Make Believe Ballroom - 3/13/26 Edition

0:12 It's make Believe ballroom time. Put all your cares away. All the bands are here to bring good cheer your way. It's make Believe ballroom time and free to everyone. It's no time to friend your Dalis said bombs, close your eyes and vis you lie in your solitude. Your favorite bands are on this dance and mister Miller, but you're in the wood. It's make Believe Ballroom time. We are a sweet romance.

1:00 You make bo Come on Joe the Last das last. Hello World. I'm Jeff Bresler, turning on the lights of the Make Believe Ballroom and welcoming you into my Crystal studio for another program of classic big band jazz from the nineteen thirties and forties. Please get ready as I play for you some amazing swing, blues, boogie woogie and jazz favorites. Folks, you're listening to the Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And welcome a one and all into the Crystal Studio. And thanks for joining me this week as I get ready for a parade of seventy eight RPM records and radio remotes, some perfectly remastered, others well let's just say comfortably authentic and scratchy, but all reducing results like this.

3:23 Jeepers, creepers, Where'd you get those peepers? Jeepers, creepers? Where'd you get those eyes? Gosh, all get up? How'd they get so lit? Gosh all get up? How'd they get that size? Gollig? Geez? When you turn those heaters on? Whoa is me? God? Who put my cheaters on? Jeepers, creepers? Where'd you get those peepers? Oh? Those weavers? How the hypnotas? Where'd you get those eyes.

4:27 On? Victor Records Jeepers Creepers? Written by Johnny Mercer and Harry Warren. Larry Clinton and his Orchestra vocal by Ford Leary, recorded in New York City, November the eleventh, nineteen thirty eight. Ford Leary is the name you well might not be familiar with. When one thinks of vocalists and Larry Clinton, the name of b Wayne comes first to mind, but Ford was very power popular with Clinton in the late thirties and to nineteen forty. Let's play one more from Larry Clinton and his Orchestra with the Ford Leary vocal.

5:24 Last night I saw him upon the stairs, a little man who wasn't there. He wasn't there again today, Or how I wish he'd go away. When I came. Home last night at three, the man was waiting there for me, But when I looked around the hall, I couldn't see. Him there at all. Go away, go away. Don't you come back anymore? Go away, go away, and please don't slam the door. Last night I saw hi upon the stairs, a little man who wasn't there. He wasn't there again today. Oh, how I wish he'd go away.

6:04 Don't come back anymore. Away, and please don't slam the doll. He wasn't there again today. You know how I wish he'd go away. Away, don't come back anymore.

7:40 On Victor Records, The little Man who Wasn't There by Larry Clinton and his Orchestra, vocal by Ford Leary and recorded in New York City, June the twenty third, nineteen thirty nine. Ford Leary was a big in stature, and he was on the pinnacle of actually becoming a Broadway and film star. In addition to being a vocalist, Ford played the cello, guitar, and multiple brass instruments. In May of nineteen forty four, Ford joined the pit orchestra of the Broadway musical Followed the Girls, starring the amazing Jackie Gleason. Now, producers had a difficult time finding an understudy for Jackie, and they finally decided to sign Ford Leary for the role.

8:41 So he filled in several times for Jackie when Gleason was ill or had other obligations, and in June of nineteen forty five he took over the role permanently when Gleason left the show to star in the twentieth Century Foxe what was the name of that film? Dolface Ford Leary on stage proved to be a big hit, and that attracted film and other Broadway offers, But unfortunately, Leary injured his back at some point and had to leave the show. He spent the next couple of years in upstate New York recovering from his back injury. Then after that, rumors abounded that he was not a well man, and those rumors unfortunately proved to be true, because Ford passed away in June of nineteen forty nine. He was only forty years old. He worked with Charlie Barnett and his orchestra and many in his band finally remembered what a great family man Ford was. Charlie Barnett was wildly popular, and of course of that, and traveling from coast to coast all the time, Ford Leary purchased the station wagon to follow the band's bus, or to try to follow

10:12 the tracks of the train, and he'd pile into the station wagon with him his wife and it was either four or five kids in tow Ford Leary on Brunswick Records.

12:56 We just heard Mint Jewelup by the Hudson the Lang Orchestra, recorded in New York City, June the twenty ninth, nineteen thirty six. I'm Jeff Presler, and you're listening to the one, the only, the original Make Believe Ballroom, broadcasting it on the radio almost continuously since nineteen thirty five, one of the oldest and longest running musical programs. And in my ballroom iteration, I specialize in jazz from the thirties and forties, sometimes going under the fence to the nineteen twenties, and sometimes jumping over the fence to delve into the early fifties.

13:41 And speaking of delving, I want to play a few records that featured the jazz organ. Yes, indeed the organ. I think the most popular pure jazz organist had to be Milt Hearth, who was a proponent of the ham and Oregon from the day it was released to the public in nineteen thirty five. So Milt is known as a forefather of the Hammond, his most popular work coming with his own trio, the Milt Hearth Trio. That group formed in nineteen thirty seven with the wonderful Willie the Lion Smith on the piano and drummer O'Neil Spencer. Those two, along with Milt, formed the trio. The trio became a quartet with the addition of Teddy Bunn, the Great Guitar Player, in April of nineteen thirty eight. Let's play one by Milt Hearth and his Hammond Organ.

15:28 No movie. S so.

16:37 B B.

17:35 From Decca Records, Rockin' in Rhythm the Milt Hearth Trio Milt on the Hammond Organ, Willie the Lion Smith playing the piano, and drummer O'Neil Spencer, recorded in New York City, September the thirteenth, nineteen thirty eight. If I'm not mistaken, Duke Ellington wrote that song stand by. Let me just take a look so I could confirm that yes, indeed, do Ellington written rocking and rhythm. Let's now enjoy another jazz organist Ba.

20:23 Ba ba.

21:07 Glenn Hartman and his Hammond five lee Castle playing the trumpet, the great Luster, young tenor, sax and clarinet, Freddie Green the guitar, and Joe Jones on the drums, and the number was upright. Organ blues recorded on Columbia Records back in nineteen thirty nine. I'm Jeff Bresler here in the Crystal studio and we are enjoying a little jazz via the Hammond organ. I think an organ officionado that I am about to play might surprise you. We all know Fats Waller for the piano, which he actually started to play when he was only six years old. Now he was a quick learner, because Fats grad you waited to the organ at ten years old and became the regular organist every Sunday at his father's church in Harlem. Fats's father was a part time pastor. Fats, throughout his career had de fond memories of the organ, his parents and the church, and he did record some organ tunes during his career. So here is one by Fats. You may be listening for the first time ever in your life to Fats Waller on the Hammond organ.

23:28 It's let's take a boat two from you to.

24:11 Let's take a plane to Saint Paul. Let's take a kayak quincy a knight. Yes, let's get away from it all. Let's take a trip in the trail. Uh, no need to. Come back at all. Let's take a powder. That's a good runout powder of the boss of a child. Let's get away from it all. Travel around from town to town, visit every state. I repeat, I love you sweet in all the.

25:02 Forty Let's go again to Nightagro. This time we'll look at a fall. Let's leave our deer, get out of our root deer. Let's get away from it all. From Bluebird Records. Let's get Away from it All. Fats Waller and his Rhythm recorded on March the twentieth, nineteen forty one, in New York City. So, folks, a little tribute to the use of the Hammond organ in the jazz sounds of the nineteen thirties and forties. In addition to Fats, Milt Hearth and Glenn Hardman. I also want to add Count Basie, while Bill Davis and Milton Buckner to that list of proponents of the organ in jazz.

27:02 Who do you think is coming to town? You'll never guess you lovable hustle evening round, mister Rodneys. What if the rain comes battery down? My heaven is. Blue hand of sea sending me eveny Brown, Miss Browney, I know I f filion, but gold show am. Don't you all get you familiar? Why do you think it's coming down? Just waiting you see? Lovable little Miss Brown is.

27:48 Many the thing? Yes Sha. Again?

29:04 From Brunswick Records, Miss Brown to you a little early Billie Holiday. Teddy Wilson Orchestra, recorded in New York City, July the second, nineteen thirty five, and many people consider Teddy Wilson to be the definitive jazz pianist of the era. Some say, of all time? Why don't we listen to another by the Teddy Wilson Orchestra.

30:12 An maybe you're hanything anything? You nothing? I don't think anything.

31:46 Happen From Columbia Records. Exactly like you, Teddy Wilson Orchestra, recorded in New York City, June the twenty eighth, nineteen thirty nine. I'm Jeff Presler and this is the weekly edition of the Make Believe Ballroom, coming to you today from the Crystal Studio. Now, let's see what we have on the itinerary here. How about a little British novelty tune?

32:52 Then a request from a listener. I was going to play last week but we ran out of time. The afternoon we. Are relayked to a running commentary on the international speedboat Baris from the coast of Blatchwall. Upon the knees. The competitors are just entering on the last leap. There's here. They are coming around the bar name quite clearly. Number nine is leading. They think it's number name. There's rather a lot of peys on the knees and they. Can't create the years. It does not the name number nine is making the peace. If it's Finnigan, look out, he's coming. What's happened to Finnegan? Something's happened to. Finnigan's fall out? Nos Inigan, he's out again, he's off again, he's on again, he's winning and it's Finnegan.

33:33 Finnigan's one again. The winning man is Finnigan, no the ways. Speed boat Will speedboat Bill. He is a nable man, driverless speed, but like the bar he can Malcolm cam Bland men bag a smart missing the bar a fish bag. Cruising off the coast of mburn As speedboat. Saw a swimmer in distress on a road and told her in too short but through her back it was his mother in law speedboat Bill, speed boat Will.

34:23 Speedboat Bill, what went a loning blong? She told him to say that she was fun. Bill said, staff of morere and come with me and locked her in the cabin and went off to seat.

35:07 Speak out film was running My Mind's Home, not ofly to ridden in the home because I told him he had taught her stopped. Bill was in my fairite and the wa and rock speak Out film was going for us when a lovely mermaid fascinated him. She pulled him down beneath the waits with joy, and he quite mild the sake of woundering boy. The river policemen. Making Bill, I know you got a half two sirens on your boat. A sirens people only had one sort along to starboard and a brunetta's part. Speak Boat took. The Prince before a trip. She had lots of things about his ship, but when she asked him where his bullwacks were, he replied as sailor didn't care.

36:11 Recorded at Small Queen's Hall in London, England, on October the twenty third, nineteen thirty one. That was Steamboat Bill by the New Mayfair Dance Orchestra. Interesting fact, the New Mayfair Dance Orchestra was actually, in reality a London studio orchestra that was used for recording purposes by the Gramophone Company that from the late nineteen twenties into the early nineteen forties. Now records by this group were credited as the New Mayfair Dance Orchestra, or sometimes the New Mayfair Novelty Orchestra, or even at other times just the New Mayfair Orchestra. That all depended on the type of material they were recording. At the time of this recording Steamboat Bill, If I'm not mistaken, Ray Noble was leading the orchestra.

37:21 Last week I played a request for the Artie Shaw song Man from Mars, and I had a second request I wanted to fulfill, strangely enough, also for an Artie Shaw number. Let me pull up that email and while I do Jeff at make Believe Ballroom Radio dot com. Jeff at MakeBelieve Ballroom Radio dot com if you have a request, and here is the email Jeff. I find the Artie Shaw radio era in the late nineteen thirties some of his best work. I particularly enjoy listening to Carrieoka and the Chant. I know you played Carrie Oka recently, but I am requesting the chant? Can you play it?

38:13 And that is signed by Larry Lewin. Larry a longtime listener on both the radio and podcast versions of the show. Oh yeah, he's also a retired high school music teacher who listens somewhere in the LA area forgot the city, but near Los Angeles. But enough with the geography and now the chant. And now here's a real treat for all you Aretishaw fans. During the past few months, requests I've been piling up for Already to play one of his most famous arrangements. Well it's on tap for right now. Here's Already's clarinet and the orchestra and a number that's guaranteed not only to send you, but to bring you back.

38:54 It's the Chant.

40:00 Yea let them. Think lething flow the Wolver.

44:22 Mm HM.

45:37 Broadcast from the March twelfth, nineteen thirty nine radio broadcast of Melody and Madness Artie Shaw and his orchestra with the chant by Rich playing the drums. And thank you to our old friend Larry Lewin with that request and for your requests, as I mentioned just a little while ago, your comments suggestions remembrances. I'm Jeff at Make Believe Ballroom Radio dot com. That's Jeff at Make Believe Ballroom Radio dot Com. Now during the chant, about halfway through the number, a series of licks of Klezmer Jewish music by Shaw appeared. Artie, being Jewish, was most likely brought up on that kind of Yiddish Jewish music. Benny Goodman also as well as Benny's trumpet player ziggy Elman, and many others, would insert Klesmer sounding sections to some of their pieces. Why don't we go to Benny Goodman now the Benny Goodman Quartet with an appearance by ziggy Elman and vocal by Martha Tilton in a song The andrew Sisters mainstream and made famous by mere Vista Shane.

48:02 By mere Bester shame, please let me explain. By mere Bester Shame means that your grand. By mere mister Shame again. I'll explain it means you're the fairest in the land. I could say bell, a, bell, luck, even save the bar. Each language only helps me tell you how grand you are. I've tried to explain by mere mister shame, so gives me and say you understand me.

49:22 For anybody.

50:54 Cooky, I could say bell, bell, even save.

53:04 Language n helps me tell you how grand you are. I've tried to explain by me shame, gocuse me and say you under shame.

53:46 From Victor Records by mere mister Shane, by the Benny Goodman Quartet, vocal by Martha Tilton, incidental trumpet by Ziggy Ellman, recorded in New York City for two days December the twenty first and twenty second of nineteen thirty seven. And we just heard in that extended version both the A and B sides of that Victor seventy eight RPM recording, you had Benny Goodman of course on the clarinet, Teddy Wilson popping up again on the piano, Gene group of the drums, Lionel Hampton the vibraphone, and vocalist Tilton, who were joined on side too by trumpeter Ziggy Ellman, with that Yiddish music style chorus, and I think we have time for one more, with that same Yiddish theme.

54:58 My mother to sing to me. A honting little melody. Nobody knows where it came from, where it was compled. Deil on. More than. A tivy coup. Already, A designs sings tailor and see fashions burning clothes.

55:46 A designs sings the tailor as he sows and sows and souls. He's as busy as me making up refinery things. Baby, i'se towell when I take her to their design sings the tailor. All it means is that's the way when I buy the things he made, says the tailor. Tost on it. Yeah, ah, do you take your chop chop chop? Are you hipping this job that I'm linking to you?

56:40 Gamp im do dang dang dang danged na.

57:37 What the zoy? The Taylor's Song a Yiddish tune performed by Cab Calloway and his orchestra for Victor Records, and folks, we are out of time. The big hand on the big bull of a clock is approaching the top of the hour. Thanks so much for joining me today. To reach me Jeff at make Believe Ballroom Radio dot com, and until next week, this has been Jeff Pressler