April 17, 2026

Make Believe Ballroom - 4/17/26 Edition

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Show Notes
Transcript

On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, a salute to a female blues vocalist, little remembered, a rare Artie Shaw record, 15-year-old Judy Garland, how a song got an unusual name, 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. All the bands are here

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to bring good cheer your way. It's make Belief ballroom

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time and free to everyone. It's no time to friend

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your Dalis said bombs. Close your eyes and visualize in

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your solitude. Your favorite bands are on this dance and

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mister Miller, but you in the wood.

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It's make Believe ballroom time.

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We are a sweet romance.

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Is make Believe.

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Come on, Jon, Last dance.

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Last, Hello world. I'm Jeff Bresler, turning on the lights

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of the Make Believe Ballroom and welcoming you into my

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Crystal studio for another program of classic big band music

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from the nineteen thirties and forties. Please get ready as

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I play for you some amazing jazz, swing, blues, and

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boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,

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broadcasting almost continuously since nineteen thirty five, and to welcome, Welcome,

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Welcome one and all into the Crystal studio, and thanks

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for joining me today. You know, for consistent hard swing,

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in my estimation, nothing beat Bunny Berrigan and his orchestra,

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especially in the late nineteen thirties, and to prove that

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the turntable waits with this recording, The Thing The Things

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from Victor Records, a study in Brown, written by Larry Clinton,

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Bunny Bergan and his Orchestra, recorded in New York City,

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August the eighteenth, nineteen thirty seven. Like I said, I

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loved the Bunny Bergan Band, one of my favorites of

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the swing era. And you know, honestly, with better breaks

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and more importantly though proper treatment for Bunny Bergan's really

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tragic alcoholism, I think this very talented outfit could have

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well literally set the world on fire and gone down

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as one of the greatest on any list. I just

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loved this hard swinging record we just listened to with

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the solos by Bunny and Georgie Auld, Joe Dixon, Sonny Lee,

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great bass playing there by Harold Wayland, Buddy Bergan and

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his orchestra, and speaking of the greats of the big

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band era. One of the reasons Benny Goodman was called

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the King of Swing.

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Shame sham.

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An up tempo Benny Goodman Swinger, written and arranged by

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Jimmy Monday. The title is a wordplay on the popular

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nineteen thirty song hit when It's Springtime in the Rockies

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from Victor Records. We just heard Swingtime in the Rockies

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Benny Goodman and his Orchestra, recorded in New York City,

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June fifteenth, nineteen thirty six. I'm Jeff Brestler, and thanks

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for joining me today on this edition of the Make

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Believe Ballroom. Let me play one more than a two

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recording tribute to a long forgotten blues singer.

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Usually everywhere feet of passion with the Temple in Old.

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Manhattan, everybody is out hide has spreading rhythm around everywhere

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you go, trumpets, blast drums and saxophones, ripping task.

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Everybody you meet us rad spreading.

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Rhythm around, or been hollering in there any flat day.

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Give it that me with your carding to one and

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all is what they called swings.

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Those who panaforn self Satin James Gigolos, who are ladder come.

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From y offers of rock and sattin, spread and drilling around.

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Don't know.

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You.

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From Brunswick Records and she could certainly sing the blues,

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although not in this recording. We just heard Billy Holliday

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with Teddy Wilson and his orchestra, Spreading Rhythm Around, recorded

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in New York City January of nineteen thirty six. And

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listening to that record, I think it was Fats Waller

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that first recorded that song. Let me take a look

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from my discography list here. Yes, Fats recorded Spreading the

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Rhythm Around one month prior on December the twenty first

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of nineteen thirty five. I'm Jeff Presler, and you're listening

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to the one, the only, the original Make Believe Ballroom.

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And I promised I would do a two record mini

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tribute to a wonderful female blues vocalist little if any

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remembered today. Let me play this record for you as

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an introduction.

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Double crossing paper. You can't double cross me. I can

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beat you doing that cage when you say it.

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Out all night and said you was vishing, came home

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next morning and find me missing.

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If you drink with he, I'll drinking.

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If you cheat with all the women, I'll cheat with

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all the men.

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You said you with fish, Then you stay up, lade

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an official bite.

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If you got good base the line going fishing tonight.

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You see you, Dady.

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Miss Peter. You can all be calls me.

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Double crossing Copper.

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You can't double cross me. You can't have your cake

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and eat it. You see you said you was that

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a lodge met last week?

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I was with my other Papa with the new technique.

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If that's the way you wanted, that's the way will be.

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I'm brod mind.

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It's okay with me.

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They don't hold lote me too all night long, so

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I didn't come home until the early.

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Mom it's sy sippy the you see the double crossing Pappa,

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you turn dob me.

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That was Rosetta Crawford and James P. Johnson's spcats Double

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Cross and Pap recorded on Vocalion Records back in nineteen

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thirty nine. Now, of course we know James P. Johnson,

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one of the granddaddies of jazz and the certified musical genius,

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most often credited with originating the uniquely East Coast style

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of piano playing known as stride. The greatest stride pianist

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of all time, I would say, in his lifetime, Johnson

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composed and recorded jazz tunes, show music, movie scores, and

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major symphonic works. As I said, a music genius. Now,

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this tribute is not for Johnson, but for Rosetta Crawford,

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and she just might be a world class blues vocalist,

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so virtually nothing is known about it. Said she was

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born in nineteen hundred. No records show where she was

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one of the earliest recorders of blues. Her first time

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on a record disc was back in nineteen twenty three.

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Think she recorded then again in twenty six. But after

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that she disappeared. I don't mean physically, I mean there

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was a long gap where nothing is written about what

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she was doing. Nothing that I could find that was recorded.

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But she got together with James P. Johnson in nineteen

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thirty nine, where she recorded four sides with him, one

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that we just heard. I was also able to dig

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up that. In nineteen thirty nine, she appeared on Broadway

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in lou Leslie's Blackbirds of nineteen three nine, a show

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with the music written by Johnny Mercer, and that lasted

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only nine performances. I don't know if it was a

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flop or limited run, not sure, but something is for sure.

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That's the last time I could find her name credited

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to anything. Nothing more, no more proof she worked after that.

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No obituary, so our tribute does not come with flowery

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descriptions of her life, but rather with her music.

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Gals around here.

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I just like Leaches playing your orchidizt No Peaches, I'll

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be all these GEO wouldn't let my man.

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Cause all his law belongs to me.

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So nice.

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I'm tired of fattening.

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Frolls, false names.

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When the moon was any cliff, I hid one in

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the dark, but he was gobbled up by some daddy

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grabbing sharp.

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I dressed him all long so he would look good.

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He cheered with all the chicks in my neighborhood. So night.

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I'm tired of fattening frolls, false names. S no Oh,

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Lucy Jane so braisen Man Bowl left in my face

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and stn't mind. Jelly Bowl followed my man wherever go

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Jah until.

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She took him right from under my nose.

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So nice.

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I'm tired of burdenant falls.

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Fay Rosetta Crawford with James P. Johnson and his hepcats.

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I'm tired of fatten and frogs for snakes On Vocalion

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Records back in nineteen thirty nine, Rosetta Crawford and I'm

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glad I was able to bring you two songs from

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this little remembered blues vocalist. An email from a listener

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in just a moment.

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Miss.

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Here comes Miss Clamentine, that baby from Newball Teams. She's

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only seventeen, but a wind. No, my, she's got those plans.

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She I the kind of game hypnotized. And when she

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rolls pal kiss you gathered bye, And when she starts

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dancing she plays them me casting it. You won't forget.

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I'm mean down in not for.

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All time, our wonderful galls around, but nothing like Clamorine from.

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New d.

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Issued on a world transcription Clementine from New Orleans by

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Glenn Gray and the Castloma Orchestra vocal by Peewee Hunt,

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recorded in New York City late July of nineteen thirty nine,

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and this song was one of numerous tracks recorded in

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nineteen thirty nine and forty by the Castloma Orchestra for

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the World Broadcasting System and issued on their What was

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the size of those transcription discs was issued on a

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sixteen inch broadcast transcription disc. Those discs for radio only

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use to be used on stations for their musical programs.

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Glenn Gray in the Castlona Orchestra. So I got an

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email from a listener, Beth Miles, who informs me she

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is part of the Sarasota Condo group. This is so

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cool and always makes me feel good. There's a group

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of music lovers who in this Sarasota condo complex sit

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at the pool together every Saturday morning and communally listen

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to the Make Believe Ballroom and they've done that for

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many years. So thanks guys for listening as a group

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oop to the program in the nice palm swaying warm

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weather of Sarasota, Florida. Now, Beth, in her email says,

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let me get to that part. We all enjoyed when

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you told the story of how Desi Arnez, who played

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Ricky Ricardo in the I Love Lucy Situation comedy series,

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was the actual person who invented the conga line in

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the nineteen forties. That was a real revelation. Do you

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have any more Desi Arnez music to play? And that's

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signed by Beth Miles. And if I recall Beth, I

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told that story some months ago, and I didn't play

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Bob Beloo, but I played Cuban Pete. So here now

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I offer for you, not Bobba Loo, but Desi Arnez,

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paired with Yes Believe it or not. The Andrews Sisters.

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All done One? What a Lover was old done one?

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Or mad love with a magical song.

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All of Spain was enchanted by my refrain. I sang

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this song and I could not go wrong.

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I grina me Amiami ama mojo a grida mi amiami ayode.

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Senorita lenga Glinda.

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All don one?

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What a lover was one?

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Long one?

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The man.

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I'm the ladies would.

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It's been said that the we nearly lost her head,

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lost her becaustic king cat her singing this team.

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Ida me, I mean me, I.

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Am a mo joke.

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Mean me, I am.

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Come with me.

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It was Spain, Oh don one? What a Lover was.

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One?

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Now he's gone?

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Where the rascals o boat?

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They don't care for you, guy, love, I love.

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I am sure that he must be below must.

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From Decca Records. Dessi arnez a k a, Ricky Ricardo

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along with the Andrews Sisters and Old don Wan. And

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you know I recall from the reruns Dessi singing both

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Bob a Loo and Cuban Pete on the Old I

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Love Lucy Show. I actually think he's sang Cuban Pete

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with Lucy. I don't think he ever did old don One.

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Not sure, but don't remember that number being done in

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his fictitious Tropicana club in New York City. I'm not

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in New York City, but in the Crystal Studio bringing

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to you Coast to Coast this week's edition of The

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Make Believe Ballroom. And I want to thank Beth Miles

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and the folks in Sarasota for that email to reach me.

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Jeff at make Believe Ballroom Radio dot com. That's Jeff

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at make Believe Ballroomradio dot com.

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Gee, but it's tough to be broke.

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It it's not a joke.

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It it's a curse.

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My luck is changing.

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It's gone from simply rotten to something works.

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Who knows.

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Someday I will win too. I'll begin to reach my

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prime now, though I see what our end is.

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All I can spend is just my time.

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I can't give you anything but love, baby, and that's

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the only thing.

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I've plenty of.

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Baby, Dream a while, scheme a while, and we're sure

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to find.

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Happiness, and I guess all those things we've always fined for.

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00:32:58.279 --> 00:33:08.160
She I'd like to see you looking swell, baby, diamond bracelets,

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00:33:08.799 --> 00:33:11.680
wool words doesn't sound.

247
00:33:12.559 --> 00:33:16.880
Baby till that lucky day.

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00:33:18.000 --> 00:33:24.920
You know, darn well, my baby, I can't give you

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00:33:26.200 --> 00:33:28.240
anything but love.

250
00:33:32.160 --> 00:33:36.960
I can't give you anything but love.

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00:33:39.039 --> 00:33:39.400
Heaven.

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That's the onless thing I'm pludy of.

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Have it dreamer wha steamer who.

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00:33:53.759 --> 00:33:58.599
You should have found a love of happness?

255
00:33:59.480 --> 00:34:02.400
And I guess all those things?

256
00:34:02.559 --> 00:34:03.200
Did you know?

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00:34:03.599 --> 00:34:05.400
Ebody for she?

258
00:34:06.079 --> 00:34:12.639
I'd like to see Lukan swapa well that buddy, No

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00:34:14.239 --> 00:34:20.599
Dimond prices Worldward doesn't cell baby.

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00:34:22.400 --> 00:34:28.599
Till that lucky day you know, don well, baby no,

261
00:34:30.320 --> 00:34:34.039
I can't give you anything.

262
00:34:33.719 --> 00:34:34.880
But get.

263
00:34:43.599 --> 00:34:47.639
On the Brunswick label. I can't give you anything but love.

264
00:34:48.360 --> 00:34:52.440
Duke Ellington and his famous orchestra, the vocal by Ethel

265
00:34:52.559 --> 00:34:57.000
Waters and recorded for Brunswick Records in New York City

266
00:34:57.159 --> 00:35:02.039
back in nineteen thirty two. I'm now going to play

267
00:35:03.360 --> 00:35:06.159
let me just key this up. I'm not going to

268
00:35:06.760 --> 00:35:11.599
play for you a rare offering from Artie Shaw. And then,

269
00:35:12.000 --> 00:35:14.960
if you're a movie fan of the thirties and forties,

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00:35:15.559 --> 00:35:18.800
a song that might be older than you think, and

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00:35:18.960 --> 00:35:21.280
a song with a wonderful history.

272
00:35:21.880 --> 00:36:25.159
First though, if you ever should leave, why would I

273
00:36:25.480 --> 00:36:30.239
want to live, Darling, you must.

274
00:36:30.159 --> 00:36:37.679
Be leave, won't you try to? Fucking What a fool

275
00:36:38.000 --> 00:36:44.519
I would be if I fool with your love? Oh me,

276
00:36:45.039 --> 00:36:50.400
I'd be wrong from the snow. I'd be unbre to

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00:36:50.800 --> 00:36:51.559
my heart.

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00:36:53.320 --> 00:36:59.559
So whatever you do, don't you say that with you?

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00:37:01.639 --> 00:37:02.719
I do nothing.

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00:37:02.960 --> 00:37:07.000
Sorry if you ever.

281
00:37:07.119 --> 00:38:08.320
Shore From a Brunswick test pressing, If you ever should

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00:38:08.480 --> 00:38:11.880
leave by Artie Shaw and his New Music vocal by

283
00:38:12.000 --> 00:38:15.639
peg Le CenTra, recorded in New York City, July the

284
00:38:15.719 --> 00:38:20.400
twenty second, nineteen thirty seven. Now, what makes this record

285
00:38:20.519 --> 00:38:24.639
special is that it was the second take of an

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00:38:25.039 --> 00:38:32.519
unissued test pressing of the semi khn Saul Chaplain written

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00:38:32.639 --> 00:38:37.800
tune we just heard, and not just this second test pressing,

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00:38:37.960 --> 00:38:44.760
but all test pressings of records were never issued, So

289
00:38:44.880 --> 00:38:49.639
you might be asking the question why warrant they issued? Well,

290
00:38:49.719 --> 00:38:57.360
a test pressing of seventy eight RPM records was, well,

291
00:38:57.360 --> 00:39:00.239
it really was a I'll call it a preliminary, very

292
00:39:01.280 --> 00:39:07.559
limited run copy of a recording created to verify audio

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00:39:07.760 --> 00:39:13.000
quality and a check for a physical defects in the

294
00:39:13.079 --> 00:39:19.320
stamping before mass production. They were usually made on shellac

295
00:39:19.480 --> 00:39:24.400
with no label or handwritten white labels. They were then

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00:39:24.639 --> 00:39:30.840
sent to artists or studios for approval, often being first

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00:39:31.039 --> 00:39:37.079
generation pressings with high audio quality. So I'm sure this

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00:39:37.400 --> 00:39:41.480
very test pressing we just heard was actually in the

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00:39:41.639 --> 00:39:47.119
hands of Artie Shaw for his approval. So I told

300
00:39:47.199 --> 00:39:51.199
you before Artie that I was going to discuss a song.

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00:39:52.199 --> 00:39:55.280
Let me play that song for you first, then the

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00:39:55.519 --> 00:39:57.119
great story behind it.

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Dear mister Gable. I am writing this to you, and

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I hope that you will read it.

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00:40:09.559 --> 00:40:14.320
So you know, my heartbeats like a hammer, and I

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00:40:14.480 --> 00:40:18.280
stutter and I stammer every time I see you at

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00:40:18.320 --> 00:40:19.159
the picture show.

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00:40:20.719 --> 00:40:22.320
I guess I'm just.

309
00:40:22.440 --> 00:40:27.079
Another fan of yours, and I thought i'd write and

310
00:40:27.400 --> 00:40:27.760
tell you.

311
00:40:28.199 --> 00:40:36.400
So you made me love you.

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I didn't want to do it.

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00:40:39.639 --> 00:40:44.920
I didn't want to do it. You made me love you,

314
00:40:46.239 --> 00:40:48.039
and all the time you knew it.

315
00:40:48.400 --> 00:40:50.239
I guess you always knew it.

316
00:40:51.000 --> 00:40:57.199
You made me happy, sometimes you made me glad.

317
00:40:59.360 --> 00:41:06.199
But then we're time, sir. You made me feel so sad.

318
00:41:07.679 --> 00:41:12.880
You made me sigh because I didn't want to tell you.

319
00:41:13.559 --> 00:41:15.000
I didn't want to tell you.

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00:41:16.400 --> 00:41:21.559
I think you're grand, that's true, Yes, I do, Indeed,

321
00:41:21.719 --> 00:41:25.760
I do, you know I do. I must tell you

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00:41:26.679 --> 00:41:31.119
what I'm feeling, the very mention of your name since

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00:41:31.239 --> 00:41:32.519
my hard freeling.

324
00:41:33.360 --> 00:41:37.480
You know, you made me love you.

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00:41:42.039 --> 00:41:46.039
Gee, mister Gable, I want to bother you, yes, because

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00:41:46.039 --> 00:41:47.360
you've got a lot of girls to tell you the

327
00:41:47.440 --> 00:41:49.800
same thing. And if you don't want to read this letter,

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00:41:49.880 --> 00:41:52.480
well you don't have to. Then I just had to

329
00:41:52.519 --> 00:41:54.039
tell you about the time I saw you, And it

330
00:41:54.320 --> 00:41:56.719
happened one night. That was the first time I ever

331
00:41:56.800 --> 00:41:57.920
saw you, and.

332
00:41:58.079 --> 00:41:59.840
You're right, then, you were the nicest fello in the.

333
00:41:59.840 --> 00:42:03.079
Mar This I guess it was because you acted so it.

334
00:42:03.199 --> 00:42:06.920
Was so natural life, not like a real actor at all,

335
00:42:06.960 --> 00:42:08.800
but just like any fellow you'd meet at school or

336
00:42:08.800 --> 00:42:09.280
at a party.

337
00:42:10.400 --> 00:42:11.800
And then one time I saw you in a picture

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00:42:11.840 --> 00:42:15.679
with John Corcord, I had to cry a little because

339
00:42:15.719 --> 00:42:18.079
you loved it so much and you couldn't have them,

340
00:42:19.199 --> 00:42:20.039
not till the end.

341
00:42:20.000 --> 00:42:20.960
Of the picture anyway.

342
00:42:22.000 --> 00:42:23.440
And then one time I saw you in person.

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00:42:24.000 --> 00:42:25.559
You were going to the Coconut Girl all night and I.

344
00:42:25.599 --> 00:42:26.920
Was standing there when you got out of your car

345
00:42:26.960 --> 00:42:29.719
and you almost knocked me down. Oh God, it wasn't

346
00:42:29.760 --> 00:42:33.599
your fault, I was, in a way, but you looked

347
00:42:33.599 --> 00:42:37.840
at me, smiled Yeah, you smiled right at me as

348
00:42:37.880 --> 00:42:39.480
if you meant it, And I cried all the way

349
00:42:39.519 --> 00:42:40.320
home just because.

350
00:42:40.079 --> 00:42:41.400
You smiled at me for being any way.

351
00:42:42.159 --> 00:42:45.840
I'll never forget it, mister Gable, honest engine, You're my

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00:42:46.039 --> 00:42:46.800
favorite actor.

353
00:42:47.840 --> 00:42:49.679
I don't care what happens.

354
00:42:50.000 --> 00:42:51.760
Let the whole world stop.

355
00:42:52.480 --> 00:42:55.679
As far as I'm concerned, You'll always.

356
00:42:55.360 --> 00:42:58.800
Been the talcause you alone.

357
00:42:59.119 --> 00:42:59.760
You Me.

358
00:43:01.519 --> 00:43:02.039
Love You.

359
00:43:06.039 --> 00:43:09.719
From Decca Records. You Made Me Love You by Judy

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00:43:09.840 --> 00:43:15.239
Garland Orchestra conducted by Harry Sassnik, recorded in Los Angeles

361
00:43:15.519 --> 00:43:18.960
on September the twenty fourth, nineteen thirty seven. And I

362
00:43:19.039 --> 00:43:23.880
must add that was the fifteen year old Judy Garland

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00:43:24.000 --> 00:43:27.679
and the history of this song is wonderful in addition

364
00:43:27.800 --> 00:43:31.679
to the fact that Judy was only fifteen. You Made

365
00:43:31.719 --> 00:43:35.519
Me Love You originally was a song from back in

366
00:43:35.639 --> 00:43:41.079
nineteen thirteen, composed by James V. Monico with lyrics by

367
00:43:41.280 --> 00:43:46.559
Joseph McCarthy. Was actually introduced by the legendary Al Jolson,

368
00:43:47.159 --> 00:43:51.039
who made the song famous. Now we move up to

369
00:43:51.199 --> 00:43:56.360
nineteen thirty seven, where Roger Edens wrote additional lyrics to

370
00:43:56.480 --> 00:44:03.039
the song for Judy Garland. The new lyrics cast Garland

371
00:44:03.199 --> 00:44:07.480
in the role of a teenage fan of Clark Gable.

372
00:44:08.639 --> 00:44:13.480
Now Judy, though initially, and this is a true story,

373
00:44:14.239 --> 00:44:19.519
sang this song to Clark Gable in real life at

374
00:44:19.519 --> 00:44:22.599
a birthday party that was thrown for him by the

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00:44:22.960 --> 00:44:28.599
MGM Studios. Now MGM executives were so charmed by her

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00:44:28.760 --> 00:44:33.159
rendition that she and the song were added to the

377
00:44:33.280 --> 00:44:39.840
film Broadway Melody of nineteen thirty eight. Garland recorded the

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00:44:40.119 --> 00:44:44.800
Gable version on September the twenty fourth, nineteen thirty seven,

379
00:44:45.039 --> 00:44:49.679
for Red Decca Records. As I mentioned earlier, so I

380
00:44:49.800 --> 00:44:53.760
think a lot of us remember seeing Broadway Melody of

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00:44:54.280 --> 00:44:59.800
nineteen thirty eight, or the scene of Judy Garland sitting

382
00:45:00.079 --> 00:45:02.920
at her desk writing a letter to Clark Gable with

383
00:45:03.000 --> 00:45:06.480
a portrait of Clark right there on the desk with

384
00:45:06.719 --> 00:45:10.440
her fifteen year old Judy Garland. Now, how about the

385
00:45:10.920 --> 00:45:14.159
fourteen year old Judy Garland.

386
00:46:04.159 --> 00:46:08.280
Swing mister Charlie or swing mister Charlie.

387
00:46:09.559 --> 00:46:13.639
I don't care what to just make it a hortuon

388
00:46:14.119 --> 00:46:18.519
play an R or tune of a theme that's dood

389
00:46:19.400 --> 00:46:23.199
and don't you hit his hard than anything I've had

390
00:46:23.280 --> 00:46:29.400
since time? Beginner, Swing mister Charlie. Or swing mister Charlie.

391
00:46:30.760 --> 00:46:34.440
No one can swing in live you do.

392
00:46:35.880 --> 00:46:38.719
I can't get enough of that.

393
00:46:38.840 --> 00:47:30.639
Swingable rhythm stuff. Swing mister Charlie. Swing a swing, mister Charlie.

394
00:47:31.360 --> 00:47:36.920
Or swing mister Charlie. I don't get what you just

395
00:47:37.360 --> 00:47:41.880
make it a hot tunes, play a borrow twe of

396
00:47:42.039 --> 00:47:46.079

Make Believe Ballroom - 4/17/26 Edition

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