April 10, 2026

Make Believe Ballroom - 4/10/26 Edition

Show Notes
Transcript

On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, Sarah Vaughn’s start; Count Basie reached the masses from a tiny club; the first band Benny Goodman led; listeners, emails, plus many more records, stories, and reminiscences from the big band era.

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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.

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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 Dalis said bombs, Close your

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eyes and visual lize in your solitude. Your favorite bands

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are on this dance and.

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Mister Miller, but you in the wood.

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Its make Believe ballroom time. We are a sweet romance.

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As you make believe.

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Come on, Joe, last dance, Last, Hello World, I'm Jeff Presler,

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turning on the lights of the Make Believe Ballroom and

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welcoming you into my Crystal studio for another program of

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classic big band music from the nineteen thirties and forties.

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Please get ready as I play for you some amazing jazz, swing, blues,

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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 welcome, Welcome,

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Welcome one and all into the Crystal Studio. And thanks

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so much for joining me today to get things underway.

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The song There'll be some changes made has been recorded

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by musical artists. Well, I'd say probably at least four

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hundred and fifty times, maybe more certainly of on a

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fight standard. It was first sun by Ethel Waters back

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in nineteen twenty one. Now everyone obviously has different tastes

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that could be reflected in their favorite version of the song.

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Here's mine.

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Changing the weathers and changing the sea from my won

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there'll be a change in meaning.

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My wont will be den my talk and my name.

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Now that about me is going to be those names.

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I'm going to change my way of living.

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If that ain't an.

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Know, then I'll change the way that ostra myself. Nobody

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wants you and your roll and grain.

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There'll be some.

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Changes made today.

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There will be some change es.

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That's a change in the weather, My change in Nothy.

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There's a change in the weather.

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What change in Nothy? From now on, they'll be all

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change in me.

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Now my walk will be different, my talking, my name,

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my walk will be different.

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My I talk and money.

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Nothing about me is gonna be the same.

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I'm gonna change my way of living. If that ain't

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enough to.

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Pump some of them, I've changed that alway I used

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to destroy myself for attam.

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Nobody wants you when you're rolling weather wive change.

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And today, changing the weather, changing the scene from now.

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Wanna be a change in me?

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What will be different?

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My talking money, nothing about me is gonna.

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Be the same. I'm gonna change. I change the way that.

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Nobody wants you hold and way they'll be.

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The changes made jo.

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They'll be unchangeous.

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We just heard There'll be Some Changes Made by the

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Dorsey Brothers Orchestra vocal by the Boswell Sisters and recorded

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on Brunswick Records March the twenty first, nineteen thirty two,

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in New York City, to Me and Innovative Peace. The

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Boswells start the song in their wonderful close harmony at

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a brisk tempo, and then they essentially throw the melody

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out the window, going into slow blues, sung perfectly by

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Connie Boswell, followed at the end of the record by

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one last break neck pace group vocal chorus. Just a

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masterful recording of There'll be Some Changes Made. And speaking

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of masterful, let me play a record issued on Columbia

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Vocal by the divine one Sarah Vaughan, one of her favorites,

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and for a very special reason, my.

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Heart is sad and lonely.

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For you are for you.

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Why I'm all for you body and she Oh.

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I spend my days in long.

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And wondering why I tell you.

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I'm mean.

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I'm all for you, body and soul.

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I can't believe it. It's hard to conceive it.

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That you turn away from man? Are you pretending?

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And looks like.

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Unless I can have one the chance.

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To fooze.

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My life for recom you love, I'm yours.

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For the turkey, I'd bladly surrender.

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Myself to you by the act show.

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I can't believe it.

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It's hard to considing.

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That you turn away room man, are you pretending?

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It looks like the endingland left?

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I can have one more chance to futy.

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My life for reck Ma, you.

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Know, just for the jaging old baby, you.

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Know by.

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Body and soul Sarah Vaughan and I said before the

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record that this was a special song for Sarah, So

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let me explain Sarah. Sarah Vaughan was born in Newark,

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New Jersey, to a musical and spiritual family. Sarah often

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at a young age traveled with a close friend, Doris Robinson,

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into New York City from Newark across the Hudson River

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to listen to music and take in the sights and

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Sounds of the city. Now in the fall of nineteen

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forty two, when she was eighteen, Sarah suggested that Robinson

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enter the Apollo Theater Amateur Night contest Amateur Night at

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the Apollo, a topic we have discussed often here on

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the Ballroom. So Sarah Vaughan played piano accompaniment for Radars Robinson,

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and at the end of the Amateur Night contest in Harlem,

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Darris had won second place. Sarah later decided to go

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back and compete as a singer herself, with Doris, this

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time in the audience cheering her on. Sarah sang Body

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and Soul that night and won. Although the date of

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this victorious performance is uncertain, probably within a short timeframe

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from when Doris came in second now. The prize, as

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Vaughan recalled in an interview, was ten dollars and the

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promise of a week's engagement at the Apollo Theater. On

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November the twentieth, nineteen forty two, she returned to the

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Apollo to open as part of that prize for Ella

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Fitzgerald and Ella's first ever Amateur Night at the Apollo

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also was story that Legends are made from and I'll

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tell that story again in a future broadcast. Sarah Vaughn

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now as an aside to that story. During her week

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of performances at the Apollo Theater, Sarah Vaughan was introduced

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to the popular singer Billy Eckstein, who at the time

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was the vocalist for the pianist and bandleading great Earl Hines.

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And Billy Eckstein has been credited by Sarah Vaughan as

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well as others, with hearing her at the Apollo and

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recommending her for a job with Earl Hines. So in

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nineteen forty three, for a time, Sarah sang with Earl,

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how about a little Billy Eckstein, Hello Baby.

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I had to call you, hello baby. I had to

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call you all the food because I feel so lonesome

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and daddy wants his babyhore. It's a down red, rotten,

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low down dirdish. It's a downright rotten lord down dirdish.

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Shame the way you're treating poor me. I know I'm

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not tole jelly jelly jelly, jealous des all love.

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Jelly jelly, gentlly jealoustine jelly roll, Kill my baby and

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run my mammy stone.

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Jelly jelly Earl Hines and his orchestra, Earl of course

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on the piano. Billy Eckstein singing the Blues, recorded on

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Bluebird Records, December the second, nineteen forty in New York City.

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I'm Jeff Prestler and you are listening to the Make

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Believe Ballroom. Let's play another record, then a listener's email.

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And King of Elms about me.

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Of any.

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On any.

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And on Brunswick Records, we just heard call Me a

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Taxi Bob Crosby and his Bobcats, recorded back in nineteen

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thirty eight. Love the piano on that record courtesy of

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Bob Zerk. You know, I'm just thinking I'm going to

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delay the reading of the listener's email I promised before

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the Bobcats for just a couple of minutes, because I'm

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going to move to play another one by Bob Crosby.

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Swinging at Sugar Bowl to win that Coveino roll. They're

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having a session at the Sugar Bowl. Harold Tine has

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got his queen jumping like a jellibing. They're romping and

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stopping that Coveno roll he done Sundays our table, slugging

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a Shelle all that oh Pop.

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Chains is doing it too.

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Since sugar Bowl's gone swing off roots, everyone has lost

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control to win that coat. A Rolsive heralding is Swinging

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at the Sugar.

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From Decca Records. Swinging at the Sugar Bowl by Bob

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Crosby and his Orchestra, vocal by Nappi Lemaire, arranged by

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Bob Haggart, recorded in Chicago, Illinois, October nineteenth, nineteen thirty eight.

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The sugar Bowl in the song doesn't refer to the

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football sugar Bowl, but rather the malt shop at. A

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popular comic character of the nineteen thirties, Harold Teen held

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cord at Bob Crosby and his orchestra and now a

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listener email and request. The email is from Lawrence Bridgeman,

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and he writes make Believe Ballroom. My wife and I

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were traveling in North Carolina to attend a wedding. We

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stopped and carry North Carolina. We had been on the

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road for a while and stopped in town at a

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welcoming Java Jive coffee and tea. The coffee and bake

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goods were great, but my wife attempted to sing the

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Inkspots song Java Jive, but failed miserably. Well Larry. I

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don't know if she was off key, or I didn't

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know the lyrics or what the problem was, But he continues,

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can you play Java Jive in honor of our visit

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to the Java Jive Coffee and Tea Shop. And that

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is signed by Lawrence Bridgeman, So Lawrence for you and

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your wife. I present the ink spots.

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I love coffee, I love te I love the Java

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jav in it loves me Covini najav me ok look,

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I love jem Bus and wofsmiss the Motoma conflict pie.

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Shoot me the button, now pullmer shine.

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A god for cup a come for cover car ooh

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slip me slug from the wonderful muth. I've got a

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rug snuck in the germ, A slice shoved onion and

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row one draw one way away a bird the lad.

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I love coffe, I love tea.

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I love the Jerba Javan and loves me coffee tea

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and the Jerman me a god for up for God.

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Come oh, Boston beans, soi beans, green beans, jabbage and greens.

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I'm not jean a barnap bean unless it is the

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cheerry cheery bean boy. I love coffee.

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I love tea.

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I love the jammer, jamming and love me cofing the

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tea in the jammer and me a cover cover cover cover,

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I love jammer, sweeten.

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Hot whoops, mister motto. I'm coffin pie. Shoot me the pie,

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love for me a shot?

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How come home? How come h?

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Throw me that slod from the wonderful mud. Now go

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a rug till I'm snugging the jerk. Drop for nigod

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in the pot Joe, I take coma slow weirdo waup ba.

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I love coffee.

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I love tea.

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I love the jama javin it loves me comn tee the.

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Jama Me.

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Come back, look, oh.

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Java, jive the ink spots from Decca Records, recorded at

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New York City back in nineteen forty one. And if

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you have a request, like Lawrence Bridgeman, you can shoot

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me an email at Jeff at Make Believe Ballroom Radio

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dot com. That's Jeff at MakeBelieve Ballroom Radio dot com.

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And why don't we now have another cup of coffee?

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Black comic, I'm in troubles, Black copt.

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I see double man man.

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Man man, I'm not gonna get home, Black copeg.

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I still didn't Black comic get better.

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Oh, I bet you get home.

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I love too much woobie soup all I'm not to

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take one.

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And now my head a boy loopio stop bacon.

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Oh, black corpet, I'm.

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A fella black carpet.

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One like job man, Man, Man Man, I'm afraid you

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go home.

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On Vocalion Records, Black Coffee Winging Minon and his Orchestra,

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recorded on May the twenty seventh, nineteen thirty five, in

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New York City, And I'm gonna play another one from

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where a lot of coffee is grown.

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Way down among Brazilians. Coffee beans roved by the visions,

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so they've got to find those extra cups to fill.

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They got an offer a lot of coffee in Brazil.

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You can't get cherry soda because they've got to sell

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their quota. In the way things are, I guess they

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never will. They've got a city tons of coffee in Brazil.

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No tea.

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Or tomato juice.

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We'll see.

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No potato juice because of ladders down in sanners. I'll

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say no, no, no. A politician's daughter was accused of

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drinking water and was fine the great big.

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Fifty dollars bill. They got an awful lot of coffee

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in Brazil. And when they're ham and eggs needs savor.

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Coffee ketchup gives them flavor. Coffee pickles way outselled dill.

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Why they put coffee in the coffee in Brazil?

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No tea.

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Or tomato juice. We'll see no potato juice cause the

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platters down in Santas. I'll say no, no, no, So

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you'll add to the local color. Serving coffee with a

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crulor dunky doesn't take a lot of skill.

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They got an awful lot of coffee in Brazil.

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Man, they got a gang of coffee in Brazil.

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On Columbia Records the Coffee Song by Frank Sinatra Orchestra

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conducted by Alex Stardahal and recorded in Hollywood, California, back

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in nineteen forty six. So a serving, well wasn't a

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serving was actually three cups of coffee That started with

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Lawrence Bridgeman's request for java jive. You're listening to the

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Make Believe Ballroom.

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Mister Barr.

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Don't you know things have changed?

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You're behind time with the melody you always sing.

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All the birds have their songs rer ring. Better get smart.

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What you gotta do today is swing. I was talking

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to the whipper will.

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He says, you gotta call the trails.

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By, why you're gonna swing too night?

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I was talking to the market bird.

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He says you are the worst he's heard by.

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Why you're gonna swing to night? And even the all

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tells me a foul singing the lalla by, No, don't

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be a bring down. If you can swing down, give

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me those high notes. There's a lot of talk about you,

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and they're saying you also vegga.

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Mister b.

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Follow me.

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We're gonna break it up tonight.

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On Victor Records. We just heard Bob White. What You're

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gonna swing tonight? Benny Goodman in his orchestra vocal by

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Martha Tilton, recorded in New York City September sixth of

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nineteen thirty seven. Why don't I now continue with Benny Goodman?

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The first record that Benny Goodman ever appeared on was

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as a seventeen year old with Ben Pollock and his Californians.

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Name of the song was When I First Met Mary,

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recorded in Benny's hometown of Chicago back in nineteen twenty six.

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But I want to play for you now, one of

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the first recordings where Benny is given credit for leading

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his own band.

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And the retence and reta.

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We just heard Room fourteen eleven by the Benny Goodman

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Boys and some great history behind that song. Room fourteen

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eleven was released on Brunswick Records back in nineteen twenty eight.

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Goodman was eighteen or nineteen at the time. Now, it

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was composed by, and this may surprise you, Glenn Miller

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and Benny Goodman. The song was Glenn Miller's first known composition,

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and Glenn was playing the trombone with Benny and the

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Benny Goodman Boys at the time. Now, Glenn and Benny

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at that time both lived in the same suite in

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the apartments in the Whitby Hotel in New York City,

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and the number of that suite was fourteen eleven, So

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the title of the composition was derived from the apartment number. Now,

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00:41:14.719 --> 00:41:18.039
a variety of musicians set their luggage down in that

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suite at the time Glenn and Benny were residents, and

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I'm sure, and it's not historically verified, of course, but

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with all that chaos, the management probably knocked on the

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suite door more than a few times. The Benny Goodman Boys.

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Calls my baby says, it's soul present her in babit,

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white is black and black is white. For no good

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reason that I know, only that my baby says, it's so.

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Night is days and day is night.

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The moon at noon is all aglow. Just because my

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baby says it's so.

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I caught her kissing someone else.

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To my confusion, she said what I saw was an

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optical illusion.

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Now I was wrong and she was right.

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And as I said a while ago, that's because my baby.

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Says it sold.

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Hot is cold and slowest thing.

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Hey, don't hnd me that I don't believe it.

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No, sir, Well, anyhow is my baby says it's so.

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Up is down is good? Now, Sully, just where did

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you get that information.

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From my baby?

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I'm a little baby says that.

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So you must be squirreling to believe all that kind

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of stuff. The only way to get along with the

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girl is to stand right up on your own and

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tell her girly credit out her. Papa gets pardon, But

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who's that lady is standing right behind you?

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Oh my wife?

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Now I go with you.

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Take my wife.

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Now she's different, Yes, sir, that's my baby, And anything

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she says.

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Is from Brunswick Records. Cause My Baby Says It So

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by Kay Kaiser and his Orchestra, vocals by Harry Babbitt,

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Ish Kabibble and Sully Mason, recorded in Chicago, April the twelfth,

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nineteen thirty seven. Let me play one more record than

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an email from a listener who shared with me to

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share with you his favorite radio remote of all time

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and you won't be disappointed. They recorded in London on

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February the twelfth, nineteen forty four. We just heard via

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Parlophone Records, Vic Lewis and Jack Parnell's Jasmine with Johnny's Idea.

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I'm Jeff Pressler and I can be reached here in

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the Crystal studio at Jeff at MakeBelieve Ballroom Radio dot com.

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That's Jeff at MakeBelieve Ballroom Radio dot com and has

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promised another email, this time with an MP four attached

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to it and it reads Jeff, It's Michael. I listened

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to your Make Believe Ballroom on w ETF, the jazz

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station in South Bend, Indiana. I have sent to you

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to hopefully share with your listeners my favorite radio remote

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of all time. It's the Count Basie Orchestra. And it

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was live from the Famous Door in New York in

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nineteen thirty eight. I think the audience will love it.

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I greatly enjoy your program and that has signed Michael

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Vitello and thanks so much, Michael. I listened and can't

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wait to share this MP three with the audience. Little

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history first, into the Famous Door, which was a jazz

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club on fifty second Street in New York City on

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Jazz Row. Many many jazz clubs dotting fifty Seconds Street

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in Manhattan in the thirties, forties, and fifties. Now what

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I find amazing is that this club featured Count Basie

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and his orchestra on the radio several nights a week

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in nineteen thirty eight, and that, in actuality, helped make

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Basie a household name. Now, while tens of thousands heard

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00:49:25.079 --> 00:49:30.519
the national broadcast on the CBS Radio network, the Famous

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Door in actuality was just a tiny club with a cramped,

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small bandstand a while. As I said, tens of thousands

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listened on the radio. In actuality, the Famous Store only

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had seating for sixty patrons. So on this cramped bandstand

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you had world class musicians like Count bas Lester Young

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Dicky Wells, Walter Page, Joe Jones, the great guitarist, Freddie Green,

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00:50:07.639 --> 00:50:13.639
the vocalist Jimmy Rushing singing, all squeezed into this bandbox

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of a venue with an audience of sixty in house.

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Let's listen to this wonderful recording.

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Sisters christs.

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In attend. It's a little meeting the Famous Door's wing.

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But I'm by con Bays in his orchestra from the

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Famous Door in New York City. List of the Columbia

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Broadcasting System.

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I ain't got no body, no funny games, Bobby, why

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after the noon? Please want the funny? Take a change

388
00:53:54.239 --> 00:53:59.000
with him? Some things not so, don't don't the time?

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00:54:00.079 --> 00:54:02.480
If the day you think of any turn of mine,

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00:54:04.079 --> 00:55:28.440
ain't got no fathy. Nobody goes for me. I think, no, don't,

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00:55:28.599 --> 00:55:32.000
don't don't the time. If you say you'd be a

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pammy girl, no mine. And then nobody cares off, Nobody caresvolm.

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00:56:12.480 --> 00:56:12.519
Me.

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00:56:20.559 --> 00:56:25.039
Recorded from a CBS radio remote every tub and I

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ain't got nobody Count Basie and his Orchestra, broadcast from

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00:56:30.360 --> 00:56:34.760