March 20, 2026
Make Believe Ballroom - 3/20/26 Edition
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On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, a British bandleader comes to the US and makes history, a female vocalist who had two number 1 hits in a span of a month, plus many more records, stories, and reminiscences from the big band era.
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It's make believe ballroom time. 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 belief ballroom time and free to everyone. It's
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no time to friend your Dalis.
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Said Bamba.
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Yours.
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Close your eyes and visual lize in your solitude.
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Your favorite bands are on this dance 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 a sweet romance.
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Is to make me come on job last.
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Das last, Hello world, I'm Jeff Pressler, turning on the
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lights of the Make Believe Ballroom and welcoming you into
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my Crystal Studio for another program of classic big band
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jazz from the nineteen thirties and forties. Please get ready
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as I play for you some amazing swing, blues, jazz
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and boogie woogie favorites. Folks, you're listening to the Make
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Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And
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welcome one and all into the Crystal Studio, and thanks
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for joining me. Today we start spinning records with a
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jazz master work.
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What it.
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Recorded in New York City on May the eighteenth, nineteen
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thirty three, under the baton of British born Spike Hughes.
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We heard Henry Allen, Leonard Davison, Bill Dilliard on the trumpets,
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Dicky Wells, Wilberd de Paris and George Washington on trombone,
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Benny Carter Wayman Carver, Howard Johnson, Coleman Hawkins and Chew
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Berry on the reids, Louis Russell playing the piano, Lawrence
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Lucy the guitar, Ernest Hill the string bass, in Sydney
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Catlet on the drums, and all Black Orchestra with a
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song called Fanfare recorded on British Decca. Let Me Play
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One More by Spike Hughes, and then the amazing story
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of this ground breaking bands.
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The tramper.
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A hand.
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Pastor Rally Spike Hues and his orchestra, recorded April eighteenth,
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nineteen thirty three in New York City for British Deca
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Records and the now Friends The interesting story behind the
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two records I just played. Spike Hughes was a British musician,
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composer and arranger. He had an interesting combination because he
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was equally involved in the worlds of classical music and jazz.
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When it came to jazz. He Spike was called Britain's
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earliest jazz composer, although that phase of his career with
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the jazz music only lasted a few short years. So
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I earlier called the two records I played as groundbreaking,
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and that's because back in nineteen thirty three they represented
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a rare, if not a first, high level collaboration were
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a white European band leader specifically traveled to New York
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to record his own compositions with an all star, all
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black orchestra. So how did he do this? Well, the
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orchestra we just heard was essentially the Benny Carter Orchestra,
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augmented by legendary soloists like Coleman Hawkins, Henry Allen, and
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Chew Berry. Now Hughes did not just conduct standard jazz hits.
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He recorded fourteen of his own original compositions in New York,
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two of which we just heard, which certainly have, in
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my opinion, in ellington Esque sound and complexity to them.
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Now Hughes was so satisfied with these sessions that he
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felt he had reached his artistic peak, and he retired
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from playing jazz shortly thereafter to focus on classical music.
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Classical music, criticism, journalism and humorous writing. Now the orchestra,
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and we have to understand it was nineteen thirty three.
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Was called on the British Deca label Spike Hughes and
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his Negro Orchestra. Again, it was nineteen thirty three. And
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although it had that name, it was amazing that in
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the early thirties a white musician collaborated with an all
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black orchestra. You see, Spike Hughes was colorblind and he
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wanted his pieces played by the most talented musicians of
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the era, and he found that with Benny Carter and Company.
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Spike Hughes name from the movie I DoD It back
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in nineteen forty three, we just heard the fabulous piano
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of Hazel Scott with Taking a Chance on Love. Hazel
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one of the great female jazz pianists of the era,
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also a staunch civil rights advocate and leader. And if
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you've ever followed the history of New York City politics
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or of Congress, she was married to Adam Clayton Powell Junior,
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the Harlem Congressman, Baptist pastor, and civil rights leader. I think,
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if I'm not mistaken, Adam Clayton Powell was the first
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black congressman from the state of New York. Why don't
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we listen to one more from Hazel Scott.
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School about Buck You have any bungs um M?
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That was Hazel's Boogie Woogie on Decca Records, recorded back
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in nineteen forty two. I'm Jeff Wrestler and you're listening
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to the one, the only, the original Make Believe ballroom.
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Ushu you baby hushes Baby, Bye bye bye baby, Your
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papa is off to the seven Seize Don cry baby,
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doll side baby, Bye bye five baby.
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When I come back with him like bubbies that he
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seems kind.
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Of tough now to say goodbye this way, But Papa's
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gotta be rough now, so but he can be sweet
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to you another day.
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Bye bye baby, Don cry.
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Baby shoes shoeshoe Baby, Your papa soft the seven seeds.
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Bye bye bye baby, cry baby shoes you baby. Your
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papa is up to the seven seas. Your Papa's up
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to seven sees your.
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Papas on Hit Records Shoe Shoe Baby by Jan Garber
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and his orchestra vocal by Liz Tilton, Liz being the
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younger sister of the great Martha Tilllton that song recorded
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back in nineteen forty two. Let me play another record then,
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a female vocalist who was blazing hot for a short
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period of time, and.
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The reason do.
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Hi fellos.
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Foot soups soup steps six.
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Six six.
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On a v disc from back in nineteen forty five,
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The Gene Crooper Trio with their version of Stomping at
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the Savoy, Charlie Ventura on the tenor, sacks, George Walter's
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the piano, and the legendary Gene Crouper on drums. So
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I told you before Croupa that I was going to
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introduce you to a female vocalist who was blazing hot
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for a short period of time. Here's one of the
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reasons why.
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I can't be true to no one, no matter how dry,
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on account of my big glipi liphic glyphi glave.
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Now I may say I love you and then bid
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you good buy.
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On account of my big classic lipic LIPI line. When
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I look at someone my got a door, I see
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know this somewe much better than the one before, And
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so I guess I'll always remain a single girl. On
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account of my thick lipic lific life and glafe, I can't.
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Be true to no one, no matter how I try.
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On account of.
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My thick life think.
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I think, I think lie.
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Now I may say I love you and then did
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you good bye?
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On account of my thick lie think, I think, I.
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Think love.
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Dude.
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When I look at someone I could adore, I see
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a mother someone much better than the one before, And
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so I guess.
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I wontways stay a single guy on account.
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Of my think glfing clothing glove.
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Where I look at someone I could adore, I see
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there's someone much nicer than the one before, And so
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I guess I'll never be true to any guy on
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account of.
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My big gloves. O thick glove, My big Gloves.
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From Decca Records, we just heard a catchy tune, My
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Fickle Eye Evelyn Knight and the Tunechwesters, recorded in New
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York City on May the seventh, nineteen forty six. Now,
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Evelyn Knight is a vocalist you might not be familiar with.
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She was a Virginia born.
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You know.
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It's strange because Evelyn had a relatively short recording career
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but was not really that well known in the mainstream.
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Many band leaders and vocalists who preferred to perform in
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clubs and not on record in the thirties and forties
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are really lost to history because if there was no
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radio remotes from those venues or they didn't appear on
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radio programs, they were basically unheard of across the country.
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Now.
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One of Evelyn Knight's earliest bookings started in the mid
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to late nineteen thirties, and that was at the King
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Cole Room in Washington, d C. She signed an initial
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two week contract and that eventually turned into a five
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year stay. A critic once commented, and let me find
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that comment. He said that for five years she has
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held down the entertainment assignment at the King Cole Room,
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and in that five years she has grown into a
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local trade edition cool with plenty of glamour. This girl
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delivers her stuff in a sophisticated manner, so well known
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with the club set in DC, but she was a
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virtual stranger to everybody else. In late nineteen thirty nine,
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Evelyn moved to New York City, where she began headlining
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at Manhattan clubs. She was at the Blue Angel and
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the prestigious Plaza Hotels Persian Room. She finally ended up
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launching her record career in nineteen forty five by signing
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with Decca Records. Later moved to Los Angeles in the
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late forties, where she headlined at Ciro's and Coconut Grove.
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So quite a club resume for one Evelyn Knight. Now.
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The song I played My Fickled Eye was one of
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over a hundred she recall worded four Decca records. Really
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over just a five year span, two of those really
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stand out. Let me play those as we pay a
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mini tribute to Evelyn Knight.
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A little bird told me that you love me, love me,
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and I believe that you do. I believe this little
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bird told me I was falling, falling no one.
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But.
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There's no use denying. I'm matters.
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Welcome best from.
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All the boys.
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I know you.
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I'm sure I love you best.
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The little bird to we'd be.
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Happy, also happy and believe.
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That it's true, So true, a little bird totally. We'll
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be married, to get married and believe.
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That it's true.
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There's a little to me when we marry. When we
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get married, we'll have a prea in.
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College, not too far of than stem like a movie star.
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All a great thing, public colonies, lion there by the
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by a plane, don't fish, palm and wishing well. Everything
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is going to turn else well.
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Married, that's true, have family, smart, God.
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You'll have a break cottage not too far. Oh thankstein
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like a movie star. Stop breaking up column mates, lying
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there back fire place, stop goldish bound, then wish him well.
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Everything's going to turn out Swell little birds, don't red.
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Be happy and busy.
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That's true.
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And now.
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I know.
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That it's true.
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Come on DECA Records. A Little Bird Told Me by
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Evelyn Knight and the Stardusters, recorded on April the twelfth,
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nineteen forty eight, in New York City, and that Handclapper
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of My Friends was among the year's most popular recordings,
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spending seven weeks atop the bestseller chart and a certain
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number one hit for Evelyn and Not to Rest on
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her laurels. On November the sixteenth of that same year,
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nineteen forty eight, another number one hit.
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Where did you get that cute? Look?
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You look great?
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Well? Thank you?
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Does I have got a way to keep in style?
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Powder your face with side shine, put on a great
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big smile, make up your eyes with laugh. Those folks
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will be laughing.
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With you in a little while.
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Whistle too, bloundness bloom never was in Stars the Futures
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brighter wim hats a lighter smile.
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He's my smile.
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You found fasts a disposition, You're Jewish rise laughing.
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Keep it twinkling your own fats.
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We'll be laughing with you in a little Why don't.
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You whistle that loves.
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Blue? Never was.
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The futures Brighter wim hurts a lighter smart smart f.
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Whistle too. Love Gladness.
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Was ever Instard.
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