Harper, I could play a Kate Smith standard like

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when the Moon Comes over the Mountain, But of course

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the show is mostly about big band swing. So I

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picked through a number of records and found that Kate, indeed,

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although not in her usual repertoire, could swing.

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Steps may come and go, danceins we got to know.

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Like the Charleston and back Bottom my favorite, since that

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modern grave rhythm has made us pray.

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Call the new steps, the two steps.

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Listen to Cake sincopas brand new step that is collegial

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here year.

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Randw cras a blade today quite the bulk and fun

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of say want hold then go wucklyga hear ye here

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hear ye, snap your fingers, walk around and then shake

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your shoulders. Go the tli slanted dotia you and pusha

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not on coming rhythmster or tuture fancy first just gony

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and bend it as interview in low down.

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Hig you hold down that's a college rhythm.

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Sway, and then you found and long you found.

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And then you just must have alma something.

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Consumption.

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It's so easy there. The can is learned wit guess

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kicking it fall.

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Over, Wilson, be doing it, professor yes, or Yestherda.

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College rhythm.

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More way, and then you bomb and on you bomb,

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and then you just must have.

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No weas be there wrecking it, learn it quick, yes,

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kicking it all over? Will soon be doing it, professor

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yeser Yonder College Rhythm Rhythm Duck to Dumble rhythm Duck.

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Dumb that's high.

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From Brunswick Records. College Rhythm by Kate Smith and the

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Ambassador's Trio accompanied by her Swannye music, recorded in New

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York City, November the first, nineteen thirty four. And uh, Alan,

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that was the closest I could find Kate Smith doing

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a little swinging. Of course, Kate more of a ballad

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singer now Kate Smith, such as in God Bless America.

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Alan could certainly belt out a tune. Let me ask

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you this, was there anybody who could match her at words?

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Poetic?

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I'm so pathetic that I always have found it best

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instead of getting them off my chest to let them rest,

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I express I hate parading, my serenading, or I'll probably

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miss them all. But if this city is not so pretty,

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at least didn't tell you how great you are. You're

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the TOMPs, You're Mahatma Gandhy. You're the tops. You're Napoleon Brandy.

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You're the purple light of a summer.

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Night in Spain. You're the National Gallery, your gobble salary.

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You're telling.

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You're sublime. You're a turkey dinner. You're the time. I'm

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the dobby winner. I'm a toy balloon that made it

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une too pop bottom, Baby, I'm the bottom. You're the cup.

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You're the top. You're a walled up salad. You're the top.

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You're a Berlin ballad. You're the baby grand of a

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lady and a gent. You're an old duck master.

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You're the disaster.

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You're Pep.

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Then you're Romance.

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You're the steps up Russia. You're the pants on a

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roxy usher. I'm a lazy louse that's just about to stop.

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But a baby the house. You're the cop.

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We just heard. Probably the great ereatest female vocalist who

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could belt one out. I'm talking about the Broadway legend

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ethel Merman, and we heard her on Brunswick Records with

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Your the Top, the wonderful Cold Porter tune from his

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hit show Anything Goes. The record was with Johnny Green

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and his orchestra. They were accompanying ethel Merman and that

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record You're the Top, recorded in New York City on

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December fourth, nineteen thirty four. And you know, I love

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composers who also, on rare occasions, sung their own music

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if I may, And I know to make Billy Ballroom

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is not a Broadway music radio program, but how can

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I pass up listening to Cole Porter actually sing the

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title song to his own show from Anything Goes.

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Time?

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That change.

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And we've offered rewound the clock since the the Ority's

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got the shock when they landed on Flemouth Rock, im

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to day, any shops they should try to stamp instead

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of landing on Flemouth Rock, Flymouth Rock would land on

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beth in Aten's day. A glimpse of stocking one of

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them stalls or something shocking. But now God knows, anything

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goes good offers to who once knew better words not

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only used for letter words.

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Writing pro.

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Anything go.

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If driving back car you like him, low balls you

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like him, old hymns, you like himpel if you like

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give me West, you like for me unrest, you like

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why nobody will uppoll When every night the sent and

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mart is intruding and you just parted in studio.

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Anything go.

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When the missus ned McLean, God bless her can get

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rush and read to Yesser then asked the pole, anything

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go when rockcu Fellas still can hold enough money to

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let mac Gordon produce his show, anything goes. The world

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has gone mad today, and good fad today, and black

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spite today, and Day's ninth today, and that gent today

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you gave a sense today, want that several chats when

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folks who still can ride in jitneys find out then

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Wilson Whitney's lang baby claws.

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Anything goal.

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When Damn Goldwyn can with great conviction in structanasen indiction

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than Anna shows.

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Anything goals.

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When you hear that lady mental standing up now does

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a handspring landing up on her toes.

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Any big goals?

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Just think from those shots you got and those knots

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you got, and those blues you got from those news

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you got and those pains you've got in any rains

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you've got from those little radios.

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So missus h with all her trim and.

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Can broadcast the bad from sim and caught Franksman all.

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Anything go.

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Who could sing Cold Porter better than Cold? And that's

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why I just played his own version of Anything Goes

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that he recorded in nineteen thirty four. Friends. I know

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I got a little off track to Alan Harper's question,

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which was solely about Kate Smith and if she ever

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sung with a big band. But you know me, one

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thing always leads to another here on the make believe Ballroom.

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Why don't I now go back to the email pile

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here in the crystal studio. This next one from Dona

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la Foglia from Sherman Oaks, California. Dona Lafoglia, and she writes,

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Jeff listened to the Ballroom each week on iHeartRadio. I

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was recently at an outdoor flea market and found a

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record by Four Chicks and Chuck. It's an MGM record

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and has two songs Kokomo Indiana and on the other

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side the turntable saw. I purchased it and listened to

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the record on my Victrola. It is pretty old and

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very scratchy sounding, but I so enjoyed it. The turntable

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song is about a radio disc jockey, and I immediately

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thought of the Make Believe Ballroom that you host. Do

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you have a copy and can you play that song?

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Sign?

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Donna? Certainly, Donna, and thanks so much for the email.

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Four Chicks and Chuck was a vocal group that was

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founded by Chuck Goldstein in the mid nineteen forties. Chuck

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was an original founder of the Modernaires, and we hear

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his voice each week here on the program in the

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opening theme song titled Make Believe Ballroom that was recorded

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with Glenn Miller and his orchestra, with the vocals by

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the Modern Airs just as an Asai. That song, Make

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00:48:01.840 --> 00:48:06.280
Bully Ballroom was actually composed by Martin Block, who was

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the original host of the New York City WNW version

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of the Make Bully Ballroom that began in nineteen thirty

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five and the one that we emulate and the one

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that we continue to carry on the tradition of. If

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you've ever seen a picture of the Modernaires or seen

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the Modernaires and films with Glenn Miller like Sun Valley serenade.

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Chuck is the big guy by stature in the group.

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The four chicks were Dianne Carroll, Claire Frimm, Fran Barber,

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and Marilyn Jackson. So why don't we now listen to them?

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And the turntable song.

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Round and round and round and round, the turn table.

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Gold and on constitute that you feel in your gold

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on and on and on and on those distance jockey

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play and.

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Most every song had the same all pray I love you.

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I'd like to hear that all day long, and in

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a song.

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Finn in a song, so what on?

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That's the dream of dreamers, while the turn table round

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and round and rhyme and round and ride, and.

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A man, what an orde?

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Hear and records all night no matter how you feel?

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From Kate Smith too, being or an all night session

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of jazz and swings.

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You picked this kind of lie to.

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Le brother, if you don't want.

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To class, we'll let me dress. You should have picked

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that other, say, man.

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What an orde? Playing all requests for your listening guests?

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