Make Believe Ballroom - 3/20/26 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 belief ballroom time and free to everyone. It's no time to friend your Dalis. Said Bamba. Yours. Close your eyes and visual lize in your solitude. Your favorite bands are on this dance and mister Miller, but you're in the mood. It's make believe ballroom time.

0:55 We are a sweet romance. Is to make me come on job last. Das last, Hello world, I'm Jeff Pressler, 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, jazz and boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And welcome one and all into the Crystal Studio, and thanks for joining me. Today we start spinning records with a jazz master work.

2:19 What it.

4:45 Recorded in New York City on May the eighteenth, nineteen thirty three, under the baton of British born Spike Hughes. We heard Henry Allen, Leonard Davison, Bill Dilliard on the trumpets, Dicky Wells, Wilberd de Paris and George Washington on trombone, Benny Carter Wayman Carver, Howard Johnson, Coleman Hawkins and Chew Berry on the reids, Louis Russell playing the piano, Lawrence Lucy the guitar, Ernest Hill the string bass, in Sydney Catlet on the drums, and all Black Orchestra with a song called Fanfare recorded on British Decca. Let Me Play One More by Spike Hughes, and then the amazing story of this ground breaking bands.

6:48 The tramper.

7:38 A hand.

8:53 Pastor Rally Spike Hues and his orchestra, recorded April eighteenth, nineteen thirty three in New York City for British Deca Records and the now Friends The interesting story behind the two records I just played. Spike Hughes was a British musician, composer and arranger. He had an interesting combination because he was equally involved in the worlds of classical music and jazz. When it came to jazz. He Spike was called Britain's earliest jazz composer, although that phase of his career with the jazz music only lasted a few short years. So I earlier called the two records I played as groundbreaking, and that's because back in nineteen thirty three they represented a rare, if not a first, high level collaboration were a white European band leader specifically traveled to New York to record his own compositions with an all star, all black orchestra. So how did he do this? Well, the orchestra we just heard was essentially the Benny Carter Orchestra, augmented by legendary soloists like Coleman Hawkins, Henry Allen, and

10:27 Chew Berry. Now Hughes did not just conduct standard jazz hits. He recorded fourteen of his own original compositions in New York, two of which we just heard, which certainly have, in my opinion, in ellington Esque sound and complexity to them. Now Hughes was so satisfied with these sessions that he felt he had reached his artistic peak, and he retired from playing jazz shortly thereafter to focus on classical music. Classical music, criticism, journalism and humorous writing. Now the orchestra, and we have to understand it was nineteen thirty three.

11:19 Was called on the British Deca label Spike Hughes and his Negro Orchestra. Again, it was nineteen thirty three. And although it had that name, it was amazing that in the early thirties a white musician collaborated with an all black orchestra. You see, Spike Hughes was colorblind and he wanted his pieces played by the most talented musicians of the era, and he found that with Benny Carter and Company. Spike Hughes name from the movie I DoD It back

14:14 in nineteen forty three, we just heard the fabulous piano of Hazel Scott with Taking a Chance on Love. Hazel one of the great female jazz pianists of the era, also a staunch civil rights advocate and leader. And if you've ever followed the history of New York City politics or of Congress, she was married to Adam Clayton Powell Junior, the Harlem Congressman, Baptist pastor, and civil rights leader. I think, if I'm not mistaken, Adam Clayton Powell was the first black congressman from the state of New York. Why don't we listen to one more from Hazel Scott.

16:21 School about Buck You have any bungs um M?

17:27 That was Hazel's Boogie Woogie on Decca Records, recorded back in nineteen forty two. I'm Jeff Wrestler and you're listening to the one, the only, the original Make Believe ballroom.

18:47 Ushu you baby hushes Baby, Bye bye bye baby, Your papa is off to the seven Seize Don cry baby, doll side baby, Bye bye five baby. When I come back with him like bubbies that he seems kind. Of tough now to say goodbye this way, But Papa's gotta be rough now, so but he can be sweet to you another day. Bye bye baby, Don cry.

19:30 Baby shoes shoeshoe Baby, Your papa soft the seven seeds.

20:23 Bye bye bye baby, cry baby shoes you baby. Your papa is up to the seven seas. Your Papa's up to seven sees your. Papas on Hit Records Shoe Shoe Baby by Jan Garber and his orchestra vocal by Liz Tilton, Liz being the younger sister of the great Martha Tilllton that song recorded back in nineteen forty two. Let me play another record then, a female vocalist who was blazing hot for a short period of time, and.

22:02 The reason do. Hi fellos.

23:42 Foot soups soup steps six. Six six. On a v disc from back in nineteen forty five, The Gene Crooper Trio with their version of Stomping at the Savoy, Charlie Ventura on the tenor, sacks, George Walter's the piano, and the legendary Gene Crouper on drums. So I told you before Croupa that I was going to introduce you to a female vocalist who was blazing hot for a short period of time. Here's one of the reasons why.

24:50 I can't be true to no one, no matter how dry, on account of my big glipi liphic glyphi glave. Now I may say I love you and then bid you good buy. On account of my big classic lipic LIPI line. When I look at someone my got a door, I see know this somewe much better than the one before, And so I guess I'll always remain a single girl. On account of my thick lipic lific life and glafe, I can't.

25:39 Be true to no one, no matter how I try. On account of. My thick life think. I think, I think lie. Now I may say I love you and then did you good bye? On account of my thick lie think, I think, I. Think love. Dude. When I look at someone I could adore, I see a mother someone much better than the one before, And so I guess. I wontways stay a single guy on account.

26:21 Of my think glfing clothing glove. Where I look at someone I could adore, I see there's someone much nicer than the one before, And so I guess I'll never be true to any guy on account of.

27:11 My big gloves. O thick glove, My big Gloves. From Decca Records, we just heard a catchy tune, My Fickle Eye Evelyn Knight and the Tunechwesters, recorded in New York City on May the seventh, nineteen forty six. Now, Evelyn Knight is a vocalist you might not be familiar with. She was a Virginia born. You know. It's strange because Evelyn had a relatively short recording career but was not really that well known in the mainstream.

27:56 Many band leaders and vocalists who preferred to perform in clubs and not on record in the thirties and forties are really lost to history because if there was no radio remotes from those venues or they didn't appear on radio programs, they were basically unheard of across the country. Now. One of Evelyn Knight's earliest bookings started in the mid to late nineteen thirties, and that was at the King Cole Room in Washington, d C. She signed an initial two week contract and that eventually turned into a five year stay. A critic once commented, and let me find that comment. He said that for five years she has held down the entertainment assignment at the King Cole Room, and in that five years she has grown into a local trade edition cool with plenty of glamour. This girl delivers her stuff in a sophisticated manner, so well known with the club set in DC, but she was a virtual stranger to everybody else. In late nineteen thirty nine, Evelyn moved to New York City, where she began headlining at Manhattan clubs. She was at the Blue Angel and

29:27 the prestigious Plaza Hotels Persian Room. She finally ended up launching her record career in nineteen forty five by signing with Decca Records. Later moved to Los Angeles in the late forties, where she headlined at Ciro's and Coconut Grove. So quite a club resume for one Evelyn Knight. Now. The song I played My Fickled Eye was one of over a hundred she recall worded four Decca records. Really over just a five year span, two of those really stand out. Let me play those as we pay a mini tribute to Evelyn Knight.

30:29 A little bird told me that you love me, love me, and I believe that you do. I believe this little bird told me I was falling, falling no one. But. There's no use denying. I'm matters. Welcome best from. All the boys. I know you. I'm sure I love you best. The little bird to we'd be. Happy, also happy and believe.

31:10 That it's true, So true, a little bird totally. We'll be married, to get married and believe. That it's true. There's a little to me when we marry. When we get married, we'll have a prea in. College, not too far of than stem like a movie star. All a great thing, public colonies, lion there by the by a plane, don't fish, palm and wishing well. Everything is going to turn else well. Married, that's true, have family, smart, God.

32:05 You'll have a break cottage not too far. Oh thankstein like a movie star. Stop breaking up column mates, lying there back fire place, stop goldish bound, then wish him well. Everything's going to turn out Swell little birds, don't red. Be happy and busy. That's true. And now. I know. That it's true. Come on DECA Records. A Little Bird Told Me by Evelyn Knight and the Stardusters, recorded on April the twelfth, nineteen forty eight, in New York City, and that Handclapper of My Friends was among the year's most popular recordings, spending seven weeks atop the bestseller chart and a certain number one hit for Evelyn and Not to Rest on her laurels. On November the sixteenth of that same year, nineteen forty eight, another number one hit.

33:30 Where did you get that cute? Look? You look great? Well? Thank you? Does I have got a way to keep in style? Powder your face with side shine, put on a great big smile, make up your eyes with laugh. Those folks will be laughing. With you in a little while. Whistle too, bloundness bloom never was in Stars the Futures brighter wim hats a lighter smile.

34:12 He's my smile. You found fasts a disposition, You're Jewish rise laughing. Keep it twinkling your own fats. We'll be laughing with you in a little Why don't. You whistle that loves. Blue? Never was. The futures Brighter wim hurts a lighter smart smart f.

35:16 Whistle too. Love Gladness. Was ever Instard. The Future's writer when. Hot's a letder s. Evelyn Knight revisited Billboard's number one spot in that positive thinking follow up to her million selling A Little Bird told me we just heard powder your Face with Sunshine. So two smash hits over a two month period back in nineteen forty eight, and I'm glad if you never heard her saying that, I was able to present to you a mini tributes to Evelyn Knight. I'm Jeff Bresler, and you're listening to the Make Believe Ballroom.

37:39 The ms Kelish to.

39:26 That Larry Clinton composition was one of the Dorsey Band's most popular instrumental releases of nineteen thirty seven on Victor Records. We Just heard Satan takes a Holiday Tommy Dorsey and his Orchestra, recorded in New York City, April of fifteenth, nineteen thirty seven. So before I played the Krupa trio, how about now the full blown orchestra with how about that mess?

40:09 I took a trip through harlems by Ways to dig my mouth back smoking Joe, but smoke it, don't you? Other Highways is off that job. I ain'tkle enough to stay up late spot where all the hecats used to go, but now it's just a second race spot. They're off that job. I even went to Tony's house and swinging and bets Johnny's pickle for but everywhere it was the same old thing. All the jive is gone. I made the streets to wait by seven, so listen, get I take it swow. There's something wrong with Harlem's help them. There rain's no job.

41:12 The lays the fay.

42:20 I did the streets two went by seven, so listen gat taking slow. There's a wrong with Holland's Heaven. There ain't no job. How about that mess? Jane Kruper and his Orchestra vocal by Irene Day and recorded for Okay Records back in nineteen forty one. I just played two swingers. How about a triple play?

43:18 My heart gets a chill. I feel such a thrill. My feet won't keep still when they swing that music. Rhythm like that puts me. In a trend. You can't blame me from wanting to dance. From what I understand, you're simply grand to blame a band when they swing that music. I'm so happy asking me when they swing that music. Falls on Decca Records. Swing that music. Louis Armstrong and

45:46 his Orchestra recorded in Los Angeles, California, on August the seventh, nineteen thirty six, and in my estimation, one of the greatest swing records of all time, the great satchmoh and now let's see here, Oh yeah, why don't we take a quick look at a couple of emails received this week, first one from Chick Ludwig and Chick writes, I have a bunch of cassette tape recordings from Jim Kelso's Make Believe Ballroom that was a local program on public radio in Newbern, North Carolina. I found them in a house that I had bought to flip. I was excited to get them as I listened to the program often while spending weekends on my little cruising sailboat around Beauford in the early two thousands. I still listened to them to this day. I'm listening to one right now. Jim died not long after that. He had been a member of the Big Bands back in the day. His program played recordings he had collected over a lifetime with his personal stories of the bands and band leaders. Thanks check. I have over the years identified I guess right around ten

47:18 iterations of the Ballroom, and I am familiar with the Jim Kelso version. Of course, this edition of the Make Buley Ballroom you're listening to right now traces its lineage back to the original Martin Block version of the show, dating bank to February of nineteen thirty five, and as I mentioned, often broadcasting almost continuously since that date. Thanks chick. If you know of a version of the Ballroom that you enjoyed that was not in the New York market, as a matter of fact, even if it was in the New York market, if you enjoyed The Ballroom with William B. Williams or Julius Lorosa or Steve Allen or a host of other disc jockeys who have carried on the tradition since nineteen thirty five. Please let me know at Jeff at MakeBelieve Ballroomradio dot com. That's Jeff at MakeBelieve Ballroomradio dot com and I will honor that version on the air. And I have another email from a listener looking for information, This one from you put the old cheaters on here to read this. This one from Olivia Ferrell, who says, Hello, I am looking for information on my great great grandfather Eddie Chase. I know that he had worked for WXYZ and CKLW. He was one

48:51 of the original disc jockeys. I'm looking for an actual recording of his show or any other information on him. It's been very hard to track down. Thank you, Olivia. If anybody knows of Eddie Chase, any reminiscences of him, or if you have any actual tapes of Eddie Chase as a DJ on WXYZ or c k LW, please let me know it Jeff at Make Believe Ballroomradio dot com, Jeff at MakeBelieve Ballroom Radio dot com and I will get that out to Olivia Farrell. You know every show I seem to always run out of time.

49:35 So now. Let me dip into the old record ben the old milk rate, and pick on one I wanted to play last week.

50:28 Hine neighbors, Hine neighbor, Body in more, anybody, say hine neighbor, Hine neighbor, for all your worrying away. Come on and shake my hand and let a grin to the rest. It makes you feel so grand to get your chin off your chest. I'm shot and high neighbor, Hine neighbors. Time to play and say hi, Hi, high neighbors. What.

51:09 High neighbors? Come on and shake my hand and let a grin through the rest. It makes you feel so grand to get your chin off your chest. Hop shouting, high neighbors, My neighbors, Time to play and say hi.

52:07 A Consaurus transcription Al Donahue with his orchestra High Neighbor vocal by Phil Brido, recorded back in nineteen forty one. We now play another of the three records that missed getting on the air last week.

52:56 What did you mind? I gave you my line you wrote to my baby. Take it to your faith. You can't escape from me. Just take my advice and keep back. Then nice, don't give me a face. That's from It's insight. You can't escape from me. You know that I can. I'm walking on it. We'll start shore a ball. I'm glowing with love, baby. I think you agreed to my new be greed mom to your. Jail ocase he's your pail. Can't escape from me.

54:19 The Things. And the.

55:43 From Bluebird Records, You Can't Escape Me by Erskine Hawkins and his Orchestra, vocal by Jimmy Michelle, recorded in New York City on October the second, nineteen thirty nine. And folks, we are out of time. Thanks so much for joining me today. To reach me, I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom Radio dot com. To hear past shows, please go to MakeBelieve Ballroom dot com. MakeBelieve Ballroom dot com. Thanks to our syndicators and distributors for offering the Make Believe Ballroom cost free to commercial, free, public, community and university radio stations. Those syndicators are the Public Radio Exchange PRX, the PACIFICA Network, and Global Community Radio.

56:38 The program's flagship affiliate is Jazz ninety point one WGMC in Rochester, New York. The Ballroom is also heard on your favorite podcast provider, So until next week, this has been Jeff Breslersportation Level English