Make Believe Ballroom - 3/6/26 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, what you're in the mood. It's make Believe Ballroom time.

0:55 We are a sweet romance. Is to make boom. Come on jo 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 hits from the nineteen thirties and forties. Please get ready as I played for you some amazing jazz, swing, blues and boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And welcome one in all into the Crystal Studio. Thank you so much for joining me today. You know I usually end each program with the Charlie Barnett version of Make Believe Ballroom, so why don't I switch things up and start the program today with a Barnett Selections affect ferment at as.

2:19 Soon as the last back.

4:16 This can of.

5:17 That was Washington World Gig Charlie Barnett and his Orchestra, recorded on Decca Records in New York City, July the seventeenth, nineteen forty two. Let me now play a record from Ozzie Nelson and his Orchestra. Then an interesting Nelson family trivia question.

7:01 I think you're gorgeous, you're charming, darling, you're Bertha, and then some you got me dazzled and frantic, excited, romantic, and then some I used to think I was called as could be, but I'll agree the joke is on me, quick as a wink. I knew I had it bad. If love can drive. You crazy, then I want to go mad. I want to go mad. I'll kiss you, caress you, swear you, and yes you, and then some.

7:42 I'll be your shadow, your. Slavey, your army and navy, and then some. I crossed my hog. I'll be yours from tonight. You've got me right under your thumb. By your gorgeous. Darling. You're perfect, and. Then a little remembered so but oh so popular in nineteen thirty five that it made it to the number one spot on the weekly Your Hit Parade survey. We just heard on Brunswick Records and then some by Ozzie

9:13 Nelson and his orchestra. Vocal by Ozzie, recorded in New York City, June the thirteenth, nineteen thirty five. Ozzie Nelson, and I think many of you are familiar with him, was popular for generations as a band leader, an actor, and a television pioneer. He liked to control things, so he was best known for producing, directing, and starring in the long running sitcom The Adventures of Ozzie and Harriet, one of the original TV sitcoms. I think that show probably started in the early fifties and ran I know it ran into the sixties, probably right around the mid sixties.

10:00 And he starred in that show with his real life wife, Harriet Hilliard, who sang for Ozzy in his big band. Now. Ozzie was a pretty intense guy as a youth. He was an eagle scout, an attorney by trade, and an atheist when that was a really mainstream or something people discussed now. Ozzie also had two sons Ricky and David, who appeared with him and Harriet on the TV program. Now Ozzy and some members of his family, they actually have a unique place in the Guinness Book of World Records.

10:49 You know something, I'm going to keep you in suspense because that's the kind of guy I am. As to what that record is. While I play one more seventy eight RPM disc.

11:31 The four. Fall in Love, Fall in Love, says my horror. It's romance.

12:12 Take a chance, says my horror. But each time not I'm almost in your arms. This old schoolteacher brain of mind keeps ring an impalse alarms. Then my head rules instead, and I'm wise to the scheme of that gleam in your eyes. So I kiss sand run. But the moment we're apart, oh you fool, that was love, says. My hart.

13:47 Via Bluebird Records. We just heard Save My Heart by Ozzie Nelson, vocal by his wife Harriet Hilliard and recorded in Hollywood, California, April sixth, nineteen thirty eight. So the Nelson family holds the unique Guinness World Record four, being the only family to achieve number one hits across three successive generations of the same bloodline. Now those hits were from Ozzie Nelson, the song we Heard a little while ago, and then some from nineteen thirty five. Then his son Ricky Nelson had two hits, Poor Little Fool in nineteen fifty eight, Traveling Man in nineteen sixty one. Well of my favorite Ricky Nelson song had to be Garden Party.

14:46 And then Ricky's twin sons, Gunner and Matthew Nelson had a song called Can't Live with That Your Love and Affection that recorded back in nineteen ninety, so a unique family record held by Ozzie. And his kin. Somehow, I always knew that some day we see through. Now that has happened.

15:27 I just can't believe. I've done the best I could do. You keep frumphee in blue. Can't get you. Off my mind. What my god MoU will do and shall do? My Daddy, I didn't know you. I'm right, he'll looking at you, my shadow. Do you think I send you far away from me? She stay away from me. You got me that, you left your voodoo all around.

16:08 I left my trunk in town. I got for you. Thought I kill the great for you. I'm my heart. A gray for you your kisses. Keep on hunting me, ever we won't let me. Yes, I got. I wish you had a weed for me. Oh tell me what? Why am I that think about you? Oh Staddy? Tell me what can all without you?

16:48 On? Nod for me and nothing now. For me? You've got me craying night, Come back, can take these blues. I'm gonna take your pail week then play. Me some trapping in your original.

17:43 Oh tell me what. I think? Tell you? Tell me why can I can tell me that? That? That? That is? Now? You've got me craving night day, come back and take my blues I got. I'll want you know I got a need for You.

18:23 Recorded in New York City on June the fourteenth, nineteen thirty five, via Victor Records. We just heard Adrian Rolini and his tap room gang got a Need for You the male spoken word there by the great trumpeter Wingy Manoni and a vocal by Jeanie Burns. Thanks for taking the time to join me today on this edition of The Make Believe Ballroom. I'm Jeff Bresler. Now I mentioned Genie Burns was the vocalist on the Adrian Rollini record, but in addition to being the vocalist. She also wrote that song. A very skilled composer and did she composed another that was also recorded by Adrian Rolini and the tap Room Gang. And looking at my computer, here here it is. Let me play that one for you.

19:24 It's not done, tam novel and I'm not heard? What does she mean? I'm ready that little world? It's deadpa, The little word. Needs me, don't you? What kind of music is the routing you call it using? What do you call it? You can give me the red. Ohwa lovel? Oh, okay, she's your opera any all day, But don't take away my past.

20:06 Make it hot or I said hot. It's the watch times you complain. It any old things? And if it all swing your jack, you keep your crudifal your honeymoon, take a knock a ball. When you don't visit me, say when I loved it on the red Hot is my prince chat? Please deal? I can't hell man isn't keep. The opera any old day? Yeah, don't take away I got it.

22:17 Adrian Rolini and the tap Room Gang. A Genie Burns written and also vocalized song Jazz Oh Jazz, recorded in nineteen thirty five, and while I was playing Adrian Rolini and Jeanie Burns, I was looking something else up. We were talking about Ozzie Nelson and his wife Harriet Hilliard a little while back. Now, the song I played save My Heart was introduced by Harriet in a paramount motion picture, not one that has been remembered over the years. It was called Coconut Grove. Now, Ozzie, he didn't appear in that film with Harriet, but Fred McMurray did. The legendary actor Fred McMurray, you know, great films like Double Indemnity, And of course Fred's most famous role on TV was in the sitcom My Three Sons, where he played the pipe smoking what was his name, Steve Douglas. Now Fred actually started his career, and you may not know this in big bands, playing the sacks and clarinet and doing vocals for both Gus Arnheim and George Olsen. So let

23:52 me play one here with Fred McMurray. From one he played the sacks and sang for George Olsen. Yeah, I'll have to see my broker find out what

25:33 he can do. Bye bye, I'm in the market for you. There won't be any joker with my den. I'm all through bye bye and want you up right. It's to you're going up the up in my estimation, I want a thousand shares of your presses to. We'll call in the market.

26:48 Kind of an old Laurel and Hardy kind of vibe for that one. The music on Victor Records I'm in the Market for You by George Olsen and his music vocal by Fred McMurray, recorded in Culbra City, California, February the ninth, nineteen thirty. I'm Jeff Bresler, and you're listening to the one, the only, the original Make Believe Ballroom coming to you today from the Crystal Studio. Let's now listen to a little pearly May then brotherly love or. Not RelA wa dua.

27:38 Dona. All you wanna do is bill and but you empty handed when the bill is due. If you really love me, and you love me true the gale real lie, kiss you easy issue. You've been telling everyone you've mess. That you want a sample of the way I pet you had all the sample that you're gonna get legal life.

28:30 My name for we ever can dwell all of one valley. You must learn how to spell justness of of peace. And I spelled that piece with an e A my heart blow in box show you. If you want those little spox to bust into place, you got to leave.

29:19 God live my knees. Don't care where I live at? Oh what? I live in. House, a apartment, off flat, any place but sin and I might even live there, not alone. If you prize me, no, no, rise me emmy O piece of part. I can't play.

30:07 You that. Lomon on Capitol Records legalize my name. Pearl Bailey recorded in Los Angeles back in nineteen forty six. I mentioned brotherly love or not. So let's start the story with this record.

31:37 I've got a feeling you're falling. I've got a feeling you're having fun. I'll get a go by when you are done falling with me. I've got a feeling you're falling. I've got a notion that. Make me leave. I think you're letting right up your sleeve fallen with me. Life is worth living while you are giving moments of paradise. You're such a standout. But how you hand out and august focus from your eyes. I've got a feeling You're falling.

32:20 I've got to. Feel in this hall a frame. It's just the well known alarmy game. Falling with You.

33:38 From Decca Records. I've Got a feelin You're Foolin' by the Dorsey Brothers Orchestra vocal by Bob Eberley, recorded in New York City, September the eleventh, nineteen thirty five. And you know, I didn't realize that Bob Eberley was recording that far back. But I bring that to you as a footnote because it's not relevant for the story I'm about to tell. That record that I just played. I Got a Feeling You're Fooling was one of the last by the Dorsey Brothers. Tommy and Jimmy were both huge stars in the thirties, forties and beyond. As many of you probably know, Jimmy played the clarinet and the saxophone.

34:30 Tommy Dorsey the trumpet and the trombone. Now, there was just one minor issue in their relationship. They hated each other for many, many years. It didn't start out that way though. In nineteen thirty three they formed their own band, the Dorsey Brothers, and did they play to big audiences and ballrooms all over the country and had a pretty solid recording contract all set up with Decca. But other bandmates of Tommy and Jimmy couldn't help but notice a rift was continuing to grow between the brothers, and over time they started fighting literally viciously with each other about anything and everything, especially about music, specifically the tempo of songs.

35:28 They also fought about musical decisions that had to be made between them, the style they wanted a record in for Decca, and even when and where they performed their live shows, so they was all encompassing. They fought around the clock, and as I mentioned, other bandmates saw that they were so notorious for their vicious fights that it was well it was a regular thing for them to break each other's musical instruments. Amazing but true. As an example, Jimmy would snatch Tommy's trombone and step on it. Then Tommy would yank away jimmy saxophone and smash it on the floor. Talk about a blood feud. You know, what did those instruments ever do to them? So sometimes they didn't even use the instruments, They just punched at each other.

36:25 And after more than two years of that, in nineteen thirty five, Tommy walked away from the band for good. Interestingly, both brothers turned out to have a monumentally successful solo careers. Each of their assembled orchestras produced major hits through the nineteen forties, but in the early fifties they reunited to do club dates and quite a bit of television, And honestly, I think personally, even if they didn't fight, due to each one enormous talent, they they probably would have split anyway. Both strong enough and it was proven out to carry their own orchestras. The Dorsey brothers.

37:17 Hi and Valace wants new, not much, not much? Well, Hello, Edith wants new with you. I've got a new dance. I'd like to show it to you. If you've got rhythm to burn, here's the dance. It's easy to learn. If you don't, then your name is. Much If you don't, your social course. Everybody's learning how to do the big Apple, the big Apple. And it isn't very hard to do the big Apple. The big Apple. Keen can do it just as well as too. The big Apple, the big Apple. Everybody's learning how to do that brand new apple dance, the same.

38:00 Apple a day will keep the doctor away. Hey, hey, it's. Easy to dance your cares away. Everybody's learning how to do the big Apple. Come on, learn to do that apple dance. First you gather around, then you come a ground, do a bit of things, a bit of that, and then. Do a bred a stair, hands up the el truck around them. Then you start right in again. You must do anything that you know. The most important thing is just.

38:45 To let yourself phone. Say you just what's an apple you're talking about? It's a new dance. They're all raving about your truck. On down and Susan cue Nan shag a bit and. Some posing too, a Lindy hot.

39:30 You pick a lot, put them all together, and what have you got? The big Apple, the big Apple, the big Apple. Well, my, my, yes, yes, my. Victor Records, We just heard the Big Apple by Tommy Dorsey and his clam Bake seven vocal by Edith Wright and chorus, recorded in New York City, August the thirteenth, nineteen thirty seven. From Tommy, We now go to Jimmy Dorsey in a classic.

40:21 Greennies with their salt Live. Your eyes, the promised sweet nurs bring to my soul along. A first full of device. In dreams, I seem to hold you, to find you, and in pull you our lift smid at our hearts too, with a throw sours of bliz, those cool and limpid green. Nights A fool were in my love life so deep that in my serty.

41:08 For happiness, I've been that they will ever hold me all through my life. They'll talk me, but will they ever loved me? Agreed eyes to make my dream call.

42:23 Salt lines and ives and promer sweet lines bring to my soul along. Athirstful love, divine. And beams. I seem too wholdy to fund you and then fol you our lips met and our hearts. Too, with a thrill saur sublime, those cool and limp. Green eyess of cooler in my I love line. That in my searching for happiness, I've been that they will ever haunt me my life, But will they ever want me?

43:20 Green e as I love him? On Deco Records, a number one hit, green Eyes by Jimmy Dorsey and his orchestra, vocal by Bob Everley and Helen O'Connell, recorded in New York City March the fourteenth, nineteen forty one. I'm Jeff Wrestler, and thanks for joining me today on this edition of the Make Believe Ballroom. To hear past shows in the series, go to MakeBelieve Ballroom dot Com or your favorite podcast provider. After each program is cleared by our many affiliate radio stations across the US as well as in the United Kingdom, I then transfer them to a podcast form. So there's well over two hundred shows, and I keep on adding shows that are posted at make Believe Ballroom dot com. Now here's two guys. They weren't brothers, but they made some great music together.

46:18 And then sting. Happen and. Happens times. They don't say. From Columbia Records, Hey, Young Fella by Joe Venudi and Eddie Lang's Blue Five. The Blue Five Nudi Lang, Jimmy Dorsey and Adrian Rolini in addition to Phil Wall, recorded in New York City February the twenty eighth, nineteen thirty three.

47:47 And I played that for two reasons. First, of course, the wonderful violin of Joe Venudi and the guitar of Eddie Lang. But on that record Adrian Rolini, who I played early here here playing the vibes and bass sacks, and Jimmy Dorsey also on the recording on clarinet, Cornett and his familiar alto sacks. One more by the Nudie and Lang.

49:49 After you Gone then and let me crying. After You're gone, There's no use denying. You'll be blue, you musa, You'll met the DearS. Bow you ahead. Now've come my dime. Now don't forget it. I'll come my time when you regret it. Some day, when you grow lonely, yard will break like money. You won't be only after you go, after you gown no wait.

51:13 From Vocalian Records, After You're Gone Joe Venudi, Eddie Lang and their All Star Orchestra, recorded in New York City, October the twenty second, nineteen thirty one. And on that record, if you want to talk about talent, you had Charlie Tea Garden on the trumpet, Jack Tea Garden on the trombone and providing the vocal and the great Benny Goodman playing the clarinet. And I think, yes we do. I think we have time for request. I actually have two this week, but because I threw Fred McMurray in before, I'll do one now and the other one next week.

52:00 Jeff at MakeBelieve Ballroom Radio dot com. Jeff at MakeBelieve Ballroom Radio dot com with your requests, And this request comes from Lane Shilling, who listens in Philadelphia. He writes, Jeff, you haven't played in many moons Artie Shaw's Man from Mars, Get it moonin' Mars, and that's signed Lane. I get it, Lane, But your choice in music is much better than your puns.

54:03 That did be.

54:48 Mad Everything everything, anything, nothing, anything anything.

56:16 From the September nineteenth, nineteenth thirty nine edition of the Old Gold Cigarette Radio Show, we just heard Alreadie Shaw and his orchestra perform Man from Mars, and folks, we are out of time. The big hand on the big bull of a clock here in the Crystal studio is approaching the top of the hour. 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. Thanks to our syndicators and distributors for offering the Make Believe Ballroom cost free to commercial, free, public, community and university radio stations. The Public Radio Exchange PRX, the PACIFICA Network, and Global Community Radio. The program's flagship affiliate is Jazz ninety point one WGMC in Rochester, New York.

57:18 The Ballroom is also heard on your favorite podcast provider. So until next week, folks, this has been Jeff Presler