April 11, 2025
Make Believe Ballroom - 4/11/25 Edition
On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom – a song that took many years to become a hit, bandleaders on the...
On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom – a song that took many years to become a hit, bandleaders on the Hollywood Walk of Fame, two prominent vocal groups that sang with the same band, Lenny from Down the Block with his Record Pick of the Week - this and many more great songs to cherish and enjoy on the program.
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It's make belief ballroom time. 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 belief ballom 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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Your close your eyes and visualize in your solitude. Your
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favorite bands are on this dance and mister Miller, but
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you're in the wood. It's make believe ballroom time. We
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are of sweet romances.
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You make it.
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Come on, Joe the Last dast last, Hello world, I'm
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Jeff Pressler, turning on the lights of the make Believe
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ballroom men, welcoming you into my Crystal studio for another
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program of the great big band hits of the nineteen
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thirties and nineteen forties. Whether you're listening on the radio
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via great affiliates like Jazz ninety point one WGMC in Rochester,
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New York, or on podcast or perhaps on internet radio
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across the United Kingdom, any way you've arrived. I'm delighted
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you're here and ready to bring you an hour of
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some wonderful big band jazz, swing, blues and boogie woogie classics. Folks,
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you're listening to the make Believe ballroom broadcasting almost continuously
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since nineteen thirty five. And let's get this week's program
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underway with the cool swing in tune. And who better
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to deliver on that statement than Will Bradley.
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Satarastrata shame music, Bugles in the Sky Will Bradley and
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his orchestralong with Ray McKinley, recorded in nineteen forty one.
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Let's play another then, the story of a record that
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I mean really really aged well with time.
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Long with a dance to let the melody be mellowed,
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and let it weave a spell over you and me
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on with a dance. When they play a love song
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for us, my heart will sing the for us soderly
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then from the seeing let it from stealing that blood
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of colored love like a all in and romance, and
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it's not the banded playing. You can't blame me for same.
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On Brunswick we just heard on with the dance by
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Gus Arnheim and his orchestra vocal Nice vocal by Jimmy Farrell,
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recorded in New York City, July the twenty second, nineteen
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teen thirty seven. I'm Jeff Bresler, and you're listening to
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the one, the only, the original Make Believe Ballroom coming
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to you as always on the radio as well as
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in podcast form transmitted weekly from the Crystals Studio. So
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I just said, I do the Make Believe Ballroom weekly,
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but I want to talk about a song that took
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years to mature, sort of like a fine French wine.
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Many of you may be familiar with bandleader Ted Wims,
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who led his orchestra for the better part of forty years.
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As a matter of fact, Ted Williams was so popular
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during the big band era that he has a star
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on the Hollywood Walk of Fame on Hollywood Boulevard. And
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I'm just thinking I think I might have done a
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show on the Hollywood Walk of Fame several years ago,
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not one hundred percent sure, but currently, right now, as
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I sit in front of the microphone, I'm wondering how
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many other nineteen thirties and forties big band eerra musicians
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and band leaders also have stars on the Walk in
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addition to vocalists. And as usual, I am going to
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have to sacrifice my outline for this show to spontaneously
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attempt to find out the answer to that question, and
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perhaps a little later on in the show play some
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of those walk of fame recipients music. And in order
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to do that, I am going to impose as I
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look to my left, on the Snotty Kid, as I
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call him Dylan his true name. Dylan hangs out here
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in the Crystal studio before entering another studio here that's
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solely reserved for podcasts, as he hosts some sort of
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gaming program, a show that I am going to have
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to listen to, since Dylan spends time here listening to
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my music from the thirties and forties. Dylan, you know,
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I don't think I ever asked you how old are you?
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Was that twenty three at twenty three? I do respect you, Dylan,
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because you have gained an appreciation for this music. So
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Snotty Kid, if you could take the time from texting
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your girlfriend incessantly to perhaps lend a hand and see
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if you could research out big band personalities who have
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Hollywood walk stars, And if you could do that, you'd
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be doing the show a great service. So thank you, Dylan.
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So back to Ted Wems the subject at hand, Well,
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let me play a Weems song, then the story of
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one of his records that aged oh so well.
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Sing bars, then.
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The burdon.
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That was Savannah Swinging nineteen forty one version of a
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song that Ted Weims originally recorded in nineteen twenty four.
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So I'm going to tell you the story of a
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record that Weims made that aged well to say the least.
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It's one of my estimation, one of the more interesting
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record and recording stories of the big band era. On
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August fourth, nineteen thirty three, Ted recorded six tunes for
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RCA Victor, including the song Heartaches that many of you
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perhaps not the Snotty Kid though many of you might remember,
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and RCA Victor on August the fourth, nineteen thirty three,
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for whatever reason, wanted the recording of Heartaches made quickly,
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so Unfortunately, Weims and his band had time for only
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one rehearsal session prior to the start of the recording session. Now,
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Weims was under a lot of pressure. He didn't like
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the song or the lyrics at first, and he decided
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to have Elmo Tannor, who was his regular vocalist, whistle
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rather than sing the lyrics. Elmo Tanner was a great
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whistler and asked often by Ted and other big bands
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to use that skill. Now, while rehearsing, some one in
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the Weems band Camp came up with the idea of
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trying the song at a faster tempo than it was
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written for and perhaps this would help Weims along and
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get rid of some of his angst. So they decided
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to do it at that faster tempo. But unfortunately, after
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the record was released and went on sale, a fast
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tempo recording attracted very little, if any attention from the
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record buying public. So five years later, in nineteen thirty eight,
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Weims decided to record a new rumba foxtrot version of
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Heartaches for Records to see if that would work. And
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that version again featured Elmo Tanner's whistling, and the tune
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was played briskly, but not at the breakneck tempo of
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the nineteen thirty three version, and lo and behold again. Unfortunately,
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for Decca Records and Ted, it was not a huge seller,
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so the record sat there and collected the dust. But
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now let's go to nineteen forty seven. Nineteen forty seven
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being fourteen years after the original recording of Heartache, and
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we're going to visit with an overnight disc jockey named
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Kurt Webster who worked at station WBT, which was located
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in Charlotte, North Carolina. So Kurt was looking through old
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records and he found the nineteen thirty eight version of
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heart Aches in a box of old records that he
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had recently received that was sent to the station for
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him to pick throw. He played it on the air.
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He played Heartaches on the air, and as soon as
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the record concluded, the radio station's phones literally never stopped reading.
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Callers wanted to hear the song again and again, and
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those calls continued for several days, and it is said
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that even record stores started calling WBT to find out
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what record label the song was recorded under so they
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could order copies of the record. So word spread and
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other radio markets began playing the song, and that prompted
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Decca to go ahead and press new copies. Now, since
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the Weims Orchestra had also recorded Heartaches for Victor Records
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the original recording from nineteen thirty three, the company decided
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to re release its own version of the song. Now
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both labels shared the credit on the charts for Heartaches,
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both Decca and RCA Victor. Heartaches topped the hit parade
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on April nineteenth, nineteen forty seven, nine years after the
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nineteen thirty eight version was recorded sadly. In a nineteen
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sixty interview that I had read band member Elmo Tanner,
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he related that he and Weims received absolutely nothing for
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the reissue, as that both men had let their contracts
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expire while they were in the Merchant Marines during World
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War Two. So, friends, thanks for allowing me to tell
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you the story of a record originally recorded hastily in
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nineteen thirty three, updated in nineteen thirty eight, and finally
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becoming a number one hit some fourteen years later. If
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at first you don't succeed, what did they say? They say,
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try try against.
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Us? Ut questions, question.
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Question, heartaches Ted Wims and his orchestra with a whistling
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rendition by Elmo Tanner. I'm Jeff Bresler, and you're listening
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to the Make Believe Ballroom. Thanks so much for joining
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me today for either all or part of the program.
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And I am delighted to announce that the snotty kid
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Dylan himself as indeed found and compiled for me a
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list of Big band era musicians who do have the
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lofty honor of having a star embedded into the sidewalk
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of the Hollywood Walk of Fame and I will take
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a look at that list a little while later in
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the program. I want to take a look first. Actually,
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I want to key in on two popular vocal groups
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who sang for the same big band and I will
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get to that in a second. Friends. Later on in
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the show, we will have our weekly feature Lenny from
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Down the Blocks Record Pick of the Week, and many
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of you have emailed letting me know that you like
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this second mint and Lenny himself, as a result of
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his record Pick of the Week, is now putting together
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exclusively on Spotify, the Lenny from Down the Block Record
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Playlist Picks of the Week, and Lenny is handpicking each
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week an hour of his favorite tunes, and that playlist,
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Lenny Tony will change each Saturday. So to hear his
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uninterrupted hour of big band classics, just go to Spotify
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dot com s P O, T I f Y Spotify
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dot com, or perhaps you already have a Spotify phone app.
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Just type in the search box Lenny from Down the
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Block and it will magically take you to the playlist.
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And we're happy to offer this to you, folks, Lenny
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from Down the Blocks Record Playlist Picks of the Week
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exclusively and changed each Saturday on Spotify, which also hosts
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podcast version of this program that Make Believe Ballroom. So
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I promised a segment on two groups who sang for
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the same band leader. Here's another one that well sort
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of fits into that category.
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Oh Lord, all lod o Lord, when adull, night dot
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fallen and a.
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Start to roll. What is the same that keeps calling?
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It goes bad in my soul? Oh, I long for
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that delto It's my home, it's my goal. What is
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the safe in its shelder? Got to sow in my soul.
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Too long?
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I lingered in the dog now.
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No matter what I want, I wanna say goodbody, dog noss.
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And spend all my days in us run.
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Let me lie on that levee, Let me burn like
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its gold.
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I know my heart won't be heavy. I got to
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sow in my soul. Oh, the night.
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Starts falling, the moon starts shine.
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What is think calling the South on my mind?
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I hear it all through the night.
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I just can't help forgot to start my tho today's
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darn lonely the nights or so long?
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What is think calling saying I'm wrong? I hear it
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all through the night.
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I just can't help forgot to start my soul. You
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long a bill in darkness. No matter what I wanted,
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I want to say goodbye to darkness and.
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Spend the day's not done.
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Let me long and leave it.
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Let me burns like as gold.
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I know my heart won't be so everywhere about my soul.
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Oh no, iimmao low.
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A nice Boswell Sisters record on the Brunswick label from
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April to ninth, nineteen thirty two with the Dorsey Brothers
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and their orchestra, Got the South in My soul And
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speaking of a Dorsey, let's move to the first of
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the two singing groups I wanted to talk to you about,
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that being the Pied Pipers, the legendary vocal group originally
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formed in the late nineteen thirties. They had several chart
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hits throughout the forties, both under their own name and
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in association with Tommy Dorsey, Johnny Mercer as well as
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Frank Sinatra. Now Originally the Pied Pipers consisted of eight
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members who had belonged to three separate groups. Joe Stafford,
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the most famous member of the group, came from the
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Stafford Sisters, and the remaining were seven male singers, some
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from the Four Esquires and the Three Rhythm Kings. Now,
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their big break came when they landed a job with
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Tommy Dorsey and his orchestra, but unfortunately and strangely, that
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was short lived. They sang with Dorsey's orchestra for about
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six weeks, mostly on the radio, before a British representative
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of the radio sponsor objected to some of the songs
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in their repertoire and he actually fired them. Now you
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might be wondering what kind of songs caused such a
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stir that a sponsor would fire the Pied Pipers from
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the Dorsey radio show. Well, it's said that he was.
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The British representative of the sponsor was aghast at their overly,
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at least a him off color repertoire, which included the
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